prepares

May 24 (Asia Today) — South Korea is preparing to publicly unveil a development roadmap for a nuclear-powered attack submarine program after the successful Pacific deployment of the domestically built Dosan Ahn Chang-ho submarine, according to military and defense officials.

The move signals Seoul’s effort to strengthen what officials describe as the strongest conventional strategic deterrence available to a non-nuclear weapons state in response to North Korea’s advancing nuclear and missile capabilities and growing maritime competition in the region.

Senior military officials said the Ministry of National Defense and the Defense Acquisition Program Administration have completed technical reviews for a South Korean nuclear-powered submarine program and are now coordinating with related ministries, including the Foreign Ministry, on a diplomatic and regulatory strategy.

The report follows the recent Pacific deployment of the 3,000-ton Dosan Ahn Chang-ho submarine, which sailed about 14,000 kilometers, or 8,700 miles, from Jinhae through Guam and Hawaii using only domestically developed lead-acid batteries, diesel engines and an air-independent propulsion system.

South Korean officials said the deployment significantly reduced the need for snorkeling operations, in which submarines surface or raise air intake masts to recharge batteries, and demonstrated the vessel’s long-duration underwater operational capability and hull durability.

Officials also said the submarine successfully demonstrated stable operation of its submarine-launched ballistic missile vertical launch system in rough Pacific conditions. The Dosan Ahn Chang-ho class is the world’s first diesel-electric submarine class equipped with vertical launch tubes for submarine-launched ballistic missiles.

Defense experts said the mission simultaneously highlighted the operational limitations of conventional diesel submarines and the strategic advantages of nuclear propulsion.

While diesel-electric submarines must operate at relatively slow underwater speeds to maintain endurance, nuclear-powered submarines can remain submerged for much longer periods and travel underwater at speeds exceeding 40 kilometers per hour, allowing broader operational flexibility, officials said.

The foreign affairs and security publication The Diplomat reported Thursday that South Korea’s pursuit of a nuclear-powered submarine would become “a major test case of non-nuclear deterrence” for a country that does not possess nuclear weapons.

Chung Sung-chang, head of the Korea Nuclear Strategy Forum and a senior researcher at the Sejong Institute, said the submarine under discussion would be a non-nuclear attack submarine that would not carry nuclear weapons.

Chung said South Korea plans to retain the hull design and submarine-launched ballistic missile strike capability proven through the Dosan Ahn Chang-ho program while replacing the diesel propulsion system with a small nuclear reactor.

He said South Korea should first publicly present its nuclear submarine development roadmap before negotiating a bilateral nuclear submarine cooperation agreement with the United States and securing approval from the U.S. Congress.

Chung also said Seoul would need a separate agreement with Washington to secure low-enriched uranium fuel for naval reactors derived from downgraded highly enriched uranium.

Officials are reportedly studying the AUKUS security partnership among the United States, Britain and Australia, under which Australia received access to nuclear-powered submarine technology while remaining within the international nonproliferation framework.

South Korean officials said the success of the Dosan Ahn Chang-ho deployment demonstrated that the country’s technical preparations for a future nuclear-powered submarine program had reached a mature stage, shifting the focus toward diplomatic negotiations and international coordination.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260524010006872

On the second weekend of May, Gustavo Dudamel gave the New York Philharmonic a salsa shock. He gleefully brought the startled players together with the Spanish Harlem Orchestra, an uptown salsa and jazz band, for concerts at Lincoln Center and Washington Heights. The city‘s classical music fans treated it as a cultural breakthrough; Dudamel is expected to transform the orchestra as a cultural institution when he returns in the fall as its music and artistic director.

A day later he was back in Los Angeles to begin rehearsals at a Walt Disney Concert Hall that had been fantastically transformed by Frank Gehry for the Los Angeles Philharmonic’s staging of “Die Walküre.” Transformation — be it cultural, orchestral, personal — has marked Dudamel’s 17 years as music (and more recently artistic) director of the L.A. Phil, which is now coming to an end with his three weeks of concerts in Disney to close the season June 7, followed by a celebratory weekend at the Hollywood Bowl in late August.

But meeting with Dudamel in his dressing room after a “Walküre” rehearsal (the opera begins Tuesday night at Disney and runs for six nights, an act a night, the full opera performed twice) , he says as he has said before, he does not think of this as a culmination, merely the beginning of a new adventure. He’s apartment shopping in New York. But he is keeping his house in Los Angeles.

He’s also departing with two very long new titles as “Die Walküre” premieres: the Diane and M. David Paul Artistic Cultural Laureate of the L.A. Phil and Jane and Michael Eisner Founding Director and Conductor Laureate of Youth Orchestra Los Angeles (YOLA).

Gustavo Dudamel conducts the Los Angeles Philharmonic in a performance of Beethoven’s Missa Solemnis at the Walt Disney Concert Hall on Feb. 22.

(David Butow / For The Times)

“We are talking about projects,” he says. “Look, I’m coming back for two weeks in December,” when he will lead Beethoven programs. He returns in the spring. The Bowl will always be a second home.

“I’m living here and I’m not living here,” he explains. “The connection will always be here.”

The energy in New York is, he continues, “super exciting.” And what excites him the most is how comfortable he feels with the very real differences between L.A. and New York.

“As a Latino from Venezuela,” he says, “I have an immediate connection with the New York that is home of salsa. When I was in the womb I was hearing salsa.” His father, Oscar Dudamel, is a trombonist and salsa musician.

But he adds that mariachi, ubiquitous in Mexico and L.A., is also an integral part of Venezuelan culture. “What I have to say is that I am blessed. I’m blessed that both cities are now part of my life.”

Bringing ‘crazy’ ideas to Los Angeles

L.A., of course, has been the major part of his adult life. At 24, an unknown, he made his dazzling U.S. debut in 2005 leading the L.A. Phil at the Hollywood Bowl. Four years later, he became the orchestra’s music director and caught the world’s attention.

There is no doubt that Dudamel’s extraordinary talents would have meant a major career wherever he landed. But, here, he inherited the world’s most culturally open major orchestra, where fresh thinking and new music thrive. Disney Hall allowed him the extraordinary freedom to dream. Being back at Disney, Dudamel admits, is very emotional, especially conducting “Walküre” with Gehry’s sets of billowy, sumptuous clouds and fanciful white papery horses.

“Frank is here with us,” Dudamel exclaims about the architect, who died in December and with whom he had become close. Conducting Wagner’s opera, in many ways, sums up Dudamel’s ambitions, the way he has connected with more sides of L.A.’s cultural landscape than possibly any other artist.

In L.A., Dudamel grew as an artist and a person, he says, through his relationship with an orchestra that is uniquely flexible and a welcoming community. This allowed Dudamel to be what he likes to call “crazy.”

“I remember the first time I came here. I didn’t have a chance to do or see anything,” he says of his Bowl debut. “So, I remember driving from the airport to Sunset Boulevard, where my hotel was, and I didn’t understand anything. But immediately it was the connection with the orchestra.”

Frank Gehry designed the sets for a Jan. 18, 2024, performance of Wagner’s opera, “Das Rheingold,” with Gustavo Dudamel leading the Los Angeles Philharmonic at Walt Disney Concert Hall.

(Allen J. Schaben / Los Angeles Times)

Flash forward 20 years from 2005 to 2025. In what seemed like a truly crazy idea, he brought the L.A. Phil to the Coachella Valley Music and Arts Festival, where he led a varied set of classical favorites and appearances with pop stars, for 150,000 people shouting “L.A. Phil! L.A Phil.” Among the highlights was “Ride of the Valkyries,” the English title of “Walküre.”

The symbolism of doing “Walküre” is, for Dudamel, unmistakable. Wagner’s four-part “Ring” cycle, of which “Die Walküre” is the second opera, strongly influenced the “Star Wars” films Dudamel grew up with. The saga’s composer John Williams is another L.A. legend who became for Dudamel like family. Williams has, in fact, written a fanfare, “Bravo Gustavo!” that Dudamel will premiere on June 4 in a concert in which he celebrates the musicians of the L.A. Phil.

The “Walküre” production, moreover, further expresses his desire to remain connected with L.A. When asked whether he still plans to complete the “Ring” cycle with the L.A. Phil, which he began two seasons ago with “Das Rheingold,” he says, “completely.”

It’s a radical notion, to say nothing of an extraordinarily expensive and time-consuming challenge for any orchestra given to a former music director, but Dudamel has never been one to take no for an answer. “At my last conversation with Frank,” he recalls, “I said I was coming to talk about ‘Siegfried’ [the next opera in the cycle], and he said, ‘You are crazy.’”

“That was Frank. He freaked out about the operas every time I talked to him about them. And then he came up with fabulous ideas.

“You know I never dreamed about coming to the L.A. Phil. I was happy in Venezuela and guest conducting elsewhere. But when I met Frank and John [Williams], I knew I had come to the right place.”

One reason Dudamel was happy in Venezuela was his position as music director of the Simón Bolívar Youth Orchestra, part of El Sistema, the country’s famed music education program. He brought a version of that to Los Angeles with YOLA, which offers free musical education to students. Bringing young people together to learn — and not just to play music but to listen to each other — has grown increasingly essential to him.

Gustavo Dudamel has fun with John Williams at the Hollywood Bowl as he conducts the L.A. Phil during “Maestro of the Movies: John Williams with the LA Phil” on July 9, 2023.

(Emil Ravelo / For The Times)

On Thursday evening, USC awarded Dudamel an honorary doctorate during its graduation ceremonies at the Coliseum, where Dudamel also gave the commencement speech.

“I will never tire of repeating this: music, art and beauty are universal rights,” he told the graduates, urging them to go out into the world listening to others, seeing others, paying attention to everything. These are the practices he has long championed as the essential need for youth orchestras.

This was, in fact, almost precisely what he said when he first arrived in L.A. “I was very young, but I grew up with these ideas,” he told me.

“You have to say to the students, ‘Stop! Let’s pause. Just listen.’”

“It’s a way to really connect with what surrounds you, but also connect with yourself. That’s the beauty of all the layers of listening we do as musicians. I now think that is our main tool. In the end it’s not listening only to sounds. It’s listening as connecting with others.”

Practicing what he preaches

As Dudamel plans for his next chapter, he indicates that the advice he gives students is what he is also saying to himself.

YOLA students perform on stage during a “Gracias Gustavo Community Block Party” at the Judith and Thomas L. Beckmen YOLA Center in Inglewood on Oct. 11, 2025.

(Etienne Laurent / For The Times)

What L.A. gave him, he concludes, is a greater depth of his own listening. There was the guidance of Deborah Borda, who, as the orchestra’s president and CEO, hired and mentored him. There were the opera productions with Peter Sellars, who made him look deeply inside himself. There were the communities to discover and with which to collaborate.

New York, he insists, will be a further continuation of this process. “There are a lot of things to do. As I did here, that will be not only conducting but spending a big amount of time doing other things. I will have to listen to the community. Every place is different.”

And every place needs to be, for Dudamel, connected. He began his last season in Disney in the fall with the world premiere of Ellen Reid’s “Earth Between Oceans,” a bicoastal co-commission between the L.A. Phil and the New York Philharmonic, sonically evoking the environmental difference between L.A. and New York. He recently repeated it with his new orchestra in David Geffen Hall in New York.

In L.A., Reid’s score felt like a vast, moving, spiritual soundscape of our fires’ fury as well as our coastal fancy. At Geffen, it became a gripping showpiece, like attempting to zoom in a Ferrari through Manhattan streets, were they ever empty — the thrill of taking it all in.

Dudamel says his favorite place in New York so far is the orchestra’s archives. Becoming absorbed in the history of America’s oldest orchestra gives him new ideas. He wants simultaneously the old, the new and the many.

He also insists on ever more connections. ”We are making, many, many projects together,” he says of the L.A. Phil and the New York Philharmonic. That includes bringing the two orchestras together in a further experiment in listening.

“That‘s very important to me, one of my dreams. And it’s not difficult,” he says. “We have plans and it’s beautiful. We have to do that.”

It took three months of hard work to change Amorim’s mind.

On 6 March 2025, he started the first leg of the Europa League last-16 draw with Real Sociedad. He kept his place for the league game against Arsenal and, from that point, has started every major game United have played.

“Football changes. Life changes,” Casemiro said in his recent interview with former United captain Ferdinand.

“For me, [with] the best players in the world, it’s about the mentality. I might not play good – I’m not a robot and I know. But the next [game], I give everything on the pitch. The mentality is next, next, next.”

It is a mentality that has brought Casemiro back into the Brazil squad – he is expected to be Carlo Ancelotti’s captain at this summer’s tournament.

This season, the 34-year-old’s influence has noticeably increased.

Of all the players in Michael Carrick’s squad, it is widely accepted if Casemiro had been injured in February, after the transfer deadline had closed, his absence would have been the hardest to cover in the ultimately successful quest for Champions League qualification.

“He has been an absolute pleasure to work with,” Carrick says in his programme notes for the Forest game.

“He will always have a special connection with Manchester United.”

Carrick has felt the early clarity around Casemiro’s exit – announced on 22 January, days after the manager’s own return as Amorim’s temporary replacement – has been beneficial for player and club.

Aside from the mentality aspect, the player’s influence at Old Trafford should extend far longer than his physical presence.

When Casemiro arrived from Real Madrid in 2022 in a deal worth up to £70m, Kobbie Mainoo, then aged 17, felt he would learn huge amounts from one of the most decorated players in the game.

Amid the Brazilian’s collapse in form, Mainoo ended up battling for a start with Casemiro, which wasn’t a situation he envisaged.

The clear by-product of Amorim’s exit has been the partnership between the pair, who have played alongside each other in 13 of Carrick’s 15 matches in charge – a one-match absence for both players because of minor injuries the only reason it was not 15 out of 15.

“Kobbie is my friend,” Casemiro explained earlier this month in a separate interview with the respected United We Stand fanzine.

“I have an excellent relationship with him. We are always joking – in English because he doesn’t speak Portuguese.

“He is a complete player, the present and the future of Manchester.

“Why? Because he has already taught us that he can play to a high level for his club and country. The one thing he needs to improve is to play more with the ball, to touch the ball more, because he has so much quality.

“Then it’s the decision-making which comes with experience. That improves with age.”

The “Soumoud 2” land convoy, carrying doctors, engineers and activists, is preparing to leave Libya for Egypt’s Rafah crossing to deliver humanitarian aid to Gaza, a week after setting off from Algeria.

Grant Leary of Crespi is ready to defend his 2025 championship as Southern Section individual golf champion.

Qualifying begins Wednesday for the Northern Regional at Los Robles Golf Course. The top 20 players from the three regionals advance to the individual finals May 21 at River Ridge Country Club.

Leary shot 66 last year to win. He’s been playing well. He won a playoff at a U.S. Open qualifying tournament in Brentwood to advance to the final stage, a tournament June 8 in Sacramento. The U.S. Open will be in New York this season.

He’s committed to San José State.

One top player who won’t be participating this year is sophomore Jaden Soong, the defending CIF state champion from St. Francis. His father, Chris, said Jaden has too many conflict dates this month on his schedule while trying to earn a spot to play in the Junior Presidents Cup in September at Medinah Country Club.

Soong is No. 10 in the standings. Tiger Woods’ son, Charlie, is No. 7.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.

His approach should not come as a surprise.

Trippier admitted it will be “emotional” to leave Newcastle at the end of his contract, after spending longer at the club than anywhere else in his senior career.

He is determined to end his four-and-a-half-year spell on a high, and could even come back into the side for a final run following injuries to Lewis Miley and Tino Livramento.

There is likely to be a familiar look to the team which lines up against Nottingham Forest on Sunday, as a result.

Nick Pope, Trippier, Dan Burn, Bruno Guimaraes, Joelinton, Sandro Tonali, Joe Willock and Jacob Murphy could start. They all featured when Newcastle ended a 70-year wait for a major domestic trophy by winning the EFL Cup last season.

It was Trippier who set up Burn’s opener in the 2-1 win against Liverpool in the final, before he went on to lift the trophy alongside skipper Guimaraes and previous club captain Jamaal Lascelles at Wembley.

But that had not necessarily been part of Trippier’s “selfless” plan, as former team-mate Callum Wilson explained.

“He was not interested in lifting the trophy,” said the striker, who is now at West Ham.

“It took myself and a few other senior players to say, ‘Go on, get your hands on the trophy and lift it with everybody – all three of you do it together because it’s a team effort’.

“Ultimately, he played a big part in that as well so I felt like that moment really summed him up as a character.”

Such a prospect felt a long way off when the pair spoke on FaceTime to discuss relegation-threatened Newcastle‘s plight – several weeks before Trippier joined the club from Atletico Madrid in January 2022.

The right-back proved a catalyst, as the first signing in the aftermath of the club’s Saudi-led takeover, and convinced others like Guimaraes to follow in the mid-season window.

Yet Trippier’s decision to swap life in the Champions League for an immediate survival battle led to accusations of greed externally.

The reality was a little different.

The Bury native wanted to return to the north of England for personal reasons and took a pay cut to reunite with head coach Eddie Howe, who he previously worked with at Burnley.

There was not even a relegation release clause in his contract.

Rather than being a mercenary, the La Liga title winner’s standards, approach to training and desire to help lifted a group which had only recorded a single victory up to that point.

Trippier’s presence behind the scenes quickly struck former team-mate Jonjo Shelvey.

“He’s a natural leader,” the ex-Newcastle midfielder said.

“He made a move at a time when the club was struggling and came in with his know-how and knowledge, and helped us massively.”

MOLLY-MAE Hague just revealed that a fire broke out at her £5million mansion ahead of her giving birth to her second child.

The influencer and TV personality, 26, shared the scary ordeal over on her YouTube channel.

In a vlog posted to her page yesterday, Molly-Mae talked all things preparing for her baby shower.

However, the sweet anecdotes suddenly took a terrifying turn when she recounted her home security team contacting her about a fire at her property.

She shared: “The security company is calling me and are like, ‘Just to ask you a question, is the fire in your skip on purpose, is there meant to be a fire in your skip?’

“I’m like, ‘Give me a second’, run to my builder Glen and I’m like, ‘Glen, there’s a fire!’

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“He was like, ‘Yep, we’ve got it under control’. Basically, the full skip set it on fire.

“Like, what? What the hell is going on this morning.

“All I’m trying to do is have a shower and find an outfit for this baby brunch tomorrow and instead I’m Fireman Sam over here.”

The fire news comes shortly after Molly-Mae revealed the latest renovations in her stunning home.

Earlier this month Molly-Mae showed off the gorgeous new bedroom the mansion, sharing a series of snaps to her dedicated home remodelling Instagram account.

Gone were the warm cream and brown tones, in favour for a more cool grey aesthetic.

Molly-Mae replaced the wooden four-poster bed with a standard double bed and giant leather headboard, behind which sat a wall-to-wall mirror.

She also replaced the shell inspired circular ceiling fixture with a more sleek metallic and glass version.

At the other end of the room, Molly-Mae removed the inset arched shelves and cabinets for two floor-to-ceiling mirrors which sat on either side of the new, darker fireplace.

Molly-Mae also removed the TV from above the cream and black veined marble fireplace and replaced it with a stunning piece of artwork.

Two grey chaise lounges sat on either side of the room, replacing the cream one-seater armchairs that were there before.

Even the old bedroom was gorgeous, Molly explained why she felt the need to overhaul it completely.

“There was absolutely nothing wrong with the space before but because we’re planning to be here for a long time, we really wanted to make it feel completely like us… you all know how much I love my neutral, calming spaces,” she wrote.

“I honestly couldn’t be happier with how it’s turned out… I’m so excited to keep making more special updates to our new home.”

Molly-Mae and her partner Tommy Fury purchased the luxurious mansion back in 2024.

It’s a Victorian-style building located in Cheshire which reportedly features six bedrooms.