Podcasts about Bando

Acconto IMU 2026 entro il 16 giugno - Sviluppo competenze PMI: domande di contributo entro il 23 giugno - Bollo conti correnti società in aumento dal 2027 - Osteopatia: decreto equipollenze in Gazzetta - Benefici Prima casa anche per immobile fatiscente - Licenziamento via mail: ecco quando è valido - Comodato d'uso gratuito ai parenti: sconto IMU 2026 - Contributi per eventi sportivi 2026: pubblicato il Bando

Today's guest is the name behind a decade of names you already know by heart. Eight weeks at #1 with Drake. Over a billion streams off a single Travis Scott beat. A top-six Hot 100 record with Migos, Nicki Minaj, and Cardi B — all on one song. Nipsey Hussle. French Montana. A whole generation of trap and rap that doesn't sound the way it sounds without him. And here's the part that should annoy every producer alive: he made most of it in under 20 minutes, by himself.And The Writer Is... Murda Beatz!In this episode of And The Writer Is, we go deep on:- Why doubt is important- The principal who told him being a producer was "unrealistic" — and what he'd say to him now- Making "Nice For What" in 20 minutes — and why it was never actually mixed- Selling beats over Western Union for $50–$200 — until working with the Migos got him flagged for fraud- DMing his way from a Canadian bedroom to Chief Keef, the Migos, and Nipsey Hussle- The Migos teaching him to cook beats in 10 minutes: "you gotta be faster"Losing his dad at 21 — and how he handles grief while the machine keeps runningand his new mixtape, 'Bando'And much more...Hit subscribe and turn on notifications. Every week, we go deep with the most interesting creatives in music.Follow us on socials: @andthewriterisA special thank you to our sponsors for making these conversations possible.Our lead sponsor, NMPA — the National Music Publishers' Association. Your support means the world to us.And @splice — the best sample library on the market. Period.Chapters:0:00 Intro1:45 The best producer tag that isn't yours2:32 The songs: "Nice For What," "Butterfly Effect," "MotorSport"3:03 The plaque wall — and the one with "some crazy number"4:29 When the label wouldn't put a producer's name on the plaque7:00 Born in Niagara Falls, a town of 3,000 on the Buffalo border8:33 A dad who played guitar, a left-handed kid on the drums11:36 Why so many great musicians come from Canada13:08 Trading the drum kit for trap beats14:29 Digging for Lex Luger drum kits in Skype groups16:25 "Murda Beatz on the track" — building a fanbase on Facebook and YouTube19:38 The principal who said being a producer was "unrealistic"21:51 "The doubt is important" — Michael Jordan and manufacturing motivation24:50 How you go from YouTube to a $20,000 check26:33 Learning his value — refusing to be a "sound producer"27:26 Selling beats on Western Union, and getting flagged for fraud33:00 Being a white kid making rap on Chicago's South Side35:02 How he met the Migos on the internet40:36 Making "Pipe It Up" — and learning to cook beats in 10 minutes42:32 World #1s in 15–20 minutes: "Butterfly Effect" and "Nice For What"45:35 Curating a beat pack — and remembering every beat by name51:24 The crazy fact about "Butterfly Effect": it was never mixed52:13 "MotorSport" hits #6 — sitting on it for four months53:24 Making Nipsey Hussle's beat his first day in LA56:55 "Nice For What" — made in Canada, #1 for eight weeks62:10 Adjusting as hip-hop changes: "I made rap because I wanted to make rap"63:42 Producer vs. featured artist — why go solo68:17 Simplicity: 8–10 stems and nothing wasted69:27 Losing his dad at 21, and how he deals with grief70:14 The alone time that built everything71:15 What's next: the "Bando" project, ten years after his first mixtape73:02 Rapid fire: signature beat, Mount Rushmore of producers77:25 Murda Melodies — the plugin that landed on a Bad Bunny record80:28 Advice for upcoming producers80:31 A message to his mom — and what he'd tell his dadCredits:Hosted by Ross GolanProduced by Joe London & Jad SaadEdited by Jad SaadPost-Production VFX by Pratik Karki Hosted on Acast. See acast.com/privacy for more information.

“Rimangono scoperti i nodi che non rendono attrattive queste posizioni - dicono i consiglieri regionali dem Luisetto e Manildo commentano i risultati del bando di Azienda Zero - e fino a quando non si mette mano alle condizioni economiche e alla sicurezza del personale, le carenze saranno sempre più forti”.

Fofoca?http://orelo.cc/diariodebordo

Welcome To 5 Questions with ABJ. Street Interview style content asking people what their goals are in life and how they are working to achieve them possible set backs and if they are over all happy currently in this journey. You never know who will pop up for 5 Questions.https://linktr.ee/anthonyblackwelljrOur Guest Links:https://www.instagram.com/_bando.dio_/

La Desobediencia por Factor Kaiser, con Roberto Gil y Max Kaiser. Dos amigos, dos voces independientes que analizan el engaño: lo que el poder dice; la neta: lo que los conductores responden. Cómo impacta en la gente y cómo debe responder la ciudadanía en...La Desobediencia. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

The 2024 hurricanes may be a distant memory for some. For St. Petersburg resident Kevin Batdorf, the floods that drenched his Shore Acres neighborhood prompted him to run for mayor. He talks about the issues and how he would steer the city if elected.Also, an abandoned resort near Disney World became a refuge of sorts for people who lost homes and jobs. And we meet a blues artist who's performed with Eric Clapton, Ronnie Wood and other British rock royalty.Website: https://www.wusf.orgSign up for our daily newsletter: https://www.wusf.org/wakeupcall-newsletterFollow us on social media:Facebook: https://www.facebook.com/WUSFInstagram: https://www.instagram.com/wusfpublicmedia/YouTube: https://www.youtube.com/channel/UCsN1ZItTKcJ4AGsBIni35gg

Bando al 25 aprile, il dovere chiama! Nella nuova puntata:"Libero" svela un presunto sex-gate sulla FlotillaSilvana De Mari contro il cardinal PizzaballaCapezzone e il "rischio" attentati vs Beppe Braida e il tormentone "attentato!"il Foglio vuole Renzi in Federcalcio (e Serse Cosmi??)e tanto, tantissimo altro!

Ar „nuteistasis“ yra etiketė visam gyvenimui? Ar išgirsti nuteistąjį – tai pateisinti jo poelgius? Lukiškių kalėjimo komplekse pristatoma garso instaliacija „Neišgirsti“, kurioje nuteistųjų lūpomis pasakojamos jų pačių istorijos. Pasakojimus rinko jauni žurnalistai. LRT RADIJO laidoje „10-12“ – idėjos autorė ir kuratorė, LRT RADIJO žurnalistė Urtė Karalaitė ir žurnalistė Gabija Vaitkevičiūtė.Ved. Darius Matas

“1001 Noites Irmã Santomense” é o espectáculo que valoriza a cultura de São Tomé e Príncipe e encerra a tetralogia colocada em cena pelo Teatro O Bando desde 2023. Depois de Irmã Persa, encenada por Suzana Branco, Irmã Palestina, encenada por Olga Roriz e João Brites, e de Irmã Mapuche, encenada por João Neca, agora coube a Miguel Jesus encenar Irmã Santomense. A cada nova Irmã, um novo olhar sobre o mundo que contém o desafio de um convite a outros públicos, um novo questionar sobre violência e poder. Irmã Santomense é elo de conexão com São Tomé e Príncipe. A actriz Adozia Cristo trás a experiência pessoal, trás a preservação do Tchiloli, a valorização da língua Forro e da cultura de São Tomé e Príncipe O espectáculo “1001 Noites Irmã Santomense” estreia a 8 de Maio, na Quinta do Teatro O Bando, em Palmela, 40 quilómetros a sul da capital portuguesa. A RFI esteve no espaço onde decorrem os ensaios, falou com o actor e músico Mick Trovoada, com a actriz Adozia Cristo (muito popular entre santomenses pela personagem Saco de Boxe), e falou também com o encenador Miguel Jesus, do Teatro O Bando, e com Isabel Mota, da Ilhéu Portátil, que começam por nos revelar como surgiu o espectáculo “1001 Noites Irmã Santomense”. Isabel Mota, Ilhéu Portátil: É um projecto do Teatro Bando, e a Irmã de Santomense surge aqui um pouco da relação que eu tenho com São Tomé, do meu trabalho na Ilhéu do Portátil e nas questões da literatura para crianças e de ter um dia chegado ao Bando com o vídeo de uma actriz de santomense, a Dozia Cristo. Mostrei ao João Brites e ao João Neca o trabalho daquela actriz de santomense, estive-lhes a falar um bocadinho da língua, do Forro, da sonoridade que esta língua tem, que é tão bonita, e a lembrar também a relação que o Teatro Bando tem com São Tomé, com o Tchiloli, com o facto de já terem estado em São Tomé. Entretanto, O Bando convidou a Adozia a vir cá em Dezembro do ano passado para passar uma semana lá no Bando, para conhecer as pessoas, para eles a conhecerem, e no final dessa semana decidiram que iriam fazer o projecto As Mil e Uma Noites e a Irmã Santomense. Agora ela está, neste momento, no espaço d'O Bando a fazer ensaios para esta peça que vai estrear agora em Maio. RFI: O trabalho da Isabel não ficou por aí, fez questão de juntar outros nomes de São Tomé e Príncipe. Isabel Mota: De facto, eu entusiasmo-me um bocadinho. Quando o Miguel Jesus me pediu nomes de músicos, porque queria também aqui algumas referências de músicos ligados a São Tomé, eu falei-lhe de vários músicos, nomeadamente o Mick Trovoada e o DJ Marfox. O Miguel Jesus gostou bastante do trabalho deles e, portanto, falou também com eles. Eles aceitaram participar desta peça. O Mick Trovoada participa como intérprete e também toca música ao vivo, e tivemos a grande sorte de conseguir que o DJ Marfox tivesse disponibilidade para ir ao Bando, conhecer O Bando, e fez um tema para esta peça. RFI: Depois há também a vertente das artes plásticas de São Tomé. Isabel Mota: Sim, eu convidei-os a irem conhecer o trabalho de alguns artistas plásticos. Havia artistas com exposições em Lisboa, exactamente naquela altura em que andavam a fazer pesquisas e a tentar perceber qual seria o ambiente da peça e o que iria entrar na peça. Nessa altura, o Emerson Quinda tinha a sua primeira exposição individual em Lisboa, ali no Camões, no Marquês de Pombal. Então, lá foi o Emerson Quinda passar três dias ao Bando, onde esteve a desenhar, a trabalhar, a fazer as suas figuras, que depois a Clara e o João Brites e o Miguel Jesus adaptaram às três carroças que fazem parte do cenário desta peça e que foram construídas pelo João Brites e que agora vão ter desenhos e trabalhos do Emerson Quinda. O que faz com que neste momento já tenhamos o Emerson Quinda na parte visual plástica do cenário, o Mick Trovada e o DJ Marfox na música e a Adozia Cristo, que é uma actriz muito conhecida em São Tomé por uma personagem que ela criou que é a Saco de Boxe, como uma das protagonistas da peça. Miguel Jesus, encenador: O Bando começou uma tetralogia há cerca de quatro anos. São quatro espectáculos encenados por quatro encenadores diferentes, todos a partir do texto das Mil e Uma Noites, pensando que este texto permite várias abordagens, permite vários pontos de vista, várias leituras. Logo desde o início, o João Brites estabeleceu esta ideia de que cada espectáculo, para além da Xerazade e do Xariar, que são digamos os personagens pivô, os personagens centrais, cada um dos espectáculos teria uma irmã vinda de um país diferente. No sentido de dizer que as Mil e Uma Noites são um livro que faz parte do património da humanidade, não é específico da cultura persa ou da cultura árabe, é de toda a humanidade e portanto pode ser adequado a qualquer contexto e nós podemos e temos irmãs teatrais em todos os cantos do mundo. Isto levou a que O Bando em 2023 trabalhasse com uma actriz de origem iraniana, num espectáculo que se chamava Irmã Persa, dirigido pela Susana Branco, que estabelecia um pouco o início da narrativa, o porquê do Xariar todas as noites escolher uma mulher para ter relações e depois de manhã mandá-la matar. Depois, no ano seguinte, o segundo espectáculo foi encenado pelo João Brites em conjunto com a Olga Roriz, com uma actriz vinda da Palestina, a Maria Dali, que por acaso vai estar agora no Bando a fazer uma residência artística para apresentar um outro trabalho. E o ano passado, em 2025, o João Neca dirigiu a Irmã Mapuche, com uma actriz e música e um actor músico vindo de uma zona do Uruguai, mas em que ela tem ainda origens também do povo Mapuche de cultura indígena. E este ano estamos aqui com a nossa Irmã Santomense. Irmã Santomense porquê? Porque estamos a trabalhar com a actriz Adozia Cristo, conhecida em São Tomé sobretudo como Saco de Boxe, uma personagem famosa, que ficou conhecida num programa televisivo de comédia. A vinda da Adozia trouxe-nos também ao encontro com outros artistas de São Tomé, portanto tivemos a sorte de poder ter connosco Emerson Quinda a fazer algumas pinturas, temos a sorte de ter connosco o músico Mick Trovoada, que apesar de não ser de São Tomé, ser angolano, tem forte influência e forte conhecimento daquilo que é também a música e os ritmos das danças de São Tomé. Portanto estamos aqui influenciados por uma diversidade de pessoas, de conhecimento, de cores, de ritmos, de texturas, que queremos que permeabilizem estas 1001 noites tão específicas, em que neste espectáculo, para além de ser a Irmã Santomense, é também o encerrar desta tetralogia. Portanto, agora temos mesmo de arranjar uma solução para o que é que se faz à Xerazade e ao Xariar. RFI: Adozia Cristo, o que é que, enquanto actriz, traz de São Tomé e Príncipe para esta peça? Traz a língua? O que é que traz? Adozia Cristo: Eu trago São Tomé e Príncipe. Trago a bandeira de São Tomé e Príncipe, a língua, os objectos, na peça há passagens em que eu falo o crioulo-forro, o crioulo de São Tomé, há objectos que nós vamos usar numa cena que são objectos que vêm de São Tomé, há gastronomia porque fala-se dos pratos típicos de São Tomé, a música de São Tomé, tem a dança, nós depois vamos dançar, dança de São Tomé, e também os nomes mais conhecidos das pessoas, principalmente as pessoas mais idosas de São Tomé, então, é muita coisa de São Tomé que está no espectáculo, a Irmã Santomense. RFI: E, enquanto actriz, como é que está a ser o trabalho com os outros atores que não são santomenses? Adozia Cristo: É fixe! As técnicas parecem semelhantes, mas não são. Então, há sempre uma troca. Eu, de alguma forma, transmito alguma coisa que é de lá e também aprendo muito com eles. Estou a trabalhar com encenadores, com atores formados. Então, está a ser bastante bom. RFI: O Mick Trovoada é um homem mais da música, mas aqui assume o papel de actor. Como é que foi abraçar esta experiência? Mick Trovoada: Fui convidado pelo Bando, através de uma terceira pessoa que está ligada a São Tomé, que é Isabel Mota. Fizeram essa ponte e eu vim cá com todo o gosto e com todo o prazer dar o meu contributo e também poder aprender, que é uma das coisas que eu abraço e que me leva por todo o mundo, a vontade de aprender e querer fazer coisas diferentes e que me enriquecem. RFI: Com a vontade de fazer coisas diferentes, aqui sobe ao palco na peça 1001 Noites Irmã Santomense. Mas depois há também o lado mais conhecido do MicK Trovoada, como é que foi trabalhar o som, a música para esta peça? Mick Trovoada: Durante o espectáculo há muitas 'nuances'. Portanto, procurei trazer esse lado de São Tomé, que eu também carrego em mim, e tentei transportar também um pouco da minha experiência do lado da música de São Tomé e Príncipe para aqui. Mas também trazer uma inovação, porque nós estamos constantemente a aprender e constantemente a absorver diversas sonoridades. Então, tentei trazer para aqui também outras sonoridades. Em São Tomé não se utiliza o steel drum, não se utiliza a kalimba, a sazula, mas eu tentei transportar também esses sons para aqui e eu penso que estão a se adaptar bem. Para além destes sons, vou criando também outras atmosferas que se enquadrem com o projecto. RFI: Tudo isso é apresentado ao vivo? Mick Trovoada: Sim, sim, sim! Os sons todos que eu faço são todos ao vivo, na hora, no momento. Não há inteligência artificial nem nada nisso. RFI: Voltamos a falar com Miguel Jesus… Miguel, então, para quem tiver a hipótese de ver este espectáculo, o que é que podes esperar? Miguel Jesus: Eu gostava que quem viesse ver este espectáculo, aquilo que viesse à espera, não encontrasse, mas que encontrasse aquilo que não estava à espera e que também gostaria. Quer dizer, nós estamos a tentar fazer um espectáculo que brinque também com esta ideia de teatro popular, de teatro na rua, um pouco influenciados naturalmente por aquilo que é o Tchiloli. Nós não estamos a fazer Tchiloli, nem nos compete e não sabemos, mas influenciados um pouco por aquilo que é a herança cultural e artística que o Tchiloli representa, das pessoas irem para o meio dos pátios, para os quintais, das casas, de fazerem desses espaços lugares de festa e de celebração e, ao mesmo tempo, também de ritual e de purga social. O espectáculo tenta, a partir de alguns dos contos das Mil e Uma Noites, a partir de algumas das histórias lá presentes, recuperar um bocadinho essa lógica, também ela festiva. E, portanto, nesta dramaturgia específica, estas personagens que o espectador é levado a conhecer são uma espécie de salto em bancos, uma trupe circense, se quisermos, que partiu em caravana e parou ali para passar a noite. E tem um rei, o seu pequeno tirano doméstico, que é o Xariar, sobre o qual eles estão a tentar inverter a ordem do poder, ou, pelo menos, tentar delapidá-la ligeiramente. Mas, também porque a nossa maneira de falar sobre as situações que todos estamos a viver, a situação que se passa no mundo, os líderes que estão presentes hoje em dia, a nossa maneira também é falar desta maneira um pouco jocosa, um pouco irónica, grotesca, às vezes exagerada, desbragada. Portanto, é um espectáculo em que as pessoas são convidadas a partilhar desse encontro, a céu aberto. É um espectáculo ao ar livre, em que as pessoas podem, à entrada para o espectáculo, comprar comida, porque faz parte do espectáculo, as pessoas poderem comer durante o espectáculo também, é parte da dramaturgia, portanto, é estarem disponíveis para uma linguagem de uma natureza distinta daquilo que é mais convencional em teatro e poderem tanto aprender a rir como aprender a chorar. Aprender todos sabemos, mas poder exercitar novamente. Porquê rir? Porquê chorar? E como? RFI: Enquanto encenador, qual foi o grande desafio? Miguel Jesus: Um dos grandes desafios foi unir todas estas sensibilidades diferentes. Temos aqui atores e actrizes com muita experiência, alguns deles aqui da malta mais do Bando, que está cá todos os dias, trabalham juntos já há alguns anos e, portanto, há uma espécie de códigos e de vocabulário partilhado e que, de repente, naturalmente, a Aduzir, o Mick, não o partilham tanto. E também há alguns atores muito novos aqui no bando. É um elenco com pessoas que vêm de vários quadrantes e com várias naturezas distintas. Isso é um desafio sempre prazeroso, encontrar a forma do espectáculo também corresponder àquilo que é a energia e vitalidade de cada um, sem uma espécie de uma receita estilística, mas, ao mesmo tempo, criando algum entendimento e alguns pontos de contacto. Quer dizer, estamos a fazer um espectáculo uno artisticamente. Para além disso, há aqui um desafio grande, que é: como dizer isto hoje e porquê? E, realmente, aí surgiram-nos algumas perguntas que nos ajudaram a esclarecer. Porque é fácil também cair numa representação das 1001 Noites em que, naturalmente, vamos a um Xariar misógino, opressivo, que resolve as coisas pela força, que já manda matar. Portanto, um criminoso que, facilmente, nós tornamos plano, por descrédito, e é uma Xerazade que é uma heroína, que quer salvar o povo, que se sacrifica em prol dos outros, que consegue seduzi-lo pela inteligência e que, portanto, que, também facilmente, também fica plana pela sua superioridade moral, até se quisermos. Portanto, um dos grandes desafios foi nós dizermos não, quer dizer, Xariare somos nós todos e Xerazades, quando correm bem, também. Portanto, o próprio espectáculo, se nos correr bem, tenta colocar o espectador face à decisão de, e tu, se tiveres possibilidade de fazer um bocadinho mal, fazes esse mal ou não fazes? Se tiveres a oportunidade de te vingar de alguma coisa, vingas-te? E, se te vingas, porquê? E, se não te vingas, porquê? Ou porquê não? Porque os Xariares somos nós, assim como Xerazade também somos nós. Há um pequeno tiraninho que vive junto do coração de todos.

Artėja šventinė 200-oji „Du Bitai“ laida – kviesime joje sudalyvauti. Jonas išrašinėja sąskaitas balsu. Humanoidas Lenkijoje vaikosi šernus. Į Samo Altmano namus skriejo Molotovo kokteilis. Šiaurės korėjiečiai apsimeta programuotojais ir bando įsidarbinti Lietuvoje. „YouTube“ leis kūrėjams generuoti „Shorts“ vaizdo įrašus su savo AI avatarais. „HeyGen Avatar V“ leidžia itin kokybiškai tai padaryti jau dabar. „Perplexity“ skatina prijungti savo bankų ir finansines paskyras prie jų pokalbių roboto. „Google“ paskelbė „back button hijacking“ kenkėjiška praktika. „Amazon“ mėgins stipriau konkuruoti su „Starlink“ – už daugiau nei 11 mlrd. dolerių perka kitą palydovinį ryšį kuriančią kompaniją.

Parafraseando a descrição da própria banda:“Desde 1995, o Bando do Velho Jack trilha um caminho sonoro que une tradição e rebeldia, misturando o peso das guitarras ao som dos trilhos do trem pantaneiro. “Hoje conversamos com o guitarrista Rodrigo Tozzette, que comentou sobre suas vivencias musicais e experiências fazendo rock no Brasil!

Il movimento internazionale Memorial, che ricorda i crimini dell'epoca sovietica ed è stato covincitore del Premio Nobel nel 2022, è stato dichiarato come organizzazione "estremistà dalla Corte Suprema russa, che ne ha vietato le attività nel Paese. Lo riferiscono i media di Stato.Ascolta "Notizie dall'Ucraina" ogni giorno su podcast.adnkronos.com e su tutte le piattaforme di streaming.

Eduardo Gudim & Noticias dum Brasil con las voces de Ilana Volcov y Selma Boragian en un disco de hace veinte años, 'Um jeito de fazer samba', con la canción que le dio título, 'O amor e eu' y 'Sensação', De 'Setembro', el primer disco que firmó con su nombre Selma Boragian en 2013, 'Fuga nº2' de Os Mutantes, 'Lágrimas negras' de Mautner y Jacobina, 'Me deixa em paz' de Monsueto y Amorim, y 'Vias de fato' de su propia autoría, Del conjunto vocal Arirê, que Selma fundó con Gabriela Rossi, Mônica Olivetti y Virgínia Rietman, 'Atenção vocal, su disco homenaje a los grandes conjuntos vocales de la historia de la música brasileña como Bando da Lua, Os Cariocas o Quarteto em Cy: 'Linha de passe', 'Inútil paisagem', 'Mangueira', 'Valsa de uma cidade', 'Samba do crioulo doido' y 'Lamento sertanejo'. Y de grabaciones de estos últimos años de Selma Boragian, 'Beija-flor'de Garoto -con Edgar Poças-, 'Crystal silence' de Chick Corea -con Stefano Andreatta- y 'Three views of a secret' de Jaco Pastorius -con Mark Egan al bajo eléctrico-. Escuchar audio

De la mano de Lucía Hernández, recorremos las calles de Murcia recogiendo escenas y personajes del Bando de la Huerta. Hablamos con el Presidente del Gobierno, Fernando López Miras; con el Rey Moro de 20206, Sebastián Ramallo y con público y participantes, algunos tan próximos a Tarde Abierta como nuestro colaborador Paco Ruiz Salmerón

La concejala de Espacios Públicos y Talentos Jóvenes, Sofía López Briones, ha presentado los detalles de esta edición de 'La Repanocha', que ofrecerá música ininterrumpida desde las 11:00 hasta las 21:00 horas. El evento, que el año pasado superó los 35.000 asistentes, contará con un aforo máximo de 16.000 personas simultáneas, food trucks, zonas de sombra y 200 aseos. Para garantizar la protección de los jóvenes, se ha dispuesto un amplio operativo que incluye 30 guardias de seguridad y un hospital de campaña con 36 sanitarios y cuatro ambulancias. Asimismo, la organización enfatiza la responsabilidad y la sostenibilidad, prohibiendo el acceso con vidrio y fomentando el uso de envases reutilizables y la separación de residuos en el recinto.

Sermão O JUIZ NO BANDO DOS RÉUS. Texto base: Romanos 2.1-16. Pregação do Rev. Jakstone Braga, no culto noturno da Primeira Igreja Presbiteriana de Governador Valadares.

Hay unas fiestas en España que están declaradas de Interés Turístico Internacional que Carlos Herrera no se piensa perder; revelándolo en 'Herrera en COPE'....¡el Bando de la Huerta! De este modo, El atractivo de las fiestas murcianas ha trascendido hasta las ondas radiofónicas; confesando ser un asiduo, asegurando que es una de las citas que no suele perderse en el calendario. Como hace poquito, que también disfrutó de las Fallas y nuestros compañeros de COPE Valencia fueron testigos. De hecho, mantuvieron una charla muy entretenida con el comunicador que puedes volver a escuchar en el audio que tienes disponible aquí. En el mismo, Carlos Herrera explicaba que su cariño por Valencia tiene raíces profundas, ya que es "hijo de valenciana". Este lazo familiar y su "apego histórico a la ciudad" le hacen volver cada año. "He aprendido con los años a entender parte de la secuencia, de los valores, del ritmo, de la originalidad, de cada una de las sensaciones", ha confesado sobre ...

La Federación de Peñas Huertanas ha dado a conocer los nombres de los representantes de las tradiciones murcianas para este año: Estrella Núñez, vicerrectora de la UCAM, ha sido nombrada Huertana del Año, mientras que el doctor Ricardo Robles asumirá el papel de Perráneo. La figura del "perráneo", que Robles define como una representación paródica de la autoridad o alcalde de la huerta, es un reconocimiento que el doctor recibe con especial emoción dada su infancia trabajando entre limoneros y membrilleros para costearse sus estudios. Por su parte, Núñez ha manifestado que asume el cargo con "profundo orgullo" y la responsabilidad de mostrar el significado histórico de los huertanos en la cultura regional.Estas festividades tendrán un carácter excepcional, ya que se conmemora el 175 aniversario del Bando de la Huerta. Según Juan García Serrano, presidente de la Federación, se está "forzando la máquina" para que esta edición sea la más espectacular hasta la fecha, incluyendo entre 15 y 20 carrozas adicionales respecto al año pasado y una amplia agenda de exposiciones y actividades folclóricas.En el ámbito cultural, la ciudad ha acogido estos días la Feria del Libro Antiguo y de Ocasión en la Plaza de la Merced. Sin embargo, el evento se ha visto empañado por las quejas de los libreros, quienes denuncian que el cambio de ubicación desde la Avenida Alfonso X el Sabio ha provocado una notable caída en las ventas y la afluencia de público, poniendo en duda su participación en futuras ediciones si no se regresa al emplazamiento tradicional. Pese a ello, clásicos como Siddhartha de Hermann Hesse y Cumbres Borrascosas siguen siendo los títulos más demandados por los lectores murcianos hasta la clausura de la feria este domingo 29 de marzo.

En España hay veces que se dice "dejen en paz a los muertos", como si identificar los cuerpos de nuestros seres queridos fuera un capricho y no una necesidad de la dignidad humana y un rito indispensable para cerrar un duelo. De esto da cuenta Antonio Alonso cuando dice que muchas familias cuyos familiares lucharon en el bando franquista piden a los genetistas forenses que identifiquen sus restos, enterrados en las fosas comunes de Cuelgamutos. Esta realidad debería explciarse más en nuestro país. Alonso es doctor en bioquímica y biología molecular y también uno de los grandes sabios que tiene nuestro país en genética forense. Ha sido director, entre 2019 y 2024, del Instituto Nacional de Toxicología y Ciencias forenses, y acaba de publicar, en la editorial Crítica, "La huella invisible, cómo el ADN cambió la historia de la justicia en España", en el que repasa y explica 8 casos fundamentales de nuestra historia que son también una especie de memorias profesionales. Por ejemplo, el de los bebés robados, que ha sido noticia hoy porque él y su equipo han contribuido a demostrar que, si bien se vulneraron los derechos de muchas mujeres durante todo el franquismo y hasta bien entrada la democracia, por ejemplo en instituciones como el Patronato de Protección a la Mujer, no existió en España una trama sistemática de bebés robados. Eso fue más bien un bulo amplificado por cierto tipo de periodismo. A pesar de esto, en la mayoría de los casos que Alonso cuenta en el libro, el periodismo de investigación ha sido clave para su trabajo y contribuido al esclarecimiento de la verdad, por ejemplo a la hora de establecer lo que verdaderamente sucedió en el YAK-42 o en el 11-M. En cuanto a las series (sí, de broma a Antonio Alonso a veces lo han llamado Grissom), el retrato que hacen del trabajo de un genetista forense no es en absoluto realista, pero es cierto que estas ficciones han despertado muchísimas vocaciones en genética, ciencias forenses y criminalística.  

27letá Michaela Melzerová vyniká v gymnastice. Ze Speciální olympiády v Berlíně si v roce 2023 přivezla hned pět medailí. Chodí také na atletiku, plave a lyžuje. Aktuálně je žákyní učňovského oboru cukrářské práce. Život Michaely přibližuje jedna ze sedmi reportáží Radiožurnálu. Série Srdeční lidé vznikla při příležitosti březnového Světového dne Downova syndromu.

27letá Michaela Melzerová vyniká v gymnastice. Ze Speciální olympiády v Berlíně si v roce 2023 přivezla hned pět medailí. Chodí také na atletiku, plave a lyžuje. Aktuálně je žákyní učňovského oboru cukrářské práce. Život Michaely přibližuje jedna ze sedmi reportáží Radiožurnálu. Série Srdeční lidé vznikla při příležitosti březnového Světového dne Downova syndromu.Všechny díly podcastu Seriál Radiožurnálu můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

No episódio #328 do Animes Overdrive, ⁠⁠Pedro Lobato⁠⁠, ⁠⁠Luis Hunzecher⁠⁠, ⁠⁠Ped⁠⁠ e ⁠⁠Sue Umezu⁠⁠ se reúnem para conversar sobre a 2ª temporada do live action de One Piece da Netflix.Neste episódio, exploramos a entrada do Bando do Chapéu de Palha na Grand Line, a chegada da Baroque Works e, claro, a tão aguardada introdução de um dos personagens mais queridos da franquia: Chopper. Será que a adaptação está à altura da obra original?

La sección "Merece un like" ha puesto el foco en la noticia del día: la supuesta identificación del artista Banksy como Robert Gunningham, un hombre de 51 años de Bristol, tras una investigación de periodistas de Reuters. Mientras algunos usuarios en redes comentan con sorpresa su apariencia de "señor normal", otros se sumergen en la nostalgia con el #90sTrend, un reto donde famosos de la talla de Claudia Schiffer, Natalie Imbruglia y Kevin Bacon comparten imágenes de su aspecto durante esa década. Por último, en un plano más cercano, destaca el videotutorial de Mati Carraloy, quien enseña a las seguidoras cómo colocarse correctamente el mantón del traje de huertana sin utilizar alfileres, una técnica muy útil para las próximas celebraciones del Bando de la Huerta.

El evento de presentación, celebrado este viernes en la Sala de Catas de Estrella de Levante, ha servido para desvelar el cartel oficial diseñado por Antonio José Buendía, quien defiende su visión de las fiestas asegurando que «Murcia es la huerta y la huerta es Murcia». Como novedad destacada de este año, se presenta por primera vez un cartel dedicado específicamente al Bando Infantil y a la ofrenda de flores a la Virgen de la Fuensanta, buscando así realizar un «canto» a las tradiciones y costumbres que definen la identidad murciana durante sus días grandes.

García Serrano nos detalla los preparativos para las Fiestas de Primavera de Murcia, destacando la recepción oficial de las candidatas a Reinas de la Huerta y su posterior ofrenda floral en la catedral. Subraya la relevancia histórica de esta edición, ya que se conmemora el 175 aniversario del Bando de la Huerta, un desfile emblemático que nació a mediados del siglo XIX. Entre las novedades anunciadas, figura la creación de carteles promocionales inéditos y la confección de un manto bordado para la Virgen de la Fuensanta, el cual será exhibido parcialmente durante los festejos. Finalmente, se confirma la instalación de treinta y nueve barracas gastronómicas, consolidando estos espacios como el epicentro de la convivencia y la tradición huertana en la ciudad.

Eidamas 91-uosius metus mirė legendinis sportinių šokių šokėjas, treneris, gydytojas Česlovas Norvaiša.„Šiandien jau galime tvirtinti: mums pavyko. Nebesame sovietinės sistemos aukos, ką tik paleistos iš kalėjimo ir nesuprantančios, kaip gyventi laisvėje“, – komentare svarsto menotyrininkė Agnė Narušytė.Šiauliuose atidarytos naujos turtingų ir pasiturinčių miesto žydų gyvenimą, tradicijas ir vertybes atspindinčios ekspozicijos.Vis dažniau pastebimi atvejai, kai bilietai į populiariausius Lietuvos teatrų spektaklius išperkami per keliasdešimt minučių, o netrukus jie pasirodo antrinėje rinkoje už gerokai didesnę kainą. Kiek pačios įstaigos gali ir turėtų kontroliuoti tokią situaciją?Užsienio reikalų ministerija ir Lietuvos paštas išleido naują pašto ženklą „Grįžtu LT – ten, kur širdis“. Tai yra simbolinis kvietimas užsienyje gyvenantiems tautiečiams sugrįžti į Tėvynę.Šių metų festivalis „Kino pavasaris“ pristato vieną gausiausių lietuviško kino programų per visą festivalio istoriją. Iš viso žiūrovai išvys 16 nacionalinių premjerų. Tarp jų – ir režisierės Gabrielės Urbonaitės debiutinis vaidybinis filmas „Renovacija“. Kūrinys jau aplankė beveik 30 tarptautinių kino festivalių ir pelnė 6 apdovanojimus. Po sėkmingo starto užsienyje filmas grįžta į Lietuvą.Ved. Justė Luščinskytė

I mini alloggi, frutto di un'intesa tra Ater e Comune, erano già stati assegnati con graduatoria che ora va rinnovata. Il bando, previsto dalla legge regionale sull'edilizia residenziale pubblica, propone una soluzione abitativa ad anziani autosufficienti, o parzialmente tali.

Hace casi cinco años que supimos por primera vez de una mujer, en el sur de Francia, a la que su marido había sedado durante años para que decenas de hombres la violasen. Quizá los detalles del caso no hubiesen trascendido tanto de no ser por lo que sucedió después: Gisele Pelicot, ese era su nombre, decidió ir al juicio a cara descubierta, para que fuesen sus agresores y no ella quienes tuviesen que esconderse. Sucedió en 2024, y con ese gesto cambió para siempre el guion de lo que se espera de un proceso por violencia sexual. Ahora, junto a la periodista Judith Perrignon, acaba de publicar el libro en el que cuenta su historia. El corresponsal de EL PAÍS en París, Daniel Verdú, cuenta la intrahistoria de su encuentro con ella para EL PAÍS SEMANAL. CRÉDITOS Realiza: Belén Remacha Presenta: Ana Fuentes Diseño de sonido: Nacho Taboada Dirige: Ana Alonso Coordina: José Juan Morales Sintonía: Jorge Magaz CONTENIDO RELACIONADO Gisèle Pelicot: “Mi exmarido me habría matado si no le hubieran descubierto” 'El señor Pelicot', por Raquel Peláez

#gobierno #PNP #corrupción Serias declaraciones del abogado de Jessika Padilla, ubican a Comisionado Electoral del PNP, Anibal Vega Borges, amenazándola de investigación si no incluía a Ciary Pérez Peña, como beneficiaria de bono por trabajo en la CEE. | Archivos Epstein y el pedido de renuncia de Pam Bondi por parte de Alexandria Ocasio Cortés. | Muere el activista de los derechos civiles, Jesse Jackson. ¡Conéctate, comenta y comparte! #periodismoindependiente #periodismodigital #periodismoinvestigativo Síguenos en nuestras redes sociales: tiktok.com: https://x.com/Bonita_Radio Facebook: / bonitaradio Instagram: / bonitaradio X: https://x.com/Bonita_Radio

#gobierno #PNP #corrupción Serias declaraciones del abogado de Jessika Padilla, ubican a Comisionado Electoral del PNP, Anibal Vega Borges, amenazándola de investigación si no incluía a Ciary Pérez Peña, como beneficiaria de bono por trabajo en la CEE. | Archivos Epstein y el pedido de renuncia de Pam Bondi por parte de Alexandria Ocasio Cortés. | Muere el activista de los derechos civiles, Jesse Jackson. ¡Conéctate, comenta y comparte! #periodismoindependiente #periodismodigital #periodismoinvestigativo Síguenos en nuestras redes sociales: tiktok.com: https://x.com/Bonita_Radio Facebook: / bonitaradio Instagram: / bonitaradio X: https://x.com/Bonita_Radio

IF THERE ARE ZERO SWEETPEA FANS, THEN WE'RE DEAD! I'm joined by my cuzzin Kaya (of the “Bravo! We're Black” podcast), BUT THIS TIME… it's for some Industry chat! As you know, Kaya (and Jay) cover Industry over on BWB as well, and it was time for her to come over for a mid-season check-in. We dived into both episodes 4 and 5 and cackled the entire time. We talked Rishi's life choices, Eric's parental status, Harper being Harper, Yas being a voyeur, longs versus shorts, and so much more! DOWNLOAD AND LISTEN NOW! Listen to the “Bravo! We're Black” podcast on Apple Podcasts! Listen to the “Bravo! We're Black” podcast on Spotify! Follow “Bravo! We're Black” on Instagram! Subscribe to the “Bravo! We're Black” YouTube!   *** HEY! Some of you have asked how you can show your appreciation for all the content provided by your mama's favorite Black geek. How about you buy me a beer/coffee? CLICK HERE TO SUPPORT! ***   New episodes of “I Ken Not with Kendrick Tucker” are released weekly!   DON'T FORGET TO SUBSCRIBE, RATE, AND REVIEW! I LOVE 5 STARS! EMAIL ME AT IKENNOTPODCAST@GMAIL.COM! FOLLOW ME ON INSTAGRAM! FOLLOW ME ON THREADS! Learn more about your ad choices. Visit megaphone.fm/adchoices

See omnystudio.com/listener for privacy information.

Antonio Caño, Carmen Morodo, John Müller, Marta García Aller y Rubén Amón analizan la actualidad política.

Come sempre, apriamo la puntata con l'attualità. Dalla fine di dicembre, l'Iran è attraversato da grandi proteste in tutto il Paese. Ora il futuro dell'Iran dipende da chi riuscirà a resistere più a lungo: il governo o la popolazione. Con l'aumentare delle proteste, le opzioni a disposizione delle autorità iraniane si fanno sempre più limitate. Nella notizia successiva parleremo dell'apertura delle udienze presso il principale tribunale delle Nazioni Unite per stabilire se il Myanmar abbia commesso un genocidio contro i Rohingya. Il caso sostiene che le "operazioni di sgombero" condotte dall'esercito nel 2017 nello Stato di Rakhine abbiano violato la Convenzione sul genocidio del 1948. Il governo militare del Myanmar respinge le accuse. Questo procedimento rappresenta una fase cruciale di una lunga battaglia legale sul trattamento riservato alla popolazione Rohingya. Nella sezione scientifica discuteremo il significato di una recente estrazione di campioni di roccia dal sottosuolo della calotta glaciale della Groenlandia. L'analisi chimica indica che l'area era priva di ghiaccio circa 7.100 anni fa. E infine, parleremo della valanga di meme sui social media scatenata dalla tuta indossata da Nicolás Maduro.    La seconda parte della puntata è dedicata alla lingua e alla cultura italiana. L'argomento grammaticale di oggi è Adverbs of Place. Ne troverete diversi esempi nel dialogo dedicato alle Olimpiadi invernali, che si terranno il mese prossimo tra Milano, Cortina d'Ampezzo e altri luoghi di montagna del Nord Italia. Un evento molto atteso, capace di attirare l'attenzione internazionale, ma che in alcuni casi — come a Bormio — è vissuto con più dubbi che entusiasmo. Nel finale ci soffermeremo sull'espressione idiomatica di oggi: Bando alle ciance. La troverete all'interno del dialogo dedicato a un'opera d'arte allestita in piazza Maggiore, a Bologna, durante il periodo delle feste. Un'installazione lontana dall'immaginario tradizionale del Natale e che, proprio per questo, ha suscitato discussioni e opinioni contrastanti. - La più grande ondata di proteste in Iran minaccia il regime al potere - Il tribunale delle Nazioni Unite indaga sulle accuse di genocidio del Myanmar contro i Rohingya - Gli scienziati scoprono dati molto preoccupanti sullo scioglimento dei ghiacci in Groenlandia - La tuta di Nicolás Maduro scatena una valanga di meme sui social - Bormio e le Olimpiadi invernali, più dubbi che festa - L'installazione che fa discutere Bologna

Nel The Essential di sabato 10 gennaio, Chiara Piotto parla di: 00:00 le parole di Meloni su sicurezza, giustizia e Alberto Trentini nella conferenza stampa di inizio anno; 03:58 il proprietario del locale a Crans Montana dove è scoppiato l'incendio di Capodanno è stato arrestato; 05:43 il bando per infermieri a 6000 euro al mese a Madonna di Campiglio. Learn more about your ad choices. Visit megaphone.fm/adchoices

En este episodio especial de cierre de año, el equipo de Espacio Cripto se sienta a reflexionar sobre todo lo que dejó 2025:las mejores y peores inversiones, los errores que dolieron, los aprendizajes reales de trabajar en cripto y los logros más grandes del año, tanto personales como profesionales.Descarga el reporte Fintech 3.0: https://bando.cool/fintech3/blog0:00 - Intro1:48 - Mejores inversiones/movimientos del 202511:18 - Inversión de vida15:47 - Peores inversiones del 202520:34 - Logros profesionales del año26:33 - Logros personales del año30:24 - Metas y a qué le entramos en el 202636:54 - Reflexiones finales y el futuro de Espacio Cripto y Bando.

Send us a textReady for a fitness reset that's real, local, and doable? Kayla Kavoukas with Montgomery County's Department of Recreation dives into how Montgomery County residents can use free Rec Fit Pass access for gyms, open courts, and family-friendly spaces across 21+ recreation centers—plus rotating free offerings like indoor cycling and urban line dancing. We explore movement that matters with Bando chief instructor Lon Walls, a sixth-degree black belt who translates a centuries-old Burmese martial art into modern fitness and self-defense. Then we map a sustainable path with Soldier Fit founder and Army veteran Danny Farrar. His Core Four—workout, meal plan, accountability, and education—cuts through the noise and gives you a simple formula to win long term. Subscribe, share with a friend who needs a nudge, and tell us the one small habit you'll commit to this week.

Nos lanzamos a fondo con un análisis exclusivo del futuro financiero en México. Presentamos el reporte "Fintech 3.0: El Gran Cambio de Plataforma en México", un documento de 58 páginas que condensa más de una década de experiencia en la industria crypto y fintech.Descarga el articulo completo: https://bando.cool/fintech300:00 - Intro01:16 - ¿Qué es Fintech 3.0? El Gran Cambio de Plataforma07:26 - El Estado del Ecosistema Fintech en México11:50 - Los 5 Casos de Uso Reales de Fintech 3.016:45 - ¿Cuál será el Primer Caso de Uso en Adoptarse Masivamente?18:45 - Casos de Éxito Reales en Latinoamérica21:12 - ¿Quién Va a Ganar con este Cambio de Plataforma?24:30 - Posibles Obstáculos: ¿Por Qué Podría No Funcionar?26:35 - Predicciones Audaces para el Futuro29:56 - Cómo Bando y Espacio Cripto Pueden Ayudar en esta Transición31:10 - Conclusión y Cómo Acceder al Reporte

Esta semana con la inminente llegada de la expansión de Civil War nos afiliamos al bando de los héroes y heroínas que más nos gustan y hablamos del recopilatorio que hemos preparado para la salida de la caja y más cosas que tenemos preparadas para este final de año antes de ponernos de gala. (00:37:00) Noticias (00:59:55) Civil War (02:03:00) Comentarios de nuestros patronos ¡Esperamos que os guste!

En este episodio platicamos con Facu sobre la evolución de las stablecoins desde sus primeras generaciones hasta los nuevos modelos que democratizan el yield para usuarios e instituciones.Inscríbete a Inversionista del Futuro: https://www.espaciocripto.io/inversionista?utm_source=social&utm_medium=yt&utm_content=bioComunidad de Espacio Cripto: https://t.me/espaciocripto0:00 - Intro1:35 - ¿Cómo entró Facu al ecosistema cripto?3:24 - La diferencia crucial en el uso de stablecoins4:43 - La evolución de las stablecoins5:55 - ¿Qué es Agora?7:29 - Profundizando en los productos: AUSD, ZAUSD (para yield) y earnAUSD (el "yield coin").10:54 - La importancia de la transparencia15:51 - Comparación con otros proyectos (ej. Ethena) y el enfoque institutional grade de Agora.19:50 - Cómo Agora potencia a fintechs (como Bando) y proyectos.21:40 - Adopción masiva crypto sin que el usuario sepa que usa crypto.22:41 - Enfoque en Latinoamérica: Por qué Latam es clave y la calidad de sus fundadores.25:40 - Casos de uso: Más allá de la especulación hacia utilidad real27:40 - ¿Dónde ve Facu a Agora en 5 años?29:25 - Próximos eventos y planes de Facu para 202531:16 - Outro

Dois amigos inseparáveis, Butch Cassidy (Paul Newman) e Sundance Kid (Robert Redford), lideram o Bando do Buraco na Parede e vivem de assaltar trens e bancos. Quando são caçados por todo o país resolvem ir para a Bolívia e juntamente com Etta (Katharine Ross), a namorada de Sundance, rumam para a América do Sul. Mas esta decisão não lhes proporcionará grandes assaltos ou uma vida mais tranquila.PIX: canalfilmesegames@gmail.comSiga o Filmes e Games:Instagram: filmesegames Facebook: filmesegames Twitter: filmesegamesSpotify: https://open.spotify.com/show/5KfJKthPodcast: https://anchor.fm/fgcastIntro - 0:00Bâtch Ca Sidi Eddie Sue Desce Quidi - 4:23O que é "Butch Cassidy"? - 5:35Notas dos agregadores - 7:41Tirando o bode da sala - 8:53Análise do filme - 26:11Bilheteria - 47:19O Final - 51:50Notas do Filmes e Games - 56:37Momento Locadora - 1:04:19Errata - 1:40:32Revelação do FGcast #402 - 1:47:15Dicas do FGcast #403 - 1:57:58

Roberta Martinelli conversa com Aíla sobre o festival MANA, que ocorre de 24 a 28 de setembro em Belém (PA).See omnystudio.com/listener for privacy information.

Hello Youtube Members, Patreons and Pacific War week by week listeners. Yes this was intended to be an exclusive episode to join the 29 others over on my Youtube Membership and Patreon, but since we are drawing to the end of the Pacific War week by week series, I felt compelled to make some special episodes to answer some of the bigger questions.   Hey before I begin I just want to thank all of you who have joined the patreon, you guys are awesome. Please let me know what other figures, events or other things you want to hear about in the future and I will try to make it happen.   So as you can see the title of this episode is, Why did the Japanese perform so many Atrocities during the Pacific War. Phewww, its honestly a difficult one to tackle, for there are countless reasons. I had a university professor who taught; ancient and modern Japanese history, history of the Japanese empire and the Pacific War. He actually answered this very question in a single lecture and in many ways I found it to be one of the most illuminating things I ever learnt about the Pacific War. To truly understand the reasons why they did such horrible things, you actually need to learn the general history of Japan, particularly the changes from Tokugawa, to Meiji, to Showa. I am going to do my very best, but I know many of you might be asking “what were the worst things they did?”, not everyone takes a special interest into such a niche part of history. May I recommend for those with strong stomachs “the knights of Bushido” by Edward Russel that covers pretty much all the atrocities of the Asia-Pacific War. For those of you who like darker things, check out Unit 731: Japan's Secret Biological Warfare in World War II by David Wallace and Peter Williams, absolute nightmare fuel.   I can't go through the entire history of Japan, but I think it's important to start off with the first Sino-Japanese War of 1894-1895. This was the first time the Empire of Japan fought a true war with a foreign nation, that being the Qing dynasty. At this point in time, there really emerged a sort of, to be blunt, race war. The Chinese had historically referred to the Japanese as “woren”, a racist term meaning dwarf. Now historically the Japanese had always revered the Chinese, kind of like in the way a little brother looks up to his big brother. In tokugawa Japan they would learn from the Chinese, but as the Meiji restoration began this dramatically changed. Japan watched as the Chinese were humiliating and abused by the western powers and failed to modernize. Meanwhile Japan emulated the best of the west, to modernize and become a great power themselves. In many ways, Japan saw itself become big brother and now China was little brother. The Meiji restoration had an element of nationalism built into it that would explode come the Show era. Japan for its entire history had this belief they were the “Yamato Race” dating back to the 6th century. Now while the Meiji restoration sought to emulate the west, they also emulated racism and propaganda, which in the 19th century was kind of a big deal. The Japanese government gradually began a long term campaign promoting the idea the Japanese, or Yamato people were superior to that of the other asian races. Who was the next big asian boy on the block? China, so it was inevitable they would direct a lot of racist attitudes towards the Chinese. During the first sino-japanese war, the Chinese, particularly Manchu had a habit of performing atrocities upon the Japanese. They would often cut off body parts of Japanese soldiers in grotesque manners and leave them to be found by their comrades. This was honestly a pretty typical thing of war in the region, but it did also have a racist element to it, the Chinese certainly saw the Japanese as lesser people. Just before the battle of Port Arthur, the Japanese found mutilated remains of the comrades, here is a passage from Makio Okabe who was there:   As we entered the town of Port Arthur, we saw the head of a Japanese soldier displayed on a wooden stake. This filled us with rage and a desire to crush any Chinese soldier. Anyone we saw in the town, we killed. The streets were filled with corpses, so many they blocked our way. We killed people in their homes; by and large, there wasn't a single house without from three to six dead. Blood was flowing and the smell was awful. We sent out search parties. We shot some, hacked at others. The Chinese troops just dropped their arms and fled. Firing and slashing, it was unbounded joy. At this time, our artillery troops were at the rear, giving three cheers [banzai] for the emperor.   The Japanese performed a massacre at Port Arthur, butchering perhaps up to 3000 Chinese civilians, some claim 10's of thousands and in full few of western war correspondents. It became a huge controversy that destroyed the image of the IJA internationally and hurt the Japanese governments efforts at riding themselves of unequal treaties with the western powers. The Japanese learnt a hell of a lesson and an Imperial Proclamation was made in 1894 stating that Japanese soldiers should make every effort to win the war without violating international laws. According to Japanese historian Yuki Tanaka, Japanese forces during the First Sino-Japanese War released 1,790 Chinese prisoners without harm, once they signed an agreement not to take up arms against Japan if they were released.   During the next major war the Japanese performed a dramatic 180, well at least to their enemy. During the Russo-Japanese War, over 80,000 Russian POWs were held by the IJA who were treated in accordance with the Hague conventions of 1899. The Japanese paid them for labor, housed them in conventional POW camps, made sure they received good medical treatment, ironically better than the Russians were capable of. The Japanese did all of this, making sure the foreign war correspondents wrote about it. It was a massive PR stunt in many ways. The Japanese were emulating how a world power should act, because they sought to be one. Meanwhile the Japanese swallowed their pride at being called yellow monkeys, as the prevalent Yellow Peril ideology was being pushed by Kaiser Wilhehelm and Tsar Nicholas II heavily. The Japanese treated the entire war like gentlemen and suffered horrific higher casualties than necessary because of it. But something many people don't take much notice of, because the IJA made sure of it, was they horrible treatment of the Chinese during the war.   Now the Russians in Manchuria looted, killed and raped many Chinese, pushed quite a bit by the Yellow Peril. The Chinese, certainly the Honghuzi bandits were working for the Japanese to attack them, so its not like they had no reasons. The IJA was more professional and had orders not to molest the Chinese, as they were helping the war effort, but this did not prevent it. The Japanese also looted, killed and raped Chinese. The Japanese would often wave it off as reprisals against potential spies. I only bring this up as it was very apparent, the Japanese treated the Russians much different than the chinese.   Fast forward to WW1, the Japanese had a battle against the Germans and Austro-Hungarians known in the west as the Siege of Tsingtau. The Japanese took up an identical methodology to the Russo-Japanese war with their approach to the Germans, but even took it a step further. After winning the siege, the Japanese seized nearly 5000 German POW's who were treated with a surreal amount of respect. They were brought back to Japan and housed for the rest of the war in 12 cities around Tokyo and Kumamoto. The POW's enjoyed humane treatment and a rather famous event occurred at the Bando camp where a large orchestra was formed of German POW's who toured the nation performing 100 concerts, lectures and plays. Evidence the Germans were treated well can be seen in the fact 170 prisoners never left Japan and sought wives and lives there. Now is this all a feel good love story, no, just like during the Russo-Japanese War, Japan was playing up the PR, for during WW1 they wanted official recognition as a world power and that of being racially equal to the whites.    Japan was officially recognized as a world power during the treaty of Versailles, but when Japan gave its racial equality proposal, President Woodrow Wilson of the US and Australian Prime Minister Billy Hughes refused to allow it to pass, even though they received majority votes. Now The Japanese had been for a lack of better words, fucked over, during the first sino-japanese war when the triple intervention of France, Germany and Russia stole away their war earning of the Liaodong peninsula. During the Russo-Japanese war, Theodore Roosevelt limited the Japanese war gains and now here after WW1 the Japanese received another humiliation. To the Japanese, it was the last straw and it was a major reason they went to war with the west, who they viewed, and honestly rightfully so, would never see them as equals.   Ompf, lot of history there, but now we come to the Showa era, which was molded by the feelings of the past decades.   In 1937 Japan and China enter an unofficial war that saw one of the worst wartime atrocities in human history, the rape of Nanjing. It began on December 13th of 1937, lasting 6 or so weeks seeing the murder of possibly 300,000 civilians and pows, the mass rape of 20,000 and untold hardship upon the Chinese people. The Japanese followed this up with numerous other massacres in China such as the Changjiao Massacre claiming possibly 30,000 Chinese civilian lives, the Alexandra Hospital Massacre killing 200 patients and medical staff in Hong Kong, the Laha Massacre on Ambon island where 300 members of the Gull force were executed, the Bangka island massacre where 60 Australian and British soldiers and 22 Australian nurses were murdered, the Parit Sulong massacre in Malay where 150 wounded Australian and Indian POW's were executed, the Bataan Death march where negligence and brutality took the lives of 650 Americans and perhaps a possible 18,000 Filipinos, the Manila massacres claiming the lives of perhaps 54,000 filipinos including women and children in the Philippines, the Balikpapan massacre in the dutch east indies taking the lives of 78 Dutch Civilians, I can keep going and going. Where the Japanese went, massacres and horrors occurred.    Again if you really want to delve into these stories check out “the knights of Bushido”.   The Japanese also had the infamous special units like 731, who conducted horrifying experiments on civilians and POWs like vivisectioning live people without anesthesia, testing biological and chemical weapons on live people, the freezing peoples to study frostbite treatment and giving people sexually transmitted diseases to study. Lt General Shiro Ishii's unit 731 deployed plague infested fleas, cholera, bubonic plague and other nasty weapons upon Chinese civilians killing perhaps up to 500,000. This was seen during the battle of Changde and famously during operation Sei-go also known as the Zhejiang-Jiangxi campaign.    The Japanese also enacted the infamous “Sanko Sakusen / three all's policy : kill all, urn all, loot all” in retaliation to the Chinese communists Hundred regiments offensive in December of 1940. Sanctioned by Hirohito personally, it is thought this act resulted in the death of 2.7 million Chinese civilians. According to author Werner Gruhl 8 million Chinese civilian deaths could be attributable to the Japanese.     So then we come back to the big question, why? So now that I've covered the loose history for coherency sake I want to list here the largest reasons for the atrocities and by no means is this official categories or even all of them, I am simply stating kind of my top ones I guess you can say:   Treaties signed or not signed War strategy and indoctrination  Ultra-Nationalism and Racism Surrender & the Bastardization of the Bushido code The Brutality of the Japanese military Treaties signed or not signed   Yes its time to talk about treaties, yawn. Now I said previously Japan did sign the Hague Conventions of 1899 and would ratify them in 1907. The Hague conventions did contain laws for prisoners of war, protection of civilians. Alongside this, in 1894 an imperial proclamation was made stating Japanese soldiers should make every effort to win a war without violating international laws. More significantly Japan “signed” but unlike the majority of other world powers did not ratify the Geneva convention of 1929. Why? To be blunt, the geneva conventions did not really benefit the Japanese military from their point of view.   First the Japanese had a very specific perspective on surrendering, they simply did not do it, so they did not expect many of their soldiers to ever become POW's, so how would it benefit them to ratify such a thing? If they are not going to have many POW's, why would they burden themselves with upholding all the conventional laws for POW's they would obtain during war?  Another glaring reason involved aerial bombing. Many Japanese leaders, like Kanji Ishiwara, believed the home islands would be subjected to massive aerial bombing if a global war broke out. If Japan was subjected to aerial bombing and ratified the geneva convention, this meant they would have to take the pilots who were caught prisoner. The Japanese believed this would encourage further bombing. Lastly the convention had rules for POW treatment that literally contradicted how Japanese soldiers were treated by their own superiors. More about that in the last part about the military's brutality, but summarized, the Japanese army were abusive as hell and to sign such a thing would literally contradict how they did things.   Emperor Hirohito personally ratified a decision to remove certain constraints of the Hague Conventions when it came to the treatment of Chinese POW's in the directive of 5 August 1937. This notification advised staff officers to simply stop using the term "prisoners of war". They would refer to their enemy as bandits, guerillas and such, anything but soldiers so they would not have to take any prisoners, though they typically did not leave anyone alive in China regardless. The Geneva Convention exempted POWs of sergeant rank or higher from manual labor, and stipulated that prisoners performing work should be provided with extra rations and other essentials. The Japanese in the later half of the war would be starved of provisions and resources, thus its to no surprise they could not meet these demands, even if they sought to uphold them. I will note in 1942, Japan indicated they would “follow” the Geneva rules and would observe the Hague Convention of 1907 outlining the laws and customs of war. Yet this is like a verbal confirmation, it had no legal basis, something the Japanese particularly loved to do during the war.   According to Dr. William Skelton III, who produced a document entitled American Ex Prisoners of War for the U.S. Department of Veterans' Affairs, more POWs died at the hands of the Japanese in the Pacific theater and specifically in the Philippines than in any other conflict to date. For example in Germany, POWs died at a rate 1.2%. In the Pacific theater the rate was 37%. In the Philippines, POWs died at a rate of 40%.    Now these pieces of paper that were signed or not signed, what does this really matter when it comes to war, its obvious they were not upholding certain rules, but how did this quote en quote make them more brutal and perform more atrocities? Well here is the sticky thing, if you are part of the Japanese military and you know your nation did not ratify certain rules of war, this meant your enemy had no supposed legal basis to follow said rules against you either.    So I want you to think of two aspects of this. If your nation did not sign or ratify certain treaties, then you could not expect the enemy to respect such rules when it comes to you. But more importantly, what if the leader of your nation…just told you to believe that?    In early 1942, Great Britain, the United States of America and other great powers did officially let the Japanese know that they would, on their  part, observe all the provisions of the Convention and requested reciprocity. Japanese foreign minister at the time, Hideki Tojo gave a formal assurance that although Japan was not bound by the Geneva convention, the Japanese would apply it “mutatis mutandis” towards the Americans, British, Canadians, Australians and New Zealander POW's, note he most definitely did not extend this to the asiatic groups, nor the Dutch whom I guess he just forgot about. But this did morally bind Japan to comply with the convention. However the top brass of the Japanese military, notably Hideki Tojo in these cases, went out of his way to instill beliefs within the military as to what they should expect from the enemy. As you will see in the next points, this was basically a type of indoctrination.   War strategy and indoctrination    The leaders of Japan knew full well how unmatched they were in terms of resources and productivity before they began the war with the west. How could they possibly win the war? The IJN was dead set on a decisive naval battle, but for the IJA to compensate for their lack of resources, they believed their “spirit” would overcome the enemy. In many ways this spirit meant going above and beyond normal human endurance, to literally outperform the allies and notably to conduct the war with absolutely zero mercy. Once Japan lost the initiative in the war, after Guadalcanal, the IJA were forced to fight a war of attrition. Now they would prolong and exact maximum casualties upon the allies hoping to force them to the peace table. The idea was quite simple, the IJA would do everything possible to make the allies believe they would never give up and it would far too costly to defeat them. How does one go about achieving these aims? Well the IJA officers would tell you “by steeling your hearts”. To achieve all of this required extreme indoctrination.    Japanese children grew up in regimentation, they were desensitized to violence through tales of martial glory, and were taught that their purpose in life was to serve the emperor. Upon entering  military service, they were trained out of any individualistic spirit, and taught that compassion was a weakness and had no place in the field of war. The soldier's motto was faith equaled strength.  Faith being devotion to duty and service to the Divine Emperor. Apart from ideology and spiritual toughening, training in the Japanese Imperial Army was also extremely harsh and violent. This was not even particularly a special aspect of Showa Japan, it went all the way back to the Meiji era. From a young age children's education directed them, like a pipeline for military duty.   Now at the offset of the war, Hideki Tojo released the “Senjinkun” “instructions for the battlefield”. This was basically a manual for soldiers on how to conduct war. The document was used to establish standards of behavior for Japanese troops and improve discipline and morale within the Army, it also included things like a prohibition against being taken prisoner. It stated if you were captured by the enemy, because Japan did not sign or ratify certain treaties, you would be killed or tortured by the allies, and if you survived you and your family would face shame back home, and punishment resulting typically in 6 months of prison.   Here is a small excerpt from the document Those who know shame are weak. Always think of [preserving] the honor of your community and be a credit to yourself and your family. Redouble your efforts and respond to their expectations. Never live to experience shame as a prisoner. By dying you will avoid leaving a stain on your honor.   The purpose was basically psychological warfare, against their own army. Those like Hideki Tojo believed Japan could only defeat the resource rich Americans with spirit. Thus the manuals like Senjinkun demanded the forces not ever surrender, because the allies would do horrible things, it was shameful to do so and there were disciplinary actions for any who did. In 1942 the Army amended its criminal code to specify that officers who surrendered soldiers under their command faced at least six months imprisonment, regardless of the circumstances in which the surrender took place. This change attracted little attention, however, as the Senjinkun imposed more severe consequences and had greater moral force.   In a report dated June 1945, the U.S. Office of War Information noted that 84 percent of one group of interrogated Japanese prisoners, many of whom had been injured or unconscious when captured stated that they had expected to be killed or tortured by the Allies if taken prisoner. The OWI analysts described this as being typical, and concluded that fear of the consequences of surrender, “rather than Bushido,” was the motivation for many Japanese battle deaths in hopeless circumstances–as much as, and probably more than, the other two major considerations: fear of disgrace at home, and “the positive desire to die for one's nation, ancestors, and god-emperor.”   Something barely talked about in the west, was during the Pacific War, the Americans had a habit of taking human trophies. Human trophies were Japanese skulls, gold teeth, finger bones and such. The famous novel “With the Old Breed” by Eugene Sledge spoke of his personal accounts of these actions, its a rather gruesome and dark part of the war. Now some of these actions were publicized, despite the US military's efforts to quell and hush it down. Time magazine famously had an iconic photo of a woman whose enlisted boyfriend sent her home a Japanese skull. FDR also famously was given a letter opener carved out of Japanese bones. These stories were seized up greedily by the Japanese government who used them as propaganda to prove to their soldiers what would happen if they were captured. It had a profound effect as you can imagine. And this was not limited to Japanese soldiers. The propaganda machine would contribute at the end of the war to mass civilian suicides on Okinawa and Saipan.   Back to the POW subject. When it came to the treatment of POW's, Hideki Tojo began submitting in May of 1942 a series of memorandum, basic orders as to how POW's should be treated. “Prisoners of war can be used for the enlargement of our production and as military labor, white prisoners of war will be confined successively in Korea, Formosa and Manchuria. Superior technicians and high ranking officers -- Colonels and above -- will be included among the prisoners of war confined in Formosa. Those who are not suitable for use in enlargement of our production will be confined in prisoner of war camps which will be built immediately on the spot.Although the working of prisoner of war officers and warrant officers is forbidden by the Regulations of 1903, the policy of the control authorities is that under the situation of our country where not one person now eats without working they want them to set to work. It is desired that you give proper orders on this.The present situation of affairs in this country does not permit anyone to lie idle doing nothing but eating freely. With that in view, in dealing with prisoners of war, I hope you will see that they may be usefully employed. In Japan, we have our own ideology concerning prisoners of war, which should naturally make their treatment more or less different from that in Europe and America. In dealing with them, you should, of course, observe the various Regulations concerned, aim at an adequate application of them . . . At the same time, you must not allow them to lie idle doing nothing but eating freely for even a single day. Their labor and technical skill should be fully utilized for the replenishment of production, and contribution rendered toward the prosecution of the Greater East Asiatic War for which no effort ought to be spared."   Thus in the end as a grunt in the IJA you were led to believe: if I am captured I will be tortured, killed maybe turned into a letter opener, or someone will place my skull on their mantle. If I surrender and survive and make it back home, I will be severely punished and worst of all me and my family will be shamed. I could not expect any humanity from the enemy, because my nation did not sign or ratify treaties like the Geneva convention. More so, because my armies conduct was so unbelievably barbaric, I could only expect the very same from my enemy. It was a vicious cycle. You perform atrocities, expecting the enemy to do the same, and thus it just keeps perpetuating itself. Ultra-Nationalism and Racism   Now we spoke a little bit about the concept of the Yamato race, the Japanese were indoctrinated to believe they were a superior race and that their emperor was something akin to a living god. Until this war, the Japanese empire was on a hell of a winning streak going all the way back to the Meiji Era. For the first half of the Pacific war, the Japanese won nearly every battle. This led to something historians called “victory disease” that made them become somewhat arrogant and cocky, but it also made them feel “superhuman”. The allies' news reporting at the beginning of the war began to frantically refer to the Japanese as “supermen”or  “super jungle fighters”. Particularly because of the Malay campaign, the Japanese soldier just seemed to be tougher, could survive harsher jungle climates, even doing so with less food or war materials. The Japanese read the allied news reports and came to the conclusion that had been driven down their throats by their government, indeed the Japanese spirit was winning the war. The Japanese public ate this up in their propaganda and it perpetuated their ultra-nationalistic beliefs. The Japanese truly came to believe they were destined to rule the asia-pacific. Look at the results in China for example. Within a short amount of time they conquered much of China, though the public really had no idea how bad the China was bottled down by 1940. Then came the greater east asia co-prosperity sphere propaganda, which is an excellent example of their megalomania.    Yet alongside their ultra-nationalism, seen more strongly perpetuated against other Asian groups, the Japanese also indoctrinated their public with racism against them. The Yellow Peril of the 19th century and anti-japanese or anti-asian racism fueled the Japanese soldiers. The Japanese as a people had faced brutal racist hardships historically at the hands of the west, particularly from their point of view from America. There was the slights against them during the first sino-japanese war, the infamous triple intervention of france, germany and Russia stealing away their prize that was the liaodong peninsula. Then during the Boxer rebellion they faced racism, not being allowed to lead mutli national army formations, despite them being the lionshare of said military force. The Russo-Japanese war saw from their point of view, America stealing their war prizes. Last but not least, after WW1 they were told to their faces that they were a world power, but not racially equal. The Japanese faced anti-Japanese and anti-asian immigration laws when it came to America in the form of the gentleman's agreement and Australia's “great white Australia policy”. During the war, the American propaganda machine began pumping out racist caricatures of Japanese as rats, goggle eyed  bucktooth people, literal yellow monkey's.   For the IJA the pacific war in many was a holy war directed at the arrogant whites who had abused them for so long. This will probably sound controversial, but indeed, the pacific war was very much a race war. If you are not convinced of that, I recommend reading “War without Mercy: Race and Power in the Pacific War” by John Dower. The human trophy taking, anti-japanese bucktooth, rat people cartoon propaganda, history of racial abuse like the japanese concentration camps, the gentleman's agreement, the stealing of victories during the first sino-japanese war, russo-japanese war and ww1 all plagued the mind of a Japanese soldier. To them in many ways, the “whites had it coming”. Which is rather ironic given how the Japanese would treat the other asian racial groups they came into contact with. But such is the contradictory nature of the Imperial Japanese military.    The Japanese also held racist beliefs about the westerners. The Japanese soldiers were taught the allies were akin to demons or beasts. They were described often as “the hairy ones” or “anglo-American demons”. Taught these men would rape women and girls, stample upon the civilians they captured with the treads of their tanks. The marines were especially dreaded.  According to a story circulated widely among the Japanese on Saipan, all Marine Corps recruits were compelled to murder their own parents before being inducted into service. It was said that Japanese soldiers taken prisoner would suffer hideous tortures—their ears, noses, and limbs would be cut off; they would be blinded and castrated; they could also be cooked and fed to dogs. As silly as this may sound, do remember the Americans were taking human trophies so the Japanese propaganda machine had its evidence. Tons of photos of skulls atop american tanks for example were displayed to the Japanese public. Another famous one was the cartoon appearing in an American servicemen's magazine, which was later reproduced and translated in the Japanese press. It suggested the existence of “Japanese hunting licenses, promising open season on the enemy, complete with free ammunition and equipment—with pay!    In terms of how the Japanese exacted their own racism towards their fellow asians. During the War the Japanese dragged into forced labor, Koreans, Chinese and southeast asians. 670,000 Koreans were brought to Japan to work mines and heavy industry, around 60,000 of them died to harsh conditions. Between April 1943 to May 1945, 41,862 Chinese were sent to Japan to work, 2800 died before even reaching the home islands. 6872 died in the work sites again from brutal conditions. When it comes to southeast asian numbers are hard to pinpoint but its safe to say at least 300,000 Javanese, Malay, Burmese, Tamil and other groups were mobilized to construct the Burma-Siam railroad between October 1942 to november 1943 and 60,000 perished. This all went for the men, for the women, all those racial groups would face the horrors of becoming comfort women, historians estimate there could have been 50-200,000 pressed into it. But for the Japanese, believing their were superior to these other asiatic groups, groups whom they would publicly say were like children, they as the father figure would guide, well they simply abused them.   So in a contradictive fashion, the Japanese believed they were superior and could do horrible things to their Asian neighbors while simultaneously decrying the racism cast towards them by western powers as justification for their brutal actions against them. These types of feelings and perspectives molded the mind of the average Japanese soldier, dehumanizing others has always been a standard military practice afterall.    Surrender & the Bastardization of the Bushido code   I think this is one the vast majority of WW2 history buffs know, the Japanese perspective on surrender and the bushido code. In the book “military trials of war criminals in the Netherlands east indies 1946-1949” Fred Borch had this to say about the variable of bushido for the brutality   As Japan continued its modernization in the early 20th century, her armed forces became convinced that success in battle would be assured if Japanese soldiers, sailors, and airmen had the "spirit" of Bushido. ... The result was that the Bushido code of behavior "was inculcated into the Japanese soldier as part of his basic training." Each soldier was indoctrinated to accept that it was the greatest honor to die for the Emperor and it was cowardly to surrender to the enemy. ... Bushido therefore explains why the Japanese soldiers who were stationed in the NEI so mistreated POWs in their custody. Those who had surrendered to the Japanese—regardless of how courageously or honorably they had fought—merited nothing but contempt; they had forfeited all honor and literally deserved nothing. Consequently, when the Japanese murdered POWs by shooting, beheading, and drowning, these acts were excused since they involved the killing of men who had forfeited all rights to be treated with dignity or respect. While civilian internees were certainly in a different category from POWs, it is reasonable to think that there was a "spill-over" effect from the tenets of Bushido.   It is very true, the Japanese soldiers and sailors were taught Japan was a sacred nation. Traditional samurai values of bushido were merged with modern training and weaponry. The government propagandized the figure of the Emperor as a living god who embodied the Japanese state, the Kokutai. Emperor Hirohito and his family were the spiritual essence of Japan. To even show your back to the enemy let alone surrender was deemed cowardly and brought dishonor upon your family. As written by Inouye Jukichi in 1910, something read by many Japanese “The Japanese warriors looked upon it as shame to themselves not to die when their Lord was hard pressed . . . their own shame was the shame upon their parents, their family, their house and their whole clan, and with this idea deeply impressed upon their minds, the Samurai, no matter of what rank, held their lives light as feathers when compared with the weight they attached to the maintenance of a spotless name”.    Young men of Japan were taught that "The greatest honor is to die for the Emperor" Additionally precept the Japanese were taught that it is an ignominy to surrender to the enemy. The combined effect of these two precepts was to inculcate in the Japanese soldier a spirit of contempt for Allied soldiers who surrendered, which, in defiance of the rules of war, was demonstrated in their ill-treatment of prisoners. They made no distinction between the soldier who fought honorably and courageously up to an inevitable surrender, and the soldier who surrendered without a fight. All enemy soldiers who surrendered under any circumstance were to be regarded as being disgraced and entitled to live only by the tolerance of their captors.   Surrender was unforgivable under their code, drilled into them through the Imperial Japanese education system and military. When the Japanese would come across vast swathes of the enemy surrendering, particularly if the enemy used up all their ammunition killing their comrades and then surrendered, well it added fuel to their brutality. One only needs to look at the deaths due to Banzai charges, take for example the incredibly massive one at the battle of Saipan seeing around 4000 dead Japanese. IJA officers brought ancestral katana's to the war, the Japanese cut off the heads of the enemies as it was seen to be honorable. When faced with death, many chose to commit seppuku, the bushido propaganda was intense.    A brutal practice emerged in the Pacific island hopping campaign, whereupon wounded Japanese would pretend to be dead or surrender only to explode grenades upon allied forces coming closer. This began to be noticed by US marines during the battle of Guadalcanal and Australians in New Guinea. This began a vicious cycle . There were of course Japanese who would surrender. Hell the Koreans forced into service often did try to surrender, but they would all be hampered by something. Because of the actions of those Japanese feinted death and taking down allied soldiers with them, the allied soldiers gradually began a practice of not bothering to accept surrender. It became a self fulfilling prophecy. Many Japanese made the allies believe all they could expect was a grenade death, thus the allies became more brutal to them. This simply led the Japanese to conclude their government was accurate about how the allies would treat them, so more and more did not surrender. An absolutely horrible cycle that went on to the very end of the war, though the allies did figure out means to get Japanese to surrender more in the last year.    The Brutality of the Japanese military   I think this is probably one of the most important factors, and its also one the “normies” would not know as much about. The Imperial Japanese military, more so the Army, had what I can only describe as a built in system of abuse. As described to me by the same university professor I keep bringing up in podcasts, picture a literal pecking order. Going from the highest ranked general to the very bottom grunt. Imagine each one who is higher than the other, routinely physically abuses them. For example, it was very typical for a colonel to slap a major across the face, the major would then strike one of his captains, and the abuse would continue through the ranks to the grunts who would have no one to abuse, thus they turned to POW's or civilian populations. This was not just an accepted part of the Japanese Imperial Army it was indoctrinated.    From day one of basic training, IJA officers taught their men, races like the Chinese were their blood enemies and racially inferior. These were people the Japanese would rule over one day. The trainers would toss the boys into rigorous training activities involving physical violence towards another alongside the notion any orders given by a higher ranking officer was infallible and to be treated as if the divine emperor himself, the living god was giving it.    The Japanese army even taught methods of torture that would be employed in all areas they occupied. Among these tortures were the water treatment, burning, electric shocks, the knee spread, suspension, kneeling on sharp instruments and flogging. The Kempetai, were the ones doing the lionshare of these tortures. Other Army and Navy units, however, used the same methods as the Kempetai. Camp guards performed similar methods, local police forces organized by the Kempetai in the occupied territories also applied the same methods of torture. The Kempetai were administered by the War Ministry, trained at specialized schools who were maintained and operated by the War Ministry in Japan. Thus the conduct of Kempetai and the camp guards directly reflected the policy of the War Ministry.    The Japanese army leadership made sure recruits were physically and mentally abused, they were given strenuously duty tasks and pushed to their absolute limit. During the war given where they were deployed, take guadalcanal for example, the Japanese soldiers would be facing starvation as well. Being half starved, beaten and suffering the effects of war would drive anyone to perform horrifying acts. The life of a Japanese solider was simply at the whims of an extremely toxic management culture. The lowest ranking echelons received the lionshare of abuse and they took out their frustration with whomever they could find deemed lower than them, ie: POW's, civilians, etc.   All of these variables combined contributed to the creation of a military willing to perform just about any atrocity they thought necessary to win the war. It was a war they could not hope to win, but many of them went to their deaths trying to defeat the hands of fate. There are countless other reasons of course for the atrocities committed in cold or hot blood. Countless books have been written on this subject, please do check out the few I mentioned. With that again, a big thanks to you patreons, you guys are awesome. Please let me know what you think in the comments, and what you want to hear more about in the future. This has been the pacific war channel over and out.

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