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Last time we spoke about the Soviet-Japanese Border Conflict. The border between Soviet Manchuria and Japanese-occupied territories emerges not as a single line but as a mosaic of contested spaces, marks, and memories. A sequence of incidents, skirmishes along the Chaun and Tumen rivers, reconnaissance sorties, and the complex diplomacy of Moscow, Tokyo, and peripheral actors to trace how risk escalated from routine patrols to calibrated leverage. On the ground, terrain functioned as both obstacle and argument: ridges like Changkufeng Hill shaping sightlines, river valleys shaping decisions, and markers weathered by snow, wind, and drift. In command tents, officers translated terrain into doctrine: contingency plans, supply routes, and the precarious calculus of restraint versus escalation. Both nations sought to establish firmer defensive barriers against the other. Inevitably they were destined to clash, but how large that clash would become, nobody knew.   #176 The Changkufeng Incident Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. In the last episode we broke down a general history of the Soviet-Japanese Border Conflict and how it escalated significantly by 1938. Colonel Inada Masazum serving as chief of the 2nd Operations Section within the Operations Bureau in March of 1938 would play a significant role in this story. When the Japanese command's attention was drawn to the area of Changkufeng, consideration was given to the ownership and importance of the disputed high ground. Inada and his operations section turned to an appraisal of the geography. The officers had been impressed by the strategic importance of the Tumen, which served to cut off the hill country from North Korea. In the Changkufeng area, the river was a muddy 600 to 800 meters wide and three to five meters deep. Japanese engineers had described rowing across the stream as "rather difficult."  Russian roads on the left bank were very good, according to Japanese intelligence. Heavy vehicles moved easily; the Maanshan section comprised the Russians' main line of communications in the rear. To haul up troops and materiel, the Russians were obliged to use trucks and ships, for there were no railways apart from a four-kilometer line between the harbor and town of Novokievsk. Near Changkufeng, hardly any roadways were suitable for vehicular traffic. On the right, or Korean, bank of the Tumen, there were only three roads suitable for vehicular traffic, but even these routes became impassable after a day or two of rain. In the sector between Hill 52 to the south and Shachaofeng to the north, the most pronounced eminences were Chiangchunfeng and the humps of Changkufeng. Rocky peaks were characteristically shaped like inverted T's, which meant many dead angles against the crests. The gentle slopes would allow tanks to move but would restrict their speed, as would the ponds and marshes. In general, the terrain was treeless and afforded little cover against aircraft. Against ground observation or fire, corn fields and tall miscanthus grass could provide some shielding. Between Chiangchunfeng and the Tumen, which would have to serve as the main route of Japanese supply, the terrain was particularly sandy and hilly. This rendered foot movement difficult but would reduce the effectiveness of enemy bombs and shells. The high ground east of Khasan afforded bases for fire support directed against the Changkufeng region. Plains characterized the rest of the area on the Soviet side, but occasional streams and swamps could interfere with movement of tanks and trucks. The only towns or villages were Novokievsk, Posyet, Yangomudy, and Khansi. At Kozando there were a dozen houses; at Paksikori, a few. The right bank was farmed mainly by Koreans, whose scattered cottages might have some value for billeting but offered none for cover. On the left bank, the largest hamlets were Fangchuanting, with a population of 480 dwelling in 73 huts, and Yangkuanping, where there were 39 cottages. Shachaofeng was uninhabited. Japanese occupation of Changkufeng would enable observation of the plain stretching east from Posyet Bay, although intelligence made no mention of Soviet naval bases, submarine pens, or airstrips in the immediate area of Posyet, either in existence or being built in 1938. As Inada knew, the Japanese Navy judged that Posyet Bay might have another use, as a site for Japanese landing operations in the event of war. In Russian hands, the high ground would endanger the Korean railway. This line, which started from Najin in northeastern Korea, linked up with the vital system in Manchuria at the town of Tumen and provided a short cut, if not a lifeline, between Japan and the Kwantung Army and Manchuria from across the Sea of Japan. Even from relatively low Changkufeng, six or seven miles of track were exposed to Soviet observation between Hongui and Shikai stations. The port of Najin, with its fortress zone, lay 11 miles southwest; Unggi lay even nearer. It was not the danger of Japanese shelling of Vladivostok, at an incredible range of 80 miles that was at stake but the more realistic hypothesis of Russian shelling of the rail line, and Russian screening of the Soviet side of the border. Hills and questions were thought to have two sides. It was the consensus of Japanese that Changkufeng Hill's potential value to the Russians far outweighed its possible benefits to them, or at least that the Japanese had more to lose if the Russians took the high ground by the Tumen. Inada nurtured few illusions concerning the intrinsic value of the heights. Despite the fact that the high command always had good reasons for quiescence in the north, Inada believed that the latest border difficulty could not be overlooked. By mid-July 1938 Inada's thoughts crystallized. The Japanese would conduct a limited reconnaissance in force known as iryoku teisatsu in the strategic sense. Whereas, at the tactical schoolbook level, this might mean the dispatch of small forces into enemy territory to seek local combat intelligence, at the Imperial General Headquarters level the concept was far more sweeping. There would also be useful evidence of mobilization and other buildup procedures. The affair at Changkufeng was merely a welcome coincidence, something started by the Russians but liable to Japanese exploration. Inada had no intention of seizing territory, of becoming involved in a war of attrition at a remote and minor spot, or of provoking hostilities against the USSR. The Russians would comprehend the nature of the problem, too. If they were interested in interfering seriously with the Japanese, there were numberless better locations to cause trouble along the Manchurian front; those were the places to watch. The cramped Changkufeng sector, described as "narrow like a cat's brow," could too readily be pinched off from Hunchun to render it of strategic value to either side. The bog land to the north interfered with the use of armored forces, while artillery sited on the heights along the Tumen in Korea could as easily control the area as batteries emplaced east of the lake. It was Inada's professional opinion that the Russians could commit three or four infantry divisions there at most, with no mechanized corps—no heavy tanks, in particular. No decisive battle could be waged, although, once the Russians became involved, they might have to cling to the hill out of a sense of honor. The military action would be meaningless even if the Japanese let the Russians have the heights. For their part, the Japanese would ostensibly be fighting to secure the boundary and to hold Changkufeng peak, beyond which they would not move a step onto Soviet soil. There would be no pursuit operations. Troop commitment would be limited to about one division without tank support. Japanese Air Force intervention would be forbidden. Matters would be directed entirely by Imperial General Headquarters working through the Korea Army chain of command and carried out by the local forces. Calm, clear, and dispassionate overall estimates and instructions would be based on materials available only in Tokyo. The command would not allow the Kwantung Army to touch the affair. Inada foresaw that the Japanese government might also seek a settlement through diplomacy. Although border demarcation was desirable and should be sought, the command would not insist on it, nor would it demand permanent occupation of Changkufeng summit. As soon as reconnaissance objectives had been achieved, the local forces would be withdrawn. As Inada described it "In the process, we would have taught the Russians some respect and given them a lesson concerning their repeated, high-handed provocations and intrusions. If a show of force sufficed to facilitate the negotiations and cause the Russians to back down, so much the better; the affair would be over and my point proved." The instrument for carrying out Inada's strategic design appeared to be ideal, the 19th Division, strenuously trained and high-spirited. It could be expected to perform very well if unleashed within defined limits. Colonel Suetaka was just the commander to direct local operations. Since he had been pleading to fight in China, an operation at Changkufeng might prove to be an excellent "safety valve." His staff was full of experienced, fierce warriors eager for battle. Until recently, the Korea Army commanding general had wisely kept the aggressive division away from Changkufeng Hill, but now Imperial general headquarters had its own overriding ideas and needs. How could the Japanese ensure that any military action would remain limited if the Russians chose to respond with vigor? Naturally, one infantry division, without armor or air support, could not withstand all of the Soviet forces in the maritime province. Inada answered that the mission to be assigned the 19th Division was merely the recapture of Changkufeng crest. If the Japanese side had to break off the operation, evacuation would be effected voluntarily and resolutely on Imperial general headquarters responsibility, without considerations of "face." At worst, the Japanese might lose one division, but the affair would be terminated at the Tumen River without fail. "Even so, we ought to be able to prove our theory as well as demonstrate our true strength to the Russians." In case the Soviets opted for more than limited war, the Japanese were still not so overextended in China that they could not alter their strategic disposition of troops. Although the Kwantung Army's six divisions were outnumbered four to one and the Japanese were not desirous of a war at that moment, the first-class forces in Manchuria could make an excellent showing. In addition, the high command possessed armor, heavy artillery, fighters, and bombers, held in check in Manchuria and Korea, as well as reserves in the homeland. There was also the 104th Division, under tight Imperial general headquarters control, in strategic reserve in southern Manchuria. Inada recalled "How would the Russians react? That was the answer I sought. Victory in China depended on it." By mid-July, the high command, at Inada's urging, had worked out a plan titled, "Imperial General headqaurters Essentials for Dealing with the Changkufeng Incident." Tada's telegram of 14 July to Koiso described succinctly the just-decided policy: the central authorities concurred with the Korea Army's opinion regarding the Changkufeng affair, then in embryo. Considering that Changkufeng Hill posed a direct threat to the frontier of Korea, Imperial General headqaurters would immediately urge the foreign ministry to lodge a stern protest. Next day, Tojo sent a telegram stating the Japanese policy of employing diplomacy; whether the Russians should be evicted by force required cautious deliberation in case the USSR did not withdraw voluntarily. On the basis of the guidance received from Imperial General headqaurters, the Korea Army drew up its own plan, "Essentials for Local Direction of the Changkufeng Incident," on 15 July. Intelligence officer Tsuchiya Sakae was sent promptly to the front from Seoul. At the same time, military authorities allowed the press to release news that Soviet troops were constructing positions inside Manchurian territory in an "obvious provocation." The government of Manchukuo was demanding an immediate withdrawal. Even then, those Japanese most closely connected with the handling of the Changkufeng Incident were not in agreement that everybody at command level was as ardent a proponent of reconnaissance in force as Inada claimed to be. Some thought that most, if not all, of his subordinates, youthful and vigorous, were in favor of the notion; others denied the existence of such an idea. Inada remained clear-cut in his own assertions. Everything done by the local Soviet forces, he insisted, must have been effected with the permission of Moscow; it was customary for the USSR not to abandon what it had once started. The Japanese Army never really thought that the Soviet Union would withdraw just as the result of diplomatic approaches. Therefore, from the outset, preparations were made to deal the Russians one decisive blow. Inada had recommended his plan, with its clear restrictions, to his colleagues and superiors; the scheme, he says, was approved 14 July "all the way up the chain of command, through the Army general staff and the ministry of war, with unexpected ease." The only real opposition, Inada recalled, came from the navy, whose staff advised the army operations staff, in all sincerity, to give up the idea of strategic reconnaissance. Inada adhered to his opinion stubbornly. He never forgot the grave look on the face of Captain Kusaka, the UN operations section chief, as the latter gave in reluctantly. The navy view was that the Changkufeng affair typified the army's aggressive policies as opposed to relative passivity on the part of the navy. Like Kusaka, Japanese Navy interviewees shared the fear that Changkufeng might prove to be the most dangerous military confrontation ever to occur between the USSR and Japan. In view of navy objections, one wonders where Inada could have drawn support for his concept of reconnaissance in force. If one accepts the comments contained in a letter from a navy ministry captain, Takagi Sokichi, to Baron Harada Kumao at the beginning of August, in the army and in a portion of the navy there existed "shallow-minded fellows who are apt to take a firm stand in the blind belief that the USSR would not really rise against us, neglecting the fact that the Russians had foreseen our weak points." Takagi also had violent things to say about "white-livered" Gaimusho elements that were playing up to the army. Although Takagi's remarks, expressed in confidence, were sharp, cautious injunctions were being delivered by the high command to the new Korea Army commander, General Nakamura Kotaro, who was about to leave for Seoul to replace Koiso. Nakamura's attitude was crucial for the course and outcome of the Changkufeng Incident. More of a desk soldier than a warrior, he characteristic ally displayed a wariness that was reinforced by the guidance provided him. This personal quality assumes even greater significance if one believes that the Russians may have initiated the Changkufeng Incident by exploiting the special opportunities afforded them by the routine replacement of the Korea Army commander, the temporary absence from Moscow of Ambassador Shigemitsu Mamoru, and the geographical as well as subjective gap between the Kwantung and Korea armies that was exposed during the Lyushkov affair. At 10:00 on 15 July Nakamura was designated army commander by the Emperor at the palace. Soon afterward, he was briefed by Imperial General headquarters officers. Hashimoto, the operations bureau chief, recalled that when he saw Nakamura off on 17 July, Hashimoto stressed prudence, limitation of any military action, and diplomatic solution of the problem. The new commanding general, Inada asserted, promised full cooperation. There was no mention, at this level, of Inada's concept of reconnaissance in force. When Nakamura reached Seoul, he found an Imperial order from Tokyo dated 16 July awaiting him. This important document stipulated that he could concentrate units under his command in Korea near the border against the trespassing Soviet forces in the Changkufeng area. Resort to force, however, was dependent upon further orders. This message was followed by a wire from Kan'in, the Army general staff chief. The Imperial order, it was explained, had been designed to support diplomatic negotiations. Simultaneous approval was granted for concentrating forces to respond swiftly in case the situation deteriorated. As for implementation of the Imperial order, discretion should be exercised in line with the opinion expressed earlier by Korea Army Headquarters. Negotiations were to be conducted in Moscow and Harbin, the location of a Soviet consulate in Manchukuo. Meanwhile, the command was dispatching two officers for purposes of liaison: Lt. Colonel Arisue Yadoru in Operations and Major Kotani Etsuo a specialist in Soviet intelligence. Inada advised Arisue that, apart from liaison flights inside the frontiers, particular care should be exercised with regard to actions that might lead to air combat. Nevertheless, although Inada stated that the Imperial order called for "a sort of military demonstration," he admitted that it meant preparatory action for an attack. The Korea Army senior staff officer, Iwasaki, recalled hearing nothing about secret intentions. Nakamura briefed his staff about the need for restraint, especially during this key period of the Wuhan operation. Koiso had disposed of speculation that he had issued an order to concentrate the 19th Division before Nakamura arrived, although he and Nakamura did have the opportunity to confer in Seoul before he departed for Japan. The Imperial order of 16 July, in response to Koiso's inquiry received in Tokyo on 14 July, had arrived in Seoul addressed to Nakamura; thereupon, the Korea Army chief of staff, Kitano, had the message conveyed to the division. By 21 July Koiso was back in Tokyo where, the day afterward, he advised the war minister, Itagaki, "to act prudently with respect to the Changkufeng problem." Why did the high command dispatch two field-grade liaison officers to Korea from the outset of the Changkufeng Incident? The Korea Army lacked operations staff. Its commander had been allotted prime responsibility, within the chain of command, for defense of northeastern Korea. At the beginning, the highest-ranking staff officer at the front was a major. Since there were no fundamental differences of opinion between the command and the forces in Korea, it was proper to send experts from Tokyo to assist. Imperial General headqaurters would observe the situation carefully, devise measures on the basis of the overall view, and issue orders which the Korea Army would implement through ordinary channels. It had not been the type of incident which required the army commander to go to the front to direct. This was the Korea Army's first test, and political as well as diplomatic problems were involved that the army in the field should not or could not handle. If Tokyo had left decisions to the division and its regiments, the latter would have been held to account, which was not proper. Imperial General headquarters had to assume responsibility and reassure local commanders of its full support. Imaoka Yutaka explained that operational guidance by Imperial General headquarters and line operations conducted by the 19th Division formed the core of the affair; the Korea Army, placed between, was "shadowy." Koiso had not been enthusiastic; this set the mood among the staff. Nakamura, who arrived with a thorough comprehension of AGS thinking, was basically passive. The Korea Army staff, in general, included no "wild boars."    There was an urgent need to monitor developments. Not only was the Korea Army unfamiliar with handling this type of incident, but many hitches occurred. There had been no practice in emergency transmission of coded wires between the Korea Army and Tokyo. Now telegram after telegram had to be sent; most were deciphered incorrectly and many were not decoded at all. Another problem centered on the lack of knowledge in Tokyo about the situation on the spot, which only visual observation could rectify. As a result, the two Army general staff experts, Arisue and Kotani, arrived in Korea on 16 July. Kotani recalled that he was to collect intelligence and assist the local authorities. One of the first duties that he and Arisue performed was to disseminate the principle that use of force required a prior Imperial order. Also on 16 July, Japanese newspapers reported that the USSR was still concentrating troops, that the Manchukuoan government was watching intently, "decisive punitive measures" were being contemplated by the Japanese-Manchukuoan authorities, and there were signs of a worsening of the crisis. Despite good reasons for this gloomy appraisal, the Japanese press had not yet given the incident page-one treatment. More alarming news was being disseminated abroad. Domei, the official Japanese news agency, reported that the situation would probably become worse unless Soviet troops were withdrawn. The position of the Japanese government impressed foreign correspondents as unusually firm. Informants characterized the Changkufeng Incident as the most serious affair since the clash on the Amur River in 1937. Irked by the Korea Army's timidity and eager for first-hand information, the Kwantung Army dispatched two observers to the front: from Intelligence, Ogoshi Kenji, and from Operations, Tsuji Masanobu. If you listen to my pacific war week by week podcast or echoes of war, you know I highlight Tsuji Masanobu as one of the most evil Japanese officers of WW2. No other way to describe this guy, he was a shithead. In his memoirs, Tsuji asserted that he and Ogoshi climbed Changkufeng Hill, discerned Soviet soldiers digging across the peak in Manchurian territory, and concluded that "probably even Tokyo could not overlook such a clear-cut case of invasion." Although his account aligned with the general thrust, Ogoshi contended that Tsuji could not have accompanied him. According to sources with the 19th Division, when Koiso learned that Tsuji and Ogoshi were disparaging the Korea Army's ability to defend Changkufeng, he ordered "those spies" ousted. Ogoshi replied that the army staff was not angry, but Koiso did become furious and ordered Ogoshi "arrested for trespassing." Ogoshi surmised that Koiso's concern was that emotional outsiders such as Tsuji could provoke trouble, perhaps even war, if they visited Changkufeng. This view was widely shared. Inada stated that he made a practice of keeping away to maintain the degree of detachment and impartiality required of high command authorities. One sidelight to the "fraternal" visit to the Changkufeng area by observers from Hsinking was provided by Lt. Colonel Katakura Tadashi, chief of the Kwantung Army's 4th Section, which handled Manchukuo affairs, primarily political direction. When Katakura visited the Operations Section, Tsuji and Ogoshi told him that an intrusion had been confirmed and that the Kwantung Army staff was studying ways to evict the Soviets. Katakura consulted Maj. General Ishiwara Kanji, acting chief of staff, who was already in possession of the draft of an operations order calling for offensive preparations by the Kwantung Army against the Russians at Changkufeng. Katakura asked for reconsideration of the order. This was not a matter to be handled solely by the operations staff. Borders and international affairs were involved; hence the 4th Section, along with the Manchukuoan government, the Gaimusho, and other agencies, were concerned. Field observers were expressing exaggerated personal opinions based on having seen Soviet sentries on a hilltop. If the matter fell within the Korea Army's defensive prerogative, that army ought to handle it. Apparently the Kwantung Army commander and Ishiwara agreed with Katakura, for the draft order was not approved. The so-called private message dispatched by a Kwantung Army staff officer just before Koiso's departure may have been provoked by this rejection of direct participation by forces under Kwantung Army command. Staff officers in Tokyo believed that Hsinking could not see the forest for the trees. In the high command's view, the Kwantung Army's deliberate escalation of a negligible frontier incident undoubtedly stemmed from a failure to grasp the strategic requirements of national defense—pursuit of the campaign in China, the nurturance of Manchukuo, and the buildup of operational readiness for the ultimate solution of the Soviet problem. The high command felt obliged to remind the Kwantung Army that, in dealing with the Changkufeng Incident, the central authorities pressed for a Russian pullback through diplomacy. Consequently, the Korea Army had been instructed to be ready to concentrate troops near Changkufeng as a "background." Meanwhile, it remained the Imperial will that utmost prudence be exercised. The Kwantung Army commander accordingly issued cautious instructions to subordinate units, especially those on the eastern border. The high command's injunctions did not end the discontent and recrimination at the lower levels of Kwantung Army Headquarters, nor did they quiet the concern felt in Tokyo. A former war minister told Baron Harada repeatedly in late July that the Kwantung Army was "no good," while the superintendent of police added that the Kwantung Army was embarrassing Foreign Minister Ugaki. Nevertheless, the Kwantung Army did exert self-restraint. For its part, the Korea Army naïvely sought to achieve entente with an antagonist who considered the case nonnegotiable. First, the government of Manchukuo was asked to lodge a formal protest with the USSR. The commissioner for foreign affairs at Harbin phoned V. V. Kuznetzov, the acting consul, on the night of 14 July and saw him on the 18th. Basing its contentions on maps, the Haensing regime demanded Soviet withdrawal from Changkufeng. The Japanese government was lodging similar protests within the framework of Japanese-Manchukuoan joint defense agreements. On the spot, the situation inflamed. During the afternoon of 15 July, a Japanese military police patrol from Korea reconnoitered at the foot of Hill 52, southeast of Changkufeng. The party came under Soviet gunfire and was driven back, abandoning the body of Corp. Matsushima Shakuni. Japanese sources claimed that a Russian ambush had been set inside Manchuria. The Russian side insisted that it was the Soviet frontier that had been violated by thirty meters. Kuzma Grebennik, the colonel commanding the 59th BGU, which covered the Posyet sector, asserted that Matsushima's effects included a notebook containing reconnaissance results and a camera with film of Soviet-claimed terrain, particularly Changkufeng Hill. According to Maj. Gilfan Batarshin, a subordinate of Grebennik, two Russian border guards from Podgornaya opened fire when the Japanese fled after being challenged. Japanese protests to the USSR about the death of Matsushima and the taking of his body were added to the negotiations concerning the disputed border and the alleged trespassing. Charge Nishi Haruhiko lodged a vigorous complaint in Moscow on 15 July but was answered by a counterprotest. Ambassador Shigemitsu underwent an identical experience during a conversation with Foreign Commissar Maxim Litvinov on 20 July. Shigemitsu retorted that the murder tended to exacerbate the negotiations. In his memoirs, he stated that the killing of Matsushima provoked the local Japanese border garrison unit. The shooting occurred as the Soviet military buildup continued, according to Japanese sources. Mechanized units were reported moving in the direction of Kyonghun from Barabash and Posyet Bay. Biplanes were reconnoitering the Hunchun Valley, within Manchurian territory, from the afternoon of 16 July. To the local Japanese authorities, it seemed that the Russians were adopting a challenging attitude. Although the Japanese-Manchukuoan side remained willing to negotiate—that is, to take no forceful actions if the Russians would withdraw, the latter appeared not to share such an intention. The Soviets were not only misinterpreting the Hunchun treaty to their advantage but were encroaching beyond what they claimed to be the line; they "lacked sincerity." Decisive use of force might have been imperative to secure the Manchurian border, which was Japan's legal responsibility. As far north as Tungning on the eastern Manchurian frontier, two Soviet ground divisions and considerable numbers of tanks and aircraft were reported massed in full view. At Changkufeng, Russian soldiers fortified the crest. Mountain guns were now seen with muzzles pointed toward Manchuria, and Japanese intelligence estimated that Soviet troop strength near Changkufeng had grown to 120 or 130 by the evening of 18 July. As Sawamoto Rikichiro, an Imperial aide, noted in his diary, "It would seem that settlement of the affair had become increasingly difficult." Korea Army staff officer Tsuchiya sent two emissaries bearing the notice to the Soviet border. The pair, "blazing with patriotic ardor,"set out on 18 July, carrying a message in one hand and a white flag in the other. From Kyonghun came the report the next day that there had been an urgent, well-attended Soviet staff meeting at BGU Headquarters in Novokievsk all night, and that the Russian side had been discomfited by the Japanese request, which had been transmitted to higher authorities. Still, the emissaries did not return, while a stream of reports indicated a Soviet buildup along a dozen frontier sectors. Russian authorities had reportedly forced the natives to evacuate an area twenty miles behind their borders. From Japanese observation posts, Soviet convoys of men, guns, and horses could be sighted moving toward Novokievsk after being unloaded from transports originating at Vladivostok. Japanese Army Intelligence reported that on 18 July a regimental-size force had arrived at Novokievsk; artillery displacements forward were particularly visible by night east of Khasan. A confidential Gaimusho message indicated that Soviet truck movements between Posyet, Novokievsk, and the front had increased since the 20th. Russian intrusions, kidnappings, and sniping incidents were reported along the Manchurian borders, from Manchouli on the west to Suifenho on the east, between 18 and 25 July. Aircraft on daytime reconnaissance were detected as far as three miles inside Manchurian territory in the Hunchun area. Although the Japanese asserted that their forbearance was being tested, Izvestiya charged "Japanese militarists" with manufacturing an affair at Ussuri as well as at Changkufeng. The Japanese themselves received reports from the Changkufeng front that by 20 July the Soviets had 250 soldiers, armed with field pieces, trench mortars, howitzers, and light and heavy machine guns, on the southern slopes. The Russians were putting up tents capable of holding 40 men each; officers could be observed for the first time. On the evening of the 20th, the Soviets lobbed illuminating shells toward Manchurian territory. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. Inada Masazum, studying maps and mud, saw Changkufeng Hill as a prize with peril, a test of nerve rather than a conquest. Tokyo's orders pulsed through Seoul and Harbin: guard, probe, and deter, but avoid full-scale war. Across the border, Soviet units pressed closer, lights and tents flickering on the hillside. The sea within sight whispered of strategy, diplomacy, and a warning: a single misstep could redraw Asia. And so the standoff waited, patient as winter.

durée : 00:03:56 - Quand Joe Hisaishi rencontre Antonio Vivaldi - par : Max Dozolme - Ses plus grands modèles sont Debussy et Mahler et pourtant Joe Hisaishi, le compositeur phare des films de Kitano et Miyazaki apprécie aussi beaucoup la musique baroque. Il a même arrangé une œuvre célèbre de Vivaldi pour un court-métrage méconnu du Studio Ghibli. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Nel Giappone feudale, un taciturno massaggiatore cieco è in realtà un ronin che viaggia di villaggio in villaggio a difesa dei più deboli, raddrizzando torti e ingiustizie grazie alla sua leggendaria abilità nell'uso della katana.Ventisettesimo film dedicato al personaggio letterario creato da Kan Shimozawa, dove Kitano in qualità di regista e interprete, offre un epico e poetico spettacolo per gli occhi dello spettatore, realizzando un'opera senza alcuna sbavatura, ricca di scene d'azione coreografate da Dio, ma anche condito di una leggera ironia mai fuori posto.Un titolo che, prima di altri, ha contribuito ad avvicinare il vostro CaRfa al cinema orientale...e per fortuna, aggiungo.Imperdibile e stupendo.

In 2012, inside a quiet luxury apartment in Sao Paulo, a couple sat down to confront their marital trust issues. What began as a tense conversation between husband and wife quickly spiraled into violence and horror and what followed left an entire nation stunned. Was this the desperate act of a woman defending herself from abuse or the calculated crime of a cold-blooded killer?Sources:Elize Matsunaga: Once Upon a Crime. Netflix, 2021.Newsweek. “Who Is Elize Matsunaga? The True Story Behind Netflix's Once Upon a Crime.” July 7, 2021.Esquire. “Elize Matsunaga Shot and Dismembered Her Husband—Here's Where She Is Now.” July 14, 2021.The Independent. “Netflix's Elize Matsunaga: Once Upon a Crime — the true story.” July 8, 2021.Radio Times. “True story behind Netflix's Elize Matsunaga: Once Upon a Crime.” July 7, 2021.Folha de S.Paulo. “Em vídeo, Elize Matsunaga conta como matou o marido.” August 26, 2012.TV Globo — Fantástico. “Vídeo de Marcos com outra mulher pode ter provocado briga.” 2012.TV Globo — Fantástico. “Julgamento de Elize Matsunaga.” 2016.BBC News Brasil. “Quem é Elize Matsunaga, condenada por matar e esquartejar o marido.” July 2021.General Mills. “General Mills to Acquire Yoki Alimentos S.A.” Press release, May 24, 2012.This Week's Episode Brought to You By:Shopify - $1 per month trial - http://shopify.com/lovemurderHiya - 50% off your first order - http://hiyahealth.com/lovemurderFind LOVE MURDER online:Website: lovemurder.loveInstagram: @lovemurderpodTwitter: @lovemurderpodFacebook: LoveMrdrPodTikTok: @LoveMurderPodPatreon: /LoveMurderPodCredits: Love Murder is hosted by Jessie Pray and Andie Cassette, researched by Sarah Lynn Robinson and researched and written by Jessie Pray, produced by Nathaniel Whittemore and edited by Kyle Barbour-HoffmanSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Wenn Rich Perry zu einem Solo ansetzt, im Rücken zum Beispiel das Maria Schneider Jazz Orchestra, dann wird die Musik schwerelos und die ganze Band hebt ab. Angefangen hat er als Jungstar in der Thad Jones/Mel Lewis-Big Band, dann kamen Jahre als Tellerwäscher und Möbelpacker, inzwischen ist Perry in der Szene eine Art Guru, bei dem auch gestandene Jazz-Stars musikalischen Rat suchen – während er selbst nach wie vor grosse Mühe bekundet, sich seine eigene Musik anzuhören. Der Thurgauer Saxophonist Niculin Janett hat in Rich Perry einen Lehrer gesucht und einen Freund und Bandkollegen gefunden. Er erzählt, was die grossen Bögen von Rich Perry ausmacht, warum er für lebenslanges Lernen steht und wie es ist, mit einem solchen Jazzgiganten auf der Bühne zu stehen – in der Jazz Collection mit Jodok Hess. Die gespielten Titel Interpret:in: Titel (Album / Label) - Rich Perry: There Is No Greater Love (Ath the Kitano 3 / Steeple Chase) - Thad Jones / Mel Lewis: Second Race (Body and Soul, Live in Berlin 1978 / West Wind) - Rich Perry: Three and One (To Start Again / Steeple Chase) - Maria Schneider Orchestra: Choro Dançado (Concert in the Garden / ArtistShare) - Vanguard Jazz Orchestra: Las Cucarachas Entran (Monday Night Live at the Village Vanguard / Planet Arts) - Mel Lewis Orchestra: Las Cucarachas Entran (Bennie's Bootlegs / Youtube) - Rich Perry: Mud (Progression / Steeple Chase) - Niculin Janett Quartet feat. Rich Perry: Toxicology (Toxicology Report / Unit)

“When you're scared all the time, you reach a point when you wish you were dead.”Talking About Takeshi Kitano's Sonatine with our guest, Production Designer Liz BischofProduction designer Liz Bischof joins Movies We Like to discuss Sonatine, Beat Takeshi's 1993 meditative yakuza film that masterfully blends moments of shocking violence with poetic contemplation. As a special guest who has worked on projects ranging from Broadway's Aladdin to Apple TV+'s See, Bischof brings unique insights into the film's visual language and thoughtful approach to production design.In our wide-ranging conversation, Bischof shares her journey from props maker for international opera companies to production designer for film and television. She discusses her recent work on A Nice Indian Boy and upcoming thriller Getaway starring Jason Biggs in his directorial debut, before diving deep into why Takeshi Kitano's Sonatine left such a lasting impression on her when she first saw it at the Rotterdam Film Festival. The film's minimalist aesthetic, strategic use of color (particularly in the red and blue motifs), and carefully composed shots that often feel like still life paintings exemplify what draws her to this unique take on the yakuza genre.The discussion explores how Kitano, primarily known as a comedian in Japan at the time, crafted this deliberately paced crime drama about a tired gangster (played by Kitano himself) sent to Okinawa. The film's remarkable middle section, where the characters retreat to a beach and briefly recapture moments of childhood play, provides a stark contrast to the inevitable violence that bookends the story. Bischof particularly appreciates how the film's production design reinforces themes through its use of gritty, fluorescent-lit spaces in the city scenes versus the poetic beauty of the beach sequences.Sonatine remains a masterpiece of 90s Japanese cinema that rewards patient viewers with its unique blend of violence, humor, and existential meditation. Our conversation with Liz Bischof illuminates how the film's thoughtful design choices and visual poetry continue to influence and inspire filmmakers and designers nearly 30 years after its release.Film SundriesWatch this episode on YouTube!Find Liz on her website, her Instagram, or on IMDbWatch this on Apple or Amazon, or find other places at LetterboxdTheatrical trailer Learn how to support our show and The Next Reel's family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel's family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardThe Next Reel Film PodcastSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here's where you can find us around the internet:The WebLetterboxdCheck out poster artwork for movies we've discussed on our Pinterest pagePeteAndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we've discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we've discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

This episode of the Taproom Podcast takes you on a journey with your host Mike, as he explores the vibrant craft beer scene during a weekend getaway to Palm Springs. Broadcasting from a serene stay in the sun-soaked city, Mike shares his excitement for this long-awaited episode with special guest Masahiro Kitano, the visionary behind Ikasu Brewing at Native Son in LA. Mike delves deep into Masa's inspiring story from a passionate homebrewer to the proud owner of his own brewery brand. Their engaging conversation uncovers Masa's brewing philosophies, challenges faced in scaling up from homebrewing, and the supportive community that fueled his journey. Discover the creativity behind Ikasu Brewing's unique offerings and Masa's role as Vice President of the Socal Cerveceros homebrew club. Join the Taproom for an insightful episode filled with laughter, beer history, and the shared camaraderie of craft brewing—a perfect listen for beer enthusiasts and aspiring brewers alike.

On Episode 157 of Floating Through Film, we continue our series picked by Blake, Takeshi Kitano! We're getting into some of more Kitano's more experimental films this week, starting with his crazy 1994 comedy Getting Any, before reviewing the first of his Filmmakers Trilogy of movies with 2005's Takeshis' (1:35:39). We hope you enjoy!Episode Next Week: Glory to the Filmmaker! + Achilles and the TortoiseMusic:- Intro: Getting Any?- Break: Takeshis'- Outro: Takeshis'Hosts: Luke Seay (LB: https://letterboxd.com/seayluke/, Twitter: https://x.com/luke67s)Blake Tourville (LB: https://letterboxd.com/blaketourville/, Twitter: https://x.com/vladethepoker)Dany Joshuva (LB: https://letterboxd.com/djoshuva/, Twitter: https://x.com/grindingthefilm)Podcast Links Spotify and Apple: https://linktr.ee/floatingthroughfilmLetterboxd: https://letterboxd.com/floatingfilm/Email: floatingthroughfilm@gmail.com

On Episode 156 of Floating Through Film, we continue our series picked by Blake, Takeshi Kitano! We're starting with Kitano's coming of age boxing movie that came out in 1996, before going to his 2000 Hollywood movie, Brother (1:16:06). We hope you enjoy!Episode Next Week: Getting Any? + TakeshisMusic:- Intro: Kids Return (https://www.youtube.com/watch?v=544bkI1hmGk&list=PLC49ED66A3DBD3B3F&index=15&ab_channel=Traumacode)- Break: Brother (https://www.youtube.com/watch?v=wSA71s1E8iw&list=PLSP_sMZH6pQ0biRvqv_Y7KGv2NrSxpvW4&index=1&ab_channel=SHBK28)- Outro: Kids Return (https://www.youtube.com/watch?v=544bkI1hmGk&list=PLC49ED66A3DBD3B3F&index=15&ab_channel=Traumacode)Hosts: Luke Seay (LB: https://letterboxd.com/seayluke/, Twitter: https://x.com/luke67s)Blake Tourville (LB: https://letterboxd.com/blaketourville/, Twitter: https://x.com/vladethepoker)Dany Joshuva (LB: https://letterboxd.com/djoshuva/, Twitter: https://x.com/grindingthefilm)Podcast Links Spotify and Apple: https://linktr.ee/floatingthroughfilmLetterboxd: https://letterboxd.com/floatingfilm/Email: floatingthroughfilm@gmail.com

On Episode 154 of Floating Through Film, we begin our new series picked by Blake, Takeshi Kitano! We start the episode by the guys giving their thoughts on what they know about Kitano so far, and Blake tells us why he chose Kitano for his next series. We then start with Kitano's 1989 debut Violent Cop (9:04), followed by his 1991 surfing drama, A Scene at the Sea (1:29:55). We hope you enjoy!Episode Next Week: Sonatine + Hana-Bi Music:- Intro: Violent Cop (https://www.youtube.com/watch?v=R0ACJfsUHnw&list=PLRfrwzLs2QYyaEPBy1NY21pHwOmLh5ms1&index=2&ab_channel=penedens)- Break: A Scene at the Sea (https://www.youtube.com/watch?v=QrhpdpbJO8w&list=PLSP_sMZH6pQ0JkQKiMyXsMWjYlSXI5HZm&index=7&ab_channel=SHBK28)- Outro: A Scene at the Sea (https://www.youtube.com/watch?v=5WZIP3jLyt8&list=PLSP_sMZH6pQ0JkQKiMyXsMWjYlSXI5HZm&index=1&ab_channel=SHBK28)Hosts: Luke Seay (LB: https://letterboxd.com/seayluke/, Twitter: https://x.com/luke67s)Blake Tourville (LB: https://letterboxd.com/blaketourville/, Twitter: https://x.com/vladethepoker)Dany Joshuva (LB: https://letterboxd.com/djoshuva/, Twitter: https://x.com/grindingthefilm)Podcast Links Spotify and Apple: https://linktr.ee/floatingthroughfilmLetterboxd: https://letterboxd.com/floatingfilm/Email: floatingthroughfilm@gmail.com

durée : 00:03:42 - Le Regard culturel - par : Lucile Commeaux - Le réalisateur japonais Takeshi Kitano livre sur la plateforme Prime un film étrange, "Broken Rage", qui ressemble d'abord à un thriller sérieux de yakuzas, puis à sa parodie burlesque — sauf que c'est plus intéressant et compliqué que ça.

Émission polar, fureur et chasser du nazi. Parce qu'on a la rage, on restera debout quoi qu'il arrive, la rage d'aller jusqu'au bout et là où veut bien nous mener la vie. Parce qu'on a la rage, rien ne pourra plus nous arrêter. Insoumis, sage, marginal, humaniste ou révolté.(Son crado dans les 4 premières minutes, ça s'arrange ensuite)Dispo itou on da tube :Au programme cette semaine :* Broken Rage, nouveau film de Beat Takeshi Kitano, son premier à parvenir officiellement chez nous depuis Outrage en 2010. Film méta essayant une nouvelle fois de combiner les deux faces de Kitano.* The Order, de Justin Kurzel. Glorieuse alopécie contre fachos.______PUBLIC SERVICE ANNOUNCEMENT: Le Film du Dimanche Soir, dimanche 02 mars, le train de la révolution passera près de chez vous.El Comandante est passé chez les camarades de Monsieur Bobine pour discuter de Bob Dylan.______Coups de cœur:THOMAS: Le Prédicateur (Robert Duvall)THIBAUT: Le Sommet des Dieux (Pascal Imbert)DOC ERWAN: Le Génie des alpages (F'muur)Margaux: Bref, saison 2PLAYLISTPrégénérique / Extrait The OrderThe Hives / Two-Timing Touch And Broken BonesChumbawamba / On the Day the Nazi DiedExtrait / The Order

Sensei Riichi Kitano is a modern day Jedi, carrying the lineage wisdom of the samurai into modern day culture. His demonstrations of the power of Chi, that infinite life force, were absolutely astounding. He speaks on how to harness the power of gratitude and intent to give you access to wield the Force for good in your life.| Riichi Kitano |Website: https://defense-arts-center.com/riichi-kitano-katari-shinto-ryuEmail:shinkiryuinfo@gmail.comkatorishintoryu.global@gmail.comkatori.shinto.ryu.la@gmail.comInstagram:https://www.instagram.com/katori.shinto.ryu.la_shinkiryu/Korrect Energy  ⁠⁠⁠https://korrectlife.com/⁠⁠Metal Mark collectable golden Art :⁠⁠https://mtlmrk.com/⁠⁠| Aubrey Marcus |Website |⁠⁠ ⁠⁠⁠⁠⁠⁠http://bit.ly/2GesYqi ⁠⁠⁠⁠⁠⁠⁠⁠Instagram |⁠⁠ ⁠⁠⁠⁠⁠⁠http://bit.ly/2BlfCEO ⁠⁠⁠⁠⁠⁠⁠⁠Facebook |⁠⁠ ⁠⁠⁠⁠⁠⁠http://bit.ly/2F4nBZk ⁠⁠⁠⁠⁠⁠⁠⁠X |⁠⁠ ⁠⁠⁠⁠⁠⁠⁠http://bit.ly/2BlGBAdAd⁠⁠⁠⁠⁠⁠⁠⁠Check out "Own your Day, Own Your Life" by Aubrey Marcus |⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://bit.ly/2vRz4so⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to the Aubrey Marcus newsletter:⁠⁠⁠⁠⁠⁠⁠⁠https://www.aubreymarcus.com/pages/email⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠To partner with the Aubrey Marcus Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to the Aubrey Marcus podcast:iTunes |⁠⁠ ⁠⁠⁠⁠⁠⁠https://apple.co/2lMZRCn ⁠⁠⁠⁠⁠⁠⁠⁠Spotify |⁠⁠⁠⁠⁠⁠⁠⁠ https://spoti.fi/2EaELZO ⁠⁠⁠⁠⁠⁠⁠⁠Stitcher |⁠⁠ ⁠⁠⁠⁠⁠⁠http://bit.ly/2G8ccJt ⁠⁠⁠⁠⁠⁠⁠⁠IHeartRadio |⁠⁠ ⁠⁠⁠⁠⁠⁠https://ihr.fm/3CiV4x3 ⁠⁠⁠⁠⁠⁠⁠⁠

Elisa Do Brasil & Teddy Kitano célèbrent, aux platines de la Tsugi Radio, la naissance de leur nouveau collectif et soirée, Tides. Nouvelle résidence à Paris le 2 avril

Elisa Do Brasil & Teddy Kitano célèbrent, aux platines de la Tsugi Radio, la naissance de leur nouveau collectif et soirée, Tides. Nouvelle résidence à Paris le 2 avril. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Quinto recap da Venezia con Laura delle Vedove e Paolo Torino che finalmente ha risolto la Mostra incontrando Takeshi Kitano. Argomenti: 00:00 "Introduzione" 00:47 "Bestiari Erbari Lapidari" 05:44 "Israel-Palestine on Svensk TV 1958-1989" 11:04 "Diva Futura" 15:32 "Broken Rage" Il nostro canale Telegram per rimanere sempre aggiornati e comunicare direttamente con noi: https://t.me/SalottoMonogatari Anchor: https://anchor.fm/salotto-monogatari Spotify: https://open.spotify.com/show/2QtzE9ur6O1qE3XbuqOix0?si=mAN-0CahRl27M5QyxLg4cw Apple Podcasts: https://podcasts.apple.com/it/podcast/salotto-monogatari/id1503331981 Google Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xNmM1ZjZiNC9wb2RjYXN0L3Jzcw== Logo creato da: Massimo Valenti Sigla e post-produzione a cura di: Alessandro Valenti / Simone Malaspina Per il jingle della sigla si ringraziano: Alessandro Corti e Gianluca Nardo Per la gestione dei canali social si ringrazia: Selene Grifò

Notre critique du film "Broken Rage" réalisé par Takeshi Kitano avec Takeshi Kitano, Beat Takeshi, Tadanobu Asano et Nao Ômori.Abonnez-vous au podcast CINECAST sur la plateforme de votre choix : https://smartlink.ausha.co/cinecast  ---  Titre : Broken Rage Sortie : TBA, sur Prime VideoRéalisé par Takeshi KitanoAvec : Takeshi Kitano, Beat Takeshi, Tadanobu Asano et Nao ÔmoriSynopsis : Broken Rage est un film en deux parties du légendaire réalisateur Takeshi Kitano. La première partie du film est un film d'action qui se déroule dans un monde criminel sombre, autour d'un tueur à gages et de sa lutte pour la survie lorsqu'il se retrouve coincé entre la police et les yakuzas. La seconde partie suit la même histoire, mais transformée en comédie, une parodie de la première partie dans son intégralité, scène par scène.#Critique #CINECAST Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Join hosts Nathan and Ryan as they delve into the hard-hitting and uncompromising world of "Violent Cop" (1989) in this gripping episode of Drive-In Double Feature Podcast. Directed by and starring Takeshi Kitano, this neo-noir film follows a rogue cop who takes the law into his own hands. Explore the film's raw and gritty portrayal of violence, its atmospheric tension, and Kitano's unique directorial style that redefined Japanese crime cinema. Discover how "Violent Cop" sets itself apart with its stark narrative and intense character study. Get ready for a discussion that's as compelling and fierce as the film itself as we analyze "Violent Cop."

Check out this insightful chat with Steve Picataggio!Episode Highlights:* Early Inspirations: Find out how Steve's older brother got him hooked on drumming.* Jazz and Beyond: Learn how Steve expanded his musical tastes from pure jazz to include pop-punk and Broadway tunes.* Starting Out: Hear about Steve's first drumming experiences, including summer music camp and high school bands.* Making It in NYC: Get tips on navigating the New York music scene, from taking the subway with drums to finding the right gigs.* Balancing Act: Steve talks about juggling his professional music career with personal enjoyment and family time.* Theater Drumming: Discover what it's like to play in cabaret gigs, jazz bands, and touring shows like Four Phantoms and Wicked Divas.* Touring Tips: Steve shares practical advice for drummers on the road, including packing smart and staying organized.Take some time out to hear Steve Picataggio's inspiring journey and get practical tips for making it as a theater drummer. This episode is full of great stories and useful advice that you won't want to miss!Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Steve Picataggio is a professional drummer and educator in New York City from Coral Springs, Florida. From the age of ten, Steve immersed himself in classical percussion, marching drumlines, pit orchestras and big band jazz ensembles. He then made the commitment to study with world-renown jazz drummer Danny Gottlieb at the University of North Florida. There he had the opportunity to learn the extensive hand techniques originated by Joe Morello. He focused on the history of jazz drummers, most notably Mel Lewis and his influence on big band drumming. As well as the drummers of Count Basie and gravitated towards small group drummers such as Shelly Manne, Philly Joe Jones, Jimmy Cobb, Ben Riley and Ed Thigpen. During his time in Jacksonville, Steve met Ulysses Owens Jr. a native Floridian and NYC based jazz drummer. For five years Owens mentored Steve on drums and the music industry. Under Ulysses' guidance, Steve expanded his musical knowledge and mindset and was given the tools required to be a successful musician in New York.This mentorship jump started Steve's journey to New York City in 2011, where he studied with Billy Drummond at New York University Steinhardt School of Music while pursuing his Master's Degree in Jazz Performance. After graduating from NYU in 2013, Steve Picataggio began a professional career as a bandleader and sideman. He has performed at The Blue Note Jazz Club, Birdland, The Kitano, The Bar Next Door and Feinstein's 54 Below. His debut record Two Feet on the Ground features original compositions and arrangements and is available on iTunes and CD Baby. He performs regularly in New York with jazz and Broadway singers, straight ahead jazz small groups, big bands, cabaret, and musical theatre shows. Steve has also toured the US performing with the jazz group The Hot Sardines.In 2018, Steve began playing drums for Suzi Shelton, an award winning children's music singer/songwriter. Performances include Outreach morning concerts for the Brooklyn Public Schools, Fort Greene Music Festival, Madison Square Park Summer Festival, Brookfield Place and The Levitt Pavilion in Westport, Connecticut. He also played in Suzi's band for a performance and interview on Kids Place Live at the Sirius XM Radio Studios in Washington, DC. Steve has been the drummer for Broadway's Lesli Margherita since 2013 and appears on her record Rule Your Kingdom: Live at 54 Below (Broadway Records), All Hail The Queen (Feinstein's 54 Below) and Broad (Birdland Jazz Club).  He also plays drums for Wicked Divas, a cabaret show featuring current and former actors from Wicked.He has played the Off-Broadway shows Under The Bodhi Tree (Royal Family Theater) and About Love (Sheen Center). Currently, Steve is the drummer with Four Phantoms in Concert. A touring performance featuring former actors from the Broadway production.As an educator Steve has created and established a unique curriculum for all groups including beginners (age four), intermediate, advanced young teens, college students and adults. His philosophy and passion for teaching has proven successful and he currently teaches over 40 students throughout the New York City and New Jersey areas. He has created individualized in-person and online lessons in New York, New Jersey, Florida, Georgia, Los Angeles and parts of Europe. Steve Picataggio is on faculty at The British International School of New York, The Grace Church School and is the Adjunct Drumset Professor at Texas A&M University-Kingsville.Steve Picataggio is endorsed by Vic Firth Drumsticks and Zildjian Cymbals.Clayton Craddock is the founder of Broadway Drumming 101, a comprehensive online platform dedicated to providing specialized mentorship and a meticulously curated collection of resources.Clayton's Broadway and Off-Broadway credits include: tick, tick...BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill, and Ain't Too Proud - The Life And Times Of The Temptations, Cats: The Jellicle Ball and The Hippest Trip: The Soul Train Musical. He has subbed for shows like Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, Spongebob Squarepants - The Musical, Hadestown (tour), and many more. Clayton has appeared on The View, Good Morning America, Jimmy Fallon, The Today Show, the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Boyle, Norm Lewis, Denise Williams, Chuck Berry, and Ben E. King.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.For more about Clayton Craddock, click here: www.claytoncraddock.comCONNECT WITH ME ON MEETHOOK! Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Der Film beginnt mit einem Schwenk über gefallene Samuraikrieger in einem Flussbett, die Kamera hält bei einem Mann, dessen Kopf abgeschlagen wurde. Aus dem Hals heraus klettern Krabben und beginnen den Leichnam aufzufressen. Damit gibt Takeshi Kitano gleich den Ton vor. Er dekonstruiert und vernichtet den Samurai-Mythos, KUBI ist eine blutige, brutale, kopfabschlagende Desillusionierungsmaschine. Toxische Maskulinität gerät außer Kontrolle, Macht, Eitelkeit und Gier treibt die Männer an. Sie gehen sich selbst an die Gurgel und vor allem schicken sie tausende Soldaten in einen sinnlosen, grausamen Tod. Das alles zeigt uns Kitano sehr explizit, immer wieder auch mit schwarzem Humor. Hier führen sich die Samurai auf wie schwachsinnige Yakuza – und das zwischen den Kriegern auch noch Liebesaffären laufen, verstärkt das Chaos noch. Direkt nach dem Kino hat Thomas spät in der Nacht am Mikrofon: Rene und Marcel von den Abspannguckern, Johannes und Hendrik, der den Film ganz anders erlebt hat.

Tune in to this episode and pick up where Hardtack left off last week in our interview with the President and CEO of the Go For Broke National Education Center, Dr. Mitch Maki. Sources:  Go For Broke National Education Center - YouTube Go For Broke – National Education Center nationalww2museum.org/war/articles/442nd-regimental-combat-team Redress and Reparations for Japanese American Incarceration | The National WWII Museum | New Orleans (nationalww2museum.org) Achieving the Impossible Dream: HOW JAPANESE AMERICANS OBTAINED REDRESS (Asian American Experience): Maki, Mitchell T, Kitano, Harry H, Berthold, S Megan, Matsui, Robert T: 9780252067648: Amazon.com: Books --- Send in a voice message: https://podcasters.spotify.com/pod/show/hardtackpod/message Support this podcast: https://podcasters.spotify.com/pod/show/hardtackpod/support

Being Guided By The Light  is the fifth album by pianist/ composer  Mamiko Watanabe, featuring heralded bassist Santi Debriano and legendary drummer Billy Hart.  Born in Fukuoka, Japan, Watanabe began playing the piano at the age of four under instruction at the Yamaha School of Music. Her inspiration was Tashiko Akiyoshi, the boundary-smashing Japanese-American pianist, composer, arranger, and bandleader noted for wide-ranging powerful, complex compositions. Mamiko received a scholarship to attend the Berklee College of Music where she received several awards for Jazz piano and Composition. She was also a semi-finalist at the prestigious Montreux Jazz Festival Solo Piano Competition both in 2002 and 2003. She has toured Germany, Italy and Japan and has performed with jazz greats such as Joe Lovano, Kevin Mahogany and Bobby McFerrin while in college. After moving to New York, Mamiko performed at notable venues including Blue Note, Dizzy's Club at the Lincoln Center, The Kennedy Center, Jazz at the Kitano and more. The story of Mamiko unfolds in this episode as we discuss and sample music from her latest release. This album is her premiere with JoJo Records - created by jazz musician Simon Belelty - with an emphasis on high quality audio and vinyl.

Shortly after Japan launched its surprise attack on Naval Station Pearl Harbor on December 7th, 1941, President Roosevelt signed Executive Order 9066, resulting in over 100k West Coast citizens and residents of Japanese descent into incarceration camps. Racism against Japanese Americans rapidly increased as distrust ballooned. What many Americans failed to realize was that Japanese Americans were also inflamed at the attack on Pearl Harbor. Afterall, they were Americans, too. Sources: Go For Broke – National Education Center nationalww2museum.org/war/articles/442nd-regimental-combat-team Redress and Reparations for Japanese American Incarceration | The National WWII Museum | New Orleans (nationalww2museum.org) Achieving the Impossible Dream: HOW JAPANESE AMERICANS OBTAINED REDRESS (Asian American Experience): Maki, Mitchell T, Kitano, Harry H, Berthold, S Megan, Matsui, Robert T: 9780252067648: Amazon.com: Books --- Send in a voice message: https://podcasters.spotify.com/pod/show/hardtackpod/message Support this podcast: https://podcasters.spotify.com/pod/show/hardtackpod/support

"Con i miei film, Non serve nessun sforzo, non c'è niente da capire, niente da spiegare. Quello che voglio è solo che la gente si diverta. O che si annoi o che si senta frastornata. Annusateli, lasciatevi andare: è solo un film" E' giunta l'ora di fare una capatina in Oriente e nello specifico nel cinema di un grande maestro. Benvenuti nel mondo di Takeshi Kitano, artista poliedrico, regista e autore di film sofferenti, eccentrici, profondi e imprevedibili. Prima di concludere la saga di Otomo e degli altri personaggi di "Outrage", Kitano si concede una parentesi leggera con una commedia nera a tema...Yakuza. Una variazione curiosa sul tema da parte di Kitano e che tutto sommato si fa apprezzare. Link per iscriversi ai servizi di Amazon: http://www.amazon.it/amazonprime?tag=pendente90-21   https://www.amazon.it/music/unlimited?tag=pendente90-21   https://www.primevideo.com/offers/ref=atv_nb_lcl_it_IT?tag=pendente90-21   https://www.amazon.it/kindle-dbs/hz/signup?tag=pendente90-21   http://www.amazon.it/joinstudent?tag=pendente90-21   https://www.primevideo.com/offers/nonprimehomepage/ref=atv_nb_lcl_it_IT?_encoding=UTF8&tag=exampleAssociateStoreID-21?tag=pendente90-21   https://www.amazon.it/tbyb/huc?pf=1&tag=AssociateTrackingID?tag=pendente90-21 --- Send in a voice message: https://podcasters.spotify.com/pod/show/madmike3/message

We're going lighter this time with comedy podcaster Chris Andersen. In this episode, we discuss Getting Any?, Takeshi Kitano's 1995 comedy/parody film about a middle-aged guy obsessed with sex and his zany adventures to try to get some. Kitano called it one of the most fun times he had making a movie, and it's easy to see why.Hosted by Perry ConstantineGuest-Starring Chris AndersenListen to Chris on Uncle Monster's Spooky Time Fright Hour.JapanOnFilm.comThreadsBlueskyInstagramFacebookDiscordWe Made This on TwitterWe Made This Network

"Con i miei film, Non serve nessun sforzo, non c'è niente da capire, niente da spiegare. Quello che voglio è solo che la gente si diverta. O che si annoi o che si senta frastornata. Annusateli, lasciatevi andare: è solo un film" E' giunta l'ora di fare una capatina in Oriente e nello specifico nel cinema di un grande maestro. Benvenuti nel mondo di Takeshi Kitano, artista poliedrico, regista e autore di film sofferenti, eccentrici, profondi e imprevedibili. Reduce dal grande successo ottenuto con il primo capitolo, Kitano dirige e scrive il secondo atto della trilogia di "Outrage". Aggiungendo così un nuovo tassello in quel tetro mosaico che è il Giappone contemporaneo devastato dalla globalizzazione e dalla Yakuza. Link per iscriversi ai servizi di Amazon: http://www.amazon.it/amazonprime?tag=pendente90-21   https://www.amazon.it/music/unlimited?tag=pendente90-21   https://www.primevideo.com/offers/ref=atv_nb_lcl_it_IT?tag=pendente90-21   https://www.amazon.it/kindle-dbs/hz/signup?tag=pendente90-21   http://www.amazon.it/joinstudent?tag=pendente90-21   https://www.primevideo.com/offers/nonprimehomepage/ref=atv_nb_lcl_it_IT?_encoding=UTF8&tag=exampleAssociateStoreID-21?tag=pendente90-21   https://www.amazon.it/tbyb/huc?pf=1&tag=AssociateTrackingID?tag=pendente90-21 --- Send in a voice message: https://podcasters.spotify.com/pod/show/madmike3/message

"Con i miei film, Non serve nessun sforzo, non c'è niente da capire, niente da spiegare. Quello che voglio è solo che la gente si diverta. O che si annoi o che si senta frastornata. Annusateli, lasciatevi andare: è solo un film" E' giunta l'ora di fare una capatina in Oriente e nello specifico nel cinema di un grande maestro. Benvenuti nel mondo di Takeshi Kitano, artista poliedrico, regista e autore di film sofferenti, eccentrici, profondi e imprevedibili. Kitano si è rimesso in carreggiata. Abbandonate la poesia e la sensibilità che avevano reso grandi i film più famosi del regista, "Outrage" inaugura una fase più "mansueta" e "commerciale" di Kitano che però non è affatto disprezzabile. Ha inizio così la trilogia Yakuza diretta e scritta da Takeshi Kitano, tornato al punto di partenza ma deciso a mostrare con sguardo critico il mondo della criminalità organizzata giapponese. Link per iscriversi ai servizi di Amazon: http://www.amazon.it/amazonprime?tag=pendente90-21   https://www.amazon.it/music/unlimited?tag=pendente90-21   https://www.primevideo.com/offers/ref=atv_nb_lcl_it_IT?tag=pendente90-21   https://www.amazon.it/kindle-dbs/hz/signup?tag=pendente90-21   http://www.amazon.it/joinstudent?tag=pendente90-21   https://www.primevideo.com/offers/nonprimehomepage/ref=atv_nb_lcl_it_IT?_encoding=UTF8&tag=exampleAssociateStoreID-21?tag=pendente90-21   https://www.amazon.it/tbyb/huc?pf=1&tag=AssociateTrackingID?tag=pendente90-21 --- Send in a voice message: https://podcasters.spotify.com/pod/show/madmike3/message

00:00 - 11:23 - Intro/Getting Any? 11:23 - 38:43 - Hana-bi revisited 38:43 - 1:07:55 - Dolls 1:07:55 - 1:34:07 - Malcolm in the Middle Our miniseries on the films of Takeshi Kitano/Beat Takeshi is back! we pick up where we left off on the last patreon episode post-Sonatine, talking about Getting Any? for a while before flashing back to our review of Hana-bi, Takeshi's signature crime classic. Then, we get into Dolls, Kitano's very strange and sad romantic anthology. Finally, we talk a bit about picking movies for the podcast, bad movies, and Zone of Interest. part 3 coming soon on the patreon! sign up and listen to part 1! https://www.patreon.com/Extended_Clip

"Con i miei film, Non serve nessun sforzo, non c'è niente da capire, niente da spiegare. Quello che voglio è solo che la gente si diverta. O che si annoi o che si senta frastornata. Annusateli, lasciatevi andare: è solo un film" E' giunta l'ora di fare una capatina in Oriente e nello specifico nel cinema di un grande maestro. Benvenuti nel mondo di Takeshi Kitano, artista poliedrico, regista e autore di film sofferenti, eccentrici, profondi e imprevedibili. Kitano decide di chiudere (finalmente) la sua Trilogia sul Suicidio Artistico e lo fa con un film che affronta in maniera concreta la crisi vissuta da un artista, aggiungendo un po' di quell'umorismo grottesco che da sempre caratterizza il suo cinema. Il risultato è il perfido "Achille e la tartaruga" e da qui in poi la carriera di Takeshi Kitano non sarà più la stessa. Link per iscriversi ai servizi di Amazon: http://www.amazon.it/amazonprime?tag=pendente90-21   https://www.amazon.it/music/unlimited?tag=pendente90-21   https://www.primevideo.com/offers/ref=atv_nb_lcl_it_IT?tag=pendente90-21   https://www.amazon.it/kindle-dbs/hz/signup?tag=pendente90-21   http://www.amazon.it/joinstudent?tag=pendente90-21   https://www.primevideo.com/offers/nonprimehomepage/ref=atv_nb_lcl_it_IT?_encoding=UTF8&tag=exampleAssociateStoreID-21?tag=pendente90-21   https://www.amazon.it/tbyb/huc?pf=1&tag=AssociateTrackingID?tag=pendente90-21 --- Send in a voice message: https://podcasters.spotify.com/pod/show/madmike3/message

"Con i miei film, Non serve nessun sforzo, non c'è niente da capire, niente da spiegare. Quello che voglio è solo che la gente si diverta. O che si annoi o che si senta frastornata. Annusateli, lasciatevi andare: è solo un film" E' giunta l'ora di fare una capatina in Oriente e nello specifico nel cinema di un grande maestro. Benvenuti nel mondo di Takeshi Kitano, artista poliedrico, regista e autore di film sofferenti, eccentrici, profondi e imprevedibili. I deliri di "Takeshis'" non furono un caso isolato e quindi Kitano rincara la dose con "Glory to the Filmmaker", esperimento malriuscito che rende più tangibile la crisi creativa vissuta dal regista a suo tempo. Link per iscriversi ai servizi di Amazon: http://www.amazon.it/amazonprime?tag=pendente90-21   https://www.amazon.it/music/unlimited?tag=pendente90-21   https://www.primevideo.com/offers/ref=atv_nb_lcl_it_IT?tag=pendente90-21   https://www.amazon.it/kindle-dbs/hz/signup?tag=pendente90-21   http://www.amazon.it/joinstudent?tag=pendente90-21   https://www.primevideo.com/offers/nonprimehomepage/ref=atv_nb_lcl_it_IT?_encoding=UTF8&tag=exampleAssociateStoreID-21?tag=pendente90-21   https://www.amazon.it/tbyb/huc?pf=1&tag=AssociateTrackingID?tag=pendente90-21 --- Send in a voice message: https://podcasters.spotify.com/pod/show/madmike3/message

"Con i miei film, Non serve nessun sforzo, non c'è niente da capire, niente da spiegare. Quello che voglio è solo che la gente si diverta. O che si annoi o che si senta frastornata. Annusateli, lasciatevi andare: è solo un film" E' giunta l'ora di fare una capatina in Oriente e nello specifico nel cinema di un grande maestro. Benvenuti nel mondo di Takeshi Kitano, artista poliedrico, regista e autore di film sofferenti, eccentrici, profondi e imprevedibili. Ha inizio la Trilogia del Suicidio Artistico di Takeshi Kitano. Un trittico di film barocchi, autoreferenziali e ironici che mostrano un Kitano deciso ad analizzare la sua condizione d'artista. Cominciamo con "Takeshis'", analisi metacinematografica sul mondo dello spettacolo e sul ruolo di Kitano all'interno di esso. Link per iscriversi ai servizi di Amazon: http://www.amazon.it/amazonprime?tag=pendente90-21   https://www.amazon.it/music/unlimited?tag=pendente90-21   https://www.primevideo.com/offers/ref=atv_nb_lcl_it_IT?tag=pendente90-21   https://www.amazon.it/kindle-dbs/hz/signup?tag=pendente90-21   http://www.amazon.it/joinstudent?tag=pendente90-21   https://www.primevideo.com/offers/nonprimehomepage/ref=atv_nb_lcl_it_IT?_encoding=UTF8&tag=exampleAssociateStoreID-21?tag=pendente90-21   https://www.amazon.it/tbyb/huc?pf=1&tag=AssociateTrackingID?tag=pendente90-21 --- Send in a voice message: https://podcasters.spotify.com/pod/show/madmike3/message

Ya está aquí, con un poco de retraso por las efemérides, el programa anual de Sitges, donde podréis apuntaros todas las pelis interesantes que habrá en el terror y en el fantástico los próximos meses. Este año ha estado cargado de buen material y, al revés de lo que pudiéramos pensar, no está todo inventado gente. Me acompañan amigos de todo el país, Sevilla, Madrid y Barcelona, para que tengáis una opinión vaga, chula o agarrada. Bucles temporales que siguen de moda, poseídos jodidisimos, sexo con furros, Adele, pelis de acción Koreanas buenerrimas, Kitano haciendo de las suyas, películas de plastilina de estas que tardan cuatrocientas decadas en acabarlas, el nuevo anime de Toriyama y ¡¡un sin fin de peliculones tetes!!

The  @HouseOfGloryWrestling  Cruiserweight Champ, Joins me to talk, anime and Hip hop influences in his character fromm Afro Samurai, Wu Tang and more. Repping the house of glory Flag where ever he goes, His love anbd passion for pro wrestling and more. Check the LINK TREE BELOW for more content and Merch https://linktr.ee/StraightTalkWrestling

The  @HouseOfGloryWrestling  Cruiserweight Champ, Joins me to talk, anime and Hip hop influences in his character fromm Afro Samurai, Wu Tang and more. Repping the house of glory Flag where ever he goes, His love anbd passion for pro wrestling and more. Check the LINK TREE BELOW for more content and Merch https://linktr.ee/StraightTalkWrestling​  

THIS WEEK: Sonatine (1993), Kids Return (1996) and Hana-bi (1997)The third time is the charm in our exploration of Takeshi Kitano. We've finally ventured beyond his odd late career dalliances and into the 90s, when Kitano felt like the most vital filmmaker on the goddamn planet.Support Optimism Vaccine on Patreon

Collectif Dawa reçoit Teddy Kitano lors de sa résidence mensuelle sur Tsugi Radio. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

After wearing masks in public for three long years, many Japanese are signing up for smiling classes to learn how to smile again without looking awkward.在公共场合戴了长达三年的口罩后，许多日本人都报了微笑培训班，学习如何看起来自然地微笑。Smiling used to be a natural response, but apparently, three years of hiding behind a mask have left many Japanese unable to smile naturally. Some of them are now paying so-called smiling educators to teach them how to display their pearly whites again without looking awkward. They participate in specialized classes where they are taught how to stretch and flex various parts of their faces and even their neck muscles to smile properly and actually convey happiness without looking weird.微笑原本是自然反应，但显然在戴了三年口罩后，许多日本人已经不会自然地微笑了。有些人现在付费给所谓的微笑培训师，让他们来教自己如何再次展露看上去自然的笑颜。他们参加专业课程来学习如何伸展和绷紧脸部的不同部位甚至颈部肌肉来绽放自然的笑容，看上去快乐又不会显得奇怪。"A smile is only a smile if it's conveyed,” Keiko Kawano, a radio personality-turned-entrepreneur, told The Japan Times. “Even if you're thinking about smiling or that you're happy, if you have no expression, it won't reach the audience.”曾是广播名人的企业家川野惠子告诉《日本时报》：“笑容只有表现在脸上才能算是笑容。即使你心里想微笑或你很快乐，如果你面无表情，观众也不会知道你在笑。”Kawano said that she has taught smiling classes to around 4,000 people so far and has also helped train around 700 certified “smile specialists” since she started her work in 2017. However, demand for her services has skyrocketed recently after people started giving up the medical masks they have been wearing for the last 3 years.川野说，迄今为止她已经给约4000人上了微笑培训课，而且自从2017年开始从事微笑培训以来，已经帮助培训了约700名获得认证的“微笑专家”。然而，自从人们开始摘下戴了三年的医用口罩后，最近她的这一服务需求量暴增。"I've heard from people who say that even if they're able to remove their masks, they don't want to show the bottom half of their faces, or that they don't know how to smile anymore,” smile trainer Miho Kitano said. “Some say that they see more wrinkles around their eyes after using them more to smile, or they feel like their face is drooping because they haven't been using it as much as before.”微笑培训师北野美穗说：“我听人们说，他们即使能摘下口罩，也不愿意露出自己的下半张脸，因为他们已经不知道怎么笑了。有些人说，他们在笑的时候会更多地用到眼部肌肉，结果在眼角看见了更多皱纹，还有人说，因为他们不像以前那样经常笑，所以觉得自己的脸部肌肉开始下垂。”Smiling instructors like Kitano claim that exercising one's smile is just like training other parts of the body. It's all about the muscles, so exercising the expressive facial muscles is the most important thing.北野和其他微笑培训师表示，训练如何微笑就和训练身体其他部位一样。微笑就是肌肉运动，因此训练富于表现力的面部肌肉是最重要的。A standard smiling education class begins with a stretching session, after which participants are asked to pick up small handheld mirrors and observe themselves as they follow the instructions of a trainer who teaches them how to flex their facial muscles to convey the warmest and brightest expression of happiness possible.一节标准的微笑培训课是以伸展运动开始的，然后培训师会让参与者拿起一把手持小镜子一边观察自己，一边按照培训师的指令来伸展面部肌肉，尽可能呈现出最温暖最明亮的快乐笑容。Interestingly, instructional smiling classes have been a part of Japanese culture for several decades, because of the people's notorious difficulty to convey their feelings through facial expressions, but they've once again risen in popularity after the Covid-19 pandemic restrictions were lifted.有趣的是，微笑培训课作为日本文化的一部分已经有几十年的历史了，因为众所周知日本人难以通过面部表情来传达自己的感受。在新冠疫情限制措施解除后，微笑培训课又再次流行了起来。Smile英/smaɪl/ 美/smaɪl/v.微笑Trainer英/ˈtreɪnə(r)/ 美/ˈtreɪnər/n. 培训师

In questa puntata a consigliarvi (e sconsigliarvi) opere c'è la fantasticonissima Marterio. Abbiamo parlato di qualsiasi cosa: di Murasaki, di killer, un giorno in pretura, di Takeshi Kitano e la leggendaria serie "i soprano".Quindi? Siete ancora qui? Correte ad ascoltare la puntata!EVVIVA!instagram di MarterioCanale youtube di Marterio

前回に引き続きKuni YamagataさんとMasa Kitanoさんと一緒に雑談回です。WSロッテリー、2023年の予定、ロッキースラム、ポイズンオーク、リオの後のBBQ、日本のランニングクラブ、ヘッドランプ借りパク疑惑等々話しました。 Photo by Jesse Ellis @letswanderphotography MUSIC BY UKIYO smarturl.it/ukiyoau instagram.com/ukiyoau/

今回は去年に引き続き参戦したRio Del LagoとTeam JapanのエピソードをゲストKuni YamagataさんとMasa Kitanoさんと一緒に振り返りました。 MUSIC BY UKIYO smarturl.it/ukiyoau instagram.com/ukiyoau/

Welcome to Under the Ropes on the Indie Wrestling Corner. This show will feature host Tiffany as she interviews independent wrestlers/Promoters/Refs from all over! Today special guest is Nolo Kitano Twitter -https://twitter.com/nolo_kitano Facebook- https://www.facebook.com/nolo.kitano.77 Instagram- @Nolo_Kitano Merch - DM for Merch «««« Official Theme Song by This Wolf (Enough is Enough) »»»» YouTube: [http://bit.ly/Thiswolf](http://bit.ly/Thiswolf) # Wrestling #WrestlingCommunity #Sports #IndieWrestling #IndieWrestling #NoloKitano

This excerpt was taken from our LIVE services on Sunday mornings at Belmont Assembly of God - Chicago. Thanks for tuning in! If you're new to Belmont Assembly, check out the links below! www.belmontag.org/donate www.belmontag.org/guest-card Check out our Compass Kids online!  www.compasskids.us/athomeresources #belmontag #bagcompasskids #findingdirection

On this episode of the Japan Station podcast, Dr. Jonathan Wroot tells us about the movies of Ktano Takeshi, the fascinating history of the Zatoichi films, and more.. About Dr. Jonathan Wroot Dr. Jonathan Wroot is a senior lecturer in Film Studies at the University of Greenwich and the author of the book The Paths of Zatoichi: The Global Influence of the Blind Swordsman. Topics Discussed About the boom in Japanese films in the early to mid 2000s About Kitano Takeshi and his films On studying Asian cinema About Kitano Takeshi's Violent Cop About Kitano Takeshi's remake of Zatoichi About the Zatoichi films and their history Jidaigeki vs chanbara About the influence of Zatoichi on film and pop culture around the world The influence of Zatoichi on Daredevil About Shintaro Katsu About some of the differences int he Zatoichi films The Zatoichi TV show The original Zatoichi short story in which Zatoichi first appears The crazy finale of the Zatoichi film directed by Hiroshi Teshigahara About dubs and subtitling Voice actors in Japan that always do the same voices of Western actors Crazy Japanese commercials featuring Western celebrities And much more! Support on Patreon & Ko-fi If you enjoy Japan Station and want to ensure that we're able to produce more episodes, then please consider becoming a patron on Patreon.com. For a minimum pledge of $1 a month you'll get early access to all JapanKyo podcasts, bonus content, and more. And for $3 a month, you'll get access to Japanese Plus Alpha, a podcast produced by me (Tony Vega) that focuses on the Japanese language and all of its fascinating quirks. Also, all pledges get a shout-out on the show and my undying gratitude. Thank you in advance! Support Japan Station on Patreon You can also do a one time donation via Ko-fi. Support us on Ko-fi Links, Videos, Etc. To pick up a copy of The Paths of Zatoichi, you can use the link below. Remember to use the discount code LXFANDF30 to get 30% off (valid until the end of 2022). The Paths of Zatoichi: The Global Influence of the Blind Swordsman The link below is for the list of blog articles about Dr. Wroot's experience watching 30 Zatoichi films in 30 days. 30 Zatoichi films in 30 Days Here is Dr. Wroot's ranking of the Zatoichi films. From Best To Worst – My Opinions on the Zatoichi films Don't forget to check out the latest episode of Ichimon Japan. What is a famiresu? (About Japanese “Family Restaurants”) | Ichimon Japan 61 Follow Japankyo on Social Media Facebook (@JapankyoNews) Twitter (@JapankyoNews) Instagram (@JapanKyoNews) Full Show Notes Get the full version of show notes at https://www.japankyo.com/category/podcasts/japanstation/

www.FilmBustersPOD.co.uk | FilmBusters@outlook.comPATREON: https://www.patreon.com/filmbustersMERCH: https://society6.com/filmbustersSupport the show (https://www.patreon.com/filmbusters)

For Video Edition, Please Click and Subscribe Here: https://youtu.be/r-t5C2KGEW8 Daryl Sherman has been a part of the New York City jazz/cabaret scene since the mid-70s and she is one of the rare singing pianists equally talented in both roles. Sherman is a unique stylist with charm, quick wit, chemistry with her audiences and ability to make herself at home in any musical setting. When Artie Shaw formed a new band after his retirement, Sherman was his chosen singer, calling her "a first rate singer –musician”. Her CDs continue in regular rotation on Cable TV's Music Choice, Pandora,WNYC, WBGO Radio, BBC, Spotify. She's guested on Marian McPartland's NPR Piano Jazz (also guest host!) In Manhattan she's played Birdland Jazz, Jazz at Kitano, Mezzrow , Dizzy's Coca Cola, Iridium jazz club and the Algonquin's Oak Room. She's been a favorite at Highlights in Jazz concert series, Mabel Mercer Foundation Cabaret Convention, and Bryant Park Jazz Piano series, Midtown Jazz at St Peter's and JVC Jazzfest in NYC plus in Newport. Daryl has performed and recorded with notables: Artie Shaw, Dave McKenna, Ruby Braff , Joe Temperley, Dick Hyman, Mike Renzi, Bucky & John Pizzarelli, Jay Leonhart, Boots Maleson, Harvie S, Warren Vache, Bob Dorough , Jon-Erik Kellso, Scott Robinson, Houston Person, Wycliffe Gordon, Harry Allen, Scott Hamilton, Ken Peplowski, Wycliffe Gordon, Howard Alden, James Chirillo, The Anderson Twins, AND her dad, trombonist, Sammy Sherman. “Delightful, swinging, signature jazz sound, a stylistic compendium of Billie Holiday, Mildred Bailey and Blossom Dearie.' - Stephen Holden, New York Times

Elize Matsunaga assassinou o marido Marcos Kitano com um tiro na cabeça à queima-roupa e esquartejou o corpo em seis partes: cabeça, braços, tórax e pernas. O corpo de Marcos Kitano foi jogado na beira de uma rodovia em Cotia (SP). Elize era garota de programa e se casou com Marcos, com quem teve uma filha. Desconfiada de traições, Elize contratou um detetive, confirmou suas suspeitas e discutiu com o marido, que a ameaçou: "Eu tirei você do lixo e vou mandar você de volta para esse mesmo lixo". Nesse momento, Elize decidiu matar Marcos e se livrar do corpo.

If These Walls Could Talk with Wendy Stuart & Tym MossHosts: WENDY STUART & TYM MOSSSpecial guest: BEN CASSARAWednesday, October 6thEST LIVE from PANGEA Restaurant, NYCWatch LIVE on YouTube at Wendy Stuart TV: https://youtu.be/9onzal1KTc0Born and raised in NYC, Ben Cassara began singing around the family piano and went on to perform in both church and high school choirs which culminated in a televised performance at Carnegie Hall at the age of 16. He tried his hand at theater and after college performed in a number of Off-Off Broadway productions. However, music was his first love and it didn't take him long to start working in piano bars all around the city and in the tri-state area. After a time, Cassara realized he'd prefer to be a “front man” and a while back started studying with jazz vocal coach, Carol Fredette, and working with different jazz accompanists around the city. In 2013 Cassara released his first CD, “Sister Moon” on Chandler Records with Tedd Firth on piano, David Finck on bass and Bob Mallach on tenor, to great reviews. In 2014 he debuted his Bobby Troup Project at Jazz at Kitano and has since performed it at numerous venues in the New York, New Jersey tristate areas. He regularly performs at Jazz at Kitano and Cafe Notambula at Pangea, both in NYC, and Shanghai Jazz and Trumpets in NJ. Ben has also performed at the Mid Day Jazz Series at St. Peters Church, the Metropolitan Room, Something Jazz, Joe's Pub, The Pax Theater and for Project 142. Who else but hosts Wendy Stuart and Tym Moss could “spill the tea” on their weekly show “If These Walls Could Talk” live from Pangea Restaurant on the Lower Eastside of NYC, with their unique style, of honest, and emotional interviews, sharing the fascinating backstories of celebrities, entertainers, recording artists, writers and artists and bringing their audience along for a fantastic ride.Wendy Stuart is an author, celebrity interviewer, model, filmmaker and hosts “Pandemic Cooking With Wendy,” a popular Youtube comedic cooking show born in the era of Covid-19, and TriVersity Talk, a weekly web series with featured guests discussing their lives, activism and pressing issues in the LGBTQ Community.Tym Moss is a popular NYC singer, actor, and radio/tv host who recently starred in the hit indie film “JUNK” to critical acclaim.

Joyce Kitano, Director of Chi Alpha Japan, shares about doing ministry in Japan and God's heart for missions.

Dan Boeckner of Operators and Wolf Parade joins the pod today from Montreal to discuss Tha God Takeshi Kitano. Outside his homeland Kitano is best known for his prizewinning violent crime dramas, but in Japan “Beat” Takeshi is a superstar TV comedian whose serious arthouse film career was not taken seriously there for several years. Dan and I discuss two of Kitano's films that exemplify his singular comic sensibility: the deadpan Boiling Point (1990) and the galaxy-brained sex comedy Getting Any? (1994), two films about the plight of the young, frustrated Japanese male oaf, and the culture that made him this way. Plus: a celebration of Takeshi Kitano the god of video game design with a look at his hilarious and impossible-to-play eighties game Takeshi's Challenge (marketed to children!), and some thoughts about the new Adam Curtis documentary series Can't Get You Out Of My Head. Follow Dan Boeckner on Twitter Dan just launched a new Canadian politics podcast with Riley Quinn: The Bottlemen. The incredible karaoke scene from Boiling Point (Kitano, 1990) Trailer for Getting Any? (Kitano, 1994)