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My guest today is Sugandhi Matta, Chief Impact Officer at ABC Impact – the largest Pan-Asian impact-dedicated private equity fund, with nearly $900 million in AUM.Sugandhi began her career focused on growth and returns — first at Temasek, and later at Actis. But after a breast cancer diagnosis in her early thirties, she returned to work with a new question: What if she could apply her investing skills to businesses solving real problems?That question led her to LeapFrog Investments — and eventually to ABC Impact, where she became one of the founding partners. From the ground up, she helped build a fund that integrates impact into every step of the investment process, from deal screening to reporting.Today, ABC Impact invests across four themes:Climate and water solutionsFinancial and digital inclusionBetter health and educationSustainable food and agricultureSugandhi leads the firm's impact team. They developed a proprietary system rooted in the five dimensions of the Impact Management Project and tailored to ABC's sectors.The internal language centers on three Cs: consistency, comparability, and communicability. It's a disciplined approach – built to align intention, data, and outcomes across the portfolio.Sugandhi's goal is to hold impact to the same standard as IRR.However, she points out that the burden of proof is often uneven. Expected returns are taken at face value. Impact is asked to justify itself at every turn. Because investors don't yet trust its metrics the way they trust financial ones.The double standard isn't just about data. It's about gender, too.As one of the few female investment leads in Asia's private equity ecosystem, Sugandhi has had to thread her way through what she calls the “quiet skepticism” – the unspoken assumptions around risk appetite, ambition, or expertise.Even now, she's often the only woman in the room with GPs or LPs. She doesn't lead with gender, but she's aware of how it plays out. The skepticism is often unspoken, but present.Over time, she's learned not to internalize it. Instead, she focuses on the work, knowing that – fairly or not – being a woman in this space can mean having to prove yourself just a little more.—Connect with SRI360°:Sign up for the free weekly email updateVisit the SRI360° PODCASTVisit the SRI360° WEBSITEFollow SRI360° on XFollow SRI360° on FACEBOOK—Additional Resources:ABC Impact websiteABC Impact LinkedInSugandhi Matta LinkedInABC's 2020 Impact ReportABC's 2024 Impact ReportInsights from Dalberg and ABC Impact's User-Centered Study—SRI360 interviews mentioned:

We're living through a moment of global upheaval—where the old order is crumbling, and the future feels dangerously uncertain. At the heart of this instability is the evolving, uneasy relationship between the U.S. and China: two powers with the ambition and capacity to shape whatever comes next, yet with fundamentally different worldviews. In this episode of New Thinking for a New World, we hear from Chandran Nair, founder of the Global Institute for Tomorrow, a Pan-Asian think tank. Speaking from an Asian perspective, Nair argues that China may be more clear-eyed than the West about how the world should work. Is he right? Listen and decide for yourself.

Last time we spoke about Manchukuo. In the early 1930s, Ishiwara Kanji sought to dominate Manchuria to secure resources and counter American influence. He envisioned Manchukuo as a Pan-Asian league promoting racial cooperation, despite it being a puppet state under Japan. With Puyi as a figurehead, Ishiwara aimed for autonomy, but his plans faced resistance from the Kwantung Army, which prioritized control. As conflicts arose, Ishiwara's vision of unity clashed with military interests, leading to his eventual isolation and reassignment, marking a tumultuous chapter in Manchukuo's history. In November 1931, Doihara orchestrated the "Tianjin Incident," facilitating the removal of Puyi from his home to establish the puppet state of "Manchukuo." By March 1932, Puyi was declared its ruler, but his authority was merely symbolic, overshadowed by Japanese control. Despite international condemnation, Japan solidified its grip on Manchuria, exploiting its resources and suppressing local resistance. By the late 1930s, Manchukuo became a colonial entity, suffering under harsh economic policies while Puyi's regime served as a facade for Japanese imperial ambitions.   #146 Operation Nekka: the Invasion of Rehe 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. From the very beginning of their consolidation of Manchukuo, the Kwantung Army regarded the province of Rehe, today's Jehol province, to be an integral part of it. According to some of the Kwantung Army leadership, all of Rehe would be necessary to consummate Manchukuo. In April of 1932, the IJA 8th Division based at Hirosaki in Aomori prefecture was transferred to Manchukuo under secret orders to prepare for an invasion of Rehe. Now Rehe province covers 160,00 square kilometers and back then held some 2.3 million people. Since 1926 it was ruled by General Tang Yulin. His direct command was over the NRA 36th division, consisting of 13,000 regular troops with a provincial militia of 8500 men. As was the Warlord practice of the time, Tang Yulin exploited his population. Now until July of 1932, Tang Yulin's attitude towards the emerging state of Manchukuo directly to his east was certainly favorable. That is because Tang Yulin favored the Japanese. During the debacle that was the invasion of Manchuria, Tang Yulin had done everything possible to prevent Zhang Xueliang from moving into Rehe whenever he was trying to consolidate forces there. Now Tang Yulin had no greater aspirations, its not like he loved Japan, or believed the Japanese were better leaders for his nation. What he was motivated by was a very practical concern, economics, more precisely the opium trade. Rehe number one source of income was opium, and they number one purchaser of it, was Manchuria. Thus as one can imagine, when Manchukuo was being formed, and the opium door closed on him, well he took heavy financial losses.  On July 17th of 1932, an incident broke out between the towns of Chaoyangxu and Nanling. A Japanese civilian employed by the Kwantung Army, Ishimoto Gonshiro was abducted by a Rehe militia group while taking the train from Jinzhou to Chaoyang. General Nishi Yoshikazu, the commander of the IJA 8th Division stationed at Jizhou, dispatched a small unit to rescue Ishimoto. In doing so they occupied Chaoyangxi, where they also protested the Rehe provincial government. This did not see Ishimoto handed over to them, so General Nishi bombarded Chaoyangxu and then had his forces advance upon Nanling. Even doing so, no Ishimoto to be found. So Nishi withdrew back to Jinzhou. The following year during what would become the invasion of Rehe, Ishimoto's body would be found at Chaoyangxu. Zhang Xueliang utilized this small incident to advance into Rehe. Claiming he was acting upon orders from Nanjing, he moved his Northeastern Army to the border of Rehe, due south of the Great Wall. Zhang Xueliang then threatened Tang Yulin and bribed his subordinates to defect over to him. Consequently, by late July, Tang Yulin tossed the towel and for the first time sanctioned passage of a volunteer army through Rehe. Come August Zhang Xueliang organized a volunteer force 40,000 strong, obviously all from his Northeastern army to advance from Gubeikou into Rehe, where he sought to confront the Kwantung Army if they advanced. Zhang Xueliang was heavily in contact with Chiang Kai-Shek during this period. Zhang Xueliang was making multiple proclamations about retaking Manchuria, and Chiang Kai-Shek was supporting him in that endeavor as best as he could. Meanwhile Tang Yulin was sort of stuck in the middle.  Between October 1932 to January 1933, Shanhaiguan, the strategic gateway and midpoint between Mukden and Beijing became the focal area of 3 major skirmishes.  The Boxer Protocol of 1901 dictated that some of the 8 nation alliance members, notably, France, Italy and Japan were allowed to maintain small contingents at Shanhaiguan. In 1932, the Japanese garrison there was 261, France had 61 men and Italy 69. After the establishment of Manchukuo, Japan had increased its garrison to have some more border guards in the town of Shanhaiguan itself. Of course the Chinese also had local troops, that was the 9th Independent Brigade commanded by Ho Chukuo, a force roughly of 9000 men. The first skirmish at Shanhaiguan broke out on October 1st, between Ho Chukuo's men and an armored train of troops from the IJA 8th Division. Another exact same event occurred on December 8th, both occasions were settled locally and peacefully with the Chinese offering an apology and indemnity payment. Then a third clash broke out on January 1st, but this one got out of hand.  The mastermind behind the third incident was Major Ochiai Jinkuro, the leader of the Japanese garrison at Shanhaiguan. Upon his orders, at 9pm, 3 Japanese soldiers tossed two hand grenades each into the backyard of the Japanese military police detachment and the railway track running in front of the Japanese garrison. This was of course immediately blamed upon the Chinese and at 11:30 pm Ochiai presented the local Chinese with 2 demands. The first was to evacuate the Chinese force and the second to allow the Japanese to occupy their south gate at Shanhaiguan for the time being. Now the Japanese had legitimate pretext for these demands based off the Boxer Protocol. It allowed them the right to ensure the security of the railway and telegraph lines and to defend their citizens and property within two miles of the railway zone. Since Ho Chukuo's troops allegedly disturbed the peace in said zone, the Japanese were in their right to ask them to depart.  According to Japanese sources, the Chinese refused at first then consented at 4:50 am on January 2nd. This effectively saw them surrender the south gate. However at 9:30 am the chief of staff for the Chinese Brigade requested that the takeover of said gate be postponed until the scheduled arrival of Ho Chukuo, coming over from Beiping. Ochiai turned down this request, whereupon the Chinese agreed that the south gate would be included within the area overseen by the Japanese. Yet at 10:50 am Japanese troops went to take over guarding the south gate whence Chinese guards tossed grenades at them. Yes, it is most certainly the Japanese who tossed those grenades. The Chinese account of this event is somewhat different. It asserts the Japanese attacked the gate while the issue of surrender was still being negotiated. By January 11th, China sent a formal appeal to Britain, France, the US and other signatories of the Boxer Protocol charging the Japanese for perverting the treaty to seize the south gate of Shanhaiguan. Meanwhile General Ho Chukuo called Ochiai from Qinhuangdao to tell him he would arrive by 8am on January 3rd to negotiate. But by 10am he failed to show up, as the Chinese and Japanese fired upon another. Ochiai thereupon resolved to take the south gate by force. By that point the IJA 8th Division had strengthened its position in front of Shanhaiguan. Two companies had become 10 and one air force company was made ready to strike. Additionally the commander of the 2nd China Fleet, Tsuda Shizue dispatched Hirado and the 16th Destroyer Squadron to Shanhaiguan and Qinhuangdao “to defend Japanese residents and assist the troops in case of hostilities”. At dawn on January 3rd, the Japanese launched a combined land, sea and air assault and by 2pm had taken Shanhaiguan. Ho Chukuo's forces were pushed to the Shih River where they were reinforced during the night and hastily constructed fortifications against the incoming Japanese. Henceforth a propaganda war emerged over Rehe. Japan charged that Zhang Xueliang was mobilizing large forces to advance into Rehe, while China claimed the same of the Japanese. The Chinese protested the Japanese seizure of Shanhaiguan, but none of the western powers would intervene. However the League of Nations constant condemnation of Japan ever since the Mukden incident provoked the Japanese on march 27th to simply walk out on the league. The ordeal also prompted Prince Saioji Kimmochi to dispatch Major General Umezu Yoshijiro, the chief of General affairs of the army general staff and Consul Tanaka Sotaro of the foreign ministry to go over and restrain the unruly troops at various positions in the Beiping-Tientsin region. Saionji's main concern was elevated by Army Minister Araki Sadao, who on March 6th stated to Harada Kumao “that if Japan were to land about 3 divisions at Qingdao and they strike into the Peiping-Tientsin region via Tsinan, Zhang Xueliang will probably flee even before they reach Tsinan. If we do anything at all, I'd like to act boldly and go that far”. Despite claims by various sources, mostly Chinese, the Shanhaiguan incident as it became known was not actually preplanned by the Kwantung Army, it really was an arbitrary act on the part of the garrison commander. How everything went down at Shanhaiguan provided vital intel on the Northeastern Army, and what to expect in Rehe. In December of 1932, the IJA 6th Division was dispatched to Manchuria and assigned security detail in southern Jilin province. They were given further secret orders to participate in what was going to be an operation in Rehe once they arrived to Manchuria. When the Shanhaiguan incident broke out, the Rehe operation was expedited rapidly. Therefore the IJA 6th and 8th Divisions west of the Liao River were immediately tossed into the operation. Given the foreign and domestic conditions, the Rehe operation was extremely dangerous. Tokyo HQ yet again sought to reign in the men, so they sent General Umezu to Manchuria to talk to the Kwantung leadership. The Kwantung leadership was adamant the operation be unleashed before the spring that, provided the operation did not extend beyond the Great Wall. To this Tokyo HQ yet again relented.  On January 27th of 1933, General Muto Nobuyoshi, then commander of the Kwantung Army, issued the following general order for the Rehe operation designated, Operation Nekka “The situation in Jehol has become increasingly serious day by day and has now developed into a state of affairs necessitating intervention. To strengthen the foundations of Manchukuo, the time is close at hand, as far as military operations by the Kwantung Army are concerned, to put the finishing touch on our sublime task. First, the affairs of Jehol province are unquestionably an internal problem of Manchukuo. They neither embrace nor are accompanied by any international implications. Because subjugation of the province is designed to strike a fatal blow to anti-Manchukuo, anti-Japan elements, these elements purposely confuse the distinction between Jehol and North China. They move troops into the province and, glossing over these matters, raise a loud outcry, propagandizing that Japan harbors designs of territorial aggression. In this manner they have endeavored to draw the restraining attention of the world, and every move of the Kwantung Army in Jehol—even the slightest raising of a hand or the stretching of a leg—is now the object of worldwide surveillance” At this stage the Kwantung Army treated the Rehe Operation as an internal matter of Manchukuo and did not openly talk about extending it beyond the Great Wall into Hubei. But their gunna. On January 26th, General Muto issued Order 466, kinda funny how its almost order 66, but I digress. This order directed the IJA 6th and 8th Divisions to prepare to invade Rehe. On February 9th, Muto drafted the “Rehe Subjugation Plan” to some staff officers. It stated “without specific orders, operations are not to be carid out in Hubei”. It also stipulated they should “foster and promote a climate leading to the downfall of Zhang Xueliang in North China, which is the strategic base for the disturbance of Manchukuo”. On February 27th, Muto issued Order 473 which repeated to the men again not to move into Hubei. On the 29th, Muto issued another  order “The subjugation of Jehol is purely and simply an internal problem of Manchukuo. In the light of our national policy, it must not develop into a provocation for war with China. This is why Kwantung Army Operations Order 473 stipulated that, unless specific orders are issued, operations are not to be conducted beyond the Great Wall in Hopei province. I fully expect you to issue strict orders to the various units under your command that, although our forces may act freely in Jehol, which is a part of Manchukuo, they are not, without an imperial command, allowed to take any action in Hopei province, which is separated from Jehol by the Great Wall. They should be admonished that, even in the light of local circumstances, they must never be blinded by tactical considerations and miss the main point of our national policy. (In particular, the garrison at Shanhaikuan should be doubly careful and not act beyond its authorized limits.) I have learned that His Imperial Majesty, the supreme commander, is gravely concerned about the foregoing and again issue these instructions in awe of His Majesty's concern”. Thus one can read between the lines here. Emperor Hirohito put his foot down and demanded no forces go past the great wall and to this the Kwantung Army obeyed. For Operation Nekka, the IJA 6th and 8th Division would have their own theaters of operation along a line running from Paotzu, the eastern most town in Rehe to Chaoyang. The northern zone was the IJA 6th divisions theater, the southern one was the 8th's. Geneal Sakamoto Masemon led the 6th Division and ordered his forces on February 23rd to advance north along the rail line between Tahushan and Tungliao, then on towards Tienshan, Xiawa and Chaoyang. Afterwards they would carry out operations in the Chifeng-Linxu-Tolun region.  General Nishi ordered his 8th Division, excluding one unit to advance along the border around Peipiao, towards Suichung on the 27th, then into the Lingyuan region. The other unit would secure as fast as possible the important gateways along the Great Wall of China: Qilingkou, Lenkou, Xufengkou, Lowenyukou and Manlankuan to protect their divisions flank. Afterwards they would seie Chengde and Gubeikou. However he also gave explicit orders "Without specific orders, operations must not be extended beyond the Great Wall into Hopei province,". So yeah, while they had direct orders to not advance beyond the Great Wall. . . they were going to basically capture all of the key passes of the Great Wall. Kind of playing with fire.  On the other side, on January 23rd, Zhang Xueliang was meeting with Chiang Kai-Shek and our old friend Duan Qirui to discuss how to prepare for what seemed to be an impending invasion of Rehe. Chiang Kai-Shek politely said to Duan Qirui "I sincerely hope that you will come south and give me your guidance at this time of national crisis,". The real reason he sent this request was because he did not want the Japanese to enlist their former lacky against him. At the meeting, according to a Japanese intelligence report, Zhang Xueliang insisted that Chiang Kai-Shek personally come north and assume direct command of the Northern troops. Chiang Kai-Shek refused on the grounds he had to deal with the communists in Jiangxi and sent in his place Yang Que, the current president of the Army Staff College and a graduate of the Japanese Army War College. Yang would arrive to Peiping with his staff on January 30th, where he devised a plan for joint operations with Zhang Xueliang. They anticipated the Kwantung Army would cross the Great Wall at Shanhaiguan, so their basic strategy was to concentrate a large force in its region, especially east of the Luan River. That forces mission would be to defend at all costs the front line at Qinhuangdao. The Japanese intelligence indicated the Chinese had roughly 50,000 men, including 7700 men of the 25th Division ld by Kuan Lincheng and 12800 men of the 2nd Division led by Yang Que who were sent to Miyun and Gubeikou. There were also reports that ancient art objects and documents from Peiping were being transported to Nanjing, beginning on January 10th. To the Chinese public this was shocking news as one could imagine. Operation Nekka was unleashed and showcased the rapid efficiency of the Kwantung Army. By March 2nd, the IJA 6th Division routed the 41st Army of General Sun Tienying; the IJA 14th Mixed Brigade of the IJA 8th Division captured the Lengkou pass on March 4th; while the Kawahara detachment captured Chengde near the border with Hubei. General Nishi then assembld his main force at Lingyuan as the 14th Mixed Brigade withdrew to Chapeng. On March 4th, Muto issued Order 480, directing the troops "to make preparations for operations in North China, firmly seizing the major passes along the Great Wall, mopping up resistance by remnant troops and bandits, and restoring peace and order in Jehol province." One unit of the IJA 8th Division was given the task of seizing the Gubeikou Pass and advanced to such on the 7th. Within the vicinity of Changshanyu, around 40 kilometers southwest of Chengde, they encountered 5000 advancing Chinese forces. Here one of the first of many fierce battles along the Great Wall came to be. Until roughly March 20th, the Kwantung Army was met with fierce counterattacks, coming from the main gateways of the Great Wall. Initially the fighting went tremendously wall for the Japanese, yet by March 10th, the 14th Mixed Brigade had taken Tungqiaku, Tiehmenkuan and Xifengkou. Two days later the IJA 8th Division began an assault upon Gubeikou. Nishi then sent the Hayakawa Brigade to seize Lowenyukou. Then on the 10th, after receiving reports the main passes were secured, General Muto took his HQ from Jinzhu to Changchun, believing everything was already won and done. However he would be very wrong, they had misjudged the Chinese strength.  On the 13th, Muti and Nishi received a report, that on the night of the 10th, the 14th Mixed Brigade at Xifengkou had come under heavy attack by a Chinese force led by General Song Qeyuang. Reinforcements were rapidly sent over, but they were unable to relieve the trapped brigade. On the 14th, Muto ordered Genera Sakamoto to lead the Mukai unit from the 6th Brigade to help out. With this the Chinese forces were driven off and then the Japanese began assaults upon Lengkou, Lowenyukou and Quehlingkou. On the 16th, the IJA 8th Division took Quehling, but the next day received a vicious counterattack by the NRA 116th Division. At Lowenyukou the Hayakawa Brigade was counterattacked by Song Cheyuan. The Hayakawa Brigade was still able to secure on portion of the Great Wall, it was constantly under attack and unable to progress further.  On the 22nd, Nishi was forced to order his Brigade to pull back to Chengde. Over at Lengkou, the Mukai unit managed to capture the town as the 14th Mixed Brigade at Xifengkou was attacked by the NRA 139th Division. Unable to repel the counterattacks, Nishi ordered his forces back 13 kilometers on the 24th. The battles at Quehlingkou and Lowenyukou were very intense. On March 18th, Muto realized the casualties were severe and taking the gateways was not showing progress. He therefore decided to divert the 6th Divisions attention to Lengkou in a flanking maneuver aimed at severing the Chinese supply lines to the gateways and as a result this would extend operations south of the Great Wall into the region east of the Luan River. Thus there we have it, they were going past the Great Wall against Emperor Hirohito's orders.  Operation Nekka, similar to Operation Jinzhou was deemed essential to establish and protect Manchukuo. However while the battles along the Great Wall were deemed necessary to create the borders for Manchukuo, their extension past that boundary literally brought them into the heart of North China. Unlike in Manchuria, the Chinese forces in North China held excellent morale, they were very willing to fight. On top of that, they had better logistics and were fighting on top of the Great Wall, which offered significant advantages. Thus from a tactical standpoint, the Japanese had to seize the gateways and flush out the Chinese from the areas. The Chinese remained defiant. Atop the walls the Chinese defenders would shout at the Japanese waving anti-Manchukuo and anti-Japanese flags.  Outside the ongoing battle, Chiang Kai-Shek had his own, perhaps in his mind, more important battle, the one with the communists. The encirclement campaigns had all gone to shit thus far. Added to this was the invasion of Manchuria and Shanghai. As Chiang Kai-Shek would later put it "tantamount to subjecting the Government to a pincer attack both from within and without." Basically Chiang Kai-Shek could choose to focus on the Japanese or communists. He figured going into a full war against Japan would be the end of himself and his government. Thus he worked to reach an agreement with the Japanese in May of 1932 which had ended the Shanghai incident. After doing so he released a slogan "first internal pacification, then resist external aggression". Upon doing so he unleashed his full attention upon the communists. As we have seen, Chiang Kai-Sheks last encirclement campaign proved successful. But as he was in the middle of it, Operation Nekka was unleashed. It looked extremely bad for Chiang Kai-Shek, for the KMT and for China in general. On March 20th, as a gesture to indicate to the masses Chiang Kai-Shek was doing his job, he dispatched 5 divisions, roughly 50,000 men from the Central Army north. Chiang Kai-Shek personally traveled north from Hankou to Beiping, but no further than that. Back on the 10th he had received the resignation of Zhang Xueliang, who had publicly been calling for a massive war against Japan so that Manchuria could be recovered. Chiang Kai-Shek had to replace him with General He Yingqin.  Another major development at this time, was our old and dear friend who never causes any trouble, Wang Jingwei returned from I believe his 20th time in exile. He came to resume his post as president of the Executive Yuan. Yet again Wang Jingwei was trying to reconcile with Chiang Kai-Shek. In reality and as many of you might guess, the only reason Chiang Kai-Shek never had this guy shot was because Wang Jingei had the firm backing of the left, thus in order to really grab the majority of the political class he had to play nice with him. For Wang Jingwei's part, much like starscream in transformers, yes I am using this as an analogy, hes just trying to overthrow megatron every chance he gets, but always fails like a dumb idiot. There was also the dichotomy between the two men. Wang Jingwei was seen as a civilian leader while Chiang Kai-Shek was seen as a military leader. So together they seemed like a perfect team, despite the fact they loathed each other. So Wang Jingwei became the civil administrator while Chiang Kai-Shek focused on the military. In regards to Japan, Wang Jingwei was following a conciliatory policy of "resistance on the one hand and negotiation on the other,” based on Chiang Kai-Sheks slogan "first internal pacification, then resist external aggression."  Following a fight with Zhang Xueliang in August of 1932 over the issue of defending Manchuria against the Kwantung Army, Wang Jingwei had resigned, trying to strongarm Chiang Kai-Shek to get rid of the young marshal. Thus like what had happened countless times before, Wang Jingwei said he was out on sick leave, and departed for Europe for supposed treatment. When he returned 6 months later, Operation Nekka had begun, although the Japanese troops had not yet then reached the Great Wall. Wang Jingwei immediately became acting foreign minister in place of Lu Wenkuan, a supporter of Zhang Xueliang, who was notably anti-japanese. Wang Jingwei kicked Lu Wenkuan over to Xinjiang to deal with some conflicts breaking out there, fun times for him as we know.  Meanwhile He Yingqin had been placed as the head of the Peiping branch military council, entrusted with control over all military matters in North China. He Yingqin went to work reorganizing the forces in north china in mid March, forming them into an effective battle order to face the Japanese. By bringing together the local, very disorganized forces into a unified command, He Yingqin hoped they would be capable alone to block the Japanese advance, leaving the central army out of the conflict. This was because Chiang Kai-Shek did not want to risk losing his central army, considered the most elite one in all of china. But Chiang Kai-Shek did come around to the idea of at least testing some units against the Kwantung forces. Above all Chiang Kai-Shek wanted to have his cake and eat it to. He wanted he population of China to think he was actively resisting, while in reality he was biding time. Central army units deployed around Gubeikou, the main gateway leading to the Peiping-Tientsin region. When the Kwantung army leaders were planning operation Nekka, they had believed it would not be necessary to go beyond the Great Wall, but once the fighting around the walls and gateways kicked off, they knew immediately they could not hope to take the wall areas without getting behind the enemy. Particularly they needed to get past the area east of the Luan River. Some 20 Chinese divisions had assembled in the Peiping-Tientsin region and were tossing endless counter attacks along the line of the Great Wall. In the Lengkou region a force of 7000 Central Chinese Army units had penetrated deep into Rehe and smashed the Mukai detachment of the IJA 8th Division. These counterattacks reaffirmed the Kwantung Army leadership it was necessary to go beyond the Great Wall. It should also be noted the Kwantung Army's operations in North China were not just military. The Japanese were plagued with logistical problems. There was a shortage of troops because they had driven into Rehe with only 20,000 men. Even the most determined Kwantung general did not believe their military prowess could overcome the plains of Hubei packed with an immeasurable amount of Chinese troops. Therefore they had to augment this military operation with political schemes aimed at the regional warlords. During the pacification of Manchuria, the tactic of bribing local elites had worked wonders and there was zero reason to believe it would not work in North China. All of this was done without any supervision from Tokyo HQ. On February 13th of 1933, Itagaki Seishiro, at the time chief of the Mukden Special Service Agency, was transferred to the General Staff without any official announcement of this promotion. He took a post in Tientsin, specifically to begin political maneuvers in eastern Hubei. This saw the birth of the Tientsin Special Service Agency. Initially this agency was attempting to lure all the competing warlords in North China, such as, Duan Qirui, Wu Peifu, Sun Chuanfang, but then began targeting Zhang Qingyao. Zhang Qingyao had once been the protege of Duan Qirui, acting as the civil and military governor of Henan province. He had fought against Zhang Zuolin in 1925 whereupon his allegiance had shifted over to Wu Peifu. During the second phase of the Northern Expedition, Zhang Qingyao had fought again against Zhang Zuolin, then controlling the National Pacification Army. When the Northern expedition was over, he joined Yan Xishans forces in Shanxi. Thus one could easily see he was not a man of many principals, nor any specific loyalties. The Tientsin Special Service Agency first proposed to reach out to Zhang Qingyao in the hopes he could organize a coup d'etat against Chiang Kai-Shek. It was further hoped he could get Song Queyuan, Zhang Zuoxiang, Fang Chenwu, Xu Yusan, Zhang Tingshu, Sun Tienying and Feng Zhanhai to join in. If they managed this, North China would fall in a single stroke. It was hoped this would be achieved as they were taking the Great Wall and were enroute towards Peiping. However on May 7th, Zhang Qingyao was assassinated, completely ruining the plan. 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. Operation Nekka had been unleashed with a large bang. 20,000 Japanese troops stormed Rehe province under strict orders not to go past the Great Wall of China. So they immediately began planning how to go past the Great Wall of China. Yet what they did not expect was the determination of the Chinese defenders, who were not going to allow them an easy time.

Last time we spoke about Operation Jinzhou and the defense of Harbin. In the tumultuous landscape of early 1930s China, Chiang Kai-shek hesitated to engage in combat, fearing internal factions and the looming threat of the CCP. Zhang Xueliang, commanding a substantial force, felt pressure from both the Japanese and his own government. As tensions escalated, the Kwantung Army launched a brutal campaign against Jinzhou, leading to its fall. Amidst chaos, resistance leaders like Ma Zhanshan and Ding Chao emerged, rallying against Japanese aggression, determined to protect their homeland despite limited support. In November, the Jilin Provincial Anti-Japanese Government formed under Cheng Yun, rallying over 3,000 troops led by Feng Zhanhai against Japanese forces. After several battles, including the retaking of Shulan, they faced fierce resistance but ultimately had to retreat. As the Japanese advanced, the Jilin Self-Defense Army was established, but after intense fighting, Harbin fell to the Japanese on February 6. Despite earlier victories, the Chinese resistance crumbled, leading to the establishment of Manchukuo and the end of organized resistance in Manchuria.   #145 What was Manchukuo? 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.   To start off this episode I want to turn back to our old friend Ishiwara Kanji. Ishiwara's ambition to dominate Manchuria was primarily a means to an end: to secure resources and a strategic position against America. After gaining control of Manchuria, Ishiwara shifted his focus toward another objective: fostering racial cooperation among Asian peoples. His vision for Manchukuo, or rather his interpretation of it, served as a launching pad for his idea of an East-Asian league, rooted firmly in his Final War theory. During his time in Manchuria in 1932, this Pan-Asian concept of Manchukuo distinguished him from many of his colleagues in the Kwantung Army and marked him as unconventional within the Imperial Japanese Army .   As many of you may know, Manchukuo was a fraudulent puppet state designed to legitimize Japan's takeover of Manchuria. The Japanese high command aimed to disguise their invasion of this part of China as an indigenous independence movement. To achieve this, they installed Puyi, the last Qing emperor, as the figurehead of Manchukuo while promoting ideals of racial harmony. This facade was necessary, as controlling a population that harbored resentment towards them required some effort to win their favor. Fortunately for the Japanese, there were factions in Manchuria that actually desired independence. This region was the heartland of Nurhaci's Manchu people—yes that guy we spoke about all the way back in the beginning of this podcast. The Japanese had considerable leverage, framing their actions as a noble revival of the Qing dynasty or a restoration of power to the Manchu. Additionally, there was a significant Mongolian presence, and Inner Mongolia would soon play a role in these events. Manchuria was reluctantly drawn into the nationalist movement, and it shared Japan's apprehension towards the USSR, having faced its own struggles against it for a long time. Moreover, a large population of Japanese settlers in Manchuria welcomed the takeover, as the Zhang Xueliang regime had not been particularly accommodating to them, implementing various discriminatory measures. Zhang Xueliang's alliance with the Nationalists effectively sealed the fate of the Japanese settlers, who anticipated expulsion.   As military operations progressed, Ishiwara and Itagaki convened with other prominent Kwantung officers to strategize control over Manchuria. They met with Officer Katakura, Chief of Staff Miyake, and Dohihara Kenji from the Mukden special service, reviewing a prior plan by Colonel Dohihara for a multi-ethnic autonomous nation in Manchuria. This entity was to be led by Puyi, possessing complete autonomy in internal matters, while defense and foreign relations would be managed by Japan. Ishiwara drafted the plans by September 22nd, which were sent to Tokyo on October 2nd. Although Tokyo's high command disapproved of the objectives, they collaborated with the Kwantung Army for five months to establish a new state based on two main principles: the purported indigenous movement for Manchurian independence and the administrative framework for Kwantung Army control.   The Kwantung Army proceeded to utilize Manchuria's traditional structure of local self-governing bodies. Throughout 1931, they bribed, persuaded, and threatened local leaders to foster a movement for autonomy against the Kuomintang hardliners. One of their first initiatives was the establishment of the "Jichi Shidobu Self-Government Guidance Board," responsible for coordinating regional independence movements in collaboration with the Kwantung Army to, as Miyake put it, "guide Manchuria to self-government." The board was headed by Yu Ch'ung-han, a Mukden elder statesman educated in Japan and a former advisor to Zhang Zuolin. It comprised 20 Japanese and 10 Manchurian members. Such organizations attracted Japanese civilians in Manchuria, who supported the so-called multiracial political structure, as they could exploit it for their own interests. The Kwantung Army heavily promoted slogans like “racial harmony, racial equality, and the righteous way.” Their control over Manchuria was solidified by placing Japanese advisors in all governmental bodies with ultimate veto power, ensuring that everything was effectively under Japanese control. While it seemed that Ishiwara's vision was unfolding as planned, by 1933, he became a fierce critic of the very system he had helped establish.   It's quite ironic that the man who played a key role in initiating the conquest of Manchuria would be unable to exert his influence in shaping Manchukuo. While Ishiwara Kanji served as the operations officer officially responsible for planning and executing military operations to capture Manchuria, the political arrangements for the new state fell outside his control. Nevertheless, Ishiwara was very vocal about his views on the development of Manchukuo, strongly advocating for racial harmony. He persistently urged his colleagues that the economic growth of Manchukuo should embody the spirit of racial cooperation. Ishiwara believed that the economic interests of Manchukuo would naturally align with those of the Kwantung Army, as both aimed for the unity of Asia against the West. He was gravely mistaken. Ishiwara was driven by his theory of a final war, and everything he did was aimed at preparing for it; thus, his fixation on racial harmony was part of this broader strategy.   In March 1932, the self-government guidance board was dissolved, transferring its functions and regional organizations to newly established bureaus within the Manchukuo government. In April, an organization called the Kyowakai (Concordia Association) was formed, led by Yamaguchi Juji and Ozawa Kaisaku, with the goal of promoting racial harmony. This initiative received support from members of the Kwantung Army, including Ishiwara, Itagaki, and Katakura. The Kwantung Army invested heavily in the organization, which quickly gained traction—at least among the Japanese. General Honjo expressed concerns about the organization's potential political influence in Manchukuo; he preferred it to remain an educational entity rather than evolve into an official political party. By "educational role," he meant it should serve as a propaganda tool for the Kwantung Army, allowing them to exert influence over Manchukuo without significant commitment.   But to Ishiwara the Concordia Association was the logical means to unify the new nation, guiding its political destiny, to be blunt Ishiwara really saw it should have much more authority than his colleagues believed it should. Ishiwara complained in August of 1932, that Manchuria was a conglomerate of conflicting power centers such as the Kwantung army, the new Manchukuo government, the Kwantung government, the Mantetsu, consular office and so on. Under so many hats he believed Manchukuo would never become a truly unified modern state, and of course he was one of the few people that actually wanted it to be so. He began arguing the Kwantung army should turn over its political authority as soon as possible so “Japanese of high resolve should hasten to the great work of the Manchurian Concordia Association, for I am sure that we Japanese will be its leaders. In this way Manchukuo will not depend on political control from Japan, but will be an independent state, based on Japanese Manchurian cooperation. Guided by Japanese, it will be a mode of Sino-Japanese friendship, an indicator of the present trends of world civilization” Needless to say the Concordia Association made little headway with the Chinese and it began to annoy Japanese leaders. The association gradually was bent into a spiritless propaganda and intelligence arm of the IJA, staffed largely by elite Japanese working in the Manchukuo government.  Ishiwara started utilizing the Concordia Association to advocate for various causes, including the return of leased territories like the Railway zone, the abolition of extraterritoriality, and equal pay for different races working in Manchukuo—efforts aimed at fostering racial harmony. However, this advocacy clashed significantly with the Japanese military's interests, damaging Ishiwara's reputation. As a result, the staff of the Kwantung Army began to shift dramatically, leaving Ishiwara increasingly isolated, except for Itagaki and a few loyal supporters. The higher-ups had grown weary of the disruptive Concordia Association and gradually took control, ensuring that discussions about concessions were halted. In August 1932, Ishiwara received a new assignment, and he appeared eager to leave Manchuria. Now that finishes off our story of Ishiwara, he will return later on in future episodes. Again if you want a full sort of biography on him, check out my youtube channel or Echoes of War podcast where I have a 4 part series on him.    Now I want to get more into the specifics of what exactly was this new state known as Manchukuo? During the mayhem that was the invasion of Manchuria, by October 6th of 1931, the Japanese cabinet had finally relented and decided to no longer interfere with the establishment of a new regime in Manchuria and Inner Mongolia. The remaining disagreement between the Japanese government, Tokyo General HQ and the Kwantung army was not whether or not to establish a new regime, but whether or not to promote the establishment of a new regime. Japan obviously did not want to break the Washington system established by the treaty of Versailles. Yet they of course wanted to expand Japanese interest in Manchuria. So it was to be a delicate game of chess balancing their interests in coordination with the western powers. This was specifically why Prime Minister Wakatsuki Reijiro had opposed direct participation of Japanese soldiers in the establishment of a new regime, because clearly it would open Japan to condemnation from the west.    Over the course of the invasion, Japan managed to occupy the 3 northeastern provinces of Liaoning, Jilin and Heilongjiang by establishing pro-japanese regimes within each under Zhang Shiyi, Xi Qia and Ma Zhanshan respectively. On September 20, 1931, Jianchuan proposed the establishment of a Japanese-backed regime led by Puyi during a meeting with Honjo Shigeru, the commander of the Kwantung Army. Obviously Jianchuan was in league and under the influence of our old friend Doihara. Two days later, on September 22, the Kwantung Army General Staff developed the "Solution to the Manchuria-Mongolia Issue," based on Doihara's suggestion to create a Five-Nation Republic in Manchuria and Mongolia, with Japan as the "leader." The plan outlined the establishment of a new regime under Puyi, supported by Japan, to govern the 3 northeastern provinces and Mongolia. The new regime would entrust Japan with national defense and diplomacy, as well as the management of key transportation and communication infrastructure. It also proposed appointing Xi Qia, Zhang Haipeng, Tang Yulin, Yu Zhishan, and Zhang Jinghui to oversee garrisons in locations such as Jilin, Taonan, Rehe, Dongbiandao, and Harbin. To execute this plan, the Japanese Kwantung Army, led by Chief of Staff Itagaki, utilized local intelligence agencies and some mainland ronin to initiate a so-called strategic operation. To facilitate the plan's implementation, the Kwantung Army informed the commander of the Japanese Army in Tianjin that afternoon, requesting immediate "protection" for Emperor Xuantong.   After the Kwantung Army took control of Jinzhou, it believed the moment was right to establish the hastily assembled puppet regime. To secure the full backing of the Japanese government and the military leadership, the Kwantung Army decided to send Itagaki back to Tokyo for negotiations. At that time, Itagaki had a fairly detailed plan to present. The proposed "Manchuria-Mongolia Central Government" aimed to create a centralized power structure that would be distinct from mainland China, effectively becoming a truly "independent" nation. They intended to appoint local collaborators as officials at all levels and were prepared to fabricate "public opinion" to obscure global perceptions of Japan's scheme to establish this regime. This of course was highly influenced by the announcement from the League of Nations that they would be investigating the entire incident in what would become known as the Lytton Commission.  Thus they believed it was essential to set up the regime before the League of Nations investigation team arrived in Manchuria. They understood that if these actions were "carried out directly by Japan," they would violate both the Nine-Power Treaty and the League of Nations. However, they reasoned that if the Chinese initiated the separation themselves, it would not contradict the principles of those treaties.   The Kwantung Army established puppet organizations using collaborators, starting with the "Liaoning Provincial Local Maintenance Association," which was formed on September 25, 1931. The association's chairman, Yuan Jinkai, represented the civil governance faction of the Fengtian clique. After the First Zhili-Fengtian War, he was appointed governor of Fengtian Province by the Zhili government, which led to his unpopularity with Zhang Zuolin. At the time of the incident, he was already retired. The association's vice chairman, Kan Chaoxi, had previously served as the governor of Rehe and commander of the Third Division. He fell out of favor with Zhang Zuolin due to his involvement with Guo Songling and subsequently retired. A common characteristic of the puppet organizations created by the Kwantung Army is that they always included Japanese advisors, regardless of their level. The "Liaoning Provincial Local Maintenance Association" was no exception, hiring Kanai Shoji, head of the health section of the local department of the Manchurian Railway and chairman of the Manchurian Youth League, as its top advisor. In the Japanese-occupied Fengtian, this highest advisor effectively became the leader of the maintenance association. While the association was ostensibly responsible for maintaining local order, it actually functioned as a tool for Japan to establish a puppet regime. Recruiting discontented officials and creating puppet institutions was just a minor part of the Kwantung Army's strategy to set up a puppet regime. The crucial factor in this endeavor was gaining the support of influential local warlords. To achieve this, the Japanese Kwantung Army, along with various intelligence agencies, employed a mix of soft and hard tactics, including coercion and incentives. As a result, they successfully pressured figures such as Yu Zhishan, Zhang Haipeng, Zhang Jinghui, Xi Qia, Zang Shiyi, and Ma Zhanshan to defect to the Japanese forces.   Following the Mukden Incident, former Qing nobles who had hoped to restore the Qing Dynasty believed the moment had arrived. Xi Qia, a member of the former Qing royal family and the Chief of Staff of the Jilin Provincial Army at the time, took advantage of the Jilin governor's absence due to his mother's funeral to open the gates of Jilin and surrender to Japan. This made Xi Qia the first Chinese official to collaborate with the Japanese invaders since their invasion of China. He sent a secret letter to the abdicated Qing emperor Puyi, urging him to return to "the birthplace of the ancestors, restore the Qing Dynasty, and rescue the people from their suffering," with the backing of "friendly nations". Xi Qia and the former Manchu nobles, who had elevated him to acting governor of Jilin Province, proposed to the Japanese to invite Puyi to the Northeast to establish a monarchy. The Japanese Kwantung Army had already identified Puyi as a suitable puppet leader. After the 15 year war had concluded, under interrogation, Shirono Hiroshi confessed that the reason why the Japanese chose Puyi was: First, Puyi had “no connection with the Kuomintang in mainland China”; Secondly, "some old classes in the Northeast and Mongolia still have traditional yearnings for the Qing Dynasty"; Third, “the peasants in general… seemed to welcome the kingly political system implemented by the Aisin-Gioro family.”   On November 8th, 1931, Doihara orchestrated the "Tianjin Incident" and covertly removed Puyi from his home in the Japanese Concession in Tianjin. They traveled through Dagukou, Yingkou, and Lushun before arriving in Fushun. By February 5th, 1932, the Japanese army had taken control of Harbin, stabilizing the situation in North Manchuria. Afterwards the Kwantung Army Headquarters organized a series of "National Construction Staff Meetings" to plan for a "National Construction Conference" involving collaborators. On February 16th, leaders from the Northeast provinces, including Zhang Jinghui, Xi Qia, Ma Zhanshan, Zang Shiyi, Xie Jieshi, Yu Chonghan, Zhao Xinbo, and Yuan Jinkai, gathered for the "Northeast Political Affairs Conference" at the Yamato Hotel in Shenyang. The meeting was led by Honjo Shigeru, the commander of the Kwantung Army. They decided to invite Puyi to rule the puppet state of "Manchukuo" and assigned government positions to the attendees. Notably, Itagaki Seishirō was appointed as the head of the Fengtian Special Agency and the chief advisor to the Military and Political Department of Manchukuo.    On February 18th, the "Northeast Administrative Committee" issued a "Declaration of Independence," stating: "From now on, we declare that the regions of Manchuria and Mongolia will be separated from the Chinese central government. Based on the free choice and appeal of the residents of Manchuria and Mongolia, these regions will achieve complete independence and establish a fully independent government." On February 23rd, Itagaki met with Puyi in Fushun to inform him that he would be the "ruler" of Manchukuo. Although Puyi had hoped to reclaim the throne, he was disappointed with the "ruler" designation but felt compelled to accept it. On the 29th, the "All-Manchuria National Construction Promotion Movement Conference" passed a resolution urging Puyi to take on the role of ruler. In February, the Japanese army began its offensive against Rehe. Meanwhile, the League of Nations declared that it would not recognize Manchukuo.   On March 1st, Japan orchestrated the establishment of "Manchukuo," appointing Puyi as its "ruler" under the reign title "Datong." China firmly rejected the notion of Manchukuo's "independence" and lodged a strong protest against Japan on the same day. On March 8th, Puyi officially declared his inauguration as the "ruler of Manchukuo" in Xinjing. Concurrently, officials were appointed to various "offices," "ministerial positions," and "ministries," leading to the formal establishment of Manchukuo. The following day, Puyi conducted an inauguration ceremony, and on March 10th, a secret agreement was signed with Japan. Japanese Ambassador to Manchuria, Nobuyoshi Mutō, and "Prime Minister" Zheng Xiaoxu signed the Japan-Manchuria Agreement in Changchun, with the Japanese government issuing a statement recognizing "Manchukuo."   In October of 1932, the League of Nations Assembly released the Lytton Commission Report.  Alarmed by the Mukden incident, the League of Nations had dispatched a group of investigators, led by British statesman Lord Lytton, to uncover the truth of what was going on. The commission traveled to Manchuria, gathering testimonies and examining evidence. Their task was daunting: Japan insisted its actions were defensive, protecting its economic interests and citizens. Meanwhile, China accused Japan of orchestrating the railway incident as an excuse for invasion. Months later, the Lytton Report emerged, painting a balanced yet damning picture.    On February 24, the commission concluded that the "Mukden Incident" was staged by Japanese troops. It condemned Japan's actions as a violation of Chinese sovereignty, rejecting their claims of self-defense. Moreover, the report did not recognize the puppet state of Manchukuo, established by Japan in Manchuria. Instead, it called for Manchuria's return to Chinese control under an arrangement respecting regional autonomy. Though praised for its fairness, the report lacked teeth. Later on the League urged Japan to withdraw, but Japan walked out of the League instead, solidifying its grip on Manchuria.    Manchukuo's territory would span the former provinces of Liaoning, Jilin and Heilongjiang, excluding the Kwantung Leased Territory. It would also gradually incorporate eastern parts of Inner Mongolia, Chengde City and Rehe Province. The 1932 "Japan-Manchuria Protocol" established that the sovereignty of the Kwantung Leased Territory belonged to "Manchukuo." This entity acknowledged the Qing Dynasty's agreement to lease the Guandong Territory, which includes Lushun and Dalian, to Japan. As a result, the Guandong Territory remained under direct Japanese control and was not included in the "administrative division of Manchukuo." By 1934 Manchukuo was divided into 14 provinces, 2 special cities and 1 special district: Andong Province , " Fengtian Province ", Jinzhou Province , Jilin Province , Rehe Province , Jiandao Province , Heihe Province , Sanjiang Province , Longjiang Province , Binjiang Province, Xing'an East Province , Xing'an West Province , Xing'an South Province , Xing'an North Province , Xinjing Special City , Harbin Special City , and North Manchuria Special District. By 1939 this would increase to 19 provinces and 1 special city.   Politically, Puyi served as the nominal head of state for "Manchukuo." He took on the role of ruler on March 8, 1932, adopting the reign title "Datong." On March 1, 1934, Puyi conducted a "coronation ceremony" in Xinghua Village, located south of "Xinjing," and renamed "Manchukuo" to the "Great Manchurian Empire." In this capacity, Puyi was designated as the "emperor," with the reign title "Kangde." "Manchukuo's administrative structure was led by the 'State Council,' headed by the 'Premier.' This pseudo 'State Council' included the 'Ministry of Foreign Affairs,' 'Ministry of Civil Affairs,' 'Ministry of Finance,' 'Ministry of Justice,' 'Ministry of Industry,' 'Ministry of Transportation,' 'Ministry of Culture and Education,' and 'Ministry of Military Affairs.' The 'Ministry of Finance' was later renamed the 'Ministry of Economy,' while the 'Ministry of Military Affairs' retained its name. The 'Ministry of Industry' was split into the 'Ministry of Agriculture' and the 'Ministry of Labor,' and additional departments like the 'Ministry of Health and Welfare' were established. Each ministry was led by a 'minister,' but real power rested with the Japanese vice ministers. The head of the 'General Affairs Department of the State Council,' who was also Japanese, effectively served as the 'Premier.' This role was first held by Komai Tokuzo, followed by Hoshino Naoki and Takebe Rokuzo. Every Tuesday, the Japanese vice ministers convened to discuss and make decisions on 'national' policies and various specific matters in a meeting known as the 'Fire Tuesday Meeting.'"   The legislative assembly of "Manchukuo" was known as the "Legislative Yuan," with Zhao Xinbo serving as its first "President." However, true legislative authority rested with the Kwantung Army. Manchukuo operated without a formal constitution, instead relying on a series of special laws. The advisory group was referred to as the "Senate," led by a "Speaker," with Zang Shiyi being the inaugural holder of that position. The highest judicial authority in puppet Manchukuo was the "Supreme Court," with Lin Qi as the first "Supreme Justice" and Li Pan serving as the "Supreme Prosecutor General." The judicial agency was the "Imperial Household Agency," headed by Xi Qia.   Following the September 18th Incident, Zhang Xueliang maintained a policy of "non-resistance." Most of the former Northeastern Army was "ordered" to retreat south of Shanhaiguan without engaging in combat. Those who could not withdraw were split into two factions: one group, motivated by national integrity and a shared animosity toward the enemy, rose to fight against Japan and became a significant part of the renowned Northeast Volunteer Army. The other faction consisted of traitors who surrendered, acknowledged the enemy as their leader, and acted as the enforcers and thugs for the Japanese invaders. These collaborators and the forces they commanded formed the backbone of the puppet Manchukuo army. Simultaneously, they recruited defectors and traitors, as well as bandits and social miscreants, thereby bolstering the ranks of the puppet Manchukuo military. They were under the influence of the highest advisors from the puppet Manchukuo Military and Political Department, which was made up of Japanese military officials. Directly controlled by the Kwantung Army, they served as vassals and accomplices of Japanese imperialism.   "The State Council of Manchukuo" served as the governing body of the puppet state. It functioned as the highest political authority in the region. Structurally, it operated under the direct control of the head of state, Puyi. However, in practice, the State Council was heavily influenced by the Japanese Kwantung Army, with many key positions occupied by Japanese officials. The breakdown of power is as follows: "Head of State": "Emperor" ( before the transition to the imperial system , the ruler) "Emperor's direct agencies": Imperial Household Agency - Shangshufu - Senate - Military Attaché Office - Military Advisory Council - Sacrifice Office "Yuan": State Council - Courts - Legislative Yuan - Control Yuan "National Army": Royal Guards - River Defense Fleet - Flying Squadron - Xing'an Army - Jiandao Special Forces "Police": Maritime Police Force - Security Bureau Other "agencies": General Affairs Department (not official) External Group: Concord Society   To fulfill its goal of annexing Northeast China, Japan initiated a "national policy immigration" campaign under the guise of development, intending to relocate 1 million households and 5 million Japanese citizens from Japan to Northeast China over two decades. Additionally, around 2 million Koreans were moved to the region as political immigrants. In April 1936, the Japanese Kwantung Army convened an "immigration" meeting in Changchun, where they developed the "Manchuria Agricultural Immigration Million Households Migration Plan." By September 1944, there were 1,662,234 Japanese immigrants (including early settlers) residing in various areas of Northeast China. Following 1945, most Japanese immigrants were repatriated, notably during the large-scale repatriation in Huludao, although the issue of Japanese orphans also arose.   After the September 18th Incident, in response to the invasion by Japanese fascists, people from all nationalities and professions in China resisted fiercely. The Japanese fascists employed military forces, police, and special repressive agencies to brutally suppress the anti-Japanese movement, inflicting significant suffering on the Chinese populace. In addition to collaborating with the Kwantung Army for extensive military encirclement and suppression, the Kwantung Military Police Force oversaw other repressive agencies during peacetime and became the primary force behind the implementation of white terror.   As for its economy, Manchuria is rich in natural resources. By 1936 its coal reserves were about 3 billion tons, iron reserves roughly 4 billion and had other minerals including Gold, Magnesite, Bauxite, Oil shale, Diamonds. Its forestry and fishery industry was quit rich as well. During the Zhang Zuolin era, Manchuria's industrial base was already well-developed, and Japan required a robust military industry to support its aggressive war efforts. Steel production was primarily located in Anshan and Benxi, while the chemical industry was centered in Liaoyang. The coal industry was concentrated in Fushun, Benxi, and Fuxin. Oil shale and synthetic fuel production were mainly found in Fushun and Jilin. Magnesite mining took place in Haicheng and Dashiqiao, and hydropower generation was focused in Jilin and along the Yalu River. Fengtian (now Shenyang) served as the hub for machinery, arms, and aircraft industries, whereas light industries, including textiles and food production, were concentrated in cities like Dalian, Dandong, Harbin, and Qiqihar.   The industrial sector of the puppet state was largely controlled by the South Manchuria Railway Company. Following the establishment of the puppet state, investments from various Japanese conglomerates rapidly flowed into Northeast China. After 1937, the puppet state implemented an economic control policy for the industrial sector, adhering to the principle of "one industry, one company," which led to the creation of monopoly companies for each industry. Under this framework, the South Manchuria Railway transferred its industrial operations and reorganized them into a massive conglomerate called the "Manchuria Heavy Industry Development Corporation ," which monopolized all steel, coal, chemical, and electric power industries in the region. Additionally, over 40 specialized companies were established, including the "Manchuria Electric (Telephone and Telegraph) Company," "Manchuria Machinery Manufacturing Company," "Manchuria Mining Company," "Manchuria Airlines," "Manchuria Artificial Oil Company," "Manchuria Textile Company," "Manchuria Wool Textile Company," "Manchuria Chemical Industry Company," "Manchuria Forestry Company," "Manchuria Gold Mining Company," "Manchuria Livestock Company," "Manchuria Fisheries Company," "Manchuria Tobacco Company," "Manchuria Agricultural Commune," and "Manchuria Development Commune." These companies were jointly established by Japanese investors and the "Manchukuo" government, with profits shared according to their respective investments. In case of losses, the Manchukuo government guaranteed 10% of the profits for Japanese investments.   To transform Manchuria into a base for its aggressive expansion against China and the Pacific War, Japan imposed strict control and extensive exploitation of the region's economy and resources. The primary focus of this control and exploitation was on mineral resources such as coal, iron, and oil, as well as essential industries. Under the intense plundering and strict oversight of Japanese imperialism, Northeast China's economy rapidly became colonial, leading to severe hardships for its people. Due to Japan's stringent economic control policies and large-scale colonial exploitation, the local industry and mining sectors suffered, national industries declined, and the rural economy collapsed, resulting in a swift transformation of Northeast China into a colony. To maximize the extraction of colonial resources, the Japanese invaders minimized the consumption levels of the local population. Since 1935, they implemented comprehensive distribution controls on vital strategic materials and everyday necessities. This distribution control policy plunged the people of Northeast China into extreme poverty and suffering.   The 1936 resource survey report from the State Council of the puppet Manchukuo indicated that the region had an arable land area of 40 million hectares (equivalent to 4 billion mu), with 25 million hectares classified as cultivated land. Additionally, the forested area covered 170 million hectares. The annual production figures included 2.5 million tons of soybeans, 2 million tons of wheat, 700,000 tons of rice, 1 million tons of millet, 8 million tons of sorghum, 5 million tons of corn, 600,000 tons of other grains and beans (excluding soybeans), 300,000 tons of cotton, and 160,000 tons of tobacco. The livestock population consisted of 4 million horses, 3 million cattle, 30 million sheep, and 40 million pigs. The total annual grain output in the puppet Manchukuo was approximately 20 million tons. Of this, around 7.5 million tons were consumable grains for local farmers throughout the year, while 4 million tons were designated as seed grains. Furthermore, the region was responsible for supplying rations to Japanese and Korean immigrants. In compliance with the demands of the Kwantung Army, the puppet Manchukuo was obligated to deliver over 1 million tons of grain to Japan annually. The grain collection process commenced in mid-August and concluded at the end of November, imposing a significant burden on farmers. Japanese colonists were exempt from agricultural taxes and received monthly rations.   The puppet state of Manchukuo had a “military force” known as the “Manchukuo Army.” It was divided into three components: "rear security" and "law and order maintenance," all under the control of the Japanese Kwantung Army. Initially, its military capabilities were limited, with the Kwantung Army handling most combat operations. However, as the main forces of the Kwantung Army shifted south and manpower became scarce, the anti-Japanese armed groups in Northeast China were suppressed and weakened. Consequently, the puppet Manchukuo began to assume more military responsibilities on its own, with many of its soldiers being Korean Japanese recruited from the Korean Peninsula. The entire Northeast was segmented into eleven military control zones, each led by an individual known as a commander. The military authority of the puppet state of Manchukuo was under the control of the Japanese Kwantung Army. Any troop movements, training exercises, equipment modifications, or personnel changes required approval from the Kwantung Army Headquarters. The puppet Manchukuo Army had nine ranks: general, colonel, and lieutenant. Upon graduating from the military academy, individuals were promoted to second lieutenant. After two years, they advanced to first lieutenant, and then to captain after another three years. Following that, a captain would be promoted to major after three years, then to lieutenant colonel after another three years. After four years, a lieutenant colonel would become a colonel, who would then be promoted to major general after four years. After three additional years, a major general could rise to the rank of lieutenant general, and finally, after four years, a lieutenant general could achieve the rank of general. The highest military rank was general, which was a lifetime appointment. Above the rank of general was an honorary title modeled after the Japanese marshal. Individuals such as Zhang Jinghui, Zhang Haipeng, Yu Zhishan, and Ji Xing were conferred the title of general. Thus was born a puppet state that would contribute to the 15 year war in Asia.   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. Yes perhaps this episode was a bit on the boring side of things, but its important to take a critical look at what exactly Manchukuo was. The new puppet state would be used for various means during the 15 year war and would ultimately be the crown jewel in a long list of conquered territories by the Japanese Empire.

In this episode of Chasing Leviathan, PJ and Dr. Viren Murthy discuss Pan-Asianism, exploring its historical roots, ideological implications, and the roles of various Asian nations, particularly China and India. He delves into the geographical, cultural, and ideological aspects of Pan-Asianism, critiques its historical interpretations, and examines the influence of Hegelian philosophy on Pan-Asian thought. The discussion also touches on the anti-capitalist and anti-colonial sentiments within Pan-Asianism and the unique path of Chinese communism as a form of revolutionary subjectivity. In this conversation, Viren Murthy discusses the complexities of Pan-Asianism, the Kyoto School's philosophical contributions, and the intricate relationship between imperialism and anti-imperialism in Japan. He explores the future of Pan-Asianism in the context of global dynamics, particularly focusing on China's role and the evolving concept of the Global South.Make sure to check out Dr. Murthy's book: Pan-Asianism and the Legacy of the Chinese Revolution

Daniel welcomed me into the ‘red room' at Bang Bang's newest venue in St Kilda. Although it's only been open a few weeks, Bang Bang St Kilda already has a following. As executive chef and now a full partner in the Bang Bang group, Daniel oversees three restaurants and two additional kitchens across Melbourne's southeast. His chef career has come full circle, as he met his wife in St Kilda and they travelled to London to work for two years before coming back to Melbourne and moving to the Mornington Peninsula with their young family. Daniel still loves spending time in the kitchen, but his focus is now on maintaining consistency across the venues. Bang Bang's menu is Pan-Asian, drawing from Japan, Thailand, and India. Inspired by his travels, Daniel refines the menu while keeping beloved staples intact, striking a balance between authenticity and modern execution.

In the Philippines, the term “mestiza” is used to describe a woman of mixed heritage, and a new restaurant in San Francisco's Filipino Heritage District celebrates not only a rich fusion and reimagining of flavors but a philosophy of building community and sharing food traditions across cultures. Mestiza is the vision of Deanna Sison, who is known for championing her cultural roots in all her restaurant and hospitality endeavors which include Little Skillet, Victory Hall, and the Mestiza Taqueria. Bringing the vision to life is Chef Syl Mislang - her expertise as a plant-based chef hails from her beginnings at the Sacramento Co-Op to her pop-up concept, The Roaming Spoon, and as Executive Corporate Chef at Miyokos. Chef Syl now brings all of her experiences to the Mestiza table, featuring the flavors of the Philippines with hyper-local and hyper-seasonal plant-forward foods. In this episode, we chat  about how their partnership came about, Mestiza's plant-forward fusion of flavors, the wonder of kamayan, and more! Learn more about Mestiza at https://www.mestizasf.com Follow on Instagram: Mestiza @mestizasf Deanna Sison @ladydeesf Chef Syl Mislang @theroamingspoon Podcast Show Notes: https://kitchenconfidante.com/mestiza-san-francisco-with-deanna-sison-and-chef-syl-mislang

In this episode of Private Equity Dealbook, Elana Margulies-Snyderman, Director, Publications, EisnerAmper, speaks with Vania Schlogel, Founder & Managing Partner of Atwater Capital, a Los Angeles-based private equity firm that invests in the media and entertainment industry. Vania discusses some of the transactions she has completed, including 88rising, a multi-media company headquartered in Los Angeles that super-serves the Asian American and Pan Asian communities. She walks through the processes, opportunities, challenges and due diligence. She also shares what Atwater looks for in the buy-side process to ensure a smooth transaction.

According to the Substance Abuse and Mental Health Services Administration, in 2021, 25% of Asian American adults with a mental illness reported receiving mental health services compared to 52% of White adults. Additionally, Asians were 2.25x more likely to report mental health treatment being ineffective. What is it about the Asian American community that their approachability to mental health and mental health care is lower than other demographics? Is it mistrust in the system? Is it disbelief in the concept of the services? Or can it be fear and shame to partake in these discussions and actually receive help? In this episode, we tackle the sensitive, often taboo, and stigmatized conversations that surround Asian communities and their mental well-being: the model minority myth, racism and microaggression, intergenerational trauma, guilt and shame within collectivist cultures, and the importance of culturally responsive mental health care.Carrie Zhang is the founder and executive director of the Asian Mental Health Project (AMHP), a non-profit organization that provides educational resources and community care initiatives to help de-stigmatize mental health and make it more accessible for the Pan-Asian community through social media, multimedia content creation, and community events. Carrie graduated from the University of Southern California with a BS in Public Relations and is a Policy and Research Associate at Rise Up Inc, focusing on civil rights.Alice Zhang, CEO and Nisha Desai, COO are the co-founders of Anise Health, an online holistic mental health service for the Asian community that incorporates cultural stressors into personalized treatments. Alice and Nisha were co-pupils at Harvard Business School for their MBA, where they saw and agreed on the importance of culturally-responsive providers and an integrated approach to executing data-driven treatment for Asian clients.Livestream Air Date: July 19, 2023Follow Asian Mental Health Project: InstagramFollow Anise Health: InstagramFollow Friends of Franz Podcast: Website, Instagram, FacebookFollow Christian Franz Bulacan (Host): Instagram, YouTubeThankful to the season's brand partners: Covry, House of M Beauty, Nguyen Coffee Supply, V Coterie, Skin By Anthos, Halmi, By Dr Mom, LOUPN, Baisun Candle Co., RĒJINS, Twrl Milk Tea, 1587 Sneakers

On this week's episode, host Caryn Antonini is joined by Katie Chin, Asian food expert, cookbook author, seasoned media personality, blogger and Culinary Ambassador to the National Pediatric Cancer Foundation. Katie began her career as a successful film and television marketing executive, yet was Inspired by her mother's cooking after a turn of events, which reignited her own passion for cooking. So, she quit her job and dove into the culinary world, co-authoring a Chinese cookbook with her mother entitled Everyday Chinese Cooking. And from there, they started a Pan-Asian catering business called Double Happiness Catering. She went on to co-host a TV show called Double Happiness, she's authored several more cookbooks and has her own catering business called Wok Star Catering. Katie continues to appear on national television shows such as Today Show, Tamron Hall and Kelly and Mark – to name just a few. She hosts virtual cooking classes, an Instagram Live Show AND a 1 woman show called Holy Shitake!For more information on our guest:https://chefkatiechin.com/@chefkatiechinCultivated By Caryn Show is a presentation of Park City Productions 06604 LLC ###Get great recipes from Caryn at https://carynantonini.com/recipes/

Welcome to this week's Cruise Chat! In this episode, we take you on a journey to explore the luxurious world of Explora Journeys. Get ready to be amazed! Don't forget to subscribe for more cruise content. Visit our website for more information. https://PlentyofSunshineTravel.com. . If you found value in this video and wish to help this channel. You can donate using THIS link. Video Requests: info@PlentyofSunshineTravel.com This was recorded when we were on Explora Journeys. I had the chance to chat with Patrica about this amazing cruise experience! Have you been able to look at my other videos? Click here to see the suite tours. ADA Ocean Terrace Suite OT3 OT3 (Ocean Terrace 3) Cove Residence Terrace Suite. Premier Penthouse Suite Retreat Residence Suite Click HERE to see the spa tour with the spa manager, Elina. Click HERE to see the pool tours. Click HERE to see the playlist where I met with Patrica and Aimee Price, and we chatted about all things Explora. . Stay tuned to our channel to see the daily vlogs being created. . I loved having the opportunity to meet with Patricia in person! . Explora Journeys has one of the best guest services I have ever seen onboard a cruise ship. They are polite, helpful and always there when you need something. - if it's a drink, a meal, or a helping hand. They are there! I cannot wait to go back and experience this service again. . Explora Journeys is a mid-sized ship with a small ship feel. There is ample room to spread out and to have space of your own. . We had difficulty trying to choose our favourite restaurant. Sakura is near the top of the list - it's Pan-Asian, and many of the items on the menu you may not make at home for yourself, so it's a nice treat to head out to that restaurant! . There are many restaurants onboard. If you want to see all the restaurants and sample menus, check out this page on my website: https://www.plentyofsunshinetravel.com/explora-journeys-restaurants/ There is a restaurant for everyone, including gluten-free and vegan options. . The Emporium has fresh foods made to order. It is called a Marketplace, not a buffet. The pasta is made every day, as is the bread. Delicious! The Med Yacht Club is outstanding. - the appetizers are made to share with the table. When we went with Patrica, we ordered everything on the menu and shared it, which was neat! The dessert ~ the semifreddo... WOW! We would go in just for that! . In Fil Rouge, the specialty item is the soufflé, which changes frequently. Having it rise higher and higher above the dish is a feast for the eyes as well as the taste buds! . Every venue has been fantastic. Only one restaurant has a charge (Anthology), which is well worth it! . I love how many pools there are. I have been on ships that are larger and had fewer pools. I loved that there are many pool options. You can get complementary milkshakes, which is nice returning from a hot port day. . You will feel that you are at home or in a hotel, not on a cruise. It is amazing! You will feel at home in the suites, which is why they are called residential suites. With 461 suites - all oceanfront and all have a terrace. There is one for you! They start at 377 square feet and only go up from there. Your host attendant is going to keep your suite spotless! . I want to thank Patrica for including me on this cruise with her and for taking the time to sit down with me and chat about all things Explora Journeys! . If you want to learn more about Explora Journeys or any other cruise lines I have met with. Please get in touch with me at info@PlentyofSunshineTravel.com. You can also fill out this simple form: https://bit.ly/3mxFUNd, and I will get back to you. . If you want to watch this video - come to our YouTube channel HERE. . Search #PlentyofSunshineTravel on Facebook or Instagram to see our posts. . . . #explorajourneys #Explora #coffeechat #CruiseSpecialist #Cruise #CruiseGuru #TravelAgent #luxurytravel --- Send in a voice message: https://podcasters.spotify.com/pod/show/cruisingthewavespodcast/message

Our guest this week is Justin Leverenz, who is the team leader and senior portfolio manager for the emerging-markets equity team at Invesco. Leverenz joined Invesco when it combined with OppenheimerFunds in 2019. He started managing the strategy now known as Invesco Developing Markets in May 2007, having joined Oppenheimer as a research analyst in 2004. Before that, he was the director of Pan-Asian technology research for Goldman Sachs. Leverenz has worked in Taiwan and Scotland. He is a fluent Mandarin speaker, and he holds bachelor's and master's degrees from the University of California.BackgroundBioInvesco Developing MarketsMarket View“Mexico: A Few Reasons Why We're Bullish on This Neglected Developing Market,” by Justin Leverenz, Invesco, March 17, 2023.“The Case for Mexican Equities,” by Justin Leverenz, LinkedIn, April 6, 2023.Emerging Markets“FAQ: Our Active Approach to Emerging Markets,” by Justin Leverenz, Invesco, June 12, 2023.“The Case for Emerging Markets,” by Justin Leverenz, LinkedIn, May 2, 2023.“Why a Huge Emerging-Markets Fund Is Reopening to New Investors,” by Gregg Wolper, Morningstar, Feb. 16, 2023.“What Is Going on With Chinese Equities?” by Justin Leverenz, LinkedIn, July 28, 2023.“Why Hasn't Fed Tightening Led to an EM Crisis?” by Justin Leverenz, LinkedIn, June 23, 2023.“Invesco's Justin Leverenz—Putting Emerging Markets Challenges Into Perspective,” WealthDFM, May 26, 2022.Growth Themes“Electric Vehicles and Renewable Power Fuel Emerging Market Investment Opportunities,” by Justin Leverenz, LinkedIn, Nov. 15, 2023.“Western Spirits Companies Turning to China and India to Fuel Growth,” by Justin Leverenz, Invesco, May 22, 2023.“Chinese Health Care Companies: A Growing Force for Global Innovation,” by Justin Leverenz, LinkedIn, March 16, 2021.“Humans vs. Machines: Who Has the Edge in Emerging Markets?” by Justin Leverenz, Invesco, April 3, 2023.Funds/Companies MentionedYum ChinaH WorldZTOTencentNetEaseGrupo MexicoPinduoduo

Saturday Mornings host Glenn van Zutphen and co-host, award-winning author Neil Humphreys discuss Catapult - Southeast Asia's first and only leadership training hub designed to groom the next-gen Singaporean and pan-Asian leaders - with Dr. James R Andrade, SVP for CapitaLand Development Group and Head of Catapult. Through immersive, experiential, and impactful learning journeys the integrated eco-system leverages Campus Spaces, Curriculum, and Community.See omnystudio.com/listener for privacy information.

In Korean folklore, dokkaebi are tricksy creatures who love to eat, drink, and challenge humans to wrestling matches. They tend to create mischief, but generally not mayhem, and can bring you luck—if you remain on their good side. This same sense of playfulness is evident at Dokkaebier in Oakland, California, an Asian-inspired craft brewery that encapsulates not just the name, but the spirit of dokkaebi in every beer they make. In her first story for Good Beer Hunting, Maloy Luakian describes how her own Pan-Asian identity informed her experience at Dokkaebier, and how she was able to feel a sense of nostalgia through familiar flavors presented in an unfamiliar medium. Her story, titled “Supernatural Creatures And Blended Cultures — Dokkaebier's Story Of Shapeshifting,” describes the brewery's history, goals, and cultural influence as one of the only Asian-owned breweries in the United States, as well as founder Youngwon Lee's background as a third-culture kid, with roots in South Korea, Guam, and the United States.  In this conversation, she defines what third culture is and what it means to her, how the idea of authenticity in food and drink can keep tradition alive as well as inspire innovation, and how the beer cultures in Asia and the U.S. are influencing one another in fresh and exciting ways. It's clearly a very personal story, and she admits that she wasn't sure where it was going to end up. We're lucky to have it on Good Beer Hunting, and it's a pleasure to talk about it right now.  

Last time we spoke about landings against Arawe, the continuation of the Bougainville campaign and some new action in the CBI theater. Despite a rubber boat disaster, the operation against Arawe went off successfully seeing another allied landing taking the Japanese by surprise. Now the Japanese would be forced yet again to launch a counter attack hoping to dislodge the allied forces from a new beachhead. Over on Bougainville the Marines performed some assaults against hills such as Hellzapoppin ridge to expand the perimeter enough so the Army boys would have an easier time of taking over. Over in the CBI theater, the onion man Wingate was given the task of expanding his chindits and the Americans wanted their very own chindit force. Stilwell decided the time was ripe to unleash a minor offensive in Burma and soon saw what looked like a weakened Japanese perimeter was in fact very strong. This episode is Drive on Sio Welcome to the Pacific War Podcast Week by Week, 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 world war two? Kings and Generals have an assortment of episodes on world war two 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 you can find a few videos all the way from the Opium Wars of the 1800's until the end of the Pacific War in 1945.  Last time we saw General Cunningham's men successfully landing at Arawe where they hoped to build a new PT boat base. Troop A was supposed to land an hour before the main landing to cut the coastal road near Umtingalu village and Troop B would land at Pilelo island to cover the main passage to the harbor. Troop A was a disaster. Their 15 rubber boats were met with 25 mm dual purpose guns that sank 12 boats, killed 12 men and wounded another 70. Troop B was more successful landing on Pilelo and capturing the radio station before engaging in a fire fight. For the main landing at House FIreman Beach, there was little resistance. Sporadic machine gun fire was silenced by rockets as the men landed. The Japanese tossed some air strikes to hit further landings and convoys, but allied CAP managed to limit the damage.  A few days after the landing, the Komori Detachment reached the village of Didmop along the Pulie River where they paused to reorganize and rally the incoming survivors fleeing the landing area. The difficult terrain and river crossings prevented Komori and his men from assembling into offensive positions until December 25th. Meanwhile back on the 18th, the 1st battalion, 141st regiment began an advance from the Itni region aboard 7 barges. Unfortunately for them, two LCVP's bearing 19 men on patrol had been sent by Cunningham to Cape Peiho. The two forces ran into another and after an exchange of gunfire the US soldiers abandoned their LCVP's and retreated back along the Arawe coast. Another patrol traveling by LCVP was also fired upon by Japanese barges near Umtingalu that same day, but was able to return to Cape Merkus. On Christmas night, 100 men of the Komori detachment assaulted the main line of defense across the neck of the peninsula. The inexperienced American cavalrymen of the 112th managed to repel, albeit with some difficulty. The attack prompted General Cunningham to believe Komori was in charge of the lead element of a much larger force, most likely enroute from Gasmata. He therefore requested reinforcements and General Krueger responded by dispatching a company of the 158th infantry by PT Boats. Meanwhile the lack of results from the attack prompted Komori to defer further attacks until the arrival of Major Tobuse's battalion. On the 27th, allied intelligence indicated the Japanese had retaken Meselia and Umtingalu, prompting Cunningham to withdraw all outposts and patrols within the main line of defense. The 2nd battalion, 158th regiment were sent to reinforce the beachhead while Komori and Tobuse finally made contact with another. The first order of business to contain the growing American perimeter. Both commanders believed the Americans sought to repair the unserviceable Lupin Aerodrome. 700 yards from the US line the Japanese established a series of alternate positions taking advantage of the terrain and concealment making it difficult to spot. Cunningham would remark "This is not an organized position in the accepted sense of the word, it consists apparently of shallow trenches and deep fox holes… The ground is covered with a thick green mat about 12 to 18 inches in depth which makes observation absolutely impossible… Officers and men… report that they have not seen a single Japanese and that they are unable to locate machine guns firing on them from a distance of 10 to 20 yards.” From these positions the Japanese harassed the Americans using mortar and automatic weapons fire. Whenever the Americans tried to pinpoint where the fire was coming from the Japanese would simply switch positions to another. Within these parameters only limited skirmishing was carried out for the next few days.  On January 4th, Komori reported repulsing a strong American and two days later received his first citation from Emperor Hirohito for his heroic achievement. Meanwhile a much frustrated Cunningham began sending reports to Krueger he could not spot the enemy and was convinced continued attacks would simply result in further casualties. By January the 9th he reported 75 dead, 57 wounded and 14 missing. He requested Kreuger send him some tanks and on the 9th he received the 1st marine division's 1st tank battalion from Finschhafen. The 1st Tank Battalion had been left behind at Finschhafen because of transportation shortage and limited range for tank operations in the inhospitable terrain of the Cape Gloucester region. Eventually Rupertus would also release the rest of the tank company then in reserve at Cape Gloucester to help out. The Marine tanks and Army infantry quickly worked out the details of how they would go about combined operations. The morning of January 16th kicked off with a squadron of B-24's followed by another of B-25s bombing the Japanese positions. This was followed up by artillery and mortars and then two 5 tank platoons began their assault against a 500 yard front. Behind the tanks were infantry of the 158th and despite the swampy terrain and thick vegetation, the tank-infantry stormed forward. The Japanese resisted ferociously, grounding two tanks that had to be destroyed lest the Japanese seize them later. The Americans destroyed the enemy's positions, crushing numerous automatic weapons and a 75mm mountain gun. But the Americans had no orders to hold any positions, so they destroyed and pulled back to their perimeter for the night. The following morning the Americans resumed the attacks with flamethrowers eliminating small pockets of resistance still remaining. Komori still obsessed with defending Lupin aerodrome to the last man ordered a withdrawal, but not before radioing to the brigade HQ "fight till the glorious end to defend the airfield" which earned him a second Imperial citation on February 7. During these actions the Americans suffered 20 dead, 40 wounded and two tanks. For Komori's men they had 116 dead and 117 wounded. For the next 3 weeks the fighting would deteriorate into a matter of patrol skirmishes, with Komori triumphantly reported back to HQ how the airfield was still in Japanese hands. The reality however was the Japanese were heavily outnumbered and lost control of the air and sea. How many men Komori commanded remains difficult to figure out as no documents were captured after the operation. It appears unlikely there were more than 1000 under his command. Early in the operation the Japanese were supplied by airdrop, often during daylight in view of the Americans. Yet as the Americans tightened their grip over the sea and air more, Komori became increasingly dependent on the trickle of supplies coming over the tortuous trail from Iboki. Carrying and distributing these supplies imposed still more of a drain on his manpower, and he withdrew his headquarters to Didmop to give more attention to this phase, leaving direct defense of the airfield to Major Tobuse. Yet that is all for Arawe for today, because we need to travel back over to New Guinea. Wareo had fallen and now the Australians were advancing upon Fortification Point as General Katagiri's 20th division were retreating towards the northern coast. The 20th division would arrive at Zagaheme and Orarako on the 22nd and 25th respectively. With these movements occurring the Australians now felt the time was ripe to launch an offensive against Sio. On December 20th, General Wootten ordered the 20th brigade to advance through the 4th brigade's positions and begin a rapid pursuit towards Sio. The next day, Brigadier Windeyer had his men advance towards Wandokai while Wootten was reorganizing his forces to allow the coastal advance to continue. Meanwhile the 24th brigade took over the Gusika-Wario-Sattelberg area; the 4th brigade took over the Fortification Point-Masaweng River area; the 26th brigade advance down the coast and would be ferried to the mouth of the Masaweng to support Windeyer's advance. The Australians enjoyed the advantage of aerial support in the form of Bostons, Mitchells, Marauders, Airacobras and Thunderbolts who continuously hammered the Japanese with bombs and strafing runs. Alongside this allied PT boats harassed the Japanese barge fleet, between the 9th and 13th they would sink 23 barges along the coast, mostly south of Sio. Despite the air and sea support the overland advances were particularly rough on the men. From fortification point to Kapugara gorge the coastal track ran along a flat kunai ledge some hundred yards wide, between the sea on each side with sharp coral terraces. They had little cover along the line of the advance. There were also few natives inhabiting the area. The men of the 20th brigade were not in great condition when they began the pursuit. They were stricken with malaria and Colonel Simpson anticipated the enemy might hit their left flank so he dispatched two companies to travel parallel with the main coastal advance and those guys had some even rougher terrain to travel. There was little water to be had along the coast and the long kunai fields increased the heat exponentially. The men occupied Hubika on the 22nd without opposition. The allied engineers would find the gorge beyond Hubika would prevent any progress by the tanks, so the troops would have to proceed without their support. By nightfall the 2/13th battalion would advance another 3000 yards facing no opposition. They got around 1500 yards past Wandokai when suddenly mortar and artillery fire rained down upon them. This was Captain Yoshikawa's 1st battalion, 80th regiment who unleashed a bombardment for 2 hours upon the advancing Australians. Though it appeared like there was a major fight on their hands, it was only rearguard actions. Yoshikawa and his men were retreating towards Ago that night.  Christmas would see Windeyer receive the gift of further artillery reinforcements for his advance. The 62nd battery and 2/12th field regiment came over and on Boxing day Colonel Miyake would decide to abandon Ago and continue the retreat towards Kanomi. On the night of the 26th a company from a boat battalion of the 592nd EBSR, alongside an Australian radar detachment landed on Long Island. This was Operation Sanatogen, the mission was to set up a radar station and observation post on Long Island to help with the landing at Saidor and thwart Japanese barge movements. The Japanese had never placed a garrison on Long Island, but it was used as a staging point for barges moving between Rabaul and Wewak.  At 9am on the 27th, 18 Mitchells and 12 Bostons bombed and strafed the Walingai and Kanomi areas before Windeyers resumed his advance. The 2/13th advanced through Ago and occupied Walingai unopposed by the end of the day. The next day saw Australian patrols running into Japanese positions around Kanomi. At 11:15am a patrol of the 2/13th was fording a creek when they were fired upon. The patrol saw at least 14 Japanese retreating north around Blucher Point as they fired vicker guns and mortars upon them. During the afternoon the allied began a heavy artillery bombardment. The speed at which the Australians were advancing was providing results as the Japanese were forced to further withdraw towards Kalasa. Yet the Australians were stretching their logistical lines forcing Wootten to halt the forward units for 2 days. The two day delay allowed General Katagiri to get his men past Kalasa and reach Sio without any hindrance. On new years eve the 2/15th resumed their advance finding slight resistance around Nanda. At 5:30pm the 2/15th were fired upon by a few bands of Japanese and responded with artillery fire forcing them away. To avoid unnecessary casualties the Australians halted at the last creek before Nanda and resumed the march on new years day. The 2/15th then passed through Kwamkwam and captured Sialum Island during the afternoon of the 2nd. Sialum lies around half way between Fortification Point and Sio and it afforded the Australians a decent area to build a large supply dump on its sheltered. Yet the advance to Sio was not the only one going on, on New Guinea.   Since the battle of John's Koll and Trevor's Ridge, General Nakai's detachment were forced to withdraw farther back into the hills. The Nakai detachment were now clinging to Shaggy Ridge the Kankirei Saddle and the area between the Faria River, Madang and Bogadjim. At Kankirei, Nakai dispatched Captain Ohata Masahiko's 3rd Company of the 1st Battalion, 26th Field Artillery Regiment. General Nakai told Ohata that ‘the enemy is extremely sensitive to the use of artillery fire arms so that the artillerymen are expected to cooperate closely with the infantry men until the very end”.Ohata recalled “I realized what was expected from our commander, and he also said please take good care of your life. It took more than twenty years to train one artillery officer, but a gun is only material. We can replace the gun, but not an artilleryman.' There is a very reasonable explanation for Nakai's order. The IJA artillery field manual indicated their field guns were more valuable than artillerymen. In article 10 it said ‘The gun is the life of the Artillery. Therefore, the Artilleryman must live and die with the gun, and share the honor and shame together with the guns. One must continue to fight until the end'. Nakai at this time prohibited suicide and it seems was trying to save the lives of his artillerymen, lest they die for the sake of their guns. The main Japanese position was at Shaggy Ridge, a 4 mile long spur dotted by several rocky outcrops where the Japanese troops established numerous strong points. From the Pimple, a large rocky peak rising around half way along the crest of Shaggy ridge, the Japanese found it extremely sturdy to defend. The feature often saw a mist envelope it adding to its defensive capabilities.  As the Japanese clung to their heights, the Australians were busy developing their new main base at Dumpu. Airstrips, roads, bridge, culverts and numerous buildings were being worked on and with the recent acquisition of the Ramu valley they were also building a forward air base at Gusap. The only major offensive against Shaggy Ridge came in late October.  In accordance with Vasey's advice, Brigadier Dougherty prepared to attack the southernmost peak of Shaggy Ridge on the 20th. For three days from the 17th Dougherty's patrols crept as near as they could, and early on the 20th, Captain Whyte the F.O.O. of the 54th Battery, directed the fire of his guns on to the Japanese position.  At midday forward units reported that they were within five yards of a four-strand barbed-wire fence; the Japanese position on a kunai covered Pinnacle was about 30 yards away. Between the enemy position and his men, there was a steep gully about 100 feet deep with precipitous slopes on both flanks . The Japanese hand cut fire lanes through the kunai and were dug in and heavily bunkered from the cliff face. Through the clever use of artillery fire, the Australians tricked the Japanese into retiring temporarily to gain shelter. The artillerymen varied the rate of fire so it was never the same, while platoons stormed specific ridges, gaining ground without casualties.To defend his western flank, General Vasey dispatched  the 2/7th to Kesawai 1 and the 2/6th to Kesawai 2. Yet the role of the 7th division for the time being was really limited to patrol activities. On 23rd October a section of the 2/2nd Commando Squadron led by Lieutenant Doig crossed the Ramu and moved up the Urigina Track next day, seeking a way east to the Mataloi-Orgoruna area. Lt Doig entered this new territory on the 25th and by 9 a.m. trees across the track near Orgoruna suggested that the Japanese might be in possession. Between 25th and 31st October Captain Haydon's company of the 2/25th Battalion tried to reach the Japanese track between Paipa and Kankirei. After moving up the Evapia River and then through rugged unmapped country for 4 days the patrol leader was forced to return as he realized that it would be impossible for him to reach his objective without further rations. On the 29th the 2/7th Commando Squadron, an engineer, Captain Gossip of the 2/6th Field Company, and two others left to patrol a road from the Ramu Valley across the Finisterre Ranges towards the Japanese road. This patrol returned on 1st November reporting that there was no possibility of making a road from the Kesawai area towards the Japanese roadhead.  Lieutenant Maxwell of the 2/6th Commando Squadron, performed a three-day reconnaissance towards Yokopi , walked right into an enemy defensive position on the first day out, saw five Japanese looking at him from about 20 yards away, and retired before they could fire at him.  Sergeant Berrell of the Papuan Battalion led his section, three men from the 21st Brigade, and 50 native carriers on a 13 days' patrol into the ranges to patrol enemy movement in the Kankirei area. He returned on 11th November without having found a worthwhile observation post near Kankirei. On the 20th October MacAdie sent a patrol from the 2/2nd Squadron to Josephstaal to find out whether the Japanese were there, and whether a strip could be constructed. Accompanied by Sergeant-Major England of Angau, Lieutenant Green's small patrol of five troopers, 32 native carriers and five police boys left for Sepu where it remained until setting out on the main journey on 3rd November. The route chosen by Green and England did not follow the known native tracks as the Australians wished to avoid any contact with Japanese patrols. The journey would take nine days. Over at Atemble, where the Japanese were known to be in some strength, was bypassed and, although there were tracks of Japanese horsemen at Sambanga and reports from natives that the Japanese did occasionally patrol the area between Atemble and Josephstaal and Madang, there were no encounters. On 13th November Green arrived at Josephstaal, which was not occupied and which had only been visited occasionally by small enemy patrols in recent months. The patrol returned to base on 26th November.    On December 2nd a patrol of 42 men from the 2/33rd Battalion led by Lieutenant Scotts set out, urged on by Eather's hope that it would be able to blaze a track into the heart of the Japanese defenses at Kankirei from the west and get a prisoner. Moving up the Mene River Valley and across the 5500 Feature, Scott established a base on a steep ridge. The next day he moved down a spur to some native huts where the dense jungle was replaced by kunai and then crossed into another spur, where they established an observation post. Meanwhile a patrol from the 2/2nd Pioneer Battalion was attempting to observe the Kankirei Saddle area from the east. On the 7th Lieutenant White led out eight Pioneers, two Angau warrant-officers and 20 natives from Bob's Post following the Japanese Mule Track north to Toms' Post. Next day the patrol moved on along a well-surveyed track, and, about 1,500 yards beyond Toms' Post, saw a strong enemy position ahead on a high feature astride the track. On the 9th and the morning of the 10th White tried to work round to the north of the enemy position to carry out his original task, but dwindling rations, heavy rain, and rugged country forced his return to the track. Accompanied by two men White then advanced along the track but after 20 minutes he came under heavy fire. The three men ran back down the hill which they had been climbing but White was hit by machine-gun fire and fell. All of these patrol actions helped prevent the Japanese from penetrating south and figured out generally where the Japanese were in numbers. On November 9th Vasey relieved the 21st brigade at the front with the 25th brigade. Along with this the 2/6th commando squadron and a Papuan company were sent to reinforce the front while the 2/7th command squadron was withdrawn. And with that, after nearly 10 months since Lt Rooke and his platoon of the 2/7th battalion had arrived on the airstrip at Bena, the Bena Force ceased to exist. They had 12 deaths, 16 wounded and 5 men missing but claimed to have killed over 230 Japanese. They helped build the Garoka airfield; over 78 miles of motor transport road between Bena and Garoka, Sigoiya, Asaloka and Kainantu and produced maps of completely unknown areas In his final report MacAdie wrote: “The force fulfilled its task. Every enemy patrol which crossed the Ramu River was driven back with casualties, and very determined enemy attacks were repulsed with heavy casualties. In addition the enemy lost many men in ambushes on tracks north of the Ramu River... There is no doubt that the enemy regarded this force as a menace to his flank, and little doubt that the size of the force was grossly overestimated.” Now the 2/2nd Commando Squadron would assume the responsibility for the defense of the Bena-Garoka area. November would see the start of an intense hide and seek artillery duel. The Australian artillery was attempting to neutralize the Japanese 75mm guns. Captain Ohata's had placed two gun emplacements on the outskirts of Shaggy ridge in a position that protected the ridgeline in the front. The first emplacement were not entirely concealed and thus quickly became a target. Fortunately the guns survived as the Australian fire hit their shields mostly. Captain Ohata thought he could conceal their muzzle flashes by firing lower. The second gun emplacement was completely covered by shelter yet Ohata would remark ‘However the footsteps of the soldiers who were coming in from the behind the position were spotted by the search airplane. We were indeed astonished by their way of finding the gun position.' By the end of November General Nakai was preparing to hit Kesawai and counterattack towards Dumpu. In early December patrols from the 2/16th were probing Shaggy Ridge. Vasey intended to perform a diversion to attract the Japanese attention away from other pending operations in New Guinea and New Britain. An idea was floated around to have Brigadier Dougherty raid Kankirei, but that's it for New Guinea as major events were unfolding for the CBI theater. Over in Tokyo, on November 5th and 6th the Greater East Asia Conference was being held. Attendees included Hideki Tojo for Japan, Zhang Jinghui for Manchukuo, Wang Jingwei for the Republic of China based in Nanjing, Ba Maw for Burma, Subhas Chandra Bose for Free India, Jose P Laurel for the Philippines and Wan Waithayakon for Thailand. Notable exclusions would be that of Korea and Taiwan, whom the Japanese had annexed and did not want to give any political autonomy to. There was also Vietnam and Cambodia who were not invited so as to not offend the Vichy French government who was still claiming French Indochina to be under their rule. There was also Malaya and the Dutch East Indies, but Japan figured they would be simply annexing these regions as their natural resources were now the lifeblood of the empire. Of the attendee's, Suhas Chandra Bose was only present as an observer as India was still a British colony and the representative of Thailand under strict orders from Plaek Phibunsongkhram was to emphasize on every possible occasion that Thailand was not under Japanese domination, but in fact an allied nation. You might be asking why did Plaek Phibunsongkhram not attend such a grand event himself, well he actually feared if he were to leave Bangkok he would be ousted.  Hideki Tojo made a grand speech, greeting each of the participants and praising the spiritual essence of Asia in opposition to the materialistic civilization of the west. To give you a taste of this meeting here are some of the dialogue amongst participants. Tōjō Hideki stated in his speech: "It is an incontrovertible fact that the nations of Greater East Asia are bound in every respect by ties of an inseparable relationship". Ba Maw of Burma stated: "My Asian blood has always called out to other Asians… This is not the time to think with other minds, this is the time to think with our blood, and this thinking has brought me from Burma to Japan." Jose Laurel of the Philippines in his speech claimed that "the time has come for the Filipinos to disregard Anglo-Saxon civilization and its enervating influence… and to recapture their charm and original virtues as an Oriental people." Subhas Chandra Bose of India declared: "If our Allies were to go down, there will be no hope for India to be free for at least 100 years".   Overall the meeting was characterized by praise of solidarity and condemnation of western imperialism, but in terms of how Asia was going to come together and economic development and such, there really was no meat to any of it. Tojo simply kept reiterating how great Pan-Asianism was against the evils of the white devils. Yet for all the talk of asian unity, the Japanese governments actions were anything but that. The Japanese viewed themselves as racially superior to that of the other asian nations. They saw themselves as the Great Yamato Race and that they were destined to rule over the other asian peoples, similar to a father and son relationship. To actually go off the script so to say, I happen to have covered this topic extremely thoroughly in a 4 part series I did on my patreon about General Ishiwara Kanji. You see, Hideki Tojo's main military/political rival was Ishiwara Kanji, and all of the greater east asian stuff was literally stolen from Ishiwara.   Ishiwara, for those unfamiliar, is someone I believe had an unprecedented impact on global history. Ishiwara pretty much single handedly began WW2 I would argue. He was a very bizarre figure who came to the realization after WW1 that the entire world would be engulfed in what he called “the final war”. To prepare Japan against this apocalypse he believed Japan had to seize Manchuria for her resources, to empower the empire so it could face the United States. He also believed it was absolutely necessary to ally with China and that everything needed to be done to create a harmony between the two peoples. Ironically after Ishiwara caused the invasion of Manchuria, it all in his view got out of hand and he was tossed aside by people like Tojo. He spent the entire war openly criticizing Tojo and the policies of Japan while trying to create this Pan-Asian league, and Tojo simply copied what he was doing, gave it a different name and made sure to eliminate the elements about allying with China and stopping the war with her. Ishiwara is a fascinating figure and to be honest I was so happy with the 4 part series I told on my patreon I might be releasing it on my Youtube channel and on my personal podcast server soon.   Now back to the conference, in the words of Indian Historian Panjaj Mishara  “the Japanese had revealed how deep the roots of anti-Westernism went and how quickly Asians could seize power from their European tormentors”. Tokyo hoped that a major demonstration of Pan-Asianism would lead China to broker peace with Japan and thus join them in a war against the west. A major theme of the conference was that Chiang Kai-Shek was not a proper asian and that no Asian would ally themselves to the white devils. As you can imagine the speeches made by Tojo emphasized how evil Britain and the United states were, yet at the same time praised Nazi Germany. Here are parts of Tojo's speech.   “The need of upholding international justice and of guaranteeing world peace is habitually stressed by America and Britain. They mean thereby no more and no less than the preservation of a world order of their own, based upon division and conflict in Europe and upon the perpetuation of their colonial exploitation of Asia. They sought to realize their inordinate ambition in Asia through political aggression and economic exploitation; they brought on conflict among the various peoples; they tried to destroy their racial integrity under the fair name of education and culture. Thus, they have to this day threatened constantly the existence of the nations and people of Asia, disturbed their stability, and suppressed their natural and proper development. It is because of their notion to regard East Asia as a colony that they harp upon the principles of the open door and equal opportunity simply as a convenient means of pursuing their sinister designs of aggression. While constantly keeping their own territories closed to us, the peoples of Asia, thus denying us the equality of opportunities and impeding our trade, they sought solely their own prosperity. The Anglo-American ambition of world hegemony is indeed a scourge of mankind and the root of the world's evils.”   “As regards the situation in Europe, we are very glad that our ally, Germany, has still further solidified her national unity and, with conviction in modern times. As regards the situation in Europe, we are very glad that our ally, Germany, has still further solidified her national unity and, with conviction in sure victory, is advancing to crush the United States and Britain and to construct a new Europe. The War of Greater East Asia is truly a war to destroy evil and to make justice manifest. Ours is a righteous cause. Justice knows no enemy and we are fully convinced greater of our ultimate victory.”   Meanwhile the allies held the Sextant Conference in Cairo between November 22-26th. This conference established China's status as one of the four world powers, kind of a cheeky jab at Japan and a means to sway Chiang Kai-Shek from surrendering. At the conference plans were made for an offensive in Burma codenamed Operation Champion with sub operations Tarzan and Buccaneer. Lord Mountbatten presented  three plans of action. First Operation Tarzan called for 4 Indian divisions of the British 14th army group's 15th army  to concentrate their forces in Chittagong and cross the Maungdaw-Buthidaung line in mid-January. The next year they would capture the Burmese coast in order to defend Chittagong and occupy Sittwe on the Burmese coast. Then three divisions of the 4th Army, would assemble at Imphal and move east with the objective of destroying Japanese lines of communication and advancing to Arak and various parts of Sidon in northern Burma. In March, the Chindits long-range infiltration force would be parachuted into Burma, behind the Japanese lines while the Chinese Expeditionary Force (CEF) in India would cross the Ho Kang Valley and advance eastward into Myitkyina. The Chindit special forces would then support the Chinese forces and occupy Bhamo in April, while the Yunnan Army would begin operations on March 15 and advance to Lashio in April to join the British forces at Lashio and Bhamo. In the Bay of Bengal, a massive amphibious offensive would also be launched, with 3,000 British and American long-range infiltration troops participating.   Operation Musket would see the capture of Cape Sumatra and Operation Buccaneer was to be an amphibious operation to seize the Andaman Islands in order to cut off the Japanese supply lines. Chiang kai-shek expressed support for Tarzan, but once again insisted for it to be coupled with a massive naval operation in the Bay of Bengal. Though the British were reluctant to do this, US pressure eventually convinced them to land on the Andamans. The Chiefs of Staff then agreed to drive Japan out of Burma and reopen land links with China, with Stilwell conducting the ground attack in the north and Mountbatten commanding the amphibious landings in the south.    The American delegation told Chiang kai-shek that for the following six months, only 8900 tons of supplies could be flown to China via the Hump route each month, even though Chiang continuously pushed for 10000 tons. In the end, President Roosevelt promised to increase the airlift supply to China to 12000 tons, and also promised that B-29 Superfortress bombers would bomb Japan from Chinese bases. By the way if you are interested in the beginnings of the bombing campaigns against the Japanese home islands, please check out the podcast I did with Dave from the cold war channel over on my youtube channel. It is actually B-29's operating in India and China that kicked it all off, and its not often talked about.    Many of the resolutions and promises, would not be really implemented. Politically, many arrangements were also made for the postwar international situation. Roosevelt and Churchill supported the territorial claims of the Republic of China, such as returning Taiwan and Manchuria to the Republic of China and deciding to allow Korea to become independent "in due course". The Cairo Declaration, however, made no specific mention of the future of the Ryukyu Islands. China of course wanted them, but the US believed that the Ryukyu Islands could be left to Japan after the war if they were completely demilitarized. It was also agreed between China and the US that Lushun would be used as a public military port for the Americans after the war, and that Dalian would become a free port. Roosevelt also consulted Chiang kai-shek on the possibility of the abolition of the Japanese imperial system along with the emperor, Hirohito, but Chiang kai-shek mentioned that the cause of the war was the Japanese warlords, and that the issue could be left to the Japanese people to decide for themselves after the war. The Americans did not want France to return to Indochina and offered Chiang kai-shek control of French Indochina; but he publicly declined, as Chiang kai-shek strongly advocated the independence of Korea and wanted to assist in the independence of Vietnam. Roosevelt firmly supported Chiang kai-sheks efforts to end imperialism in East Asia. To end the conference off, on December 1, the Allies issued the Cairo Declaration, demanding Japan's unconditional surrender and the return of all occupied lands.    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. And so the drive to Sio was raging on, the Japanese were not being given a moment to breathe as they continued their withdrawal further north. Back over in Japan, Tojo was trying to win over China, but the allies were making sure to keep Chiang Kai-shek firmly in the fold in a 4d game of global chess.

In this episode of “How Do You Say That?!” sponsored by britishvoiceover.co.uk, Welsh voice actor Phil Rowe joins Sam and Mark to talk about the changing face of audio guides, powerful natural accents, and how to cope with difficult placenames in a script. Our wildcards include dialling the Welsh up to the max, and a superb vintage style never heard before!Our VO question this week is all about what kind of mics you have, and how many!We'd love you to suggest a wildcard style or genre for a future episode - either DM Mark or Sam on our socials or send it to podcast@britishvoiceover.co.ukScript 1“This is a truly splendid abbey, is it not? I have travelled all over the kingdom, and visited many abbeys. But rarely have I seen one as fine as this.My ancestor, Edward III, transformed this. He made it into a beautiful resting place for his father, Edward II, who is buried here.They began their work right here. They remodelled the South Transept first, as a kind of experiment before they tackled the rest of the East End. All this magnificence was a grand stage for Edward II's tomb. But I'll tell you more about the tomb when we get there…” Script 2This isn't just any vodka. The Eastern Delights vodka is a symbol of Pan-Asian craftsmanship, where each ingredient is meticulously chosen from the finest offerings across the continent.In a blend that pays homage to the East, the Eastern Delights Vodka is triple blended with distillates of exotic longan honey from Taiwan, robust barley from the towering Tibetan highlands, and an extraordinary mixture of different potatoes. To perfect the blend, it's proofed with the ultra-soft water that flows from the picturesque Sakurajima Peninsula in Kagoshima, Japan.**Listen to all of our podcasts here - you can also watch on YouTube, or say "Alexa, Play How Do You Say That?!"About our guest: One way or another, Phil has been using his voice professionally since childhood, usually singing, until illness forced him to hang up his gigging boots in 2017.Eager to somehow continue using his voice as an expressive tool, Phil was drawn to voiceover and grew a new career from his own studio. Since then Phil has served hundreds of happy clients all over the globe, in English and in Welsh, with voiceovers to lend their projects gravitas, depth and emotion.While his voice has covered many aspects of the industry, Phil especially enjoys scripts that call for a little drama and allow him to explore the full range of his versatility.Phil's Website Phil on YouTube @Philrowevoice on Instagram Phil's Facebook page @RoweVoice on TwitterMark's demos & contact details:

In 1996, a group of Asian/Pacific Islander women came together to confront gender-based violence in their communities. As survivors themselves they knew that mainstream social service organizations lacked the linguistic and cultural knowledge needed to meet their diverse needs. They persevered, eventually launching the Asian/Pacific Islander Domestic Violence Resource Project, which remains the sole Pan Asian provider of trauma-informed and survivor centered services in Washington, DC, Maryland, and Virginia. The team includes social workers, trainers, and a mental health professional and their collective language capacities include Japanese, Hindi, Thai, Mongolian and Mandarin. DVRP is an essential resource for women, and sometimes men, experiencing gender-based violence, including abuse by intimate partners, in-laws, and employers emboldened to exploit workers whose immigration status is precarious. In this episode of Power Station, I am joined by Krittika Ghosh, executive director of DVRP and a globally recognized champion of Asians, Pacific Islanders, and other marginalized people, including the LGBTQ community. Her experience as an immigrant and survivor fuels her inventive approach to culturally based healing, including sessions that explore what constitutes a heathy relationship and workshops in mindfulness. A conversation with Krittika is too valuable to miss.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Host Miko Lee speaks with the creatives behind San Francisco Chinatown's 2nd Annual Contemporary Arts Festival – Under the Same Sun: Reimagining the Edges of Chinatown. This community event is produced by Edge on the Square, the same folx who produced last year's Neon was Never Brighter. Miko chats with curator Candace Huey and artists Connie Zheng and members of the Macro Waves Collective.   Under the Same Sun Transcripts [00:00:00] Opening: Asian Pacific expression. Unity and cultural coverage, music and calendar revisions influences Asian Pacific Islander. It's time to get on board. The Apex Express. Good evening. You're tuned in to Apex Express. [00:00:18] Jalena Keane-Lee: We're bringing you an Asian American Pacific Islander view from the Bay and around the world. [00:00:22] Miko Lee: I'm your host tonight, this is Miko Lee. And you get the pleasure of hearing about the amazing edge on the square second annual contemporary art festival. I speak with the curator, Candace Huey, along with some of the powerhouse artists that are behind the interactive events that are happening as part of this festival in San Francisco, Chinatown on September 30th. Also, I'm going to be there. From seven 30 to eight 30, Leading a panel discussion all about the intersections between arts and politics and ways that we can think about how to re-imagine the edges of social justice and equity. We hope that you'll join us and listen tonight to this episode with some artists talking about how we can all be change makers, shake things up, enjoy some art and go out in the Chinatown community in San Francisco so enjoy the episode. Welcome Candice Huey to Apex Express. [00:01:23] Candace Huey: Thank you, Miko. So excited to be back here with you again. [00:01:26] Miko Lee: We are here to talk about Edge on the Square's second annual Contemporary Art Festival. I loved last year's Neon Was Never Brighter. First, just start by telling us about Edge on the Square. [00:01:40] Candace Huey: Thank you, Miko. So edge on the square is a new arts and cultural hub located in the heart of San Francisco, Chinatown. It is a project by C Mac, and it is a place based cultural hub that celebrates, explores and supports leading and pioneering creative expressions at the intersection of community, art and multiracial democracy. [00:02:04] Miko Lee: Ooh, that's so many things and so many important things in this time of turmoil that we're living in. Last year's Neon Was Never Brighter was so fun, so much interactive art. Tell us about the theme for this year and how you came up with it. [00:02:19] Candace Huey: Thank you. So this year, we're excited to be back. It's going to be Saturday, September 30th from 5 p. m. to 10 p. m. We were really excited to gather some amazing local and international API artists. We worked this year with esteemed curators. I'm joined by. PJ. Polly Carpio Arena, Alejo and Sarah Wesson Chang to help inform the vision of the theme, which is under the same sun. Reimagining the edges of Chinatown. [00:02:54] Miko Lee: Oh, I love that title. I have been talking with some of the artists which we're going to hear from soon about how they take that theme and what does it mean to them? Can you tell us what it means for you to have this theme of under the same sun? And what are the edges of Chinatown? What does this theme mean? [00:03:12] Candace Huey: Sure. Happy to share about The theme of the festival under the same sun reimagining the edges of Chinatown for this year's Contemporary Art Festival, while this year's festival is really focused on the unity and solidarity of the API communities coming together during this tough time ongoing, we're still grappling with the after effects of the pandemic and we're still in the pandemic and we're still facing a lot of adversity from the ongoing anti Asian rhetoric. And compounded with this past year's moments of, you know, tragic tragedies in the Supreme Court with overturning of Roe versus Wade affirmative action and other discriminatory policy policies, not only affecting API communities, but other underserved communities of color. we felt that it was still really important to focus on unity on solidarity and coming together, but also thinking about how could we re imagined and redefine, both Boundaries and borders real and imagined that exists not only in Chinatown, but beyond between different communities of color and coming together and commenting on the fact that the critical work for social justice and equity is continuous and ongoing. [00:04:27] Miko Lee: Okay, so as an audience member, I get myself into Chinatown. I'm on that the square. What do I see? [00:04:35] Candace Huey: We're having multimedia, fun, exciting art installations and activations ranging from dance performances to music to nighttime projections to artwork, interactive installations. There's even a sound bath. That's going to be located inside 800 Grant Avenue by the artist collective Macro Waves. We're having a digital work by Indira Allegra, which is a digital tapestry, a collective new take on what is a memorial monument in the community sense, but basically edge on the square and this contemporary festival is thinking about how can we use art to come together And to heal and really think about potent regeneration and thinking about collective power. [00:05:24] Miko Lee: Ooh, collective power folks join up and come to edge on the square, second annual contemporary art festival, the end of this month, September 30th. And we're going to hear next from a bunch of different artists, including the macro waves and Connie Zhang. So stay tuned. [00:05:40] Candace Huey: Under the same sun, reimagining the edges of Chinatown is a free, open to the public, family friendly event, accessible to wheelchairs. We are expecting lots of fun, so come, enjoy yourselves, and be delighted. [00:05:56] Miko Lee: Candace Huey, thank you so much for joining us. And more than that, thank you so much for putting this artistry out into the community so that we can grow and heal and make changes together. [00:06:07] Candace Huey: Thank you, Miko. It's a truly an honor to speak with you and also to work with such talented artists and curators. [00:06:17] Jalena Keane-Lee: Next up, listen, to find my way by Rocky Rivera. MUSIC [00:09:45] Jalena Keane-Lee: That was find my way by Rocky Rivera [00:09:49] Miko Lee: Thank you, Connie Zheng, for coming on Apex Express. [00:09:57] Connie Zheng: Thank you, Miko. [00:09:59] Miko Lee: We are so excited to have you here. You are such a brilliant artist, scholar. You do so many different things. And I just love to hear a little bit more about who are your people and what legacy do you carry from them? [00:10:15] Connie Zheng: Thank you so much for this question. It's a really generous and expansive question .When I think about who my people are there's a broader community of Asian American API progressives, artists, activists intellectuals who I consider part of my community. There's also people whose legacy I'd love to carry. But who maybe I don't know personally. When I think about who my people are they're really people who are dedicated to creating better futures for all of us who are dedicated to collective thriving and liberation and change. There's a very literal answer to that question, which is my people are other Chinese Americans, but I think it's really important for me to think of a larger, more expansive community of people who are committed to the same sorts of Politics and goals for collective health and thriving and and freedom. [00:11:41] Miko Lee: Thank you for that. And speaking of that, you are going to be one of the many artists in Chinatown Media and Arts Collaborative's second annual arts event. This year it's called Under the Same Sun, Reimagining Collective Liberation from the Edges of Chinatown. Can you tell me about what that theme title means to you? How do you interpret it? [00:12:03] Connie Zheng: Yeah. Thank you. So when, yeah, the first time the curators shared the framework of under the same sun for me, I was really excited about this idea of collective thriving and growing. Because we are literally all under the same sun. Maybe it shines differently for different people or we all respond to it differently. This is a cheesy answer, but we are all actually on the same planet and we're all responsible. That responsibility is distributed somewhat differently because of our how different people, use the resources and steward the land differently, but we are all responsible one way or another for , our collective future. For me, Under the Same Sun speaks to questions of responsibility, it speaks to questions of collective growth, and nourishment, and our ability to feel the same kind of joy or radiance, and the conditions that enable that radiance. [00:13:12] Miko Lee: What do you think from the edges of Chinatown means? [00:13:15] Connie Zheng: When I think about edges I think about borders and boundaries and how they're often very porous, and also how the edge is really where I some of the most visible forms of change happen. It's not usually from the center , I'm really interested in thresholds, and how no every edge is both the ending and beginning and that sort of space where beings and things and entities cross over to become something else is really fascinating for me, and so the edge of Chinatown there's the literal boundary on a map of where Chinatown as a neighborhood begins and ends, but also the community in Chinatown , it's not limited to those 9 or 10 or 11 blocks. It's much bigger than that. It's much more expansive and diffused than that. I think that slippage between where the sort of bureaucratic designation of a neighborhood and a community like that tension or flow is really interesting for me. [00:14:42] Miko Lee: Oh, I like this philosophical every end beginning. That's lovely. You were raised in China. So when did you first see San Francisco Chinatown? What was your first experience with that? [00:14:53] Connie Zheng: I think I first visited Chinatown in actually in college. So I was born in China, and I mostly grew up on the East Coast. I spent a lot of time in Boston Chinatown and before that I lived in a very predominantly white working class town in Pennsylvania. There were not very many Asian people. My parents would have to drive two hours every month to the nearest Chinese grocery store. Growing up for me Boston Chinatown was like a revelation and coming to San Francisco for the first time and going to Chinatown was like a shock. It was incredible . Walking through the neighborhoods or walking past the small vendors, The stalls, reminded me of being in Asia and it was really magical. I didn't know that existed outside of Asia. The more that I learned about San Francisco Chinatown, it's history why the architecture is the way that it is and how it was really like a safe haven for a lot of people. Specifically during Chinese exclusion. It's a place that is filled with so much significance and meaning, and it's really special to have been able to do work there over the past year and to continue doing work there. [00:16:25] Miko Lee: You've done a number of site specific interactive projects, can you tell us about the one that you will be doing as a part of the upcoming Under the Same Sun? [00:16:33] Connie Zheng: I will be making a modular outdoor garden installation called Nine Suns, and it's in reference to the Chinese myth of Houyi and the Ten Suns. In this story, there were once ten suns, in the days when gods roamed the earth. The ten suns would usually cross the sky one by one. One day all ten of the sun appeared in the sky at once and started burning the earth. This archer Shot down nine of the suns and left just the one that we have today. I'm really interested in trying to imagine a more gentle transformation of the nine suns who fall from the sky. In the standard myth the archer is like the hero but I've read like a number of sort of accounts that reference this myth that nuance the story a little bit by mentioning how like cruel and unkind this archer is. Especially since his wife is Chang'e, the moon goddess, who literally escaped from him I was really interested in reframing this myth and not having the emphasis be on this male archer who shoots down these nine sons, who Maybe we're just hanging out together and in this garden installation there will be nine circular planter tubs that are mounted on movable circular dollies. That are painted to look like the suns that were shot down by the archer. And [00:18:10] Miko Lee: so interest. That's very exciting. Wait, where will it be located? [00:18:15] Connie Zheng: I believe it will be located outside of CMAQ on Grant. I think the exact location is still being determined right now, but it'll be a street level installation. Each of the planters will be somewhere around 2 to 3 feet wide. There will be 9 of them and they will be arranged in a sort of wavy horizon line and each of the planters will have like Asian herbs. On the day of the festival, there'll be wavy line that's reminiscent of an undulating horizon. After the festival, the planters will be moved to Kaiming Head Start Preschool actually for use. For the school to use in their outdoor education program, which is really exciting. [00:19:04] Miko Lee: Oh, I love that. So you're making it, you're creating it for this one arts festival, but then it will have an ongoing life with young folks. [00:19:12] Connie Zheng: Exactly. Yeah. And that's really important. I think that was one of the most exciting things about this project. The planters, because they'll be installed on these circular platforms that have wheels on them, they'll be mobile and the idea is for them to be easily configured into different arrangements, depending on the school's needs. That feature was really exciting to me because it's inspired by The reality of very tight space in Chinatown and also in the interconnectedness of the community. I was like, really inspired by and struck by how so many residents of Chinatown are really mobile. They're tracing numerous orbits a day as they go to school, go to work, run errands, see friends and family, and just build these very rich lives with Lots of nodes of connection. The sort of connectivity is really important for me to think about here. I wanted these planters to be mobile, to be easily configured and modular and also to have a life outside of this one day event. [00:20:21] Miko Lee: So what is the walk away message that you want your audience, after coming to see this event, that's a reimagining of this folktale that many of us grew up with, what do you want people to know or to think about when they walk away from your exhibit? [00:20:37] Connie Zheng: It's really exciting for me when a project that I'm working on opens up different angles of thinking about a story that we've inherited. What happens to the fallen sons in this story is something that was really interesting for me and that I hope is interesting for others. The reimagining of these nine fallen suns as gardens is a really lovely thought for me I was really excited about the idea of each of these suns after they've been shot down from the sky, going off and nurturing their own earth, after they've Fall out of the sky, they like maybe roam through the solar system, and or the nebula, and [00:21:28] Miko Lee: They're just out there roaming around the universe. [00:21:31] Connie Zheng: Yeah, but then they find this maybe like a barren rock and then they nurture it into life. They start their own solar system, and so I think this idea of rejected things, creating new life or being the basis of a new ecosystem is something that's always been fascinating to me and I hope that the installation might encourage others to think about that as well the idea of, Things that are fallen, or thrown away, or considered useless as these nine sons were, things that were considered useless, actually being like, the source of new life. [00:22:09] Miko Lee: Rebirth. From the phoenix, they rebirthed. [00:22:13] Connie Zheng: Yeah, totally. I love that. [00:22:15] Miko Lee: Fun, fun. You do so many different types of mediums. You do film and drawing and writing, food events, maps, and plants, we were chatting earlier about mooncake design, and filmmaking, all these different mediums that you utilize. Can you talk a little bit about how the different mediums you use? impact the issue that you're exploring? Are you drawn to film because of this issue or does it just come to you organically? [00:22:43] Connie Zheng: I do like to come to materials organically. I think there's like a lot of unconscious intelligence that we have. If I have an idea for something, usually I'll try to sit on it for a while before I actually make the thing. There's some projects where the form and the material manifest themselves very quickly and early on. Sometimes it's just very obvious for example I recently finished a nine foot long map of Asian farmworker history in California, and I started making it while I was an artist in residence at the 41 Ross Space on Ross Alley. When I first started thinking about how to create this archive of Asian farmworker history in California, the map form was very obvious to me. I was like, oh, it definitely has to be a map. That was a project where I knew exactly what it would be once the idea, once the sort of like germ of the idea bloomed in my brain. [00:23:59] Miko Lee: Oh, I look forward to seeing that work. That's, is that up still? [00:24:03] Connie Zheng: Yeah. Yeah. It's up at the Berkeley Art Center right now, and it will be going To the Yerba Buena Center for the Arts for the Bay Area now triennial in September. that show opens in October. [00:24:16] Miko Lee: Oh, great. So folks can have access to your work in multiple ways. [00:24:20] Miko Lee: I noticed in a lot of your work is addressing environmental awareness and climate change. Have you always woven your politics into your artistry? [00:24:29] Connie Zheng: Certainly not. I think figuring out how to weave my politics into my creative work has been an ongoing process with a lot of trial and error. Not all of my work displays my politics so visibly. I feel like a lot of my creative practice is really just like a series of experiments to figure out what my creative languages. My earliest work was very personal, and as I started to have more of an audience for my work, I was trying to, figure out what kind of dialogue I wanted to have with people. My first short film was, very angry like film essay that was focused on how racialized and class, a lot of American mainstream media rhetoric about pollution is. That was very much inspired by my experiences of my childhood in China and also growing up traveling back and forth between China and the U S and seeing how intensely polluted a lot of the places where my family lived were and then learning more about how that came to be a lot of the worst pollution around the world , can really be traced back to multinational corporations that are based out of the U. S. or North America and Europe. A lot of this terrible pollution is outsourced to countries of the global south, developing nations and also like poor communities, often communities of color in the United States. And the more I learned about this, the more sort of furious I got about it. My first film essay was this extremely finger pointing piece, and the reception for it was really interesting for me. I noticed that the people who responded to it most tended to be like other Asian diasporic people or Asian Americans I received a lot of feedback from That it was didactic. At first that made me really angry to hear that it was didactic, mostly from white viewers and then I think that changed, , and then, , Got me thinking about , what kind of conversation do I want to have? How do I want people to respond to a work? I don't necessarily mean is that going to piss them off or not? I realized that it felt uninviting for people and it felt uninviting for the exact, people I wanted to have that conversation with. I wouldn't say like I've completely changed the way that I work. My writing tends to be much more pointed and my visual work I try to move through a spectrum of Different strategies and ways of weaving my politics into the creative work. Sometimes with certain projects, I want to be more inviting and to plant the seeds of that politics in people, and sometimes it's more like an open conversation, and sometimes it's a little more direct. For the last several years, I've really been experimenting with different strategies and approaches to bring my politics into the work and also to try to make it depending on the context, as inviting as possible without hiding what my politics are. [00:28:32] Miko Lee: Thank you for that. What are you interested in exploring at this Under the Same Sun event? Will you have a chance to walk around and see some of the other artwork, or are you staying with your exhibit? [00:28:43] Connie Zheng: I hope I'll be able to walk around and see other artwork. [00:28:46] Miko Lee: And what is it for yourself? How would you like to walk away from the festival? [00:28:51] Connie Zheng: I would love to have conversations with people about what the festival means to them and what questions it's opening for them and how they see, the installation what inspires in them, what questions it opens for them, I'm really humbled when people bring any real presence to my work, and it's not something I take for granted. I think really just engaging thoughtfully with a creative work that you see is it requires an act of like generosity. Would just be very excited to have conversations with people. [00:29:38] Miko Lee: Well, Connie Zhang, thank you for spending so much time with me. I appreciate you, look forward to seeing your artwork. [00:29:44] Connie Zheng: Thank you. Yeah this has been really lovely and thank you for your time and your attention. [00:29:50] Jalena Keane-Lee: Next up, listen to turn you by Rocky Rivera. MUSIC [00:29:53] Jalena Keane-Lee: That was turn you by Rocky Rivera. [00:32:53] Miko Lee: You're tuned into APEX express on 94.1 K PFA and 89.3 KPFB in Berkeley and online@kpfa.org. Welcome to Apex Express Macro Waves. I'm so excited to talk with you all. You are a locally based creative collective and you create interactive pieces that are around conceptual art, new media, and design. Welcome Robin Bird David, Dominic Cheng, and Jeffrey Yip to Apex Express. [00:33:25] Dominic Cheng: Thanks for having us. [00:33:26] Robin Birdd David: Glad to be here. [00:33:29] Miko Lee: Can I just start with each of you, because we have three different important voices. Can I start with each of you telling me who you are, who are your people, and what legacy do you carry from them? [00:33:45] Robin Birdd David: My name is Robin Bird David. I go by she, they, and that's a big question. I don't think we've ever been asked that question. I think it's an important one. Specifically there's five of us technically in the collective. There's three of us today, who are working on our current project that's coming up with CMAC and Edge on the Square. The collective also includes Tina Kashiwagi and Anam Awan but they are not here today. Specifically with us three, we're all born and raised in the Bay Area, Asian American second generation. So I think that holds an important aspect of the communities we serve. We've been doing a lot of work around stories of different generations of migration, the diaspora particularly with Filipino American, Chinese American we've done work around Japanese American stories, intergenerational stories. So I'll leave it there and pass it along to Dominic. [00:34:50] Dominic Cheng: For the most part. We represent our collective, which is mostly Asian American and Pan Asian artists. All of us come from different backgrounds of art practice. we really strive to collaborate and share our skills and our different experiences and really tried to build upon work that isn't necessarily representative of one single individual. And it's more centered around our collective experience and so as My collective mate Robin had mentioned we do a lot of work that's really introspective and looking at our ancestry as Asians in America or Asian Americans in America. We really try to focus a lot on exploring intergenerational experiences and issues, a lot of trauma and healing that we try to integrate with a lot of the work that we're producing. And that's what brings us here today to the project that we are creating as part of the Under the Sun Festival. [00:35:57] Miko Lee: So Jeffrey, who are your people and what legacy do you carry from them? [00:36:06] Jeffrey Yip: When I think of my people, I think of family. How I identify in general is for my upbringing, for my family and all the arguments I've had all the kind of love that was shown to me. I think as you get older, you start to have chosen family, right? Macrowaves we consider ourselves a family and I consider them my chosen family. Our broader community folks, there's so many people, there's so much love , in the Bay Area and specific being the creative kind of scene. Our legacy is we all have something to share in this world, right? As a collective, we've learned that we all bring something special to the table. We highlight our kind of like strengths. We do what we can to help each other. As a collective, we also do that in the broader kind of communities. It's like we, we have something to share. We mentioned this before, is like a collaboration and bring people on board and get to know people, build community, and like grassroots kind of way. [00:37:08] Miko Lee: So thank you for that. [00:37:12] Robin Birdd David: The reason why Macwaves got together in the first place was because we were really craving a place for people of color. Queer folks to come together to have a safe space to create artwork together. That was really removed from the competitive nature that is often in art spaces, as we know, like art within capitalism and within the society, it builds this structure of you're competing for grants or for residencies. The people that we want to serve and the people that we build with are other artists, queer people of color artists to really create a space where we can build and share resources and skills to create work together rather than to be competing. So that's something that we emphasize in our work. I think the Bay Area holds a special place as a place where a lot of revolution has happened, a lot of community building has happened in the Bay Area for people of color, for marginalized communities. I think that is a legacy we hope to carry as we continue to do this collective work. [00:38:16] Miko Lee: That's so great. Can you talk a little bit more about how you came to be, how your collective came into fruition? [00:38:23] Robin Birdd David: Yeah, that's a good question. Jeffrey and I attended San Francisco State together and we met in a cybernetics new media art class. We were craving a space that wasn't so white focus and wasn't so white wall focus. My background is in painting and Jeff was in the program for new media. We felt that there was this divide of either like the fine arts world, which was a very like white wall space. Then there was the art and technology spaces, which also felt white. There was just a specific type of artists and community that came along with both those spaces and us being people of color, Asian, and growing up in the Bay area. I felt like I didn't necessarily belong in those spaces at the time. We decided why don't we do our own thing? So we started doing these one day events, art experiences parties where we would do like installations and have like DJs and performers and chefs come and we would do this whole experience where like different senses were activated. That's how we started and it just formed naturally. [00:39:35] Miko Lee: So it started out Robin, you, and Jeffrey, and then you've grown to add more people? [00:39:40] Robin Birdd David: Yes, we started in the ideating phases, and then we brought in other folks, like Dominic, to come help and create these one day experiences. Then from there, the folks who were collaborating with us, we naturally formed into a collective. [00:39:56] Miko Lee: Does each artist play a specific role? How do you interact with each other? [00:40:01] Dominic Cheng: I think one of the things that we've felt really special about being in a collective is that we bring different strengths, but it doesn't necessarily dictate like what we can and cannot do in the collective. There's a lot of responsibilities with a lot of the organization, a lot of the finances, but then there's also the responsibility of developing concepts and like refining what approach we want to take towards making installation or an experience. I think organically we have developed concepts for our projects collectively. Some folks tend to take lead on some ideas and others follow and provide support, which is always I think something that has been really uplifting for us is to not really. Think about it from like an individualized perspective where one singular artist needs to do every single thing on their own. That really opened up a lot of opportunities for us as creatives and artists to think beyond what we individually can create and really honing in on the resources and the creative like experiences and techniques that other folks bring to the table. [00:41:14] Miko Lee: So macro waves focuses around future ancestry intergenerational experiences and collective healing. How does this relate to the Under the same sun, reimagining collective liberation from the edges of Chinatown, which is the theme of this year's second annual festival. [00:41:33] Dominic Cheng: We have been a collective since 2015. A lot of the work that we have been doing has been centered around storytelling and exploring our ancestry through a lot of experiences that we've encountered between us and our parents or us and our grandparents or others. Us and folks that are probably not an ancestor quite just yet. We have always been fascinated in utilizing that area as like a point of adventure as a place for us to explore ideas outside of conventional storytelling. We have been creating works specifically looking at how trauma has been passed along through cultures of just brushing things under the rug, or how those types of experiences can really build up a like a hard shell for folks to really break through and to heal. We've also been doing work that has been exploring some of the experiences that we all share like today especially through the pandemic [00:42:38] Miko Lee: How does the theme of Under the Same Sun make you feel and what does it inspire in you all as a collective? [00:42:46] Robin Birdd David: So MacroWave's coming together in the first place. Is really reimagining art practice like collective work. In this case collective care, which is what our project focuses on. We're really interested in including other communities in our work. We did a project called alternate realm in SF Chinatown, where we interviewed shop owners during the pandemic when a lot of the restaurants and businesses were closed down and we're only doing takeout. And so we saw an area where we could. Utilize our work to help small businesses out. And so we interviewed these small these business owners about their experiences around alters and specifically Qingming And we asked them how did their rest or their business restaurant shop start and what are your alters that you have at home. Through these interviews, we collaborate with other artists outside of the collective to create augmented reality alters that became a walking tour that communities can experience through their cell phones or iPads. And so really just like bringing. outside communities that are not necessarily in the art scene to experience what other people are doing in the community and how do we bridge the gap between different generations of people and continue this legacy of storytelling and to learn more about in this particular project, more about like our Asian community and the diaspora and how they were able to start a business in the first place. [00:44:27] Miko Lee: I really appreciated those short videos about Qingming and just getting to hear from a shopkeeper's perspective about what the things they're burning for their ancestors. I think about that a lot when I'm doing Qingming with my family. So I appreciate that there's this video that's there on the internet will just last, but then you had this temporary piece with where you would go and scan a QR code. Is that right? [00:44:53] Dominic Cheng: Yeah, part of this. That project really involved us really capturing the stories of these local businesses who are not just only struggling financially and economically to survive, but they were also like experiencing heightened like violence in their communities and xenophobia. And this was like during a time where we felt that. It was important for us to open up this project as a platform for other creatives, other artists who identify as Asians to create a digital offering, like a digital art altar offering to each business in response to the stories that they were hearing [00:45:33] Miko Lee: Jeffrey, can you talk about the piece that you're going to be showing at the exhibit coming up for under the same sun? [00:45:43] Jeffrey Yip: Yeah it's a huge project and we've been conceptualizing for about two years now. It's Actually a culmination of the work that we have been doing. In 2000, I think 17 or 16, we started creating like healing spaces. One of which was like Protectural Voyager, which showed at SoMa Arts. It was this geodesic dome and there was like healing feedback sensors attached to it. There was like one that could read your brain. A brain wave reader and what was a heart wave reader. We're inviting folks to meditate inside this dome and when they we're at a calmer state, then the visuals will be more meditative and encourage meditation. We've created a number of these kind of like healing spaces and exhibitions. Collective futures is the one that we're going to be showing at this festival this year. Idea is around community care, collective care and also questioning the idea of self care and self care is important and we all need self care and sometimes that can get caught up in Western individualism and I think it is important to have that delineation and emphasize the the collective care because because you can't do everything by ourselves. We need community. We need family members. We need people to show up for each other. [00:46:59] Robin Birdd David: Our piece is called collective futures. Our installation is a critique about self care and coming out of shelter in place. We were encouraged to take care of ourselves, but also as a means to be productive and to get back out there and to work. it's like what Jeff mentioned is really important, but there needs to be a shift to like community care like how do we take care of ourselves. If institutions aren't are not working if certain systems are not working, how can the community show up for each other and I think that. Under the Same Sun is an example of this collective experience of coming together to reimagine new ways of experiencing art and really integrating and bringing together different communities outside of Chinatown, into Chinatown bringing other migrant, people of color communities who all have similar ways of showing up and caring for each other rather than being segregated Into like different communities by ethnic groups, but like, how do we come together? [00:48:04] Miko Lee: Jeff. If I walk into Edge on the Square, what do I see? [00:48:10] Jeffrey Yip: If you walked into Edge on the Square, you would see a mound full of moss. We're inviting people to come and sit down on and in the middle of that mound, there's going to be like a bowl of water that will be vibrating and the whole platform is actually vibrant. So we're inviting participants to come on and feel these vibrations that are being produced by the sound artists that we're inviting to, to provide sound. On these platforms, there are transducers that essentially work like speakers, but instead of pushing air out of the cone, they vibrate . And so basically that's essentially what this project's about. We'll be like having a platform building a platform that will be vibrating. So there'll be like a, like a sound installation that will vibrate the same frequencies into the platform. And so there's this idea called a vibroacoustic therapy. And it's the idea that like. under certain vibrations that can be a healing thing, right? And so we're inviting folks to come on this platform and all vibrate on the same wavelength and essentially just have the intention to heal. And I think a lot of times with these healing spaces, we're not like, Oh yeah, these spaces are going to heal you. It's more it's more so like we're inviting to people with to come in with the intention to heal because I don't identify as a healer, but I feel like we all can do the work to heal ourselves. [00:49:31] Miko Lee: Where is your piece going to How can people find it? [00:49:36] Robin Birdd David: Collective Futures installation can be found in the Edge on the Square gallery space. It is part of the gallery exhibition that will be up, till next year, June. And the location is 800 Grant Avenue in San Francisco, Chinatown. The nature of the installation is really about collaboration. We're inviting other collaborators to come in to either create sound performances where the sound performance connects to the vibration. On this installation can feel can physically feel the music being played at the same time. We also are inviting other healing practitioners, we're hoping to invite a Tai Chi instructor to host a class, maybe with different, with elders, with different community members in Chinatown to be able to utilize the platform in different ways. [00:50:35] Dominic Cheng: We wanted to create a platform as a means of opening up dialogue about other community engagement opportunities. Some of the folks that we have been interested in is cone shaped top, which is arts and culture space based in Oakland that has been doing a lot of work opening up space for a new emerging sound artists to have a space to perform and just to share music and be in community with each other. [00:51:01] Robin Birdd David: Cone Shaped Top will be collaborating with us for the opening of Under the Same Sun Festival on September 30th. They will be hosting a series of other sound and performance based artists that will perform live for the festival. So we're really excited about that and to really kick off this installation where throughout the year, the rest of the year and next year, we'll be able to collaborate with other community folks. [00:51:28] Miko Lee: That is very exciting. Jeffrey Yip, what do you want audiences to feel? [00:51:35] Jeffrey Yip: Everybody's gonna have a different experience, right? I personally want to start with telling somebody how they should experience the work, like I really do feel like everybody's going to come in with a unique perspective. The way that they'll experience it will be new to themselves because for me part of the art right is the experience within the individual, and that's what they're bringing to the table. It's a almost a collaboration with the participants as well because they bring their unique experience to it and you know maybe they'll share some share the experience with somebody else and there might be similarities but they'll have a unique experience. Ultimately I would say a sense of togetherness and community. That would be ideal. [00:52:19] Miko Lee: What about you, Robin and Dominic, what do you want the audience to feel when they leave your exhibition? [00:52:28] Robin Birdd David: The concept behind collective futures really comes from that feeling that we had in the pandemic where we were actually able to take a break. The concept of self care, even though it existed already, was there was a hyper focus on self care, and whatever the care is that people needed, it was obvious that we all needed a break and we needed space from capitalism from the day to day work and hustle and bustle, and so this installation really is a nod to that. It's wait a minute, how we take a step back and think about like how do we show collective care? How do we show up for each other? How do we care for ourselves? In a way that I don't know if we really got to the We never really got to the root of the problem since we came back from COVID, even though COVID still exists. We never really figured that part out. Like here we are still continuing to hustle and continue the work which is all important. I'm hoping that people who experience our installation will be reminded of I need to rest and it's okay to take a break. It's okay to pause and it's okay to just lay here and be still and be okay with where they are in their lives, where we are in our lives. [00:53:47] Dominic Cheng: Building on to that, I really do think that one of the hopes that I have is for folks to come to this leaving with just more interest in exploring collective care. It's important to not just only continue to do the work of living day to day and trying to survive, but really to take those moments of rest and really to seek out opportunities to provide community collective care. It has to be a constant and it can't just be, like, a one time thing. That's what we're really hoping for folks to do is to really be moved by the collective experience that they share with. Either folks that they bring together with them to the space and to the installation or for folks that they meet and connect with organically just throughout their visit. [00:54:37] Miko Lee: What are you looking forward to at this whole event that's happening? Will all of you stay with your piece or will you get to wander around and experience the other events that are happening? [00:54:49] Robin Birdd David: That's a good question. I'm hoping we'll be able to experience the events. That's also my birthday. So I'm hoping to be able to celebrate, see folks I haven't seen in a long time in the community, and to learn about other artists work and to be able To also explore Chinatown as the way that the festival is, was designed to be able to support small businesses. And then also to be able to collaborate with Cone Shaped Top is such an honor and something that we've wanted to do for so long. [00:55:19] Dominic Cheng: I'm excited to just support other artists who are activating like different parts of the festival. I had attended last year's festival the inaugural festival and was really amazed and really moved by the ways in which folks were taking up taking up space in like public areas through art and were sharing different stories in different parts of the entire Chinatown neighborhood. That was really exciting for me to experience the first time and I'm hoping to experience that and something new this time around. [00:56:01] Miko Lee: What about you, Jeffrey? What are you looking forward to? [00:56:07] Jeffrey Yip: I echo everything they both said. I think being a spectator and experiencing What these other creatives are showcasing. I know Kim Ip is going to do a performance. I'm excited about that. TNT Tricycle is going to be there. Maybe I'll sing a song I know there is going to be a lot of great stuff. There's going to be the canto pop. I'm excited for that as well. So maybe dance a little bit in the street. , I think that would be nice. it'll be really good for me and Jeff to brush up on our Cantonese through dancing to canto pop DJ music. [00:56:43] Miko Lee: Okay, and we will just look forward to seeing you all dancing in the procession, which is going to be lion dance and then Duniya dance all the way around the block. So you can do a little Bollywood, a little lion dance. Thank you so much Macro Waves Collective for joining me on Apex Express. I hope people can get out in the streets and see this amazing artwork going down the end of the month, September 30th. Thank you all for joining me. [00:57:08] Robin Birdd David: Thank you so much for having us. [00:57:10] Dominic Cheng: Thank you so much Miko. [00:57:14] Miko Lee: Thank you so much for joining us. Please check out our website, kpfa.org backslash program, backslash apex express to find out more about the show tonight and to find out how you can take direct action. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important. [00:57:39] Miko Lee: Apex express is a proud member of the AACRE network. Asian-Americans for civil rights and equality. Find out more at aacre.org. Apex express is produced by me. Miko Lee. Along with Paige Chung, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaida. Kiki Rivera, Swati Rayasam, Nate Tan, Hieu Nguyen and Cheryl Truong tonight's show is produced by me Miko thank you so much to the team at kpfa for their support have a great Night. The post APEX Express – 9.7.23 – Under the Same Sun appeared first on KPFA.

FWD Group is a relative new life insurance player with a presence in 10 countries. What is their strategy for the next phase of growth after a rather phenomenal start and is their delayed listing going to materialise soon? Questions we pose to it's Chairman, Professor Frederick Ma.Image by: Shutterstock

May is Asian Pacific American Heritage Month and my guest on this episode of Talking Taiwan, Peter Lin is here to talk about the Asian American Pacific Islander or AAPI Jazz Fest which is coming up on May 20th in Newark, NJ. The AAPI Jazz Fest celebrates the diversity of the pan-Asian jazz community with a full day of performances and panels. Peter is Founder of Yardbird Entertainment and Producer of the AAPI Jazz Fest.   Related Links: To view all related links for this article, click link below: https://talkingtaiwan.com/aapi-jazz-fest-2023-celebrating-the-diversity-of-the-pan-asian-jazz-community-with-peter-lin-ep-237/   This episode of Talking Taiwan has been sponsored by NATWA, the North America Taiwanese Women's Association.    NATWA was founded in 1988, and its mission is: 1. to evoke a sense of self-esteem and enhance women's dignity, 2. to oppose gender discrimination and promote gender equality, 3. to fully develop women's potential and encourage their participation in public affairs, 4. to contribute to the advancement of human rights and democratic development in Taiwan, 5. to reach out and work with women's organizations worldwide to promote peace for all.   To learn more about NATWA visit their website: www.natwa.com    Here's a little preview of what we talked about in this podcast episode: The AAPI Jazz Collective's performance at the Metropolitan Museum for the Lunar New Year How AAPI Jazz Fest got started How the first AAPI Jazz Fest last year (in 2022) was organized in a month What it's like being an Asian American jazz musician The mission of AAPI Jazz Fest The AAPI Jazz Fest is a 10 hour event with performances and panels The artists performing at the festival At the end of the night there will be a jam session during which time any musicians are invited to join in Local organizations and vendors that will also be at the festival Peter's band the AAPI Jazz Collective, and their recent performance opportunities How to support, attend, donate to, or volunteer for the AAPI Jazz Fest    Related Links: To view all related links for this article, click link below: https://talkingtaiwan.com/aapi-jazz-fest-2023-celebrating-the-diversity-of-the-pan-asian-jazz-community-with-peter-lin-ep-237/

Jasmine is a street dancer and multi-hyphenate creative originally from Los Angeles and now based in Chicago. She has built a Pan Asian political organization and has previous experience with teaching, social emotional learning facilitation, dance programming and operations, and entertainment sector in insurance, customer support, and quality assurance. She is currently an Chicago's Assistant Program Manager with Creative Netwerk and freelances in production, marketing, street dance, and podcasting. --- Support this podcast: https://podcasters.spotify.com/pod/show/thasmokingsection/support

This episode is brought to you by Sendlane.   Leland says, “So the authenticity piece, obviously that's really core and central to our brand. One thing that I'm proud of myself and Sarah for doing and holding true to remaining authentic. Because, earlier on when we were trying to raise capital and got a lot of pushbacks on, is Thai a large enough section in the grocery store? Is the market large enough for that? And a lot of investors And other folks pushed us to try to, do something that was more Pan-Asian… and that's not central to our brand.”   Today, we interview Leland Copenhagen, Co-founder of Yais Thai. Created to bring Thai flavors into American households with the twist of a cap. Inspired by his Yai (translation: grandma) and mom's sense of ease in the kitchen, they want to share the joy of connecting over a delicious meal with everyone!   We discussed:    * What he's grateful for * An overview and origin story of Yais Thai * Seeing the opportunity with heritage products * How the consumer is driving demand for authentic foods * Marriage and running a brand with your spouse * How he handles the mental and emotional aspects of running a brand * A breakdown of the Yais Thai products, including ingredients * Why glass jars? * What are Leland's favorite sauces (currently) * What he's most proud of about the brand * Where to buy * and so much more…    Join Ramon Vela and Leland Copenhagen as we break down the inside story of Yais Thai on The Story of a Brand.   For more on Yais Thai, visit: https://www.yaisthai.com/   Subscribe and listen to the podcast on all major apps. Simply search for “The Story of a Brand” on your favorite podcast player.   *   This episode is brought to you by Sendlane.   Here's the deal: I have a gift for you from our primary sponsor — Sendlane. They're giving away their online course eCommerce Academy - Email & SMS Marketing!   This course gives you the step-by-step playbook to drive more revenue and retention with email & SMS. This is typically a $500 package, but for our listeners, it's entirely FREE when you get started with your FREE 14-day trial of Sendlane.    When you do, chat with their support team and let them know you're one of our listeners to get full access to hours of course content that will help you make email marketing your #1 growth engine.   Visit https://storybrandgift.com to get the details, sign up for a free trial and get your gift!

In this episode of Voices, Kadambari Raghukumar talks to arts practitioners about the latest New Zealand on Air music fund to support pan-Asian artists and musicians in New Zealand.    

Nick and Angela are joined by Aussie comedian and BBQ King, Adam Hills, MBE. Adam Hills began performing comedy at 19, toured ten solo shows internationally and presented several TV shows in Australia before he made the move to the UK. In 2012, he was asked to front The Last Leg with Alex Brooker and Josh Widdicombe, a show created to run alongside the London Paralympics coverage on Channel 4. The programme was such a hit with viewers that it quickly became a permanent fixture. Adam is a real foodie and recently opened a restaurant with former Nobu head chef, Scott Hallsworth; Freak Scene is a ‘Pan-Asian punk' eatery in Parsons Green. Angela prepares some sticky pork ribs for our guest (which he adores) and a tasty spicy cabbage salad. As Adam has taken a break from the booze, Nick prepares an alcohol-free cocktail, a Cucumber Collins. Should you wish to pair this meal with a wine, Waitrose recommends Dr Loosen Ürziger Würzgarten Riesling Kabinett. In conversation, Adam shares why he can't say no to Russell Crowe, the challenges of presenting a live TV show from his garage in Sydney and his new kids book Murder at the Movies, which is out now. Just so you know, our podcast might contain the occasional mild swear word or adult theme. All recipes from this podcast can be found at waitrose.com/dishrecipes A transcript for this episode can be found at waitrose.com/dish We can't all have a Michelin star chef in the kitchen, but you can ask Angela for help. Send your dilemmas to dish@waitrose.co.uk and she'll try to answer in a future episode. Dish is a S:E Creative Studio production for Waitrose & Partners. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It took more than a decade and four separate appeals to the state to get formal recognition of Pittsburgh's historic Chinatown neighborhood, which city officials decimated in the 1910s and '20s with the downtown construction of the Boulevard of the Allies. We're throwing it back to a conversation one year ago this week with Marian Lein, president of the Pittsburgh chapter of the OCA, to learn more about our shared history and ways to honor that Pan-Asian heritage today. You can check out Charlotte, the new baby gorilla at the Pittsburgh Zoo, here. Want some more Pittsburgh news? Then make sure to sign up for our morning newsletter. We're also on Twitter @citycastpgh & Instagram @CityCastPgh! Not a fan of social? Then leave us a voicemail at 412-212-8893. Interested in advertising with City Cast? Find more info here.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Allerlei (sluimerende) vormen van racisme tegen Aziastische Nederlanders zijn nog steeds dagelijkse realiteit. 'Hanky Panky Shanghai' bijvoorbeeld en sterioterprignen.  Wat moet er gebeuren om racisme tegen Aziatische Nederlanders te stoppen, waarom is het erger geworden en welke vormen van racsime zijn er? Daarover vertellen Hui Hui Pan van Pan Asian collective en Yuan Druijff van Asian Raisins.

Zack catches up with Prakash Karamchandani, Co-Founder of Balance Grille. We discuss how they are bringing healthy, Pan-Asian cuisine to the fast casual industry (a first), why technology is the bedroom of how they differentiate, why they believe multi-unit investors should invest and how they educate consumers on cuisines that may be foreign to them.

Comedian, writer, actor, musician and podcaster Matt Lieb (Pod Yourself a Gun, Frotcast, Good Mythical Morning) joins the show to talk about the miniseries Fresno, Pan-Asian buffets, the timeline of his recent marriage and brand new baby, doulas, good and bad books to read to prepare for childbirth, being 13 years sober, being addicted to heroin, having a seizure, literally hitting rock bottom, shocking videos, musicals, Good Mythical Morning and so much more. We also took your questions! Products I Use/Recommend/Love: http://amazon.com/shop/alisonrosen Check us out on Patreon: http://patreon.com/alisonrosen   Buy Alison's Book: Tropical Attire Encouraged (and Other Phrases That Scare Me)  https://amzn.to/2JuOqcd You probably need to buy the HGFY ringtone! https://www.alisonrosen.com/store/

Karis Tzeng is a VP of Planning at Midtown Cleveland where she works on many projects for the district including the stewardship of AsiaTown. If you think of AsiaTown as a place to "get take out" you are missing so much...from an array of Pan-Asian foods spanning multiple cuisines and cultures, to art and history, and distinct traditions that arrived with each wave of immigration. We talk about the Lunar New Year, which is celebrated for roughly two weeks. It's the Year of the Rabbit, signifying fertility, luck and creativity. If you went down to Asia Plaza for the start of the festival you saw lots of little kids in rabbit ears, ladies dressed in beautiful red clothing, and maybe you saw the Kwan Family do their Lion Dances. Most Asian cultures celebrate the Lunar New Year, but with differing customs and foods. Fortunately, Cleveland's AsiaTown reflects that diversity, which is part of its uniqueness. Aldous Lau is the owner of Ball Ball Waffle, a Hong Kong Street Food that you will want to try. He shares a bit of his story and then makes me my first waffle! This episode is presented by Real Food Remedy (formerly Perfectly Imperfect Produce) and The Katz Group of Restaurants,

From the intersection of Hollywood Boulevard and Normandie Avenue in the heart of Los Angeles to the Las Vegas Strip; from backyard cooking classes to battling legends on "Iron Chef America"-Jet Tila has carved a singular niche as a culinary storyteller. Thanks to his diverse background and education, Tila is as comfortable as chef and consultant as he is teacher and student in the art of food. His numerous accomplishments in the culinary world continue to grow. In 2013 alone, Tila has partnered with the Compass Group, the world's largest food-service company, to launch Modern Asian Kitchen, a new fast-casual Pan-Asian concept with locations nationwide. He is also set to separately open Kuma Snow Cream, a shaved-ice concept launching in Las Vegas this spring, all while continuing to build on his extensive national TV and radio appearances as a guest judge on "Chopped," as well as hosting his own radio show on KLAA in Los Angeles. Tila grew up in his family's restaurant kitchens and markets in Los Angeles, home to the world's largest Thai population outside of Thailand. As a boy, he spent time learning the ancient traditions of Asian cuisine from his Cantonese grandmother and working in the famed Bangkok Market, which opened in 1972, and Royal Thai restaurant, which opened in 1978. "I call it birth luck," he says. "I was born into the 'first family' of Thai food in Los Angeles. My parents came here separately in 1966 and went on to open the first restaurants and grocery stores in this country and I was the kid doing homework in the back corner of the restaurant."

From the intersection of Hollywood Boulevard and Normandie Avenue in the heart of Los Angeles to the Las Vegas Strip; from backyard cooking classes to battling legends on "Iron Chef America"-Jet Tila has carved a singular niche as a culinary storyteller. Thanks to his diverse background and education, Tila is as comfortable as chef and consultant as he is teacher and student in the art of food. His numerous accomplishments in the culinary world continue to grow. In 2013 alone, Tila has partnered with the Compass Group, the world's largest food-service company, to launch Modern Asian Kitchen, a new fast-casual Pan-Asian concept with locations nationwide. He is also set to separately open Kuma Snow Cream, a shaved-ice concept launching in Las Vegas this spring, all while continuing to build on his extensive national TV and radio appearances as a guest judge on "Chopped," as well as hosting his own radio show on KLAA in Los Angeles. Tila grew up in his family's restaurant kitchens and markets in Los Angeles, home to the world's largest Thai population outside of Thailand. As a boy, he spent time learning the ancient traditions of Asian cuisine from his Cantonese grandmother and working in the famed Bangkok Market, which opened in 1972, and Royal Thai restaurant, which opened in 1978. "I call it birth luck," he says. "I was born into the 'first family' of Thai food in Los Angeles. My parents came here separately in 1966 and went on to open the first restaurants and grocery stores in this country and I was the kid doing homework in the back corner of the restaurant."

From the intersection of Hollywood Boulevard and Normandie Avenue in the heart of Los Angeles to the Las Vegas Strip; from backyard cooking classes to battling legends on "Iron Chef America"-Jet Tila has carved a singular niche as a culinary storyteller. Thanks to his diverse background and education, Tila is as comfortable as chef and consultant as he is teacher and student in the art of food. His numerous accomplishments in the culinary world continue to grow. In 2013 alone, Tila has partnered with the Compass Group, the world's largest food-service company, to launch Modern Asian Kitchen, a new fast-casual Pan-Asian concept with locations nationwide. He is also set to separately open Kuma Snow Cream, a shaved-ice concept launching in Las Vegas this spring, all while continuing to build on his extensive national TV and radio appearances as a guest judge on "Chopped," as well as hosting his own radio show on KLAA in Los Angeles. Tila grew up in his family's restaurant kitchens and markets in Los Angeles, home to the world's largest Thai population outside of Thailand. As a boy, he spent time learning the ancient traditions of Asian cuisine from his Cantonese grandmother and working in the famed Bangkok Market, which opened in 1972, and Royal Thai restaurant, which opened in 1978. "I call it birth luck," he says. "I was born into the 'first family' of Thai food in Los Angeles. My parents came here separately in 1966 and went on to open the first restaurants and grocery stores in this country and I was the kid doing homework in the back corner of the restaurant."

From the intersection of Hollywood Boulevard and Normandie Avenue in the heart of Los Angeles to the Las Vegas Strip; from backyard cooking classes to battling legends on "Iron Chef America"-Jet Tila has carved a singular niche as a culinary storyteller. Thanks to his diverse background and education, Tila is as comfortable as chef and consultant as he is teacher and student in the art of food. His numerous accomplishments in the culinary world continue to grow. In 2013 alone, Tila has partnered with the Compass Group, the world's largest food-service company, to launch Modern Asian Kitchen, a new fast-casual Pan-Asian concept with locations nationwide. He is also set to separately open Kuma Snow Cream, a shaved-ice concept launching in Las Vegas this spring, all while continuing to build on his extensive national TV and radio appearances as a guest judge on "Chopped," as well as hosting his own radio show on KLAA in Los Angeles. Tila grew up in his family's restaurant kitchens and markets in Los Angeles, home to the world's largest Thai population outside of Thailand. As a boy, he spent time learning the ancient traditions of Asian cuisine from his Cantonese grandmother and working in the famed Bangkok Market, which opened in 1972, and Royal Thai restaurant, which opened in 1978. "I call it birth luck," he says. "I was born into the 'first family' of Thai food in Los Angeles. My parents came here separately in 1966 and went on to open the first restaurants and grocery stores in this country and I was the kid doing homework in the back corner of the restaurant."

From the intersection of Hollywood Boulevard and Normandie Avenue in the heart of Los Angeles to the Las Vegas Strip; from backyard cooking classes to battling legends on "Iron Chef America"-Jet Tila has carved a singular niche as a culinary storyteller. Thanks to his diverse background and education, Tila is as comfortable as chef and consultant as he is teacher and student in the art of food. His numerous accomplishments in the culinary world continue to grow. In 2013 alone, Tila has partnered with the Compass Group, the world's largest food-service company, to launch Modern Asian Kitchen, a new fast-casual Pan-Asian concept with locations nationwide. He is also set to separately open Kuma Snow Cream, a shaved-ice concept launching in Las Vegas this spring, all while continuing to build on his extensive national TV and radio appearances as a guest judge on "Chopped," as well as hosting his own radio show on KLAA in Los Angeles. Tila grew up in his family's restaurant kitchens and markets in Los Angeles, home to the world's largest Thai population outside of Thailand. As a boy, he spent time learning the ancient traditions of Asian cuisine from his Cantonese grandmother and working in the famed Bangkok Market, which opened in 1972, and Royal Thai restaurant, which opened in 1978. "I call it birth luck," he says. "I was born into the 'first family' of Thai food in Los Angeles. My parents came here separately in 1966 and went on to open the first restaurants and grocery stores in this country and I was the kid doing homework in the back corner of the restaurant."

From the intersection of Hollywood Boulevard and Normandie Avenue in the heart of Los Angeles to the Las Vegas Strip; from backyard cooking classes to battling legends on "Iron Chef America"-Jet Tila has carved a singular niche as a culinary storyteller. Thanks to his diverse background and education, Tila is as comfortable as chef and consultant as he is teacher and student in the art of food. His numerous accomplishments in the culinary world continue to grow. In 2013 alone, Tila has partnered with the Compass Group, the world's largest food-service company, to launch Modern Asian Kitchen, a new fast-casual Pan-Asian concept with locations nationwide. He is also set to separately open Kuma Snow Cream, a shaved-ice concept launching in Las Vegas this spring, all while continuing to build on his extensive national TV and radio appearances as a guest judge on "Chopped," as well as hosting his own radio show on KLAA in Los Angeles. Tila grew up in his family's restaurant kitchens and markets in Los Angeles, home to the world's largest Thai population outside of Thailand. As a boy, he spent time learning the ancient traditions of Asian cuisine from his Cantonese grandmother and working in the famed Bangkok Market, which opened in 1972, and Royal Thai restaurant, which opened in 1978. "I call it birth luck," he says. "I was born into the 'first family' of Thai food in Los Angeles. My parents came here separately in 1966 and went on to open the first restaurants and grocery stores in this country and I was the kid doing homework in the back corner of the restaurant."

ABOUT HALLOWEEN COOKIE CHALLENGE, MONDAY NIGHTS ON FOOD NETWORK This Halloween, candy is not the only sweet treat we'll be enjoying. Expert chef Jet Tila and baking queen Rosanna Pansino bring together four of the best cookie makers in the country to compete in two rounds of baking, decorating and 3D cookie making to prove they are the cookier to fear! The winner will take home a trick-or-treat bag filled with $10,000 and the title of Halloween Cookie Champion SELECTED EPISODE DESCRIPTIONS Cute, Creepy and Spellbound - Hosts Jet Tila and Rosanna Pansino flip the switch on Halloween as four talented cookie makers swap good and evil with their cute and creepy Halloween cookie characters. Then, the cookiers use their most deviously delicious recipes to craft 3D ancient spell books with the right amount of black magic from ingredients like black cherries, black tea, black sesame seeds and blackberries. One cookie spellcaster will earn a $10,000 prize and the title of Halloween Cookie Champion. Halloween Costumes and Haunted Houses - Halloween is fast approaching, but don't fret if you haven't decided what to be yet! In round one, hosts Jet Tila and Rosanna Pansino task four expert cookie makers with creating two costumes out of cookies! Things start to get spooky in round two as the cookiers construct 3D haunted buildings. To make sure their displays have a hauntingly delicious taste, they incorporate spirits like black raspberry liqueur, melon liqueur, absinthe and orange aperitif. One cookie monster will walk away with a trick-or-treat bag filled with $10,000 and the title of Halloween Cookie Champion. Halloween Cookie Party! - Four fantastic cookie makers look to disguise hosts Jet Tila and Rosanna Pansino with festive Halloween masks made from cookies. Then, the cookiers really get the hang of things as they craft edible Halloween party banners that can actually be hung up. The competitors will have to indulge their sweet tooth while using ingredients like candy corn, chocolate taffy, grape-flavored lollipop, and peanut butter candy. One winner will claim sweet success as they take home the $10,000 price and the title of Halloween Cookie Champion ABOUT CHEF JET TILA From the intersection of Hollywood Boulevard and Normandie Avenue in the heart of Los Angeles to the Las Vegas Strip; from backyard cooking classes to battling legends on "Iron Chef America"-Jet Tila has carved a singular niche as a culinary storyteller. Thanks to his diverse background and education, Tila is as comfortable as chef and consultant as he is teacher and student in the art of food. His numerous accomplishments in the culinary world continue to grow. In 2013 alone, Tila has partnered with the Compass Group, the world's largest food-service company, to launch Modern Asian Kitchen, a new fast-casual Pan-Asian concept with locations nationwide. He is also set to separately open Kuma Snow Cream, a shaved-ice concept launching in Las Vegas this spring, all while continuing to build on his extensive national TV and radio appearances as a guest judge on "Chopped," as well as hosting his own radio show on KLAA in Los Angeles. Tila grew up in his family's restaurant kitchens and markets in Los Angeles, home to the world's largest Thai population outside of Thailand. As a boy, he spent time learning the ancient traditions of Asian cuisine from his Cantonese grandmother and working in the famed Bangkok Market, which opened in 1972, and Royal Thai restaurant, which opened in 1978. "I call it birth luck," he says. "I was born into the 'first family' of Thai food in Los Angeles. My parents came here separately in 1966 and went on to open the first restaurants and grocery stores in this country and I was the kid doing homework in the back corner of the restaurant." Not initially sure if he would pursue a career in the kitchen, in his 20s, Tila says he "got it together" and decided to build a foundation for his passion and completed his culinary education at Le Cordon Bleu, establishing a framework of classical French technique to match his extensive knowledge of Asian cooking. He also completed an intensive study program at the California Sushi Academy. "My food is predominantly Thai and Chinese because it was the food I was exposed to growing up," he notes. "And my cooking overall represents the neighborhood I grew up in LA: between Thai Town, Chinatown, Koreatown, and Little Tokyo." Combining kitchen experience with the bold new world of food media was a natural move for Tila, whose backyard cooking classes attracted the attention of the Los Angeles Times. He has successfully transitioned from subject to producer by writing for the Times and contributing to many other publications and multimedia platforms, including National Public Radio, the Food Network, and his appearances on the "CBS Early Show," "No Reservations," "Best Thing I Ever Ate," and battling legendary Chef Masaharu Morimoto on "Iron Chef America," among many more. A highly sought-after consultant, Tila opened the cafe at Google headquarters in Silicon Valley and also currently maintains a wildly popular Asian food line through Schwan's Home Service. He keeps close to his roots by conducting "Melting Pot Food Tours" of Thai Town in Los Angeles, offering participants a curated tour of his favorite aspects of the neighborhood. In 2009, Tila debuted the acclaimed Wazuzu, a brilliant take on Pan-Asian dining, at Steve Wynn's Encore casino and resort on the Las Vegas Strip, which he was tapped to open in a record 98 days. More recently, he launched Bistronomics, an acclaimed series of pop-up restaurant experiences in Los Angeles. Tila has also set three world records: for creating the world's largest stir fry (4,010 lbs.); the world's largest seafood stew (6,656 lbs.); and the largest California roll (422 ft.). Tila's current and future projects promise to bring him and his culinary skills to more prominence. He is currently working with the Compass Group to open Modern Asian Kitchen, a fast-casual Pan-Asian concept with locations nationwide, and is branching out on his own to open Kuma Snowcream, a shaved-ice concept launching in Las Vegas in spring 2013-the product of which he says is "like fresh, powdered snow, but that is creamy and tastes like ice cream." "At this point, I am interested in creating concepts, not just one-offs," he says. "I am and always will be a chef, but I am also always interested in new ways to combine cooking, business, and communication, since I enjoy all of them as much as I enjoy teaching people about where I come from through my food." Tila currently lives in Los Angeles with wife, Allison, their two children, as well as two dogs.

In this episode I am joined by Braham Singh, CEO BDX Data Centers. Braham has had a highly successful career and is now leading BDX Data Centers, a leading Pan Asian hybrid, hyperscale and edge solutions provider.Braham shares how he started his career and how he has progressed to his current position. He also shares the main learnings across his career and some advice on how you can be successful in the world of data centres.We then discuss BDX and their current growth across the APAC region. Braham discusses why BDX do what they do and how they are expanding across new territories in Asia. He also discusses the importance of people to the business and how they help to enhance employee well being.Braham is an engaging leader with a highly successful track record in the data centre sector. 

Prakash Karamchandani, CEO & co-founder of Balance Pan-Asian Grille, joins us in the guest seat for Episode 27 of Restaurant and Retail Revel(ations). Since launching the concept in Toledo, Ohio, Prakash and co-founder HoChan Jang have already scaled the hip spot for clean, Asian-inspired dishes to five locations and counting. Each day the whole team applies the concept of “kaizen,” the Japanese word for continuous improvement, to their work. Prakash shares more on how the brand's technology-first mindset, a focus on wholesome ingredients and equitable pay for their employees have helped Balance Grille regularly make headlines in the fast casual space.

Deeeep dive into Pan-Asian 60s garage from Japan, Indonesia, Singapore, Korea, Cambodia, Pakistan Full playlist always posted via Retrospect 60s Garage Punk Show on Facebook and Insta. Retrospect is created by Phil Grey at Free FM 89.0 [Kirikiriroa/Hamilton, NZ] [supported by NZ on Air]

It was great to sit down with chef GG and Lisa Destefano and chat food and the restaurant industry 

This week, Gilly is with the winner of Channel 4's Great Cookbook Challenge with Jamie Oliver, Dominique Woolf. She's a publisher's dream – a busy mum juggling three young kids in the kitchen and cross platform ideas sizzling away on every burner, a Thai mum and aunty whizzing up sauces that really do transform every dish and a new book packed with super easy Pan Asian cook hacks. This is a woman to watch; she'll have her own TV show before you can even say Saturday Kitchen.For transcripts, go to GillySmith.comTo get 10% off the Essentials online course that Gilly is doing over over the next 6 months, go to leithsonline.com/courses/essential-cooking Click ‘enrol' on course page and apply the code: GILLY10 at checkout: And if you fancy a Free Hollandaise mini-course – Sign up for a Workshop account or login at: app.workshop.ws/profile and click ‘Redeem Coupon' on the sidebar. Enter code GILLYSGIFT and click redeem. See acast.com/privacy for privacy and opt-out information.

This week, in celebration of Asian Pacific American Heritage Month (or AAPI Heritage Month), we talk about AAPI leadership and community-building with Grace Lee of ReThink Disposable, a program of the Clean Water Fund, that has led to some of the most essential pilot projects fostering change in the reuse movement today.  Raised in Los Angeles by scientists from Taiwan, Grace has a long history of leadership for environmental stewardship in California, including her work leading ReThink's groundbreaking business engagement efforts in Los Angeles and Oakland. She sits down with Brooking Gatewood for an honest chat about how her experiences as an Asian American have shaped her life and work to protect our earth, and shares stories of AAPI restaurant owners leading the way toward indisposable dining. Resources:ReThink DisposableFollow ReThink Disposable on Instagram: @thefutureisreusableRegister for ReThink's May 31 webinar: Yes to Reuse! Meet Reuse Champions of Alameda CountyWatch: recording of Reusables Win in SF livestream (featuring Grace Lee and Anh Nguyen of Cam Anh Deli)Visit Cam Anh Deli (Oakland, CA) and try their delicious banh mi!Reuse Business Profile Summary: Restaurants featuring Pan-Asian or Pacific Island CuisinesUpstream's Roadmap to Reuse Resource Library with other Restaurant Profiles

Rick is joined by comedian, turned skateboard coach, George Wang this week. May marked the start of AAPI Heritage Month, AAPI which stands for Asian American/Pacific Islander, is an important and impactful month for Pan-Asian individuals everywhere in the face of #StopAsianHate, and as we navigate the changing landscape for AAPI folk in the media … Continue reading George Wang, Comedian, Invasian 2.0, Skateboard Coach →

A moment of silence for some of our now-closed East End favorites: Bitter Ends, B52, and Reed & Co. But there's still a lot to look forward to on the Pittsburgh food scene, including our first non-alcoholic bottle shop and a Pan-Asian food hall set to open this winter. Our very own Morgan Moody and Francesca Dabecco join City Cast contributor Hal B. Klein, who's covering it all for Pittsburgh Magazine.  Our newsletter is fresh daily at 6 a.m. Sign up here. We're also on Twitter @citycastpgh & Instagram @CityCastPgh!

In the grand tradition of building throughways through immigrant neighborhoods, Pittsburgh's once-thriving Chinatown was decimated in the 1910s and '20s with the downtown construction of the Boulevard of the Allies. It's been a long time coming—12 years and four separate appeals to the state—but the neighborhood is finally getting the historic landmark it deserves.  Marian Lein, president of the Pittsburgh chapter of the OCA, joins newsletter editor Francesca Dabecco to talk about that history and the Pan-Asian celebrations this Saturday.  Check out a full event listing here: https://ocapghpa.org/ And check back soon for ways to celebrate AAPI Heritage Month in May.  Our newsletter is fresh daily at 6 a.m. Sign up here. We're also on Twitter @citycastpgh & Instagram @CityCastPgh!

This Sunday, we spoke with Sachi Watase, the Executive Director of the New Mexico Asian Family Center, about their incredible work! Sachi is from Albuquerque, New Mexico and has received her Bachelor of Arts from Pitzer College in Claremont, California! She has also co-founded organizations that coordinated services and programming for survivors of sexual assault. NMAFC was founded in 2006 and addresses the lack of culturally and linguistically tailored services for the state's Pan-Asian community. We also shared details on COVID-19 and upbeat songs! Be sure to catch us live every Sunday @ 7PM!

On this week's show, we speak with Mandy Goh, who's the Executive Chef at The St. Regis Langkawi. Chef Mandy has worked in several countries across Asia, and even competed in the prestigious Bocuse d'Or competition in the Asia Pacific region. Now, she's heading up the restaurants at the St Regis, including the crown jewel Kayu Puti restaurant. On today's show, we'll find out about Mandy's food journey, wax lyrical about some of her dishes, and chat about the Malaysian f&b industry at large.image source: St. Regis LangkawiSee omnystudio.com/listener for privacy information.

On this week's show, we speak with Mandy Goh, who's the Executive Chef at The St. Regis Langkawi. Chef Mandy has worked in several countries across Asia, and even competed in the prestigious Bocuse d'Or competition in the Asia Pacific region. Now, she's heading up the restaurants at the St Regis, including the crown jewel Kayu Puti restaurant. On today's show, we'll find out about Mandy's food journey, wax lyrical about some of her dishes, and chat about the Malaysian f&b industry at large.image source: St. Regis Langkawi

Ghazi Faisal Al-Muliafi's journey began with one statement from his grandfather, who was once a Kuwaiti pearl diving shipmaster: “All the men died at sea”. Now an ethnomusicologist at NYU Abu Dhabi, Ghazi has spent his career researching Kuwaiti pearl diving music and the lives of the pearl divers in order to connect with his ancestral past. In the process, his work has uncovered long lost narratives that have larger implications on how we think about cultural appropriation, tradition, and national identity. When Kuwait became a nation in 1961, the music of pearl diving became codified as a national signifier for the country. The music was no longer allowed to morph and change as it had for hundreds of years prior when the pearl divers were out at sea, travelling along their trading routes. Ghazi realized that his ancestors were global citizens in their own right and, without the current ideals about fixed heritage and national identity, they experienced a freedom of cultural sharing that we no longer have today. From this revelation, Boom.Diwan, Ghazi's collaborative global jazz ensemble, was created. Inspired by the Kuwaiti pearl diving music of the Indian Ocean trade, with influences all the way from Zanzibar to Calicut, Boom.Diwan emphasizes fluidity and cross-cultural conversations through their music. Today, their work is a fusion of latin, jazz, and middle eastern influence.As we familiarized ourselves with Ghazi's work, we realized that his research was in direct opposition to what we had been previously taught about cultural appropriation. We had believed culture and heritage to be fixed, and that sharing, especially in music, often resulted in backlash. When the utilization of African American Vernacular English (AAVE) and the improper use of Pan Asian aesthetics by white pop artists negatively affects marginalized groups, is there another model of cultural sharing that doesn't cause harm?Told through the music that inspired his research, Ghazi's story contains reflections on the difference between tradition and heritage, national identity, and practical examples of what cultural sharing can look like. We relate these ideas back to similar narratives around the world and explain what Ghazi's research means for how we move forward in the conversation about cultural appropriation versus appreciation. Our deep dive into the history of this music and culture is perfect for music and history lovers alike, and anyone interested in exploring the concepts of heritage, tradition, and cultural appropriation. 

    This week on BeREAL, Diana and Ednehsa are joined by Carrie Zhang. This episode is continuing on the theme of Minority Mental Health Month from last week, and Carrie is here to discuss Pan-Asian mental health.    Carrie Zhang is the founder of the Asian Mental Health Project, an initiative that aims to educate and empower Pan-Asian communities in making mental healthcare more accessible. Founded in 2019, the project currently uses social media, multimedia content creation and community events to de-stigmatize topics of mental health, critical social issues and provide tangible resources. Carrie is a graduate from the University of Southern California, with a B.A. in Public Relations and a minor in Music Industry.    Carrie begins the episode by discussing her past and how it led her to seek mental health treatment. She discusses the many stigmas that are present in the Pan-Asian community that made her hesitant to seek treatment at first. She points to the lack of discussion around therapy in the Pan-Asian community, and how there is a prevalent idea that you must push through issues on your own. She also points out other characteristics of therapy that make it even harder for the Pan-Asian community to overcome the highlighted stigmas, such as cost.    Carrie offers a few tips for non-Asian therapists to be more culturally competent when treating the Pan-Asian community. The most important idea she put forward is to strike down the idea of the model minority. The idea of the model minority stereotypes non-white commuities in a way that may not be deemed harmful at first glance, but in reality harms the community in a variety of ways. One of those ways is that often mental health practitioners will assume they know the root of an issue before discussing it with the patient, which could direct attention away from the real issue at hand.    Finally, Carrie discusses the project she has recently started up to build a more culturally competent field of mental health clinicians and therapists, and what she hopes to see from it in the future.   Thank you so much for joining us this week on BeREAL! Stay tuned for an all new episode next Tuesday. In the meantime, if you missed last week's episode be sure to give it a listen!   For more information on Carrie  and her project, visit the links below:   Asian Mental Health Project: https://asianmentalhealthproject.com/   Instagram: https://www.instagram.com/asianmentalhealthproject/   Facebook: https://www.facebook.com/AsianMentalHealthProject   For more information on The BeREAL Podcast and BeWELL Psychotherapy visit the links below.    To schedule an appointment text BeWELL to 484848 today    www.beher-now.com    Facebook: https://www.facebook.com/Be.WELL.Psychotherapy/   Instagram: https://www.instagram.com/bewell.psychotherapy/