Podcasts about Satsuki

Australian-born, Japan-based singer SATSUKI is set to release her new single "uh oh!" on 23 April. This interview was first published in April 2024. - 4月23日に新曲「uh oh!」をリリースする、オーストラリア生まれで日本を拠点に活動する歌手・SATSUKI。今回は、昨年4月に放送されたインタビューをあらためてお届けします。2024年4月放送。

Hosts Pendy and Paul conclude their reviews for the 2020 Dragon Quest: The Adventure of Dai anime. But wait, there's more? We also review the surprise official English release of Rooming with a Gamer Gal (RGG), a romantic comedy manga about roommates playing DQ X together. During this episode we cover episodes 99-100 of Dai and chapters 21+22 of RGG. Can Pendy pronounce Satsuki correctly in this episode? Maybe…   Feel free to hang out with us at our respective FB groups: Dragon Questers and Slime Time Slime Time t-shirt found here! For more about the Slime Time team, hit us up @DQSlimeTime on X and Instagram, email us at slimetimepodcast@gmail.com, or join in all the DQ discussions taking place at the Dragon's Den or on the Dragon's Den Discord See EastX stream a new game every Saturday night at Twitch.tv/EastXTwitch

Fluent Fiction - Japanese: Campfire Chronicles: Friendship and S'mores in the Alps Find the full episode transcript, vocabulary words, and more:fluentfiction.org/campfire-chronicles-friendship-and-smores-in-the-alps Story Transcript:Ja: 風が紅葉をそっと揺らしている、秋の日本アルプスでの清々しい一日です。En: The wind gently rustles the autumn leaves on a refreshing day in the Japanese Alps.Ja: 澄んだ空気の中、キャンプ場に三人の若者が集まっていました。ケンジ、サツキ、そしてハルトです。En: In the clear air, three young people gather at a campsite: Kenji, Satsuki, and Haruto.Ja: 「みんな揃ったね。これから楽しいキャンプの始まりだよ。」リーダーのケンジが元気よく話し掛けました。En: "Everyone's here. The fun camping trip starts now," Kenji, the leader, cheerfully announced.Ja: ケンジはいつも落ち着いていて、きちんと計画を立てることが得意です。En: Kenji is always calm and good at planning things meticulously.Ja: 「ハルト、新しい体験にワクワクする？」冒険心あふれるサツキがニコニコしています。En: "Haruto, are you excited about trying something new?" Satsuki, full of adventure, asked with a smile.Ja: 彼女は密かにハルトを少し気にしているようです。En: She seems to secretly have a slight interest in Haruto.Ja: ハルトは今までキャンプをしたことがありません。En: Haruto has never been camping before.Ja: しかし、今日は特別なことを試してみたいと思っていました。En: However, today he wanted to try something special.Ja: 「僕、s'moresって食べ物を作りたいです！アメリカの映画で見たんだ。」En: "I want to make s'mores! I saw it in an American movie."Ja: s'moresとは、焼きマシュマロとチョコレートをクラッカーで挟んだ西洋のおやつです。En: S'mores are a Western treat made by sandwiching roasted marshmallows and chocolate between crackers.Ja: ケンジは心配でした。火を使うのが少し怖いのです。En: Kenji felt a bit worried; he's somewhat scared of using fire.Ja: でも、ハルトの笑顔に負けてしまいました。En: But Haruto's smile won him over.Ja: 「いいよ、ハルトがリードして。」En: "Alright, Haruto, you take the lead."Ja: 彼らは焚火の周りに集まりました。En: They gathered around the campfire.Ja: サツキが笑顔でハルトを手伝います。En: Satsuki helped Haruto with a smile.Ja: ケンジはやや不安そうですが、見守っています。En: Kenji looked a bit uneasy but watched over them.Ja: ハルトは慎重にマシュマロを串に刺し、火の上に持って行きました。En: Haruto carefully skewered a marshmallow and held it over the fire.Ja: 「こうやって・・・おっと！」ハルトがタイミングを間違えて、マシュマロが炎をあげて真っ黒に燃え上がりました。En: "Like this... whoops!" Haruto mistimed it, and the marshmallow caught fire, charring completely black.Ja: みんな一瞬凍りましたが、ケンジが「大丈夫だよ、笑って！」と声を上げるとみんな大笑いしました。En: Everyone froze for a moment, but when Kenji called out, "It's okay, laugh it off!" everyone burst into laughter.Ja: ケンジは火を慌てて消しました。En: Kenji hurriedly put out the fire.Ja: 「ああ、失敗かと思ったけれど、これもキャンプの楽しさだね！」みんなで笑いながら、ケンジはハルトの肩を叩きます。En: "Ah, I thought it was a failure, but this is part of the fun of camping!" he said, patting Haruto on the shoulder as they laughed together.Ja: 「次はうまく行くよ、サツキが教えてくれるから。」En: "Next time will be better; Satsuki will show you how."Ja: サツキは自信を持ってマシュマロを焼きました。En: With confidence, Satsuki roasted the marshmallow.Ja: みんなでs'moresを上手に作り、温かいチョコレートの味を楽しみました。En: Together, they skillfully made s'mores and enjoyed the taste of warm chocolate.Ja: その晩、焚き火を囲んで話し合う中で、ケンジは心の中で気付きました。En: That night, as they gathered around the campfire talking, Kenji realized something in his heart.Ja: 「計画どおりでなくても、素晴らしい思い出ができるんだ。」En: "Even if things don't go as planned, wonderful memories can be made."Ja: サツキもまた、仲間との絆を感じ、新たな自信を芽生えさせました。En: Satsuki also felt a bond with her friends, gaining newfound confidence.Ja: ハルトは、キャンプの楽しさと共に新しい友情を見つけたのでした。En: Haruto discovered the joy of camping along with newfound friendships.Ja: その日、日本アルプスの秋の夜空の下で、三人は温かい焚き火の明かりに包まれて、絆を深めたのでした。En: Under the autumn night sky of the Japanese Alps, the three of them, enveloped by the warm light of the campfire, deepened their bonds. Vocabulary Words:rustles: 揺らしているrefreshing: 清々しいmeticulously: きちんとadventure: 冒険心campfire: 焚火skewered: 串に刺しfroze: 凍りましたcharred: 真っ黒にuneasy: 不安そうseems: ようですsmile: 笑顔confidence: 自信memories: 思い出bond: 絆realized: 気付きましたgathered: 集まってpatting: 叩きますtimed: タイミングlead: リードsmores: おやつenveloped: 包まれてdiscovered: 見つけたwonderful: 素晴らしいcognizant: 気にしているtreat: 食べ物gaining: 芽生えさせましたsecretly: 密かにchocolate: チョコレートnewfound: 新しいclear: 澄んだ

C'est l'épisode 103 ! C'est l'heure de la résistance au fascisme, de la mode et de la famille ! C'est l'heure de finir le cycle magical girls de l'été avec Ryūko Matoi et Satsuki Kiryūin de Kill la Kill ! Merci à Jayhan (@JayhanOfficial) pour les super intro et outro ! Tu peux nous suivre sur tous les réseaux : @codexespod et nous laisser une note et un commentaire sympa si tu veux. Force et amour. Ressources : - « Kill la Kill : How the year's most polarizing anime became a smash hit » d'Aja Romano. 2014 - « Kill la Kill is a rare breed of anime » de Richard Eisenbeis. 2014 - Vidéo « Fate, freedom and fabric : An analysis of Kill la Kill » d'Aleczandxr. 2018 https://www.youtube.com/watch?v=LHhCJcFLLM0 - « What makes Kill la Kill a Magical Girl anime » de Beatrix Kondo. 2022 - 鬼龍G@キLL de Hiroyuki Sawano, morceau de la BO de Kill la Kill joué pendant l'épisode. - Before my body is dry de Mika Kobayashi, David Whitaker et Hiroyuki Sawano, morceau de la BO de Kill la Kill joué pendant l'épisode. - 昼裸lilL♪ de Hiroyuki Sawano, morceau de la BO de Kill la Kill joué pendant l'épisode. - goriLLA蛇L de Hiroyuki Sawano, morceau de la BO de Kill la Kill joué pendant l'épisode. - Kiる厭KiLL de Hiroyuki Sawano, morceau de la BO de Kill la Kill joué pendant l'épisode. - キ龍ha着LL de Hiroyuki Sawano, morceau de la BO de Kill la Kill joué pendant l'épisode. - k1ll◎iLL de Hiroyuki Sawano, morceau de la BO de Kill la Kill joué pendant l'épisode. - 犬Kあ3L de Hiroyuki Sawano, morceau de la BO de Kill la Kill joué pendant l'épisode. - Ambiguous Instrumental de GARNiDELiA joué à la fin de l'épisode. - Ambiguous de GARNiDELiA, opening de Kill la Kill joué à la fin de l'épisode.

In her abstract pieces that blend mesmerizing colors and shapes, Satsuki Shibuya, a native of Los Angeles, California, invites us to notice the ways the energies of the unseen world can be translated into something more tangible. While the primary medium she might be known for is watercolor, she currently incorporates multiple media, including oil and hard pastels, color pencils, crayons, oil, and acrylic paints. Her past work has also included fabrics and music, which we may begin to see woven into her practice again. Regardless of what medium she may be working in, Satsuki's spiritual practice lies at the root of her creative expression. It is the driving force behind why she creates, and guides her towards where she's headed next. This relationship is clear in the ways Satsuki's work draws the viewer into contemplation as well as the emotional experience of connecting with her evocative imagery. https://satsukishibuya.com https://www.instagram.com/satsukishibuya

In this episode we speak to Gabi who walks us through her pregnancy and birth journey with daughter Satsuki.  Satsuki was born prematurely in Tokyo during the pandemic which meant a solo labour for Gabi and then having to deal with the hospital's policies around NICU visits, limiting her abilities to be next to her daughter for the first two weeks. She also found out about a liver issue during her pregnancy, discusses the language barrier at her hospital and takes us through her breastfeeding journey with a prem baby. Satsuki was born August 2022 at 35 weeks and weighing 2028g. Care facilities: + Sho Hospital, Kita ku, Tokyo + Nihon University Itabashi Hospital -------------------------------------------------  Show notes: Brazil, Brazilian couple, Tokyo, symptoms of yellow eyes, liver health issue, hospitalisation, asthma, weight loss, early water breaks, PROM, 31 hours labour, IV drip induction, Ferguson reflex, premature, NICU, COVID restrictions, breastfeeding journey-------------------------------------------------   CHAPTERS: 00:00 - Opening 01:49 - Intro 02:57  - Journey to Pregnancy 06:03 - Pregnancy 15:54 - Birth Story 25:56 - Postpartum recovery 33:17 - Costs 33:54 - Bottle time 36:17 - Outro

Satsuki Ina lives in Albany. Her book, The Poet and the Silk Girl came out on March 26th, 2024.

Koji Asano, a Melbourne-based Japanese voice actor and musician, hosts music segment J-Pop Hub for SBS Japanese. He picked 'Hissei satsuki prologue' by UVERworldi for his 120th episode. - メルボルンの声優・ナレーター、浅野浩治さんによる木曜日（第１～第３）の音楽コーナーJ-Pop Hub。早いもので今年も５月、５月に関連したJ-popを選びました。

Japan Horse Race: Justin Milano Wins GI Satsuki Sho Race at Record 1:57.1

Osaka based Australian-born singer SATSUKI, has released her long-awaited first mini-album, produced by Japanese-Australian producer Taka Perry. - 大阪を拠点に活動するオーストラリア生まれの歌手、SATSUKIさんが待望の初ミニアルバムをリリース。このアルバムのプロデュースを手がけたのは日系オーストラリアン・プロデューサーのタカ・ペリーさんです。

Marzo, mese pazzerello, Emiliano e Daniele presentano due album molto diversi tra loro: uno è opera di una pianista giapponese di musica contemporanea, l'altro di uno degli artisti cardine della scena indipendente degli Stati Uniti di fine anni '90. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's that time again, where we discuss our highs and lows of the anime/manga we saw in 2023 with our special guest Satsuki The Savage. 00:00 Introduction 05:52 Anime 2023 in one word 09:18 Best Soundtrack 17:20 Moment/Episode of the Year 24:58 Most Disappointing Show 37:08 Best Old New Show 45:18 Sleeper Hit 53:35 Ed's Favourite Anime of 2023 58:45 Raguel's Favourite Anime of 2023 1:03:46 Satsuki's Favourite Anime of 2023 1:07:58 Daniel's Favourite Anime of 2023 1:13:20 Favourite Moment/Chapter of the Year 1:20:40 Favourite Panel/Page of the Year 1:28:05 Rekindled Flame 1:36:30 Outside the Box 1:49:16 The Worst Manga of the Year 1:58:10 Ed's Favourite Manga 2:00:56 Raguel's Favourite Manga 2:03:52 Satsuki's Favourite Manga 2:05:05 Daniel's Favourite Manga 2:09:01 Recommendations 2:19:55 Final Comments Find us on Instagram at @the.ak_mindset and Twitter + Tiktok at @AKMindset. For any thing you would like us to talk about and for any suggestions for us to improve send us an email at: theakmindset@gmail.com. Our YouTube channel is also up and running check it out at The AK Mindset, like comment and subscribe.

Last time we spoke about the landing at Saidor and the drive against Sio. The Australians were still advancing across Shaggy Ridge when General MacArthur unleashed an amphibious assault against Saidor to cut off the Japanese escape and isolate Sio. Numerous features were seized up the large ridge and the Americans successfully amphibiously assaulted Saidor and seized their airfield. General Adachi placed the 51st and 20th divisions under the command of General Nakano, who was tasked with advancing to Gali to try and secure a new supply point. Meanwhile efforts were made to try and contain the new threat in Saidor while simultaneously holding back the Australians in the south. Over on new britain the airdrome was seized as Colonel Katayama launched a failed counter attack against the Marines. The Marines tossed back the attack and began their own advance further inland. This episode is Ledo Road Offensive 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.  The Americans had landed at Cape Gloucester, Saidor and were carrying out massive attacks against Rabaul. As we had seen previously, on November 5th, aided by bad weather, a surprise air raid was made by the USS Saratoga and Princeton, led by Rear-Admiral Frederick Sherman that inflicted heavy damage to 4 cruisers within the harbor; Maya's engine room was smashed by a bomb killing over 70 men; a 500 lb bomb hit Mogami; Takao took 2 500 lb bomb hits while 3 500 lb bombs narrowly missed Atago killing 23 seamen and caused severe damage to the ship's plating. 2 other cruisers and 3 destroyers also suffered light damage. Captain George Chandler flying a P-38 fighter pilot described how “There were B-24 bombers up high and B-25 bombers attacking right down on the deck dropping ‘frag' bombs on the airplanes along the runways … we did our best work at high altitude, but we also took part in combat a thousand feet off the ground.” The devastation caused Admiral Miniechi Koga to withdraw his forces to Truk, thus ending the IJN threat to Bougainville. A Japanese naval officer would later admit that they had given up on Bougainville mainly because of “the serious damage received by several Second Fleet cruisers at Rabaul by carrier attack …” The successful  raid against Rabaul left Halsey ecstatic. “It is real music to me and opens the stops for a funeral dirge for Tojo's Rabaul.” On November 8th, reinforcements led by Rear-admiral Alfred Montgomery task force 38, with the new fleet carriers USS Bunker Hill, Essex and Independence. With the added carrier strength on November 11th, a follow up air raid was made seeing the IJN cruiser Agano torpedoed and badly damaged, while 35 Japanese aircraft out of 120 launched in a counter attack against the carrier force were shot down. Montgomery would not lose a single ship. Admiral Koga's decision to send carrier pilots to bolster Rabaul had quite literally blown up in his face. Koga's air fleet had lost 43 of its 82 Zeros, 38 of its 34 Vals, 34 of its 40 Kates and 6 Judy spotter planes. Over 86 of his 192 experienced pilots and crew had perished, and he had only inflicted minimal damage to Nimitz fleet, it was a disaster. Yet the fantastical reports from Japanese pilots kept pouring in, claiming the air battles over Bougainville were infact won by the IJN air forces. Newspapers in Japan reported victories that added up to the destruction of 5 American battleships, 10 carriers, 19 cruisers and 7 destroyers. The reality was the destruction of 2 cruisers, the USS Birmingham and Denver. By mid november Vice Admiral Kusaka was finding it difficult to sustain attacks against allied convoys feeding supplies to Empress Augusta Bay. On November 12th, Rabaul only had 113 Zero's of which only 59 were operational. Crews were suffering from malaria and other diseases, no one was granted rest as they were limited in personnel and under constant attack. The quality of ground crews and pilots was deteriorating every week.  From November 12 through December 16, the daytime skies over the Gazelle Peninsula remained relatively quiet, as the US carrier forces had departed to support operations in the Central Pacific. AirSols received a new commander on the November 20th, Major General Ralph Mitchell who continued to support operations in Bougainville and General Kenney's Fifth Air Force was supporting preparations for the landings in western New Britain. The lull gave Admiral Kusaka a brief opportunity to recuperate as replacements began to arrive from the Marshalls and Truk. The Imperial Japanese Navy would take six months to replenish its carrier pilots with less well-trained and inexperienced replacements. In the meantime the carrier fleet itself, Japan's most expensive and precious strategic asset, was forced to remain idle in Truk as Nimitz began his island hop through the Central Pacific Meanwhile the Torokina airfield had become crude but operational. The Seabees had created a single 4750 foot by 200 foot strip. It lacked taxiways, hardstands and buildings, but by December 10th it could launch aircraft. Soon the Seabees would carve 2 additional landing trips in the jungle 3 miles further inland. The first would be a mile long, the second 8000 feet or so for bombers. Unlike the Japanese airfields on the Gazelle Peninsula which would take more than a year to complete, both of these American airfields took a month. You often hear, especially from marine veterans of the pacific, praise for the Seabees, such a colossal advantage in logistics paved the way to victory. A massive fighter sweep was launched on December 17 consisting of 32 Corsairs, 24 F6Fs, and 24 RNZAF Kittyhawks from airfields at New Georgia and Vella Lavella who rendezvoused at Torokina, topped off their fuel tanks, and hit  Rabaul. The strike was led by Major Greg “Pappy” Boyington, the commanding officer of Marine Fighter Squadron 214, better known by its nickname, the "Black Sheep Squadron". The three types of aircraft had different flying characteristics and different cruising speeds. The Kittyhawks, slowest of the bunch, took off first. The plan was for them to come in at 15,000ft, and lure out the Japanese. Next came the Hellcats, flying above the Kittyhawks. And the last were the Corsairs, who flew top cover. It was a long flight over open water, calculated to make the pilot of a single-engine aircraft nervous. If the engine failed it was a long swim home. They were intercepted by 35 Zeros, with the Kittyhawks getting the first jump on them. After the Kittyhawks made their first pass, shooting down a Japanese fighter, the advantage switched over to the more agile  Zeros. The Kittyhawk squadron leader's plane was fatally damaged and a second Kittyhawk went down after colliding with a Zero. Remarkably, both pilots survived. Meanwhile the Hellcats and Corsairs, at high altitudes, were coming up empty. The Corsairs circled Lakunai field finding no targets. Pilot Boyington exchanged insults with an English-speaking Japanese officer over the radio, but despite his challenges found no targets in the air. When all aircraft returned to base, the score was even. Two Kittyhawks and two Zeros were lost; one each due to the collision and one shot down by both sides. It was a rather disappointing fighter sweep, but would become just one of many against Rabual over the course of the next 3 weeks. The next raid came two days later seeing 48 B-24s launched, but 32 were forced turned back. The remaining 16 bombers escorted by 51 were intercepted by 94 Japanese fighters, yet they also suffered from the bad weather. Less than half made contact with the enemy. In the resulting fight, 5 Zeros were shot down and 10 allied aircraft were lost, but only two were shot down. The other eight were due to a mid-air collision and landing mishaps, all near home. The weather persisted to be so bad, it was only on the 23rd another sortie could be launched. B-24s escorted by Corsairs and Hellcats bombed Lakunai. Radar gave the Japanese some early warning and nearly 100 Zeros were scrambled. 60 made contact with the bombers after they hit Lakunai. No bombers were lost, but 2 Corsairs were shot down in the ensuing dogfights. Yet the Americans had a twist, they followed up the raid with a fighter sweep of 48 Corsairs. They arrived 15 minutes after the bombers left, surprising the airborne Japanese fighters, most of whom lacked radios. 6 Zeros were shot down, several others damaged and only 2 Corsairs lost.  2 days later, another fighter sweep preceded by bombers was launched claiming 18 aircraft kills, but it was probably closer to 5. In comparison the Japanese pilots would claim 55 kills, a number greater than the american force sent. On the 27 another sweep was launched against Cape Gloucester downing 7 Japanese aircraft for one American. 28 Corsairs returned the next day but this time the Japanese held the advantage, sandwiching the Marines between 2 large groups of Zeros. 3 Corsairs were shot down, but so were 3 Zeros, with 2 others badly damaged. On 30th 36 Liberators escorted by 20 Hellcats and 20 Corsairs, bombed Rabaul. 1 B-24 was lost on the raid, hit by antiaircraft fire. No air combat occurred. On New Years day 15 B-24s and 68 escorting fighters met heavy fighter opposition. 40 Zeros had been sent to Rabaul from Truk, manned by veteran pilots. 1 B-24 was shot down, and two others badly damaged. On January 2 48 US fighters raided and on the 3rd another 44. The two sweeps took out a handful of fighters. The last sweep was on the 5th seeing another 2 zeros downed. Meanwhile back on December 24th, Admiral Sherman's task force 37 raided Kavieng. The operation had two purposes, 1) was to distract attention from the landings at Cape Gloucester and 2) to interdict sea traffic between Truk and Rabaul. The 5000-ton naval transport Tenyru Maru was sunk and several other ships were damaged. After this task force 37 made several raids against Kavieng through January 4th. They managed to shoot down 10 Japanese fighters, damaged IJN cruiser Noshiro and destroyers Fumizuki and Satsuki. On Janaury 6th, the bomber strip at Piva became operational, thus Rabaul was now within range of allied light and medium bombers, basically it was pounding time.   On January 7th, 16 Avengers and 24 Dauntless raided Tobera airfield. From medium altitudes the Avengers dropped 2000lb pounds smashing the paved runways. The Japanese managed to shoot down 3 fighters and one dauntless, but Tobera was temporarily not operational. It was the first time any Rabaul airbase was neutralized from bomb damage. This would be followed up on the 11th by a low level attack against Vunakanau by B-25's, damaging 8 parked aircraft. Then on the 14th, Simpson Harbor was attacked by 16 Avengers , 36 Dauntless and fighter escorts. The Japanese tossed 84 fighters but the allies held such a tight formation it was difficult to get at the bombers. 2 bombers were lost before reaching Lakunai; 1 to a mid-air collision and 1 to antiaircraft fire. When the Allied aircraft finally arrived, clouds shielded Lakunai so the bombers switched to targeting the ships in Simpson Harbor. The Avengers carried 2,000lb bombs, limiting their effectiveness. Regardless, they landed hits on the 15,400-ton-displacement oiler Naruto, and thus ended its goal of becoming the Hokage. . . sorry folks could not resist that one. The destroyer Matsukaze was also damaged alongside 5 other vessels.    AirSols came back to hit simpson harbor and blanche bay 3 days later sinking  the Komaki Maru, Kosei Maru, Yamayuri Maru, Hakkai Maru and Iwate Maru. To take down the combined 30,000 tons of shipping AirSols lost 8 P-38s, 1 Hellcat, 1 F4U, 1 Avenger, and 1 Dauntless. The rest of January saw so many raids, sometimes 2-3 on the same day, thus I can't spend the entire podcast listing their actions, but the losses were brutal. For the Americans they would lose 23 aircraft between January 23rd-30th, for the Japanese it was around 37. By the end of the month, Rabaul was being bled dry of planes, thus the rest was withdrawn to Truk with around 40 pilots. To make up for the withdrawal, Admiral Koga brought over the air groups of carriers Junyo, Hiyo and Ryuho on the 25th adding 62 zeros, 18 vals and 18 kates to Admiral Kusakas dwindling forces. Does that not sound like performing the exact same action that saw such devastating losses in late december to early january? Yes, yes it does.    Moving over to New Britain, General Shepherd had just smashed the Japanese positions along Suicide Creek. While seizing Suicide Creek some Americans captured a Japanese dispatch saying “It is essential that we conceal the intention that we are maintaining positions on Aogiri Ridge. Concerning the occupation of this position, it is necessary that Aogiri Yama is maintained.” While making arrangements for the Japanese assault against Target Hill one, Lieutenant Abe had occasion sent field dispatches to Warrant Officer Kiyoshi Yamaguchi, one of his platoon leaders. The dispatch mentioned command post locations, hour of attack, and other orders. Yamaguchi, with that seemingly incredible indifference to basic security which the Japanese so often demonstrated, simply stuck the dispatch in his pocket and carried it with him to the assault. Marines found it on his body the following morning, thereby gaining their first inkling of the existence of a terrain feature which appeared as such on none of their maps but upon which the Japanese appeared to place great importance, for reasons not yet clear. Aoigiri Ridge was not in the American maps and it was currently held by the 2nd battalion, 53rd regiment and 2nd battalion, 141st regiment. Behind the ridge was a wide trail leading to Magairapua, connecting Matsuda's HQ with Borgen Bay. The trail was heavily used and concealed extremely well from American aircraft. Back over at the American lines, by January 5th, the 3rd battalion, 7th marines had pulled back into the reserve, allowing the weapons company, 7th marines to occupy the extreme left along the shore to prepare for Shepherds offensive against Hill 150. The new formation launched their attack at 11am on the 6th. Tanks surged forward to smash a roadblock held by the 2nd battalion, 141st regiment on the left trail. Artillery was deployed on a nearby hill hitting the Japanese lines as A company tried to break through but was quickly pinned down by the roadblock. The tanks eventually burst through the roadblock sending the Japanese packing.   The americans advanced through the increasingly swampy terrain, facing weaker resistance. B company crossed a small stream and stormed Hill 150 during the afternoon, securing it. Further right, C company and the 3rd battalion, 5th marines were surprised to be held up by extremely heavy fire from the until then unknown feature, Aogiri ridge. The men had no other choice than to pull back to a safe distance to dig in as they reported back the presence of the heavily fortified position. The Japanese would unleash carnage upon the men for 2 days whenever they tried to press forward. On the 7th the commanding officer of the 3rd battalion, 5th Marines, was wounded and replaced by Lt Colonel Lewis Walt. The next day, Walk's men were cautiously inching forward under heavy enemy fire through dense jungle, when they first encountered the ground rising in steepness. At this point Walt realized the feature had to be Aogiri Ridge.    On the 9th, the assault battalions resumed their attacks, this time with heavy artillery support against Aogiri ridge. Walt was reinforced with Companies K and L from the 7th marines, but the advance was extremely slow and painful. Two Japanese bunkers were knocked out with white phosphorus grenades, but that ended the limited gains. Walt personally began pushing a 37mm gun excruciating foot by foot up Aogiri ridge, firing a volley of canisters every few feet. Somehow he managed to get the gun up the steep slope into a decent position to sweep the ridge, allowing the gain of a foothold on the crest of Aogiri. The loss of the ridge was a huge threat to Matsuda and Katayama's positions, so the latter decided to throw his reserves in a desperate but ferocious counterattack.   At 1:15am on the 10th, Katayama sent his recently arrived 3rd battalion to attack the reverse slope. However the Marines held firm and would end up repelling 5 consecutive banzai charges with a fury and persistence unparalleled in the campaign. On the 4th try a Japanese major and two company officers succeeded in knifing through the Marine cordon almost to Colonel Walt's fox hole, 50 yards behind the front line. At that instant one of two short rounds in a 60-round artillery barrage burst in a tall tree almost directly overhead, and the major died there, sword in one hand and a pistol in the other. The 5th charge was blunted by artillery and the Japanese finally cut their losses and pulled back. The Japanese had suffered immense casualties, seeing all 3 of their battalions depleted, forcing Katayama to pull off Aogiri ridge that very night. The morning of the 10th saw Walk's men securing the feature and then discovering the vital Magairapua trail. The marines went to work mopping up the area until January 12th, whereupon Shepherd planned to seize Hill 660. The feature was guarded by the 6th company, 141st regiment supported by a number of guns of the 30th machine cannon company. The fresh 3rd battalion, 7th marines, led by lt colonel Henry Buse Jr were to perform the main assault, with the 1st battalion extending the perimeter behind them. To help the effort, the weapons company,7th marines of Captain Buckley would begin constructing a roadblock between the eastern base of Hill 660 to the shore of Borgen Bay, hoping to cut off the defenders escape route.   At 08:00am on the 13th, after artillery, mortars and the 5th Air Force performed a bombardment of the area, the last Marine offensive commenced. A intricate system of small arms and automatic weapon positions going up the summit unleashed fire upon the marines, quickly pinning down I company. L Company attempted swinging to the right, but were also pinned down. Engineers worked a light tank forward far enough to place fire across a gorge demolishing the more troublesome enemy weapons. By late afternoon, together with artillery supporting fire, the pinned-down companies were rescued and withdrawn for the night. Meanwhile the Weapons company worked with their bulldozer, by 1030 they had skirted the eastern base of the hill and set up an all-around perimeter. There they dug in clearing fields of fire for about 60 yards to both north and south, placing their half-tracks and tanks in supporting positions. The only opposition they encountered during the advance was by two Japanese machine guns and emplaced near the summit of the hill. With all said and done they successfully cut off the Japanese line of retreat.  On the morning of the 14th, the 3rd battalion resumed their assault, with their leading companies advancing to the right working their way up. One unit nearly got atop the crest before coming under fire from heavy machine guns. They got to a position where they could bring 60mm mortars to bear, and went to work neutralizing the machine gun positions before a final surge carried them across the summit. The Japanese fled down the crest heading east, coming straight into the line of fire of the Weapons company below. The result was a terrible rout, seeing many escape to the safety of the swamps to the hills southeast. By the end of the 14th, the marines had seized Hill 660 and were performing mop up operations through the following day. At 5:30am on the 16th, Katayama ordered the 6th and 11th companies, 141st regiment to counter attack Hill 660. Soon the marines were face to face with a large banzai charge, seeing the fighting getting up close and personal. But small arms, rifles, 60mm mortars and 81mm artillery broke the Japanese. Over 110 Japanese bodies would be found after the fight. This ended Shepherds offensive, as the remnants of Colonel Sumiya's forces began to arrive to the Borgen Bay area. Over the next few days, the exhausted 7th marines were relieved by the 5th marines and 2nd battalion, 1st marines who had recently been recalled after completing their mission at Green Beach.  After suffering the defeated in Borgen Bay, General Sakai decided to order the 1st battalion, 54th regiment to reinforce Talasea and for Matsuda to launch a last ditch effort, a suicidal one at that, to obliterate the enemy. But the men were in no condition for such an offensive, thus Katayama elected to postpone it for now. Since every man was needed for the defense of Borgen Bay, Colonel Sato took the remainder of his commander and departed Rooke Island to join the main body. Now that Hill 660 was secured, the Americans began a new method of patrolling; this time their patrols would specifically seek out and destroy what was presumed to be exhausted Japanese units, before the division would attack the defensive line at Borgen Bay-Itni river. Yet that is it for new Britian, as we are going to be traveling over to the CBI theater. Between November 22 to December the 1st, two conference were held between the Allied leaders. The first was the Cairo or “sextant” conference on November 22-26th, between President FDR, Sir Winston Churchill and Chiang Kai-shek. The second was held in Tehran on November 28-December 1st between FDR, Churchill and Joseph Stalin. You might be asking, why did they all not meet up together. The crux of it was the Soviet-Japanese neutrality Pact and to a lesser extent, though probably not in Chiang Kai-Shek's mind, Stalin was aiding the CCP. Because the Soviets had not declared war on the Japanese, it would not look to good if they met with the leader of China, likewise Chiang Kai-shek was not too forthcoming to meet with Stalin. The easy fix was to just have two different conferences. Overall the conferences did not really touch too much upon the Pacific war. But Stalin did promise to declare war on Japan within ninety days after the end of the European War. In return he demanded military and logistical concessions in Manchuria, maintenance of Outer Mongolia under Soviet control as well as sovereignty over the Kuril Islands that stretched from north of Japan to Russia's Kamchatka Peninsula. When Chiang Kai-shek heard about this he had suspicious and noted “The influence of this conference on China will be great. I hope Roosevelt isn't plotting with Churchill and Stalin against me.” Soon his suspicion would turn to anger when he discovered there were secret protocols relating to Manchuria.  Stalin had made some assurances to Mao Zedong that once the Soviets were in the war against Japan, they would have forces to bear down into China to help tip the scale for the CCP against the NRA. Yet after the war, it would seem promises made by Joseph Stalin were not always kept.  Another important aspect of the conferences was the British decision to cancel Operation Buccaneer, the invasion of the Andaman Islands, because Admiral Mountbatten's landing crafts were required for landings in southern france. The Joint chiefs of staff were livid at this, because it came at the same time the Japanese were reinforcing Burma. FDR overruled them and agreed to the British decision and this in turn greatly pissed off Chiang Kai-Shek. Yet at the same time, the Cairo declaration had lifted up the morale for the Chinese army and people to continue their war against the Japanese. The declarations made by the Tehran conference implied publicly that the CBI theater was all but abandoned to the mercy of Japan's air and land forces. Thus it would be no coincidence the Japanese thought it ripe to launch an all-out offensive against China.  In the meantime, the rather aggressive Admiral Mountbatten was trying to salvage what he could of the situation. To try and please Chiang Kai-Shek, he proposed Operation Pigstick. The operation was something Mountbatten had wargamed a bit, it was to be a landing on the southern Mayu peninsula aimed at hitting Akyab. He began assigning landing craft for the amphibious operation, only to be immediately slapped down by Alanbrooke and told to return 3 fast tank landing crafts that were direly needed for operations against Italy. Mountbatten hoped to retain 2 slower tank landing craft, but Cunningham requested them. Pigstick was to be 2 divisions plus 2 brigades who would be used in a southward advance down the peninsula and 1 division in an amphibious assault aimed at surrounding and destroying not less than 20,000 Japanese. An additional landing similar to PIGSTICK, could perhaps be launched in the Ramree-Cheduba area, could take staging areas that would put 15 Corps within reach of Rangoon. Speaking of Ramree, if any of you have heard this kind of myth about over 1000 Japanese being eaten by crocodiles on that island, over on my personal channel the pacific war channel I did a full investigation into the so called “ramree island massacre” story. A little sad about its performance not going to lie. Dramatically improved my lackluster animation skills for it, came out really well and I did a silly impersonation at the beginning, anyways check it out its a fun one! Alongside Pigstick, Mountbatten changed the Tarzan operation into Operation Gripfast, calling for an offensive on north and central Burma with an airborne landing at Indaw to sever the Japanese line of communications to Myitkyina. But now Chiang Kai-Shek was very wary of anything British, so he rejected the plans on December 19th. Alongside pissing off Chiang Kai-Shek, his estranged wife, Joseph Stilwell was also again angry with the British, particularly Mountbatten. At one point Mountbatten proposed moving certain American units into the Hukawng valley to help the offensive there and Stillwell burst out ‘I should like it placed on record that I am responsible for the training of all American forces in this theatre and I am the person to decide when they are adequately trained and can move forward.' Mountbatten replied: ‘I accept that in principle, but would remind you that these troops are being trained under British officers. I am responsible for operations and will decide when units move into the fighting lines. In other words, general, I should like to place on record that I am Supreme Commander out here and what I say goes.' Stilwell took it good-humouredly and laughed. ‘We none of us dispute that,'”. That day Stilwell wrote a letter to his wife, referring scathingly to Mountbatten as ‘the glamour boy. He doesn't wear well and I begin to wonder if he knows his stuff. Enormous staff, endless walla-walla but damn little fighting . . . And of course the Peanut is unchanged. The jungle is a refuge from them both.' The men would all share some screaming matches against another, until Stilwell would shock everyone by exclaiming “I am prepared to come under General Slim's operational control until I get to Kamaing.” It was a truly bizarre idea, Mountbatten asked how such a thing would work, and both Slim and Stilwell asked to discuss the matter amongst themselves. The two men would agree on tactical essentials such as getting more Chinese divisions for the Ledo force and to use the Chindits to assist in hitting Myitkyina. Slim and Stilwell shook hands and Stilwell said to him ‘I would fight under a corporal as long as he would let me fight.' Slim would later reflecte ‘In practice this illogical command set-up worked surprisingly well. My method with Stilwell was based on what I had learnt of him in the Retreat – to send him the minimum of written instructions, but, whenever I wanted anything, to fly over and discuss it with him, alone. Stilwell, talking things over quietly with no one else present, was a much easier and more likeable person than Vinegar Joe with an audience. Alone, I never found him unreasonable or obstructive. I think I told him to do something he did not approve of on only two or three occasions, and on each he conformed, I will not say willingly, but with good grace.' In the end Operation Pigstick never became a reality, because the landing crafts were needed for the Italian campaign and thus the hope of meeting Chiang Kai-sheks continued demand for an amphibious operation was gone. It was almost like the British never intended to go through with such a thing in the first place, woops that is just my opinion. Meanwhile the British-Indian command elected to start a new operation in Arakan. The brutal hard-won lessons of 1st Arakan battle had been absorbed in India Command, with senior British officers determined to avoid similar mistakes. The new operation was the subject of meticulous reconnaissance, planning, and rehearsals. A series of lectures, war games, models of the grounds and syndicate discussions were held for commanders, staff and regimental officers whom carefully considered countering Japanese offensive tactics and assaulting prepared defensive positions like those witnessed at Donbaik. A carefully planned programme of continuous, progressive and intensive training was put in hand for all corps and divisional fighting, support and administrative troops to practice necessary skills, including using brigade boxes, aerial resupply and the infiltration and envelop- ment of enemy positions. This comprehensive training programme culminated in intensive rehearsals and combined arms training with artillery, tanks and close support aircraft carried out near Lohardaga, over ground resembling Arakan, simulating attacks on mock Japanese defensive positions on jungle-clad hills. General Auchinleck assigned the 15th corps, reconstituted at Ranchi with the 3 best trained divisions available: Major-General Harold Briggs' 5th Indian Division; Major-General Frank Messervy's 7th Indian Division and Major-General Christopher Woolner's 81st West African Division.The 26th Indian Division formed the corps reserve. Command of the 15th corps would be given to Lt General Philip Christison. The plan called for the 5th and 7th Indian divisions to advance along the summit of the Mayu range towards Maungdaw and Buthidaung while the 5th and 6th west african brigades would provide flanking protection. On November 1st, the 2 Indian divisions began their advance and by mid november would make contact with a Japanese outpost.As the 7th Indian division advanced astride the Kalapanzin River they ran into stiff resistance. Efforts to dislodge Japanese defenders near Awlanbyin and Letwedet, showcased the formidable difficulties that attacking Japanese defensive bunker positions presented. Most were built on razor-back ridges, through which were burrowed fire positions, affording a limited approach, while the reverse slopes protected troops from view and bombardment. With the precipitous Goppe Pass initially only suitable for porters, pack transport and pack artillery, 7th Indian Division quickly devised other methods to overcome enemy defenses, since normal stereotyped, set-piece attacks stood little chance of success without supporting field artillery. Aircraft proved an ineffective substitute, moreover, with dive-bombing having only a transitory effect since the broken terrain and dense jungle absorbed blast leaving defenses and morale largely intact unless a lucky direct hit was made. The Indian forces began to infiltrate and bypass the well-entrenched Japanese defenses, giving the impression they would soon unleash a frontal attack upon them at any moment. General Messervy's would say of the action  “'We will undoubtedly have a Neapolitan sandwich of British - Japs - British, but it will be one made by ourselves, and with the initiative in our hands it will soon be transformed to British - British - Jap.” They were gaining ground and with it valuable combat experience. On the night of November 30th, the 15th Indian Corps commenced large-scale operations to drive in the Japanese outpost line astride the Mayu Range. A series of brisk skirmishes were fought by 33rd Indian Infantry Brigade on the jungle-cloaked ridges south of Awlanbyin quickly evicting small determined parties of Japanese infantry from carefully prepared platoon and company defensive localities. This was by no means an easy task since most heavily camouflaged positions were built atop steep hillsides overlooking paddy fields that provided an open field of five and difficult going for advancing troops. Earlier directions about infiltration paid off in practice. An attack on Awlanbyin west redoubt from the rear through thick jungle achieved complete surprise. Although a neighboring Japanese position initially held out, its garrison withdrew on 2nd December after being cut off. The 33rd Brigade columns  crossed the Ngakyedauk Chaung and occupied the area from Ngakyedauk village to the ridge about 1.5 miles north-west of Sinohbyin village. By December3rd, they extended the area of operation to the hills overlooking Maungyithaung and Sinohbyin. The 89th Brigade, meanwhile, pushed forward down Tatmin Chaung and established forward positions on the hills south of the chaung, one mile west of Tatmingyaungywa. By mid-month, 7th Indian Division had reached the main enemy positions covering the Tunnels and Buthidaung, and the opening of the Ngakyedauk Pass to wheeled traffic in late December considerably eased resupply and allowed the divisional artillery to join the formation. However, both the Indian divisions were under orders not to get engaged in serious fighting with the Japanese, so the advance stopped there. It is also important to note, in November 1943,  Spitfires were deployed in Bengal for the first time. The 615th and 617th squadrons were based in Chittagong to protect the vital port and also to cover the Arakan. Within one month, the Spitfires destroyed four Japanese photographic reconnaissance aircraft. Previously, the Dinah's range, speed and height had enabled them to fly with impunity over the Allied forward bases and the Hurricanes were unable to catch them. The Japanese reacted by sending out fighter sweeps in order to test the Spitfires and whittle down Spitfire strength. However, by the end of December, the Japanese lost 22 aircraft, another 33 were damaged, and the Allied loss was only 13 aircraft. The greatest air battle occurred on the last day of 1943. On that day, No. 136 Squadron destroyed 12 and damaged 11 when a mixed force of Japanese fighters and bombers attempted to attack the light naval force along the Arakan Coast. The Japanese carried out one strategic attack when on 5 December 1943, 60 bombers and fighters, including some naval aircraft, in two waves bombed Calcutta. The Japanese lost two aircraft and another five were damaged. The three and a half squadrons of Hurricane fighters, including half a squadron of night fighters which were defending the area lost five aircraft and another six were damaged.  To the west the 5th Indian Division had also encountered stiffening resistance from Japanese outposts as it advanced southwards along the coastal plain towards Maungdaw, through the foothills further north and along the spine of the jungle-clad Mayu Mountains. They soon discovered that overcoming Japanese bunker defenses presented particular difficulties. As the division would report "The great difficulty in attacking Jap "hill top" positions lies in the concealment of the actual bunker or weapon pit' one brigade commander later wrote, and in the practical impossibility of deploying attacking troops in thick jungle, particularly where the approach runs along the top of a razor backed ridge.' In each case, patrols infiltrated between these localities isolated them from supplies and reinforcements with the result that Japanese normally gave up ground without a contest. A newsletter prepared by the HQ of 5th Indian Division reported: 'The only way to deal with the Jap def positions is by INFILTRATION. Recent experience has shown that the Jap has produced nothing new in def tactics... It is almost physically impossible in hilly and thick country to have every post covered by another, the posts can be eliminated piece- meal by infiltration tactics.' After the outline of the main Japanese defenses became apparent this approach was also increasingly applied at brigade level. At the end of December 1943, the 5th Indian Division held the area from the sea to the crest of the Mayu Peninsula and the 7th Indian Division moved into the Kalapanzin Valley. By the end of the month they reached Maungdaw. The advancing 5th Indian Division discovered that frontal assaults could not be completely avoided, however, when Japanese troops were determined to stay put. During this advance, the 161st Brigade moved to the high ground to the northeast of Bakkagona about five miles to the north of Razabil. On 30th December, 161st Indian Infantry Brigade assaulted Point 124, but the 4/7th Rajputs were held up by dense jungle and heavy mortar and machine fire and suffered heavy casualties. For six days assaults continued with the forward infantry regularly reaching the Japanese defenses before being driven off by showers of hand grenades and supporting machine-gun from every other enemy defensive position within range. Only after a 'policy of strangulation, starvation, and attrition was adopted', did its defenders withdraw. The 5th Indian Division immediately began probing the main Razabil defenses, while its 123rd Indian Infantry Brigade patrolled the western foothills of the Mayu Range and northern side of Razabil, particularly two hill positions dubbed Wrencat and Wrenkitten. To do so an indirect approach was again advocated by Major-General Harold Briggs in note on tactical policy issued on 4th January, stressing the importance of patrolling to identify positions held by the Japanese and infiltration to seize vital ground in their flanks or rear that would either provoke Japanese counterattacks or force a withdrawal. Meanwhile Stilwell arrived to Shingbwiyang on December 21st and assumed command of the Chinese forces in India. To relive the trapped battalion of the 112th regiment at Yupbang Ga, Stilwell and General Sun planned to send the entire 114th regiment to break the Japanese center at Yupang Ga to rescue the 112th, then hook north to envelope the northern fragment of the Japanese defensive line. On December 24th, they unleashed artillery and launched the infantry into the Japanese lines. The 114th regiment managed to envelop the Japanese right flank by the afternoon and soon a breakthrough emerged allowing for them to make contact with the 112th. Sun's men then surrounded the Japanese pocket during the night and would wipe them out the next morning. And thus the Chinese had gained their first victory at Yupbang Ha, though the Japanese still held the river crossing, so Stilwell began plans for another assault set after Christmas. On December 28th, Sun ordered 3 battalions to attack the north, while the 1st battalion, 112th regiment would sweep to the right, getting behind the 3 Japanese outer strongpoints. The chinese forces rapidly broke the Japanese outer defenses creating a breach while the 1st battalion, 114th regiment broke through the river defensive line. The Japanese tossed a large counterattack, but it would be repelled by the night time. Now Yupbang Ga was in allied hands as the surviving Japanese companies split into smaller groups trying to hold out for many days. With the fall of Yupbang Ga, the Japanese were forced to withdraw from Sharaw Ga as well, so elements of the 2rd battalion, 113th Regiment were be able to seize it by December 30. In the meantime, as the 22nd Division's 65th Regiment had been sent towards the Taro Plain to try and secure the southern flank, the 2nd and 3rd Battalions of the 114th Regiment had been sent south to cross the Tanai Hka at the Kantau ford in an effort to cut off the enemy withdrawal line. By the end of 1943, with the loss of 315 killed and 429 wounded, Sun's 38th Division had gained complete control of the Tarung Hka.  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. Things were deteriorating for the Japanese on New Britain as American Marines were seizing features and gradually pushing them into Borgan Bay. Within the CBI theater a ton of drama amongst the high commanders was surprisingly not resulting in disaster, as operations in Burma were kicking off with great results. Perhaps Burma could be saved.

Hello everyone and welcome to Some Like It Scott's second Countdown miniseries on 2023, a podcast first focusing entirely on the works of Japanese animator, Hayao Miyazaki: the Miyazaki Countdown. To honor one of the living legends of animation, the countdown crew of Scott, Scott, and Jay will watch all 11 of Miyazaki's films to-date, rewinding all the way back to his directorial origins with 1979's action-adventure heist thriller LUPIN III: THE CASTLE OF CAGLIOSTRO, all the way to his then-final film, 2013's biographical epic romance drama, THE WIND RISES. Join us each week over the next 11 weeks, as we build up to what is Miyazaki's self-proclaimed now-final film (we'll see...), the fantasy epic, THE BOY AND THE HERON.   In Part 4 of the Miyazaki Countdown, Scott, Scott, and Jay discuss one of Hayao Miyazaki's most iconic films: the family anime fantasy film, MY NEIGHBOR TOTORO. Set in rural Japan in the 1950s, MY NEIGHBOR TOTORO captures a slice of life of the Kusakabe family: father Tatsuo and daughters, Satsuki (10 years old) and Mei (4 years old), who recently have moved out of a larger city into the countryside, closer to Tatsuo's wife's hospital, where she is convalescing and recovering from a long-term illness. Satsuki and Mei adapt to their new life: they explore the house in search of "dust gremlins" hiding in the dark corners of the structure; they meet their neighbors - a matriarch named Granny and her children and grandchildren; and one day while Satsuki is at school, Mei wanders into the adjacent forest and stumbles upon a fantastical spirit she names Totoro, based on the sounds it makes as she plays with it. Rather than disbelieve or question her experience, Satsuki is jealous and wants to meet Totoro for herself, and Tatsuo encourages Mei and Satsuki to be watchful for these forest spirits that inhabit the land. The remainder of the film is less a quest to re-encounter Totoro and its fellow forest spirits, and more a compelling case of childhood adventure and a stark reminder that the childlike wonder and innocence of Satsuki and Mei could likely do us all a favor. The countdown crew discuss these notions, share their thoughts on the deeply emotional undertones of the film and its narrative context, and ponder the spiritual elements of Totoro and its fellow forest spirits.

Both before and after the 2011 "Triple Disaster" of earthquake, tidal wave, and consequent meltdown at the Fukushima Daiichi nuclear power plant, anthropologist Satsuki Takahashi visited nearby communities, collecting accounts of life and livelihoods along the industrialized seascape. The resulting environmental ethnography examines the complex relationship between commercial fishing families and the Joban Sea--once known for premium-quality fish and now notorious as the location of the world's worst nuclear catastrophe.  Satsuki Takahashi's book Fukushima Futures: Survival Stories in a Repeatedly Ruined Seascape (U Washington Press, 2023) follows postwar Japan's maritime modernization from the perspectives of those most entangled with its successes and failures. In response to unrelenting setbacks, including an earlier nuclear accident at neighboring Tokaimura and the oil spills of stranded tankers during typhoons, these communities have developed survival strategies shaped by the precarity they share with their marine ecosystem. The collaborative resilience that emerges against this backdrop of vulnerability and uncertainty challenges the progress-bound logic of futurism, bringing more hopeful possibilities for the future into sharper focus. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Both before and after the 2011 "Triple Disaster" of earthquake, tidal wave, and consequent meltdown at the Fukushima Daiichi nuclear power plant, anthropologist Satsuki Takahashi visited nearby communities, collecting accounts of life and livelihoods along the industrialized seascape. The resulting environmental ethnography examines the complex relationship between commercial fishing families and the Joban Sea--once known for premium-quality fish and now notorious as the location of the world's worst nuclear catastrophe.  Satsuki Takahashi's book Fukushima Futures: Survival Stories in a Repeatedly Ruined Seascape (U Washington Press, 2023) follows postwar Japan's maritime modernization from the perspectives of those most entangled with its successes and failures. In response to unrelenting setbacks, including an earlier nuclear accident at neighboring Tokaimura and the oil spills of stranded tankers during typhoons, these communities have developed survival strategies shaped by the precarity they share with their marine ecosystem. The collaborative resilience that emerges against this backdrop of vulnerability and uncertainty challenges the progress-bound logic of futurism, bringing more hopeful possibilities for the future into sharper focus. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Both before and after the 2011 "Triple Disaster" of earthquake, tidal wave, and consequent meltdown at the Fukushima Daiichi nuclear power plant, anthropologist Satsuki Takahashi visited nearby communities, collecting accounts of life and livelihoods along the industrialized seascape. The resulting environmental ethnography examines the complex relationship between commercial fishing families and the Joban Sea--once known for premium-quality fish and now notorious as the location of the world's worst nuclear catastrophe.  Satsuki Takahashi's book Fukushima Futures: Survival Stories in a Repeatedly Ruined Seascape (U Washington Press, 2023) follows postwar Japan's maritime modernization from the perspectives of those most entangled with its successes and failures. In response to unrelenting setbacks, including an earlier nuclear accident at neighboring Tokaimura and the oil spills of stranded tankers during typhoons, these communities have developed survival strategies shaped by the precarity they share with their marine ecosystem. The collaborative resilience that emerges against this backdrop of vulnerability and uncertainty challenges the progress-bound logic of futurism, bringing more hopeful possibilities for the future into sharper focus. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

Both before and after the 2011 "Triple Disaster" of earthquake, tidal wave, and consequent meltdown at the Fukushima Daiichi nuclear power plant, anthropologist Satsuki Takahashi visited nearby communities, collecting accounts of life and livelihoods along the industrialized seascape. The resulting environmental ethnography examines the complex relationship between commercial fishing families and the Joban Sea--once known for premium-quality fish and now notorious as the location of the world's worst nuclear catastrophe.  Satsuki Takahashi's book Fukushima Futures: Survival Stories in a Repeatedly Ruined Seascape (U Washington Press, 2023) follows postwar Japan's maritime modernization from the perspectives of those most entangled with its successes and failures. In response to unrelenting setbacks, including an earlier nuclear accident at neighboring Tokaimura and the oil spills of stranded tankers during typhoons, these communities have developed survival strategies shaped by the precarity they share with their marine ecosystem. The collaborative resilience that emerges against this backdrop of vulnerability and uncertainty challenges the progress-bound logic of futurism, bringing more hopeful possibilities for the future into sharper focus. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Both before and after the 2011 "Triple Disaster" of earthquake, tidal wave, and consequent meltdown at the Fukushima Daiichi nuclear power plant, anthropologist Satsuki Takahashi visited nearby communities, collecting accounts of life and livelihoods along the industrialized seascape. The resulting environmental ethnography examines the complex relationship between commercial fishing families and the Joban Sea--once known for premium-quality fish and now notorious as the location of the world's worst nuclear catastrophe.  Satsuki Takahashi's book Fukushima Futures: Survival Stories in a Repeatedly Ruined Seascape (U Washington Press, 2023) follows postwar Japan's maritime modernization from the perspectives of those most entangled with its successes and failures. In response to unrelenting setbacks, including an earlier nuclear accident at neighboring Tokaimura and the oil spills of stranded tankers during typhoons, these communities have developed survival strategies shaped by the precarity they share with their marine ecosystem. The collaborative resilience that emerges against this backdrop of vulnerability and uncertainty challenges the progress-bound logic of futurism, bringing more hopeful possibilities for the future into sharper focus. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Both before and after the 2011 "Triple Disaster" of earthquake, tidal wave, and consequent meltdown at the Fukushima Daiichi nuclear power plant, anthropologist Satsuki Takahashi visited nearby communities, collecting accounts of life and livelihoods along the industrialized seascape. The resulting environmental ethnography examines the complex relationship between commercial fishing families and the Joban Sea--once known for premium-quality fish and now notorious as the location of the world's worst nuclear catastrophe.  Satsuki Takahashi's book Fukushima Futures: Survival Stories in a Repeatedly Ruined Seascape (U Washington Press, 2023) follows postwar Japan's maritime modernization from the perspectives of those most entangled with its successes and failures. In response to unrelenting setbacks, including an earlier nuclear accident at neighboring Tokaimura and the oil spills of stranded tankers during typhoons, these communities have developed survival strategies shaped by the precarity they share with their marine ecosystem. The collaborative resilience that emerges against this backdrop of vulnerability and uncertainty challenges the progress-bound logic of futurism, bringing more hopeful possibilities for the future into sharper focus. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Both before and after the 2011 "Triple Disaster" of earthquake, tidal wave, and consequent meltdown at the Fukushima Daiichi nuclear power plant, anthropologist Satsuki Takahashi visited nearby communities, collecting accounts of life and livelihoods along the industrialized seascape. The resulting environmental ethnography examines the complex relationship between commercial fishing families and the Joban Sea--once known for premium-quality fish and now notorious as the location of the world's worst nuclear catastrophe.  Satsuki Takahashi's book Fukushima Futures: Survival Stories in a Repeatedly Ruined Seascape (U Washington Press, 2023) follows postwar Japan's maritime modernization from the perspectives of those most entangled with its successes and failures. In response to unrelenting setbacks, including an earlier nuclear accident at neighboring Tokaimura and the oil spills of stranded tankers during typhoons, these communities have developed survival strategies shaped by the precarity they share with their marine ecosystem. The collaborative resilience that emerges against this backdrop of vulnerability and uncertainty challenges the progress-bound logic of futurism, bringing more hopeful possibilities for the future into sharper focus. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Both before and after the 2011 "Triple Disaster" of earthquake, tidal wave, and consequent meltdown at the Fukushima Daiichi nuclear power plant, anthropologist Satsuki Takahashi visited nearby communities, collecting accounts of life and livelihoods along the industrialized seascape. The resulting environmental ethnography examines the complex relationship between commercial fishing families and the Joban Sea--once known for premium-quality fish and now notorious as the location of the world's worst nuclear catastrophe.  Satsuki Takahashi's book Fukushima Futures: Survival Stories in a Repeatedly Ruined Seascape (U Washington Press, 2023) follows postwar Japan's maritime modernization from the perspectives of those most entangled with its successes and failures. In response to unrelenting setbacks, including an earlier nuclear accident at neighboring Tokaimura and the oil spills of stranded tankers during typhoons, these communities have developed survival strategies shaped by the precarity they share with their marine ecosystem. The collaborative resilience that emerges against this backdrop of vulnerability and uncertainty challenges the progress-bound logic of futurism, bringing more hopeful possibilities for the future into sharper focus. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

Last time we spoke about the amphibious assaults in New Georgia, New Guinea and the naval battle of Kula Gulf. The boys on New Guinea were edging ever closer to their objective of Lae while drawing the Japanese attention elsewhere. In the Solomons, Admiral Kusaka tossed as many aircraft as he could to thwart the multiple allied landings, but it was to no avail. Having depleted his airpower, now he turned to the navy to see if they could reinforce New Georgia before another Guadalcanal situation occurred. Rear Admiral Teruo Akiyama was given the task of launching a Tokyo Express to New Georgia while also trying to give some fight to the enemy. Aboard his flagship the Niizuka, Akiyama did indeed give a fight to the Americans, showcasing a brand new type of radar and the ever trusty type 93 long lance torpedoes. The Japanese landed a few of their boys and now the real fight for New Georgia would begin.  This episode is the Fall of Mubo & battle of Kolombangara  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.  So the past few weeks we have been chaotically juggling multiple events across the Solomons and New Guinea and this week it shall be no different. So let's first jump into New Guinea. General MacArthur's forces managed to pull off the Nassau Bay landing, getting General Savige some much needed reinforcements on his eastern flank and a new supply route. Now the landing at Nassau Bay was part of an ongoing operation codenamed Doublet, aimed at dislodging the Japanese from Bobdubi and Mubo. Taking these were necessary for the future push against Lae and Salamaua. Mubo held an airfield and its capture would greatly facilitate troop movements towards Salamaua. The movement in the interior towards Mubo was complicated by rough terrain. There were a series of ridges that could be defended sternly by the Japanese. As we have seen for weeks, Roosevelt ridge, the pimple, Green Hill, Observation hill, Lababia ridge and Bitoi ridge proved to be very heavily defended. For the Japanese headquarters, all of the allied offensives were confusing as to where exactly the main target was to be. General Nakano remained confident, Salamaua was the main target and he acted accordingly by beefing up the defense there. He ordered Major General Chuichi Muroya, the commander of the 51st infantry division to fortify and defend Salamaua. As part of this, he also ordered Muroya to dispatch around 1000 men to halt American forces trying to move up the coast towards Lake Salus. Now by July 2nd Brigadier Moten's plan was for the 2/6th and 2/5th battalions to take Mubo and Observation hill. While the new Taylor Force would capture Bitoi ridge and then the ridge between Bui Alang and Bui Kumbul Creeks. After this the forces would link up and the Japanese lines of communications along the Buigap Creek would be severed. While this was going on the 15th brigade who was working in conjunction with the newly landed troops, were performing an offensive directed at reducing the Japanese presence around Lae and Salamaua. Part of this offensive involved the inexperienced 58th/59th battalion who had a hell of a time facing the Japanese at Bobdubi ridge. The 58th/59th battalion were two previous militia battalions from Victoria. Initially they were a defensive force in Australia, not meant to go to places like New Guinea, but as they say times were tough. They got a taste of hand to hand combat in late june and while they did not make much progress, they still impacted the campaign, forcing General Muroya to request reinforcements so he could maintain a firm defense for the approaches to Salamaua. Nakano made it clear Bobdubi was of grave importance stating “this location is the last key point in the defense of Salamaua”. Muroya received Major Otoichi Jinno's 1st and 3rd companies of the 80th battalion. They marched through the Coconuts area to Bobdubi bringing with them 2 mountain guns of the 26th field artillery regiment. Meanwhile Colonel Araki his 1st battalion over to the Old Vickers position. By early July Muroya now held 5 infantry companies, around 500 men strong in all. But with all the activity hitting the north, Araki became worried and ultimately decided to move his regimental HQ and 1st battalion to Komiatum, leaving only his 2nd battalion to hold Mubo.  On July 4th, Brigadier Heathcote Hammer took command of the 15th brigade. He was a veteran of the second battle of El Alamein, one of the most iconic battles of WW2, yours truly actually wrote quite a large episode for Kings and Generals on that one, and I think by the time this podcast comes out it should as well. Anyways Hammer had taken a German bullet right through both of his cheeks, but he did not lose a single tooth in the process, I guess lucky on that count. He earned a distinguished service order for his time in the middle east and in june of 1943 was promoted to Brigadier and given command of the 15th brigade. He was considered one of the most original and magnetic leaders of the Australian Infantry. “Hard as Nails” was said to be his motto, and “as you train, so you fight” his creed. When the 58/59th battalion stalled, he was tossed into the thick of it. Now do remember he was coming directly off the victory at Alamein, so he was I guess you can call it “desert minded” when he was tossed into the unforgivable jungles of New Guinea. He would have to deal with completely different terrain, different types of troops and a different enemy than the Italians and Germans. Another result of the delays at Bobdubi saw General Saviege dispatched Major Warfe's commands over to stop the Japanese from escaping Mubo. On July the 5th, General Savige ordered Hammer to send the company towards Tambu Saddle and Goodview Junction where they could cut off the Komiatum Track, thus preventing the Japanese from escaping Mubo to the north. Meanwhile B Company were on the Bench Cut Track carrying out ambush attacks. The two mountain guns brought up to the old vickers position were sporadically hitting Australian positions to their misery. C Company was performing a diversionary attack, while D Company was trying to capture the Coconuts and were successful at taking its northern region by nightfall on July 6th. The next day, the 80th regiment were pushing the 58/59th battalion back as air attacks from 6 Bostens hit the Old vickers allowing C Company to charge in with further support from D Company's mortars. The men charged up the steep ridge into Japanese machine gun nets and pillboxes. Likewise the 1st company of the 80th regiment with support of the 1st battalion, 66th regiment were launching counterattacks out of Komiatum. The Japanese managed to ambush some Australian supply lines inflicting casualties. On July 9th, the Australians tried to charge again into the Old Vickers, through a Sugarcane Knoll, but it went the exact same as last time, the machine gun nests and pillboxes were simply too much. Bobdubi ridge proved a tough nut to crack, but all of the activity was causing more and more Japanese units to move away from Mubo. By this point Mubo was being defended by 950 men and of those 770 were front line soldiers of the 66th regiment and the 14th field artillery regiment. And so the time was ripe to hit Mubo. Moten tossed Companies A and B from the 2/6th and C Company from the 2/5th towards Buiapal Creek; C Company of the 2/6th at Lababia ridge; D company of the 2/6th at the Saddle and the remainder of the 2/5th battalion into reserve. Warfe's commands went to work cutting off the escape route along the Komiatum track at Goodview Junction, but his forward units were spotted by Japanese patrols. As the commandos approached the area the Japanese came down from Orodubi ambushing them at Ambush Knoll…because of course its named that, silly Aussies, and this resulted in some lost supplies. Hammer was determined not to be thwarted by any delays so he ordered Warfe to launch a counterattack immediately. The Commandos were able to push the enemy back and reclaim their lost supplies, some of which were mortars and machine guns. On the night of the 6th, Warfe was ordered to leave a force to secure Wells junction while the rest of his men would proceed to cut off the escape route. During the morning of July 7ty, Moten's leading companies were wading through waste deep water in the Buiapal Creek due south of Observation Hill. The allied assault against Mubo was set to begin at 9:30am on the 7th, with Mitchell bombers coming in to strafe Kitchen Creek, Woody Island and Observation Hill. After this some Botsons and liberators would likewise bomb and strafe the same targets. The view from the ground was quite the spectacle for Moten's men. It looked like the entirety of the Mubo valley was being enveloped in thick black smoke and flames as the bombers dropped their payloads. Over 159 bombers and fighters dropped 109 tons of bombs over the Mubo area. Even if the bombs did not directly cause casualties among the Japanese in the area, it still caused chaos. Once the air attacks dissipated, the ground forces opened up their artillery and charged. A company of the 2/5th advanced without encountered any opposition, successfully climbing the northern slopes of Observation Hill. The southern slopes proved much more difficult with the Japanese putting up a fight against B company. B Company were forced to take a defensive position in a Kunai patch southwest of the slopes of Observation Hill. During this time, the Artillery over at the beaches of Nassau Bay were being moved further inland and would arrive at Napier by July 8th. This allowed Taylor Force to have the guns necessary to launch an assault of Bitoi ridge. Taylors men managed to get to the southern slopes of the ridge by 3pm while A Company touching its forward crest. B Company likewise broke through to the north and got to a point between Kitchen and Bui Savella Creek. A Company attempted another assault against Observation Hill but was repelled again, prompting Captain Dexter's D company to be sent to reinforce them. July 9th saw numerous patrol clashes as the Australians prodded deeper and deeper into the area. In the afternoon the Japanese sent a strong counterattack against the 2/5th companies seeing fierce fighting. As noted by Arthur Pearson of D company “In most cases we were firing blind, but sometimes we were abl to pick up the smoke from their rifles”. Pearson  at one point jumped into a weapon pit, trying to draw the Japanese fire his way. A bullet came at him, piercing the stock butt of his rifle, before slamming into one of the soldiers beside him killing the man. Pearson had no idea where the bullet had come from and frantically fired into the jungle hoping to hit the Japanese sniper. The next day saw a lot of the same, more patrol clashed. On the 10th, B Company engaged the enemy around Kitchen Creek. Meanwhile US infantry had cut the main track north of Bui Alang Creek on the 9th. The Americans began advancing down to Buigap Creek, then south to the Komiatum Track by July 10th, before hitting Buigap where they drove off a bunch of Japanese. The Americans now guessed the Japanese on Mubo were using a route north east along the Buikumbul to withdraw to Mount Tambu. With the Australian and now Americans infiltrating the sector, General Nakano ordered the Mubo garrison to pull out on the 11th, back over to Komiatum. To mask their withdrawal the Japanese planned to begin moving after sundown. By July 13th, they made their way along the Saddle to Mount Tambu, but the Americans had spotted them and gave them hell using artillery. The Japanese got out, but suffered many casualties doing so. On July the 12th, with the Japanese leaving the area, the Australians seized the Pimple, Green Hill and Observation hill with little opposition. Thus the allies had finally driven the Japanese out of their positions near Mubo, but they had also allowed them to escape. It turned out to be quite the fiasco with General Savige and Herring both believing they controlled the US troops of the 162nd, but in truth General Fuller refused to relinquish command to either. This confusion helped the Japanese squeeze out, though they did suffer 313 deaths and 981 casualties. The Australians received around 300 casualties. Mubo had fallen, its airfield was captured, mop up operations would go on for sometime, but most of the Japanese outposts were cleared. The path to Salamaua and Lae was ever closer. But now we are heading east over to the Solomons. General Wing's 172nd and 169th regiments were assembling at Zanana by July 6th. Their task now was to advance along the Barike River towards Munda. Meanwhile on the northern coast of New Georgia Colonel Liversedge's men successfully landed at Rice Anchorage by July 5th. His force was the 1st Marine Raider battalion, the 3rd battalion, 148th infantry and Companies K and L from the 145th infantry. His men began their advance south towards what is known as the Dragons peninsula. At the same time, as a result of the battle of Kula Gulf, the Japanese were able to land some men of the 13th regiment over at Vila. Defending Vila were forces led by Colonel Tomonari Satoshi. With more men on hand, General Sasaki intended to move the troops via barge through Bairoko so they could reinforce Munda. Sasaki had already brought his 3rd battalion, 229th regiment from Vila using barges. He was lucky the first time but now he felt the Americans would try to attack the airfield directly, perhaps by setting up artillery on the nearby Hopei island. Roviana island likewise could be used as a staging area for amphibious tanks to charge over. Thus Sasaki brought over some 8cm dual purpose guns and 13mm anti aircraft machine guns to try and defend the beaches. He also ordered Major Sato's 2nd battalion of the 229th regiment to dig some anti-tank ditches along the beach with the intent to smash any enemy tanks at the waters edge. He received word of the landings made at Zanana on July 3rd, prompting him to quickly reinforce his eastern line that ran north from Ilangana point. By July 6th, he had the 3rd battalion, 229th regiment and Sato's 2nd battalion holding positions along the the Ilangana line with a roadblock position held by a company who were using felled trees and barbed wire in front of Barike. Sasaki also had at his disposal a company of the Kure 6th SNLF led by Commander Okumura Saburo at Bairoko with a small detachment of the 2nd battalion, 13th infantry led by Major Obashi Takeo.  Meanwhile General Wing managed to get most of his 172nd regiment to the mouth of the Barike, but the 2nd battalion of the 169th remained on Rendova and the 1st and 3rd battalions were moving inland towards the Japanese roadblock. Unfortunately for the 3rd battalion, they had not found the roadblock by the night of july 6th and dug in just a bit east of it. They did not establish a good perimeter for their fox holes, there were no trip wires or barbed wires anywhere. Thus when the darkness came, so did the Japanese from the roadblock. The Japanese performed their classic infiltration tactics. The men in the foxholes began to hear random screaming, the odd firing of rifles all around them. The Japanese began to infiltrate their perimeter with one soldier reported that Japanese troops were approaching while calling out company code names in English. It was a brutal night to be sure. The shaken men of the 3rd battalion advanced with I company leading the way. They found themselves running into Japanese machine gun positions by 10:55pm around the Munda trail. They retaliated with mortars and machine guns, but could not properly see where the enemy was. Luckily B company from the 172nd showed up attacking the roadblock from the rear. In the carnage 3 platoon leaders were wounded, K Companies commander was killed, no progress was being made. Firing lanes were drawn out, the Americans were trying to find the enemy but their muzzle blasts were tiny. Some of the Americans tossed grenades, but they could not get close enough to effectively do it. By 3:30 the 3rd battalion withdrew from what they called “blood hill” to dig in for the night, but the Japanese continued to harass them. According to the 169th infantry “it was a sleepless night spend under continued harassment from enemy patrols speaking English, making horror noises, firing weapons, throwing hand grenades, swinging machetes and jumping into foxholes with knives”  On the 8th, the roadblock was overrun costing the 3rd battalion, 169th regiment and B company of the 172nd 6 deaths and 13 wounded. The next day the 169th finally got to their assembly point at the Barike line, while Colonel Liversedge and his men were crossing the Tamaku river. Colonel Liversedge planned to send Colonel Griffiths 1st Raiders with 2 companies of the 145th regiment to swing around the west shore of the Enogai Inlet prior to assaulting Bairoko while the 3rd battalion, 148th regiment would advance over to the Munda-Bairoko trail to cut off Munda from reinforcements. Liversedge estimated taking the Enogai Inlet and cutting off the trail would be done by July 8th, and it was critical it was done speedily as his men only had 3 days rations on hand. In the late afternoon of the 7th, the 148th managed to reach the trail and created a roadblock the following day. Griffiths team and secured the villages of Triri and Maranusa, clashing with a few Japanese patrols along the way. After capturing the villages the men came across some Japanese documents showcasing the defense plan for Enogai. On the 8th, the Raiders moved out of Triri enroute to Enogai only to run into an impassable mangrove swamp. Meanwhile Major Obashi launched a counterattack against Triri which would be eventually repelled. Griffith got the men to resume the advance using another trail west of the swamp and found themselves around Leland Lagoon where they clashed with some Japanese.  The morning of the 9th, saw General Wings main advance began. At 5am General Barkers 3 battalions of artillery positioned on both shores of the Honiavasa passage and some 155mms on Rendova opened fire on Munda. The artillery put several thousand rounds of 105mm and 155mm high explosives upon Munda. This was followed up by a naval bombardment by the USS Farenholt, Buchanan, McCalla and Ralph Talbot who were firing from the Blanche Channel, showering Munda with over 2000 5 inch shells. Then on top of all that 107 Dauntless and Avengers dropped 79 tons of bombs over Munda, Enogai and Bairoko harbor beginning at 8:30am. The Japanese recorded that the area was lit up as if it were daytime. The 172nd regiment forded the Barike, the 169th was unable to move because of the battle against the Japanese roadblock. On the night of July 6th, Admiral Samejima sent the rest of the troops that were supposed to be transported during the battle of Kula Gulf, the 2nd battalion of the 13th regiment, some 1200 men. They were aboard 4 destroyers, the Matsukaze, Yunagi, Mikazuki and Satsuki escorted by the cruisers Sendai and Chokai and 4 other destroyers the Yukikaze, Hamakaze, Tanikaze and Yugure. They only saw some harassment from a small strike force consisting of 5 PBY's as they made their way to Vila and safely returned. Admiral Kusaka requested some naval reinforcements from the Combined Fleet, so Admiral Kogo send Admiral Nishimura's Cruiser division 7, arriving on the 11th. Alongside this, Rear Admiral Izaki Shunji came over with light cruiser Jintsu and destroyer Kiyonami, taking command of the reinforcement unit. Back on land, the Kure 6th's batteries were firing upon Rice Anchorage prompting Griffith to begin the assault of the Enogai Inlet. Supported by mortars, B Company stormed the village of Baekineru. The Japanese began withdrawing from Enogai allowing the Americans to seize it by the 11th. This came just in time as the Raiders had run out of food and water. The raiders had paid heavily, suffering 47 deaths, 80 wounded and 4 men missing. The Kure 6th SNLF would report 81 deaths and a platoon of 50 men lost. The heavy losses forced Liversedge to request the 4th raiders be landed for the capture of Bairoko, but they would only arrive on the 18th. Meanwhile Colonel Tomonari brought forward his 1st and 3rd battalion to Bairoko to help reinforce Munda. At around 4pm, the 3rd battalion led by Colonel Takabayashi attacked the American roadblock, nearly dislodging them. By nightfall the Japanese took up a position on a ridge to the 148th's northern flank. There was a series of counterattacks until the next day saw a bit of a stalemate, then the morning after that the Japanese backed off. The 148th regiment would hold onto the roadblock for more than a week, but would quickly run low on food. It mattered not however as the Japanese just advanced along another trail further west, prompting Liversedge to order the roadblock abandoned on July 17th. Now Admiral Kusaka wanted to reinforce the important volcanic island of Kolombangara. Kolombangara was a perfectly round stratovolcanic cone soaring out of the sea to an altitude of 5800 feet. The Japanese had a garrison at Vila airfield on the islands southern shore. The island was often to put men and supplies upon barges that would make nighttime transits across the straits to Munda point. Kusaka sought to toss another 1200 troops, Major Yamada Tadaichi's 2nd battalion, 45th regiment and the 8th battery, 6th field artillery. Transporting them would be Matsukaze, Yunagi, Minazuki and Satsuki coming from Buin, escorted by Admiral Izaki's aboard the Jintsu alongside 5 destroyers Mikazuki, Yukikaze, Hamakaze, Kiyonami and Yugure coming from Rubaul. Unfortunately for the IJN, allied coastwatchers saw reported their movement and Admiral Halsey responded by ordered Admiral Ainsworth and task force 18 to intercept them. Ainsworth had light cruisers USS Honolulu, St Louis, the Royal New Zealand light cruisers HMNZS Leander; destroyers USS Nicholas, O'Bannon, Taylor, Jenkins, Radford, Ralph Talbot, Buchanan, Maury, Woodworth and Gwin. Half of Ainsworth's forces came from Captain Ryan's Destroyer squadron 12 who were quite inexperienced. Ainsworths set up his force making his vanguard the Nicholas followed by O'Bannon, Taylor, Jenkins and Radford. Honolulu, Leander and St Louis followed in the center. Ainsworth specifically placed Leander in the middle because she held inferior radar, he preferred St Louis to take the lead out of the Cruisers. Ryan's destroyers would take up the rear with Ralph Talbot, followed by Buchanen, Maury, Woodworth and Gwin. By 5pm task force 18 was sailing once again for the Kula Gulf. Task Force 18 had left Tulagi at 5pm on July 12th under clear skies and calm seas. As they passed Savo Island, Ainsworth took a course along the west coast of Santa Isabel island hoping to use it to hide his force from Japan reconnaissance aircraft. At 12:35am a PBY reported the course and composition of Izaki's force, and Ainsworth heading in for the intercept. As the two forces were converging, Izaki dispatched his Destroyer transport through Vella Gulf to unload the troops but at 1am he was alerted of the approaching enemy. It was actually the Americans who established radar content first, but the Japanese gained visual contact by 1:08am As the two forces converged, Izaki sent his destroyer transports through Vella Gulf; yet by 01:00, the Americans detected his force. However it was actually the Japanese who detected the Americans first for almost 2 hours or so because of the electromagnetic impulses the American radar systems emitted. The Japanese crews had managed to gain a fairly accurate picture of Ainsworths disposition. At 1:08 the Japanese made visual contact and were the first to attack, launching 29 torpedoes by 1:14am. Ainsworth's vanguard increased speed to engage the Japanese with their torpedoes while the cruisers turned to deploy their main batters and engage to starboard. Ainsworth yet again ignorant of the type 93 long lance capabilities had no idea the fish were already in the water coming towards his force as they watched the Japanese destroyers turn away. The American destroyers tossed 19 Mark 15 torpedoes, but the Japanese were over 10,000 yards away and turning north thus completely wasted the volley. When the Japanese were 10,000 yards or so Ainsworth cruisers began opening fire, concentrating on the Jintsu. When the Japanese column closed to 10,000 yards at 01:12, Ainsworth ordered his cruisers to open fire, concentrating on the Jintsu which was leading. Honolulu and St Louis fired an incredible amount of shells for 18 minutes at 1100 and 1360 6 inch rounds joined by 350 5in rounds. The Leander fired 160 6 inch rounds. The Jintsu was hit first to her rudder, then her bridge killing Izaki, followed by 10 or more shells to her engineering spaces. She was a doomed burning ship, that came to a dead drift quickly. The Americans then launched another volley of torpedoes, 21 in all, but they would all fail to hit a mark. By this time, the Japanese torpedoes were finally arriving. Leander was hit at 1:22 forcing Ainsworth to detach Radford and Jenkins to help her limp away. The rest of Ainsworth forces managed to avoid the torpedoes. While this was occurring the destroyer transports had successfully unloaded the 1200 troops and were moving north to withdraw with Izaki's other destroyers. The Japanese were not running away however, they were getting to a safe position to reload torpedoes and re-engage. After finishing off the Jintsu at 1:45, Ainsworth ordered the force to pursue the enemy going northwest. They made radar contact again at 1:56, but Ainsworth doubted the blips to be the enemy, but rather his vanguard ships. Instead of opening fire, Ainsworth attempted making contact with the vanguard force and began firing starshells, this would prove to be a fatal error. The Japanese launched another volley of 31 torpedoes. At 2:08 the first to be hit was St Louis, it opened her bow, next Gwin was hit near her No 2 engine room; Honolulu was third receiving a hit to her starboard bow at 2:11, with another hitting her stern without exploding. Honolulu's rudder jammed and she nearly smashed into Gwin coming within 50 yards of her. That effectively ended the battle as Ainsworth ordered the task force to withdraw back to Tulagi. The Gwin had lost 61 men and was forced to be scuttled, Leander lost 28, the Jintsu 482 and another Japanese Admiral was dead. 21 survivors of the Jintsu were rescued later on by the I-180, a few others were picked up by American ships. The Japanese had won a tactical victory and demonstrated yet again their superior night fighting techniques. But it was a pyrrhic victory in many ways as well, the Americans could afford to lose ships, the Japanese could not.   After the defeat, Admiral Nimitz decided to change tactics and not confine anymore cruisers to the Solomons as they could not hope to chase the IJN destroyers and their troublesome torpedoes were a major threat. Nimitz wrote a letter to Halsey suggesting that a well trained squadron of 2100 ton Fletcher class destroyers would be better suited to such waters rather than cruises. Halsey argued despite the Japanese having superior torpedoes, he believed Ainsworth's night battle plan A, that had employed SG radar with radar directed gunnery were still superior to anything the IJN had. He thought the solution “appears to be the greatest volume and weight of gunfire that can be incorporated into a highly maneuverable unit–and a unit that is certainly not appreciably weaker than the enemy unit.” Regardless Halsey went to work designating two squadrons of 2100 ton destroyers to take over New Georgia operations and would not risk anymore of his cruisers going up the Slot on any more missions. 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. The New Guinea and New Georgia campaigns were seeing gradual progress for the allies, but the naval battles were much less to be desired. While the Japanese were earning some victories, they were rather pyrrhic in nature as American production was winning the day.

Last time we spoke about the amphibious assaults for Operations Chronicle and Toenails. General Douglas MacArthur finally performed his landings at Nassau Bay, Woodlark and Kiriwina islands. Woodlark and Kiriwina proved to be cake walks, while Nassau Bay proved a tougher nut to crack. Then over in the Solomons, Admiral Halsey unleashed his landings at Wickham Anchorage, Segi Point, Viru Harbor and Rendova. Now the Japanese were more alert to the invasions and offered some resistance, although ultimately Sasaki would order many forces to simply withdraw from the invaders. Admiral Kusaka tossed a ton of airpower at the incoming allies only to lose a disastrous quarter of his air fleet, forcing him to ask his Army colleague Immamura for additional support. However with all of these landings came a large amount of allied warships to bring them, and such actions could only bring about one conclusion, another naval battle for the pacific war. This episode is the Battle of Kula Gulf  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.    Before we jump into the naval battle of Kula Gulf a lot was occurring in New Guinea and the Solomons. Over in the Bobdubi front, the Australian 15th brigade under the temporary command of Colonel Guinn were preparing for the main offensive, hoping to trap the Japanese defending Mubo. To support the Nassau Bay landing, Colonel Guinn ordered the untested 58/59th battalion to advance upon the Japanese high ground position at the Old Vicker's, Coconuts and Bobdubi area. They would be marching from Orodubi to the Coconuts while Major Warfe's commandos would raid Malolo and Kela. Company A and C of the 58/59th would make the initial attack seeing A attacking Gwaibolom and C the Old Vicker's position. Following close behind them was B company who were to advance across the ridge to gain control over the Bench Cut Track. D Company were to be held in reserve at the Kunda-vine. On June 26th, A company set off from Missim heading towards their forming up point at Namling. On the 28th, the other remaining companies made departed Meares Camp heading for the New Bobdubi kunda bridge. The next day 17 of Warfe's commandos were ambushed by 30 Japanese. They managed to escape, but were forced to abandon a Bren gun. By the night of June 29th, the 58th/59th crossed the Francisco River and began preparations for the launch of the main attack which would occur the next morning. The next morning saw lackluster allied air strikes against Gwaibolom, Salamua, Old Vickers and the Coconut area. Companies B and C left their start up point of Uliap Creek, seeing C attack Buggert village, just a bit south of the Old Vickers position being held at this time by a company of the 115th regiment led by Lt Ogawa Takeshi. They successfully outlanked the Japanese and captured the village, suffering only 2 casualties for their efforts. From there the Australians assaulted the Old Vickers position, but the Japanese defenders repealed them right back to Buggert village. The Japanese defenders had well established positions, hiding in dugouts 40 feet down from the top. The failure to seize the Old Vickers position, prevented B Company from reaching their objective, the Bench Cut Track and now they were being met with Mortar fire as they crossed the ridge. Meanwhile A Company began their assault on Orodubi, but anticipating booby-traps the men had left on the Bench Cut Track around 70 yards south of Orodubi, they chose to climb a 40 foot kunai slope to join the main track just 10 yards within the enemy. Around 80 men of Company 10 led by Lt Gunji Toshio saw the Australians doing this and promptly began tossing grenades at close range and fired down upon them. The Australians were forced to flee back to Namling as a result. The next day it was decided they would use a platoon to contain Orodubi while the others bypassed it to go onwards and capture Gwaibolom and Erskine Creek, which they managed to do by July 2nd. While this was occurring, B Company was trying to find another way across the ridge, but were failing to do so. So on July 2nd, they were ordered to move across the ridge via the newly established positions at Gwaibolom and Erskine Creek, and would reach the Komiatum Track / bench track junction where they would prepare an ambush by the 3rd. At around 5pm on the 3rd, B company managed to ambush a party of 20 Japanese trying to move towards Old Vickers and this quickly fell into hand to hand combat killing half the Japanese and one of their officers. Meanwhile Colonel MacKechnie's men were fighting to keep their beachhead alive at Nassau Bay. AA and C Companies had fought through the night against Japanese until their 300 yard perimeter was secured. At dawn on June 30th, C company began advancing south to find the Papuan infantry battalion who were around Cape Dinga. C Company made their way to a place just due west of Cape Dinga, following the Tabali River, while A Company was patrolling north and south of an arm of the Bitoi river where they ran into the 3rd battalion, 102nd regiment. A Company backed by some other units attempted to hit the Japanese western flank, but they were overwhelmed and forced to turn back. It would actually be Amphibian engineers who would save the day, who came in at the last minute to help A company out just as the Japanese tossed a banzai charge at them. Upon receiving word of the Japanese attacks, C company rushed over to join A by 3pm. Yet unbeknownst to them, the Japanese were not actually trying to break through, they were trying to withdraw by crossing the Tabali river. General Nakano had ordered them to withdraw to a new position at Lake Salus when he heard word over 1000 men had landed at Nassau Bay. Nakano also had ordered the 3rd battalion of the 66th regiment to send 150 men to march south from Salamua to help out in the Nassau Bay area. These men were tasked with carrying out only limited attacks against the allied forces around Nassau Bay, such as delaying actions to help the Nassau Bay garrison withdraw towards Lake Salus. Nakano was also coordinating with Colonel Araki who was now operating out of an HQ in Mubo, he had likewise brought forces over to Mubo from Salamua.  As for the Papuan infantry, they were marching north and they ran into the 3rd battalion, 102nd regiment around Cape Dinga as well. They managed to attack their rear killing at least 26 Japanese who were holding out in a bunker. After this they continued their march to the Nassau Bay beachhead. At around 4:30pm C company began sending reports that they were seeing some Japanese crossing over the Tabali River just south of their position. They were ordered to return to the beachhead perimeter to take the southern flank, but before they were able the Japanese attacked their rear taking 5 men and a platoon commander. Around the beachhead a hastily prepared defensive line was established by an ad hoc force of Engineers, Australian infantry and Headquarters personnel. As the night fell on, C company reached the southern part of the perimeter, quickly taking up positions. The Japanese began a series of attacks throughout the entire night from all sides using machine guns, grenades, mortar and rifle fire. Smaller parties of Japanese were trying to infiltrate positions. It was a terrifying experience for the defenders who would dub it “guy fawkes night”. Many of the men had itchy fingers which led to tragic accidental casualties throughout the night. It was a pitch black night and the noises of the jungle and Japanese screaming stuff in english unnerved the allied forces. The Japanese had tossed a ton of stuff into the perimeter trying to get the allies to use up their own munitions in response. As a result the allied forces had 18 deaths and 27 wounded several of which were the result of friendly fire. The Japanese it seems to have around 50 deaths during the night. Back over in the north, on June 30th, Captain Dexter was leading forward a number of patrols in preparation for an assault upon Duali. However as they advanced they ran into a Japanese ambush along the Bitoi track, thus canceling their planned assault. The next day, Brigadier Moten ordered Dexter's exhausted men to move forward regardless. With some support of Beaufighters strafing the Japanese positions, the Australians charged straight through the enemy positions, and to their shock they found them abandoned. As Dexter recalled ‘We advanced through the Japanese position with fixed bayonets and searched the scrub on each side. Everywhere was evidence of a hasty evacuation, dropped equipment and personal rice bags, and evidence of extensive bomb damage. But of the Japs, no sign.' Thus Dexter and his men captured the mouth of the Bitoi by early afternoon. Shortly after the capture, Dexter made contact with MacKechnie who was busy expanding his perimeter northwards. By nightfall, PT boats led by Lt Commander Barry Atkins covered the landing of 11 landing craft full of reinforcements. The PT boats staffed nearby villages to cause a lot of ruckus, hoping to dissuade nearby Japanese from firing on the vulnerable landing craft. The reinforcements were mostly from B company who had failed to land during the third wave. On July 2nd, Moten began to pressure MacKechnie, stating he had to get his troops moving inland at once. Thus MacKechnie decided to leave C company to defend the perimeter while Lt Colonel Harold Taylor would lead the rest of the men towards Napier. Luckily for the men, 4 75mm pack howitzer m1 artillery guns had been unloaded that night with the reinforcements giving them ample firepower. The gun were positioned on the beach and immediately went to work shelling targets at the mouth of the Tabali River, Cape Dinga and the area between Duali and the Bito River's southern arm. On July the 3rd, the men now designated the Taylor Force accompanied by Dexter's company were marching for Napier, but their march was a slow one as the jungles were thick and they were carrying heavy equipment. While this was occurring the 3rd battalions of the 102nd and 66th regiments were consolidating around Lake Salus looking to create a defensive position. The coastal area however proved to be too difficult to fortify, so they moved over the Tambu where they joined a SNLF platoon of the 5th Sasebo to make a position there. At this point General Savige decided to send the Papuans north along the coast to keep pressuring the enemy's retreat. By the 4th, Taylor Force had taken a position at Napier and were now under the direct command of Moten's 17th brigade. Back over on the beaches at Nassau Bay a total of 1477 troops had been landed, thus securing the beachhead. Dexters company marched back over to Guadagasal taking a coastal route, getting themselves ready for a future assault against Mubo slated for July 7th. MacKechnie believed the loss of some of his landing craft had greatly delayed the entire operation, perhaps up to 3 weeks. He did not think he would be able to move artillery or large quantities of supplies further inland. He also did not think it was tactically sound to leave his base, as the Japanese proved to be quite a nuisance in the area. Orders from the top were demanding a artillery road be built, but his troops at the assembly area would probably run out of rations in a day or two and he had no native carriers on hand. In his words "To be very frank we have been in a very precarious position down here for several days and my sending the rifle troops inland was contrary to my own best judgment. Troops had gone inland stripped to the bone. Without heavy weapons and mortar and machine-gun ammunition. "Therefore, these troops who are up there now are in no position to embark upon an offensive mission until we are able to get food, ammunition and additional weapons up to them." In response to the situation, on July 6th, Moten ordered 1000 rations and 100 boy loads of ammunition…god you have to love the australians, boy-loads haha. Anyways this was to be dropped over Napier. Moving over to the Solomons, Admiral Halsey had successfully occupied Rendova, Segi point, Viru Harbor and Wickham anchorage forcing the smaller number of Japanese to withdraw to their main base at Munda. Admiral Kusaka tossed a series of air strikes against the invaders, suffering horrible losses whereupon he had to request General Immamura reinforce him with the 21st air flotilla at Saipan and from the 6th air division. For the battle of Munda, Admiral Halsey had assembled the largest air force ever assembled in the Solomon islands campaign. It was a force that was needed as the Japanese in Rabaul tossed every bomber that was available to try and thwart the US amphibious invasion. The June air battles had greatly depleted the Japanese air power, but they were not done. On July 1st the Japanese hit Kahili using 6 Vals and 34 Zeros. They were trying to knock out the 3rd battalion, 103rd infantry who were unloading at Poko plantation on the west coast of Rendova. However they were met by 20 P-40's and F4Fs that ripped them to pieces taking down 3 Vals, 5 Zeros and losing 5 P-40's in the process. Although the allies were scoring massively high success against the Japanese in ratios, by this point it reached 7 to 1, they were still unable to sustain round the clock 32 fighter or more CAP. To do this required a total of 96 operational aircraft and after 10 days of fighting in the skies over New Georgia the pilots were also becoming increasingly exhausted. Colonel Merrill Twining requested more P-38 Lightnings, the aircraft that had become the most comfortable fighter to those in the south pacific by this point. But Hap's Arnold over in Washington was heavily committing forces for General Patton and Montgomery's invasion of Sicily at the time so he had to deny this request. As Arnold stated back “every trained unit must be thrown against the German until he is beaten”.  Regardless, with Rendova secured, General Hester was landing the bulk of his forces for the final push against Munda. The unloading process had been heavily hampered by poor planning and a failure to allocate adequate personnel for beach control and unloading duties however. To clear the new beachhead and distribute the combat stores, infantrymen were detailed to carry out the work. When transports carrying the next echelon arrived, many of the boats grounded offshore and had to be unloaded manually by troops wading ashore. On July 2nd, Admiral Kusaka coordinating with General Itahana formed a combined strike led by Major Endo Misao consisting of 18 Ki-21 bombers, 23 Ki-43's and Ki-61s with 29 Zero escort. Unfortunately for the allies, Admiral Mitscher had recalled the Rendova patrol due to bad weather, so a total of 18 Ki-21 bombers came to the scene unmolested and hit the congested area around the harbor. The strike caused 200 or so casualties, mostly upon the 2nd battalion, 172nd, the 24th seabees, the 9th defense battalion and staff officers of various headquarters. The strike also knocked out a lot of equipment and supplies. With the failure of the June air battles to hold back the allied invasion, Admiral Koga turned to the Navy for the task of providing new supplies to the defenders at Munda Point. The Tokyo Express was back in business, a convoy of 10 destroyers were sent to New Gerogia led by Rear Teruo Akiyama aboard his flagship Niizuki. His force was ordered to attack Rendova and he had with him the old Yubari, Yunagi, Mikazuki who would operate south of the Treasuries as a diversion, while Niizuki, Amagiri, Hatsuyuki, Nagatsuki, Satsuki, Mikazuki and Mochizuki would hit the allied shipping and shell the harbor. The Japanese destroyers were spotted right away, but bad weather prevented 3 American strike forces consisting of PBY's and B-25's from hitting the incoming enemy. In the meantime, Akiyama closed in on the southern tip of Rendova. She circled the island and opened fire on a point due west of the harbor. The bombardment was quite ineffective, but some allied PT boats rushed in to attack her which caused a wild 10 minute mini battle seeing 2 of them running aground. On the ground, General Hester ordered the 1st battalion, 172nd regiment and A company of the 169th regiment now designated Southern Landing Group to land at Zanana beach. Led by General Wing on the afternoon of the 2nd they made a crossing over Blanche Channel using 16 landing crafts. With the support of Brigadier General Harold Barkers artillery they successfully formed a perimeter. Now the Japanese air and naval attacks were worrying Halsey. He expected the Japanese to launch a major counterlanding with substantial forces perhaps on the 3rd. Therefore he ordered Admiral Ainsworth to lay in wait off the west coast of Rendova for the enemy. However July the 3rd would not bring an enemy, this was because General Imamura and Admiral Kusaka agreed with the lack of air and naval forces on hand at this time they could not perform such a feat, to the disgust of General Sasaki who had assumed command over the defense for Munda on the 2nd. Sasaki was so adamant about landing reinforcements at around midnight on July 3rd he proposed violating orders to simply make a counter landing using the 13th regiment and Ota's barges. He had a crazy idea to simply bring the vessels in and mix them with the American landing craft who were making rountrips to the mainland through the Honiavasa passage. He thought even if half his forces perished, the attack would be worth it. Ota objected to this on the grounds the barges would be needed for other transports scheduled for July 4th and 5th, apparently this made Sasaki visibly upset, who adjourned the meeting and left the room. Ota pushed Sasaki to write his plans down and submit them to Rabaul, which he did, and Rabaul squashed it immediately.  On July 3rd the Japanese performed an unsuccessful fighter sweep over Rendova and the next day reconnaissance reported the island was secured by the Americans who had heavily reinforced it with anti aircraft guns and radar. They also reported landings on Zanana and that it looked like Rice Anchorage would be next, thus cutting off Japanese reinforcements from coming down the Munda trail from Bairoko. Imamura and Kusaka had to wait for an accumulation of forces to bring reinforcements to New Georgia; they had no intention of losing it like Guadalcanal. 4000 soldiers of the 13th and 45th regiments were earmarked for departure. Kusaka ordered Itahana to launch another combined strike, this time aimed at Roviana island. However the Japanese were intercepted by 32 F4F's causing the loss of 6 Ki-21s, 3 Ki-43's and a zero without a single loss for the Americans. This would be the fateful end of the joint air operations as Itahana needed to take his forces to help the Salamaua area. Luckily for Kusaka he received reinforcements in the form of the 201st Kokutai from the 25th flotilla which would allow him to gradually rebuild his air strength by mid july. Meanwhile Admiral Turner had assigned 7 destroyer transports, 2 fast minesweepers and 4 Destroyers to carry the 1st raider battalion, the 3rd battalion, 145th infantry regiment and the 3rd battalion, 148th infantry regiment of the 37th division led by Colonel Liversedge into the Kula Gulf. Their escort cover was Ainsworth task group 36.1 consisting of the Cruisers Honolulu, St Louis, Helena and destroyers Nicholas, O'Bannon, Strong and Chevalier. They were also tasked with bombarding Vila and Bairoko. On July 4th, Ainsworth led the group up the slot while the Rear Admiral Teruo Akiyama's Tokyo Express were on their way to Vila carrying 1300 troops of the 13th regiment towards Vila. At around midnight Ainsworth entered Kula Gulf carefully avoiding the mindfield laid back in May. His force proceeded to shell Vila, but they failed to detect the Japanese who were heading south. The Japanese detected the Americans at 12:15 thanks to their brand new radar system; the 1-shiki 2-go radar which was outfitted on the Niizuki. The IJN were eager to test out the radar so they fastened it to the flagship of Destroyer squadron 3. Oh how the turn tables as they say. The radar indicated they were heavily outnumbered, so Akiyama decided to abort the mission, but before doing so he ordered 14 torpedoes to be launched at a range of 10 miles. The type 93 long lance torpedo remained the best weapons of the kind in the Pacific theater and one his destroyer Strong at 12:43 practically cutting her in two. Can't stress it enough what an immense advantage Japan had over the Americans in terms of torpedo power during the first half of the war, hell if any of you play World of Warships, you know Japanese DD is base as hell.  When the torpedo hit, the Japanese were already heading back up the Slot and Ainsworth thought he was being attacked by IJN submarines. Thus while Liversedge's men were landing on the southside of the Pundokono River, Ainsworth dispatched destroyers O'Bannon and Chevalier to rescue the survivors of Strong. The Strong was settling fast off the Enogai inlet. When Chevalier and O'Bannon came to the scene picking up survivors a gun duel emerged between them and some batteries on Enogai. By 1:22am Chevalier had 239 men come aboard before her commander said it was time to go. His ship was getting battered by the batteries and he unfortunately was forced to ram the Strong to keep it from capsizing which ripped a 10 foot fash in Chevaliers bow. A near miss from one of Enogai's guns had opened her seams aft and another shell knocked out her NO 3 gun mount. When Chevalier was pulling away from the Strong, breaking her in two in the process, 3 of Strong's depth charges went off under Chevalier lifted the entire boat out of the water causing her to flood in forward sections, talk about bad luck. Over in Rice Anchorage, despite the terrible stormy weather and some gunfire from Enogai, Turner ordered the transport group to clear the Gulf by 7am so they could quickly unload their cargo. 300 men of the 148th regiment landed further north at Kobukobu inlet because of the terrible weather. It would take them until July 7th to meet up with the main body. Though the USS Strong had been sunk, the Tokyo Express failed her run, thus Akiyama elected to bring the bulk of his shipment to Vila the following night, but this time he brought 10 destroyers; Niizuki, Suzukaze, Tanikaze, Mocizuki, Mikazuki, Hamakaze, Amagiri, Hacujuki, Nagacuki and Sacuki. Halsey got advance word of this and ordered Ainsworth to return to Kula Gulf to wait for the Japanese to show up. Halsey also reinforced him with destroyers Jenkins and Radford. Ainsworth went into this with a simple but ultimately flawed plan. He overestimated the capabilities of radar guided 6 inch guns against fast moving targets. On top of that he seemed to be totally ignorant of the IJN's Type 93 Long Lance torpedo's capabilities. His plan was to wait passively until radar detected the enemy than he would toss his cruisers at the enemy using their 6 inch guns, hoping to fire over 8,000 yards or so. He believed that was the effective Japanese torpedo range, why he believed this I do not know. For his destroyers, they would launch torpedoes at the enemy.   Akiyama's Tokyo Express departed Buin after sundown divided into a covering force of 3 destroyers in the front and the main bulk behind them. Around midnight on July 6th, Ainsworth's force were just northwest off New Georgia, entering the mouth of the Kula Gulf. The Japanese were also arriving to the Kula Gulf whereupon they detached the first transport unit to land 1600 troops. By 1:06am, Niizuki's radar detected Ainsworth's force, but this time Akiyama was prepared for a fight. Akiyama detached his second transport unit at 1:43am and 7 minutes later American radar picked up the Japanese. Ainsworth took his force in closer until the enemy was 7000 yards away. Then at 1:56am at around a range of 6800 yards the Americans Cruisers began to open fire. Akiyama quickly recalled the second transport unit before he engaged the enemy. Unluckily for Akiyama the Americans concentrated their fire upon the Niizuki which was pulverized quickly. She became a burning wreck before she was sunk by 6 inch shell fire taking Rear Admiral Akiyama's life alongside 300 sailors. Within 20 minutes the Americans would fire 612 shells, 6 of which smashed the Niizuki.   Despite the loss of of their commander, the well drilled torpedo crews pulled off a salvo of 16 torpedoes at the American gun flashes. Ainsworth ignorant of the long lance range could do little to avoid it. The light cruiser USS Helena was the first to be struck, her bow was blown off virtually up to the number 2 turret, nearly cracking her in two as she sank taking 190 of her 1177 crew with her. St Louis was hit by a torpedo that fortunately did not detonate and another nearly missed Honolulu. The Japanese fled as fast as they could for Buin as Ainsworth directed his two remaining cruisers to shell the second transport unit. Of the four destroyers in this group, Amagiri escaped with minor damage, while Hatsuyuki was hit by 2 6inch shells, but luckily for her they were duds and she limped away. Nagatsuki was hit by a single 6 inch shell to her rear ship which would force her to run aground near Bambari Harbor. The next morning she would be destroyed by American aircraft. At 3:30am, Ainsworth ordered his forces to return to Tulagi as he dispatched the Radford and O'Bannon to pick up survivors while Nicholas chased the fleeing Japanese. The Japanese dispatched Amagiri to pick up their survivors and she would be intercepted by Nicholas taking 4 hits before she made her retreat. While this was going on the First transport unit completed unloading its 1600 troops and bolted through the Blackett Strait and Kula Gulf. The Japanese had managed to land their reinforcements and sunk the USS Strong and Helena, so they considered it a tactical victory, though the loss of the Niizuki and her commander was terrible. The battle for New Georgia was nowhere near done. 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. The landings and early offensives were well on their way on New Georgia and the drive upon Lae was closing in. The Battle of Kula Gulf gave the Americans a bloody nose and now the Japanese had more forces at their disposal to try and dislodge the Americans from New Georgia.

Tonari no Totoro となりのトトロ Japón, año 1958. El profesor universitario Tatsuo y sus dos hijas, Satsuki y Mei, se trasladan a una antigua residencia rural para estar más cerca del hospital donde la madre de las niñas, Yasuko, se recupera de tuberculosis. Satsuki y Mei descubren que la casa está habitada por diminutas criaturas de hollín llamadas susuwatari —espíritus pequeños, oscuros. Mei en hiragana se escribe めい

Studio Ghibli is a Japanese animation company responsible for some of the most renowned and beloved animated films of all time. Founded in 1985, it has produced hand-drawn animated classics like “Spirited Away,” “Princess Mononoke,”  “Grave of the Fireflies,” and many more. This year, many of the films from the studio's co-founder Hayao Miyasaki are getting a theatrical re-release in the U.S. So we thought we would revisit his works as they are coming back to the big screen.  Miyazaki's first film to screen was his 1988 feature “My Neighbor Totoro.” It tells the story of Mei and Satsuki, sisters who move with their father to a new home in the countryside, while their mother is sick in the hospital. As the sisters begin to explore their new surroundings, and long to be reunited with their mother, they meet Totoro, a massive, furry spirit creature in the forest.  ATMI producers Zinn Rogers and Madison Knutson sat down to discuss the movie, how its narrative style compares to American films, and its legacy among the Studio Ghibli collection. Hosted by Jordan Kehl. Music by Kendrick Whiteman and Devin Shreckengost. Alaska Teen Media Institute is based in Anchorage, Alaska. We would like to acknowledge the Dena'ina people, whose land we work on. Many thanks to supporters of our podcast, including The Alaska Community Foundation through the 2022 Healthy Communities: Arts, Culture, Play Grant. The views expressed in this program do not necessarily represent the views of our sponsors.

We cannot believe it's taken us this long to give our review of the classic Studio Ghibli film, My Neighbor Totoro! It's been one of our favorite Ghibli movies for quite some time, and now we've had the joy of sharing it with our daughter who equally enjoys it. The rambunctious antics of our main characters, Satsuki and Mei, are heartwarming and endearing alongside the giant, mystical forest spirit Totoro, who suddenly fills their lives with magical adventures.   Be sure to rate and review our podcast and join our Discord [ https://discord.gg/DPEtSwUN65 ] to continue the discussion.   Intro Song by the talented "Boyfriend Genes" https://boyfriendgenes.bandcamp.com/track/dont-call

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 Tonight on APEX Express it is A Time for Remembering. We are remembering what it is like to grow up in San Francisco and be connected to this land that is not ours. We are remembering the incarceration of 120,000 Japanese Americans and Japanese Latin Americans. We Are talking with artists and lawyers and policy makers. People who help us shape our vision of what it means to be American. Host Miko Lee talks with artists Celi Tamayo-Lee and Na Omi Judy Shintani and Lawyer Don Tamaki. Join us.   Muni Raised Me February 24–April 9, 2023 Opening Reception, SOMArts Cultural Center Artist NaOmi Shintani's website The Art of Resilience: Tanforan Exhibit Tours, Panel Discussion & Memorial Walk through February 25, 2023 1-4PM PST San Bruno BART Station & AZ Gallery, San Bruno, CA & Online ongoing exhibit on the exterior plaza and inside the San Bruno BART Station.   Day of Remembrance San Francisco, February 19, 2023, 2:00 PM – 4:00 PM PST Tickets here. StopRepeatingHistory.Org   Additional information about the Cal Reparations Task Force It convened in June of 2021, and on June 1, 2022, fulfilled its first charge of publishing a sweeping, nearly 500 page report drawing a through line from the harm of 246 years of slavery, 90 years of Jim Crow and racial terror, and decades more of continuing discrimination. Here is link to  the 29 page Executive Summary, https://oag.ca.gov/system/files/media/ab3121-interim-report-executive-summary-2022.pdf   Show Transcripts: A Time for Remembering [00:00:35] Miko Lee: Tonight on apex express. It is a time for remembering. We are remembering what it is like to grow up in San Francisco and be connected to this land that is not ours. We are remembering the incarceration of 120,000 Japanese Americans and Japanese Latin Americans. We are talking with artists and lawyers, policymakers, people who help us shape our vision of what it means to be American. Hi, I'm your host, Miko Lee. And tonight on apex express I speak with artists Celi Tamayo-Lee and Na Omi Judy Shintani and lawyer Don Tamaki join us aboard apex express Welcome to Apex Express, Celi Tamayo-Lee . [00:01:19] Celi Tamayo-Lee: Thank you for having me, Miko. [00:01:21] Miko Lee: We're so happy to have you as an artist, as a community organizer. So my first question for you is, who are your people and what legacy do you carry with you? [00:01:32] Celi Tamayo-Lee: My people are creatives. people who like to eat a lot. My lineage comes from ELOs Norte in the Philippines, in the province of La Wag and also from Toisan in village, Sega, which is, in the Guandong province in China. My people love to dance. My people are nature lovers, ocean lovers, and those who wanna figure out what it fights to get to liberation. I carry with me legacies. Of deep hope and deep faith and legacies of adventuring. I think a lot about both my grandmothers, my Popo June and my Lola Anisha, who were just both very. Revolutionary in my mind, for their times. My grandmother from the Philippines coming here, from her small village, having I think just a high school degree and making a life for herself and her family in San Francisco. My other grandmother, June, who was a housewife in Palo Alto, who I think otherwise would have become a doctor, had higher education been m ore accessible for, women in her time. I think both of them were just really loving women , who hosted a lot of open space for their communities through their food, through gatherings and parties and also being a safe place for many of our relatives in the United. [00:03:09] Miko Lee: Thank you for that. I often think about my Popo who had all this power and imagination and what it would be like if she was living today. Do you feel like you carry an additional, , responsibility to fulfill some of their dreams since they could not during their time. [00:03:28] Celi Tamayo-Lee: Yeah. I think about that a lot. I think in the moments where I'm like, wow, I have just sat at a table all day on my computer. Is this what my ancestors dreamt for me? But I think especially as I have been exploring more of my gender identity. I think I identify as a non-binary person and I think that might be something that they couldn't quite, imagine in, in the language and the terms that they knew. But I think that like real freedom to express one's within their body and how they express themselves outwardly is definitely something I think they dreamt for me and. I also feel a responsibility to be a part of movement work and be a part of continuing to build community because that is something that I've benefited so much from them. [00:04:22] Miko Lee: Talk a little bit more about your community organizing and how you combine that with your artistry and your imagination. [00:04:28] Celi Tamayo-Lee: It's definitely been a journey for myself to identify as an artist and I think, mostly cuz there's so many messages about the ways in which art will never be a career path because of how dicey it is in terms of making money, in many ways, ironically, shout out my parents, who were both very creative people and also, people who have fought for social justice for most of their lives. my dad is a civil rights attorney and was a community organizer as a young person, but also, A musician and has always played in bands as a fun side gig. when he was my age, he was in a band called Stand that would perform all over the Bay Area. And my mom herself is also a cook and just a very creative person made all my Halloween costumes growing up and as an avid gardener. Having parents like that gave me just permission to continue to grow myself in a creative way. And I do think throughout so much of history movements have really succeeded because of their artistic aspects. Even within our Asian American history, there are so many important graphic designers and artists who made protest posters. Made movement graphics that really called into being like the spirit , of what people were fighting for. , I think about all of the songs that were sung throughout the Civil Rights movement and, I think culture just has a really powerful way of opening people's minds up to things that may feel out. reach when they're thinking in a more rational way. I just think that any movement that we need, is gonna depend on the way in which culture has been influenced through art. [00:06:25] Miko Lee: And speaking of that, you've been in the studio at Soma all day today, setting up a new exhibit called Muni Raised Me. Can you tell us about your latest project? [00:06:35] Celi Tamayo-Lee: This project called Muni Raised Me is a exhibit that will be in Soma Arts for six weeks, and it is a part of their curatorial residency programs. So myself and two of my really good friends, Sasha Vu and Mei Mei Lee, we saw the flyer on Instagram that they were calling for proposals and, , applied with this idea of a show called Muni Raised Me. really what It is, is, a love letter, a gathering, a dance party of so many of our friends, our talented friends who are. Visual artists, painters, collage artists, fashion designers, photographers it's really a space that we actually wanted to create for a long time, but never really found the platform to do it. And so much of it is trying to. ,I think juxtapose like the beauty and the roots that we come from having grown up in San Francisco while also naming just the struggle it has been to persist and live here. ,most of us artists were born in the early nineties and have just come of age in this tech era within San Francisco. 2011 was when Mayor Ed Lee invited tech companies like Twitter and Google and LinkedIn in with these major tax breaks. From 2009 to 2013, every time that I visited home, There were just more and more beloved businesses that had been replaced by condos and replaced by fancy coffee shops selling $6 lattes. For myself and for many of my friends it's been a painful and lonely experience to try and maintain a life here and to, make rent, to feel creative, to still work in public service. So many of the artists in our show are organizers themselves, or are teachers and educators in public schools or in afterschool programs. And so to try and live all those different multiple dreams and identities is really a struggle in San Francisco. [00:08:53] Miko Lee: So when somebody walks into Soma Arts, what will they see with Muni raised me. [00:08:58] Celi Tamayo-Lee: Ooh. I will say one of the first things they will see is a Muni bus that we were actually gifted from SFMTA. It just so happened that they were retiring a number of their buses and we got connected to the right person. , shout out Nicole Christian who knew somebody and. We have transformed that bus into an altar. You can walk through the bus, and throughout the bus there will be altars, but there will be definitely a focal point at the very back of the bus for people to view, but also for people to interact with. I think that so much of living in the city and having grown up in the city is an experience of grief and we really wanted to make space in the show for people to bring in ancestors and bring in family members who have been lost, , or, even family members who have been pushed out of the Bay Area. we also wanna commemorate lives lost to police violence. yeah, We hope that altar can be, a realm in which the spirit is felt beyond just , the material setting of a gallery. There's also gonna be a lot of amazing collage work from Erin Kimora. We have a beautiful installation from Arena Alejo, along with, Alyssa Avilas, who is a painter and multidisciplinary artist. People will just see a lot of kind of iconography from the nineties. We have a couple of painted Muni passes and a lot of, yeah, just different gestures and shout outs to this public transportation system that I know for myself, I spent hours and hours of my life on. It was a little bit of a pocket of freedom, like with my parents not necessarily knowing where I was. It wasn't home, it wasn't school. It was a place where I got to just enjoy and see my city. [00:11:02] Miko Lee: And What would you like folks to feel after they leave the show? [00:11:06] Celi Tamayo-Lee: I hope that they leave feeling reminded that San Francisco is them and that any kind of beauty or spark or funkiness or weirdness that they feel themselves missing from San Francisco actually can come back through their own creativity, through their own hello to a neighbor through their own small act of kindness. You know, I think there are deeper relationships also made through this show. I hope that there's a feeling of oh, my people are still here. I am connected to a sense of justice and community that maybe doesn't always feel present in the everyday, but is actually there. I hope that it. Reignites some sense of connectedness to other people who call this place home. [00:11:59] Miko Lee: I wonder if you could just speak a little bit about how art helps us remember the past so that we can learn and move forward in the future. [00:12:08] Celi Tamayo-Lee: Yeah, I think art is really critical to remembering our history. It's definitely one thing to read something in a book and another thing to experience it through imagery and sound and color. it was important to us in this exhibit to in our alter space, include really important historical figures of San Francisco. So we're including people like Victoria Manalo Draves who was a Filipina American olympic swimmer, she was one of the first women swimmers to win in her divisions of diving. We also have people like Mary Ellen Pleasant, who was an African-American woman, one of the first African-American millionaires in the country, who is also dubbed as the Harriet Tubman of the West. She helped hundreds of African-American people, basically find and make lives here in San Francisco. And, She challenged the government when they told her that she couldn't ride actually on a certain part of the public transportation, and it went to the California Supreme Court and she won and that is what stopped discrimination on the trolley routes in San Francisco. Art reaches people who would not normally seek out that history. I think it just gives people a much deeper sense of their own legacies or legacies that they may not even know that they're connected to. [00:13:51] Miko Lee: Celi Tamayo-Lee, thank you so much for joining us on Apex Express. [00:13:56] Celi Tamayo-Lee: Thank you for having me. Miko. For anyone who's looking for more information, you can follow us on Instagram@MuniRaisedMe and also find us online@somaarts.com/Muniraisedme. [00:14:10] Miko Lee: That was Sealy to Mio Lee talking about muni raised me. Now take a listen to pistol jazz by Hi no Tori. A taiko solo. [00:17:41] Miko Lee: Welcome back. You are tuned into apex express, a 94.1 KPFA and 89.3 KPF. Be in Berkeley and online@kpfa.org. That was a Taiko solo. Hi no Tori by pistol jazz. Welcome artist and narrator of culture, NaOmi Judy Shintani to Apex Express. [00:18:03] NaOmi Judy Shintani: Thank you for having me. I'm excited to talk with you. [00:18:06] Miko Lee: We're excited to talk with you too, and I wanna kick it off by first asking you, who are your people and what legacy do you carry with you? [00:18:16] NaOmi Judy Shintani: Well, I do quite a bit of my artwork about, the Japanese American history and so those are some of my people, I would say. But I also want my work to be visible to all kinds of people. So I'd say everyone's my people. The legacy I carry, part of that has to do with the incarceration, that is part of the history of my family. That is something that I carry with me. I think that there is intergenerational trauma. There's lessons you learn in legacy from your family and your culture. [00:18:54] Miko Lee: So we are coming along to the Day of Remembrance, which is a day that recognizes the Japanese-American incarceration. Can you tell about your family's personal connection with the incarceration. [00:19:07] NaOmi Judy Shintani: My father's family was up in Washington State in the Puget Sound area, and they lived on a houseboat and were oyster farmers. When Pearl Harbor was bombed, they immediately came and got my grandfather, who was a leader in the community. They were a concerned or worried that he might be a spy or might have information. And so He was taken away and my grandmother and my father's and his sibling didn't really know what had happened to him. A few days later they came for my grandmother and my father and his siblings. They eventually ended up at Tule Lake incarceration camp. Then my grandfather was allowed to be with the family there. On my mother's side, she was actually in Hawaii and the family was not incarcerated per se, though there's a lot of limitations and curfews that they had to live with. Her father was also a leader in the community and he was taken away for a year. And I think At that time my mother didn't really, probably up until the time of her death did not believe that they were incarcerated in Hawaii. But of course, we've learned later that there were incarceration camps in Hawaii and that my grandfather actually was incarcerated. [00:20:36] Miko Lee: Yeah, so many of these stories are hidden. Finally the one incarceration camp in Oahu is just getting turned into a, a national park soon. So More people will know about that history. That's one of the many hidden histories about the internment camps in Hawaii. [00:20:52] NaOmi Judy Shintani: Exactly. One of my goals is to explore the incarceration history in Hawaii. I've mostly been focused on my father's family cuz there's been more information. So I'm very interested in learning more about the legacy of trauma in Hawaii. [00:21:10] Miko Lee: You're an amazing artist, have created so many important pieces, and can you talk more about how you combine your sense of family history, your activism with your artistry? [00:21:22] NaOmi Judy Shintani: I think originally I started wanting to learn more about what happened to my family and also to come to grips with it for my own self. That's when I really started exploring trying to learn more, trying to Get my father to talk more about his experience and that is what really spurred me to start making art. At one point when we went to the Tule Lake pilgrimage together, he was asked how often do you think about the incarceration? It was a general question out to the elders that were at Tule Lake and they had to raise their hand and so they said every 10 years, every five years, every. Three years and they kept going and my father still had his hand raised for every day. And at that point I thought, this is something that is deep in our family, a deep trauma that's not been talked about a whole lot, and it has affected me and many families. That's when I really decided, Spend more time exploring that and exploring also meant doing research. It meant talking to other people. It meant gathering information. I did a lot of outreach to hear other people's stories written or oral. I also did surveys for descendants of people that were incarcerated cuz I hadn't heard that much from them. All of these thoughts and stories became part of my art and I think of my art as a way of educating people as well as honoring them honoring the people that were incarcerated and as a healing. [00:23:16] Miko Lee: In the byline next to your name, it says that you are a “narrator of culture, the unspoken compels me to create.” Can you share a little bit more about what that means to you? [00:23:27] NaOmi Judy Shintani: Well, I was thinking about what is it that I'm actually doing in my work and I was working with someone to come up with some sort of naming of myself, and I finally came up with the idea that I tell other people's stories, I tell stories of culture so that's why I became a narrator of culture. The unspoken compels me to create, that's because I am very Adamant about bringing these stories out to the public. I think that is through the personal stories about what people experienced. That is how we really know the history. A lot of this kind of history, these personal stories are not in history books in high school or middle school. It's about, Individuals and families. It's not just about, 120,000 people. I mean, that's a big number, but to hear the actual stories of parents and children and grandparents I think that puts a whole different light on it. [00:24:36] Miko Lee: Can you talk a little bit about your piece that's at the San Bruno BART station. [00:24:41] NaOmi Judy Shintani: I was hired by bay Area Rapid Transit Bart to create a art exhibit or historical exhibit about the Tanforan detention center that was on the land of where the BART station and the mall is now and was originally a racetrack. I came in as a curator, so I thought about what is important for people to know about Tanforan and how am I going to express that through writing and through art and through historical photographs. I actually thought that there's a lot of discrimination and hardships that Japanese immigrants, the Issei experience before. Pearl Harbor was bombed that I think had an influence on how the Japanese people were treated during that war time. So I really started talking about the history way earlier. About coming over, not being able to become citizens, not being able to own land and yet persevering and becoming successful. So that all rolled into the incarceration. There was a lot of discrimination because, the successfulness of the Japanese even though they had so many hardships. That was just an example of what things I thought were important for people to know about the incarceration, the history of Tanforan. I also spent a lot of time Expressing and telling the history of the artists that were at Tanforan art was a very important part of the incarceration. So I talked about people that were incarcerated, artists that were incarcerated, the art school they had there, and showed some of the art that was created there. and then I also included Art of Descendants. To express, you know, what's happened? How are people expressing the incarceration in art now. [00:26:48] Miko Lee: I love that you curated this kind of trauma informed practice that has been lasted for generations. Can you talk more about the art school that was at the Tanforan concentration camp? I hadn't heard that story before. [00:27:02] NaOmi Judy Shintani: Obata, who was a professor at uc, Berkeley was incarcerated. And so When he got there, he thought we have to have something that will give people some hope or some something to do while they're in prison. He had an art school that was for children as well as for adults. to Teach and encourage people to use their creativity to survive this difficult time. They had hundreds of students and a lot of different subjects as well as drawing and painting. [00:27:36] Miko Lee: So anybody can go and see this public exhibit that opened in September, right? [00:27:42] NaOmi Judy Shintani: Yes. If you want to go see it, you can of course you can ride on Bart and get off at the San Bruno BART station is, it's right on the main street level floor. If you're going by car, if you come to the Bart parking lot or the Tanforan Shopping Center, you can let the station agent know that you're there to see the exhibit. Then you'll be able to come in without having to buy a ticket. They're also encouraging classrooms and groups to come in. So you have a large group. You can call or email Bart and they will arrange that. There's also a memorial which is outside of the BART station, and that was put together by a group of Japanese Americans, some of which had connections with the incarceration there at Tanforan. They just opened a beautiful outdoor memorial, which has a statue of two of the young mochita girls that were in incarcerated photographed by Dorthea Lang. And also they have the names of the people that were . Incarcerated engraved, and they have a horse stable structure that can give you the size and the space that you would've been in if you were incarcerated there. BART and AAWAA, which is the Asian American Women's Arts Association are putting on a curatorial tour, as well as a memorial walkthrough and a multicultural artist panel on February 25th. People that wanna get more information can come have a special experience on that day. [00:29:26] Miko Lee: You're tuned into APEX express., a 94.1 K PFA and 89.3 KPFB in Berkeley and online@kpfa.org. Can you talk to me about your project that you're working on right now? [00:29:40] NaOmi Judy Shintani: Dream Refuge for Children imprisoned was originally introduced at the Triton Art Museum in Santa Clara. And it has since been traveling. It not only is about the Japanese incarceration, but I've also included children that were incarcerated in the United States, including native American children in boarding school situations that were removed from their communities and also the Central American refugee children which are the most recent group that has been incarcerated and a t the beginning were removed from their parents, and I just thought that was traumatic and horrible. It's reminded me so much of what our families went through in the incarceration of the Japanese Americans. [00:30:34] Miko Lee: Can you describe for listeners what this work looks like? [00:30:39] NaOmi Judy Shintani: I did life size drawings of children on mattresses are put onto cots. I also sewed talismans on each of the children. That represents a form of protection, a symbol of protection for the different children. So the Japanese Americans had little embroidery symbols as in Japan they would sew them on the back of children's kimonos to watch their back. I carried on that tradition of adding those kinds of symbols in red thread. For the native American children, I made little belt pouches of cedar and sage herbs that were given to me by a elder who knew I was working on this project. And so I sewed those into little red pouches that had the symbol of the four directions. For the Central American children I sewed purple crosses cuz they would often be carrying these crosses, with them when they came across the border. So those are all arranged in a circle. I just felt that the circle was such a healing shape and I wanted people to come into the space and see these sleeping children in this safe space and to relate to their experiences. And I had recordings of stories that were told by elders now about their experience when they were children. I had a woman that was in Native American boarding schools that told her stories and then also collected the stories. Belinda Arianga, a woman in Half Moon Bay that went to the border, and she told me the stories of those children. These voices were all recorded so that you can hear their stories in the room. [00:32:33] Miko Lee: So why for you as an artist, did you want to have both something that you could look at and then also listen to what was the impact of having those dual experiences for audience? What's your intention behind that? [00:32:46] NaOmi Judy Shintani: I really wanted people to experience the incarceration with different modalities. So I felt that by them seeing the children sleeping, they had one experience also walking in a circle. That was another experience. So they, there was a movement involved. To hear the stories I think gave another level and also to hear elders telling the stories that they remembered when they were children, along with hearing children speaking in Spanish and in English. And to have different ages and different genders. Telling the stories that they experienced. I think that just gave a whole nother. Way of the history entering the viewers. [00:33:32] Miko Lee: To me, there's also something quite powerful about the fact that they're sleeping children , because there's this whole innocence and kind of beauty that comes within that sleeping space, and yet they're held in detention. So it's this very intense juxtaposition. [00:33:51] NaOmi Judy Shintani: Yes. That was something that I really thought about and wanted to express that sort of vulnerability, but yet when they're sleeping, they have this time to dream of being in a different place or being in their own space. That was one of the things I really wanted people to come away with. The other thing I didn't talk about is that the Central American children I placed on the floor and they're sleeping among the Mylar blankets as well as textiles from Central America. And that really came to me when I spoke to a woman who was from Honduras who been released from those detention centers and she said whatever you do, don't put our children on beds, because they had to sleep on the cement floor. So I really took that to heart and wanted to show them in their correct plight of being imprisoned in such horrible conditions and the circle of the children around them. From the earlier generations of incarceration, I felt they were almost like guardians for the Central American children. [00:35:06] Miko Lee: And you went down to Crystal City to be part of the pilgrimage and protest, is that right? [00:35:12] NaOmi Judy Shintani: Yes. I was invited by Satsuki. Ina I wanted to talk to her about her story and about her experience. She said why don't you come along? We are going to go to Crystal City. It was the first time they were going. We're also gonna do a protest at the detention center. You can talk to a lot of people there. You can see what's happening I did talk to some families and children at the bus station that had been released when we were giving them some food and backpacks and things like that, and that was really moving and I think that actually that experience of going on that trip that sort of cemented the dream refuge for me. [00:35:56] Miko Lee: You mentioned your dad and how he kept his hand raised the whole time that he thought about the incarceration every day. Has he had the opportunity to see your work?. [00:36:05] NaOmi Judy Shintani: Yes, he has seen my work. He was very proud of it. He would often go to my art exhibits and be photographed with my work and Attend shows and I was always very happy to have him there and I think it was emotional for him. He didn't necessarily speak a lot, but he was present and I think it meant a lot to him that I was making work about his experience. [00:36:33] Miko Lee: Since we're coming up upon the day of Remembrance, how does art impact remembering and specifically about remembering about the Japanese incarceration? [00:36:44] NaOmi Judy Shintani: Well, I think it impacts it in a lot of ways. One way is that there were not a lot of cameras allowed into camp. A lot of the art that was created in camps are the only documentation, true documentation by the prisoners of what it was. To be there and how they were feeling and how they were experiencing camp. Mine Okubo's work, who I use in the Tanforan exhibition is really important because her drawings were almost the only thing I could find that showed just the. Experience of being in a horse stable, the experience of having to go to public bathrooms where people had no privacy. I mean, Those kinds of things weren't photographed by Dorothea Lang or any of the other photographers that were sent by the W R A because they were not trying to show the traumatic side of the incarceration. The fact that these artists were able to document and express themselves, that, that is, historically important and also important as a way of people understanding the emotional impact of what was going on in the camps. There's just something about a painting or a sculpture or drawing that shows such a deeper level of history it doesn't even have to be history, just the colors or the brush strokes. These are all things that you can't read about in a history book. You can't experience it in the same way. I also feel that with the descendants creating art for example, the Sansei Granddaughters is a collective I'm part of. We've all expressed our family's experience. in different ways some people are sewing, Rako Fuji, she uses glass to create kimonos with photographs. There's just different ways, that people use whatever media they think is right to express their history. [00:38:53] Miko Lee: Na Omi Shintani thank you so much for speaking with me. We're looking forward to seeing more of your artwork and your voice in the world. [00:39:01] NaOmi Judy Shintani: I really appreciate the opportunity to talk about the art and how important it is for our history in our education of this traumatic experience. I wanted to also make sure that people come to the carrying the light for Justice Bay area Day of Remembrance. Sunday, February 19th from two to four Pacific Standard Time, it's going to be at the Christ United Presbyterian Church on Sutter Street in San Francisco. In person or online. The keynote speakers can be Don Tamaki. There's gonna be spoken word performance by Lauren Ito the MCs Ryan Yamamoto, the anchor for C B s News Bay Area. And there'll be a candle candle lighting ceremony. It's always a very moving experience. It's a time for remembering and honoring those who've been incarcerated. It's a time of community and I hope people will attend. [00:40:05] Miko Lee: Welcome Don Tamaki, amazing esteemed lawyer and activist. Welcome to Apex Express. [00:40:11] Don Tamaki: Thank you. [00:40:11] Miko Lee: So first I wanna just start with the big question. Who are your people and what legacy do you carry with? [00:40:18] Don Tamaki: I'm part of the Japanese American community, I'm most known for serving on the legal team, which reopened Korematsu versus the United States. The 1944 US Supreme Court decision, widely regarded as one of the worst decisions in US Supreme Court history, our legal team reopened it some 37 years later. Newly discovered secret, intelligence reports and Justice Department memos admitting. There was no reason to lock up Japanese Americans. They were not a dangerous population. They were not engaging in espionage or sabotage , and arguments and memos between Justice Department lawyers about their legal duty and the fact that they were about to tell lies to the US Supreme Court in order to manipulate the outcome of that decision. That decision ended up in 1944 upholding the constitutionality of uprooting some 120,000 Americans of Japanese ancestry, including my parents and their extended families into 10 concentration camps, stretching from California to Arkansas. [00:41:26] Miko Lee: Wow. You've just given us a whole history lesson. Thank you so much. And you have been a part of so many critical moments in the Asian American Pacific Islander movement. You described part of that in the overturning of the Fred Korematsu 40 year conviction, but you're also the founder of Asian Law Alliance. And were the ED at Asian Law Caucus and you're the co-founder of Stop Repeating History all of your work is just so powerful and important. I wonder with the rise and attention on anti-Asian hate right now, where do you see the Asian-American movement going forward? [00:42:02] Don Tamaki: Well, I'm glad that all light is being shined on they hate incidents against Asian Americans. It has been happening for some time, but it's never really has gotten national attention let alone regional and local attention as it is now. So I think it's on balance. It's a good thing. On the other hand, I think we as Asian Americans knowing our history need to understand where the hate comes from in the first place. And by that I mean what is the cultural strain, the historical tradition, the norm of policies and laws that led to prejudice being so systemic in the first place. If you connect the dots, I think it does go back to 1619 in the very beginnings of enslavement in America, which laid the foundations propped up the institution of slavery for 246 years. 90 years of Jim Crow to follow, and decades more of exclusion and discrimination targeted first at black people. But while those policies and laws put a target on the backs of African-Americans it also Ended up targeting on occasion Asian Americans, Latinos other disfavored groups. And so this bias has really recycled over and over through our entire history. And from time to time resurfaces to impact us as Asian Americans. The Trump administration's a pretty good example where even though we have our model minority status Asian Americans became the spreaders of the Chinese virus. Mexicans were labeled as drug dealers and rapists. White supremacists declared that Jews and immigrants were poised to replace them. And the continuation of black people being killed at the hands of law enforcement, and it barely would ev evoke any reaction at all because it was deemed so normal until the May 25th, 2020 murder of George Floyd, which was captured on videotape. So this kind of thing where, you know, of course the Japanese Americans ended up in concentration camps. The Chinese Exclusion Act of 1882 was the first ban against a country. But it gets recycled in different forms, whether it's the 2017 Muslim ban that Trump put out or other things that ultimately in fact, the thinking I think, of the entire country including our own communities. While I'm very hardened that we're focusing on the hate incidents against Asian Americans, I think that's been a ignored area. I'm concerned about each group sticking up for its own tribe only and not connecting the dots I did to identify where this pathology comes from in the first. So speaking of cross solidarity work, I know your work led to the groundwork reparations for incarcerated Japanese Americans during World War ii, and last year you were appointed by Governor Newsom to a reparations task force for African Americans. Can you tell where that reparations committee is at right now? Following the murder of George Floyd triggering the largest protests in American. By September of the same year, 2020 the legislature had passed secretary Shirley will Webber's bill creating a task force to study reparations proposals for African Americans and make recommendations to the legislature. I'm one of nine members appointed by the governor in the legislature, and we have three charges. One is to document the harm of the legacy of slavery, covering two and a half centuries and another century of Jim Crow in decades, more of exclusion and discrimination, and connect those dots. To the current outcomes today, and we've done that in a very sweeping, scholarly, comprehensive report. It's been called the Interim report because it's not the final ones coming out this June. The second goal is to study reparations proposals and make recommendations to the legislature. The final report, which is due 2023 in just a few months. The third requirement is to educate the public about what's happened. Because as this is really, the subject is so buried and erased. The product of a willful amnesia call it. The fact that we're. The American public, the New York Times, Washington Post is just now publishing articles on Tulsa and Greenwood in which 300 African Americans were murdered in what was called a race riot, even though that happened over 100 years ago. People are just learning about that now. And what the I interim report that we issued last June reveals is that this is not an isolated incident. That the history is littered with Greenwood. Part about educating the public, creating curriculum to provide information to students and so on. That's really our charge going forward. And in June of 2023, we'll be issuing our final report. I know that both Tsuru for solidarity and the Japanese American Citizen League worked last year to get reparations for African Americans in the Chicago area utilizing marijuana tax. I'm wondering if there's other reparations models that have been happening in the US. There's discussion for the first time. The reparation idea is as old as the Civil War when 40 acres in a mule was promised with a period of 12 years of reconstruction that happened only to have all of that rescinded. Thereafter, and again, I think because of at least it was triggered, I think by the Floyd murder local municipalities and counties, about maybe two dozen or TA have taken this up in California so far as the only state and each of those areas are coming up with different kinds of proposals. I have to say that this is largely because of the unwillingness of Congress even to study reparations, let alone do anything about it. And so local jurisdictions have taken up the lead on this. As far as the state task force on reparations is concerned, I think all of the forms are on the table. None have been decided on yet or voted on. That will come in the run up to June of 2023. [00:48:54] Miko Lee: I believe you're the only non-African-American member of that commission. Is that right? [00:48:58] Don Tamaki: That is right. [00:49:00] Miko Lee: So how can the Japanese-American reparations and apology be utilized as a model for reparations for African-American and indigenous folks? [00:49:09] Don Tamaki: They're big differences, of course between the Japanese American experience and. The experience of black people in America. First off, as the listeners know, there's simply no equivalence between four to five years in the concentration camp, losing all of your property and your businesses. Some folks even lost their lives as compared to 400 years of two and a half centuries of enslavement followed by Jim Crow and. Legalized and customarily enforced segregation, the results of which we're seeing e every day in our communities. But there are some things that are useful. The Japanese American redress and reparations movement is maybe one of the very few examples where the government acknowledged a great, wrong, apologized for. and put meaningful compensation behind that to create a meaningful atonement and how we got there. Some of the, there are some lessons that are maybe of some use. I think the other thing in my role as the only non-black person on the task force is to demonstrate. We can and should, and we're obligated to be allies in this effort. And although Japanese Americans don't have the history of black Americans in America we do know something about racial profiling. We know something about being removed and vilified and organizing to get back our dignity and some measure of atonement and. that lesson is really an American story of the meaning of the Constitution and what it means to be an American. When democracy and institutions are being challenged and in our case failed. I think with respect to other groups, whether they're. Native people or Latinos or L G B T Q, populations, disabled and so on. We all ought to be taking a look at reparations because it shines a light on so much of where the sense of separation and inequality comes from in the first place. [00:51:17] Miko Lee: Can you talk to us about the Day of Remembrance? I know you're gonna be the keynote speaker this year. Can you talk about the importance of the day? of remembrance? [00:51:25] Don Tamaki: Well, It's certainly important from a personal standpoint for our own community. It's time to reflect on our families who were taken away and incarcerated for no good reason but for the country, it's important to memorialize, and we do this annually about the perils to democracy. When racism shouts louder than the Constitution and our community endured a time where, The facts didn't matter. The law didn't matter and the constitution didn't matter. And why is that important? Because we're seeing that play out in real time today. The January 6th Capitol insurrection the Capitol was defied, five people died. 25,000 troops were deployed to protect the peaceful transfer of power. and millions today believe the election was stolen despite the utter lack of any evidence of fraud that would've made any difference in the outcome. This kind of collapse is something our own community experienced. literally the three branches of government failed. The presidency, legislative branch, Congress, and in our case, the courts they all bowed to the will of a racist notion knowing, and the government knew it at the time that that was. A, a completely false premise and yet no one had the courage to stand up, at least within the Department of Justice and within the courts. It was so normal that it was allowed to happen. We're seeing this playbook play out. It's not peculiar to the United States. This demagoguery is something that's happening worldwide and the elements are the same, which is, number one, appeal to prejudice. Number two, engage in fear mount mongering and scapegoating and three traffic in conspiracy theories and fake news. There's certainly a parallel there And that also led to the formation of stop repeating history. To be an alert, to be a point of reflection that we've seen this before and unless we become active and intervene, it's gonna happen over and over again. So that's certainly. A big reason why the day of remember it is such an important annual event. [00:53:41] Miko Lee: How does it feel to be the keynote speaker this year? [00:53:44] Don Tamaki: Well, I've gotten more than my share of recognition. There are many other people that have done really important work, but it gives me a platform at least to talk about the importance of reparations for African Americans and why it is not just a black issue, but an issue of long overdue justice. And that by shining a light on the origins of systems of exclusion, discrimination, that it helps all of us. It gives me an opportunity to connect some of the dots between our community struggle and that which been a constant for black people in America. [00:54:20] Miko Lee: We're gonna put a link to stop repeating history onto the show notes so people can take a deeper dive into some of your work. Don, you make change happen through policy and laws, and we're also talking with artists in this episode. How do you think art can help shape and change social issues? [00:54:38] Don Tamaki: As a lawyer, I used to think that laws and cases and legal action are the most important thing. And don't get me wrong it's, important. We reopened this ancient case of Korematsu versus United States, and we made a legal point as well as a public policy point. But I think the driving force For both good and bad in America, which is an amalgamation of both is culture and what I mean to say that is to say, if the culture says you will be locked up, the laws don't matter. The constitution doesn't matter. Nothing matters. You will be locked up because the culture is saying that is the norm. and I think we're again seeing this over and over again. And so how is culture created these belief systems? A lot of it has to do with artists authors those who create. that reflect and help shape the public's values. I think Artists and writers and others play a huge role in determining or helping to determine the values of a society. In the reparations movement, as well as to happen in the Japanese American redressing, reparations. the Art was really important when we went to announce our reopening of the filing of the petition in behalf of Fred Korematsu, Gordon Hirabayshi and Minori Yasui, I called up news desks and these are educated journalists who had no idea that this had even happened in America. When I talked about American style concentration camps, they said you're talking about Japanese prisoners of war, aren't you? And they said, no, these are the removal and incarceration of an entire American population. They had not heard about that. Since that time, there've been so many books and movies and creative works and art. After how many years later Now it's in the public consciousness. People generally on both sides of the aisle, now regard this roundup is really bad idea of real travesty and an injustice. I'm glad that we played a legal role in all that. But how did the script get flipped? That was because of education. So the impact of documentary films, of books, of magazine articles, played a huge role in moving the needle of public opinion. and I think that's been true of every movement especially in the modern era. I think the artists are crucial. [00:57:07] Miko Lee: Don Tamaki, thank you so much for speaking with us. We look forward to hearing your keynote speech at the San Francisco Day of Remembrance. [00:57:15] Don Tamaki: Thank you, Miko. [00:57:16] 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. Apex express is produced by Miko Lee Jalena Keane-Lee and Paige Chung and special editing by Swati Rayasam. Thank you so much to the KPFA staff for their support have a great night. The post APEX Express – 2.16.23 – A Time for Remembering appeared first on KPFA.

It's the Big one, we back with the anime of the year this time with another special guest: Satsuki The Savage. Hope you enjoy us talking about what anime and manga made our year. Find us on Instagram at @the.ak_mindest and Twitter + Tiktok at @AKMindset. For any thing you would like us to talk about and for any suggestions for us to improve send us an email at: theakmindset@gmail.com. Our YouTube channel is also up and running check it out at The AK Mindset, like comment and subscribe. Check out our guest on YouTube at: Satsuki The Savage and Twitter at: SatsukiDaSavage --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Momoka, Ryugo and Satsuki are Dokkyo Medical University students and in this podcast series called 'idioms' they are giving an example of using one. In this situation, they are going to demonstrate: "Keep it under your hat".

Mesudachi nos cuenta la historia de dos amigos de la infancia los cuales viven en un pueblecito con muy escasos habitantes. Satsuki, una chica sociable y no muy femenina, está con el protagonista desde su niñez. Pero a nadie le interesa eso, solo venimos a hablar de los pezones invertidos. Donaciones via YAPE o PLIN a 961892597 ♥

Here at Dokkyo Med. we're trying to motivate our students to be more active and productive by challenging them to make a podcast during lesson time. In this series called Specific Information Podcasts, students formed groups and were asked to come up with five questions and then ask and answer the questions within their group. In this podcast Ryougo, Momoka, Takeru and Satsuki ( + a helicopter & frogs

URIW is back to represent the southern hemisphere for the new season of Dragrace Downunder! Hosted by Jean Lizza. The drag family makeover challenge reminds us why we watch dragrace. Kween and Spankie in their element looking after their drag babies who are from the sweetest family ever! Gay cousin Keyland's enthusiam and sass was such a highlight of this episode. Keyland repped all the superfans and his concerns were pretty valid!  Writer and dragrace superfan, Kitty Webster makes her debut as guest judge and delivers a fantastic read of the episode. The Gaze has provided all the music this season and he has a new album coming soon! Pre-order the new vinyl Green Mansion via Bandcamp now and check out the latest single, 7 Beach Road (feat Satsuki) via all streaming platforms. Links in bio. Subscribe or listen to one of the only Australian dragrace podcasts via Spotify, Apple Podcasts or Stitcher! Eps out each Tuesday. #dragracedownunder

The action of the hentai takes place around the main character Koderu. His overly compassionate friends decide to hypnotize him using an app on his phone so that he can confess his love to Satsuki, the student council president. However, just before the recognition, hypnosis was canceled. Satsuki understands the idea of ​​his classmates and invites Kodera to the pantry of sports equipment. There, she herself makes an attempt to hypnotize the hero. --- Support this podcast: https://anchor.fm/imageekingho/support

URIW is back to represent the southern hemisphere for the new season of Dragrace Downunder! Hosted by Jean Lizza. Snatch Game challenges even the most confident and capable queens. Character choice is key and some of the queens made good choices while others left us confused. Where are our downunder icons??? Hannah Conda expertly navigating Snatch with an affectionate and funny take on Liza. A well deserved win! Legendary legend and URIW regular guest judge The Gaze returns with some expert opinions. The Gaze has a fabulous new single called 7 Beach Road (feat Satsuki). Check it out! Subscribe or listen to one of the only Australian dragrace podcasts via Spotify, Apple Podcasts or Stitcher! Eps out each Tuesday. #dragracedownunder

英语故事︱吉卜力公园门票预售已开启动漫迷可以圆梦了Fans of "My Neighbor Totoro," "Kiki's Delivery Service," and other films from the legendary Studio Ghibli, will have a new destination to add to their travel bucket list later this year.带有传奇色彩的吉卜力工作室出品的《龙猫》、《魔女宅急便》等电影的粉丝们今年晚些时候将在自己的旅行清单上增加一个新的目的地。Ghibli Park, opening November 1 in Japan, will be a fever dream of a theme park for anyone who has ever watched the studio's beautiful and often surreal animated films and wanted to step into the worlds they build.对于任何一个看过吉卜力工作室制作的美丽梦幻的动画电影的人来说，即将于11月1日在日本开业的吉卜力公园是一个让人热切期待和向往的主题公园。The Ghibli canon is heavy on themes of nature, friendship, strong female characters, flying machines, destiny and bravery. Their aesthetic is naturalism meets steampunk, sprinkled with its own proprietary formula of magical realism.吉卜力作品多以大自然、友情、坚强的女性角色、飞行器、命运和勇敢为主题，其美学源自自然主义和蒸汽朋克的碰撞，再佐以魔幻现实主义的独家配方。Ghibli Park is located in Aichi Earth Expo Memorial Park, less than two hours from Kyoto by train. The theme park will be about 17.5 acres when completed. (One acre is roughly the size of a football field.)吉卜力公园位于爱知县的爱·地球博纪念公园内，从京都乘火车不到两小时可抵达。这座主题公园竣工后占地约17.5英亩（1英亩约为1个足球场大小）。When it opens in November, three of the five planned areas will be ready. The main one is Ghibli's Grand Warehouse, an indoor facility that will house artifacts and exhibits from films including the Robot Soldier from "Castle in the Sky," the Catbus from "Totoro," and another recreation out of the "The Secret World of Arrietty."当吉卜力公园11月开业时，规划的五个园区中将有三个准备就绪。第一个主题园区是“吉卜力大仓库”，这个室内设施中将陈列着来自多部电影的工艺品和展品，包括《天空之城》中的机器人士兵、《龙猫》中的猫巴士，还有再现《借东西的小人阿莉埃蒂》世界的布景。A second area, "Hill of Youth," features the antique shop from "Whisper of the Heart" and another recreation from "The Cat Returns." And the third is Dondoko Forest with a full recreation of Satsuki and Mei's house from "My Neighbor Totoro" and a Totoro-themed playground.第二个园区“青春之丘”包括来自《侧耳倾听》的古玩店和还原《猫的报恩》场景的建筑。第三个园区“龙猫森林”中将能看到《龙猫》中小月和小梅居住的房屋，还有龙猫主题的游乐场。One of the two areas that will open later ("after 2023," the park's press office said) is Mononoke Village, referencing "Princess Mononoke" and her adventure among large forest animal gods.后期会开放的两个园区（据公园的新闻办公室称将于“2023年之后”开放）其中之一是“幽灵故里”，将会以“幽灵公主”和她与山兽神的冒险故事为中心。The other is the Valley of Witches, which will include some parts from the trippy "Howl's Moving Castle," and the more sweet "Kiki's Delivery Service," about an earnest and hardworking young witch.另外一个园区是“魔女之谷”，将包括《哈尔的移动城堡》的一部分迷幻景观，还有《魔女宅急便》中和认真勤奋的小女巫有关的甜美场景。If you go to Ghibli Park, don't expect a Catbus roller coaster, Kiki's broomstick "Avatar"-style adventure or a Ponyo Under the Sea ride. "Take a stroll, feel the wind, and discover the wonders," the park's site offers as an alternative.如果你要去吉卜力公园，不要指望那里会有猫巴士过山车、乘坐琪琪扫帚的沉浸式冒险，抑或是波妞的海洋之旅。该公园的网站上写道，你能做的是：“漫步徜徉，感受微风，发现神奇。”Think immersion and prompts for imagination rather than pyrotechnics and stomach-turning thrills.也就是说，你要全身心地去体验，发挥自己的想象力，而不是依靠各种烟火表演和惊险项目来刺激你的感官。Tickets are available online as of August 10 for dates beginning November 1. Reservations are required, as there will not be day-of tickets sold.11月1日起的入园门票将从8月10日开始在网上预售。门票将需要预定，因为不出售当日票。You must buy separate tickets for each attraction you want to visit.除了门票外，每个景点还需要单独购买门票。The most expensive of the three is Ghibli's Large Warehouse. Tickets cost ¥2,000 ($15) for adults and ¥1,000 ($7.50) for children on weekdays. On weekends and holidays, that price is ¥2,500 ($19) for adults and ¥1,250 ($9) for kids.三个园区中门票最贵的是“吉卜力大仓库”，成人平日票价为2000日元（约合人民币100元），儿童平日票价为1000日元。周末和节假日的成人票和儿童票价格分别为2500日元和1250日元。英文来源：美国有线电视新闻网翻译&编辑：丹妮surreal英[səˈri:əl]；美[səˈriəl]adj. 超现实的，离奇的artifact英[ˈɑːtɪfækt]；美[ˈɑːrtɪfækt]n. 人工制品，手工艺品trippy英['trɪpɪ]；美['trɪpɪ]adj. （如）由致幻药引起幻觉的pyrotechnics英[ˌpaɪrəˈteknɪks]；美[ˌpaɪrəˈtɛknɪks]n. 烟花制造；烟花施放n.出色的表现；炫示

Wir widmen uns wieder mal einer Herzenssache: Kill la Kill ist ein wilder Ritt! Irgendwo zwischen extrem viel nackter Haut, ideologischen Kämpfen und einer der besten Coming-of-Age-Storys, die wir je erleben durften, haben wir uns in diesen Anime verliebt! Deshalb fangirlen wir, was das Zeug hält, und klären die wichtigste Frage überhaupt: Ryuuko oder Satsuki?.

Here at Dokkyo Med, we're trying to motivate our (Japanese) students to practice, and hopefully develop, their English speaking skills. In preparation for this podcast; Talking Gist(Season 2), students were given four questions to build a dialogue around: Where does the conversation take place? What situation are the students discussing? What is person A asking about? What does person B want to do? Because the focus of the class is (TOEFL) Gist, students are not allowed to give away the main topics (answers to the questions), instead they use key-words that help the listener (You) to understand what the gist is. In this Podcast, first to go are Airi and Satsuki, the second conversation features Tomata and Takuma. Enjoy!

　2018年からオリジナルのスズキKATANA 1000Rでテイスト・オブ・ツクバ（T.O.T）に参戦しているTeam KAGAYAMAの加賀山就臣。先日、全日本ロードレース選手権JSB1000クラスへのフル参戦からの引退を表明したが、こちらは、まだまだ現役。　昨年、秋のKAGURADUKI STAGEでは、コースレコードを出し、優勝を飾ったこともあり3号機まで製作したKATANA 1000Rのプロジェクトは終了。今回のSATSUKI STAGEには、スズキGSX1300R 隼を模したマシン、鐵隼（テツブサ）で新たに参戦した。

皆さん、こんにちは！ダヴィデとごめちゃんです〜コロナのせいで気軽に海外留学できなくなりましたが、今でもイタリアに留学している日本人がいますよ。例えば、ペルージャ在住のさっちゃんはフリーランスとして活動しながら大学院に通っています！彼女はどのように留学できたのか、ペルージャでの生活など、色々聞いてみましょう！是非、最後まで聴いてください〜

Connie's motivational quote for today is by – Satsuki, “Although difficult, change is always possible. What holds us back from making the changes we desire are our own limiting thoughts and actions.”   YouTube: https://youtu.be/laqcSwj0jps     Check Out These Highlights: I chose this quote because it stated exactly the purpose of this show.  Change may be difficult, and we are the only ones that can stand in the way of true happiness in our lives. However, you define happiness for you.   As I reflect on major life events, I realize the profound impact they have had on how I see the world and respond to it. One of those crossroads for me was when I turned 39. I had two babies at home, chose to leave my safe full-time job and start my business.  I'd say that's a major crossroad…right?   The funny thing is as I opened my business, my inbox began to fill with emails about the law of attraction, all the universal laws, manifestation, and spiritual awakening.  I still have no idea how or why those emails started then.  I think I was ready for the many lessons that awaited me and that I would learn and embrace over the next 2 decades.  I am fascinated and always curious to observe how divine intervention sneaks in and changes our life.   About Gina Vincent:   Gina is an Escape Artist (of sorts), helping amazing women and men create their master plan to break free of the one-size-fits-all life.  Gina talks about learning to listen to your intuition, learning to value your truths, desires, and gifts. Gina has been on a lifelong search for the ideal combination of sun, sand, and sea.  Her career took her south, to North Carolina, where she met and married her husband, gave birth to their son, and adopted their daughter.  Today, she calls California home, and when she's not at her desk; she's on her paddleboard.   How to Get in Touch With Gina Vincent:   Website:  https://ExquisitelyAligned.com   Email:  gina@exquisitelyaligned.com Free Quiz:  https://exquisitelyaligned.com/quiz/ Free Gift:  https://exquisitelyaligned.com/3-keys-to-unlock/   Stalk me online! Enlightenment of Change Facebook group: tinyurl.com/EOCFacebookGroup Website:  https://www.changingthesalesgame.com/  Connie's #1 International Bestseller Book - ESP (Easy Sales Process): 7-Step to Sales Success:  https://conniewhitman.ac-page.com/changing-the-sales-game-resources Download Free Communication Style Assessment: https://www.changingthesalesgame.com/communication-style-assessment    Subscribe and listen to Enlightenment of Change podcast on your favorite podcast streaming service or on YouTube.  New episodes post every week - listen to Connie dive into new sales and business topics or problems you may have in your business.  

We review My Neighbor Totoro (Tonari no Totoro).⁠ It's a throwback review of one of Studio Ghibli's earliest and most beloved films. We discuss the father-daughter dynamic, Totoro's teeth, a South Park reference, and Mei and Satsuki's impressive amount of energy.⁠ Join our Discord: https://discord.gg/4Rnq4GTePP Support the podcast: https://www.patreon.com/thestrictlyseries Website: https://www.thestrictlyseries.com Instagram: https://www.instagram.com/thestrictlyseries Twitter: https://twitter.com/strictlyseries Part of The Strictly Series of podcasts

FNM Recap - ModernJames - Death's Shadow (1-0)Rd 1 - Jacob-Jeskai Lotus Field (2-1)Crack-a-PackKamigawa Neon Dynasty Top TensJamesNashi, Moon Sage's ScionThe Wandering EmperorThundering RaijuBoseiju, Who EnduresKodama of the West TreeReckoner's BargainRabbit BatteryTamiyo, Compleated SageReckoner's BankbusterKaito ShizukiHonorable Mentions: Protégé's Prototype, Colossal Skyturtle, Moonsnare Prototype, Voltage Surge, Scrap WelderJeremyHeiko YamazakiNezumi prowlerSokenzan smelterYou are already deadKotose the silent spiderPatchwork automatonKodama of the west treeJunji, the midnight skySpring leaf avengerSoul transferHonorable mentions: invocations and shrinesLaneNashi, moon sage's scionLion sashCloudsteel KirinWeaver of HarmonyLight-Paws, Emperor's VoiceInvigorating Hot SpringsMirror BoxEater of VirtueSpirited Companion Awakened AwarenessHonorable Mentions: Lands, Disruption Protocol, Satsuki, IsshinCards Lane Things are Poo: Boseiju, who enduresGood Luck, I Hope You Lose!Goblintraders.net: DTP5TCGPlayer.com: https://bit.ly/2Ec0AVZInkedgaming.com: http://inkedgaming.com/dtpcast 

A special unfiltered episode featuring members from the Savage Mobb discord. In this episode we discuss our top 5 2021 anime show and some of our least favourite shows. We also talk on our favourite opening and ending from last year. Hope you enjoy! Special thanks to Satsuki, Perry and Josh for joining us on this episode. Satsuki's Channel: https://www.youtube.com/c/SatsukiTheSavage Satsuki's Reaction Channel: https://www.youtube.com/c/SatsukiTheReactor Follow The Socials to keep updated! Twitter: https://twitter.com/AkMindset Instagram: https://www.instagram.com/the.ak_mindset/ Spotify: https://open.spotify.com/show/1yrnMsP8BC20XhGQGNbBFr Other: https://manylink.co/@TheAKMindset For any thing you would like us to talk about and for any suggestions for us to improve send us an email at: theakmindset@gmail.com. Special Thanks/Credit to: GlitchxCity for the Background Music Song: https://www.youtube.com/watch?v=2rs3cubkDUI Spotify: https://open.spotify.com/artist/0X1wtVNo8CVrMEKh8y8knH?si=d016d2d38be84522 Elijah Who for the Outro Elijah Who: https://open.spotify.com/artist/2b0aKuno01NxPWVCUVIEc8?autoplay=true&v=A

Carrie Morrison (Lights, Carrie, Action podcast) and Jessica Regan (Best Pick podcast) return to Flixwatcher remotely to review Carrie's choice My Neighbor Totoro. My Neighbor Totoro is the 1988 iconic Studio Ghibli animation. Written and directed by the legendary Hayao Miyazaki it tells the story of sisters Satsuki and Mei who move to a rural setting while their mother is unwell and in hospital. One day, Mei follows two spirits into the forest and finds a sleeping "Totoro" - a sort of chinchilla type animal - and falls asleep on its belly. Satsuki at first doesn't believe Mei that the Totoro exists but later when they are waiting for the bus in the rain Totoro appears. With a run time of under 90 minutes My Neighbor Totoro is light on narrative but heavy on fantasy and animism - the belief that objects, places, and creatures all possess a distinct spiritual essence. It is impossible not to be drawn into the fantasy and charm of Totoro and this was heavily reflected in the scores. The recommendability scores for My Neighbor Totoro were very high but a little lower for engagement giving an overall rating of 4.04.   [supsystic-tables id=249]   Episode #237 Crew Links Thanks to Episode #237 Crew of Carrie Morrison (@CarrieJoMo) and Jessica Regan (@itsjessregan) from The Best Pick movie podcast Find their Websites online at https://linktr.ee/carriemo97 And at https://www.unitedagents.co.uk/jessica-regan   Please make sure you give them some love More about My Neighbor Totoro For more info on My Neighbor Totoro, you can visit  My Neighbor Totoro IMDb page here or My Neighbor Totoro Rotten Tomatoes page here.   Final Plug! Subscribe, Share and Review us on iTunes   If you enjoyed this episode of Flixwatcher Podcast you probably know other people who will like it too! Please share it with your friends and family, review us, and join us across ALL of the Social Media links below. Learn more about your ad choices. Visit megaphone.fm/adchoices

A special episode discussing the great series that is Claymore, featuring special guest Satsuki the Savage! Find us on Instagram at @the.ak_mindest and Twitter + Tiktok at @AKMindset. For any thing you would like us to talk about and for any suggestions for us to improve send us an email at: theakmindset@gmail.com. Our YouTube channel is also up and running check it out at The AK Mindset, like comment and subscribe.

今週おやすみです

16時からSATSUKIさんプレゼンツで開催される ラジオトーク横丁秋祭りに参加させて頂きます アタシの出番は17時から18時半 21時から2分位

In this episode Jardani brings some quotes from Kill La Kill that caught his eye. From Ryuko to Satsuki this show had some powerful quotes and its time we break some of them down.So join Jardani BabyCrow and GodTwan as we breakdown some memorable quotes from Kill La Kill --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/killdem/message

Subjectivized Nature, Non-Narrative Cinema and Fresh Vegetables Welcome to our third installment. This time we analyze "My Neighbour Totoro", directed by Hayao Miyazaki. Your hosts this podcast are: Darkonius, PlatonSkull, Xiff, Hipster_Cthulhu and Nyard.   Referenced images Catbus Sakuga: https://www.sakugabooru.com/post/show/18252 Mei no pantsu: https://drive.google.com/file/d/1rdkg770xGS_u_4V5Gbu_RY_nIjGJiHvK/view?usp=sharing Sources: Susan Napier - "Miyazakiworld" Terry Gilliams Top 50 Animated Movies https://web.archive.org/web/20091009204022/ http://www.timeout.com/film/features/show-feature/8835/ Roger Ebert Review https://www.rogerebert.com/reviews/great-movie-my-neighbor-totoro-1993 Utopia and Alternate History in Hayao Miyazaki's My Neighbor Totoro By Phillip E. Wegner http://imagetext.english.ufl.edu/archives/v5_2/wegner/ The Scary Theory That Totoro Is The God of Death https://kotaku.com/the-scary-theory-that-totoro-is-the-god-of-death-5926248 Towards a True Children's Cinema: on ‘My Neighbor Totoro' by Lauren Wilford https://www.brightwalldarkroom.com/2017/03/13/towards-a-true-childrens-cinema-on-my-neighbor-totoro/