Podcasts about yoshiwara

Last time we spoke about the end of the Bougainville campaign. In June 1945, the Australia and Allied forces intensified their campaign in the Pacific, spearheaded by General Hammer, as they battled entrenched Japanese troops on Bougainville. Following the capture of the Soraken Peninsula, the Australians aimed to control the strategic Hongorai River but faced fierce resistance. Meanwhile, General Kanda adjusted his strategies, pulling back Japanese forces to a defensive perimeter around Buin, allowing his troops to regroup. Australian battalions, notably the 24th and 57th/60th, pressed forward, making significant gains despite encountering numerous obstacles, including concealed mines and relentless counterattacks. The turning point came when they crossed the Hongorai River, marking a vital milestone in their advance. Ultimately, the combination of perseverance and tactical maneuvers set the stage for future successes within the broader context of the Pacific Theater. This episode is the Fall of Wewak 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.  In the last episode we finished off the Bougainville campaign. Now its been 4 long ass grueling years for the boys fighting in New Guinea. Today we are finally going to finish that story.  As we last saw, by early April 1945, General George Stevens and his 6th Australian Division were making significant strides in their Wewak offensive. The campaign, aimed at capturing the strategically important town of Wewak, was crucial for disrupting Japanese forces in New Guinea and aiding in their eventual defeat. Brigadier King's 16th Brigade had effectively secured the But and Dagua areas, notable locations that played vital roles in the region's agricultural landscape and supply lines. Simultaneously, Brigadier Moten's 17th Brigade was concentrating its efforts along the Ninab River, a key waterway that would facilitate the final drive toward Maprik, a town essential for both its infrastructure and resources. Facing intense Australian pressure, the remnants of General Mano's 41st Division were forced to retreat northwestward to Wora, a strategic village located near the coast, while the Miyake Force reorganized itself along the defensive line formed by the Imbia, Neligum, Kumbungua, and Bainy rivers. This area is characterized by its rugged terrain, dense jungles, and numerous waterways, making it a challenging environment for military operations. On April 3, General Moten ordered the 2/7th Battalion to advance toward Maprik and the Agricultural Station, aiming to seize this vital supply center. At the same time, the 2/6th Battalion was tasked with moving towards the Screw River to block any potential enemy retreats to the north. Hayforce, a composite group of Australian troops, was directed to push forward to the Maprik-Marui road. This mission was critical as it aimed to establish a new airfield, designated as Hayfield, to alleviate the pressing supply issues faced by Australian forces. The Australians began their assault towards Maprik, yet they quickly discovered that the enemy was well-prepared to defend this food-producing region. Throughout the week, they were largely limited to patrol actions as they engaged with scattered enemy forces. Concurrently, Hayforce advanced eastward, encountering strong resistance at Wora on April 10. This strategic location, once teeming with activity, had become a focal point for Japanese defense. On April 12, feeling increasingly under pressure, General Mano opted to abandon Wora, allowing him to concentrate his forces more effectively at Bainyik. This decision was pivotal, as it permitted Australian forces to secure the site of the proposed airstrip, enhancing their logistical capabilities.  Meanwhile patrols had been pressing on from village to village. On 28th March, for example, Sergeant J. W. Hedderman, of the 2/6th, a notable leader in these as in earlier operations, had led a reconnaissance to Kulkuil and Gwanginan. Next day he led a fighting patrol which took Kulkuil with a carefully-planned surprise attack. On the 30th Lieutenant Errey's platoon (16), with Hedderman as platoon sergeant, attacked Gwanginan. Hedderman confused the enemy by shouting to imaginary platoons to right and left (thus incidentally drawing fire on himself); and when the leading section was halted he brought down supporting fire and enabled it to move again. A man was wounded within 10 yards of the enemy's pits; Hedderman went forward, killed two Japanese with grenades, and dragged his comrade to safety. The enemy were 25 to 30 strong and the attack failed despite these gallant efforts. Hedderman covered the withdrawal, firing until all others had gone. On 30th March a patrol found Mairoka clear of the enemy and on 4th April Lieutenant Gordon's platoon established a patrol base there. On the 7th Errey's platoon attacked a village to the east of the Milak villages but without success, Lieutenant Errey being killed, and Sergeant Layfield wounded. Chicanambu was occupied on the 9th. On April 15, two companies from the 2/6th pushed eastward towards the Screw River. Over the next five days, they faced strong opposition as they engaged in fierce skirmishes and patrol actions to secure critical territories, ultimately capturing Wambak, Kombichagi, and Bungara. Each of these locations represented not only strategic advantages but also a deepening impact on the local population and the broader campaign dynamics. On April 15, 1945, the 2/7th Battalion launched its main assault, with one company advancing towards the line of Nimrod Creek. This location, nestled within the dense jungles of New Guinea, proved to be strategically significant yet perilous. As they approached, Australian troops encountered heavily defended and camouflaged pillboxes, fortifications designed to protect the Japanese troops stationed in the area. Despite the challenges, they managed to secure a long, kunai-covered spur to the northeast of a critical area known as Maprik 2 by the following day. On April 17, another company from the 2/7th continued the offensive, advancing toward a target referred to as Maprik 1. They reached a point approximately 400 yards northwest of the objective but soon found themselves in a precarious situation as they became surrounded on both flanks the next day. It was not until April 19 that they successfully broke through to the southwest, escaping their encirclement.   The House Tamboran feature, a prominent ridge north of Maprik 1, was finally secured on April 20. This strategic high ground was essential for controlling the surrounding terrain and allowing further advances in the area. The following day, the 2/7th began probing towards the Maprik airstrip and Bainyik. Their efforts to secure the airstrip were fruitful within the next few days; however, they faced staunch resistance at both Maprik 2 and Bainyik, where Japanese forces continued to mount a determined defense. On April 25, the Australians crossed the Screw River, a vital waterway that flows through this region, on their way toward Midpum Creek, which they reached the following day. This movement was crucial for maintaining momentum in the campaign. While the 2/7th Battalion was engaged in heavy fighting, patrols from the 2/6th Battalion successfully secured the Neligum villages, although they encountered strong Japanese resistance at Mangumbu. This locality, bordered by lush vegetation and steep hills, served as a vital defensive position for Japanese forces. Simultaneously, intelligence reports about a small enemy contingent under Lieutenant-Colonel Takenaga Masaharu positioned at Tau prompted a swift response. On April 16, a platoon from the 2/5th Battalion departed from Aitape, a coastal town known for its strategic significance during the campaign. They tracked down the Japanese troops and engaged them at Kubriwat on April 24. After the Kubriwat engagement, Colonel Takenaga's troops managed to shake off pursuit by the Australians; yet as the Australians continued to harass them, Takenaga ultimately decided that they would surrender. They took a leaflet containing a notice of surrender that one of the soldiers had been carrying, added some conditions underneath in English, tied it to a pole for the Australians to find, and left the area. Scouts from Miles' platoon then found the leaflet and brought it back with them. On May 2, the Australian platoon spotted Takenaga's unit near Womgrer village, and asked a native to help them make contact. Two truce bearers from the Japanese side came to the Australians to negotiate, and on the following day Takenaga's unit surrendered at Womgrer and were disarmed. At the time of surrender, Takenaga's unit consisted of 42 men: five officers (including Takenaga), four warrant officers, and 33 non-commissioned officers and soldiers. They were equipped with five light machine guns, 17 rifles, five pistols, and 750 rounds of ammunition. The prisoners, escorted by Miles' platoon, marched for three days in an orderly fashion to Maprik Airport, and were then transported to Aitape. Takenaga's unit were held in Aitape for around one month, before being broken up and sent to prison camps in Lae and in Australia, where they received good treatment. They were all interrogated, and in particular, Takenaga was transported to Manila for a detailed interrogation. As well as giving character information about the commanders of the 18th Army, Takenaga gave his opinion of how the Allies should deal with Emperor Hirohito: "If the Emperor is killed then the Japanese people will resist until the bitter end, but if there is an order from the Emperor then they will probably surrender peacefully." Back in the Maprik sector, while Hayforce conducted probing operations and successfully captured Yentagim in early May, the Miyake Force began a withdrawal toward the Loanim-Yamil-Kumbungua line. This defensive line was a series of natural features and fortified positions designed to obstruct the advancing Australian troops. On the northern flank, the 2/6th Battalion also continued to patrol eastward, successfully securing the strategically important Mangumbu on May 2. This advancement not only disrupted enemy operations but also paved the way for further Australian advances in the region. On May 8, 1945, the 2/7th Battalion launched a decisive attack, successfully capturing part of the Kumbungua Ridge, a strategically significant high ground dominating the surrounding terrain. Two flame-throwers had now been received by the 2/7th and on 8th May these were used to drive the enemy from part of the narrow steep-sided Kumbungua ridge. The Japanese made off, abandoning 30 weapon-pits, but engaged the Australians from a knoll farther up the ridge. Just three days later, they captured the southern end of the ridge while another company moved to occupy Waigakum 1, a forward position that offered a crucial vantage point over the area. Flame-throwers were proving very effective. On 10th May the 2/7th occupied Waigakum 1, and on the 11th a platoon with flame-throwers attacked and took a position where the defenders abandoned 50 packs. Another platoon approached the knoll at the south end of the Kumbungua ridge from the south, attacked up a steep slope and put to flight the defenders who abandoned 25 packs and 100 sticks of gelignite. The Japanese opened fire, however, from higher up and, the ground being unsuitable for defence, the platoon withdrew. By May 13, following effective air support that softened enemy defenses, central Kumbungua was found abandoned by Japanese forces, a testament to the pressure the Australians had applied. The following day, after another heavy bombardment from both aircraft and artillery, the entire ridge was finally secured, marking a significant accomplishment in the campaign. Pressing on, the Australians cleared the area northeast of Kalabu by May 26. However, they faced stiff resistance and found it challenging to make further advances. As a result, the 2/7th Battalion reorganized to defend the captured positions, consolidating their gains to ensure they could withstand potential counterattacks from the tenacious enemy. In the meantime, on May 17, Waigakum 2 fell to Australian troops. This success forced the cutoff remnants of General Mano's 41st Division to begin their retreat to the east, as the Australians patrolled further towards Malba, another critical location along their advance. The loss of Waigakum to the 2/7th Battalion in mid-May had a very upsetting effect on the Japanese. It was the point of junction between Miyake Force, now 800 strong, and the 41st Division and, according to General Yoshiwara, this loss led directly to the withdrawal from Kalabu and Loanim. On the 19th a platoon, guided by natives, surprised six Japanese in a garden south-east of Kalabu. Here Private Jenkins" came upon one Japanese asleep outside a weapon-pit. As he was within feet of me (wrote Jenkins later) I thought it was an excellent opportunity to take a prisoner so I woke him with a light kick and pulled him to his feet with my left hand, keeping my Owen gun in my right. I had managed to get my prisoner some paces from his position when a slight noise alerted his mates and they opened fire on the patrol. With this the Jap broke from my grasp and I was forced to shoot him. One other Japanese was killed and the others made off.Turning their attention northward, the 2/6th Battalion attempted to attack the village of Jamei on May 20. However, they were met with fierce resistance from Japanese defenders, which compelled the Australians to bombard the area intensively with artillery and air strikes until the enemy was finally forced to retreat on May 25. While the Australians were continuing to probe towards Yamil, elements of the 2/7th Battalion executed successful attacks in the Malba area, which was ultimately secured by the end of the month. This marked a crucial step in their advance as they pushed deeper into enemy territory. Meanwhile, in the coastal sector, Brigadier King's 16th Brigade concentrated its efforts east of the But River, extending up to the Kofi area. At the same time, Brigadier Martin's 29th Brigade assembled at But, preparing for the final drive toward Wewak, a town that had become a strategic target for Allied forces in their campaign to eradicate Japanese presence in New Guinea. On April 14, the 2/1st Battalion passed through the lines of the 2/2nd Battalion, launching an attack toward the Karawop-Wisling area. This sector, known for its rugged topography and dense underbrush, finally fell to the relentless Australian assaults two days later after a series of intense company-level attacks. On April 25, the 2/1st Battalion occupied the crucial 1800 Feature without facing any opposition. This high ground provided them with significant tactical advantages in the ongoing conflict. Meanwhile, the 2/3rd Battalion, positioned to the north, successfully launched an attack on Boiken Plantation. Their efforts were rewarded as they advanced to Kalimboa the following day, further consolidating Australian positions in the region. On April 27, 1945, the 2/2nd Battalion moved swiftly through the advancing lines, pushing forward to Hawain and crossing the river in their quest to engage Japanese forces. Concurrently, the 2/3rd Battalion patrolled south along Boiken Creek, where they encountered significant enemy resistance in the Koanumbo area. After a series of determined assaults, this area was ultimately secured by May 2, allowing the Australians to fortify their positions. At this point in the campaign, Brigadier Martin's 19th Brigade took over the advance towards Cape Wom, and subsequently, the strategic objective of Wewak. This movement coincided with preparations by Lieutenant-Colonel Eric Hennessy's 2/6th Commando Regiment, which was organizing for a surprise landing east of Cape Moem, a critical maneuver aimed at outflanking Japanese defenses. On May 3, the 2/4th Battalion advanced from Hawain, managing to cover six miles without facing any opposition. By the next day, they reached Wom without incident. As night fell, Australian patrols had already established a presence along the Waringe River, preparing for further actions. During this time, patrols targeted Japanese stragglers in the vicinity, eliminating several and gathering intelligence. Reconnaissance units were then sent forward to Minga Creek to assess enemy positions while the 2/4th secured Yarabos on May 7, progressively tightening the noose around Japanese defenses. Meanwhile, the 2/8th Battalion, positioned on the right flank, engaged in a series of minor clashes, successfully capturing Ranimboa on May 4, followed by Numikim just days later. These advances were crucial in pressuring the remaining Japanese forces, which, under Generals Adachi and Nakano, were increasingly evident in their abandonment of the substantial base at Wewak. Their main forces began to withdraw over the rugged terrain of the Prince Alexander Mountains, leaving behind strong rearguards tasked with covering their exit routes from Wewak. To counter this withdrawal, the 2/11th Battalion and the 2/7th Commando Squadron were dispatched on a wide encircling movement towards the Sauri villages and Wirui Mission, aiming to cut off the retreating Japanese forces. Meanwhile, the 2/4th Battalion crossed Minga Creek and launched an attack towards Wewak on May 8, seeking to claim the final strategic stronghold. Two days later, bolstered by supporting tanks and artillery, the 2/4th Battalion initiated a vigorous assault on Wewak Point. This area, positioned at the very tip of the peninsula, was essential for controlling the coastal approaches to Wewak. After a hard-fought engagement, the Australians successfully seized the entirety of Wewak Point, subsequently mopping up the remaining Japanese soldiers who had entrenched themselves in the caves along the cliffs, effectively concluding the intense fighting in this region. At 12.15 two companies were ordered to mop up.cThat afternoon a flame-thrower fired into a bunker apparently lit a dump of bombs which blew up. Smith's company found several occupied caves and, since the Japanese would not surrender, merely picqueted them until engineers arrived and blew up the entrances, sealing the Japanese in. It was estimated that about 50 perished in the caves; by midnight 65 other dead had been counted and three 75-mm guns and two 20-mm had been captured. In a brilliant action the Australians, supported by tanks and more than 40 field guns, had lost only 2 killed and 17 wounded. Mopping up was continued next day, and no live Japanese remained on the point by midday. Finally it was estimated that from 180 to 200 Japanese had been killed. On May 11, 1945, following their progress along the Big Road, the 2/11th Battalion set out to occupy the strategic 620, 710, and 770 Features. However, they soon encountered unexpected resistance over the following days. This was not merely an isolated skirmish; it was part of a broader engagement as they pressed their advance against the entrenched Japanese defenders. Meanwhile, an important operation was unfolding to the west. The 2/9th and 2/10th Commando Squadrons, supported by a small flotilla formed around the sloop Swan, successfully landed on Dove Bay's Red Beach, located just to the west of Forok Point. This maneuver was critical, as it disrupted Japanese supply lines and provided the Australians with a foothold to cut off the Wewak Road. Following their landing, the squadrons dispatched patrols eastward, further isolating Japanese forces. The next day, the 2/3rd Machine-Gun Battalion secured the junction of the Wewak Road and Forok Creek, a key point for controlling the surrounding areas, while the 2/9th Commando Squadron patrolled past Mandi, gaining valuable intelligence. The 2/4th Battalion, capitalizing on this chaos, pressed forward to secure the Wewak airfield and the Wirui Mission, both of which were vital for maintaining air support and supply routes in the theater of operations. On May 13, the 2/11th Battalion successfully captured the 620 Feature, a crucial hill that provided vantage points over the battlefield. However, they struggled to take the 710 Feature the next day, as Japanese resistance intensified in the rugged foothills south of the Big Road.  On 14th May, the 2/11th being heavily engaged in the foothills south of the Big Road, Lt Martin had ordered the 2/4th to attack Wirui Mission, which was on a steep kunai-covered hill about 300 feet high dominating the airfield. Approaching from the east through tall kunai the leading com-pany with a troop of tanks soon took the first objective-dominating ground about half way up the hill. Captain Smith's company passed through and, with the tanks, whose crews estimated that they killed about 30 Japanese, reached the top. By nightfall the top and the eastern slopes were held but the Japanese were fighting back from bunkers on the north-west slopes. Next day Smith's company attacked these remaining bunkers. The lead-ing section was halted by intense fire after several men had been hit. Private Kenna, in the supporting section, which was firing on the bunkers at a range of only 50 yards, stood up in the kunai grass in full view of the enemy and fired his Bren at one of the Japanese machine-gun posts. The Japanese machine-gunners returned his fire but failed to hit him. Kenna then said to Private Rau who was beside him that the Japanese "had a bead on him" and he asked for Rau's rifle. Still standing, he fired four rifle shots and silenced the enemy post. He then took the Bren again and opened fire on another post about 70 yards away and silenced it too. The remaining post was then knocked out by a tank; soon the 2/4th and 2/11th were in contact. About 40 Japanese were killed and perhaps 20 escaped in the fight for the mission. Large quantities of weapons, vehicles, generators, tele-phones and other equipment were found there. Possession of Wirui Mission gave complete control of the Wewak coastal plain. Captured papers made it possible to make a fairly precise estimate of the forces immediately round Wewak: Kato Force, built round the 25th Airfield Battalion and about 300 strong, was holding from Sauri to Wirui Creek; Jinka Force, about 400 strong, was holding from Wirui Creek to the east, including Boram airfield, and south into the range as far as Passam; to the east was Aoyama Force, of unknown strength; the coastal plain to a depth of about 1,000 yards was not held in strength, and it was thought that there would be little opposition on the coast at least as far as Boram airfield Supported by artillery fire and through persistent efforts, the 2/11th finally took the 710 Feature on May 15, which allowed them to begin patrolling towards the 770 Feature and the nearby Klewalin, two additional strongholds that were key to the entire operation. Simultaneously, since May 11, the 2/7th Commando Squadron had been engaged in fierce fighting. They maneuvered through a series of knolls in the Sauri villages area, which they ultimately cleared by May 16, further tightening the noose around Japanese defenses. On that same day, after intense air and naval bombardments prepared the way, the 2/8th Battalion began their advance toward Boram. This crucial location fell into their hands unopposed by nightfall, allowing significant advances in the Australian front line. However, on May 17, as the 2/8th Battalion continued its push to the mouth of Boram Creek, they encountered a strongly-held Japanese position. This area, characterized by intricate terrain and dense jungle cover, presented formidable challenges as they sought to advance further into Japanese-occupied territory. The enemy bunkers would remain a formidable obstacle until May 20, when a heavy bombardment finally rendered them inoperative. Following this, the Australians seized the opportunity to exploit their gains and advanced further east to occupy Cape Moem. This maneuver allowed them to establish contact with the commando force at Brandi Plantation just two days later, strengthening their foothold along the coast. On May 24, the 2/11th Battalion occupied the strategic 770 feature after enduring its own heavy bombardment. Three days later, they managed to destroy the last remnants of enemy forces south of the 710 feature, marking a significant step in the campaign. On May 25, the 2/4th Battalion also launched a patrol into the village of Koigin, taking the location after a sharp and intense fight. However, amidst these operations, Brigadier Martin fell ill with malaria and was temporarily replaced by Lieutenant-Colonel John Bishop, a shift that would guide the troops through the operational challenges ahead. By the end of May, the 6th Division had pushed most remnants of the Japanese 18th Army away from the coast, including their vital base at Wewak. The Japanese forces were now confined within the rugged, mountainous terrain, squeezed between the 17th Brigade, positioned forward of Maprik to the west, and the remainder of the 6th Division to the north. In preparation for the next phase of their campaign, General Moten set out to secure the line from Solongan to Kulauru Mission. The 2/5th Battalion relieved the 2/7th Battalion and moved against Kulauru and Ulupu, while the 2/6th Battalion advanced towards Yamil. The Australians acted swiftly and decisively, rapidly capturing Newton's Knoll and Palketia during the first week of June. On June 10, after extensive air strikes and bombardments weakened enemy defenses, the 2/6th Battalion successfully entered Yamil. Just three days later, on June 13, the 2/5th Battalion continued their momentum by capturing Yamil 3 and Yuman as the beleaguered Miyake Force began its retreat towards Ulupu, indicating the deteriorating situation for Japanese forces in the region. Despite the Australians' relentless advance and the heavy bombardment inflicted upon them, the Japanese remained determined to defend Kunai Spur. Their tenacity meant that the Australians could only secure Yamil 4 on June 24, underscoring the intensity of the fighting in this strategic area. At this critical juncture, the 2nd New Guinea Battalion arrived in the Hayfield area to patrol southwards towards Kwimbu, Mikau, and Kunjinge. These movements further reinforced the Australian positions and set the stage for the continuing efforts to dismantle the last remnants of Japanese resistance in the region. On June 11, 1945, the 2/8th Battalion successfully seized Hill 1 after a concentrated air and artillery bombardment that softened up the enemy defenses. This pivotal victory allowed them to establish a critical foothold in the area, vital for subsequent operations. Just five days later, on June 16, both artillery and aircraft targeted Hill 2 and Shiburangu, two crucial positions that had become points of interest in the ongoing campaign. After numerous attempts and repeated efforts by the infantry, the Australians ultimately captured Hill 2, a strategic vantage point that further pressured Japanese forces in the region.At 8 a.m. on 16th June aircraft struck both Hill 2 and Shiburangu and then the artillery began a program in which 3,000 rounds were fired. One company began to advance on Hill 2 at 9.30. Warrant-Officer Fisk's platoon, which was forward, met heavy fire from snipers on both flanks and machine-gun fire from the hills and lost one man killed and one wounded. It withdrew to the cover of the spur and moved to outflank the enemy on the left. Meanwhile at 9.45 a second company had taken the pocket without opposition. At 10 a.m. the first company was still held. The men rested under the lip of the hill while the artillery again bombarded the enemy's positions and flame-throwers were brought forward. At 1.30 the company surged over the crest of the hill and, after close fighting in which each bunker was grenaded, the surviving Japanese fled leaving 38 visible dead and perhaps another 20 buried by the air and artillery bombardment. The Australians lost 2 killed and 3 wounded. "Aerial bombing coupled with artillery concentration does not deter the enemy from fighting nor unsettle him unduly," wrote the battalion diarist. "Such fanatical resistance in face of such odds makes the capturing of these strong points no light task." Meanwhile, the 2/4th Battalion worked diligently to clear the eastern side of the Koigin-Tazaki track, progressing 600 yards south of Koigin by June 13. This advancement helped secure vital supply routes and reinforced the Australians' operational capabilities. On June 14, the Australians continued their momentum by successfully securing Mount Kawakubo, another significant terrain feature. Five days later, on June 19, the 2/4th and 2/11th Battalions launched a coordinated attack towards Tazaki. Thanks to the overwhelming support of air and artillery bombardments, Tazaki ultimately fell into Australian hands by June 24, marking yet another victory in their relentless push against Japanese defenses. On June 22, the 2/8th captured the last knoll before Shiburangu. Following this success, artillery began to register targets on Shiburangu, setting the stage for a significant assault. By June 27, after a particularly heavy air and artillery bombardment that saturated the area with firepower, the 2/8th Battalion launched a bold attack to seize Shiburangu. Utilizing an outflanking maneuver, they managed to surprise the fierce defenders, overcoming their determined resistance. As the 2/4th Battalion cleared the remaining enemy pockets in the Tazaki area, the 2/8th Battalion pressed their advantage, attacking and securing the area to the west on July 3. The two battalions effectively linked up two days later, solidifying their control over the region and paving the way for further advances in the campaign. Looking back to the southwest, after nearly three weeks of stiff resistance, the Japanese finally abandoned Kunai Spur on July 3, 1945. This withdrawal opened the door for Australian forces, who swiftly occupied Ulupu just two days later. The effort to clear the surrounding area began in earnest, but it wasn't until July 8 that the strongly-held northern knoll was taken after intense fighting. On July 9, through a sustained bombardment, the Japanese were driven out of Ulum, marking a significant breakthrough; their defense system had been shattered. Following this success, patrols from the 2/5th Battalion advanced rapidly, moving forward about 2000 yards with only minor skirmishes. They reached and occupied Kulauru Mission on July 11, reinforcing the Australians' control over the area. Pressing northeast, the remaining Japanese forces in the vicinity were rapidly dispersed, and by July 18, Ilipem fell into Australian hands. During this time, the 2/6th Battalion was busy securing the Ulunkohoitu Ridge, further consolidating the Australians' hold on the region. At the same time, the 2nd New Guinea Battalion had been probing south and east, successfully securing critical locations such as Kongambe, Kwandaning, Naila, and Gisanambu. With the Japanese now regrouping along the Kaboibus-Ahegulim-Gwalip line, General Moten aimed to accelerate the advance, directing both the 2nd New Guinea Battalion and the rested 2/7th Battalion to converge on Gwalip. Meanwhile, the 2/5th and 2/6th Battalions pressed east towards Kaboibus. Despite facing challenges and some failed attacks against Dunbit and Aoniaru, the New Guineans were able to concentrate their forces near Gwalip by July 22, and five days later, Sigora fell to their determined assault. On July 30, they launched an attack and captured Ulama, nearly catching General Mano's headquarters at Winge in the process, which forced the defenders to retreat towards Suaui. As momentum continued to build, the 2/5th Battalion pressed on, supported by heavy air strikes. By August 1, they had successfully taken Gwenik, further disrupting Japanese lines. The following day, as the Australians advanced along the Kaboibus Ridge, they successfully occupied the Kaboibus villages. To their astonishment, they encountered only minor opposition, underscoring the disarray within the Japanese ranks as the Australians continued their relentless push through the region. On August 4, 1945, the 2/5th Battalion successfully seized Ahegulim, a strategic location that added to their momentum. Three days later, they captured Malabeim, completing their objectives in the region. Following this success, the Australians began probing towards Mount Irup, further extending their influence over the landscape. Concurrently, on August 6, the 2/7th Battalion embarked on a wide movement from Sigora aimed at Kiarivu, reaching this target two days later. This advance was part of a broader campaign in which New Guinean troops also secured key areas such as Miyamboara and Mananingi, reflecting the persistent efforts of Moten's 17th Brigade as they conducted their final offensive actions. Turning to the eastern front, the 8th Brigade's 30th and 35th Battalions had relieved the 2/4th and 2/11th Battalions in early July, taking charge of the Wirui Creek-Mandi area. On July 13, Brigadier Martin, who had resumed command of the 19th Brigade, ordered the 2/8th Battalion to capture the critical positions known as The Blot and Hambrauri. Following this directive, the Australians successfully attacked and seized The Blot the very next day. On July 16, Hambrauri 1 fell into Australian hands without opposition, allowing them to begin probing towards another strategically important feature: St. Patrick's. After significant preparations and a heavy bombardment, St. Patrick's was captured on July 21. The following day, the 2/8th Battalion captured Hambrauri 2 with little resistance, showcasing their growing operational effectiveness. During this time, the 2/1st Battalion executed a diversionary thrust along the Sambukaua Track, drawing Japanese attention away from main Australian advances. Simultaneously, the 2/6th Commando Regiment faced daring infiltration attempts to the west in the vicinity of Boiken, further complicating the operational landscape.  On June 24 five Japanese approaching along the beach entered the Angau compound at Wisling, stole 3 Owen guns, a pistol, and 3 Japanese rifles. A patrol followed these marauders, killed 2 and retrieved the weapons. Next day about 10 Japanese ambushed a party of the 2/10th Commando Squadron south of Boiken Plantation and killed Lieutenant Martin and wounded 4 others; and that night about 20 stole into the plantation. On June 28 signs were found that some 35 Japanese had slept the previous night 400 yards from a commando perimeter. On July 23 a commando patrol had a sharp clash with perhaps 40 Japanese in the hills south of Wanpea and more than 15 miles west of Wewak; 8 Japanese were killed as well as 4 Australians. The Japanese were justly proud of the valour and successes of the raiding parties which harassed the Australians between Wewak and Dagua in May, June and July. Several groups were organised and trained for these enterprises, the most celebrated being led by Lieutenant Saito Hachiro of the 78th Regiment who had first earned fame as a patrol leader in the Huon Peninsula fighting. In June his party set off to raid Maprik, but was intercepted, Saito and most of his followers being killed. From June 15 onwards two parties of raiders operated in the Karawop and Boiken areas with the object of diverting their enemy's strength away from the 51st Division farther east. These parties, which claimed to have killed more than 100 Australians (a wild overestimate) were the ones coped with by the 2/6th Commando Regiment. Another series of raids in late July and early August were considered less successful, because of improved Australian security measures. On July 25, Japanese General Adachi issued orders for a "last stand" around the areas of Nyakombi and Sassuia. The main body of the 18th Army was now in an are facing north and west. The 51st Division was on the right opposing the troops advancing from Wewak, the 20th Division in the centre and the 41st on the left. Yoshiwara had now reported that the food resources of the Sepik area were less than had been believed, though there might be more in the hinterland. Already about 2,800 troops were stationed in the Sepik Valley from Marienberg to about Kanganaman and were living off the country. Adachi decided to make a last stand in the area embracing, in the north, Nyakombi and Sassuia. Here they would fight on "as long as ammunition and food are available and at least until the end of September". Liaison was to be maintained with the force in the Sepik area which was to prepare to carry on "ambush warfare" after the main force had been wiped out. This plan had been conveyed to Field Marshal Terauchi, commanding the Southern Army, and he approved it on 8th July. Despite its many setbacks during the campaign, Terauchi sent a citation to the 18th Army. It was the first time that a Japanese army had been so honoured. The citation ran: "To the 18th Army and all attached units: With Lieut-General Hatazo Adachi as your com-mander, you have fought vigorously for three years in north-east New Guinea, where numerous epidemics prevailed and where the terrain was hitherto unknown to any Japanese. When the enemy occupied the west coast in April 1944, to cut off supplies, you learned to live off grass and trees, and by making the best of the situation, you conquered all unfavourable conditions. Officers and soldiers alike displayed the true spirit of the Japanese Army. Wherever you encountered the enemy, you crushed them and inflicted many casualties. You have inspired fear into the hearts of the enemy and diverted their sea and air strength, thereby contributing much to the Southern Army's operations and furthermore, to all the Armies of the Empire. You were able to accomplish this through the excellent leadership, planning, fidelity and character of your Army Commander. By the sense of sincerity, loyalty and moral obligation of all the troops, you have set a model for all men to follow. I hereby present this citation and proclaim this to all the Armies."  Amidst these developments, Major General Stevens was orchestrating a series of troop reliefs along the front lines. King's 16th Brigade was set to replace the 19th Brigade, which in turn would relieve the 17th Brigade to the west, ensuring continuous pressure on Japanese positions while maintaining the momentum of the Australian advance. Consequently, on July 28, 1945, the 2/2nd Battalion relieved the 2/8th in the Hambrauri area, immediately dispatching patrols to probe towards Numoikum. Their operational efforts culminated in the successful seizure of Mount Shoto on August 2. By August 6, with the backing of artillery fire, the Australians had secured Numoikum and Rindogim. However, this marked the last offensive action in the area, as the Australians shifted their focus to patrolling forward in order to consolidate their gains. By the end of the Aitape-Wewak Campaign, the 6th Division had sustained significant casualties, with 442 men killed and 1,141 wounded, while inflicting heavy losses on Japanese forces, estimated at around 9,000 killed and capturing 269 prisoners. With this chapter closed, it was time to shift the scene to Balikpapan, where the conclusion of the Borneo Campaign awaited. As we rejoin the action, by July 9, General Milford's 7th Australian Division had largely secured the Balikpapan area. Brigadier Chilton's 18th Brigade executed a successful landing at Penadjam, Djinabora, and Teloktebang on the western side of the bay. Simultaneously, Brigadier Eather's 25th Brigade advanced towards Batuchampar along Milford Highway, while Brigadier Dougherty's 21st Brigade secured key positions in the Sepinggang and Manggar areas. On July 10, the 2/31st Battalion secured the Cello position and the fallen-timber area directly in front with crucial support from artillery and tanks. In a bold move, one of their companies launched an attack towards the position known as Coke; however, this assault was met with fierce resistance and was ultimately repelled by intense crossfire from well-entrenched defenders. To the left of their advance, the 2/6th Commando Squadron probed toward Sumber Kiri, successfully securing the village and bolstering the Australians' hold in the region. At this moment, the 2/27th Battalion took over the left flank at Manggar, which allowed the exhausted 2/14th Battalion to probe towards Sambodja without risk of being outflanked. The next day, as the 2/27th moved through the 2/14th to occupy Lamaru, the 2/25th Battalion began the process of relieving the weary 2/31st, ensuring that fresh forces could continue the advance. On July 12, the commandos initiated probing operations towards a position known as Charm, successfully occupying both Cloncurry and Abash in the following two days. These captures were significant in securing the area and maintaining the momentum of the Australian advance through Balikpapan. After extensive patrolling on both sides of the highway, the 2/25th Battalion finally dispatched two companies on July 14 to occupy the strategic locations of Cart and Calm. These efforts led to the successful securing of Cocoa, Calm, and Chair, all achieved without resistance. That same day, to the east, patrols discovered Amborawang and the ridges north of Bale unoccupied. Recognizing this opportunity, the 2/27th Battalion moved into the area three days later. On July 15, the 2/9th Battalion sent patrols towards Separi and along the Parehpareh River, aiming to cut the enemy's lines of communication. Concurrently, the 2/25th Battalion solidified its control over Cart, enabling them to dominate the highway from both the east and west. However, their position was soon contested as they faced a series of heavy Japanese counterattacks during the following nights, testing their resolve and defensive capabilities. By July 17, the 2/25th had moved to occupy Charm, situated prominently by the highway, while a company from the 2/33rd Battalion took over Cart, allowing both units to repel yet another strong night counterattack from Japanese forces. The next day, the 2/27th finally entered the unoccupied Sambodja area, while patrols began to probe westward toward the Milford Highway. On July 19, the 2/31st Battalion cleared the last remnants of Japanese presence from the highway, paving the way for uninterrupted Australian operations. The following day, the 2/25th destroyed a robust enemy pocket, allowing them to occupy Abide without further incident. On July 21, the remaining Japanese forces retreated from the Batuchampar area, prompting the Australians to push toward Pope's Track while extensively patrolling northward. By this time, the bulk of the 2/1st Pioneer Battalion had been landed at Djinabora, establishing a patrol base in the Tempadung area. A week later, following a naval bombardment, the Australians occupied Pamaluan and began probing operations to the east and north. This series of actions marked the conclusion of the Battle of Balikpapan. The Australians opted to halt any offensive operations at this point and instead focus on consolidating their positions through enhanced patrolling. During the course of the battle, Australian forces tragically suffered 229 killed and 634 wounded, while inflicting significant losses on the Japanese, with approximately 2,032 killed and 63 captured. Thus, Australian casualties for the broader Borneo Campaign totaled around 2,100, while Japanese losses were estimated at around 4,700. 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. General George Stevens led brave troops against the entrenched Japanese forces aiming to capture the strategic town of Wewak. Despite fierce resistance and rugged terrain, they successfully advanced, featuring key victories after relentless battles. Australian artillery and infantry engaged in daring assaults, securing vital positions like the Kumbungua Ridge and establishing airfields. As the campaign progressed, Japanese forces dwindled, ultimately surrendering at Wewak. 

It's time for some hidden history, dear one!! Did you know one of Japan's most famous artists had a secret weapon? And no, it wasn't just his paintbrush! In this episode, we uncover the fascinating, overlooked story of Katsushika Oi, the daughter (and possible secret collaborator) of the legendary Hokusai! Oi wasn't just any artist—she was a bold, brilliant painter who worked in the shadow of her famous father. Her work, including the stunning 'Night Scene in the Yoshiwara,' showcased her mastery of light and color. But was she merely an assistant, or did she play a far bigger role in Hokusai's masterpieces? Join us as we dive into her life, her art, and the reasons history nearly erased her. Spoiler: This is hidden women's history at its finest! What You'll Learn in This Episode:

Seirou Opera on Kanoko Sakurokoujin historiallinen murhamysteeriromanssi, jossa päähenkilö myy itsensä kurtisaanioppilaaksi Edon punaisten lyhtyjen alue Yoshiwaraan päästäkseen vanhempiensa murhaajan jäljille. Ajankohtaisina aiheina puhumme, miten digimanga-startup Orangen tekoälykäännöshehkutus vaikuttaa olleen aika lailla huijausta sekä siitä, miten shoujomangasta tunnettu Aya Kanno on aloittanut shounensarjan. Lukujonossa tutustumme Ivrean uuden tulemisen ensimmäiseen aaltoon, eli Chainsaw Maniin ja Demon Slayeriin. Kurkkaamme vähän ensivaikutelmia myös One Piecen uudesta käännöksestä. --- Kommentoi | Threads | Mastodon | Bluesky | X | Instagram --- (01:13) – KUULUMISET: VUOKRAPERHEET - Kuten viime jakossa mainittiin: uusi Mangakartta-jakso ilmestyy nykyisin joka kuukauden kolmas torstai (paitsi tämä jakso, joka oli viikon myöhässä) - Vuokraperheet - Traileri (YouTube) - Rental Family, tuleva amerikkalais-japanilainen yhteistuotantoleffa samasta aiheesta - The New Yorkerin artikkeli vuokraperhebisneksestä, jonka alkuun on sittemmin lisätty korjausteksti siitä, miten vuokraperhefirmojen asiakkaina haastatellut henkilöt ovatkin todennäköisesti olleet vuokraperhefirman työntekijöitä itse ja vain esiintyneet haastattelijalle asiakkaina - The New Republicin artikkeli siitä, miten The New Yorkerin kirjoittaja meni vipuun vuokraperheartikkelissa - Family Romance, itseään mediassa ahkerasti esillä pitävä vuokraperhefirma - Family Romance, LLC, Werner Herzogin aiempi elokuva vuokraperhebisneksestä, jossa Family Romancen toimitusjohtaja Yuichi Ishii esiintyi pääosassa - Ashita watashi wa dareka no kanojo - Nytleffaan.fi-sivustolta löytää kätevästi kaikkien elokuvateatterien näytökset - Tabicinen edellinen elokuva The Good Father (15:06) – SEIROU OPERA: ESITTELY - Seirou opera - Betsucomi-lehti - Akanen vanhemmat tappanut mies, jolla on puolikuun muotoinen syntymämerkki (kuva) (22:36) – SEIROU OPERA: YOSHIWARA JA SARJAN MAAILMA - Sakuran, Moyoco Annon Yoshiwaraan sijoittuva manga - Yoshiwara, Edon punaisten lyhtyjen alue - Oiran - Oiranin kulkue oli nähtävyys (kuva) - Kurtisaanien kohtalot saattoivat olla hyvin surullisia (kuva) - Kohtauksessa tautien takia sekava kurtisaani ottaa puodista hiusneulan, koska houreilee asiakkaansa ostaneen sen hänelle, ja Soosuke estää puodin omistajaa lyömästä kurtisaania ja ostaa hiusneulan tälle - Petteri sanoi vahingossa klamydia, mutta oikeasti tuona aikana jylläsi kuppa - Chonmage oli miesten semipakollinen kampaus Edo-kaudella (49:20) – SEIROU OPERA: KERRONTA JA VISUAALIT - Sakurakouji avaa jälkikirjoituksessa japanilaisen naisen kampauksen rakentamista (ja huomauttaa, että tätä kampausta ei sitten tosielämässä avattu yhdellä sormella vaikka Soosuke niin tarinan kohtauksesssa tekeekin (kuva) - Viereisellä sivulla Soosuke ja Riichiroo miettivät kiusaantuneina, että lyhyiden hiusten kanssa on paljon mukavampi olla kuin chonmagen, ja Akane toruu Soosukea tämän huonosta ja tökeröstä kuontalosta (59:19) – SEIROU OPERA: AKANE JA SOOSUKE - Kun Akane ja useat muut kurtisaanit joutuvat siepatuksi ja heitä pidetään vankina, Akane pitää moraalia yllä ja vaatii vangeille ruokaa ja kunnollisia vessakäyntejä (kuva) - Akane ehtii viime hetkellä karata lukitusta huoneesta ja juosta kattoja pitkin esiintymislavan lähelle ja ilmestyy parvekkeelle lavan yläpuolelle ja hyppää Soosuken syliin spektaakkelimaisesti (kuva) - Samuraiperheen tyttärenä ja näin ollen naginatan taitajana Akane käyttelee survereenisti aseenaan kaikenlaisia sauvoja (kuva) - Tämä päätyy taiteilijan näkemyksellä varustettuna uutislehtisiin, joissa kerrotaan miten “samuraiperheestä oleva oiran-oppilas puolusti naginatalla hyökkäyksen kohteeksi joutunutta rakastettuaan” (kuva) - Soosuke haastaa riitaa etenkin vihaamiensa samuraiden kanssa (kuva) - Oikeasti samurait eivät saaneet tuoda miekkojaan Yoshiwaraan sisälle, vaan ne piti jättää portille. Mutta kaipa tätä vahdittiin aika leväperäisesti, kuten kaikkia sääntöjä Yoshiwarassa. - Kagemat olivat Edo-kauden poikaprostituoituja - Soosuke sanoo vihaavansa Akanea, mutta sitten heti perään väkisinpussaa ja ilmoittaa aikovansa saada Akanen antautumaan hänelle täydellisesti, ihme tyyppi (kuva) - Akane ei edes muista hänen ja Soosuken ensikohtaamista, vaikka se jäi kalvamaan Soosukea (kuva) - Riichiroo selittää Soosukelle, että kiva juttu että haluat auttaa, mutta kai tajuat, ettet voi ikinä saada Akanea vaimoksesi, jos hänen tavoitteensa perheensä samurai-arvon palauttamiseksi toteutuu (kuva) - Soosuke provosoi järkyttyneen Akanen takaisin jaloilleen sen sijaan, että yrittäisi manipuloida hänet vaimokseen (kuva) - Akane ja Soosuke kiukuttelevat toisilleen jatkuvasti… (kuva) - Tässä Soosuke härnää Akanea sanomalla, että kurtisaanioppilaiden on jaettava futoninsa asiakkaan kanssa, ja että kielletty hedelmä saattaa silloin houkuttaa häntä liikaa. Akane toteaa pahastuneena, että mikäli Soosuke yrittää mitään, hän aikoo huutaa ja varmistaa, ettei Soosuke enää pääse Akebonoroohon. Soosuke perääntyy ja lupaa olla kiltisti. Akane harmittelee mielessään, ettei taaskaan ole ollut hyvää hetkeä kiittää aikaisemmasta palveluksesta, kun Soosuke on aina mahdoton. - …mutta siitä huolimatta tunteet vain kipinöivät! (kuva) - Tässä Soosuke selittää väärinkäsitystä, ettei hän suinkaan ole kihloissa, vaan hänen seurassaan ollut henkilö oli naisroolien kabuki-näyttelijä Kikunojoo. Kun hän huomaa Akanen purskahtaneen itkuun, hän vaikeroi, että Akane ei suostu hänen vaimokseen ja pyytää auttamaan Akanen samurai-statuksen palauttamisessa, vaikka he eivät silloin koskaan voi yhdessä, mutta silti Akane ei halua antaa hänen olla kenenkään muunkaan kanssa. Akane miettii, että heillä ei voi olla yhteistä tulevaisuutta ja jonain päivänä heidän täytyy erota. - Vaikka Akane on paljon nuorempi ja haavoittuvassa asemassa, on hänen ja Soosuken suhde kuitenkin tasavertaisen tuntuinen (kuva) - Kuvan kohtauksessa Akane kutsuu Soosuken jakamaan futoninsa “en halua että lähdet kotiin tänään”, ja Soosukea hermostuttaa, kun Akane kiehnää kovin lähellä (01:21:29) – SEIROU OPERA: AKEBONOROON HAHMOT - Uskollinen palvelija Riichiroo on Akanelle kuin isoveli ja pestautuu Akebonoroohon miespalvelijaksi olemaan tämän tukena (kuva) - Kuvan kohtauksessa Riichiroo sanoo Akanelle, että varmasti kuolleet rakkaat haluaisivat Akanen olevan ennemmin onnellinen kuin heittävän onnensa pois koston vuoksi - Häikäilemätön Yukari kertoo Akanelle, että Yoshiwarassa ei ole ystäviä vaan ainoastaan kilpailijoita, ja hän aikoo tulla Yoshiwaran suurimmaksi oiraniksi ja vihjaa, että tietää Akanen ja Riichiroon suhteen olevan erityinen ja pitävänsä heitä silmällä heikkouksien varalta (kuva) - Yukari on kotoisin köyhistä oloista, joten hänelle elämä Yoshiwarassa on vain tie ylöspäin, ja hänen on vaikea sietää langenneita rikkaita tyttöjä, joille sinne päätyminen on kamala kohtalo (kuva) - Kuvan kohtauksessa Yukari miettii, että hänelle Yoshiwara tuntui paratiisilta, jossa ei tarvinnut nähdä nälkää ja jossa kovalla työllä saattoi edetä parempaan elämään. Akanen säälivä toteamus siitä, että kaikkien Yoshiwaraan päätyneiden on täytynyt kokea kamalia asioita, ärsyttää Yukaria, joka miettii, että tuo tyttö ei ole koskaan kokenut elämässään todellisia vaikeuksia. - Yukari alkaa kokea tunteita Riichiroota kohtaan, vaikka on aina ollut sitä mieltä, että rakkaus on vain sairaus joka saa naiset tekemään tyhmiä elämänvalintoja (kuva) - Sankin kootai -järjestelmän vuoksi lääninherrojen täytyi asua joka toinen vuosi Edossa ja joka toinen vuosi läänissään, jolloin shogunaatti pystyi pitämään heidän omaisuuttaan ja perhettään panttivankina kapinoiden ehkäisemiseksi - Oiran Asakeno on kylmä ja vaativa, mutta kuitenkin välittää pikkusisaristaan (kuva) - Sydämellinen oiran Aoi suhtautuu huumorilla siihen, että Akane yllätti hänet ja poikaystävänsä petipuuhista (kuva) - Aoi kertoo, että hän saa epävirallisesti viettää yhden yön kuussa poikaystävänsä Sakichin kanssa – kunhan maksaa yöstä itse - Aoi ja Sakichi ovat onnellisia rakastavaisia nyt, kun Aoin perheen traaginen epäonni on nyt kuitenkin johtanut siihen, että he voivat edes jollain tavalla olla yhdessä (kuva) - Aoi ja Sakichi kertovat, että vaikka he eivät voikaan viettää yhdessä erityisen romanttisena pidettyä täyden kuun yötä – koska Aoin täytyy silloin olla ykkösasiakkaansa kanssa – niin he ovat yhdessä sitten sitä edeltävän yön. Akane miettii, että vaikka hänellä ja Soosukella ei tule olemaan yhteistä tulevaisuutta, niin toivottavasti Aoi ja Sakichi voivat vielä saada toisensa. (01:42:56) – SEIROU OPERA: MUUT HAHMOT - Kauppias Matsuzakaya on maailman kuumin vanhempi herrasmies (kuva) - Virkamies Mitsuhashi vaikuttaa pintapuolisesti vähän hönöltä nuorten neitojen perässä juoksijalta, mutta paljastuu viekkaammaksi kuin ensin vaikuttaa (kuva) - Kabuki-näyttelijä Kikunojoo Seyama on Soosuken BFF, joka tässä kohtauksessa kiusoittelee Soosukea Akanesta (kuva) - Oikean maailman naisrooleihin erikoistunut kabuki-näyttelijälinja Kikunojoo Segawa - One Piecen transnaishahmo Kikunojoo on saanut inspiraation samasta hahmosta (varo spoilereita Wa-maa-juonikaaresta!) (01:51:06) – SEIROU OPERA: JULKAISU JA SEN PUUTE - Fanikäännöksen laatu on etenkin ensimmäisten 10 luvun verran luokaton, ja senkin jälkeen juonen seuraamista vaikeuttavia virheitä löytyy joka luvusta. Onneksi käännös paranee sarjan edetessä, ja ihan lopussa se on jo ihan OK. - Yoshiwaran sääntöjen mukaan miesasiakkaan tulee sitoutua yhteen kurtisaaniin, mutta fanikäännöstä lukemalla asia ei tule välttämättä yhtään selväksi (kuva) - Fanikäännöksessä paljastus siitä, että Soojiroo etsii Yoshiwarasta sinne aikoinaan myytyä siskoaan menee kokonaan pilalle – oikeasti samurai sanoo tässä “ehkä me ollaan köyhiä, mutta ei sentään niin köyhiä että meidän vanhemmat olisi myyneet meidän siskoja bordelliin, toisin kuin sinun siskollesi kävi” (kuva) - Ja asia mainitaan vielä heti seuraavalla sivulla! - Natsume Arata no kekkon (02:05:33) – SEIROU OPERA: SPOILERIOSIO (spoilerivaroitus) - Hupsis, Maaret puhuu välillä vähän epätarkasti petoksesta, vaikka kyseessä sarjassa ovat syytökset lahjusten antamisesta ja ottamisesta - Kaksoisitsemurha… vai onko?! (kuva) - Soosuke saa Nakamuran haaviinsa ennen Akanea ja on varannut koko Akebonoroon juhlistaakseen uutta liikekumppaniaan, jolloin Akanella ei ole muuta vaihtoehtoa kuin ottaa hänet takaisin (kuva) - Joviaali mutta epäilyttävä tohtori Makimura työskentelee päivisin lääkärinä ja öisin salaisena agenttina (kuva) - Kuvan kohtauksessa Makimura sattuu piiloutumaan yökeikalla Akanen huoneeseen epämääräisen selityksen kera, ja Akane miettii, että Makimuralla on paljon pahaenteisempi aura kuin päivällä heidän kohdatessaan, ja että Makimura haisee vereltä - Akane jää epämiellyttävästi Soosuken ja Seijiroon väliin, ja Seijiroo on aika punaisten lippujen mies (kuva) - Akane kohtaa viimein Nakamuran (kuva) - Kuvan kohtauksessa Nakamura selittää Akanelle, että on tajunnut, että hän Akane on hänen ahdinkonsa ja korruptionsa paljastumisen syypää, ja että hän ei voi edes tehdä seppukua rauhassa ennen kuin saa tietää, kuka Akane on ja missä kohtaa peliään hän epäonnistui, kun sai Akanen kimppuunsa. Akane haluaa saada Nakamuran ymmärtämään, että tämän “peli” itsessään on rikos, ja kertoo olevansa Nagakuran tytär ja kuinka paljon vanhempien ja ystävien tapattaminen on häntä satuttanut. Nakamura kuitenkin toteaa, ettei ollut henkilökohtaisesti vanhempien murhan takana, eikä edes muista Aoita ja Sakichia, eikä ymmärrä, miksi Akane on niin vihainen – kun eihän hän nyt itse jokaista tielleen tulevaa ötökkää vaivaudu liiskaamaan, kun hänen suosioonsa haluavat tekevät niin itsenäisesti. Akane kauhistuu kun tajuaa, ettei Nakamuralla ole mitään ongelmaa muiden elämän ja kunnian tuhoamisessa omaa peliään edistääkseen. - Ja sitten lopultakin pannaan! (kuva) - Asakeno itkee rakastamansa Matsuzakayan perään, kun ei voinut valita tätä ostajakseen (kuva) (02:31:32) – SEIROU OPERA: SUPERSPOILERIOSIO - One Piecessäkin on tuttu juttu se samuraiden vanhan ajan kunniakoodi, että haavat selässä ovat pelkuruuden merkki: - Pokkari 6 (kuva) - Pokkari 59 (kuva) - Kuunsirppimies paljastuu! (kuva) - Onnellinen loppu (kuva) (02:43:38) – SEIROU OPERA: YHTEENVETO - Jakso 7, jossa puhuimme Seirou operan alusta lukujonossa (02:47:02) – DIGIMANGAJULKAISIJA ORANGE JA SUURI TEKOÄLYHUIJAUS - Jakso 101, jossa puhuimme viimeksi Orangen digimangasuunnitelmista - Manga Alertsin twiittiketju Orangen Anime Expossa jakamista manganäytteistä - Emaqi-palvelu (tarvitsee VPN-palvelun käytön) - …Mutta tältä se osapuilleen näyttää (kuva) - Anjou the Mischievous Gal - Orange ilmoitti kääntävänsä Shueishalle kaikki Jump Plus -oneshotit, ja reaktiot eivät olleet positiivisia - Orangen lehdistötiedote - Manga Alertsin kohutwiitti siitä, miten Orange oikeasti käyttää ihmiskääntäjiä - Manga Alerts ei ihan tunnu ymmärtävän sitä, että eri yleisöille tiedotetaan ja viestitään eri tavoilla… - Deb Aokin haastattelu Comics Beat -sarjakuvauutissivustolla - Hyvää ja nopeaa, mutta entä se halpuus? - Sijoitushuijaukseltahan tämä vain tuntuu (02:59:03) – AYA KANNON UUSI SARJA ON SHOUNENMANGA - Aya Kanno ja uusi sarjansa Meioo no zakuro - Psychometrer Eiji - Fuyumi Soryo - Maaretin artikkeli Fuyumi Soryosta Anime-lehden numerossa 2/2017 (pdf) - CLAMP - Fumi Yoshinaga - Junji Ito, jonka sarjoista puhuimme jaksossa 30 - Spica Aoki (03:19:47) – KUULIJAKOMMENTTI: CARDCAPTOR SAKURA JA MY MONSTER SECRET - Cardcaptor Sakura - My Monster Secret (03:24:31) – KUULIJAKOMMENTTI: KIYO IN KYOTO - Kiyo in Kyoto (03:33:27) – KUULIJAKOMMENTTI: LOTTA SVÄRD - WOMEN OF WAR - Lotta Svärd - Women of War - Jaksoja, joiden lukujoista löytyy muitakin kuin mangaa: - 32: Check, Please - 52: Heartstopper - 103: Anni K:n omakustannelyhärit - 86: Breath of the Wild ja Tears of the Kingdom - 99: The Good Father - 63: Grandmaster of Demonic Cultivation - 98: Tällä tavalla hävitään aikasota (03:37:35) – KUULIJAKOMMENTTI: SUOSITUKSIA JA CONEJA - The Apothecary Diaries - Kaiju No. 8 - Comic Con Suomi - Kibecon - Jakso 104, jossa puhuimme kuulijakommenttiosiossa coneista - Jakso 41, jossa puhuimme jaksolatauksista - Bonusjakso, jossa puhuimme maailmanrakennuksesta (03:45:02) – LUKUJONOSSA: IVREAN CHAINSAW MAN JA DEMON SLAYER - Jakso 97 ja jakso 100, joissa olemme puhuneet Ivrean uudesta tulemisesta - Ivrea Suomen nettisivut - Jakso 77, jossa puhuimme Chainsaw Manista - Demon Slayer - Kimetsu no Yaiba - Antti Valkaman twiitti Ivrean One Piece -käännöksen näytesivuista - Vertailun vuoksi Valkaman oma käännös vuodelta 2005: - Sivu 1 (kuva) - Sivu 2 (kuva) - Sivu 3 (kuva) - Sivu 4 (kuva) (04:09:42) – LOPETUS

Sell-Out September has been fun, but it must be put out of its misery with today's episode. We talked about Robert Zemeckis' reimagining of Birth of a Nation as a post-war jukebox musical for the boomer generation. If Griffith's foundational, hateful text was “history written in lightning”, Gump is history written with chocolate. We also talked about The Substance, Yoshiwara, and John Williams' Stoner on Malcolm in the Middle. 00:00 - Forrest Gump 49:20 - Malcolm in the Middle

Wykład towarzyszący wystawie "Podróż do Edo. Japońskie drzeworyty ukiyo-e z kolekcji Jerzego Leskowicza". Muzeum Narodowe w Warszawie, 2 marca 2017 https://wszechnica.org.pl/wyklad/edo-i-jego-mieszkancy-na-drzeworytach-z-kolekcji-jerzego-leskowicza/ Jak wyglądało pod koniec XVIII w. i w pierwszej połowie XIX w. życie mieszkańców Edo (dziś Tokio), mogli dowiedzieć się słuchacze wykładu Anny Katarzyny Maleszko w Muzeum Narodowym w Warszawie. Wystąpienie było częścią cyklu wykładów towarzyszących wystawie "Podróż do Edo. Japońskiego drzeworyty ukiyo-e z kolekcji Jerzego Leskowicza". Prelegentka opowieść o mieście osnuła wokół przedstawiających je drzeworytów ukiyo-e, przede wszystkim autorstwa Utagawy Hiroshige. Japoński artysta dorastał, żył i zmarł w Edo. Pozostawione przez niego prace pokazują życie ulicy, miejsca kultu oraz obrzędy i rytuały. Podczas wykładu można było poznać charakterystyczne miejsca ówczesnego miasta, jak targ przy moście Nihonbashi czy "dzielnica uciech" Yoshiwara. Anna Katarzyna Maleszko prezentując słuchaczom kolejne drzeworyty opisywała historię przedstawionych miejsc oraz kontekst ukazanych scen. Znajdź nas: https://www.youtube.com/c/WszechnicaFWW/ https://www.facebook.com/WszechnicaFWW1/ https://anchor.fm/wszechnicaorgpl---historia https://anchor.fm/wszechnica-fww-nauka https://wszechnica.org.pl/ #edo #sztuka #kultura #muzeum #muzeumnarodowe #drzeworyt #japonia #tokio

Od 17. do 19. stoletja je Yoshiwara, rdeča četrt v Tokiu, navdihovala slikarje, literate in gledališčnike in tako postala nekakšen epicenter tamkajšnje meščanske kulture, ta pa je sčasoma prodrla med vse sloje japonske družbe in jih trdno povezala med sebojMoški s celega sveta menda že tisočletja zahajajo v rdeče četrti. Kaj tam počno, kaj tam iščejo in za primeren denar tudi najdejo, je seveda jasno, pa vendar ne moremo reči, da so si kar vse rdeče četrti v zgodovini enake kakor jajce jajcu. Nekajkrat – in to v zelo specifičnih historičnih okoliščinah – se je namreč primerilo, da je ponudba v tovrstnih predelih mest odločno presegla raven zagotavljanja hitre spolne gratifikacije in takrat so na meni prišli tudi drugačni užitki … Pomislimo, na primer, na Pigalle, ki se je, zahvaljujoč Toulouse-Lautrecu, van Goghu, Picassu, Josephine Baker, Edith Piaf in Hemingwayu, na prelomu iz 19. v 20. stoletje uveljavil kot nekakšen epicenter globalno odmevne, globalno vplivne pariške urbane kulture. No, kulturno še vplivnejša, čeprav pri nas skorajda povsem neznana, pa bi utegnila biti Yoshiwara, rdeča četrt v današnjem Tokiu, ki je neločljivo povezana z razvojem japonske umetnosti v poznem 17., 18. in 19. stoletju. Kako odločilna je torej bila vloga, ki jo je Yoshiwara odigrala v zgodbi o gledališču kabuki pa o lesorezih ukiyoe in drugih umetnostnih oblikah, ki jih povezujemo s tradicionalno japonsko kulturo, smo preverjali v tokratnem Kulturnem fokusu, ko smo pred mikrofonom gostili sociologa kulture in japonologa, predstojnika Oddelka za azijske študije na ljubljanski Filozofski fakulteti, dr. Luko Culiberga. na sliki: Katsushika Ōi – Nočni prizor iz Yoshiware, lesorez, izrez (Wikipedija)

Eccoci con una nuova puntata delle “Pillole di letteratura giapponese” con NipPop! In questo episodio la nostra Paola Scrolavezza ci parlerà di “Sakuran” di Moyoco Anno, pubblicato in Italia da Dynit nella collana Showcase, curata da Asuka Ozumi nella traduzione di Anna Specchio. L'epoca Tokugawa, periodo di pace e stabilità, vede il prosperare della città di Edo e l'emergere di diverse forme d'intrattenimento, tra cui quello dei quartieri di piacere. È questo lo sfondo dell'opera, che narra le vicende della protagonista da quando, ancora ingenua, viene venduta a un bordello di Yoshiwara, quartiere di piacere di Edo, fino a diventare una delle prostitute più celebri della sua epoca, ovvero una 'oiran'. Quello che Moyoco Anno descrive in “Sakuran” è un universo crudele che non lascia spazio alla solidarietà femminile, in cui le donne rivaleggiano sempre fra loro, ma in cui nonostante ciò assistiamo alla maturazione di Sakuran e alla presa di coscienza della propria forza e resilienza. ----------------------------------- SEGUICI SU: - Web Page: https://www.nippop.it - Facebook: https://www.facebook.com/nippopbologna - Twitter: https://twitter.com/NipPopOfficial - Instagram: https://www.instagram.com/nippopofficial - YouTube: https://www.youtube.com/user/nippopbologna

Neste quarto episódio da segunda temporada do "Entre Arcos" (quadro voltado para análise de mangás, tendo cada episódio um foco em um arco específico da obra), Maitos, Thallion, Gart, Emili e o possante Benio discutem sobre o quarto arco de Gintama, conhecido como "Yoshiwara in Flames", vulgo Yoshiwara em Chamas! É um grande arco? Ou é nada demais? Venha nos ouvir para ter essas perguntas respondidas! Obs: este programa tem Spoilers, então, por favor, leia até o capítulo 228 antes de ouvir o episódio! Você foi avisado!

Hello dear friend! Why don't you and I take a trip to the floating world of Edo Japan? In this episode, you and I take a stroll down Japan's red light District of Yoshiwara where we'll meet the near-perfect women who live there, the Oiran. I'll take you through the ins and outs of what it takes to be one of Edo Japan's most elite sex workers. You'll be dazzled by the money, glitz, and glam. But is this simply gilded glamor? You'll have to tune in to find out if all that glitters is actually gold. https://www.instagram.com/ (Instagram) https://www.patreon.com/fortheloveofhistorypodcast?fan_landing=true (Patreon) https://linktr.ee/fortheloveofhistory (Link Tree) Email: fortheloveofhistory2020@gmail.com https://www.fortheloveofhistorypodcast.com/home (www.fortheloveofhistorypodcast.com) https://www.speakpipe.com/fortheloveofhistorypodcast (Voice mail!!) https://my-store-11641481.creator-spring.com/listing/ftlh-season-3 (New Merch!!) Further Reading https://www.nippon.com/en/japan-topics/g01083/?cx_recs_click=true (The Courtesans of Yoshiwara) https://people.clas.ufl.edu/jshoaf/japanese-dolls/floating-world/onnagata/ (Onnagata and Oiran) https://ikimasho.net/2016/04/14/oiran-dochu-procession-yoshiwara-tokyo/ (oiran dochu procession, yoshiwara) https://edge-of-niigata.com/blog/840/ (The echo of OIRAN) https://www.nippon.com/en/japan-topics/g00885/ (The Yoshiwara Pleasure Quarters: A Cradle for Japan's Edo Culture) http://www.ukiyoe-ota-muse.jp/exhibition-eng/oiran-fashion-eng (Fashion in the Yoshiwara Pleasure Quarter) https://www.collectorsweekly.com/articles/the-tragic-life-of-the-courtesan-in-japans-floating-world/ (Sex and Suffering: The Tragic Life of the Courtesan in Japan's Floating World) https://www.tsunagujapan.com/20-facts-you-did-not-know-about-oiran/ (20 Facts You Did Not Know About Oiran)

She's spent four decades in Washington's community and technical college system. Now, she's stepping down as leader of the State Board for Community and Technical Colleges. What are the challenges and opportunities facing this system of nearly three dozen colleges spread across Washington state? We talk with outgoing SBCTC Executive Director Jan Yoshiwara.

Marcus och Andereas pratar idag om Demon Slayer: Kimetsu no Yaiba Entertainment District Arc Säsong 2 fortsätter med att först köra “Mugen train” filmen i serieformat. efter det bestämmer sig Tanjirou och hans gäng för att hjälpa Tengen Uzui, mästaren på ljud-andning, med att jaga en demon som terroriserar Yoshiwara red light district. 

The Toho Gang step into Yoshiwara to witness the glamour and drama of the Red Light District. Dazed by all the colors and beauty it's hard to tell if these courtesans are just goldfish in a bowl, or cicadas waiting to emerge and fly away. It's brother politics and stunning style in Episode 71: Sakuran! […] The post Toho Yaro #71, “Sakuran” appeared first on Toho Yaro.

On this episode Morgana checks out Kageki Shojo! The Curtain Rises, Darfox started watching the Demon Slayer: Kimetsu no Yaiba anime, and dakazu learns a new minor-sport with Shakunetsu Kabaddi! Then we dive into Sakuran, another gorgeous book by Moyoco Anno about the life of an Edo era courtesan!!! Send us emails! mangamachinations@gmail.com Follow us on Twitter! @mangamacpodcast Check out our website! https://mangamachinations.com Check out our tumblr! http://mangamachinations.tumblr.com Join our Discord! https://discord.me/mangamac Timestamps: 00:00:00 - Intro Song: “Karisome Otome (DEATH JAZZ ver.)” by the Ringo Sheena from Sakuran, Opening, Introductions, Morgana’s thoughts on our spoiler-talk about Zack Snyder’s Justice League 00:04:35 - Listener Emails: Our preference for manga volume cover designs 00:16:18 - Whatchu Been Reading: Transition Song: Dragon Ball Z OST “Prologue”, Morgana enjoyed Kageki Shojo! The Curtain Rises and is looking forward to reading more 00:23:25 - Darfox needs to watch all of Demon Slayer: Kimetsu no Yaiba before seeing Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train 00:40:00 - Shakunetsu Kabaddi is a solid sports manga but resorts to bad cliches 00:46:09 - dakazu notices that Beast Complex 2 won’t be able to release in English until BEASTARS is completed 00:47:29 - News: Nagata Kabi will be a featured guest at the 2021 online Toronto Comics Arts Festival 00:50:16 - Anime adaptation announcements for Dance Dance Danseur and Peleliu - Rakuen no Guernica 00:51:58 - The World Ends with You anime opening song by the band ALI changed after their drummer arrested for bank refund scams 00:55:23 - Next Episode Preview and Rundown: Triple Dip, we will read the beginning of three different manga to see if we’d keep reading and also pick our favorite, including: Generation Witch by Uta Isaki, Tokyo Revengers by Ken Wakui, and Oishinbo: Izakaya--Pub Food, Vol. 7: A la Carte by Tetsu Kariya & Akira Hanasaki 00:58:24 - Main Segment One Shot: Sakuran, Transition Song: “Kono Yo no Kagiri” by Ringo Sheena & Junpei Shiina from Sakuran, we review Moyoco Anno’s single volume story about the life of Yoshiwara courtesan Tomeki 01:47:42 - Next Week’s Topic: Generation Witch/Tokyo Revengers/Oishinbo: Izakaya--Pub Food, Vol. 7: A la Carte, Social Media Rundown, Sign Off Song: “wish men” by sunbrain from Beet the Vandel Buster

In 1800, the Shogun's chief minister wrote the following about the city of Edo: "Someone said that if Edo did not have frequent fires, then people would be more showy and flash. In the capital or in Osaka they do everything with lavish elegance: people hang up paintings in their homes or put out arrangements of flowers. But in Edo, even in the affluent areas, everything is restrained. People only display a single flower [in a bamboo tube or a simple pot]. The wealthy have fine chess sets, but the box will have paper fixed under the lid to double up as the board. Edo's sense of conciseness comes from continual fires." According to Professor Timon Screech, author of Tokyo Before Tokyo: Power and Magic in the Shogun's City of Edo (Reaktion Books, 2020), the city is the source of much of what we consider to be Japanese culture: sushi, Mt Fuji, cherry blossoms. Tokyo Before Tokyo is a rich illustrated volume that presents the vibrant visual history of Edo. The book is presented as a series of vignettes, dealing with key landmarks and districts from the old city, from the Shogun's castle to the famous red-light Yoshiwara district. In this interview, Professor Screech and I talk about the different vignettes that make up Tokyo Before Tokyo, and the role that Edo played in old Japan. We also investigate his decision to focus on landmarks and districts, and whether any of old Edo can be seen in today's Tokyo. Professor Timon Screech is Professor of the History of Art at SOAS University of London. He is the author of at least a dozen books on the visual culture of the Edo period, including perhaps his best-known work Sex and the Floating World: Erotic Images in Japan, 1700-1820 (University of Hawaii Press, 1999). In addition to Tokyo Before Tokyo, his other most recent book is The Shogun's Silver Telescope: God, Art, and Money in the English Quest for Japan, 1600-1625 (Oxford University Press, 2020). In 2019, Professor Screech was elected as a Fellow of the British Academy. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Tokyo Before Tokyo. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is a reviewer for the Asian Review of Books. He is also a print and broadcast commentator on local and regional politics. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1800, the Shogun's chief minister wrote the following about the city of Edo: "Someone said that if Edo did not have frequent fires, then people would be more showy and flash. In the capital or in Osaka they do everything with lavish elegance: people hang up paintings in their homes or put out arrangements of flowers. But in Edo, even in the affluent areas, everything is restrained. People only display a single flower [in a bamboo tube or a simple pot]. The wealthy have fine chess sets, but the box will have paper fixed under the lid to double up as the board. Edo's sense of conciseness comes from continual fires." According to Professor Timon Screech, author of Tokyo Before Tokyo: Power and Magic in the Shogun's City of Edo (Reaktion Books, 2020), the city is the source of much of what we consider to be Japanese culture: sushi, Mt Fuji, cherry blossoms. Tokyo Before Tokyo is a rich illustrated volume that presents the vibrant visual history of Edo. The book is presented as a series of vignettes, dealing with key landmarks and districts from the old city, from the Shogun's castle to the famous red-light Yoshiwara district. In this interview, Professor Screech and I talk about the different vignettes that make up Tokyo Before Tokyo, and the role that Edo played in old Japan. We also investigate his decision to focus on landmarks and districts, and whether any of old Edo can be seen in today's Tokyo. Professor Timon Screech is Professor of the History of Art at SOAS University of London. He is the author of at least a dozen books on the visual culture of the Edo period, including perhaps his best-known work Sex and the Floating World: Erotic Images in Japan, 1700-1820 (University of Hawaii Press, 1999). In addition to Tokyo Before Tokyo, his other most recent book is The Shogun's Silver Telescope: God, Art, and Money in the English Quest for Japan, 1600-1625 (Oxford University Press, 2020). In 2019, Professor Screech was elected as a Fellow of the British Academy. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Tokyo Before Tokyo. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is a reviewer for the Asian Review of Books. He is also a print and broadcast commentator on local and regional politics. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-review

In 1800, the Shogun’s chief minister wrote the following about the city of Edo: "Someone said that if Edo did not have frequent fires, then people would be more showy and flash. In the capital or in Osaka they do everything with lavish elegance: people hang up paintings in their homes or put out arrangements of flowers. But in Edo, even in the affluent areas, everything is restrained. People only display a single flower [in a bamboo tube or a simple pot]. The wealthy have fine chess sets, but the box will have paper fixed under the lid to double up as the board. Edo’s sense of conciseness comes from continual fires." According to Professor Timon Screech, author of Tokyo Before Tokyo: Power and Magic in the Shogun’s City of Edo (Reaktion Books, 2020), the city is the source of much of what we consider to be Japanese culture: sushi, Mt Fuji, cherry blossoms. Tokyo Before Tokyo is a rich illustrated volume that presents the vibrant visual history of Edo. The book is presented as a series of vignettes, dealing with key landmarks and districts from the old city, from the Shogun’s castle to the famous red-light Yoshiwara district. In this interview, Professor Screech and I talk about the different vignettes that make up Tokyo Before Tokyo, and the role that Edo played in old Japan. We also investigate his decision to focus on landmarks and districts, and whether any of old Edo can be seen in today’s Tokyo. Professor Timon Screech is Professor of the History of Art at SOAS University of London. He is the author of at least a dozen books on the visual culture of the Edo period, including perhaps his best-known work Sex and the Floating World: Erotic Images in Japan, 1700-1820 (University of Hawaii Press, 1999). In addition to Tokyo Before Tokyo, his other most recent book is The Shogun's Silver Telescope: God, Art, and Money in the English Quest for Japan, 1600-1625 (Oxford University Press, 2020). In 2019, Professor Screech was elected as a Fellow of the British Academy. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Tokyo Before Tokyo. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is a reviewer for the Asian Review of Books. He is also a print and broadcast commentator on local and regional politics. He can be found on Twitter at @nickrigordon. 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

In 1800, the Shogun’s chief minister wrote the following about the city of Edo: "Someone said that if Edo did not have frequent fires, then people would be more showy and flash. In the capital or in Osaka they do everything with lavish elegance: people hang up paintings in their homes or put out arrangements of flowers. But in Edo, even in the affluent areas, everything is restrained. People only display a single flower [in a bamboo tube or a simple pot]. The wealthy have fine chess sets, but the box will have paper fixed under the lid to double up as the board. Edo’s sense of conciseness comes from continual fires." According to Professor Timon Screech, author of Tokyo Before Tokyo: Power and Magic in the Shogun’s City of Edo (Reaktion Books, 2020), the city is the source of much of what we consider to be Japanese culture: sushi, Mt Fuji, cherry blossoms. Tokyo Before Tokyo is a rich illustrated volume that presents the vibrant visual history of Edo. The book is presented as a series of vignettes, dealing with key landmarks and districts from the old city, from the Shogun’s castle to the famous red-light Yoshiwara district. In this interview, Professor Screech and I talk about the different vignettes that make up Tokyo Before Tokyo, and the role that Edo played in old Japan. We also investigate his decision to focus on landmarks and districts, and whether any of old Edo can be seen in today’s Tokyo. Professor Timon Screech is Professor of the History of Art at SOAS University of London. He is the author of at least a dozen books on the visual culture of the Edo period, including perhaps his best-known work Sex and the Floating World: Erotic Images in Japan, 1700-1820 (University of Hawaii Press, 1999). In addition to Tokyo Before Tokyo, his other most recent book is The Shogun's Silver Telescope: God, Art, and Money in the English Quest for Japan, 1600-1625 (Oxford University Press, 2020). In 2019, Professor Screech was elected as a Fellow of the British Academy. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Tokyo Before Tokyo. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is a reviewer for the Asian Review of Books. He is also a print and broadcast commentator on local and regional politics. He can be found on Twitter at @nickrigordon. 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

In 1800, the Shogun’s chief minister wrote the following about the city of Edo: "Someone said that if Edo did not have frequent fires, then people would be more showy and flash. In the capital or in Osaka they do everything with lavish elegance: people hang up paintings in their homes or put out arrangements of flowers. But in Edo, even in the affluent areas, everything is restrained. People only display a single flower [in a bamboo tube or a simple pot]. The wealthy have fine chess sets, but the box will have paper fixed under the lid to double up as the board. Edo’s sense of conciseness comes from continual fires." According to Professor Timon Screech, author of Tokyo Before Tokyo: Power and Magic in the Shogun’s City of Edo (Reaktion Books, 2020), the city is the source of much of what we consider to be Japanese culture: sushi, Mt Fuji, cherry blossoms. Tokyo Before Tokyo is a rich illustrated volume that presents the vibrant visual history of Edo. The book is presented as a series of vignettes, dealing with key landmarks and districts from the old city, from the Shogun’s castle to the famous red-light Yoshiwara district. In this interview, Professor Screech and I talk about the different vignettes that make up Tokyo Before Tokyo, and the role that Edo played in old Japan. We also investigate his decision to focus on landmarks and districts, and whether any of old Edo can be seen in today’s Tokyo. Professor Timon Screech is Professor of the History of Art at SOAS University of London. He is the author of at least a dozen books on the visual culture of the Edo period, including perhaps his best-known work Sex and the Floating World: Erotic Images in Japan, 1700-1820 (University of Hawaii Press, 1999). In addition to Tokyo Before Tokyo, his other most recent book is The Shogun's Silver Telescope: God, Art, and Money in the English Quest for Japan, 1600-1625 (Oxford University Press, 2020). In 2019, Professor Screech was elected as a Fellow of the British Academy. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Tokyo Before Tokyo. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is a reviewer for the Asian Review of Books. He is also a print and broadcast commentator on local and regional politics. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In 1800, the Shogun’s chief minister wrote the following about the city of Edo: "Someone said that if Edo did not have frequent fires, then people would be more showy and flash. In the capital or in Osaka they do everything with lavish elegance: people hang up paintings in their homes or put out arrangements of flowers. But in Edo, even in the affluent areas, everything is restrained. People only display a single flower [in a bamboo tube or a simple pot]. The wealthy have fine chess sets, but the box will have paper fixed under the lid to double up as the board. Edo’s sense of conciseness comes from continual fires." According to Professor Timon Screech, author of Tokyo Before Tokyo: Power and Magic in the Shogun’s City of Edo (Reaktion Books, 2020), the city is the source of much of what we consider to be Japanese culture: sushi, Mt Fuji, cherry blossoms. Tokyo Before Tokyo is a rich illustrated volume that presents the vibrant visual history of Edo. The book is presented as a series of vignettes, dealing with key landmarks and districts from the old city, from the Shogun’s castle to the famous red-light Yoshiwara district. In this interview, Professor Screech and I talk about the different vignettes that make up Tokyo Before Tokyo, and the role that Edo played in old Japan. We also investigate his decision to focus on landmarks and districts, and whether any of old Edo can be seen in today’s Tokyo. Professor Timon Screech is Professor of the History of Art at SOAS University of London. He is the author of at least a dozen books on the visual culture of the Edo period, including perhaps his best-known work Sex and the Floating World: Erotic Images in Japan, 1700-1820 (University of Hawaii Press, 1999). In addition to Tokyo Before Tokyo, his other most recent book is The Shogun's Silver Telescope: God, Art, and Money in the English Quest for Japan, 1600-1625 (Oxford University Press, 2020). In 2019, Professor Screech was elected as a Fellow of the British Academy. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Tokyo Before Tokyo. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is a reviewer for the Asian Review of Books. He is also a print and broadcast commentator on local and regional politics. He can be found on Twitter at @nickrigordon. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Hi Everyone, with me Pris ! Here's the details that you can check on this link below : https://www.goodreads.com/book/show/23635443-the-hazy-flower-of-yoshiwara-1?rating=1&utm_medium=api&utm_source=book_widget Hope you enjoy my contents ! Don't forget to stay tune on my other platforms as well : Kofi : https://ko-fi.com/priscorner Instagram : https://www.instagram.com/priscorner/

Hi Everyone, with me Pris ! Here's the details that you can check on this link below : https://www.goodreads.com/book/show/23635443-the-hazy-flower-of-yoshiwara-1?rating=1&utm_medium=api&utm_source=book_widget Hope you enjoy my contents ! Don't forget to stay tune on my other platforms as well : Kofi : https://ko-fi.com/priscorner Instagram : https://www.instagram.com/priscorner/

Moving to an anachronistic Edo, we're reading Hideaki Sorachi's goofy samurai manga, Gintama! Next time: Gintama Chapters 229-268

An oiran is not a geisha. Although at first glance they may look alike, one is a more reserved entertainer who is still in existence today. The other is a high courtesan, long disappeared, who wore flamboyant brightly-colored kimono and walked on 20 centimeter high geta. You can also find me on: Twitter: https://twitter.com/UncannyJapan Facebook: https://www.facebook.com/uncannyjapan/ Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyjapan/ Amazon: https://amzn.to/3mgCVsd YouTube: https://www.youtube.com/channel/UCqAtoUS51HDi2d96_aLv95w Website: https://www.uncannyjapan.com/ Notes: Intro/Outro by Julyan Ray Matsuura. Here and here. And here. Transcript: The Procession/Douchuu (道中): There’s a procession coming. You along with all your neighbors run to meet it. First are a handful of dancers and musicians, waving fans or playing handheld drums, wooden and flutes, and ringing bells. They’re all wearing fox masks with long red, blue, or white hair, whiskers of the same colors. The fox, or kitsune, is the god inari and is the patron of the Yoshiwara district and the women who live and work there. Next come the watchmen, called kanabo hiki (金棒引き), who carry long metal canes with rings fastened on top. They shake the metals rings to both keep time with the music and alert nearby townspeople that the oiran dochu has started. More people gather to watch. After the kanabo hiki are the tekomai (手古舞). These are women dressed in men’s clothes and hairstyles. Behind them come the chochin mochi, holding paper lanterns with the name of the top oiran or tayuu painted on it. Next are the top oiran or courtesan’s servants. They are called kamuro and are young girls with bangs and bob haircuts, dressed in red kimono. Finally, comes the reason crowds of people are packed on both sides of the street, the oiran or tayuu, the top courtesan herself. She’s absolutely stunning, dressed in layers and layers of brilliantly colored silk kimono, scarlet, gold, turquoise, and silver. Her obi which is called a manaita and tied in the front, is also colorful and intricately embroidered. Her hair is oiled and waxed and adorned with dozens of expensive kanzashi or hair pins and combs made from tortoise shell or boxwood or coral. Framing her face are two silver ornaments with long dangly pieces that sparkle as she walks. You’ll also notice that she’s taller than anyone else in the procession, wearing a kind of black geta that 20 centimeters or almost 8 inches high. A katakashi no otokoshu stays close beside her, she keeps on hand on his shoulder for support. Behind is the kasa mochi otokoshu carrying a large lacquered umbrella. For the entire slow procession, when the top courtesan walks she is doing something called a soto hachi monji, where as she steps she twists her ankle, inscribing the figure eight on the ground, then she rocks back, only to step forward again, lightly dragging the bottom of the geta in another figure eight. What you’re watching is called oiran dochu, the procession of the oiran. So today let’s talk about not the geisha but the oiran, a very high ranking courtesan. Intro: Hey hey, I hope you’re all well. I’ve got no new news to report really, so let's get on with today's show. True story: Every single time I start researching a topic for the show, I find myself going down rabbit holes. So many rabbit holes. To give you an example, for today’s episode I learned the word baidoku (梅毒) in Japanese. Plum poison. What a romantic way to say syphilis. Then that took me to rinbyou (淋病). Rin is a character that means to pour and to drip, while byou is disease. Dripping disease. Any guesses what that it? Final answer? Yeah. Gonorrhea. Six hours later and I remember what I’m supposed to be reading about in the first place. One of my pet obsessions since I first learned about them, the oiran. What is an oiran? First, oiran are not geisha. While it wasn’t when I was growing up, I think it’s common knowledge now that geisha (芸者), geiko (芸子) or their apprentices maiko (舞子) are professional entertainers who are trained in various traditional Japanese arts, like dancing, singing, playing several instruments, even learning witty conversation and games to play with their customers. They’re not prostitutes, though. The old word for prostitute is yuujo (遊女) . The characters for play and woman, or women of pleasure. From the 16th century walled quarters of the city called yuukaku (遊郭) were built. They were deemed the pleasure quarters and it was illegal to do sex work anywhere else. I read somewhere and now can’t find it, but it wasn’t because it was stigmatized , but more to keep areas of the city designated for different things. There was the theater district, the merchant district, uptown areas, poorer neighborhoods, and the yuukaku, or red-light district. The three most well known yuukaku were Shimabara in Kyoto, Shinmachi in Osaka, and Yoshiwara in Edo (now Tokyo). All the yuujo who worked there were classified and licensed. Of the different classes of yuujo, the oiran refers to very high ranking courtesans with the tayuu (太夫) being the very tippy top. So tippy top, as an example, in 1688, there were 329 registered courtesans in Shimabara (Kyoto) and only 13 tayuu. In Osaka and Yoshiwara there were 2,790 courtesans and only three tayuu. The word oiran comes from the phrase: oira no tokoro no neesan, the young woman at my place. The kanji characters for oiran are flower and first or leader. An while, yes, they also engaged in sex work, they were trained in traditional arts similar to the geisha: traditional music, calligraphy, tea ceremony, waka poems, koto, shamisen, flower arrangement, and the strategy game, go. While some of their skills were the same as geisha, some were quite different. Differences Between Oiran and Geisha: How do you tell a geisha and an oiran apart? Actually it’s quite easy. The quickest tell is to look at her feet. While both wear geta, the geisha’s are low to the ground and she wears them with white tabi socks. Oiran wear tall geta — to make sure she’s taller than everyone in the oiran dochu procession I described earlier — and she wears them barefoot. Look for the barefeet. That’s an oiran or tayuu. Also the geisha’s kimono compared to the oiran’s or tayuu’s was while elegant, was still quite modest and subdued in color and design. The oiran’s being more brightly colored with even gold patterns and almost ridiculously layered and very heavy in every season. And that gorgeous obi tied around their waists? That’s a big difference, too. We’re used to them being tied at the back. That’s how the geisha and normal people wear them. But oiran have them tied to the front in what’s called a maemusubi (前結び)or front knot. There are several theories to the reason for this. One I read over and over was they did that because the obi were so extravagant and expensive and sometimes gifts from patrons, that they wanted to show them off. Another big difference is the hairstyle and number of ornaments. Hair pins (kanzashi) and combs (kushi) were also given as gifts from fawning very rich customers so they too were prominently displayed.  The oiran or tayuu wore many, many hair ornaments. So the oiran were kind of the celebrities of their day, popular not just inside the yuukaku, but also outside. If a merchant wanted to spend time with an oiran it would set them back a year’s salary. Also, the higher the class the more say she had in who she saw. So, of course, it was the very upper classes who could afford them. They were even sometimes called keisei, castle topplers, because they were so intelligent and clever and charming that they could steal the hearts of upper class men and basically get them to do whatever they wanted. There are some kabuki plays that have this as their theme. They were popular and known for their beauty and I’ve read it again and again, but they were kind of like the pinup girls of the Edo Era. Quite a few of the bijinga (pictures of beautiful women) ukiyo-e prints in that time were of oiran. For example, Kitagawa Utamaro very often depicted these women in his woodblock prints. Nowadays, you can find a reenactment of the oiran dochuu once a year in Asakusa, Tokyo as well as other places. There are photography studios where you can pay to have your photo taken wearing some amazing oiran costumes. You get the make up, hair, even your nails and color contact rental. Sickness and Poverty: Now that’s the good. But even though the oiran and tayuu are quite romanticized here in Japan, too, that’s nowhere near the whole story. While it's easy to focus on the gorgeous silks and hair ornaments, the fancy makeup and  hair, the superstar status and ceremony, this wasn’t exactly the glamorous job it seems. These really were girls from poor farming or fishing and sometimes low ranking samurai families who were sold into the business. There were men who would travel around collecting them. I read that they were taught a certain way of talking to hide accents that might give away where they came from. You have to remember how utterly poor many Japanese were. These were families struggling to feed their children. Then some man comes along from the city. One thing I read again and again and it seems like the way parents justified doing this or maybe it was the line he used to convince the parents selling their little girl was a good idea but it was a saying that went something like: By going to Yoshiwara your daughter will eat white rice everyday, wear fine kimono, and sleep on a soft futon every night. These girls were called kamuro and made to wait on the oiran for years until they were ready to start studying and preparing for … work. If that’s not bad enough, it was very rare these women had her own wealth, no matter how popular they were and how much money they made, it seems they were always in debt. The people who ran the houses where they worked would charge for every little thing. In effect, they had no wealth. The only way to truly escape the life and the yuukaku was to have some extremely rich man “save” (air quotes) her. Even then he had to pay off all her debt before she was allowed to leave. An orian worked two long shifts all but two days a year. She got New Years and obon off. Oh, and also there was the plum poison. Sexually transmitted diseases were quite common and treatment wasn’t good. So, that. I’ll end with a recommendation, if you haven’t seen it already, the 2007 movie Sakuran starring Anna Tsuchiya is really fun. It was the first movie by photographer Mika Ninagawa, so some gorgeous shots and colors. Sheena Ringo does the sound track and she is amazing in everything she does. If you want to get goosebumps right now, go watch Anna Tsuchiya’s oiran douchuu scene on Youtube. It’s when she finally gets made top courtesan and she does the soto hach monji walk. Thank you so much for listening, please stay safe and well. Patrons, I thank you and adore you.

13e émission de la 45e session... Cette semaine, jazz-funk, freebop et jazz-rock! En musique: Henry Franklin sur l'album The Skipper  (Black Jazz, 1972); Petter Eldh sur l'album Petter Eldh Presents Koma Saxo  (We Jazz, 2019); Nathan Clevenger Group sur l'album Stateless  (Slow & Steady, 2019); Miles Okazaki sur l'album The Sky Bellow  (Pi Recordings, 2019); Gorilla Mask sur l'album Brain Drain  (Clean Feed, 2019); Ghost Rhythms sur l'album Live at Yoshiwara  (Cuneiform, 2019)...   

13e émission de la 45e session... Cette semaine, jazz-funk, freebop et jazz-rock! En musique: Henry Franklin sur l'album The Skipper  (Black Jazz, 1972); Petter Eldh sur l'album Petter Eldh Presents Koma Saxo  (We Jazz, 2019); Nathan Clevenger Group sur l'album Stateless  (Slow & Steady, 2019); Miles Okazaki sur l'album The Sky Bellow  (Pi Recordings, 2019); Gorilla Mask sur l'album Brain Drain  (Clean Feed, 2019); Ghost Rhythms sur l'album Live at Yoshiwara  (Cuneiform, 2019)...   

Después de llevar a Ornette Coleman al terreno del minimalismo de Steve Reich, el violinista Clément Janinet presenta "Danse?", segundo trabajo del cuarteto que comparte con Hugues Mayot (clarinetes y saxo), Joachim Florent (contrabajo) y Emmanuel Scarpa (percusiones). Referencias a las músicas de África, a la circularidad del minimalismo y vitalidad virtuosa en la nueva propuesta del francés. Celebran diez años de proyecto y lo hacen con un directo muy especial. El baterista Xavier Gélard y el pianista Camile Petit son los responsables de Ghosts Rhythms, colectivo que explora los límites de lo real y lo imaginario en un trabajo grabado en un lugar imaginario y titulado "Live at Yoshiwara". Uno de sus mentores le pasó 500 proverbios de los Yoruba de Nigeria. Al leerlos, pensó que el ritmo de las palabras era música. Y junto al saxofonista Julius Hemphill los llevó al escenario. Bill Cole y su Untempered Ensemble los grabaron en 1986 en Nueva York. Toda la información y derechos: http://www.elclubdejazz.com

Después de llevar a Ornette Coleman al terreno del minimalismo de Steve Reich, el violinista Clément Janinet presenta "Danse?", segundo trabajo del cuarteto que comparte con Hugues Mayot (clarinetes y saxo), Joachim Florent (contrabajo) y Emmanuel Scarpa (percusiones). Referencias a las músicas de África, a la circularidad del minimalismo y vitalidad virtuosa en la nueva propuesta del francés. Celebran diez años de proyecto y lo hacen con un directo muy especial. El baterista Xavier Gélard y el pianista Camile Petit son los responsables de Ghosts Rhythms, colectivo que explora los límites de lo real y lo imaginario en un trabajo grabado en un lugar imaginario y titulado "Live at Yoshiwara". Uno de sus mentores le pasó 500 proverbios de los Yoruba de Nigeria. Al leerlos, pensó que el ritmo de las palabras era música. Y junto al saxofonista Julius Hemphill los llevó al escenario. Bill Cole y su Untempered Ensemble los grabaron en 1986 en Nueva York. Toda la información y derechos: http://www.elclubdejazz.com

Estéreo360º se vuelca con un puñado de novedades internacionales que nos ha traído el otoño sin complejos, barreras ni dirección o criterio definidos... un poco como hojas arrastradas por el viento. Menú degustación sonora: ANGEL OLSEN (New Love Cassette) / KIM GORDON (Sketch Artist) / NICK CAVE (Bright Horses) / DESERT SESSIONS (If You Run) / THE NEW PORNOGRAPHERS (You'll Need a New Backseat Driver) / A GIRL CALLED EDDY (Been Around) / MEDICINE (Scarred For Life) / GOODBYE MR. MACKENZIE (You Generous Thing) / BOB DYLAN (Ring of Fire) / JOHN COLTRANE (Naíma) / TOMEKA REID QUARTET (Old New) / WARMDUSCHER FEAT. KOOL KEITH (Burner) // DISCO DEL DÍA: GHOST RHYTHMS (Live at Yoshiwara) //

Enjoy a stylistic look at the old Yoshiwara red-light district in Mika Ninagawa’s 2006 film, Sakuran.

Enjoy a stylistic look at the old Yoshiwara red-light district in Mika Ninagawa’s 2006 film, Sakuran.

We are back with the second part of our interview with former Portland Maverick Player and GM, John Yoshiwara.  In this episode  John talks about his time with the Portland Mavericks and what life on the road was like.  Further, John talks with us about his brief time as GM of the Mavericks.  We hope you enjoy this episode as we enjoyed our time interviewing John. Cheers! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to another episode of the Diamonds and Roses podcast.  In this episode we interview former Portland Maverick player and General Manager John Yoshiwara.  During this conversation John talks with us about his youth, father and much more.  Please enjoy this episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lecture 625 (25 July 2018) Full title: "Presenting the Yoshiwara in Monochrome and Full Color: The Annual Events of the ‘Azure Towers,’ Illustrated"

Be sure to attend Our Panel! New Anime for Older Fans Saturday, 5:45PM, Panel 4 - (WEWCC 151A) 2018 is the year of The Mecha at Otakon. Many of the guests are mecha related, and there are a whole slew of mecha panels and workshops every day.  Shoji Kawamori's work on Macross and The Vision of Escaflowne alone could give a convention a robotic atmosphere but Nobutoshi Canna, Kanetake Ebikawa, Masaya Matsukaze, Tatsuyuki Nagai, Yoh Yoshinari, Toshifumi Yoshida, and Masahiko Otsuka make it a mecha matsuri. In addition, there's two Final Fantasy concerts, a healthy lineup of other guests, lots of non-mecha programming, and many of the people behind Mystic Messenger. So there is a smorgasbord of content for robot fans but enough for everyone else as well. Beyond that, we are very curious to see how Otakon settles into DC in its second year. It will be interesting to see how many fans come back now that Otakon has shown that its first year in DC went well, how many new people come out thanks to positive buzz, and what Otakon does differently to capture the attention of fandom in general. Our tentative schedule for the convention: Friday09:00 AM Fate/Stay Confused 09:00 AM Transformers: The Birds & The Bumblebees 10:15 AM Toshifumi Yoshida Q&A 10:15 AM Gundam Wing: A Retrospective 12:45 PM ProZD Q&A 01:00 PM Nobutoshi Canna Autograph 01:00 PM Kanetake Ebikawa Autograph 01:00 PM Shoji Kawamori Autograph 02:20 PM Hiroatsu Kihara Q&A 03:15 PM Shoji Kawamori Q&A 04:00 PM Anime Magical Girl Photoshoot 04:30 PM Nobutoshi Canna Q&A 05:00 PM My Hero Academia Photoshoot 05:45 PM Kanetake Ebikawa Panel 07:00 PM The Science of Mecha 07:00 PM Distant Worlds: Music From Final Fantasy 08:30 PM Glittering Courtesans and Illustrious Geisha: The Working Women of Yoshiwara [18+] 08:45 PM For the Love of Folklore: A Fan Perspective on Rumiko Takahashi 09:30 PM The Evolution of Action Shōnen 10:45 PM A Brief History of Mecha: The Changing Symbolism of Giant Robots Over 50 Years 12:00 AM Panel Of The Galactic Heroes : A New Thesis Saturday09:00 AM Mecha Fight Club: Discussions in Giant Robots 09:00 AM Cancelled Anime: Gone Before Their Time 10:15 AM A Look Inside Studio Pierrot 11:00 AM Jojo's Bizarre Adventure Photoshoot 11:30 AM PTSD in anime- Why all mecha pilots need therapy 12:15 PM Little Witch Academia Live Drawing 12:45 PM Apocalypse in Anime 02:30 PM Hi Score Girl Premiere 03:15 PM Firearms of the Empire of Japan 04:30 PM History of Mecha Pt. 1: The 60s & 70s 05:45 PM New Anime for Older Fans 07:00 PM Anime Face Lift: Remakes and Revivals Over the Decades 08:15 PM Fate/Stay Night and Type Moon: A World of Magic and Mystery 08:15 PM For Boys By Girls: The Women Who Make Shounen Manga 09:30 PM Coats, Steel, and Pixie-Cuts: The Life & Times of Nightow 10:45 PM Gattai! Mecha Anime of 198X Sunday09:00 AM The Ultimate Tanaka Yoshiki Fan Panel 09:00 AM Dawn of the Rising Sun: Japan Before the Samurai 10:15 AM Yuri on Ice vs. Figure Skating 10:15 AM Tatsuyuki Nagai Q&A 11:30 AM Otakorp and You: Demographics and Financials 12:00 PM Maid for You - The Art of Table Talk & Japanese TTRPGs02:00 PM Anime's Inside Jokes and Cultural References Explained  02:00 PM A New World: Intimate Music from Final Fantasy 03:00 PM Closing Ceremonies 04:00 PM Con Feedback Session

The ladies come outta the gate fired up about the treatment of chicks in entertainment (and life in general duh), then get to the task of addressing a listener's question regarding SA negotiations within the legal confines of the podcast.  They detail the particulars of creating an aura of preciosity and increasing outwardly perceived value in any work environment. Wendi (@wendibird82) and Kaytlin (@kaytlinbailey) reveal exactly how their experiences working on cruise ships and as street fundraisers prepared them to successfully navigate the world of sugaring and trained them in the art of authentic inauthenticity. THEN, the girls dig into the history of Yoshiwara and the original Ho-topia, more respectfully referred to as ‘The Floating City'. AND, how to teach your clients to understand and appreciate your value as a provide and put yourself in the position of the buyer by asking one simple question. PLUS, get an update on the NOLA Stippers' strike, get the inside scoop on the new facial recognition pussy and exactly how the Samurai's invented OCD.   Support the show on Patreon *** EMAIL US: @ theoldestprofessionpodcast@gmail.com  Twitter: @oldpropodcast Instagram: @oldpropodcast Support the show on Patreon   FOLLOW KAYTLIN Twitter: @kaytlinbailey Instagram: @kaytlinbailey   FOLLOW WENDI Twitter: @wendistarling Instagram: @wendibird82  ***  Produced by Mary Kelly Funky One Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Simon and I spending another week fantasizing about the soft men on Yoshiwara.  We try our hand at a new man named Asagiri, who smells so good, and is described as a “self-indulgent” lover.  We also talking about kissing and our first kisses. Gross!

Simon and John finally do something for the ladies (well, straight ladies IF you count Neglege as a game for lesbians).  This week we go to fantasy Japan’s pleasure district to date some hot, male courtesans!  We take a dive into these hot lads and their incredibly loose fitting clothing, and talk about feasts and … Continue reading "Men of Yoshiwara – Look at those loose kimonos!"

  CLICK HERE TO DOWNLOAD: Yoshiwara Soundwalk: Taking the Underground to the Floating World SUBSCRIBE TO THE SERIES VIA ITUNES ADD OUR PODCASTS TO YOUR STITCHER FAVORITES PLAYLIST Join Gretchen Jude as she performs a soundwalk of the Yoshiwara district in Tokyo. Throughout this soundwalk, Jude offers her thoughts on the history, materiality, and culture of the Yoshiwara, […]

Julie Nelson Davis, University of Pennyslvania

Julie Nelson Davis, University of Pennsylvania