Podcasts about deshi

Last time we spoke about the first phase of the One Hundred Regiment Offensive. On 20 August 1940, forces launched the Zhengtai Campaign, part of the "Hundred Regiments Offensive," aiming to disrupt Japan's transport network and thus weaken its "cage-and-strongpoint" defense. Orders from the Eighth Route Army split tasks: the Jin-Cha-Ji Military Region attacked the eastern Zheng–Tai line, the 129th Division struck the western section , and the 120th Division hit the Tongpu Railway and the Fen–Li Highway. Success was to be judged by the damage inflicted on the Zheng–Tai line. Preparations were conducted under strict secrecy: reconnaissance teams mapped Japanese strongholds with help from villagers; communities stockpiled grain, ammunition, and tools, and trained for demolition, including heating and bending rails. At night, units infiltrated stations and villages, seized positions, and destroyed bridges, power lines, roads, and mines across multiple columns; rain slowed movement and shaped the fighting. By early September, the Zheng–Tai line and related transport routes were severed, isolating strongpoints and hindering reinforcement.    #203 The One Hundred Regiment Offensive Phase Two Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. During the second phase, the Hundred Regiments Offensive stopped being a single burst of action and became a sustained attempt to keep the Japanese occupation system off-balance. More regiments entered the fighting until, by the scale of commitment on the map, 104 regiments were involved. This matters because it changes what the campaign was: not merely a set of raids, but an effort to broaden pressure so that the enemy could not concentrate everything in one place at one time. Years later, Peng Dehuai—the commander closely associated with the Hundred Regiments offensive—described how the entry of these units felt as "spontaneous." That word can sound mysterious, so it helps to interpret it in operational terms. "Spontaneous" here does not mean unplanned chaos; it means that once the offensive logic took hold—once units saw that Japanese movement and control were being disrupted—local commanders and regiments felt empowered to join the fight without always waiting for the Eighth Route Army headquarters to issue fresh, detailed instructions for each smaller step. In other words, the campaign became something like an expanding network: local success and shared strategic perception fed into more participation across regions. Strategically, the campaign was guided by political and military guidance issued on September 10, 1940 by the Central Committee of the Chinese Communist Party. That instruction tied current operations to the earlier political-military framework of the July 7 Declaration and the July 7 Decision. The instruction argued that the moment mattered: it called for focusing "main efforts" on striking the Japanese army during a period when unity was being strengthened. It specifically urged that, based on the experience of the North China Hundred Regiments Offensive, Communist forces should organize one or more planned large-scale offensive operations in Shandong and Central China. In North China, the instruction pushed for expansion into Japanese army areas that had not yet been attacked—because the battlefield effect of the campaign was not only measured in immediate battlefield outcomes, but in reducing enemy-occupied space, enlarging base areas, breaking through blockade lines, and improving combat effectiveness. That last phrase—"Striking the enemy and attacking our allies is the general policy of military operations at present"—was the harsh shorthand for the operational reality: the campaign had to prevent Japanese occupation from appearing stable and manageable. If the occupation system could treat insurgency as "localized trouble," it would recover quickly. If, instead, occupation became dangerous in multiple places at once—requiring constant defense, constant movement, constant reinforcement—then the Japanese would be forced into a defensive posture that undermined their ability to exploit control. On September 16, 1940, the headquarters issued the second phase plan with a clear aim: expand results from the first phase. The headquarters explained the second phase would continue with an emphasis on disrupting Japanese transportation and destroying some strongholds that had penetrated deep into the base areas. This reveals the campaign's real "background and stakes": the offensive wasn't built around capturing territory in the traditional sense alone. It was built around breaking the system that makes occupation work. In the enemy's logic, occupation relies on movement: soldiers need to move, supplies need to be shipped, and reinforcement must be routed quickly to where trouble appears. Transportation infrastructure—roads, railways, bridges, power lines—forms the skeleton of control. Strongholds and outposts are the organs that occupy space, but they depend on that skeleton. If transportation becomes unreliable, strongholds become isolated islands. If strongholds become isolated, the Japanese must decide between (1) defending each island and spreading themselves thin, or (2) leaving some islands to contain the rest—either way, control weakens. Strongpoints—whether forts, fortified villages, gatehouses, or road blocks—also function as a "cage-and-silkworm" system: they are placed so Japanese forces can consolidate inside them, while routes outside are controlled or denied. In that model, even a small disruption can trigger a major ripple effect. When highways or key segments of rail are repeatedly broken, Japanese units cannot move "cleanly." They must detour, slow down, repair under threat, or escort repairs with larger forces than they prefer. Every extra hour spent repairing is an hour not spent consolidating. Every detour is a chance for ambush or for further sabotage. The second phase sought to exploit that dependency deliberately. That strategic framing explains why, even as the campaign broadened, different regions emphasized different battles. The Jin-Cha-Ji Military Region mainly fought the Lai-Ling Campaign, the 129th Division mainly fought the Yu-Liao Campaign, and the 120th Division focused on attacking the Tong-Pu Railway. They were not separate stories. They were different methods of attacking the same underlying vulnerability: the occupier's ability to move, reinforce, and coordinate. In Jin-Cha-Ji's sector, the stakes were especially sharp around Laiyuan and Lingqiu. The Japanese forces stationed in Mongolia had occupied those areas and penetrated deeply into the northwestern parts of the Jin-Cha-Ji Border Region. Japanese strength around these positions included elements of the 2nd Independent Mixed Brigade and the 26th Division, totaling more than 1,500 men, plus more than 1,000 puppet troops. The presence of puppet forces mattered not only for manpower, but because puppet troops supported the occupier's local control apparatus: they served as locally sourced enforcers, scouts, guards, and "administration-adjacent" security. Removing or weakening them was part of disrupting occupation credibility and local stability. Because the Japanese had been attacked in the first phase, they did not respond by retreating into passivity. They increased troops at each stronghold. Laiyuan City alone was reinforced to around 500 men, and the Japanese strengthened fortifications and stockpiled food and ammunition. This meant the defenders were preparing for a second round: not a sudden surprise raid, but a sustained threat that would test their ability to endure isolation and keep their network intact. Under these conditions, the Jin-Cha-Ji leadership decided to mobilize forces for the Lai-Ling Campaign, beginning at 22:00 on September 22, 1940. Here the background and stakes show up in the campaign's timing and tactics. The objective was not to "beat the defenders in open battle" only; it was to attack in ways that would prevent consolidation. By pushing on county areas and surrounding strongholds immediately, the attackers aimed to force the defenders into reactive mode—closing gates, shifting forces into defensive positions, and preparing for fights that would consume time and ammunition. The right wing launched a fierce attack on Laiyuan County and surrounding strongholds. After a night of hard fighting, the east, west, and south gates were taken, and the Japanese troops retreated into the city. Taking gates matters because it compresses space. It turns a wider defensive perimeter into a narrower, more concentrated posture. It also creates a psychological and operational trap: defenders who retreat into the city may survive longer as a fortified concentration, but their ability to conduct aggressive movement outside their walls—and their ability to receive reinforcements through many approaches—becomes more limited. In the night of September 23, the 2nd Regiment, supported by a battalion of the 1st Regiment and artillery, attacked Sanjia Village, described as an important enemy stronghold on the Laiyuan–Yixian highway, roughly 10 kilometers east of Laiyuan City. Highways are not just routes; they are corridors that connect strongholds to each other and to supply lines. By capturing a stronghold on a highway, the campaign attempted to break a portion of the corridor network feeding the city. The attackers annihilated most of the enemy and captured the village. At the same time, the 3rd Regiment attacked Dongtuanbao, northeast of Laiyuan City, and by the night of September 24, they had taken surrounding fortifications and forced remaining enemies into only a few houses inside the village. Then, on September 25, the enemy burned weapons, supplies, and food stored at the stronghold, preparing for a breakout. That detail reveals a key stake of stronghold warfare: if defenders believe they cannot hold and cannot escape, they may destroy supplies rather than let attackers seize them intact. It's a grim tactical psychology—destroying stores can deny the enemy immediate benefit, even if it reduces defenders' chances of future endurance. When the attackers launched another fierce assault and the remaining defenders, with no hope of escape, threw themselves into the flames and perished, the event underscored the "closed-options" nature of the battle: the stronghold system was being compressed until breakout became impossible. On September 26, other right-wing units, together with the 9th Regiment of the Pingxi Military Sub-district, captured 13 strongholds including Taohuabao, Bailebao, Jijiazhuang, Xinzhuang, Beikou, Xiabeitou, Baishikou, Zhongzhuang, Wangxidong, Liujiazui, Zhangjiayu, Beishifo, and Jinjiajing. Capturing strongholds in clusters has a strategic function. It doesn't just remove personnel; it interrupts local control geography. It makes it harder for defenders inside the city to extend influence outward and harder for them to create new safe points for movement. But the Japanese did what well-prepared occupiers can do: reinforce at the most important time and the most important place. On the second day after the start, Japanese reinforcement began from Zhangjiakou and other locations. Roads had not been completely destroyed, so the Japanese could advance rapidly. This becomes a major background lesson of the second phase. The first phase had demonstrated the power of sabotage to disrupt Japanese movement. But by the time second-phase campaigns began, the Japanese were not ignorant—they were learning. Where sabotage had fully severed roads, reinforcement could be delayed or routed into danger. Where sabotage remained incomplete, reinforcement could arrive quickly, changing the battle's character from attack-dominant to defense-dominant. By noon on September 28, over 3,000 Japanese and puppet troops arrived in Laiyuan City by car, supported by 20 tanks and 4 aircraft. This mechanized support was not just "extra firepower." It was a statement about how the Japanese aimed to retain control: tanks and aircraft increase defenders' ability to resist assault and keep morale from collapsing. Under these conditions, the right wing found it difficult to launch a favorable offensive. So the Jin-Cha-Ji leadership shifted offensive focus to the Lingqiu area, rather than forcing the original plan to continue against reinforced mechanized defense. The first step was to eliminate enemy strongholds between Lingqiu and Hunyuan. The second step was to seize enemy strongholds along a line from southeast of Daying to Shentangbao, and in mountainous areas north of Daying and Shahe. This shift highlights a core strategic principle: when a target becomes too fortified, the offensive can still succeed by moving the pressure elsewhere—aiming to break the enemy's network of strongpoints and keep forcing them to respond across space. On October 2, the headquarters ordered the main force of the right wing to concentrate in the area east and southeast of Laiyuan. Part of the force was assigned to monitor and contain the enemy in Laiyuan, while the 1st and 2nd Regiments were placed under the left wing's command and joined the left wing in combat. This reallocation reflects operational adaptability. If a city becomes a fortress, smaller units may be better employed as containment—tying down defenders—while the main effort moves to seize other stronghold lines where the Japanese might still be vulnerable. The fighting continued with tactical attacks that show how strongpoint warfare unfolded in the field. On the night of October 8, the 1st Battalion of the 1st Regiment launched an attack on the 2nd Regiment while a portion of the Japanese army in Nanpotou was attacking it. The attackers broke into enemy lines, annihilated most of the enemy, and drove the rest off. At the same time, the 1st Battalion of the 6th Regiment captured Qiangfengling, and the Japanese forces in Qingciyao fled in panic. The campaign also included actions such as attacks on Jinfengdian by the 3rd Battalion of the 6th Regiment on the night of September 9, and mention that the 26th Regiment entered Huangtai Temple on the night of October 8 while attacking between Lingqiu and Guangling. By understanding the background and stakes, you can see what these actions were really doing. They weren't random. They were repeated attempts to keep dismantling the enemy's ability to maintain a functioning strongpoint chain. Each captured stronghold reduces the enemy's ability to create secure corridors. Each panic-driven retreat increases their time burden and may cause breakdown in communication between local nodes. Even when the battle remains fierce and deadly, these changes in tempo can accumulate into operational outcomes. The Lai-Ling Campaign lasted 18 days, producing concrete results: killing and wounding over 1,000 Japanese and puppet troops, capturing 49 Japanese and 237 puppet troops, and leaving 1,419 casualties for the Eighth Route Army. The losses show the campaign was not a "clean victory." It was expensive. But the operational logic—disrupting a strengthened occupation zone, capturing strongholds, and forcing enemy reinforcements to concentrate—was consistent with the second phase's broader mission. Support for Lai-Ling came from the Jizhong Military Region through the Renqiu–Hejian–Dacheng–Suning Campaign from October 1 to October 20, simultaneously sabotaging the Cangshi, Deshi, Beining, and Jinpu railways. This is where "background and stakes" become especially clear. The Japanese, even when they defend in one area, have to move elsewhere to respond. When you attack multiple transportation lines and strongpoint zones at once, you prevent the enemy from solving one problem cleanly before moving to the next. You make the enemy chase multiple fires. After the Hundred Regiments Offensive began, Japanese forces in Jizhong moved west to reinforce in some cases, but most were tied down on important transportation lines. That relative weakening meant defenses in Jizhong's interior became weaker—creating space where a larger contest could occur. Jizhong decided to deploy 10 battalions totaling more than 8,500 men from the 18th, 23rd, and 30th Regiments across left wing, center, and right wing roles, fighting in the area. The plan was not only to attack; it was to manipulate where the Japanese had to respond. The two wing units would contain and draw Japanese forces away from the central Renhe Dasu zone, and then the central unit would break into that central area to open the situation. In other words: wings would pull; center would punch. The Renhe Dasu battle began on October 1, 1940. On the left wing, the 18th Regiment entered an area east of the Zhulong River and west of Hejian and Renqiu, capturing Lianjiazhuang, Dongguxian, and Liangcun between October 2 and October 6. By the night of October 7, Japanese troops at strongholds including Yuhuangmiao, Fenglebao, and Liushansi fled in panic—another reminder that once stronghold cohesion fractures, the enemy's ability to endure a second phase of pressure drops. On the right wing, the 30th Regiment operated with four battalions east of Dacheng and east of the Ziya River, capturing a series of strongholds including Liminju, Dengzhuangzi, Shigeju, Xiliuzhuang, Zangzhuangzi, and Chencun, while engaging in road-breaking and ditch digging. These actions show the campaign's "method," not just its target. Even when the opponent could be fought directly, sabotage and engineering measures could amplify the damage by reducing mobility and forcing time-consuming repairs. The central unit, the 23rd Regiment, had two battalions crossing the Hutuo River northward. On October 1, it ambushed more than 100 Japanese troops coming from Shangjialin to seize grain, killing more than 90 and capturing all their weapons. On October 9, it ambushed the enemy from Liugezhuang to Litan at Baimatang, annihilating 20 Japanese and puppet troops. These ambushes illustrate a second background principle: occupiers need sustenance and extraction operations, and those operations follow routes and patterns. By striking troops during foraging or supply-related movement, the offensive attacks not only the army but also the logic that keeps occupation armies fed and maintained. From October 15 to October 20, the second stage of those operations targeted the east and west banks of the Ziya River, leaving only a small force in the central Renhe River Great Suppression area. On the night of October 19, the central force captured Banjiehe and destroyed a bridge over the nearby Guyang River. On the night of October 16, the left wing captured Daqudi and the Renqiu Shimen Bridge, and on October 18 it captured the stronghold at Wangpan. A note in the operational description also indicates that the right wing faced a serious enemy situation and could not take major action during one segment—another reminder that even a planned operation cannot control all battlefield variables. What matters is whether the operation still meets its strategic purpose, not whether every segment goes perfectly. In the Battle of Renhe Dasu, Japanese and puppet losses were heavy: 805 killed or wounded, and 3 Japanese and 326 puppet troops captured. The campaign took 29 strongholds. The Jizhong Military Region suffered 573 casualties. Strategically, this battle contained enemy forces and effectively supported the Battle of Lai-Ling. Again, support here is not just "help in the same region," but redistribution of pressure: by forcing the enemy to allocate troops to Jizhong, Japanese defenders around Lai-Ling face more difficulty maintaining overall operational coherence. While Jin-Cha-Ji and Jizhong fought around Laiyuan and Lingqiu, a deeper pressure developed in the Taihang base region—through the Yuliao (Yu-Liao) Campaign, fought mainly by the 129th Division. The background stakes in the Yu-Liao theater were the highway route from Yangquan through Pingding, Heshun, Liaoxian to Yushe, described as the deepest penetration route through which the Japanese penetrated the Taihang base area. The Japanese tried to extend this road southwestward and connect it with the Baijin Railway through Wuxiang, aiming to split the Dahang area and deploy forces flexibly along the Zhengtai and Baijin lines. This was about strategic mobility and operational geometry. A road connection isn't only "transport"; it reshapes where the enemy can exert pressure and how quickly they can shift forces from one axis to another. The Yuliao section measured 45 kilometers and included eight strongholds: Yushe, Yanbi, Wangjing, Guantou, Pushang, Xiaolingdi, Shixia, and Liaoxian. These were guarded by the 13th Battalion of the Japanese 4th Independent Mixed Brigade. A line of strongholds along a highway is the occupier's version of a corridor defense: it enables them to keep movement inside a protected chain. If that chain is cut, movement becomes vulnerable and the "deep penetration route" turns into a dangerous liability. On September 22, 1940, the 129th Division issued basic orders: launch a surprise attack to eliminate the enemy from Yushe to Xiaolingdi, recapture strongholds, destroy the highway, and then press forward toward Liaoxian to recapture it when the opportunity arose. This is a textbook example of how the offensive combined surprise, seizure, and destruction. Surprise prevents the defenders from organizing a coordinated response. Seizure eliminates their nodes. Highway destruction prevents them from restoring their corridor quickly, forcing time and labor—exactly what the second phase wanted. The assault began on the night of September 23. On September 24, the left wing captured Yanbi and Wangjing, while the right wing captured Pushang and Xiaolingdi. By September 25, Yushe and Jucheng had also fallen, leaving only the enemy at Guantou on the Xiaolingdi–Yushe line still resisting. Concurrently, detachments attacked on related axes: the Pingliao Detachment captured Hanwang Town north of Liaoxian; the Qinbei Detachment sabotaged roads and attacked frequently, pinning Japanese forces on the Wuxiang and Baijin routes. On September 26, the 129th Division ordered part of the right wing to continue besieging the enemy at Guantou, while the main force and the left wing moved east to recapture Liaoxian and eliminate reinforcements. At dawn on September 27, the right wing attacked Shixia west of Liaoxian and captured it that night. On September 28, the left wing reached near Majiu in preparation for an attack on Liaoxian that night. Then battlefield logic reasserted itself: the Japanese did not sit idle once their corridor was threatened. Troops from Heshun and Wuxiang reinforced Liaoxian and Guantou respectively. The Eighth Route Army headquarters ordered the Liaoxian attack halted. Some forces were to contain the enemy advancing south from Heshun, while the main force moved to the Hongyatou and Guandinao areas to prepare to annihilate enemy reinforcements arriving from Wuxiang. This decision reveals a deeper stake: even if an army can seize targets, it must avoid exhaustion and must avoid allowing the enemy to convert a partial tactical loss into a larger opportunity. Headquarters essentially chose the operation's "survival path": shift from capturing more nodes to annihilating the reinforcements that would otherwise restore the corridor. Following these orders, the 129th Division attacked Guantou and took it at 24:00 on September 29. In the narrative description that follows, the enemy reinforcements moving through ambush terrain clashed with Communist formations in an engagement where aircraft coverage and terrain allowed the enemy to seize high ground and resist stubbornly. The battle lasted two days and one night, with heavy casualties on both sides. That is an important background lesson: the offensive could still destroy corridor nodes, but the enemy's ability to bring aircraft support and seize terrain meant that the "destroy and move on" approach wasn't always enough. Sometimes, momentum had to be re-channeled into another kind of contest—one closer to a blocking ambush and a battle of endurance. By the evening of October 1, more than 500 Japanese troops from Liaoxian broke through the right wing's blockade and approached near the left wing's command post. The left wing was ordered to withdraw from the battle. Headquarters then assessed that Japanese troops from Liaoxian and Wuxiang had joined and that more than 1,000 Japanese troops from Yangquan had reached Hanwang Town north of Liaoxian. Combined with the 129th Division's exhaustion and heavy casualties, headquarters decided to end the Yulin–Liaoxian Campaign—not because the offensive had no value, but because the risk of allowing the enemy to "sweep" the Taibei area could outweigh further gains. This termination decision illustrates a stake that is often overlooked: in insurgency-style campaigns, operational survival is part of success. The second phase did not merely chase targets; it sought to transform conditions so that the enemy would have to spend strength defending a failing network. If continuing a battle risks letting the enemy regroup into a larger counter-offensive that clears base zones, then ending becomes strategic. While the 129th Division wrestled with corridor defense around Liaoxian and Guantou, the 120th Division pursued a transport-centered strategy against the Tong-Pu Railway—because rail disruption was not a supporting detail; it was a main axis of pressure. On September 12, 1940, the 120th Division issued an action plan for the northern section of the Tongpu Railway, deciding to attack the Ningwu and Xinxian sections (with emphasis on the section between Ningwu and Daniudian) starting September 20. This timing shows planning designed to synchronize with broader operational pressure. Rail sabotage required engineering preparation and coordination across units, and the campaign sought to create disruption when the enemy would be most vulnerable to delayed reinforcement. On September 14, the 358th Brigade left its base west of Loufan and crossed the Jingle–Lanxian Highway to the north. It assembled at Majiagou on the 16th, then launched an attack on Toumaying using its 3rd Detachment (comprising the 7th and 8th Regiments and the special service battalion). At 24:00 on September 18, that detachment attacked Touma Camp, while the 7th and 8th Regiments attacked reinforcements. Fighting continued until the following morning when more than 40 Japanese soldiers from Ninghuabao reinforced Touma Camp. Once reinforcements reached Shanzhai Village, they were surrounded and annihilated. On September 20, around 200 Japanese soldiers from Yangquanling went to Liyan Village to counterattack. The 716th Regiment attacked at 14:00, and by dawn the next day, the enemy fled back to Yangquanling. These battles are more than local clashes. They serve the background logic of sabotage campaigns: before destroying rail infrastructure, you need to reduce the enemy's ability to respond instantly. Fighting reinforcements and counterattacks clears windows of time. Those windows can then be used to sabotage tracks, bridges, and related installations. If sabotage occurs under active reinforcement pressure, the enemy can repair quickly or trap the sabotage teams. If sabotage occurs after the enemy's response capacity is disrupted, repair becomes slower and the operational effects last longer. Parallel operations reinforced this logic. On the night of September 16, the Independent 1st Brigade crossed the Fen River east. On September 18, it was learned that more than 400 Japanese troops had attacked the Yanbei Detachment at Yangquanling but returned to Shangzhuang after failing to find them. The brigade then chose to encircle and annihilate the enemy rather than chase endlessly. The attack began at 13:00 on September 18 and lasted until early morning on September 19. The main force withdrew to sabotage the railway, while the remaining enemy retreated to Yangquanling. The engagement inflicted 105 casualties on the Independent 1st Brigade, while killing or wounding about 200 Japanese. Once the blocking threat was removed, units quickly moved into sabotage actions on the Tongpu Railway. Then sabotage itself proceeded systematically. On the night of September 22, the 4th Regiment of the 358th Brigade—attached to the division's engineering company—and the division's special service regiment advanced to the area between Duanjialing and Xuangang to sabotage several sections of the Tongpu Railway. At the same time, the 2nd Regiment attacked Qicun, and the 715th Regiment attacked Xinkou and Loubanzhai. On the night of September 23, the 2nd Regiment sabotaged the railway south of Xinkou while the 715th Regiment sabotaged it north of Xinkou. On the night of September 25, the 715th Regiment sabotaged between Daniudian and Xuangang. The Independent 2nd Brigade also sabotaged several railway sections between Shuoxian and Ningwu. After six days of sabotage operations, the 120th Division again caused the Tongpu Railway to be interrupted. The background stakes here are straightforward but huge: a rail interruption forces the occupier into repair work, escorts, and re-routing. During the second phase—when the Japanese were already under pressure across multiple theaters—the need to continuously handle repair reduces the capacity for offensive operations and for rapid reinforcement to any single contested point. It also slows their ability to respond to new threats as quickly as they would like. By connecting all these threads—Laiyuan and Lingqiu strongholds, Renhe Dasu containment and roadbreaking, the Yuliao highway corridor fight, and repeated Tongpu railway sabotage—you can see the deeper logic of the second phase. The campaign aimed to create a battlefield environment where Japanese forces could not enjoy stable mobility and where strongpoints could not function as a reliable cage. Transportation disruption isolated strongholds. Stronghold destruction and capture shrank the enemy's local control points. Highway and rail sabotage forced the Japanese to defend not only troops and walls, but also the infrastructure that enabled their coordination. That's why the second phase emphasizes disrupting transportation and destroying some strongholds penetrated deep into base areas. It wasn't simply "hit more places." It was a deliberate attempt to force the Japanese to abandon their preferred operational pattern: a networked system of strongpoints supported by transportation reliability. If that reliability breaks down, the occupier's "cage" becomes porous and unstable, and Communist base areas gain room to expand and persist. By early October, the second phase was winding down, while a third phase was developing: reinforced Japanese columns sought to engage and destroy 8RA units. Over the next two months, several fierce counterattacks occurred, and after that the Hundred Regiments campaign was considered to be finished. 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. After earlier setbacks in the 1930s, the CCP sought national leadership in resistance while maintaining political room to maneuver within an uneasy arrangement with the KMT. By early 1940–1941, the strategy shifted toward "strongpoint" and transportation warfare: guerrilla actions were used to fracture Japanese defensive networks and sabotage logistics. Japanese attempts to consolidate territory, through local administration and security practices—often provoked the CCP's dual struggle, militarily and politically. As Japanese sweeps temporarily gave the CCP advantages, the situation forced rapid adaptation.

In this episode of The Core Report Special Edition, Govindraj Ethiraj interviews Chetna Sinha, founder of Mann Deshi Foundation and Mann Deshi Bank, about the unique challenges women entrepreneurs face in rural India when accessing business loans and capital. Learn how Mann Deshi is empowering thousands of rural women by overcoming barriers like lack of collateral, no credit history, and lengthy loan approval processes.Discover the innovative ways technology and financial inclusion are enabling women-owned microenterprises in sectors such as tailoring, catering, and grocery retail to thrive and grow. Chetna shares insights on digital KYC, credit rating tools, and working capital support that are transforming lives and boosting rural economies.If you're passionate about women entrepreneurship, microfinance, rural business development, and financial empowerment, this podcast episode is a must-watch.Timestamps:(00:00) Women Entreprenuers getting loans(01:45) Lack of Assets(02:14) Credit Score(02:50) Other documents + Statistics(04:21) Average customer of Mann Deshi Bank(05:20) Typical business categories of Women Entrepreneurs(07:25) What blockchain enables for Women Entrepreneurs(08:22) KYC(09:50) Mann Deshi's Credit Rating Tool(11:54) Ease of getting loans(13:13) Tokenisation of Assets with Blockchain(15:20) The role of software companies(17:03) The state of the rural economy(17:56) Mann Deshi's achievements(18:30) Microcredit is outdated⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Listeners! We await your feedback....⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Core and The Core Report is ad supported and FREE for all readers and listeners. Write in to shiva@thecore.in for sponsorships and brand studio requirementsFor more of our coverage check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thecore.in⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join and Interact anonymously on our whatsapp channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Linkedin⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Youtube⁠

Khai Krepela is known for his prowess on rails, he made a career out of it, but really, he had a pro ski career because he realized what he was good at and he went all in on that aspect of the sport. But Khai didn't stop at pro athlete, while he still had a little gas left in the tank, Khai found himself behind a desk at K2 for the beginning of his post pro ski career. On the podcast, we talk about inline skating, Park City, Detroit, filming, the X Games and more.  Olympic Head Judge Jason Arens asks the Inappropriate Questions. Khai Krepela Show Notes: 4:00:  His name, growing up in Park City, getting sponsored for elementary school, finding blading and skiing through McRae Williams and getting sponsored by Louie Zamora personally for Deshi 13:00:  From blading to skiing, rail skiing is easy, Vice Skis, Surface, 20:00: Stanley:  The brand that invented the category! Only the best for Powell Movement listeners.  Check out Stanley1913.com   Best Day Brewing:  All of the flavor of your favorite IPA or Kolsch, without alcohol, the calories or sugar. 22:00: Toy Soldiers, contests, SIA, money, PBP, Detroit, Will Wesson, and Level 1, 40:00:  Elan Skis:  Over 75 years of innovation that makes you better. Outdoor Research: Click here for 25% off Outdoor Research products (not valid on sale items or pro products)  42:30: Line Skis, X-Games, K2,    51:00:  Inappropriate Questions with Jason Arens

Episode Notes S6E13 - Join us as we dive into the mind of Author Leon Drucker. Leon will be in the house telling tales from his 60+ years in studying Martial Arts to hs newest book Nahar The River and much much more. Mr. Drucker has studied Yang Style Tai Chi Chuan since 1975 and is considered a Master Teacher of Tai Chi Chuan. Professor Drucker has been licensed to teach Myofu-An Bujutsu. Master Drucker is one of only a handful of Martial Artists that are considered Deshi or personal students of Grand Master Koryu Muramatsu and member in good standing of The Kobujutsu Kenkyu Kai of Myofu An Society Japan. As one of the first licensed Martial Arts professionals in Mixed Martial arts, he has trained, coached and officiated many events in Combat Sports with several of his students competing in both the UFC and Bellator cages. NEWS FLASH: HELPFUL LINKS: VETERANS: https://www.va.gov/.../mental-health/suicide-prevention/ ADDICTION: https://lp.recoverycentersofamerica.com/.../continuum-of.../ Due you know someone that has lost their lives due to addiction? Or even someone that has made a full recovery? Reach out to Johnny Whitaker so they can help to celebrate the lives lost/ lives recovered at overdoseawareness0831@gmail.com Follow our guest https://leonisaacdrucker.com https://www.amazon.com/.../B0C1.../ref=dp_byline_cont_book_1 https://www.facebook.com/61575267921284 Toking with the Dead: https://www.stilltoking.com/ ————————————— Follow Still Toking With and their friends! https://smartpa.ge/5zv1 ————————————— Produced by Leo Pond and The Dorkening Podcast Network MORE ABOUT THE GUEST: Dr. Drucker has been in the field of holistic medicine for over 25 years, holding degrees in Electrical Engineering and a PhD in Nutrition. A true pioneer when he founded “Getting In Touch” one of the first companies of its kind bringing alternative health to business's and educating insurance companies to the benefits of Complementary / Alternative Medicine. His vast studies including basic American nutrition, biochemistry, as well as a variety of culturally influenced nutrition programs, diets, and medicine, including herbal therapy, homeopathy, Aryuvedic medicine, Mediterranean, and other Eastern philosophies and influences. Studies of Mind/Body medicine, as well as many areas of political / medical debate. Find out more at https://still-toking-with.pinecast.co Send us your feedback online: https://pinecast.com/feedback/still-toking-with/91b53d10-1955-4b9d-bce0-473b2095fa57

Guest: Sagar Hasnat, Owner, Ahlan Agro

Elvar and Taz are just trying to fulfill their oath to the elf guardian, Deshi, but a greedy village stands in their way. Elvar: SteveTaz: ChadInterested in leaving a rating and review, click here.Game: Ironsworn, by Shawn TompkinIntro & Outro Music: Steve Morrison

It's the last episode of 2023, and our 100th episode!  But despite that, we keep on moving through the period, hitting a bunch of smaller stories from the Nihon Shoki about this period. We talk about Zentoku no Omi, the temple commissioner of Hokoji, as well as the trouble they went through to get the Asukadera Daibutsu in place to begin with.  We have the first instance of the Dazai--as in the Dazaifu of Kyushu--as well as the first instance of the holiday that would eventually become Children's Day, Kodomo no Hi.  There are various immigrants, bringing painting, handmills, and even a new kind of musical dance theater known as gigaku.  And that's just some of what we'll cover. For more, check out our website at https://sengokudaimyo.com/podcast/episode-100 Rough Transcript   Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is episode 100: Sacred Tetris and Other Tidbits First off:  woohoo!  One hundred episodes!  Thank you to everyone who has been listening and following along on this journey so far.  When I started this I had no idea how long I would be able to keep up with it, but I appreciate everyone who has encouraged me along the way.  This all started in September of 2019, and we are now four years in and we have a ways to go.  While I'm thanking people, I'd also like to give a big thank you to my wife, Ellen, who has been helping me behind the scenes.  She's the one who typically helps read through what I'm going to say and helps edit out a lot of things, and provides reminders of things that I sometimes forget.  She really helps to keep me on track, and I always appreciate the time she puts into helping to edit the scripts and the questions she asks. Now, we are still talking about the 6th and early 7th centuries during the reign of Kashikiya Hime, aka Suiko Tenno.  We've talked about a lot of different aspects of this period—about the conflicts over Nimna on the peninsula, about the rise of the Sui dynasty on the continent, and the importation of various continental goods, including animals, immigrants, and knowledge.  That knowledge included new ideas about governance as well as religious practices such as Buddhism—and possibly other religious practices as well, as many of the stories that we saw in the Age of the Gods may have analogs on the continent and may just as easily have been coming over with the current crop of immigrants, though it is hard to say for certain.  At the heart of these changes are three individuals.  Obviously there is Kashikiya Hime, on the throne through a rather intricate and bloody series of events.  Then there is Soga no Umako, her maternal uncle, who has been helping to keep the Soga family on top.  And of course, the subject of our last couple episodes, Prince Umayado, aka Shotoku Taishi.  He, of course, is credited with the very founding of the Japanese state through the 17 article constitution and the promulgation of Buddhism. This episode, I'd like to tackle some of the little things.  Some of the stories that maybe didn't make it into other episodes up to this point.  For this, we'll mostly look at it in a chronological fashion, more or less. As you may recall, Kashikiya Hime came to the throne in about 593, ruling in the palace of Toyoura.  This was around the time that the pagoda was erected at Houkouji temple—and about the time that we are told that Shitennouji temple was erected as well.  Kashikiya Home made Umayado the Crown Prince, despite having a son of her own, as we'd mentioned previously, and then, in 594, she told Umayado and Umako to start to promulgate Buddhism, kicking off a temple building craze that would sweep the nation—or at least the areas ruled by the elites of Yamato. By 596, Houkouji was finished and, in a detail I don't think we touched on when talking about Asukadera back in episode 97, they appointed as commissioner one Zentoku no Omi—or possibly Zentoko, in one reading I found.  This is a curious name, since “Zentoku” comes across as a decidedly Buddhist name, and they really liked to use the character “Zen”, it feels like, at this time.  In fact, it is the same name that the nun, the daughter of Ohotomo no Sadehiko no Muraji, took, though the narrative is very clear about gender in both instances, despite them having the exact same Buddhist names.  This name isn't exactly unique, however, and it is also the name recorded for the Silla ruler, Queen Seondeok, whose name uses the same two characters, so it is possible that at this time it was a popular name—or perhaps people just weren't in the mood to get too creative, yet. However, what is particularly interesting to me, is that the name “Zentoku” is then followed by the kabane of “Omi”.  As you may recall from Episode XX, a kabane is a level of rank, but associated with an entire family or lineage group rather than an individual.  So while there are times where we have seen “personal name” + “kabane” in the past, there is usually a surname somewhere in there.  In this case, we aren't told the surname, but we know it because we are given the name of Zentoku's father: we are told that he was the son of none other than the “Oho-omi”, the Great Omi, aka Soga no Umako.  So, in summary, one of Soga no Umako's sons took the tonsure and became a monk. I bring this little tidbit up because there is something that seems very odd to me and, at the same time, very aristocratic, about taking vows, retiring from the world, and yet still being known by your family's title of rank. Often monks are depicted as outside of the civil rank and status system—though there were certainly ranks and titles within the priesthood.  I wonder if it read as strange to the 8th century readers, looking back on this period.  It certainly seems to illustrate quite clearly how Buddhism at this point was a tool of the elite families, and not a grass-roots movements among the common people. This also further strengthens the idea that Houkouji was the temple of the Soga—and specifically Soga no Umako.  Sure, as a Soga descendant, Prince Umayado may have had some hand in it, but in the end it was the head of the Soga family who was running the show, and so he appoints one of his own sons as the chief commissioner of the temple.  They aren't even trying to hide the connection.  In fact, having one of his sons “retire” and start making merit through Buddhist practice was probably a great PR move, overall. We don't hear much more from Zentoku after this point, and we really know very little about him.  We do know something about the Soga family, and we know that Soga no Umako has at least one other son.  While we've yet to see him in the narrative—children in the Nihon Shoki are often meant to be neither seen nor heard, it would seem—Umako's other son is known to us as Soga no Emishi.  Based on when we believe Soga no Emishi was born, however, he would have been a child, still, when all this was happening, and so Zentoku may have actually been his father's eldest son, taking the reins at Houkouji temple, likely setting him up to claim a role of spiritual leadership in the new religion of Buddhism.  Compare this to what we see later, and also in other places, such as Europe, where it is often the second son that is sent into religious life, while the eldest son—the heir—is kept at hand to succeed the father in case anything happens.  On the other hand, I am unsure if the monks of this time had any sort of celibacy that was expected of them, and I suspect that even as the temple commissioner, the tera no Tsukasa, Zentoku was keeping his hand in.  After all, the Soga family head appears to have been staying near the temple as well, so it isn't like they were packing him off to the high mountains. Moving on, in 601 we are told that Kashikiya Hime was in a temporary palace at a place called Miminashi, when heavy rains came and flooded the palace site.  This seems to be referring to flooding of Toyoura palace, which was, we believe, next to the Asuka river.  I wonder, then, if that wasn't the impetus for, two years later, in 603, moving the palace to Woharida, and leaving the old palace buildings to become a nunnery.  That Woharida palace is not thought to have been very far away—traditionally just a little ways north or possibly across the river. In 604, with the court operating out of the new Woharida palace, we see the institution of more continental style traditions.  It includes the idea of bowing when you entered or left the palace grounds—going so far as to get on your hands and knees for the bow.  Even today, it is customary to bow when entering a room—particularly a traditional room like in a dojo or similar—and it is also customary to bow when passing through a torii gate, entering into a sacred space.  Of course, that is often just a standing bow from the waist, and not a full bow from a seated position. In 605, with more continental culture being imported, we see it affecting fashion.  In fact, in this year we are told that Prince Umayado commanded all the ministers to wear the “hirami”.  The kanji simply translates to “pleats”, but in clothing terms this refers to a pleated skirt or apron.  We see examples of this in courtly clothing going back to at least the Han dynasty, if not earlier, typically tied high above the waist and falling all the way down so that only the tips of the shoes are poking out from underneath.  We have a bit more on this in the historical clothing section of the Sengoku Daimyo website, sengokudaimyo.com.   I wonder if these wrapped skirts aren't some of what we see in the embroidered Tenjukoku mandala of Chuuguuji.  Court women would continue to wear some kind of pleated skirt-like garment, which would become the mo, though for men they would largely abandon the fashion, except for some very specific ritual outfits.  That said, there is still an outfit used for some imperial ceremonies.  It is red, with many continental and what some might consider Taoist symbols, such as dragons, the sun and moon, etc..  That continuation of tradition gives us some idea of what this was and what it may have looked like back in the day.  It is also very neat that we are starting to get specific pieces of potentially identifiable clothing information, even if it is only for the court nobles. The year following that, 606, we get the giant Buddha image being installed at Houkouji, aka Asukadera.  Or at least, we think that is the one they are talking about, as we can't be one hundred percent certain.  However, it is traditionally thought to be one and the same.  The copper and gold image was commissioned a year prior, along with an embroidered image as well, but when they went to install it they ran into a slight problem:  The statue was too large to fit through the doors of the kondo, the golden image hall.  No doubt that caused some embarrassment—it is like ordering furniture that won't fit through the doorway, no matter how you and your friends try to maneuver it around.  They were thinking they would have to cut through the doors of the kondo to create more room, and then fix it afterwards.  Nobody really wanted to do that thought—whether because they thought it would damage the structural integrity of the building or they just didn't want to have to put up with an unsightly scar, it isn't clear.  Finally, before they took such extreme measures, they called on the original artist, Kuratsukuri no Tori.  He is said to be the son of the famous Shiba Tattou, and so his family was quite close with the Soga, and he seems to have had quite the eye for geometry as we are told that he, “by way of skill”, was able to get it through the doors and into the hall.  I don't know if that meant he had to some how turn it on its side and walk it through, or something else, but whatever it was, it worked.  Tori's mad Tetris skills worked, and they were able to install the giant Buddha in the hall without cutting through the doorways. For his efforts, Tori was rewarded, and he was raised up to the rank of Dainin, one of the 12 new ranks of the court.  He was also given 20 cho worth of “water fields”—likely meaning rice paddies.  With the income from those fields, we are told that he invested in a temple of his own:  Kongoji, later known as the nunnery of Sakata in Minabuchi. For all that Buddhism was on the rise, the worship of the kami was still going strong as well.  In 607 we are told that there was an edict that everyone should worship the kami of heaven and earth, and we are told that all of the noble families complied.  I would note that Aston wonders about this entry, as the phrasing looks like something you could have taken right out of continental records, but at the same time, it likely reflects reality to some extent.  It is hard to see the court just completely giving up on the traditional kami worship, which would continue to be an important part of court ritual.  In fact, it is still unclear just how the new religion of Buddhism was viewed, and how much people understood the Buddha to be anything more than just another type of kami. Later in that same year was the mission to the Sui court, which we discussed in Episode 96.  The year after, the mission returned to Yamato with Sui ambassadors, and then, in 609, those ambassadors returned to the Sui court.  These were the missions of that infamous letter, where the Yamato court addressed the Sui Emperor as an equal.  “From the child of heaven in the land where the sun rises to the child of heaven in the land where the sun sets.”  It is still one of my favorite little pieces of history, and I constantly wonder if Yamato didn't understand the difference in scale or if they just didn't care.  Either way, some really powerful vibes coming off that whole thing. That same year that the Sui ambassadors were going back to their court there was another engagement with foreigners.  In this case the official on the island of Tsukushi, aka Kyuushuu, reported to the Yamato court that 2 priests from Baekje, along with 10 other priests  and 75 laypersons had anchored in the harbor of Ashigita, in the land of Higo, which is to say the land of Hi that was farther from Yamato, on the western side of Kyuushuu.  Ashigita, you may recall, came up in Episode 89 in reference to the Baekje monk—and I use that term loosely—Nichira, aka Illa.  There, Nichira was said to descend from the lord of Ashigita, who was said to be Arisateung, a name which appears to be a Korean—possibly Baekje—title.  So now we have a Baekje ship harboring in a land that once was ruled by a family identified, at least in their names or titles, as having come from or at least having ties with Baekje.  This isn't entirely surprising, as it wouldn't have taken all that much effort for people to cross from one side to the other, and particularly during the period before there was a truly strong central government it is easy to see that there may have been lands in the archipelago that had ties to Baekje, just as we believe there were some lands on the peninsula that had ties to Yamato. One more note before get to the heart of the matter is the title of the person who reported all these Baekje goings-on.  Aston translates the title as the Viceroy of Tsukushi, and the kanji read “Dazai”, as in the “Dazaifu”, or government of the “Dazai”.  There is kana that translates the title as Oho-mikoto-Mochi—the Great August Thing Holder, per Aston, who takes this as a translation, rather than a strict transliteration.  This is the first time that this term, “Dazai” has popped up in the history, and it will appear more and more in the future.  We know that, at least later, the Dazaifu was the Yamato court's representative government in Kyuushuu.  The position wasn't new - it goes back to the various military governors sent there in previous reigns - but this is the first time that specific phrasing is used—and unfortunately we don't even know much about who it was referring to.  The position, however, would become an important part of the Yamato governing apparatus, as it provided an extension of the court's power over Kyuushuu, which could otherwise have easily fallen under the sway of others, much as Iwai tried to do when he tried to ally with Silla and take Tsukushi by force.  Given the importance of Kyuushuu as the entrypoint to the archipelago, it was in the Court's best interest to keep it under their control. Getting back to the ship with the Baekje priests on it:  the passengers claimed they were on their way to Wu, or Kure—presumably headed to the Yangzi river region.  Given the number of Buddhist monasteries in the hills around the Yangzi river, it is quite believable, though of course by this time the Wu dynasty was long gone.  What they had not prepared for was the new Sui dynasty, as they said there was a civil war of some kind going on, and so they couldn't land and were subsequently blown off course in a storm, eventually limping along to Ashigita harbor, where they presumably undertook rest and a chance to repair their vessels.  It is unclear to me exactly what civil war they were referring to, and it may have just been a local conflict.  There would be rebellions south of the Yangzi river a few years later, but no indication that it was this, just a bit out of context.  We know that the Sui dynasty suffered—it wouldn't last another decade before being dismantled and replaced by the Tang dynasty in about 618.  There were also ongoing conflicts with Goguryeo and even the area of modern Vietnam, which were draining the Sui's resources and could be related to all of these issues.  If so, though, it is hard to see an exact correlation to the “civil war” mentioned in the text. Given all this, two court nobles:  Naniwa no Kishi no Tokomaro and Fumibito no Tatsu were sent to Kyuushuu to see what had happened, and, once they learned the truth, help send the visitors on their way.  However, ten of the priests asked to stay in Yamato, and they were sent to be housed at the Soga family temple of Houkouji.  As you may recall, 10 monks was the necessary number to hold a proper ordination ceremony, funnily enough. In 610, another couple of monks showed up—this time from Goguryeo.  They were actually sent, we are told, as “tribute”.  We are told that one of them was well read—specifically that he knew the Five Classics—but also that he understood how to prepare various paints and pigments.  A lot of paint and pigments were based on available materials as well as what was known at the time, and so it is understandable, to me, why you might have that as a noted and remarkable skill.  We are also told that he made mills—likely a type of handmill.  These can be easily used for helping to crush and blend medicines, but I suspect it could just as easily be used to crush the various ingredients for different pigments.  A type of handmill, where you roll a wheel in a narrow channel, forward and back, is still in use today throughout Asia. In 611, on the 5th day of the 5th month, the court went out to gather herbs.  They assembled at the pond of Fujiwara—the pond of the wisteria field—and set out at sunrise.  We are told that their clothing matched their official cap colors, which was based on their rank, so that would seem to indicate that they were dressed in their court outfits.  In this case, though, they also had hair ornaments mad of gold, leopard's tails, or birds.  That leopard's tail, assuming the description is accurate, is particularly interesting, as it would have had to have come from the continent. This ritual gathering of herbs would be repeated on the 5th day of the 5th month of both 612 and 614.  If that date seems familiar, you might be thinking of the modern holiday of Tango no Sekku, aka Kodomo no Hi.  That is to say:  Boy's Day or the more gender neutral “Children's Day”.  It is part of a series of celebrations in Japan known today as “Golden Week”, when there are so many holidays crammed together that people get roughly a week off of work, meaning that a lot of travel tends to happen in that period.  While the idea of “Boy's Day” probably doesn't come about until the Kamakura period, Tango no Sekku has long been one of the five seasonal festivals of the court, the Gosekku.  These included New Year's day; the third day of the third month, later to become the Doll Festival, or Girl's Day; the seventh day of the seventh month, during Tanabata; and the 9th day of the 9th month.  As you can see, that is 1/1, 3/3, 5/5, 7/7, and 9/9.  Interestingly, they skipped over 11/11, possibly because that was in the winter time, based on the old calendar, and people were just trying to stay warm. Early traditions of Tango no Sekku include women gathering irises to protect the home.  That could connect to the practice, here, of “picking herbs” by the court, and indeed, many people connect the origins of Tango no Sekku back to this reign specifically because of these references, though there is very little said about what they were doing, other than picking herbs in their fancy outfits. We are given a few more glimpses into the lives of the court in a few other entries.  In 612, for instance, we have a banquet thrown for the high functionaries.  This may have been a semi-regular occasion, but this particular incident was memorable for a couple of poems that were bandied back and forth between Soga no Umako and Kashikiya Hime.  He toasted her, and she responded with a toast to the sons of Soga. Later that year, they held a more somber event, as Kitashi Hime was re-interred.  She was the sister to Soga no Umako, consort of Nunakura Futodamashiki no Ohokimi, aka Kimmei Tenno, and mother to both Tachibana no Toyohi, aka Youmei Tennou, and Kashikiya Hime, Suiko Tennou.  She was re-buried with her husband at his tomb in Hinokuma.  During this period, various nobles made speeches.  Kicking the event off was Abe no Uchi no Omi no Tori, who made offerings to her spirit, including around 15,000 utensils and garments.  Then the royal princes spoke, each according to rank, but we aren't given just what they said.  After that, Nakatomi no Miyatokoro no Muraji no Womaro gave the eulogy of the Oho-omi, presumably speaking on Umako's behalf, though it isn't exactly clear why, though Umako was certainly getting on in years.  Then, Sakahibe no Omi no Marise delivered the written eulogies of the other families. And here we get an interesting glimpse into court life as we see a report that both Nakatomi no Womaro and Sakahibe no Marise apparently delivered their speeches with great aplomb, and the people listening were quite appreciative.  However, they did not look quite so fondly on the speechifying of Abe no Tori, and they said that he was less than skillful.  And consider that—if you find public speaking to be something you dread, imagine if your entire reputation hung on ensuring that every word was executed properly.  A single misstep or a bad day and suddenly you are recorded in the national history as having been just the worst.  In fact, his political career seems to have tanked, as we don't hear much more about him after that. 612 also saw more immigrants bringing more art and culture.  The first was a man from Baekje.  He did not look well—he had white circles under his eyes, we are told, possibly indicating ringworm or some other infection.  It was so bad that the people on the ship with him were thinking about putting him off on an island to fend for himself.  He protested that his looks were not contagious, and no different that the white patches of color you might see on horses or cattle.  Moreover, he had a talent for painting figures and mountains.  He drew figures of the legendary Mt. Sumeru, and of the Bridge of Wu, during the period of the Southern Courts, and the people were so taken by it that they forestalled tossing him overboard.  He was eventually known as Michiko no Takumi, though more colloquially he was known as Shikomaro, which basically was a nickname calling him ugly, because judging people based on appearance was still totally a thing. The other notable immigrant that year was also a man of Baekje, known to us as Mimachi, or perhaps Mimashi or Mimaji.  He claimed to know the music and dancing of the Wu court—or at least some continental dynasty.  He settled in Sakurawi and took on students who were basically forced to learn from him.  As if a piano teacher appeared and all the children went to learn, but now it isn't just your parents and their high expectations, but the very state telling you to do it.  So… no pressure, I'm sure.  Eventually, Manu no Obito no Deshi—whose name literally means “student” or “disciple”—and Imaki no Ayabito no Seibun learned the teachings and passed them down to others.  This would appear to be the masked dances known as Gigaku. If you know about early Japanese music and dance you may have heard of Gagaku, Bugaku, and Noh theater.  Gagaku is the courtly music, with roots in apparently indigenous Japanese music as well as various continental sources, from the Korean peninsula all the way down to Southeast Asia.  Indeed, the musical records we have in Japan are often the only remaining records of what some of the continental music of this time might have sounded like, even though the playing style and flourishes have changed over the centuries, and many scholars have used the repertoire of the Japanese court to help work backwards to try and recreate some of the continental music. The dances that you often see with Gagaku musical accompaniment are known as Bugaku, and most of that was codified in the latter years of the Heian era—about the 12th century.  Then there is the famous masked theater known as Noh, which has its origins in a variety of traditions, going back to at least the 8th century and really brought together around the 14th century.  All of these traditions, however, are preceded by Gigaku, this form of masked dance that came over in the 7th century, and claims its roots in the area of “Wu” rather than “Tang”, implying that it goes back to traditions of the southern courts of the Yangzi river region. Gigaku spread along with the rest of continental culture, along with the spread of Buddhism and other such ideas.  From what we can tell, it was a dominant form of music and dance for the court, and many of the masks that were used are preserved in temple storehouses such as the famous Shosoin at the Todaiji in Nara.  However, as the centuries rolled by, Gigaku was eventually replaced at court by Bugaku style dances, though it continued to be practiced up through at least the 14th century.  Unfortunately, I know of no Gigaku dances that survived into the modern day, and we are left with the elaborate masks, some illustrations of dancers, and a few descriptions of what it was like, but that seems to be it. From what we can tell, Gigaku—also known as Kure-gaku, or Kure-no-utamai, meaning Music or Music and Dances of Wu—is first noted back in the reign of Nunakura Futodamashiki, aka Kimmei Tennou, but it wasn't until the reign of Kashikiya Hime that we actually see someone coming over and clearly imparting knowledge of the dances and music—Mimashi, mentioned above.  We then see the dances mentioned at various temples, including Houryuuji, Toudaiji, and others.  Of course, as with many such things, Shotoku Taishi is given credit for spreading Gigaku through the Buddhist temples, and the two do seem to have gone hand in hand. We know a little bit about the dances from the masks and various writings.  The masks are not random, and a collection of Gigaku masks will have generally the same set of characters.  These characters appear to have been organized in a traditional order.  A performance would start with a parade and a sutra reading—which I wonder if that was original or if it was added as they grew more connected to the Buddhist temple establishment.  And then there was a lion dance, where a young cub would pacify an adult lion.  Lion dances, in various forms, continue to be found throughout East Asia. Then the characters come into play and there are various stories about, for example, the Duke of Wu, and people from the “Hu” Western Regions—that is to say the non-Han people in the Western part of what is now China and central Eurasia.  Some of these performances appear to be serious, while others may have been humorous interludes, like when a demon assaults the character Rikishi using a man's genitals while calling for the “Woman of Wu”.  That brings to mind the later tradition of ai-kyougen; similarly humorous or lighthearted episodes acted out during Noh plays to help break up the dramatic tension. Many of aspects of Gigaku would go on to influence the later styles of court music and dance.  Bugaku is thought to have some of its origins in masked Gigaku dancers performing to the various styles of what became known as Gagaku music.  There are also examples of some of the characters making their way into other theatrical traditions, such as Sarugaku and, eventually, Noh and even folk theater.  These hints have been used to help artists reconstruct what Gigagku might have been like. One of the key aspects of Gigaku is that for all they were telling stories, other than things like the recitation of the sutras, the action of the story appears to have been told strictly through pantomime in the dances.  This was accompanied by the musicians, who played a variety of instruments during the performance that would provide the musical queues for the dancers-slash-actors.  There was no dialogue, however, but the names of the various characters appear to have been well known, and based on the specifics of the masks one could tell who was who and what was going on. This is similar to how, in the west, there were often stock characters in things like the English Mummers plays or the Comedia dell'arte of the Italian city-states, though in Gigaku those characters would not speak at all, and their story would be conveyed simply through pantomime, music, and masks. There have been attempts to reconstruct Gigaku.  Notably there was an attempt in the 1980s, in coordination with a celebration of the anniversary of Todaiji, in Nara, and it appears that Tenri University may continue that tradition.  There was also another revival by famed Kyougen actor Nomura Mannojo, uncle to another famous Kyougen actor turned movie star, Nomura Mansai.  Mannojo called his style “Shingigaku”, which seems to be translated as either “True Gigaku” or “New Gigagku”, and he took that on tour to various countries.  You can find an example of his performance from the Silk Road Theater at the Smithsonian Folklife Festival in Washington, DC back in 2002, as well as elsewhere.  It does appear that he's changed things up just a little bit, however, based on his layout of the dances, but it is an interesting interpretation, nonetheless. We may never truly know what Gigaku looked and sounded like, but it certainly had an impact on theatrical and musical traditions of Japan, and for that alone it perhaps deserves to be mentioned. And I think we'll stop right there, for now.  There is more to get through, so we'll certainly have a part two as we continue to look at events of this rein.  There are stories of gods and omens.  There is contact with an island off the southern coast of Kyuushuu.  There are more trips to the Sui court.  Much of that is coming.  Until then, I'd like to thank you once again.  I can hardly believe we reached one hundred episodes!  And it comes just as we are about to close out the year. As usual, I'll plan for a recap episode over New Year's, and then I'll plan to get back into everything the episode after that, but this closes out the year. I hope everyone has a wonderful new year, however you celebrate and, as always, thank you for listening and for all of your support.  If you like what we are doing, tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website, SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to Tweet at us at @SengokuPodcast, or reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

EPISODE 55: DESHI AGAIN Brought to you by Magical Mosh Misfits スケートについて言いたい放題のトークショー“SHUT UP & SKATE”。 今回のゲストは、先月に続き新潟の山奥に潜伏中の弟子こと大本芳大。 スケート写真＆マガジンについての弟子哲学とは。ポッポッポ〜！ JIMA（@jimabien） MxMxM SBのTM。三兄弟にして三姉妹のパパ。 DESHI（読書家） コラムニスト、ブロガー、スポット原理主義者。 HOSHITO（@hoshitotamura） レペゼン眼鏡スケーター。ホッシーくん首謀者。 KE（@vhsmag） スケート雑学解説委員。時々Sbマガジン手伝い。 Sound design by Stone'd（@stonedisd） ※収録内容はあくまでもパーソナリティの記憶に拠るもので、事実を保証するものではありません。出演者の発言についてのお問い合わせは本人までお願いします。聞き苦しい箇所、間違いや未確認情報など多々ありますので予めご了承ください m(_ _)m https://www.vhsmag.com/shut-up-skate/episode-55/

EPISODE 54: DESHI Brought to you by Magical Mosh Misfits スケートについて言いたい放題のトークショー“SHUT UP & SKATE”。 今回はS&S初となるリモート収録を敢行。 スケート界から忽然と姿を消した“弟子”こと大本芳大が新潟某所のトイレから出演。ポッポー！ JIMA（@jimabien） MxMxM SBのTM。最近はMCひっぱりオクトパス。 DESHI（伝書鳩専科） 元祖スポットフェチで日本一繊細なスケーター。 KE（@vhsmag） スケート雑学解説委員。将来の夢はプロスケーター。 Sound design by Stone'd（@stonedisd） ※収録内容はあくまでもパーソナリティの記憶に拠るもので、事実を保証するものではありません。出演者の発言についてのお問い合わせは本人までお願いします。聞き苦しい箇所、間違いや未確認情報など多々ありますので予めご了承ください m(_ _)m https://www.vhsmag.com/shut-up-skate/episode-54/

Many weeks ago, host Eric Clayton visited a coastal town in Kenya called Malindi — and the Jesuit community that lives there. It's a new community, only about five or so years old, and it's been tasked with carrying out the legacy of St. Francis Xavier who visited that very place many, many years ago. Xavier — the great missionary — spent only a few days on that shore. But while there, he engaged in interreligious dialogue, meeting with and learning from the local Muslim communities. The bishop of Malindi has asked the Jesuits of today to return and continue that work. Fr. Thomas Aquino Deshi Ramadhani, or just Deshi for short, is the Jesuit who has been tasked with leading these efforts. Originally from Indonesia, he's accustomed to building community with Muslims and those of other faiths. He's also a writer—an author of many books—and a retreat director. When Eric was with him, he was preparing to give a retreat on the enneagram and Ignatian spirituality. Today's conversation is very rich. It touches of course on interreligious dialogue—and why Deshi prefers to call it inter-spiritual trialogue—and about how the enneagram influences the writing life. Deshi dives deep into his own spiritual background and shares with us countless nuggets of spiritual wisdom. But one thing that is worth highlighting is that the fruits of this conversation reflect the nature of our global Catholic faith: an Indonesian and an American meeting in Kenya and bound together by the Ignatian tradition and our desire to live out the Gospel. Deshi's Books: https://www.amazon.com/stores/Thomas-Ramadhani/author/B093C9SQ4D?ref=ap_rdr&store_ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=true Video on Malindi: https://www.youtube.com/watch?v=Ir2KffiLgUY Video on Xavier's Chapel in Malindi: https://www.youtube.com/watch?v=ocY0kWWxfcw&t=4s Vocation Story on an American Jesuit in Africa: https://www.youtube.com/watch?v=Fm_g0ernKSI&t=6s

durée : 00:05:37 - Déjà debout - Maxime Goudard technicien du son sur le 7/9.30 de France Inter et Vincent Deshières technicien du son dans la brigade de Radio France

durée : 01:59:57 - Le 5/7 - par : Mathilde MUNOS, Amaury Bocher, Elise Amchin - Maxime Goudard , Vincent Deshières et Mickaël Vallet sont les invités du 5/7

durée : 00:05:37 - Déjà debout - Maxime Goudard technicien du son sur le 7/9.30 de France Inter et Vincent Deshières technicien du son dans la brigade de Radio France

durée : 00:05:37 - Déjà debout - Maxime Goudard technicien du son sur le 7/9.30 de France Inter et Vincent Deshières technicien du son dans la brigade de Radio France

In this episode, recorded on the mat, Valadez Sensei answer's a Deshi's question on the internal need to perform - to seek social validation. Please also donate toward our efforts via Patreon. Your assistance is greatly needed and greatly appreciated: www.patreon.com/SenshinCenter Please visit our website for additional information, writings, and videos: www.senshincenter.com Please follow us on Facebook: https://www.facebook.com/senshincenter Please subscribe to our YouTube Channel: https://www.youtube.com/user/senshinone

In this episode, recorded on the mat, Valadez Sensei answer's a Deshi's question on the epistemic rift between Modern and Pre-Modern Aikido and how it comes to influence us at even mundane levels, such as assisting our children to develop their own relationship with their Sensei. Please also donate toward our efforts via Patreon. Your assistance is greatly needed and greatly appreciated: www.patreon.com/SenshinCenter Please visit our website for additional information, writings, and videos: www.senshincenter.com Please follow us on Facebook: https://www.facebook.com/senshincenter Please subscribe to our YouTube Channel: https://www.youtube.com/user/senshinone

In this episode, recorded on the mat, Valadez Sensei answer's a Deshi's question on how to do Kokyu. Related Video: https://fb.watch/dAZftPobSE/ Please also donate toward our efforts via Patreon. Your assistance is greatly needed and greatly appreciated: www.patreon.com/SenshinCenter Please visit our website for additional information, writings, and videos: www.senshincenter.com Please follow us on Facebook: https://www.facebook.com/senshincenter Please subscribe to our YouTube Channel: https://www.youtube.com/user/senshinone

Hoy hablamos del anime de "Kenja no Deshi o Nanoru Kenja", del cual sus fans se quejan de la adaptación al anime, tambien hablamos de Kimetsu no Yaiba y mucho más. #anime #manga #lightnovels #kimetsunoyaiba #kenjanodeshi #kanojomokanojo #panini #onepiece

Episodio 78 de Podcasti! Estos son los temas que hablamos en el episodio: - Trailers de Doctor Strange y Moonknight - 'Jurasic World: Dominion' trae de regreso a al trío original de la saga. - Rumor: 'Vinland Saga' pasaría a ser animada por el estudio Mappa. Lista de los nuevos animes de la temporada de Invierno: Tribe Nine Sabikui Bisco Tensai Ouji no Akaji Kokka Saisei Jutsu Shikkakumon no Saikyou Kenja Tokyo 24-ku Akebi-chan no Sailor-fuku Hakozume: Kouban Joshi no Gyakushuu Leadale no Daichi nite Kenja no Deshi wo Nanoru Kenja Fantasy Bishoujo Juniku Ojisan to Ryman's Club Koroshi Ai Sono Bisque Doll wa Koi wo Suru

We are joined by two AMAZING guests! The first Westerner to complete Sosai Oyama's live-in student program, Shihan Judd Reid, and the last to graduate, former Kyokushin and K-1 Champion, Nicholas Pettas! Hope you enjoy this episode, and please don't forget to Like, Subscribe, Share and leave a comment! OSU!

This week on Kaizoku Uncharted, we sail into a new year and new season of anime! Tune in as we discuss and share our thoughts on which shows grabbed and lost our attention in this season's lineup! Shows Sabikui Bisco The Genius Prince's Guide to Raising a Nation Out of Debt Love of Kill (Koroshi ai) World of Leadale (Leadale no Daichi nite) She Professed Herself Pupil of the Wise Man (Kenja no Deshi wo Nanoru Kenja) Orient Slow Loop Tokyo 24-ku (Tokyo 24th Ward) Requiem of the Rose King (Baraou no Souretsu) Police in a Pod (Hakozume: Kouban Joshi no Gyakushuu) Tribe Nine Futsal Boys!!!! Ryman's Club Cue! Life with an Ordinary Guy Who Reincared into a Total Fantasy Knockout The Case Study of Vanitas Season 2 My Dress-Up Darling The Strongest Sage with the Weakest Crest

This week, we continue to navigate which shows will be in our mainstay lineup for the season and the ones we already can't stand. Jakia and Justin also make time to let the world know their dislike for Momonosuke, while Jenae tries to defend him. All this and more on Kaizoku Uncharted. Shows Sabikui Bisco The Genius Prince's Guide to Raising a Nation Out of Debt Love of Kill (Koroshi ai) World of Leadale (Leadale no Daichi nite) She Professed Herself Pupil of the Wise Man (Kenja no Deshi wo Nanoru Kenja) Orient Slow Loop Tokyo 24-ku (Tokyo 24th Ward) Requiem of the Rose King (Baraou no Souretsu) Police in a Pod (Hakozume: Kouban Joshi no Gyakushuu) Tribe Nine Futsal Boys!!!! Ryman's Club Cue! Life with an Ordinary Guy Who Reincared into a Total Fantasy Knockout The Case Study of Vanitas Season 2 My Dress-Up Darling The Strongest Sage with the Weakest Crest

It's week 3 in the weekly progression, its roundtable-style, we're sharing which shows we're committed to continue watching for the season. Jenae finally sees what Jakia is saying about Taiga in Tribe Nine and Justin and Jenae are still on their mountain about the quadruplets living in the van. Shows Sabikui Bisco The Genius Prince's Guide to Raising a Nation Out of Debt Love of Kill (Koroshi ai) World of Leadale (Leadale no Daichi nite) She Professed Herself Pupil of the Wise Man (Kenja no Deshi wo Nanoru Kenja) Orient Slow Loop Tokyo 24-ku (Tokyo 24th Ward) Requiem of the Rose King (Baraou no Souretsu) Police in a Pod (Hakozume: Kouban Joshi no Gyakushuu) Tribe Nine Ryman's Club Cue! My Dress-Up Darling The Strongest Sage with the Weakest Crest

Series de las que hablamos en este episodio: 1. Baraou no Souretsu 2. Fantasy Bishoujo Juniku Ojisan to 3. Koroshi Ai 4. Sasaki to Miyano 5. Hakozume: Kouban Joshi no Gyakushuu 6. Kaijin Kaihatsu-bu no Kuroitsu-san 7. Shikkakumon no Saikyou Kenja 8. Akebi-chan no Sailor-fuku 9. Sabikui Bisco 10. Sabiiro no Armor: Reimei 11. Futsal Boys!!!!! 12. Kenja no Deshi wo Nanoru Kenja 13. Leadale no Daichi nite 14. Tokyo 24-ku 15. Sono Bisque Doll wa Koi wo Suru No olviden unirse a nuestro server de discord: https://discord.com/invite/4Ps7fZuddM Si les gusta el podcast y quieren apoyarnos para que hagamos más, pueden invitarnos un cafecito en: https://ko-fi.com/trcapodcast Recuerden que pueden encontrar todo nuestro contenido a través de Linktree: https://linktr.ee/PodcastTRCA

Der dritte Podcast zur Winterseason 2022 Animes in dieser Folge: The Strongest Sage with the Weakest Crest (Shikkaku Mon no Saikyou Kenja) / She Professed Herself Pupil of the Wise Man (Kenja no Deshi o Nanoru Kenja) / Futsal Boys!!!!! / Fantasia Sango – Realm of Legends (Gensou Sangokushi: Tengen Reishinki) / Slow Loop

Der dritte Podcast zur Winterseason 2022 Animes in dieser Folge: The Strongest Sage with the Weakest Crest (Shikkaku Mon no Saikyou Kenja) / She Professed Herself Pupil of the Wise Man (Kenja no Deshi o Nanoru Kenja) / Futsal Boys!!!!! / Fantasia Sango – Realm of Legends (Gensou Sangokushi: Tengen Reishinki) / Slow Loop

Mother of six, owner of successful downtown and Pensacola Beach salon, DESHI, and creator of skincare brand. The DESHI brand specializes in creating peace, opening up purposeful safe spaces, and building intentionality into every step of our lives. Desheri and Fearlessly made You host, Kristie Tobias walks through the vulnerable journey of Desheri losing her mother, and how her mom's legacy inspired her to own her fearless journey, embracing and respecting failure and cascading her legacy. Peace, purpose, and intentionality are the 3 words that describe the essence that is Desheri McClure. Watch on YouTube More About Kristie Facebook Instagram See all episodes: msha.ke/kristie_tobias Contact: kristie@fearlesslymadeyou.com

Deshi and Koine lick their wounds after their harrowing journey, but encounter Tiraz, who needs there help. They set out as a band of 3 after swearing an iron vow to rescue Tiraz's sworn man. This leads them to the ruins of an ancient underkeep and dark magic, as we play with the Delve add on for Ironsworn. Players: Pete A, Duck, Ty GM: None

Euan Craig shares with us his story of clay. Euan Craig, born 1964 in Melbourne Australia, grew up in the historic pottery town of Bendigo in Central Victoria. Due to family illness, his own asthma and wide exposure to the disabled, from an early age Euan addressed questions of existence and social values. As a result, at the age of fourteen he chose Pottery as a career path, not because of what he wanted to do, but because of who he wanted to be. While working part time at local potteries to earn tuition fees, he pursued an education in pottery, finally graduating from the Latrobe University with a BA in Ceramic Design in 1985. Three days after graduation he opened his first Studio Pottery in the Northern Victorian town of Swan Hill. Influenced by the “Mingei” philosophy from his early career, in particular the healthy and natural beauty of functional art and the life style of potters like Shoji Hamada, Euan sold his pottery in Swan Hill to take up a position as production manager in a pottery in Mashiko, Japan in 1990. During that year he studied Japanese language intensively in his private time. In 1991 he was accepted as an apprentice “Deshi” by Tatsuzo Shimaoka, National Living Treasure. His time there studying the traditional process and the heart of Mingei has influenced his work philosophy ever since. After graduating from Shimaoka’s in 1992, he rented studios in Mashiko until establishing his own pottery there in 1994. Dedicated to a wholesome and environmentally responsible lifestyle and work process, he developed a 1 cubic meter fast fire “eco” wood kiln practical for a single person production pottery. In 2000 he moved his home and studio to a traditional farmhouse in the neighboring town of Ichikai, where he lived with his wife and four children until the earthquake and nuclear disaster of 2011. He has now established a new studio and earthquake resistant kiln in a 140 year old farm house in Minakami, Japan. Euan has held numerous solo and group exhibitions, taught workshops and summer schools and presented at art conferences and forums in Japan, Australia, the United Kingdom and Denmark. He has also written and been featured in many articles for magazines, newspapers, radio and television in Japan, Australia, the United States and Europe. He is a member of the Japan Mingei Association and is recognized internationally as a master of Mashiko Mingei. ♦ Instagram: https://www.instagram.com/euan.craig/ ♦ Facebook: https://www.facebook.com/Euan-Craig-The-Potter-in-Japan-131466626875774 ♦ Website: https://euancraig.web.fc2.com/ SERENE CERAMICS is a studio service set to promote Talented Artists in the Industry. Bringing together and enabling artists to focus on making what they love. Like, Follow, Subscribe and support today! Become part of the community and let’s advance together! ♥ Patreon: https://www.patreon.com/m/claystation_podcast/ ♥ PayPal: https://www.bit.ly/donate_to_claystation_podcast/ ♥ Instagram: https://www.instagram.com/claystation_podcast/ ♥ Facebook: https://www.facebook.com/claystationpodcast/ 257063 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/claystation-podcast/support

another week has gone by here is your news

Dex Parker, Wendy Striplogy, and Shane Sparks join Paisley for a chat about Adult Industry Stigma, Coming out process, and conscious porn. Dex Parker is Pansexual Switch with a specialization in erotic creation and education. He speaks to not only the body but also the mind and spirit, speaking to a more holistic and erotic approach to adult work and entertainment. “My aim and purpose is to invigorate, enrich, and uplift the sexual energy that resides within us all. We are all sexual beings, and we all have the capacity to find deeper experiences of sexual empowerment through more than just the physical body. I am here to guide you, and also to learn alongside you as I offer my raw and unfiltered journey towards my own truest expression.” Wendy has worked in the stripping industry for 10+ years. Her background prior to this was in the field of biotechnology. Stripping has always been her passion and has lead her on a path of self-discovery and spirituality. These discoveries in turn helped her to refine her skills as a stripper and lead her to create a business that offers education and support for the industry. Wendy studied sales, NLP master prac, hypnosis, yoga, and meditation, basically anything and everything she came across which she felt could be applied in the world of stripping. Her coaching and courses are aimed to empower other strippers on their journey, so they too, can enjoy the fruits of this amazing industry! Sparks began tying in early 2015 with Emerald where he soon found a passion for rope. Learning quickly both locally and traveling interstate at every chance to further knowledge. Sparks began an educational role in 2016 and not long thereafter they began teaching and performing interstate. Rope has since carried through to traveling to Japan to further continue his education. It was this trip where Sparks was accepted into the position of deshi to Nawashi Kanna Sensei and received his teaching certificate in the style of Kanna-Ryu. Making him 1 of 2 Deshi's & certified Kanna-Ryu instructors worldwide.​

The Captain is back…finally and there is fresh stuff in this episode that got ended on accident about 5 minutes before the set time.

Randy "Roadhouse" Spizer was possibly the first "superstar" blader. We talk about his iconic Crayola Senate wheels, filming for the first blading profile ever with Dave Paine, starting Deshi and 2nd Regime, and much more!

Duck and Pete A (in his Cabal debut) play Ironsworn in Co-op mode, without a GM! Come with us to a harsh and unforgiving place, where Deshi, a swordmaster, and Kione, a fledging Iron Priest, flee from a horde of Varou that has burned the only home Kione has ever known. Vows will be sworn, fights will be had, and fate will always rule in the end.

Episode 4 of the Captain Deshi newscast featuring Dan Bongino and Tucker Carlson on this episode. ← All Posts for Show The Captain Deshi Show

this episode largely covers the final presidential debate.

Episode 2 of TCDS(formerly wicked radio live) dan bongio gives us a buttload of information about the evil left and what they are up to.

same news and tunes show different name no more is wicked radio live.

Deshi brings you the news and music yet again. resources used are dan bonginio for the news segments find out more at bongino.com.

Artículos de Wikipedia al azar.

Over 2 million women will be able to navigate their entrepreneurship journey with our technology.

Latest Rajasthani Remix Songs, Rajasthani Dj Songs Free Downloads (https://www.remixfun.in)

Cool... Relax... Enjoy......

With the worldwide quarantine in place right now and us all purposely trying to focus on the positives... this is the perfect time to discuss, Family Time! Join Saima & Jena this week - to take a look back at the "simpler times" vs now, what has changed regarding how we interact with each other as a family, and what we can all do to make it fun, memorable, and one to be cherished!

Saima & Jena revisit the clothings and fashion sense of their childhood and teenage years, as it was dictated by their Desi Moms! They laugh about the stories while taking a deep look into the why's of the choices that were made for them. And now as Moms themselves, how they approach making these choices for their own kids.

Une curieuse manière de se dire au revoir… Le seul Refuge, c’est toi, m’a dit Senseï Il n’a le droit de voir personne d’autre. Oui, Senseï. Les deux yudansha (porteur de ceinture noire) acquiescent. Mon oreille gauche bourdonne encore. Qui a dit que le corps… L’article Uchi-Deshi : Tu es ton seul refuge est apparu en premier sur CuT.

Une curieuse manière de se dire au revoir… Le seul Refuge, c’est toi, m’a dit Senseï Il n’a le droit de voir personne d’autre. Oui, Senseï. Les deux yudansha (porteur de ceinture noire) acquiescent. Mon oreille gauche bourdonne encore. Qui a dit que le corps… L’article Uchi-Deshi : Tu es ton seul refuge est apparu en premier sur CuT.

Situation Initiale [cet article fait suite à celui-là !] 7 ans que je fais de l’Aïkido, en dents de scie. Pratique plutôt épisodique ces deux dernières années, après une courte période intensive (12h/ semaine pendant 50jours) sur Strasbourg. Actuellement 1er Kyu (équivalent ceinture marron). Ça,… L’article Uchi-Deshi: Aventurier de son existence (+ point culture) est apparu en premier sur CuT.

Situation Initiale [cet article fait suite à celui-là !] 7 ans que je fais de l’Aïkido, en dents de scie. Pratique plutôt épisodique ces deux dernières années, après une courte période intensive (12h/ semaine pendant 50jours) sur Strasbourg. Actuellement 1er Kyu (équivalent ceinture marron). Ça,… L’article Uchi-Deshi: Aventurier de son existence (+ point culture) est apparu en premier sur CuT.

In this special episode of Being The Change podcast, host Rohan Thakar is joined by filmmaker, Rima Sadashiv Amarapurkar co-hosting this episode and we share the story of Chetna Gala Sinha, who grew as a South Bombay girl and moved to a remote village called Mhaswad, in the state of Maharashtra in India while being actively involved in social movements to uplift the lives of women during the 80s. Chetna has talked about this story on TED, Vancouver and has also been the chairman of the World Economic Forum in 2018. From building toilets to starting a co-operative bank, called Mann Deshi Mahila Sahakari Bank run by women, Chetna has been a tirelessly working to make the village self-sufficient. Her NGO, Mann Deshi Foundation runs a community radio, cattle camp, unique education programmes like the B-School for villagers and various other activities to empower the people of the village. Listen to the complete episode to understand what true empowerment is.

In this special episode of Being The Change podcast, host Rohan Thakar is joined by filmmaker, Rima Sadashiv Amarapurkar co-hosting this episode and we share the story of Chetna Gala Sinha, who grew as a South Bombay girl and moved to a remote village called Mhaswad, in the state of Maharashtra in India while being actively involved in social movements to uplift the lives of women during the 80s. Chetna has talked about this story on TED, Vancouver and has also been the chairman of the World Economic Forum in 2018. From building toilets to starting a co-operative bank, called Mann Deshi Mahila Sahakari Bank run by women, Chetna has been a tirelessly working to make the village self-sufficient. Her NGO, Mann Deshi Foundation runs a community radio, cattle camp, unique education programmes like the B-School for villagers and various other activities to empower the people of the village. Listen to the complete episode to understand what true empowerment is.

Which Is Deshi Ghee Brand In India? || SABSE ACHCHHA DESHI GHEE KIS KA HAI? #BestDeshiGheeBrand #PureGheeBrand #AchhaDeshiGheeBrand #ShudhDeshiGheeBrand #DeshiGheeBenefits #IsDeshiGheeHealthy #XzimerLabTestedProducts ke is podcast se app janyenge ki kon sa desi ghee hai sudh, kon se brand kon kon si sudhta ki kasauti ko par kar ke pahuchte hai apke gharon tak, kaise chune ap sudh desi ghee ye aur iske alawa aur bhi bhut kuch hai apke liye is podcast me…. Lab test videos playlist link:- https://www.youtube.com/playlist?list=PLiui5gxXbftKv4Xk84Hsuli1bYzn3V3vz Best products/ category videos playlist Link:- https://www.youtube.com/playlist?list=PLiui5gxXbftLd_41oXA7q1sLDFa0P6juR Mother Dairy https://amzn.to/2QpkBQt Amul ghee https://amzn.to/2ABsVTd Link of Lab test report- https://docs.google.com/document/d/1ab-K2uTnJ0nyQhi3rdfPO0lOHpwzOPHWEmcY2PWI7RY/edit?usp=drivesdk Subscribe the channel. It's free- https://www.youtube.com/channe/UC5IcI... Facebook- https://www.facebook.com/XzimerOn/ Twitter- https://twitter.com/xzimer? --- Send in a voice message: https://anchor.fm/xzimer-medicare/message

In this episode, recorded off the mat, Valadez Sensei answers a deshi's request to speak on the role of the deshi within the Sensei/Deshi relationship. Valadez Sensei addresses this question from how best a deshi contributes to the success of their own practice. For suggested reflection points for future podcasts, please email us at: senshinone@gmail.com. For further information, please visit www.senshincenter.com, follow us at Facebook.com/senshincenter, or view over 400 videos and hours of information on our YouTube Channel: youtube.com/senshinone.

We discussed the standard of goalkeeping in South Africa with Deshi Bhaktawer, John Tlale and Farouk Abrahams. We were also joined by Mamelodi Sundowns assistant coach and goalkeeper coach Wendell Robinson in our careers in Sport feature.

Jim & Tom interview Michael Belzer, a lifelong martial artist with over 50 years of experience in a variety of fighting arts achieving his 8th Dan in Danzan Ryu Jujutsu, Advanced Instructor in Serrada Escrima and Gomokuroku in Shindo Muso Ryu Jojutsu. Michael began his training in Shindo Muso Ryu in 1974 at the age of 18 at the Rembukan Dojo under the 25th Headmaster of the art, Shimizu Takaji in Japan. He continued his training in the art in 1979, in Malaysia when he became a student of the legendary Donn F. Draeger, who was the first foreigner ever allowed to study and train in this Classical Martial Art of Japan. In 2008, Michael met Steven Bellamy-sensei, a Menkyo Kaiden (complete Transmission) of SMR and became his Deshi (personal student) to learn the advanced aspects of the art by making regular trips to Japan.

Miraj Haque shows why he loves to exhibit his outgoing personality and his Deshi culture.

This is my tenth episode, featuring; some interesting information about Metal Gear: Rising Revengeance, which I have seen being completed. Also featuring loads of current affairs, such as the Boston marathon bombings, and North Korea with their ‘war’! Sorry for being a week late. Stay tuned for more episodes. The next episode should be published in two weeks, so subscribe via iTunes, to ensure you are up to date with my new releases.

Hello all! Miss me? What do you mean who am I? Has it been so long? Hmm, yeah, I guess it has, hasn’t it? I’m Rob, and I bid you welcome to the sixth episode of Kung Fu Action Tales! Yep, we’re still here, and despite problems personal, professional, technical and supernatural this podcast is not yet dead! Well, maybe not supernatural, but you get the idea. It’s been a long couple months! Before we get on with tonight’s reading, I wanted to go over a few things. First, this podcast isn’t dead, but will be a little intermittent because with the exception of tonight it’s pretty much turned into a one-man writing show, and in addition to paying the bills this one man is a bit busy writing. More on that in a moment. This episode the charming and talented Fiona Thraille has reached into her bottomless magical bag of talents and produced a fun young adult story set in old China called The Little Warriors Without Swords. Fiona, as anyone who listens to KFAT knows, is the voice behind many of KFAT’s most memorable audio drama characters including Sister Cat and Lady Whitcombe. She also holds the title of being the only person so far who has written a KFAT audio drama besides myself- Little Gou and the Four Flowers of Shandong. Outside of KFAT, she was the writer/producer on Red Sands, a detective drama for Pendant Audio, and is also someone I’m fortunate enough to call a friend. Our reader tonight, like Fiona, is also a familiar voice. You’ll be hearing the vocal stylings of Richard Bartock, who you also heard reading last month’s Gen San-Mi Yorimasa- The Knight. After some other readers didn’t work out, Rick was kind enough to volunteer his voice to this tale, and should be commended for all the takes of it I made him do. When not serenading women with his deep rich tones, Rick is also the writer of the comic Clockwork Gods, a steampunk action story which all manly men would benefit from checking out. (And not a few ladies as well!) You can find it at http://clockworkgods.blogspot.com. Thanks Fiona for letting us tell Deshi’s tale, and to Rick for bringing it to life. I really love how Fiona manages to put a new twist on the classic tale of a town ruled by an outlaw family and the wandering hero who doesn’t quite save the day. Speaking of Outlaws, if any of you are planning on doing any Audio Dramas or Audiobook readings set in the old west, I sincerely hope you’re writing Mr. Bartok’s name down, because he was born to do westerns. Okay, so now on to the answer I promised- What have I been working on? The short and sweet answer is Twin Stars, but before you fans get up your hopes you should know that what I’m working on is the novel form, not more audio drama. It’s not impossible there may be another Twin Stars audio drama or two in the future, but right now almost all my creative energies are about expanding Twin Stars into prose format. I have to say, it’s really quite liberating, and I hope you like what I come up with. With luck, Book One will be finished before the new year, and I’ll be able to dive into Book Two, and of course…Book Three and beyond. Now, I did say most of my creative energies, but not all- there is one other creative project I have on the go right now, and it ties into both the KFAT website and this podcast in a way. I’ve rebuilt the KFAT webpage to reflect the podcast’s more prose focus, and I’ve also started to release a weekly webserial version of the Inuyama Rebellion. Yep, the same story you heard back in Episode Four is continuing on the KFAT webpage each Monday, so some check it out! If you’re not into webfiction, however, and you feel like being patient, you can also hear the rest of the Inuyama Rebellion here on the KFATale podcast in the near future, but I wanted to let the text version get well ahead before I released the audio one. Once the Inuyama Rebellion is finished in either November or December, I’ll be starting a new story on the page, and plan to keep doing it for some time. It’s going to be my way to do creative side stories while Twin Stars occupies my main focus for the long term. Okay, so that’s it for this show. I’m Robyn Paterson, and I thank you for listening. See you next month! The title theme of this episode is Sacred Asia by DJ Svenzo. The mZaijian! Baibai!

So there has been a LOT of hype over the new Deshi Carbon skates. So much in fact that I had to try some out for myself. While doing so myself and Harry Reavley decided to film my first afternoon on the skates to give you an idea of how they roll. I could have happily rambled on in nerdy fashion about small details but instead we decided to make it more fun to watch and let the action do most of the talking. Big shout out to Harry for coming up with a top level edit and getting it done in a day even if it took me a week to get it on the net! Stay tuned to the audio show for more on the Carbons as well as all the latest news and interviews in rollerblading. Don't forget to subscribe for free on iTunes and feel free to leave a comment if you enjoyed (or didn't) enjoy the video. Oh and one more big shout out to Oli Benet for giving me the chance to check out the skates - for more details visit www.theconference.org

Un opening que j'adore!!!!!!! laissez moi vos impressions! Voir les derniers fichiers de watase-fanPartager sur : Facebook | Twitter | MySpace | Overblog | Skyrock