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$VOO (or SPY) and chill is a real strategy you can use during the volatile market. And why buy the Mag 7? Valuation is really cheap. Get the Top 10 stocks of 2025 from Seeking AlphaLimited Time offer on Trendspider - 2 week trials now - you won't get my tools until you sign up for a yearly plan, but it's a perfect time to try out Trendspider for less than $20 1. Alpha Pick Day - a strategy to scalp2. LVMH - sales down3. Tariffs4. VOO and chill during this5. Dan Niles - master class note - he's saying it might be a bottom6. Money is flowing in 7. Cramer's stocks - some seem good 8. $BULL - Webull up almost 400% - would I buy it? 9. $PLTR pops10. $NVDA - buy it here?11. $GOOG - killing it on AI with real world applications12. Earnings - $BAC $C each up 2% and $IBKR and $UAL tonight. 13. $NFLX - I still like this one14. Doji candles - they are reversal signals - find them using a scannerTRENDSPIDER SALE - best offer available -https://linktr.ee/dailystockpick Sign up at the top link (use code DSP25 if prompted) Email me at dailystockpick3@gmail.com I'll send you all the algorithms, watchlists and scanners that you see me use each and every day.Social Links and more - https://linktr.ee/dailystockpick SEEKING ALPHA BUNDLE - save over $150 SEEKING ALPHA PREMIUM - my $30 off coupon for a limited time Watch this episode on YouTube with video to see how Steve from Seeking Alpha uses the tool to navigate on picking stocks. Want to beat the S&P? Sign up for Alpha Picks here.FREE NEWSLETTER WITH CHARTS - subscribe at DAILYSTOCKPICK.SUBSTACK.COM
This FREE PREVIEW of the After Dark is brought to you by Future Commerce Plus!Join today and receive access to ad-free and bonus content from Future Commerce. futurecommerce.com/plusWe're covering the first 100 Days of the New Commerce Department: what trade and tariff policies are up Commerce Secretary Howard Lutnick's sleeve? PLUS: We dig into TikTok's dizzying fake-out, Doji's mystifying deepfake try-on tech, and the long-awaited launch of the 2025 Future Commerce Annual Journal, LORE. Episode LinksPreorder LOREExplore Doji: Doji AppWatch the Head and Shoulders video we geeked out aboutFor bonus content, ad-free episodes, and more, join Future Commerce Plus.
Morning Nifty 50 view Prepare your trading day in the market with this daily market pitch report on Nifty 50 with a strategy to trade including stop loss and target.
Morning Nifty 50 view Prepare your trading day in the market with this daily market pitch report on Nifty 50 with a strategy to trade including stop loss and target.
Morning Nifty 50 view Prepare your trading day in the market with this daily market pitch report on Nifty 50 with a strategy to trade including stop loss and target.
This week one of my favorite Japanese folktales. As I'm revisiting these tales I'm thinking hard about what the next chapter of The Folktale Project looks like. Have an idea you'd like to share? Reach out at dan@folktaleproject.com.
In this episode for 24-July-24 Our analyst and expert gives you a market wrap for the day. This is an easy listen and a good catch up in 2 minutes to know All About The Markets
In this episode for 24-July-24 Our analyst and expert gives you a market wrap for the day. This is an easy listen and a good catch up in 2 minutes to know All About The Markets
In this episode for 24-July-24 Our analyst and expert gives you a market wrap for the day. This is an easy listen and a good catch up in 2 minutes to know All About The Markets
Welcome to episode 588 of the Trading Justice podcast where the Justice boys go looking for a doji. Markets have not been boring recently and the performance gap between what the Justice brothers refer to as the “left behind” areas of the market (IWM, RSP, ARKK, DIA) and recent winners was notable over the last week. The Justice boys discuss what comes next and breaks down all the price action. The Justice brothers are looking for a doji and discuss the significance of that technical pattern in the coming days of market action and how important it is for traders. Matt also gives us an update on earnings (not too shabby) and highlights what is going to be a filled week. What companies stand out to him this week? The boys also break down gold, Bitcoin's power move, surprising price action on oil, the scenario that might lead to a surprise July cut out of the Fed, and answer some student questions. A power podcast from top to bottom as you have come to expect. So sit back and enjoy another fantastic episode of the Trading Justice podcast! Market Skyline: 4:00 Earnings Update: 32:00 USD: 44:00 Gold: 47:00 Oil: 51:00 Bitcoin: 57:00 Q/A: 1:12:00
Morning Nifty 50 view Prepare your trading day in the market with this daily market pitch report on Nifty 50 with a strategy to trade including stop loss and target. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
Morning Nifty 50 view Prepare your trading day in the market with this daily market pitch report on Nifty 50 with a strategy to trade including stop loss and target. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
Morning Nifty 50 view Prepare your trading day in the market with this daily market pitch report on Nifty 50 with a strategy to trade including stop loss and target. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
Sáng nay, 16-5, Ngân hàng Nhà nước đã đưa ra đấu thầu 16.800 lượng vàng miếng SJC. Có tất cả 11 đơn vị tham gia gồm SJC, DOJI, PNJ, Phú Quý, ACB, TPBank, HDBank, Sacombank, VPBank, Eximbank và Công ty vàng Asean.
Novinár Karol Sudor sa téme eutanázie venuje už viac ako 18 rokov. Za ten čas urobil množstvo rozhovorov s odborníkmi aj pacientami. Ostatný rozhovor na túto tému s manželmi Kavalírovcami, o ich ceste, ktorá viedla od rozhodnutia podstúpiť asistovanú samovraždu až k je odmietnutiu, patrí za dlhé obdobie k najčítanejším textom Denníka N. O tom, aké úskalia so sebou nesie písanie o takto ťažkej téme, ako si hľadá cestu k respodentom, čo sa od nich naučil, kde pri starostlivosti o zomierajúcich zlyháva štát, a aký je jeho vlastný postoj k eutanázii, sa s ním rozprával Braňo Bezák.
In ConfidenceRed and Gabriel meet back up to give Doji their reports.Gift of the HeartTragedy finally meets up with her beloved husband.
Jacob and Rob are back at it for a marathon episode featuring your favorite segment, microgeopolitics, and extended discussion about technical analysis and why you should be wary of the euphoria in markets right now. They close with some thoughts on the latest (and hot) inflation print, and some notable developments in Ukraine and China. --Timestamps:(00:00) - Intro(00:54) – Microgeopolitics – WI Dells(14:20) – S&P 500 reversal?(23:00) – Technical analysis(29:50) – Japanese candlesticks(47:30) – Inflation(58:40) – Ukraine(1:06:30) – China--CI Site: cognitive.investmentsJacob Site: jacobshapiro.comJacob Twitter: x.com/JacobShapSubscribe to the Newsletter: bit.ly/weekly-sitrep--Cognitive Investments is an investment advisory firm, founded in 2019 that provides clients with a nuanced array of financial planning, investment advisory and wealth management services. We aim to grow both our clients' material wealth (i.e. their existing financial assets) and their human wealth (i.e. their ability to make good strategic decisions for their business, family, and career).--Disclaimer: Cognitive Investments LLC (“Cognitive Investments”) is a registered investment advisor. Advisory services are only offered to clients or prospective clients where Cognitive Investments and its representatives are properly licensed or exempt from licensure.The information provided is for educational and informational purposes only and does not constitute investment advice and it should not be relied on as such. It should not be considered a solicitation to buy or an offer to sell a security. It does not take into account any investor's particular investment objectives, strategies, tax status or investment horizon. You should consult your attorney or tax advisorThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacyPodtrac - https://analytics.podtrac.com/privacy-policy-gdrp
Red and Gabriel meet back up after Red's distraction to report to Doji.Audio Production @KatLovelandVoiceActor
Morning Nifty 50 view Prepare your trading day in the market with this daily market pitch report on Nifty 50 with a strategy to trade including stop loss and target. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
Morning Nifty 50 view Prepare your trading day in the market with this daily market pitch report on Nifty 50 with a strategy to trade including stop loss and target. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
Morning Nifty 50 view Prepare your trading day in the market with this daily market pitch report on Nifty 50 with a strategy to trade including stop loss and target. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
Morning Nifty 50 view Prepare your trading day in the market with this daily market pitch report on Nifty 50 with a strategy to trade including stop loss and target. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
Morning Nifty 50 view Prepare your trading day in the market with this daily market pitch report on Nifty 50 with a strategy to trade including stop loss and target. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
Morning Nifty 50 view Prepare your trading day in the market with this daily market pitch report on Nifty 50 with a strategy to trade including stop loss and target. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
In this episode for 15-Feb-24 Our analyst and expert gives you a market wrap for the day. This is an easy listen and a good catch up in 2 minutes to know All About The Markets. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
In this episode for 15-Feb-24 Our analyst and expert gives you a market wrap for the day. This is an easy listen and a good catch up in 2 minutes to know All About The Markets. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
In this episode for 15-Feb-24 Our analyst and expert gives you a market wrap for the day. This is an easy listen and a good catch up in 2 minutes to know All About The Markets. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
In this episode for 07-Nov-23 Our analyst and expert gives you a market wrap for the day. This is an easy listen and a good catch up in 2 minutes to know All About The Markets. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
In this episode for 07-Nov-23 Our analyst and expert gives you a market wrap for the day. This is an easy listen and a good catch up in 2 minutes to know All About The Markets. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
In this episode for 07-Nov-23 Our analyst and expert gives you a market wrap for the day. This is an easy listen and a good catch up in 2 minutes to know All About The Markets. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
Iluminados, neste episódio, voltamos ao Japão, as lendas presentes neste episódio são: Hyosube, Shuten Doji, Ibaraki Doji, Ichijama e Iju. *** REDES SOCIAIS: TikTok: @sigaaluzpodcast Instagram: @sigaaluzpodcast *** Considere tornar-se um apoiador do Siga a Luz, entre no site: apoia.se/sigaaluzpodcast ou apoie este projeto pela opção PIX que é o próprio e-mail do Siga a Luz. A sua ajuda fará toda a diferença para o podcast. *** Mandem relatos para: sigaaluzpodcast@gmail.com ou no número (62) 99255-3601.
In this episode for 04-Oct-23 Our analyst and expert gives you a market wrap for the day. This is an easy listen and a good catch up in 2 minutes to know All About The Markets. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
In this episode for 04-Oct-23 Our analyst and expert gives you a market wrap for the day. This is an easy listen and a good catch up in 2 minutes to know All About The Markets. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
In this episode for 04-Oct-23 Our analyst and expert gives you a market wrap for the day. This is an easy listen and a good catch up in 2 minutes to know All About The Markets. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
Morning Nifty 50 viewPrepare your trading day in the market with this daily market pitch report on Nifty 50 with a strategy to trade including stop loss and target. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gepl-capital/message
- Cũng như bao bạn trẻ khác, Nguyễn Văn Võ, chàng thanh niên quê Thái Bình, từng băn khoăn khi lựa chọn hướng đi của mình sau khi học xong cấp 3. Tuy nhiên, tự nhận biết thế mạnh của mình là sự khéo léo và kiên trì, Nguyễn Văn Võ đã chọn con đường học nghề, ban đầu là nghề điện, rồi nghề bartender - thợ pha chế rượu, nước giải khát, và sau đó bén duyên với nghề kim hoàn. Sau hơn 10 năm gắn bó với công việc tạo mẫu, chế tác vàng, bạc, đá quý, Nguyễn Văn Võ, thợ kim hoàn của Công ty cổ phần tập đoàn vàng bạc đá quý Doji, mới đây đã được tuyên dương là 1 trong một 100 công nhân giỏi thủ đô năm 2023. Chuyện đêm hôm nay mời quý vị và các bạn cùng gặp gỡ thợ kim hoàn giỏi Nguyễn Văn Võ, để hiểu hơn về hành trình phấn đấu cũng như những cơ hội của một người thợ giỏi. Chủ đề : người thợ, kim hoàn --- Support this podcast: https://podcasters.spotify.com/pod/show/vov1sukien/support
Welcome to the Chicago Beer Pass: Your ticket to all the great beer events happening in and around Chicago.On this episode of Chicago Beer Pass, Brad Chmielewski and Nik White have themselves cans of Doji from Old Irving Brewing. The last week Brad was out of town on vacation sipping piña coladas on the beach so he didn’t visit any local breweries but Nik got out to a few. Nik managed to check out Kishwaukee Brewing and Tighthead Brewing. Kishwaukee recently won a medal for their Brown Ale and Nik had to try it at their brewery in Woodstock. As the year is half over, be on the look out for an episode coming soon where the guys share their favorite beers of 2023 so far. Having issues listening to the audio? Try the MP3 (53.2MB) or subscribe to the podcast on iTunes!
The media commentary on hip-hop's decline is stronger than ever. Especially since it took six months for a rap album to top the Billboard 200 in 2023, and no rap song has topped the Hot 100 yet..Is hip-hop slipping? Or is there more to this story? is slipping or others are merely catching up?To break it all down, I'm joined by The Wall Street Journal's Neil Shah, who has written about this extensively. 0:40 Our take on hip-hop's “decline”4:51 Upcoming albums that may top the charts8:48 How Billboard charts work17:40 Hip-hop over indexed when streaming took off18:30 Was hip-hop held back in the past?20:26 Implications of chart performance22:55 Gaming the system with album bundles 32:49 Are album equivalent units the best way to measure success?35:13 Hip Hop's market share in 5 years45:16 Music recycling IP vs. developing new oneListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Neil Shah, @NeilShahWSJThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Neil Shah: While it looks like hip hop is suffering a little bit right now, or in this cooling period, maybe it's tentacles have stretched out So much, it's influences so total that it's actually become the bedrock of a lot of pop music. [00:00:12] Dan Runcie Intro Audio: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:40] Dan Runcie Guest Intro: This episode is about the state of hip hop, which has been quite the topic over the past year. So it was right around this time in 2022, when we started to see articles and stories and reports pop up about hip hop's decline in market share. This is specifically looking at the US listening consumption over time for hip hop artists that were producing tracks.And after a record number of years of growth in hip hop is eventually becoming the most listened to genre of music in the 2010s. We started to see that growth slow down relative to other genres. And there's a number of reasons for this, a number of reasons that are unfair, a number of reasons that require a little bit more digging into and to break it all down.I was joined by Neil Shah from the wall street journal. He's written about this himself. Him and I've talked about this both on and offline, and we decided to bring it together to talk about all the various factors. What does this mean for the music industry? What does it mean for the artist in the industry in terms of the budgets that they get?And is this even fair when we think about all of the factors in place with regards to streaming, where audiences grow, whether hip hop artists and their fans are more likely to be early adopters versus other genres, some of the rules that Billboard and other entities make that influence how these charts get factored in vinyl and a whole lot more. So let's dive into the state of hip hop.[00:02:05] Dan Runcie: All right. We're back for another episode this time. Neil Shah from the wall street journal makes his return. Welcome back.[00:02:11] Neil Shah: Thanks for having me.[00:02:12] Dan Runcie: And today we're going to talk about a topic. Both you and I have written about, thought about and has come to a head this past year. And that's the state of hip hop and where it lies relative to other genres right now.I'm sure many of you have seen the stats dating back as early as last year. When many outlets really started to talk more about hip hop's market share of its overall listening relative to other genres, which genres are growing at faster rates than others, which are declining. And now we're in this place in 2023.We're still as of the end of June, almost six months through the year, not one rap album has topped the Billboard top 200. And I'm pretty sure that no rap song has topped the Billboard hot 100 either. So Neil, what do you make of all of this?[00:03:04] Neil Shah: It's pretty striking that rap has not topped either of these charts, the Hot 100 or the Billboard 200. To put it into some context, in 2019, 17 rap albums Hit number one on the Billboard 200. 17. In 2020, another 17 did. basically last year, we started to see a slowdown on this front where there were fewer number one hits on these two charts in rap and hip hop and R& and then now this year, we have this striking reality that rap has been absent in this way, which I believe it, we haven't seen something like this. Since about 1993. So yeah, think it's generating lots of discussion and varied opinions. Hip hop has long had ups and downs, you know, in the 21st century, there are plenty of lulls, there are plenty of hot periods, and we could be in another lull. But my gut sense at the end of the day is that this does constitute a fairly significant slowing compared to how hot this genre was running, I mean, just a few years ago. I think it's a marked slowdown. And while one can quibble with the fact of not having a number one, because that can easily change, you know what I mean?Like as soon as Travis Scott puts out Utopia, as soon as Drake puts out For All the Dogs, the picture can change slightly. But even all that quibbling aside, I do feel like it's pretty striking that there is a slowdown.[00:04:51] Dan Runcie: Right, and that's a good point, because we could look at the more specific pieces of it. And yeah, if J. Cole, if Travis Scott dropped Utopia, if any of these things happen in the spring, we may not be having the same conversation from a top headline. Oh, let's react to this thing. But even like you said, you named 17 albums from a couple of years ago.So we're talking one every three weeks, essentially that hit that target, if not more, and we're now 24 weeks into the year and we haven't had any. So there's still a pretty big shift, even if you account for the superstar releases. And if we're looking at the artists that are planning to release albums this year, I was looking through at some of the artists that have.Big albums coming out, and these are the only ones that I thought are certified locks to hit number 1 on the billboard. You have Drake's new album, as you mentioned, Travis Scott's Utopia, J. Cole's The Fall Off, if he drops it this year, Lil Wayne, I think there's another Carter coming, Lil Uzi Vert, who I believe is dropping pretty soon, so he could potentially be the 1st, and then after that, And I hate to say this, but maybe Cardi B.I still think that she's pretty strong, but we'll see it. I say maybe more. So we'll see if she drops an album. And I say maybe to Nicki Minaj too, while I have a bit more confidence in her dropping an album, her last album went number two, second to Travis Scott back in 2018, but it's also been a long time.And some of the other artists who are a few more fan favorites, like Pusha T or A$AP Rocky Rick Ross, even Chance the rapper. Great artist. But it's been a while since any of those artists, if ever have topped the billboard. 200 for album charts. I know Ross and others have in the past, but, so there's a lot of fragmentation.There were, there's still are artists have a shot, beloved albums, but they're not reaching this particular milestone of how people view mainstream success.Yeah, the [00:06:46] Neil Shah: question of who's a lock for number one in the rap community has gotten a little bit more complicated than maybe a few years ago. Some of these people may not be a lock. [00:06:58] Dan Runcie: Do you think anyone I named isn't a lock.[00:07:00] Neil Shah: Drake is obviously a lock. Travis, I would think would be a lock. Vert comes out on Friday, that's a pretty large artist and a highly anticipated album, but I'm not entirely sure. I'm not entirely sure that that would be number one. I'm not sure about Nikki. I would think Cardi, who I believe has been having 2023 in the frame, I would think that Cardi B would be number one.It's just a little bit more complicated than especially with projects from the likes of Pusha T and whatnot. Yeah, there's definitely not a guarantee that even these stars and superstars will perform the way they did. Of course, that's up to the vicissitudes of do they have a hot single or not?How much mindshare are they capturing, you know, these things change from year to year. All things considered, it does feel like, you know, things. I'd be worried about the downside of people being a little bit weaker. We just had Gunna, for example. Gunna, you know, came out with an album. It's been doing pretty well.his mentor Young Thug actually also just released an album. There's a new Metro Boomin version of it that I think came out today or yesterday. But look Gunna back in 2022, last year, hit number one. [00:08:19] Dan Runcie: Outsold the Weeknd [00:08:20] Neil Shah: and what happened this year with this album they're gonna just put out, it hit number three. And even more than that, just the EAU unit figure, the equivalent album units, 85K, 85, 000 is decent, but not the strongest showing. So, I think there is a question about when these stars come back, just how well will they do as the surrounding environment for them is, creating what we're talking about,[00:08:48] Dan Runcie: Yeah, I think there's a few factors here, and I do want to call them out. Billboard, who does reflect the charts, they released a article, 5 Reasons Why a rap album has yet to top the charts and there are 5 reasons are I'll read them here. The 1st is a lack of stars essentially in a fragments in a fragmented landscape.There's so many artists that don't necessarily need mainstream success that billboard relied on. And I think that could be true to an extent. You have their 2nd, 1 here, which is growth for hip hop itself is only up 6. 3% compared to country and Latin, which are growing much faster. I have some thoughts on that, but that was their 2nd point.They made the 3rd, which is related to Gunna here. They talked about guns, violence, drug abuse and courtroom legal battles as well that have slowed down or halted the production of many promising stars. Whether you look at XXXTentacion, Juice WRLD, Pop Smoke, and then you look at Gunna and Thug and others that have been battling legal challenges as well.The fourth one they mentioned is just stagnation. At the charts, which I think may be a bigger thing where if you look at the charts this year, at least for the billboard 200, it's been SZA, it's been Morgan Wallen and a little bit of Miley Cyrus. And that's pretty much been it for most of the year. So it's not even the way that it was in the pre pandemic years where every week there was a new album that seemed to have its glory moment.It's the same artists that are staying at the top. And in some ways, it almost feels a little bit like a throwback to days before streaming when we saw a little bit more stagnation there. And then their 5th reason is not enough dance music because they talked about albums like Renaissance or Drake's Honestly, Nevermind, Dua Lipa and Future Nostalgia and how they feel like post pandemic people want to get out there and how a lot of hip hop music has been a much more slow chill, especially in the streaming era.And I think that each of those are valid points, but I think there's a few other things that weren't mentioned in billboards article that they themselves as the entity that decides these things has a big influence. We mentioned several of those Pre pandemic years. 1 of the biggest things is how billboard itself. Change the rules and album bundles is a big thing. Ironically, they're actually going to be coming back with album bundles in a few months, but this was their way to be able to help preserve the sale of the album and have artists combine their album with a merch item, whether it's a T shirt or some other type of item.But like anything, people started to game the system and people felt like it wasn't necessarily about album sales. It was more about people trying to sell these items. And I think we saw that most to extreme degree with what Travis Scott did with Astroworld, where he literally had an e commerce machine that was running, in perpetuity to help make sure that album almost doubled in its expectations of what people thought we just hadn't seen that much of a outpaced growth, but he saw the way the system was and we'd into it.So I think that's one thing. That's a big factor, a second thing that I look at is just what we consider hip hop on these charts, because of course, billboard itself is it's reporting things based on us listenership. But we know that Latin music is very popular as well. Just considering how well bad bunny did on the charts.But as you and I've talked about, bad bunny is labeled as Latin. He's not labeled as the actual genre that he performs. He's more categorized based on the region he's from. And for all intents and purposes, he considers himself a rapper. He considers himself a hip hop artist. So if hip hop was given some of that region agnostic glory that pop music or others get, maybe we would see, maybe we would even be having this conversation and we think about the global aspect of it.So those are two things. There's a few more, but I wanted to get your thoughts on those.[00:12:44] Neil Shah: Yeah. So let's start with that last one, what if hip hop is suffering from its own success, hip hop has had booms. For decades now, but what we saw in this back half of the 2010s was something fairly special and now we're at this juncture right now and so it just raises the question of like it looks like we're in a cooling period for hip hop, but hip hop is It's tentacles are reaching into, I mean, almost all of the other genres that are capturing the imagination of music fans right now.I mean, often Morgan Wall in the country star sings with rap like cadences. one reason why [00:13:25] Dan Runcie: Hip hop sounding beats too.[00:13:27] Neil Shah: Yeah, even the tracks hip hop. Some of the bedrock, some of the sonic structures of Morgan Wallen's music are inherently, deeply hip hop. One reason why BTS and a new crop of Kpop stars have thrived so much, especially in the U.S., is their hip hop fluid. You can go down the list. I mean, the regional Mexican music craze that's going on right now. there's a ton of hip hop there, reggaeton, Afro beats. and then of course, Latin music and figures like Bad Bunny, Who's rapping and due to billboard nomenclature is categorized as a Latin artist, so one could look at the phenomenon differently and think, actually, while it looks like hip hop is suffering a little bit right now, or in this cooling period, maybe it's tentacles have stretched out So much, it's influences so total that it's actually become the bedrock of a lot of pop music. And then while rap stars are not thriving the way they did, say, between 2016 and 2019, in particular, because that's the period we're coming down off of, one could argue that it's. In all of these other places.And in fact, in this age of, hip hopping everywhere, of everyone sing rapping, essentially the boundaries between quote unquote core hip hop, what Billboard would categorize as hip hop for the purpose of the charts, and a lot of these other genres is getting very fuzzy. So, one party could look at the phenomenon before us and think, weakness, in hip hop, another way of looking at it would be an increased fuzziness between hip hop and these neighboring genres. And so that that could be, that could be a major factor here. and yet at the same time, you know, something I think about a lot. what is the right way to think about this? And I'm really of 2 minds, like, I'm kind of in a conflicted space where on 1 hand, I don't know whether hip hop's influence is what we're watching is this kind of dominance on a new level, hip hop being a victim of its own success and essentially being everywhere or whether, you know, there really is some kind of transitional period afoot, you know, 1 thing to keep in mind is just how hot the 2010s and it particularly the back half was just think about how much era defining music was made in this period, incorporating R&B to Beyonce, Rihanna, Kanye West. The hubbub over Life of pablo, Drake views, you know, Frank Ocean, Kendrick Lamar.I'm just talking about the top level. We're not even talking about the medium tier of excellent rappers and R&B stars beneath that Childish Gambino. There was a lot going on during this period. And so, despite, some of the other factors that we're talking about and that we'll talk about, I feel like that's what you gotta compare it to.And so, to my mind, and I'm getting to actually a 2nd point in the billboard article. it does feel like we're help where we've come from a unipolar hip hop dominated universe using the strictest definition of hip hop to something. That's more multipolar and really. That can be a function of time and development, i.e. hip hop's success. Another good point that I think the Billboard article raised was just, you know, as a genre becomes so dominant, how much room is left? Once you're king of the mountain, how much growth is there left in the shoe? I mean, mathematically, your growth is going to, slow down. I come across this when I think about vinyl sales, you know, for years now, vinyl has been hot, but naturally, mathematically, as your base gets bigger, and we're talking about lots and lots of sales, your growth rates slow down.So, like, this is just kind of an analogy, but as hip hop gets so dominant, there's something natural about not just a genre having slower periods in a cyclical fashion, which is a slightly separate thing, but there's also something natural about the genre at this point actually just I'm losing some steam for purely mathematical reasons.[00:17:40] Dan Runcie: I'm glad you mentioned the back half of the last decade as being a high point for hip hop, because here's some important stats that influence this. Right in the middle of the 2010s is when we saw this shift is when streaming started to take off. Apple Music launches Spotify really kicks into gear. Of course, they launched in the US in 2011, but things really came into focus in 2014 and then in November, 2014.That's when the billboard 200 starts counting streams and they've altered the formula a little bit, but it's roughly been the same where it's been anywhere from around 1, 250 to 1, 500 or even more if it's a free ad supported stream. But that's when they started counting streams at that particular point, Spotify had 15 million paid users and 60 million overall.And then, four years later by 2018, they have 96 million paid users. And so if we go back to that point, so this is obviously when Travis Scott was releasing Astroworld, when Drake released God's Plan, as you mentioned, all these hip hop albums are doing extremely well, but there was a large. Index on hip hop fans.And as we've seen when technology and time again, hip hop fans as a genre do tend to over index and their early adopters with new technology. We saw that with Spotify and the various streaming services, especially where their user base was. And you also saw that as well with social media with Twitter and places like that.Where were the genres that people were talking about most on these platforms? It was hip hop. So there was this run of hip hop getting this lead. That other genres didn't have him because it over indexed early. You saw this outsized performance, especially as record sales, traditional, pure album sales started to dip a bit, but since then, you're now looking in this post quarantine phase and Spotify's growth is, paid subscriber amount is more than doubled since 2018, it's now over 200 million paid subscribers. And most of that growth came less from hip hop fans, but more from everyone else. So as we look and see the growth of whether it's Latin music, music in Africa, music in Asia, even country music within the US, you're looking at the growth of Spotify and the growth of all these streaming services and how that impacts charts and performance.So even though hip hop listening is still growing. In the way that we've seen it record labels in the industry often do report things as a zero sum game in a lot of ways. So because of that, even though the growth is slowing down, it's still growing. It's just not growing as fast as these other genres that are now having their late 2000 late 2010s hip hop moment[00:20:26] Neil Shah: Totally would. so yeah, when I looked into this topic last fall. Basically, fall was upon us in 2022, and it looked like hip hop's chart performance was relatively weak, so I wanted to look into this topic at that point. One of the interviews I did was actually with the head of the data tracker, Luminate, and this is definitely one thing that they noted, which is hip hop fans.This is an important point, hip hop fans, were early adopters for streaming. So they over indexed and kind of led the way during an earlier stage of streaming adoption in precisely in the middle of the 2010s. And so, yes, you're right that you're, seeing, a shift here as the base of the streaming universe essentially becomes more varied. And especially during the pandemic, we saw these significant jumps with country and Latin music, partly that's a Morgan Wall in effect. Partly the Latin music numbers are juiced by Bad Bunny, these gargantuan artists in terms of their numbers, but it's a broader phenomenon of these genres. And their fans being a bigger part of the streaming pie and as a result, partly because of that hip hop share of streaming, not overall music consumption, but hip hop market share of us streaming is yes, like period after period, year after year is dipping as we now have a, actually a fuller picture. A more varied streaming audience.so that's definitely a major factor and it's you know, part of why country and Latin music in particular have gotten the lifted that they've got of late. One thing to keep in mind throughout all of this is that while we're talking about, hip hop slowing, at least according to these chart metrics and streaming market shares and whatnot, it's always worth mentioning or noting that it's market share still outstrips these other genres by a wide margin, not just Latin and country, which, you know, Latin's numbers in the billboard math are, have always been weirdly low, frankly. They seem lower than they should be, but they're fairly low. I mean, we're talking like, right? Six, seven, eight percent, just neighborhood ballpark in terms of market share of U. S. consumption compared to hip hop, which is still outpacing.[00:22:46] Dan Runcie: In the high 20s, Yeah.[00:22:48] Neil Shah: Right. So it's just worth keeping in mind how much of a distance there still is between hip hop and some of these other genres.[00:22:56] Dan Runcie: And this dynamic as well made me think about other times, even before streaming where distribution and means have impacted which genres were more popular. And in a lot of ways, I've often thought that streaming's ability to lower the entry barriers and to eliminate the gatekeepers, not completely eliminate, but to lessen their power is what enabled hip hop artists and artists from other genres to realize their power.And it made me think back to times in the CD era. And I remember growing up when we think about the peak of the CD era, this is something I still remember to this day. Cause I was in school at the time. I think about three albums that came out right around the same time. You have two hip hop albums. So you have DMX is, and then there was X this December, 1999.And then a couple months later you have NSYNC. They have their no strings attached album, which was still up until Adele's album was the highest first week sale. I think it was just under 3 million. I used to the US and then a couple months after that, you have Eminem drops, Marshall Mathers LP, and roughly from a high level, I believe that NSYNC, as I mentioned to just under 3 million in its first week.Marshall Mathers LP did just under 2 and DMX did a few hundred thousand under 1 million. And just calling those 3, 2, 1 from that perspective, all those artists are pretty big. I don't know if I buy that Eminem was that much less popular than NSYNC at the time, but I think part of the reason was, A, you had these parental advisory stickers on them, which essentially acted like a rated R thing where, okay, it's making you pause when you go to the register.And too, because I was in school. I remember parents of NSYNC fans that were taking their kids out of school to go line up on Tuesday to go to Sam Goody or Strawberries, wherever, buy the album, and then come back in time for C period to start, right? That didn't happen with the parents of Eminem fans, and that did not happen with the parents of DMX fans.So all of these things that may seem like natural commerce are structural things in play when we think back about that, and even to just how the nineties were in general with. Time Warner and all these big companies and the government and the Clinton administration trying to come down on hip hop. We finally now saw it reach its potential.And now when things are starting to dip, everyone now wants to pull it back.[00:25:17] Neil Shah: Totally. So, like, even as late as the late 90s and the early 2000s, there's this cultural penalty on hip hop music that is kind of artificially suppressing sales. I mean, you still see this in the live music industry to this day, whether it's festivals like Rolling Loud or New York City music venues where rappers often have a tougher time. It's a little harder to put on an arena rap show. It's unfortunate, but partly it's because the insurance rates are higher and it's more costly to put on the show. Why is that? So even to this day, whether on the business side or culturally, there are things that can affect sales, and in streams and whatnot, you're mentioning kind of the, you know, the late 90s, I think back to the early 90s, in a way, the way in which hip hop over indexed, or kind of was buoyed by technology in the form of streaming in the middle of the 2010s, it was like a revenge for 1991 and what obtained in the prior years when rap albums were very popular and were actually selling briskly, but they were underreported along with country also too, they were actually underreported in the pre digitized sound scan era. So there again, you moved from a period when for these cultural or business factors, one genre was kind of artificially held lower, and other genres look like they were, dominating the mindshare of the country.But then lo and behold, we entered the period of SoundScan and suddenly the whole country is listening to NWA, who knew? And so it's always seemed to me like while hip hop may have over indexed in like, you know, 2015 and 2018, it was kind of like almost like payback for 1989 or whatever, but yeah, so like these shifts, you got to take with a grain of salt because, you know, they're constructed a billboard and the industry does the best it can.And it's constantly retooling, how it approaches things. You noted earlier the shifting position on album bundles. It's interesting that they're allowing it back this summer, but now with safeguards, so you don't pull a Travis Scott, presumably. So, you know, it's a work in progress, always, all of these metrics.So you, when you're thinking about these debates or discussions, you do need to take it with a grain of salt. The average person on the street, maybe a rap fan, maybe a rock fan, maybe a post genre music fan. They may not care about the ins and outs of genres going up and down. Journalists may care about it and obviously people in the music industry do. but you know. It is relevant to the business, because it does affect how the business operates and what I mean by that is, you know, at record labels, your job is basically to, sign acts and pursue the hot thing and make money and some, so some of these cultural discussions about how genres are doing definitely have an impact on how the business operates and at the end of the day, the way, you know, the way the music that we hear now, I think of, you know, in earlier periods when hip hop experienced a lull, I don't think this will happen this time, but in earlier periods when hip hop experienced a lull, you know, the boy band era that you mentioned, I think, like around NSYNC and around Britney Spears time, you did see the slight lull in urban music have an impact on A&R budgets. There was a very much a shifting wind in terms of like, you know, money in some cases withdrawn from, like urban A&R budgets and, diverted elsewhere. you know, much like any business does, like diverting resources to where things feel like they're hotter. So my point being, some of these discussions, while the average music fan, may not care as much, they have real world implications.[00:29:16] Dan Runcie: That's the part that frustrates me because a lot of this, as you mentioned, it's chatter for us, we're in this space. We talk to the people, or if you're someone that's a super fan on Twitter, you're Reddit as well. They're probably active, but they have huge. Implications I can't help, but to think about how many of the decisions that are being made about.Which artists to give a particular budget to how much to spend on their music videos, how much to do on all these things. A&R, as you mentioned, they may see some type of cutbacks, some type of impact there. And the other piece of this, that's a bit frustrating is that in lieu of album bundles and bundling with merchandise, which is something that a hip hop, a lot of hip hop artists lead into what we saw on the flip side was artists then combining it with or not even combining, but selling physical albums like vinyl and all the boom that we've seen there. The challenge with vinyl though, is that there has been a limited supply, given the supplies train, the supply chain constraints and some of the materials there. So the record labels do have discretion over who gets allocation for the limited vinyl supply they have and who doesn't and that then creates much more decision making and much more King making essentially on who gets to have the full allotment.And when we see artists, whether it's Harry Styles or Taylor Swift, get all of the. Allotment that's there and you see other artists, whether it's a title, the creator, even a Beyonce that are waiting several weeks, sometimes even months to get theirs. And these are superstar artists in their own right.That are still waiting for it. And when you think deeper about it, half of the people that buy vinyl don't even listen to it. So what is it really? Is it a merch item or is it actually an album[00:31:07] Neil Shah: totally. It's a great example of a Intra business, real world implication of some of these discussions, a record label having to determine. Okay, we got relationships with X, Y, and Z plants in Nashville and in the Czech Republic and, this is the space we got, which artists are we going to prioritize?It matters, I mean, they're making these decisions and it can help certain artists and hurt others. And then if they don't have their physical ready while they're putting out their album, effectively, whoever doesn't have their physical ducks in a row is effectively penalized in terms of their chart placement.So it's very real. one thing that's been going on, You know, we may get on Travis Scott and, his ilk's case for gaming the system with these bundles in that. Earlier micro era, but, you know, 1 thing that's been going on with the pop stars and especially with the K pop stars are all these collectible, collectible CDs and whatnot, which definitely are giving placement to these artists, especially in K pop that they wouldn't otherwise have.So, in this era, when billboard got rid of those bundles, you're seeing, you know, something different going on with Kpop. It basically dominating the charts, or at least the top 10, using all these collectible CDs that then basically drop off. If you look carefully at the streaming numbers for a lot of the K pop artists that hit number 2, number 3, or number 1, the streaming numbers are not very strong.I mean, The lion's share, almost the entire consumption is these collectible CDs, which are, actually de facto merch. So, you got another phenomenon, very similar to rap's phenomenon, where de facto merch is just gaming the charts.[00:32:49] Dan Runcie: We're going to continue to see this, but I am very interested to see how this year's changes will impact things because even if you look at. I don't even think it was Travis Scott's thing that brought it to a head. I'm sure that was in the back of people's minds, but I think it was right after DJ Khaled dropped his album the same day as Tyler the Creator dropped, the album that had earthquake on it, Igor, that's the name of it. We started to see more of it there because obviously Khaled got penalized for energy drinks or whatever he had tried to bundle his albums with, but at the end of the day, they want to bundle it with things that aren't restricted in the same way that others did. So even though in the moment, it was definitely an eye roll type of thing.Now, I'm like, okay, at least there was some type of control and autonomy there that the artists did have. But so much of this preservation of figuring out and having the powers that be tweak and determine the right Metric for album equivalent units, and then even the whole thought about how you have to listen to a song 1250 times on a paid streaming service for that to count as 1 full album sale. You can't even listen to a full album at once a day to then count as that. If you were to do the math there.Right.It really makes you think about the real dynamics at play, because we know for years that the major record labels themselves have wanted to preserve the aspect of an album. And a lot of it does seem like it's this another aspect of this underlying tug of war between them and the DSPs, the streaming services that do want to report on streams and do use that as the primary benchmark of success.And now we're backing into this album equivalent unit metric that has now become normalized that we would never do in any other industry where it's not like Netflix is trying to show DVD equivalent units as a metric of success.[00:34:42] Neil Shah: Yeah, totally. Yeah, I mean, Billboard is continually trying to get these things right. But, you know, it is, that is precisely what the pop stars and the Kpop stars are taking advantage of the fact that the physical albums, have much greater weight than the streams, which right there just, privileges certain genres then hurts, others, you know, like physical sales are not what in hip hop or not, but they are another genre. So, I'm sure they see it as a work in progress to kind of get these things right.[00:35:13] Dan Runcie: Right, and I do acknowledge the work there in many ways. It is a very difficult task. You have a number of competing factors. You're trying to make essentially an advanced metric become the industry standard. And it is going to be an evolving conversation and likely will look different as streaming services continue to gain traction as you mentioned, if we do see a vinyl slowdown at some point, how that may shift things and there will be this continual movement here.Where do you think things are in five years from now, specifically with hip hop? Do you think that the market share continues to slide? Do you think that another genre does become number one?[00:35:50] Neil Shah: That's a great question, it feels like we're in a transitional period right now where lots of genres are thriving at the same time. People talk about music being post genre so much that it's almost become a cliché to, you know, for publicity materials to describe an artist as being genre less, kind of elicits eye rolls at this point.Every artist is post genre at that point. It actually would be more striking if artists stuck to genres, ala Beyonce with her dance music album, which I thought took the opposite road of, focusing on the genre, which was actually refreshing. but so we're in a transitional moment. and so, I mean, the short answer to your question is that it's hard to see where this goes in five years.But, you know, I would imagine that some of the cooling off of hip hop does level off and then maybe we're in a period for a while where, what currently obtains kind of sticks around. I mean, it's entirely possible that the 2000, the rest of the 2000. Twenties could be kind of a transitional, confusing period, barring some, culture shifting huge superstar in one of the genres that somehow changes everything, even in our highly fragmented music landscape. Typically some of the engines for different types of musics going up or down have relied on huge stars changing the game. Whether it's hip hop, you know, hip hop had certain weaknesses in the early 2000s. And, for example, Kanye West, helped revive rap also broadened its audience, broadened rap's audience in a very significant way. Something that Drake then, continued effectively soccer mom-izing hip hop, you know, like anyone can listen to one dance. I mean, it's not even rap, as an example, and increasingly rappers were singing. So, in the past, when genres have had lulls and then come back to life, it's usually been on the back of these pivotal stars.Well, the reason why it's so hard to really project, like, what we're going to do and what things are going to look like in five years is because music, as you know, like, we're losing the ability for such stars. Even if they're very big to really shift the culture, Morgan Wallen is a massively big star right now and yet much of the country, you know, doesn't listen to Morgan Wallen, you know, doesn't like him for various reasons, et cetera, you know, NBA Young Boy is a massively big artist, especially on YouTube.And yet, most people are not familiar with him. I mean, to give you a better example, even when an artist like Cardi B or Ice Spice has huge hits that, you know, hit the top 10 of the Billboard Hot 100, much of the country does not know that song the way they may have known, You know, a Cyndi Lauper song in another era or an Adele song.So we're in an environment where increasingly, it's so fragmented that it's hard for stars to really dominate in the way that they used to. And so that may also affect whether we see Kurt Cobain like shifts where, you know, where everything changes and then we recognize, Oh, the landscape is different.There's plenty going on in hip hop, whether commercially, you know, an act like Suicide Boys is doing great on the live music circuit. They get almost no media attention, but, in terms of the live music circuit, they can sell concert tickets. there's plenty going on also from a, critically acclaimed point of view, you know, artists like DoJi, you know, are making waves. It's not that like, you know, Youngboy's doing this thing. We've had work from like Lil Durk. I mean, Metro Boomin is having a great year. Ice Spice has been an exception in terms of being a big breakout star, there's plenty of stuff happening, but it's really rare for that stuff to really dominate, you saw, you know, these two examples are kind of related, but two moments that have been kind of monocultural with the capacity to shift things is obviously like Taylor Swift in this Era's tour, which is something that a lot of people talk about.And then, of course, her getting a platform to ice spice, which was just very interesting and exciting because, wow, this is the biggest platform and it's being given to ice spice. What will happen? Will Ice Spice be able to develop into the kind of star that could, carry on Poppa Smoke's legacy in a different way and indeed populize Drill or will Drill and a lot of these, you know, vibrant rap stars that are on kind of a lower level, will they kind of stay there in this more, in this fragmented kind of multicolored, universe? I think that's like a key question, you know, even Taylor Swift, not to go into Taylor Swift tangent, but, you know, there's been debate, there's been discussion of like, oh, we do have monoculture.There's Taylor Swift, even Taylor Swift only captures a certain part of the American audience. I mean, if you go to a Taylor Swift show, you know, it's not that racially diverse. I'm just putting it like that. not a Wwift hater. I'm just pointing out the fact, you know, so, it's tough to have the monocultural forces that one used to have to create these ships.[00:41:01] Dan Runcie: Right, because I know you mentioned the points earlier about whether or not most people are really hearing Morgan Wallen or they're really hearing NBA Young Boy. And part of that probably applies to these generational superstars to even just with where they are now. You compare a song like Taylor Swift for the antihero compared to Cyndi Lauper time after time or any of these other songs that they did, it probably is less mind share there, but the other point you mentioned, there still are these little moments and these other things that happen that are still noteworthy, even if they're not the big thing.I think that the big thing, whether that's having this huge album that sells 1, 000, 000 in its 1st week or 500, 000 units in its 1st week, given the way that media is going, I still think that is something that does become more and more subject to this power law dynamic, to some extent, where I do think it's still even five years from now will probably be very difficult for an artist not named Drake to be able to bet money and say, yes, oh yeah. That artist will could sell over 500, 000 in the first week. Even Drake hasn't necessarily a hundred percent done that. I mean, he did it with certified lover boy most recently, but, the other two albums he had before this, the joint one with 21 Savage or the honestly, nevermind he did it. So, but he still was able to at least top the charts there.So I do think that. We'll still see success. We'll still see these moments, but almost in the same way that in Hollywood, where I think it's probably pretty unlikely at this point that there's going to be a billion dollar grossing movie. And it's like, Oh, wow, Huh, that's an original story or original concept.Never heard of that one. It's almost always sequel or based on some type of existing IP. And in many ways, Taylor, Drake, Beyonce, Adele are the closest thing you have to existing contemporary IP and music. These are the biggest bets you have, and you do have a few acts here or there that have definitely come into their own SZA's SOS album has clearly done extremely well. It's been great to see her continue to break. Strides and do, and I think there's plenty of stats that show just with the performance of control over the years that there's a lot that is indicating there, but still, even with where SZA is now, there's still a gap between the other artists I mentioned.So, there's levels to this for sure. We'll see growth there, but I still think that we're going to see the most continued bets and the more the budgets as well go towards the Drake's and the Taylor's because that's where the safest bet is for the money spent.[00:43:32] Neil Shah: So it would be fascinating if this period remains more confusing than it usually would and more transitional, partly because ala Hollywood. We, as a culture, rely on this safe, riskless IP instead of, doing the artist development to really help some artists, you know, achieve, get to that next level, you know, it's striking, these artists you're mentioning, Taylor, Drake, they come from a different era. They come from an era that was of the fulcrum, not even the fulcrum, they proceed the streaming era. and they benefited from the branding power of an industry that has changed, dramatically and they remain right now are, you know, some of our biggest stars and it doesn't feel like a hangover yet.These artists are still doing respected work. Drake's numbers are weakening substantially album by album, but, yeah, it will be interesting if, as you're noting, we kind of rely on these folks IP, like, you know, maybe Drake should rerecord all of it. Maybe I wouldn't mind it if Drake rerecorded Take Care For No Reason.Maybe it's so hard to make another Take Care, another masterpiece. Maybe he should just re record it. The point being, some of these stars could linger with us longer than they would because of this effect where, in such an industry that's so fragmented, these are the riskless parties to do business with, whether you're a record label, whether you're a concert promoter, this is where the safety and money is at.And so they could have a longer, you know, there's a perennial question about when Drake will fall off, but maybe some of these artists won't fall off, in this next stretch, but stay in this weaker state as, you know, this other stuff continues to bubble,[00:45:16] Dan Runcie: Yeah, it's almost in the same way where Tom Cruise is now in his 60s. I don't see him stopping Mission Impossible anytime soon. As serious as he's been doing since he was in his early 30s. Denzel's about to drop the Equalizer 3. The man turned 70 next year.[00:45:31] Neil Shah: Indiana Jones, Harrison Ford. [00:45:33] Dan Runcie: Yeah, he's 80.[00:45:35] Neil Shah: So, this can be bemoaned. people bemoan this in the Hollywood context, the recycling of IP instead of the development of new stuff. but it's an open question. You just, you never know, you know, there's plenty of vibrant rap being made.There's an entire rage movement that Playboi Carti and other artists have helped inspire, you know, there's just like Ice Spice to my mind follows a little bit. Sonically in the heels of pop spoken certain ways. There are inheritors of the SoundCloud rap era that sadly waned with the passing of, you know, stars like X and Juice WRLD and whatnot.There's stuff going on. You just, you never know, like, music business is a hard one to predict. You can't even predict that confusion will reign because, you know, it's a topsy turvy business and things change.[00:46:26] Dan Runcie: Yeah, definitely. Well, Neil, this was fun. before we close things out, anything you want to plug or let the audience know that you're working on?[00:46:34] Neil Shah: No, I don't think so. Anything you suggest, I don't think there's anything I'd want to plug.[00:46:38] Dan Runcie: Okay. Well, we'll make sure that we link to your most recent Taylor Swift piece in this one, just with the breakdown of the economics. They're not related to this conversation, but a fascinating book in deep dive, obviously considering all the conversations needed to happen to give people a breakdown, not just into that top line number, but the profit margin of a tour of this scale.[00:46:59] Neil Shah: yeah, with the Taylor piece, I'm happy with it. And I was basically trying to do something that's just hard to do. Artists don't talk about their costs and what their deals involved with promoters and booking agents. So very hard to actually ascertain profit.And so what I was trying to do there was just. and it talked to a lot of people about what's reasonable for a superstar and then what's reasonable to assume about the breakdown when it comes to an unusual superstar. So that was kind of, that story, I guess, you know, related to this topic is just, you know, yeah, my attempt to kind of get my head around. It wasn't that article. I did, I think, in October of last year. and so, yeah, this is like an important discussion. and when you want to have in a measured way, you know, like, it's like, another not colleague, but a good guy at Billboard Elias did also a piece, following on Kyle's piece, right?Kind of actually talking to executives about how worried, you know, they are about this stuff. So, yeah, this stuff is hard to predict. So, but yeah, if anything, you could, flag that old piece if you want.[00:48:01] Dan Runcie: Okay, great. No, we'll do Neilm Thanks again. It's been a pleasure. [00:48:05] Dan Runcie Outro Audio: If you enjoyed this podcast, go ahead and share it with a friend, copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast.Go ahead, rate the podcast, give it a high rating and leave a review. Tell people why you like the podcast that helps more people discover the show. Thank you in advance. Talk to you next week.
Equity markets did an about-face on Wednesday, rising in early trading and then falling after the FOMC announced more interest rate hikes were coming. The FOMC paused in June, holding rates steady, but indicated inflation was not tamed and that 2 more should be expected. The news sent the odds on the CME's FedWatch Tool rocketing higher, indicating a significant outlook shift. The takeaway is that interest rate cuts should not be expected in 2023 without a significant decline in inflation. Action in the S&P 500 was mixed. The index moved up, down, and sideways during the session while market participants digested the news. The implications for stocks are negative; rising rates are cutting into demand, which is capping the outlook for earnings. The market closed with a small gain for the day, creating a large Doji candle signifying significant uncertainty. The market may move higher from here, but it is climbing a wall of worry and heading toward a ceiling put in place by the Fed.
En Aprende a Invertir, hoy Banco BiG nos trae una nueva lección sobre el análisis técnico. Descubrimos con Nicolás del Río, analista de mercados de Banco BiG, las velas japonesas, una figura importante en el trading. Y profundizamos en sus tipos y patrones. “Las velas japonesas tienen un cuerpo, la apertura y el cierre. También tenemos las mechas, que son los máximos y mínimos del día. Entonces, básicamente, una vela japonesa se interpreta con un alto un bajo, que son las mechas y una apertura y un cierre, que es el cuerpo”, señalaba el analista de Banco BiG. Dice también, Nicolás del Río que hay “infinidad de tipos” de esta figura: Doji, hombre colgado, estrella fugaz gemelas bajista y alcista o martillo. Sobre esta última figura, ha dicho, se produce cuando hay una tendencia muy bajista, porque ”es muy cerradito en su cuerpo y tiene una mecha muy contundente hacia abajo”. Además de las velas japonesas, Banco Big nos ha traído otros dos conceptos: las medias móviles y los indicadores. Descubre todo sobre el análisis técnico en este nuevo episodio de Aprende a Invertir con Banco BiG.
As we open our arms to embrace the start of summer, our empty glasses are going to need something flavorful yet refreshing. Luckily, Chicagoland breweries have been cranking out the hoppy lagers and pilsners lately, so we assemble five for this episode that are so good that they almost completely break the show. Also, Ryan speculates on banana pudding restaurants, The Queen's death is really holding up new hop names, and Craig's dry ramen-chomping has officially entered the canon. Beers Reviewed More Brewing Company & Beer on the Wall - Take One Down (German-style Pilsner) Dovetail Brewery/Revolution Brewing - Thank You, Friends (Hopfenlager) Roaring Table Brewing - Melts Into Air (California-style Pilsner) Old Irving Brewing Co. - Doji* (Hoppy Lager) Mikerphone Brewing - Lager & Lace (West Coast-Style Lager) *At the time of this recording the beer was known as Oni, but is now renamed Doji
This episode we talk about the first recorded instance of Buddhism--or at least the worship of the Buddha--in Japan, and we look at some of the politics and issues surrounding its adoption, as well as some of the problems in the story we have from the Chronicles. We also look at what legend says happened to the oldest Buddhist image and where you can find it, today. Hint: It is in a place that once hosted the Winter Olympics! For more check out our podcast website: https://sengokudaimyo.com/podcast/episode-85 Rough Transcript: Welcome to Sengoku Daimyo's Chronicles of Japan. My name is Joshua and this is episode 85: The Buddha Comes to Japan. Last couple episodes we've talked about Buddhism. We talked about its origins in the Indian subcontinent, with the teachings of Siddhartha Gautama, aka Shakyamuni, the historical Buddha, and how those teachings spread out from India to Gandhara, and then followed the trade routes across the harsh deserts of the Tarim Basin, through the Gansu corridor, and into the Yellow and Yangzi River Valleys. From there the teachings made it all the way to the Korean peninsula, and to the country of Baekje, Yamato's chief ally on the peninsula. This episode we'll look at how Buddhism came to the archipelago and its initial reception there. For some of this we may need to span several reigns, as we'll be looking at events from early to late 6th century. This is also about more than just religion, and so we may need to dive back into some of the politics we've covered up to this point as well. Hopefully we can bring it all together in the end, but if it is a bit of a bumpy ride, just hang with me for a bit. So let's start with the official account in the Nihon Shoki, which we already mentioned two episodes ago: the first mention of Buddhism in the Chronicles. The year was 552, or the 13th year in the reign of Ame Kunioshi, aka Kimmei Tennou. That winter, during the 10th month—which was probably closer to December or January on a modern calendar—King Seongmyeong of Baekje had a special gift for his counterpart, the sovereign of Yamato. By this time there are numerous accounts of gifts to Yamato, generally in conjunction with the Baekje-Yamato alliance and Baekje's requests for military support in their endeavors on the peninsula, generally framed in the Yamato sources as centering on the situation of the country of Nimna. In this case, the gift was a gilt-bronze image of Shakyamuni Buddha, several flags and umbrellas, and a number of volumes of Buddhist sutras. King Seongmyeong sent a memorial explaining his intent: “This doctrine” (aka Buddhism) “is amongst all doctrines the most excellent. But it is hard to explain, and hard to comprehend. Even the Duke of Zhou and Confucius had not attained to a knowledge of it. This doctrine can create religious merit and retribution with appreciation of the highest wisdom. Imagine a man in possession of treasures to his heart's content, so that he might satisfy all his wishes in proportion as he used them. Thus it is with the treasure of this wonderful doctrine. Every prayer is fulfilled and naught is wanting. Moreover, from distant India it has extended hither to the three Han, where there are none who do not receive it with reverence as it is preached to them. “Thy servant, therefore, Myeong, King of Baekje, has humbly dispatched his retainer, Nuri Sacchi, to transmit it to the Imperial Country, and to diffuse it abroad throughout the home provinces, so as to fulfil the recorded saying of Buddha: ‘My law shall spread to the East.' “ Upon receiving all of these things and hearing the memorial, we are told that the sovereign, Ame Kunioshi, literally leapt for joy. He thanked the envoys, but then put the question to his ministers as to how they should proceed. Soga no Iname no Sukune, holding the position of Oho-omi, recommended that they should worship the statue of the Buddha. After all, if all of the “Western Frontier lands” were worshipping it, then should Yamato really be left out? On the other side of the argument were Mononobe no Okoshi as well as Nakatomi no Kamako. They argued against stopping the traditional worship of the 180 kami of Heaven and Earth and replacing it with worship of some foreign religion. With this split decision, Ame Kunioshi decided to have Soga no Iname experiment, first. He told him to go ahead and worship the image and see what happens. And so Soga set it up at his house in Oharida, purified it, and, per Buddhist tradition, retired from the world. He had another house, in nearby Mukuhara, purified and made into a temple. Here he began to worship the Buddha. Around that same time, there was a pestilence—a disease—that was in the land. People were getting sick and some were dying. This was likely not unprecedented. Healthcare was not exactly up to our modern standards, and while many good things traveled the trade routes, infection and disease likely used them as pathways as well. So diseases would pop up, on occasion. In this instance, though, Mononobe no Okoshi and Nakatomi no Kamako seized on it as their opportunity. They went to Ame Kunioshi and they blamed Soga no Iname and his worship of the Buddha for the plague. Accordingly, the court removed the statue of the Buddha and tossed it into the canal at Naniwa, and then they burned down Soga no Iname's temple—which, as you may recall, was basically his house. As soon as they did that, though, Ame Kunioshi's own Great Hall burst into flames, seemingly out of nowhere, as it was otherwise a clear day. Little more is said about these events, but that summer there were reports from Kawachi of Buddhist chants booming out of the sea of Chinu near the area of Idzumi. Unate no Atahe was sent to investigate and found an entire log of camphorwood that was quote-unquote “Shining Brightly”. So he gave it to the court, where we are told they used it to have two Buddha images made, which later were installed in a temple in Yoshino; presumably at a much later date. And then the Chronicles go quiet for the next couple decades, at least on the subject of Buddhism, but this is the first official account of it coming over, and there is quite a bit to unpack. For one thing, the memorials and speeches once again seem like something that the Chroniclers added because it fit with their understanding of the narrative, including their insistence that Yamato was a fully fledged imperial state, and there is some fairly good evidence that King Seongmyeong's memorial is clearly anachronistic. But there are a few other things, and conflicting records on things such as dates and similar. So first off, let's acknowledge that there are too many things in the main narrative in the Chronicles that are just questionable, such as the sovereign “leaping with joy” at the chance to hear about Buddhism, and the fact that King Seongmyeong's memorial apparently quotes a part of the sutra of the Sovereign Kings of Golden Light, known in Japanese as the Konkoumyou-saishou-ou-kyou, but that translation wasn't done until 703, during the Tang dynasty, by the monk Yijing in the city of Chang'an. While it would have been known to knowledgable monks like Doji, who may have been helping put the narrative together in 720, it is unlikely that it was in use during the 6th century, when the memorial is said to have been written. In addition, there is question about the date that all of this supposedly happened. The Nihon Shoki has this event taking place in 552, well into the reign of Ame Kunioshi. However, there are at least two 8th century sources, roughly contemporary with the writing of the Nihon Shoki, the Gangoji Garan Engi and the Jouguuki, and both of these put the date at 538, a good fourteen years earlier, and in the era of Ame Kunioshi's predecessor, Takewo Hiro Kunioshi, aka Senka Tenno. The first of these, the Gangoji Garan Engi, is a record of the founding of the first permanent temple in Japan, Gangoji, aka Hokoji or, informally, Asukadera, which was founded by Soga no Iname's heir, Soga no Umako. More on the temple itself, later, but for now we want to focus on the historical aspects of this account, which mostly corroborate the story, talking about Soga no Iname's role in receiving the image and enshrining it, as well as the early conflict between the Soga clan and their rivals. The other source, the Joguki, focuses on the life of Shotoku Taishi, aka Prince Umayado, who will become a major subject of our narrative at the end of the 6th and early 7th centuries. Not only is he considered the father of Japanese Buddhism, but he had strong connections to the Soga family. Today, most scholars accept the 538 date over the 552 date when talking about Buddhism's initial arrival into the islands If the Chroniclers did move the event from 538 to 552, one has to wonder why. This isn't a simple matter of being off by 60 years, and thus attributable to a mistake in the calendrical sexagenary zodiac cycle of stems and branches, so there must have been something else. One suggestion is that the date conflicted with the chronology that had already been set for the sovereigns. 538 is during the reign of Takewo no Ohokimi, aka Senka Tenno, but what if succession was not quite as cut and dried as all that? What if Ame Kunioshi no Ohokimi had his own court and was in some way ruling at the same time as his half-brothers, Magari no Ohine and Takewo no Ohokimi? They were from different mothers, and thus different factions at court. Ame Kunioshi was young, so it was possible that there were rival lineages attempting to rule, or even some kind of co-ruler deal hearkening back to more ancient precedent. Some even theorize that Magari no Ohine and Takewo Hiro Kunioshi were simply fictional inserts to help span the period between Wohodo and Ame Kunioshi. Whatever the reason, this theory suggests that it would not have happened in the 13th year of Ame Kunioshi's reign, but that his reign started in 526, rather than 540. An intriguing hypothesis, but one that begs the question of whether everything in the reign would then need to be shifted to account for that. Given that there are a few attributable events noted that fit with outside sources as well, that doesn't seem quite as plausible without some very conscious efforts to change the timeline. Another thought is that the compilers weren't sure exactly when this event happened, but given Ame Kunioshi's reputation and long reign, they chose his reign to place it in because it just fit. I suspect that this happened more than once, with people more likely attributing past events to well-remembered sovereigns. If this is the case, then when searching for a date they may have just chosen one that seemed auspicious. In this case, 552 CE was, in some reckonings, an important year in Buddhist history, as there were those who say it as the beginning of the age of “mappou”, the “End of the Law” or perhaps the “Latter days of the Law”. This definitely is an intriguing theory, and resonates strongly. For most of Japanese history, the idea that we are in this period of “mappo” has had a strong influence, and to a certain extent it is kind of an apocalyptic view of things. The idea of mappo is that while the Buddha was alive, his teachings were fresh and available to all living things. However, after his death, his teachings had to be remembered and passed on. Even with the advent of writing, the meaning and understanding of his teachings, and thus an understanding of dharma, would also atrophy. Different translations, changes in meaning, and just bits and pieces lost to time would mean that for the first 500 to 1,000 years, the Buddha's disciples would keep things well and the meaning would be protected, but in the next 500 to 1,000 years things would decline, but still be pretty close to the truth. Then – and this is when the period of “mappo” starts - things would really start to decline, until finally, about 5,000 to 10,000 years later—or about 1,000 to 12,000 years after the time of the historical Buddha—things would break down, factions would be fighting one another, and eventually everyone would have forgotten the dharma entirely. It was only then that there would come a new Buddha, Miroku or Maitreya, who would once again teach about the dharma and how to escape suffering, and the whole cycle would start again. The year 552 would have coincided, according to some estimates, with 1,000 years since the time of Siddhartha Gautama, and so it would have had particular significance to the people of that time, particularly if you counted each of the first two Ages as 500 years each, meaning that the word of the Buddha, that his teachings would spread to the East, would have been completed just as we entered the latter days of the Law. Regardless of the time—and, as I said earlier, 538 is the more accepted date—the general events described – the statue, the offer of Soga to experiment, and the resulting events - are usually agreed to, although even here we must pause, slightly and ask a few questions. First off, was this truly the first time that Buddhism had ever shown up in Japan? The answer to that is probably not. There had been many waves of immigrants that had come over to Japan from the peninsula, and even if only a small handful of them had adopted the new religion before coming over it is likely that there were pockets of worshippers. Later, we will see that there are people in Japan who are said to have had prior experience as a monk, or who had their own Buddhist images. These images were probably used by people in their homes—there is no evidence of any particular temples that had been built, privately or otherwise, and so there is no evidence that we have any active monks or nuns in the archipelago, but who knows what was going on in communities outside of the elite core? There were plenty of things that were never commented on if it wasn't directly relevant to the court. Furthermore, with all of the envoys that had been to Baekje, surely some of them had experience with Buddhism. And then there were the envoys *from* Baekje, who no doubt brought Buddhist practices with them. So there was likely some kind of familiarity with the religion's existence, even if it wasn't necessarily fully understood. The second point that many people bring up is the role of the sovereign, Ame Kunioshi, or whomever was in charge at the time that the first image came over. While the Nihon Shoki attempts to portray a strong central government with the sovereign at its head, we've already seen how different households had arisen and taken some measure of power for themselves. At the end of the 5th and into the early 6th century, the Ohotomo and Mononobe houses were preeminent, with Ohotomo Kanamura taking on actions such as negotiating dealings with the continent and even manuevering around the Crown Prince. The Mononobe wielded considerable authority through their military resources, and now, the Soga appeared to ascendant. It is quite possible that the idea of the sovereign giving any sort of permission or order to worship Buddhism is simply a political fig leaf added by the Chroniclers. The Soga may have been much more independent in their views and dealings. To better understand this, let's take a look at the uji family system and the Soga family in particular. Now the Nihon Shoki paints a picture as though these noble uji families were organic, and simply part of the landscape, descending from the kami in the legendary age, with lineages leading down to the present day, although there is some acknowledgment that the earliest ancestors did not necessarily use the family names until a later date. For much of Japanese history, the concept that these family, or uji, were one of the core building blocks of ancient Japanese political and cultural spheres is taken as a matter of course. However, in more modern studies, this view has been questioned, and now the prevailing view is that these families are somewhat different. In fact, the uji are likely just as much an artificial construct as the corporate -Be family labor groups. According to this theory, early on people were associated with local groups and places. Outside of the immediate family, groups were likely held together by their regional ties as much as anything else. Names appear to be locatives, with ancient titles indicating the -hiko or -hime of this or that area. Some time in the 5th century, Yamato—and possibly elsewhere in the peninsula—began to adopt the concept of -Be corporate groups from Baekje. We talked about this back in Episode 63, using the Hata as a prime example of how these groups were brought together. More importantly, though, was that each of these -Be groups reported to someone in the court, sometimes with a different surname. These were the uji, created along with the -Be to help administer the labor and work of running the state. They were essentially arms of the state itself, in many ways. The kabane system of titles emphasizes this, with different families having different ranks depending on what they did, whether locally, regionally, or at the central court. Some of these titles, like -Omi and -Kimi, were likely once actual jobs, but eventually it came to represent something more akin to a social ranking. There have been some questions and emails asking for a bit more in depth on this, and I'd really like to, but I'm afraid that would be too much for now. At the moment I want to focus more on the uji, particularly on those at the top - the uji with the kabane of either Omi or Muraji, as these are the ones most likely to be helping to directly run the government. They even had their own geographical areas within the Nara basin, and elsewhere, that were uji strongholds. The Hata had areas near modern Kyoto, the Mononobe clearly had claims to land around Isonokami, in modern Tenri, and the Soga clan had their holdings in the area of modern Asuka and Kashihara city. At the very least, that is where Soga no Iname's house was—in Mukuhara and Oharida, both located in the modern area of Asuka, which will become important in the future. It wasn't just the landholdings that were important, though. Each uji had some part to play in the functioning of the government. In many cases it was the production or control of a particular service, such as the Hata and silk weaving, or the Mononobe and their affinity with all things military. For the Soga, they appear to have had a rather interesting portfolio. Traditionally, the Soga family is said to trace its lineage back to Takechi no Sukune, the first Oho-omi back in the time of Okinaga no Tarashi Hime and Homuda Wake no Ohokimi—see episode 46 for more on him. That lineage is likely fabricated, however, and the earliest actual evidence for the family may be from the Kogoshui, where we are told that Soga no Machi was put in charge of the Three Treasuries. These were the Imikura, or sacred treasury; the Uchikura, or royal household treasury; and the Ohokura, the government treasury. This seems like quite the position of responsibility, and it would fit with some of what we see later as the Soga are involved in helping set up Miyake, the various royal storehouses across the land that acted as Yamato court administrative centers for the purposes of collecting goods and funneling them to the court, as well as keeping an eye on the local regions. Although here I feel I would be remiss if I didn't also note that the “Three Treasuries”, or “Sanzou” is one way to translate the Tripitaka, and given the Soga's role, I don't think I can entirely ignore that point. So the Soga family had experience with administration, and specifically they were dealing with a variety of different goods produced in different regions. If that is the case, then their authority did not necessarily derive from the standard uji-be constructed familial connections, but rather they were deriving positional authority from the central government itself. This may seem like common sense to us, but in the world of ancient Yamato, where family connections were everything, this may have been something new and innovative—and very in keeping with various continental models of administration. It is quite likely that the Soga were dealing with some of the latest innovations in government and political authority, which would also have opened them up to the possibility of new ideas. In addition, their position meant they likely had wide-ranging contacts across the archipelago and even onto the peninsula. The Soga themselves have connections to the peninsula in the names of some of their members, such as Soga no Karako, where “Karako” can be translated as a “Son of Kara” or a “Son of Gaya”, possibly referring to their origins, and Soga no Kouma, where “Kouma” is a general term for Goguryeo, and so quite possibly indicates a connection with them as well. On top of that, there is a now-out-of-favor theory that once suggested that Soga no Machi might be the same as Moku Machi, an important Baekje official in the late 5th century. While that has been largely discredited, the fact that “Machi” is possibly of Baekje origin cannot be entirely overlooked. Then there are a series of notes in the Nihon Shoki, particularly surrounding the area of Shirai, in the land of Kibi. These start in 553, just one year after Soga no Iname's failed attempt to launch a Buddhist temple, at least according to the Nihon Shoki's record of events. It is a relatively simple note, but it mentions how Soga no Iname made a man by the name of Wang Jinnie the “Funa no Fubito”, or “Recorder of Ships”, and put him in charge of the shipping tax—all at the behest of the sovereign, of course. Later, in 555, Soga no Iname went with Hozumi no Iwayumi no Omi to Kibi, where they consolidated five districts, or agata, under the administration of a single administrative Miyake in Shirawi. Later, in 556, he would go back to Kibi and establish a Miyake in Kojima, putting in place Katsuraki no Yamada as the Tazukai, or “rural rice field governor”. That same year he and others went to the Takachi district in Yamato and established the Miyake of Ohomusa, or “Great Musa”, for immigrants from Baekje and then Womusa, or “Small Musa”, for immigrants from Goguryeo. In 569, the person that Soga no Iname had put in charge of recording the ships, Wang Jinnie, had a nephew, Itsu—or possibly Danchin, depending on how you read it—go out to Shirawi to take a census. This is the same Shirawi that Soga no Iname had helped establish in 555. Itsu becomes the Shirawi no Obito, and in 574 we see Soga no Umako, Iname's heir, heading out to Shirawi with an updated register for Itsu. So, in short, the Soga family clearly is doing a lot of government administration, and particularly of the Miyake, which is the extension of the court authority into the rest of the archipelago. On top of that, look at how often the names that are coming up in conjunction with what they are doing are referencing immigrant groups. Even the Hozumi family are known at this point for their work on the peninsula, and we see the Soga heavily involved with the Wang family and their fortunes, not to mention Greater and Lesser Musa and the Baekje and Goguryeo individuals there. Wang Jinnie will have even more of a part to play, but we'll hold onto that for later. Given everything we can see about how they are operating, is it any surprise that the Soga would advocate in favor of Buddhism? I'd also note that, while other clans have clear connections to heavenly ancestors and kami whom they worshipped, it is unclear to me if the Soga had anything similar. There is mention in the 7th century of the creation of a shrine to their titular ancestors, Takeuchi no Sukune and Ishikawa no Sukune, and today there is a shrine that is dedicated to Soga tsu Hiko and Soga tsu Hime—Basically just lord and lady Soga. But there isn't anything like the spirit of Futsunushi or Ohomononushi, let alone an Amaterasu or Susano'o. Why is that important? Well, prior to the 6th century, a lot of clans claimed authority from the ritual power they were perceived to wield, often related to the prestige of their kami. One of the ways that Yamato influence had spread was through the extension of the Miwa cult across the archipelago, and there were even members of the Himatsuribe and the Hioki-be, basically groups of ritualists focused on sun worship, which upheld the royal house. The Mononobe controlled Isonokami shrine, where they worshipped their Ujigami, Futsu-mitama, the spirit of the sound of the sword. And then there were the Nakatomi, who haven't had much to do in the narrative so far, but we know that they were court ritualists, responsible for ensuring that proper rituals were carried out by the court for the kami to help keep balance in the land. The dispute between the Soga and the Mononobe and Nakatomi is presented as a struggle between a foreign religion and the native kami of Japan—leaving aside any discussion, for now, about just how “native” said kami actually were. This is, in fact, the primary story that gets told again and again, that the Mononobe and Nakatomi were simply standing up for their beliefs, sincerely believing that if too many people started worshipping foreign gods then it would supplant the worship already present in the islands. And that may have been a genuine fear at the time, but I would suggest that it was only a small one. What seems more apparent is that we are really looking at just an old fashioned power struggle. Because what all of the information we have about the Soga distills down to is: they were the new kid on the block. The Soga were the up and coming nobility. They had connections with the continent and various immigrant groups. That gave them access to new ideas and new forms of resources. The Mononobe were built on a more traditionalist line. They had been around, ever since at least Wakatake no Ohokimi, playing a significant role in things, alongside the Ohotomo. The Mononobe were at their apex, claiming descent through their own Heavenly Grandson, and having held sway at court through numerous reigns at this point. They represent, in many ways, the old guard. Worship of a fancy new religious icon—effectively a new kami—threatened to give the Soga even more power and sway. They already had control of the three treasuries, if the Kogoshui is to be believed, and likely had a rather impressive administrative apparatus. Soga no Iname had also ended up successfully marrying off two of his daughters to Ame Kunioshi, making him father-in-law to the current sovereign. If he added to that a spiritual focus that people came to believe in, that would only enhance the Soga's power and place in the hierarchy. And what better way to taint all of that, and neutralize these upstarts, than to blame this new god for the plague and pestilence that was killing people. We see it all too often, even today—when people are scared and when there are problems, the easiest people to scapegoat are the foreigners and the outsiders. Those whom we do not see as “us”. It was probably easy to turn the court against Buddhism, at least initially. They threw the image in the canal and burned down the temple, and no doubt they were pleased with themselves. But that was merely the opening salvo, and as we'll see in the coming years, the Soga family were hardly done with Buddhism. One can argue whether they were truly devout or if this was merely for political gain, but the Soga family tied themselves to this new foreign religion, for good or for ill, and they wouldn't be pushed around forever. When next we touch base on this topic we'll look at Soga no Iname's heir, Soga no Umako, and his attempts to start up where his father left off. He would again clash with the Mononobe, and the outcome of that conflict would set the path for the next half a century. It would also see Buddhism become firmly enmeshed with the apparatus of the state. As this happens , we'll also see the character of Buddhist worship in the archipelago change. Initially, the Buddha was treated little differently from any other kami, and based on the way it is described, probably worshiped in a very similar manner. However, as more sutras came to light and as more people studied and learned about the religion—and as more immigrants were brought in to help explain how things were supposed to work—Buddhism grew in the islands to be its own distinct entity. In fact the growth of Buddhism would even see the eventual definition of “Shinto”, the “Way of the Gods”, a term that was never really needed until there was another concept for native practices to be compared against. Before we leave off, there is one other story I'd like to mention. It is tangential to our immediate discussion of Buddhism and the Soga, but I think you may find it of interest, nonetheless. This is the story of just what happened—supposedly—to that first Buddhist icon that was tossed into the Naniwa canal. Because you see, according to tradition, that gilt-bronze icon did not stay stuck in the mud and muck of the canal, nor did it just disappear. Instead there is a tradition that it was found almost a century later. The person who retrieved it was named Honda no Yoshimitsu, and from Naniwa he traveled all the way to Shinano, to the area of modern Nagano, and there he would found a temple in 642. Another reading of his name, Yoshimitsu, is Zenko, and so the temple is named Zenkoji, and you can still go and visit it today. In fact, the main hall of Zenkoji is considered a national treasure, and it was featured prominently during the 1998 Winter Olympics in Nagano, Japan. It is a popular attraction for tourist both in Japan and from abroad, and if you get a chance I highly recommend going to see it. On the street leading up to the temple entrance are many traditional shops that still sell various foods and traditional arts and crafts, and there are many intriguring features. For example, there is a narrow walkway underneath the main temple that is completely dark, where you are meant to feel along the wall to try to find the key to enlightenment, a kind of physical metaphor of Buddhist teaching. And of course there is the icon that Honda Yoshimitsu is said to have fished out of the canal. According to the temple, the icon still exists, and many worshippers believe it to be the oldest extant Buddhist icon in Japan, even older than the icons at Horyuji. However, there is one catch—nobody is allowed to see it. Shortly after it was installed in the temple, the statue was hidden in a special container, or zushi, and it became what is known as a hidden Buddha. This is a tradition particularly prevalent in Japan, where some Buddhas are hidden away and only brought out on very special occasions. Some cynics might note that those occasions are often when the temple needs to raise funds. As for this hidden Buddha, however, it has not been seen more than a handful of times since it was locked away in the 7th century. Despite that, we know what it looks like—or at least what it is supposed to look like. The image is said to be a triad, and though the Nihon Shoki claims it was an image of Shakyamuni, the central figure of the Zenkoji triad is actually the figure of Amida, aka Amithabha, as in the Pure Land sect of Buddhism. Amida Nyorai is flanked by two attendants. We know all of this because a copy of the Zenkoji image was made in the Kamakura period, and that image, said to be a faithful recreation of the original is also kept at Zenkoji. While the original is kept hidden in the back, the replica, which is thought to have all of the miraculous powers of the original, sits in front, and is therefore called the Maedachi Honzon, basically the image standing in front, vice the original, the Gohonzon, the main image. Except it gets even better, because the replica is *also* kept hidden away most of the time, and only revealed on special occasions, known as Gokaicho, or “opening of the curtain”, which occurs once every seven years. The Zenkoji triad became extremely important in later centuries, and copies were made and installed in sub-temples throughout Japan. Even today you may find a Zenkoji-style triad here or there, each one considered to have a spiritual tie back to the original, and some of them even have inscriptions confirming that they are, indeed, Zenkoji style triads Of course, the big question remains: does the original image actually still exist, and is there any chance that it actually is as old as it claims to be? There really is no good way of knowing. Zenkoji is not offering to open up the zushi any time soon. We do know a few things, however. We know that the temple has burned down at least 11 times over the years, and the Gohonzon was rescued each time, or so they say. There are some who claim that it still exists, but perhaps it is damaged. If that is the case, how did they make the replica, though? There was an inspection during the Edo period. There was a rumor that it had been stolen, and so an Edo official was sent to check on the status. They reported that it was still there, but crucially they never described actually laying eyes on the statue. In one account where a monk did open the box it is said that their was a blinding light—kind of like the Ark of the Covenant in Indiana Jones but just overwhelming; no faces were melted, at least none that were reported. The monks of Zenkoji, when asked how they know the image is still there, will point to the weight of the container, which, when lifted, is apparently considerable. They say that is how they know it is still there. Of course, a melted lump of metal might be the same weight as it was when it was full statue, as long as it didn't lose any actual mass, so it is hard to tell if it is still in good condition. Even with all of that, there is the question about the veracity of the original objects lineage to begin with. Did Honda Yoshimitsu really just find *the* original statue? And even if he did, how would he have known what it was? Was there an inscription: To Yamato, from Baekje, hugs and kisses? I've yet to see anyone directly compare the purported replica with other statues, but I suspect that would be the route to at least check the age, but nobody seems to be saying that the style of the replica is blatantly wrong for a 6th or 7th century icon from the peninsula or by peninsular craftsmen. Then again, there were plenty of local immigrants in the Naniwa area who could have potentially crafted an image. Indeed, the area around modern Nagano even has traces of Goguryeo style burial cairns, possibly from immigrants settled out there to help with early horse cultivation, and so there is even the possibility that there were locals with the connections and skills to craft something. If you really want to know more, there is an entire work by Donald McCallum, titled “Zenkoji and Its Icon”, on not just the icon but the entire worship that sprang up around it and caused copies to spread throughout the archipelago. And that's where we will leave off for this episode. In the next couple of episodes I want to finish up some of the secular history of this reign, and look a little bit outside of Yamato and the evidence in the Chronicles as well. Until then, 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.
Thank you for Listening! Follow the Cast: Robert, the GM @Fulkerguy on Twitter, and Fulkerguy#6833 on Discord Jeanne, Doji Gen, hear more: CourtGames RPG, The Table is Yours, and check out Winter Garden of the Kakita Tyler, Akodo Riichi @ChurcherGames on Twitter, and check out their Twitch CourtGames is a fan project and is not an official affiliate of Fantasy Flight Games. Legend of the Five Rings is the property of Fantasy Flight Games. A hip-hop Japanese fusion by Annex Follow @L5RFnS on Twitter Any feedback is a gift, find us online: @CourtGamesPod on Twitter Join the L5R discord server Check out our website! Listen to the Courtgames RPG Cast Check out Crimson Gold Agonies, a CourtGames AP show Brought to you by our supporters on Patreon In affiliation with D20 Radio "Where Gamers Rule!"
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หนังสือ Japanese Candlestick Charting Techniques: A Contemporary Guide to the Ancient Investment Techniques of the Far East ของ Steve Nison - กราฟแท่งเทียน คือ กราฟที่เป็นรูปแท่งเทียน มีทั้งไส้เทียนและขาเทียน ซึ่งส่วนใหญ่จะเน้นไปดูที่ไส้เทียนมากกว่าขาเทียน - รูปทรงของแท่งเทียนกำลังจะดูว่า ในจุดเริ่มต้นและในจุดจบกำลังจะสื่อสารอะไรกับเรากันแน่ หากเปิดมาต่ำแล้วปิดสูงกว่าราคาเปิด แท่งเทียนจะสีเขียว - จุดกลับตัวของแท่งเทียนจะบ่งบอกถึงการกลับทิศของแต่ละฝั่ง ซึ่งเราจำเป็นจะต้องสังเกตทั้งรูปทรงของแท่ง และเทคนิคอื่นร่วมด้วยเสมอ เพราะมันอยู่ที่เทรนด์หลักเสมอ - ท่าไม้ตายของตลาดหุ้นไทย คือการทำทรงสะสมแล้วค่อยทะลุขึ้นไปบนแนวต้าน ด้วยแรงอันมหาศาลแล้วย่อหนัก ๆ มาสักหนึ่งครั้ง เราจึงจำเป็นจะต้องค่อย ๆ สังเกตแท่งเทียนให้ดี - ความถนัดการสังเกตแท่งเทียนในแต่ละคนนั้นต่างกัน เราจึงมีมุมมองที่ต่างกัน บางคนเน้น Doji บางคนเน้น Hammer เพราะฉะนั้นอย่าพยายามคาดเดารูปทรง รอให้ตลาดปิดแล้วค่อยดูพรุ่งนี้
The markets go through various phases such as bull, bear and consolidation. A consolidation phase is one in which a stock or an index moves within a specific range, between the ‘support' and ‘resistance' levels. Inadvertently, price reverses from specific lower levels (that is, supports) and face selling pressure at higher levels (that is, resistances). This scenario, by and large, defines a consolidation phase. Let's delve a bit deeper into this market phenomenon and learn how to identify and trade during such phases when prices move in a range between support and resistance levels, and indicators like Relative Strength Index, moving average convergence divergence see sideways movement. Doji, Hammer, Spinning Top are some of the prominent candlestick patterns visible during consolidation. A major trade signal called a breakout happens only when the price moves out of either the support or resistance levels. Similarly, a stock's major outlook can be studied on its monthly chart – longer the consolidation, bigger the price action can be expected thereafter. Having said that, here's how one can trade in a stock/ underlying index when in a consolidation phase. The major trading signal, called a breakout, happens only when the price move out of the consolidation zone, by breaching either the support or resistance level. However, traders should take note that unless there is a breakout with definite consecutive closes, one should not be in a hurry to ‘confirm' the trend and take positions. For at times, a dull scenario on the charts can also result in a build-up of shortpositions.
The Nifty managed to close above 18,000 psychological mark for the 3rd session and formed a Doji candle on daily charts. However it is important to note that in the recent up move, the index has been forming small bodied candles indicating loss of momentum. The RSI (relative strength index) indicator on lower timeframes is showing price momentum divergence. The Nifty has resistance in the 18,270-18,330 zone whereas the support lies at 17,900 mark. The index looks over-stretched and could possibly be rangebound and witness a pullback towards 17,900-17,950 levels. On the flip side if index manages to cross 18,330 then it can move higher towards the life time high of 18,600.
Welcome to Next Donor, a podcast about what it takes to lead a nonprofit organization and grow your donor base. Next Donor is hosted by Andy Jones, Founder and Managing Director of Roundtree. In this episode, we talk with Mark Atkinson, Founder and Executive Director of Durham Opportunity and Justice Incubator (DOJI). DOJI helps entrepreneurial attorneys launch financially sustainable legal practices that improve access to justice. Through our conversation with Mark, you'll learn a ton of practical tips and insights, including: How DOJI creates opportunities for attorneys and improves access to justice (02:58) The problem many attorneys face that DOJI solves (06:00) The story behind Mark starting DOJI (07:50) How Mark went from being an electrical engineer in the Navy to a nonprofit founder (12:18) What Mark's learned about what it takes to grow a nonprofit (18:30) The value of having an engaged board (20:45) The state of justice in the South (24:00) How to talk about justice without being drawn into the cultural crossfire (28:45) If you enjoyed the show, please give us a rating and review in iTunes. It'll help more people find the show. Next Donor is a production of Roundtree, a marketing agency that helps nonprofit organizations clarify and amplify their marketing to grow their donor base. Learn more at RoundtreeAgency.com.
We begin our stories from Japan this week by wrapping up the story of Raiko that we'd begun previously with the bloody battle of 'Raiko and the Shi-Ten Doji'. Subscribe to The Folktale Project at http://folktaleproject.com/subscribe Support The Folktale Project https://www.patreon.com/join/folktaleproject
This episode we talk about the three types of doji candles and also what a doji candle is for price action.
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