Podcasts about Izu

What makes a traveler who's been to over 60 countries, keep returning to one place, year after year? For our guest today, Boyang Xue, the answer is simple: Japan.In this episode, we dive into his unforgettable gap year in Japan—learning Japanese at the same university where Murakami once studied, biking for a week between Tokyo and Izu peninsula, camping under starlit skies, hopping slow trains all the way to Hokkaido, and hiking through landscapes that few tourists ever see.Charming and full of stories, he shares not just adventures from Japan, but also tales from Colombia, Italy, Switzerland, and beyond. But no matter where he goes, Japan remains his true travel love.Join us for an episode filled with adventures, mishaps, slow travel magic, and a whole lot of inspiration for anyone dreaming of exploring Japan differently.--------------------------------------Follow Boyang on LinkedIn --------------------------------------To pick up copies of our journal, click hereLike our work? Follow, Like & Subscribe to our podcast from wherever you are listening in. We would also love to hear from you, so do write to us at:Email: ⁠⁠⁠⁠misadventuresofasneaker@gmail.com⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠@misadventuresofasneaker⁠⁠⁠⁠Blog: misadventuresofasneaker.substack.com-----------------------------------------------00:00:00 Trailer00:02:00 Episode & Guest intro00:08:30 Early travel stories00:11:30 A crazy trip to India      00:16:37 LATAM stories00:25:05 What's special about Japan00:29:51 Spending a ‘gap' year in Japan00:40:37 Bike trip in Japan          00:54:01 Onsen experiences00:59:04 Slow train trip in Japan01:04:00 Volcano erupting during the trip01:07:03 Train hack in Japan 01:12:56 Japanese food01:16:03 Japanese culture imbibed01:23:51 Lesser known places in Japan01:37:45 Settling down – Japan?01:47:23 Trip that went above and beyond01:53:43 Toodles and see you again soon

Ōama, aka Temmu Tennō, ascended the throne in the Kiyomihara Palace--a rennovated version of his mother's Later Okamoto Palace.  Here he ruled with a tremendous amount of authority, continuing the leverage the Ritsuryo system to centralize power in the throne.  We'll look at the layout of the palace, and also talk a little bit about what life was like for the members of the court who were serving Oama, and the state at large. For photos, diagrams, and more, see our blog at: https://sengokudaimyo.com/episode-134 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is episode 134: An Image of the Court at Kiyomihara Maro sat under the eaves of the hall to which he was assigned.  The journey from Mino hadn't been so hard, but he was still far from his family, back home.  He knew as much as they did that serving at the court of the Great Lord was a tremendous opportunity.  He would be at the heart of the court, in the presence of those running the country, and he could learn a lot from them.  After passing his internship, he would have a chance to prove himself.  If he worked hard, he could look forward to continued promotion, with the greater stipend and influence that came with it. Maro had no illusions that he would someday be at the top of the court hierarchy, but perhaps he could make some modest improvements in his station.  His elder brother was expected to inherit their father's position back in Mino, but the court provided a different opportunity.  Maro had always been a quick learner, and had learned to read and write at an early age, devouring whatever knowledge he could get his hands on – and that had helped make him that much more desirable to the court.  Now he was learning the ins and outs of how it worked, mostly by doing odd jobs while observing the various interactions, the politics, and the rhythm of it all.  Life at the Court really was something.  And yet he still felt homesick.  And so here Maro sat, looking out at the full moon in the sky, its light so bright that he barely needed any other illumination.  Maro wondered at the idea that his family might be looking up at the same moon at the very same time.  As that image took hold, he could feel in the experience a poetic verse.  He took out one of the wooden slips used for labels and notes, scraped off the previous writing, and began jotting down his composition. He only got through a couple of lines before he heard his name being called, and since he was on night duty he put down the brush and the wooden slip.  Poetry would have to wait.  With everything put back away, he rushed off to find out what new task awaited him. So here we are, the year is 673 and we are at the start of a new era.  Ohoama, aka Temmu Tennou, had defeated his enemies and was now in the process of taking the reins of power and officially ascending the throne.  In so doing he was moving the capital from Ohotsu, on the shores of Lake Biwa, back to Asuka.  Arriving back, he took up residence in what is called the Shima palace for a few days, presumably as they prepared the Okamoto Palace for him.  At the same time, we are told that a “palace” was erected for Ohoama south of the Okamoto Palace, and this was called the Kiyomihara Palace. I'd like to spend this episode talking about this Kiyomihara Palace, and what life was like there, not just for Ohoama but for his new court.  While we talked about some of the other palaces, this is perhaps one of the better known from the archaeological record, and it is the backdrop for so much that happens.  Ohoama is even known as the Sovereign from Kiyomihara.  So let's talk about what the palace consisted of, and what it was, and a little bit about what life was like there.  In addition to that, we've discussed in previous episodes how Ohoama's ascension to the throne kicked off a whole new era in the evolution of the Yamato state, with numerous innovations and new paradigms in the idea of the ruler and the court and their relationship – so it's worth taking a closer look at the setting where all of that was happening, so we can try and put ourselves in the shoes of those doing the work, and understand their daily grind, as it were. There is unfortunately plenty about the Kiyomihara Palace that we don't know - it isn't like there is a detailed account of the palace in the records - but its ruins are probably the most complete of all those found in Asuka.  This makes sense, given that it would have been built over the earlier palace sites.  In fact, for the most part, the Kiyomihara Palace is just the Later Okamoto Palace, in other words where Takara Hime, aka Saimei Tennou, ruled, but updated and expanded to fit Ohoama's and his court's needs.  Archeological work in Asuka has done some tremendous work to help us understand the Asuka Palace Site.  By studying the various post holes, ditches, and other evidence, along with occasionally discarded items, we have a general idea of the palace's shape, and when we combine this with what we know from other sites—the Naniwa Palace ruins in Ohosaka, the Fujiwara palace ruins in Kashihara, and the Heijo-kyo ruins in Nara, among others—along with an understanding of how palaces were being built on the continent, we are able to piece together what we think was going on.  Of course these interpretations aren't unanimous, and there are parts that scholars will no doubt quibble over—such as the use of the Ebinoko compound, which I'll talk about in a bit—but in general we have a picture of what things probably looked like, at least from a layout perspective, and how the site may have been used. To start, let's go back for a moment to the Toyosaki Palace in Naniwa, the first palace purpose built for the new governmental system being brought over from the continent.  This was the palace of Karu Ohokimi, aka Koutoku Tennou, uncle to Naka no Ohoye.  It was built in the aftermath of the Isshin Incident of 645, an architectural centerpiece of the Taika reforms.  As you may recall, this was a massive undertaking.  This palace was largely rectangular, and consisted of three compounds from south to north, ranging from most to least public. Most people would enter from the south gate, later known as the Suzaku-mon, the gate of the crimson bird of the south, a pattern that would generally hold true for other palaces.  Entering the compound, you would find yourself in the Choshuden, a space holding two pavilions with several rooms where officials could change into or out of their official robes.  The gates to the Choshuden would open at sunrise for the clerks and functionaries would enter.  At the northern end of the Choshuden was the Southern gate of the Chodoin, the main working area of the court.  There were 14 halls, or Chodo, each one dedicated to a different ministry.  The size of these halls varied, likely based on importance or at least the size of their government portfolio. Most of the middle area of the Chodoin was open, but at the northern end was the gate to the Dairi, the inner palace.  This gate was flanked by two octagonal buildings, and it led to an area between the Chodoin and the Dairi where there sat the building that would become the Daigokuden.  This was the main audience chamber for meetings with the sovereign, who would preside and make pronouncements in the early morning hours, at the start of the day. To the north of the Daigokuden was the rest of the Dairi, where the sovereign's personal quarters lay, including the quarters for his consorts and children, maintained by his personal servants.And there were other gates into and out of the Dairi—after all, the palace was so large you didn't want to have to go through the Choushuden and Choudouin just to get to the sovereign's quarters.  Those who lived in the Dairi and those who worked there would be able to have their own entrances and exits. Let's contrast all of this with the Okamoto Palace in Asuka.  More precisely the Later Okamoto Palace.  This was the successor palace to the Itabuki palace, both of which were built for Takara Hime, aka Kougyouku—and by this point Saimei—Tennou.  In fact, Itabuki palace burned down at the end of 654, just as Takara Hime came to the throne a second time.  This palace was, in total, maybe the size of the Chodoin of the Toyosaki Palace, if that.  For one thing, there wasn't as much flat land easily available in the valley, but for another, the builders maybe didn't think they needed quite that much space and that many buildings.  You see, while the Toyosaki palace in Naniwa was likely meant to model the kind of infrastructure necessary for the Tang court, in Chang'an, Yamato was still building up its fledgling bureaucracy.  It wasn't like there were a flood of reports and correspondences coming in from all over the archipelago that had to be handled by an army of clerks.  At least not yet. The Okamoto palace, from what we can tell, was also a rectangle, once again facing south , on the east side of the Asuka river.  This palace did not necessarily have the same kinds of dedicated spaces as the Toyosaki Palace. The main gate that we know of was in the south, leading to a courtyard with another building—possibly the Ohoandono, alternatively the Ohoyasumidono or the Daianden.  This may have been an audience hall for meeting with public officials.  The ground here was covered in gravel, a fairly common thing for palace compounds. Though we don't know exactly what the buildings looked like, we have some idea based on the size and number of post-holes.  We also haven't found any ceramic tiles in or around the ruins so far, which suggests that Okamoto Palace did not have ceramic tile roofs as were common on temple architecture, but instead were likely covered with wooden shingles, like the Itabuki Palace that used to be in relatively the same spot.  From an archeological perspective, any tiled building of this size leaves a lot of indications behind: over the years tiles fall off, break, get buried, etc.  Even if, as was common, the court meticulously dismantled the buildings down and reused as much as they could, we would still expect to see some tiles or tile fragments in the ground where the pillars are found, and yet we find nothing of the sort.  To the east and west of the Ohoandono were long, narrow structures, oriented north to south rather than east to west.  These are thought to have been the offices where government officials could do their work. Moving into the northern section of the palace, the ground was paved with river stones.  There were two large buildings with small wings, running east to west, lengthwise, and situated on the same line as the Ohoandono.  These may have been what have been called the To no Andono, or outer Hall, and the Uchi no Andono, the inner hall, and they would have been used for ceremonies for those of the appropriate rank. The middle hall it seems was modified from its original form.  While it was similar in size and footprint to the hall north of it, the western wing of the southern hall at some point was destroyed—whether on purpose or accidentally—and it was replaced with what appears to have been a pond. On each side of this central area we see more space for buildings, but only some of the post holes have so far been uncovered.  There were other buildings further in the northernmost third of the compound that were likely for the sovereign's private usage, as well as a well, and what may have been a building for some kind of semi-private religious ceremony. This palace, the Okamoto Palace, was essentially what Ohoama started from when he  relocated the capital back to Asuka – but when he ascended to the throne, he did make a few changes.  Most notable was the creation of something called the ebinoko-kuruwa, the Ebinoko enclosure.  This was to the southeast of the main palace, and had a rectangular wall surrounding one large building and two smaller ones.  Interestingly, the buildings would appear to be oriented in a symmetrical shape that would suggest a southern entrance, like the other palace compounds we've been discussing, and yet the gate was to the west, opening to the area between the Ebinoko enclosure and the main palace.  And based on postholes and other evidence, there appear to have been at least four other rectangular buildings stretching out to the south, outside of the walls.  Some have theorized that the large building in the Ebinoko  was an early form of the Daigokuden, a ceremonial hall where Ohoama held court, rather than reusing the facilities of the old Okamoto palace.  Alternately,  perhaps it was actually more like the buildings of the Chodoin in Naniwa, where the different departments of the court actually did business, but here with all of the officials working in one, single building.  A third idea that others have suggested that this was actually Ohoama's private residence—again, somewhat odd given the size and shape and the fact that there were the seemingly larger facilities of the Okamoto palace already right there for the taking. So which is it?  We do have a clue in the record of the 15th day of the 9th month of 672, and the lines following it.  According to the Aston translation of the Nihon shoki: He removed his residence from the Palace of Shima to the Palace of Okamoto. In this year a Palace was erected south of the Palace of Okamoto, and the Emperor removed his residence thither that same winter.  This was called the Palace of Kiyomibara in Asuka. So it does seem like something was built south of Okamoto and that is where Ohoama resided.  It is somewhat uncommon for a sovereign to reuse an old palace like this.  Traditionally, sovereigns had regularly moved to new palaces, seemingly because of the attempts to avoid ritual pollution associated with death.  Of course, it had been a while since Takara hime had passed away, and Naka no Ohoye had moved everything to Ohotsu, but nonetheless, is it possible that the Ebinoko kuruwa was built to, in some way, give Ohoama new quarters? We may never know for sure.  There are plenty of inconsistencies.  For one, if it was meant as a residence, I would expect more buildings for his consorts and others.  There are also some things to note about the account in the Nihon Shoki.  For one thing, although the initial account calls this the Kiyomihara Palace,  the Chronicles also suggest that it wouldn't actually get that name until the 20th day of the 7th month of 686, about 14 years later. That record describes how a new era name was also announced:  the Akamitori, or red bird, era.  I don't want to get too much into it right now, but suffice it to say that a red, three legged crow is often depicted as the symbol of the sun; and the important south gate of the palace, the Suzaku-mon, is named for the vermillion bird of the south, one of the four guardian animals.  When this era name—more commonly read as “Shucho”, today, since era names are commonly red in on'yomi reading rather than kun'yomi—well, when it was declared, we are told that the palace was titled the Palace of Kiyomihara of Asuka. What are we to make of this? Well, today, it is assumed that the Kiyomihara palace refers to the Okamoto Palace starting from the creation of the Ebinoko-kuruwa and its occupation during what is assumed to be Ohoama's rule.  Earlier in the Nihon Shoki we are told that Ohoama was known as the Kiyomihara sovereign, and so even though that name technically wasn't applied to the palace until later, it makes some sense just to assume it applied from the start of Ohoama's renovations. One more thing that I would point out.  While we talked about the original Okamoto Palace and the newly built Ebinoko enclosure, they were arranged as though around a large open area, like a courtyard.  The original palace stood at the north, where one could enter the south gate of the palace, and then the Ebinoko enclosure sat on the east side of the courtyard, with its western gate between the two.  The southern and western sides of the courtyard, on the other hand, followed the snaking flow of the Asuka River. From about 675 to 681, on or about the 17th day of the first month of the year, it's recorded that the court held an annual archery shoot in the court of either the West or South Gate—which would seem to refer to this large area.  This makes sense, as the space is large enough to accommodate plenty of room for the range and for others to watch The archery exhibition   was held here, in the space between the two compounds, like clockwork until 681, when we are just told that it was held in the “Courtyard”, which feels like it is referring to an area inside the main compound of Kiyomihara. There are no more mentions of the tradition after 681, though there is an archery shoot in front of the South Gate on the 5th day of the 5th month of 685, but that was probably done as part of the regular 5/5 celebrations—a holiday today known as Kodomo no Hi, or Children's Day, but more traditionally known as Tango no Sekku, the Iris festival.  Some form of celebration on this date seems to have occurred throughout East Asia up until the modern day. Whether the archery stopped or just became such a standard thing that it was no longer noteworthy in the record, I can't really say.  However, one can possibly imagine what it was like, with all of the courtiers out there watching as the arrows shot down the field.  The occasional twang of bows and the faint whistle as it sped towards its target, hitting the target with a sharp thwack.  Murmurs from the crowd regarding how well—or how poorly—any given person was doing. Beyond the courtyard and what we know of the two compounds—the Kiyomihara palace and the Ebinoko Enclosure—there is plenty still to discover.  There were likely other compounds around the palace, possibly as an extension of the palace.  And then there were the temples: west, across the river, was Kawaradera, and north of the palace and surrounding compounds was Houkouji, or Asukadera.  There is even some evidence on the northwest edge of the compounds, southwest from Asukadera, of an ancient garden surrounding several manmade ponds. And so, the entire valley appears to have been filled with buildings and official spaces , running up against and being constrained by the natural features of the valley itself.  As I mentioned above, there just isn't that much buildable space in the Asuka valley, compared to other places like Naniwa.  And this contributed to one of the other problems that the court would have experienced: according to tradition,  the front of the palace and other buildings were all oriented south, but for this location, this meant that they didn't face the expansive fields of the Nara basin, but instead they faced the mountains themselves.  All in all, there was not much room here to grow, and yet the government and the court had grown, at least by all accounts. Though, how much had the court grown? Maybe not as much as we might expect, despite Ohoama's ambitions.  First of all there had been the purge of the powerful ministers at the head of the Afumi court, but there are some startling omissions in the records from the beginning of Ohoama's reign.  There is no mention of the Daijin, or Great Minister.  There is no Minister of the Right or Minister of the Left.  There is no Inner Minister, and there is no Great Minister of State.  There are mentions of the “kugyou”, or “Ministers of State”, which traditionally includes the Daijin, but there is no mention of the Daijin, suggesting that the “kugyou” of this time may have only referenced the heads of the 8 ministries of the Dajokan, the Council of State.  What does this mean? Many scholars interpret this period as a time of extremely centralized power.  Coming off of his military victory, Ohoama seems to have ridden a wave of support and control.  Combine that with the continued absorption of Tang dynasty propaganda-slash-government theory that saw the sovereign—the emperor—as the central authority, and one can see how Ohoama may have been able to do something that few sovereigns in Japanese history were able to actually do, which is to wield real power.  This may seem odd for a position translated into English most commonly as  “Emperor,” but as we've seen, in glimpses through the way they are depicted in the Chronicles, or through the archaeological record, which shows different loci of power and authority across the archipelago in ancient times, the Ohokimi, later dubbed the Tennou or Sumera no Mikoto, was not necessarily all powerful.  Not only did they have to contend with rivals to the throne, but even various court nobles who made their way into the centers of power.  From figures like Takeuchi no Sukune, to the Ohotomo, the Mononobe, and more recently the Soga—in all of these cases various nobles often held considerable power, though often in tension with one another. Sources of authority also varied.  There were the individual religious centers through which families exercised some ritual authority, while there was also more secular authority in the various court positions.  The Ohokimi certainly were respected, from what we can tell, and had a powerful source of authority going back to at least the holy kami of Mt. Miwa.  They even spread that authority through their kannushi, their priests, which they sent out as an extension of the state.  But they weren't entirely independent, either. But Ohoama seems to have reached a point where he did hold a tremendous amount of authority.  Because there is another telling omission from the chronciles: we don't see any more Soga members.  With the death of Soga no Akaye, the Soga family's influence seems to have disappeared this reign.  We also don't see that much about other prominent families compared to earlier: we see the Mononobe as ambassadors, and we see the Nakatomi are still conducting rituals.  But we don't see any of them rising to the same positions as their forebears.  Instead, we see a lot of focus on the Princely class—those members who claim some descent from a previous sovereign, or even the current sovereign, and how they, themselves, are divided up with their own system of ranks that are outside the civil service ranking system. Speaking of civil service, it does always strike me that the ranking systems of various east Asian courts very much resemble the way that, even today, many modern bureaucracies create wage scales for their civil servants.  In the US the most common such scale is the GS or “General Schedule” pay system.  In that system, positions are associated with a particular grade, between 1 and 15, and federal employees are also referred to in terms of those grades.  Grade typically reflects some level of seniority and pay.  It isn't a one-for-one analogy, of course: the court ranks in Yamato were handed out by the sovereign, or at least through their authority, as were the various court positions, though I doubt that Ohoama was spending much personal time approving promotions for a low level clerk writing down inventories and suchlike—but who knows.  But it does emphasize that this system is built to be a centralized bureaucratic monarchy, based on the continental model, and it now seems to have come into its own.  The court seems to have bought into the idea, and now, intentionally or not, much of their own position in society was directly tied to the autocratic whims of the monarch, or Ohoama himself. Indeed, some of the first records from the year 673 are focused on the court and court system.  The very first thing this entailed:  a banquet on the 7th day of the first month of the new year.  We are told that it was a “drinking party” or “shuen”, and boy does that draw some parallels with modern Japanese companies.  We aren't exactly given the form of this party, but we do have later examples.  There was likely a formal start, with various nobles set out at assigned seats based on their rank.  It was an official event, so officials would have been expected to wear the appropriate clothing, including their caps of rank, letting everyone know exactly who's who, and reinforcing the social hierarchy imposed by the rank system in the first place.  I suspect that it started with ritual and formality.  Later, you would have the after party, where people might more freely mingle and drink and recite poetry.  This was both an official and social occasion, because there really wasn't much of a line drawn between the two.  As a ritual, it displayed Ohoama's power over the state through his ability to host them all.  As a social function it was an important time in the political life of the court, where everyone was together, and you could find your cliques and supporters. Drinking alcohol, while being something that many enjoy for its own sake, was also a kind of religious observance.  Sake was made to be offered to the kami, as well as to be used at parties.  It was made from rice, the staple on which the agricultural success of the archipelago was based, and which held a particularly sacred place in other rituals and ceremonies. And then there was the poetry.  As would be true for much of Japanese history, poetry infused all aspects of life at the court, and being able to compose good poetry was just as important to one's social standing as reading, writing, and other such skills. There were generally two kinds of poetry practiced at the court.  There was the traditional Japanese poetry, or waka, with alternating verses of 5 or 7 syllables—more properly morae, but no need to get into that.  Then there was poetry composed in the Sinitic style.  Known as “Kanshi”, which translates directly as “Han Poetry”, this mimics the poetic forms brought over in literature from the continent.  It required a certain amount of education to be able to compose and was based on the characters, or kanji, used.  Kanshi can generally be divided into at least two categories.  There is the Kotaishi, or the Old Style Poetry, which consists of poetic form used prior to the Tang dynasty.  Then there is Kintaishi, or Modern Style Poetry, which is based on the forms from the Tang dynasty and later.  Kintaishi is usually recognized for adhering to more rules of structure and composition, usually using lines of 5 or 7 characters, while Kotaishi is more fluid and less concerned with specific rules and rhythms. Poetry was also not necessarily a solo activity.  It was common in later eras to arrange poetry competition, where the court would divide itself, much like the bureaucracy, between the Left and the Right.  Each group would compose poetry, often on a set theme, and then  put up the poems they felt were the best against those of the other side and then the entire court would listen and judge.  The only tangible reward, assuming the sovereign was not so moved as to do something extraordinary, was bragging rights.  And yet, that social capital was important among the nobles of the court.  Image was extremely important to individuals, and embarrassment could be a political death sentence.  And so many would work hard at these poems to make sure that they were the best they could be. At this point, though, we are still in the early years of many of these traditions.  The poetry that we have appears to be less formulaic than we see in later eras, when there were so many precedents to which one was expected to adhere.  Poems could be about feeling and were not required to hearken back to previous poems and poetic allusions. By the way, official events like this are also one of the ways that we get compilations of poems, later on.  These events would get transcribed and then later those poems would be referenced, particularly if they were noteworthy or by noteworthy individuals.  This kind of event may have been where a lot of the poems from works like the Man'yoshu and the Kaifusou, the earliest compilations of Waka and Kanshi, respectively.  At some point I”d love to dig into the poetry more in depth, but for the moment, I think it is best to leave it there. Now besides one's skills at poetry there were other skills that the court was interested in.  The court system that they had lifted from the continent was based, at least theoretically, on the idea of a meritocracy.  The monarch, of course, was judged to be worthy to rule through the mandate of Heaven, which often demonstrated itself early in the regime through the Emperor's forces defeating their enemies, much as Ohoama had defeated his rivals in the Afumi court.  However, for the rest of the government, the sovereign needed to make sure that he had qualified individuals.  From an early point in history, people recognized that not everyone born into power and wealth was necessarily the best person to help run things.  If you could only find those of the greatest intellect, discernment, and moral compass, then those are the ones you would want to have running things, right?  And this is fine in theory. However, determining who has those qualifications can be a bit tricky.  We talked about this back in episodes 71 and 72 when we talked about the Han dynasty more generally.  In that case, while the civil service exam was open to any person, the reality was that only those with enough wealth and leisure time could afford to study to take the test.  And so while it did open up opportunities for some, it did not truly apply equally across all classes of people.  And this was likely fine with most of the ruling class at the time, since there were also still theories that there were different classes of people, and it simply reinforced their ideas that those in the lower classes just didn't have the same capabilities that they had.  In the Yamato court early in Ohoama's reign it isn't clear to me exactly how individuals were being chosen for service.  We know that rank was handed out as a reward for service, varying with the individual.  Ohoama handed out rank at the end of 672 to those who had helped him to come to power, and then, on the 29th day of the 2nd month of 673, just two days after he formally ascended the throne, we are told that he conferred cap-rank on those who had performed good service, each according to their situation. Of course, that is about how promotions were rewarded.  But what about how people entered into service in the first place?  How did you get introduced to a job in the bureaucracy in the first place?  Well for that we have Ohoama's pronouncement on the first day of the fifth month.  He addressed the court and set it up as follows: First, anyone who would take a government position would begin their career as an “ohotoneri”.  These were low level functionaries who supported the various bureaus as guards, messengers, and whatever else was needed.  Previously, this all would have fallen under the general term of “toneri”, who were those members of the nobility who had been sent to serve in the royal palace.  Aston translates this as a “chamberlain”, and thus equates oho-toneri—literally “great toneri”—as “high chamberlain”, though I'm not sure if that was actually the distinction or not.  It looks like the term “toneri” itself may pre-date the Ritsuryo system, but now was being more standardized, with expanded categories of “toneri” within the system itself.  Interestingly, there is only one other example I could find of Ohotoneri before the reign of Ohoama and that was in the account of Waketakeru no Ohokimi, aka Yuryaku Tennou, which makes me think that might be an anachronism.  We definitely see “toneri” used since just before that reign and continuously onward, and we see them in regards to not just the royal house, but as the functionaries and servants in various places and for other aristocratic families, but the “ohotoneri” seem to have been specifically connected to the royal family… and thus the state. Ohotoneri, despite being quote-unquote “great” toneri, were at the relative bottom of the hierarchy.  They were the night shift, the guards, the messengers, and the general go-fers.  They were essentially paid interns.  As they did their tasks, they were learning about how the various offices and ministries worked, and they were demonstrating their own aptitude.  Based on how they did, they would then be assigned to various offices as seemed most suitable. There were also offices that were staffed by women.  Though separate and distinct, women also had a role in the palace and thus the maintenance of the court and the state.   They were to be selected for service regardless of their age or even whether they were married or not, but they fell under a separate set of rules from the men, because, well, patriarchy. So that's what happened when people were selected to serve, but who was selected?  The chronicles don't say explicitly until a decree about three years later in the 4th month of 676, when it was decreed that all those from provinces outside of the Home Provinces could enter the service of the sovereign, no matter their family's rank, whether Omi, Muraji, Tomo no Miyatsuko, or Kuni no Miyatsuko.  They would also allow men of quote-unquote “distinguished ability” enter service, even though they were commoners. From that we can surmise that when they are talking about “all” people really they are talking about “all” the nobility—the only people for whom the Nihon Shoki was really intended, if you think about it.  Thus, logically it would seem that prior to this only members of the nobility were allowed to enter government service—but there is even more.  Because before this pronouncement in 676, only people in the Home Provinces were theoretically allowed to enter government service. The Home Provinces, or Kinai, are traditionally the five provinces of Yamato, Kawachi, Izumi, Yamashiro, and Settsu.  At this point, though, Izumi was still a part of Kawachi, so it would have just been the four.  These provinces were likely the first lands to really come under Yamato's direct control, and as such they all held a certain pride of place.  This is also where we assume that the powerful families of Yamato had their strongholds.  Certainly the Soga, the Mononobe, and the Ohotomo all had claim to traditional land in and around this region.  When the court had moved to Ohotsu it would have been the first time in many years that the capital was moved out of the Home Provinces, which was probably a large part of the dissent expressed at the time.  How would you like it if your job up and moved two states away and forced you to relocate with them, likely at your own expense? In 676, though, the court decreed that it would no longer restrict itself to noble families of the Home Provinces, but instead would open up service, and the lucrative stipends that came with it, to members of the nobility in the rest of the archipelago. This seems particularly intriguing given the two swords we have from the time of Waketakeru no Ohokimi, aka Yuryua Tennou, in the 5th century, where elites had served—or at least claimed to serve—at his court.  It is possible that during his day the influence of Yamato was more expansive, and that influence contracted after him. Or it could be that it was a different type of service that they had provided. And then there is the comment in Ohoama's decree that the court would also allow men of “distinguished ability” to also enter service, even if they were commoners.  How very progressive.  This seems clearly designed to suggest the meritocratic system that was the ideal, even if it was only truly observed in the breach. I can't help but think about how this symbolizes the court's expanded control across the archipelago, and the idea that all of the archipelago was truly under their control.  It also meant that they had opened up the candidate pool to a wider audience.  Does that mean that they were growing the size of the government, too?  I also can't help but wonder how the old guard took this—the traditional families from the Home Provinces who suddenly found themselves competing with people from the periphery.  Did they see them as equals, or the equivalent of upstart country bumpkins?  And let's not even get started on anyone who joined government service as a Commoner. On the other hand, I suspect these new functionaries would have owed their position even more directly to the sovereign and the court, and they might not have strong familial ties to the local area.  This is all just theory, but seems to follow with Ohoama's general efforts at centralization and accretion of power and authority to himself whilst further building out the structure that his brother, Naka no Ohoye, had set up.  Along those lines, at the same time that the sovereign opened up membership in the court to those outside of the Kinai region, he also meddled with the incomes of the various Princes and Ministers.  He insisted that those Princes and Ministers who were receiving taxes from fiefs in the West—by which I assume is meant western Honshu, Shikoku, and Kyushu—they should instead get their income from fiefs in the East.  So he was taking away the western fiefs and instead swapping them with eastern fiefs.  Those western taxes could then, presumably, come straight into the government coffers, and the princes and ministers would be connected with land in the east, which I suspect meant they would be expected to invest in those fiefs and encourage them to produce. This feels like it goes along with something from two years earlier, in 675, the third year of Ohoama's reign.  In the second month of that year he abolished the serfs granted to the various Uji back in 664, and he abolished any claims by Princes—Royal or otherwise—as well as Ministers and Temples to any mountains, marshes, islands, bays, woods, plains, and artificial ponds.  It seems clear that he claimed the right of eminent domain to himself and the state.  By extension, all land effectively belonged to Ohoama, and everyone else became, de facto, his tenants.  They paid taxes up to him, and he had the right to grant or take away the land as he saw fit. I can't imagine that went over well with those who had lost their rights to those lands, but either he compensated in them in some other way or his power had grown such that they didn't dare to oppose him.  Certainly not everyone was happy. In 677, Saita no Fubito no Nagura was banished to the island of Izu for apparently scoffing—or otherwise disrespecting—Ohoama.  Well, it says his vehicle, but Aston notes that this is probably just a polite euphemism for the sovereign himself. But that rebuke seems to have been pretty light compared to two years earlier when a man—we aren't even given his name, assuming it was known, hiked up the hill east of the palace, cursed Ohoama, and then cut his own throat.  How it was known that he had been cursing anyone isn't explained—though perhaps he had written it down or otherwise communicated his intentions.  Either way, it was certainly a rebuke. But if it phased Ohoama, we can't tell.  He did give those on duty that night a step in rank, presumably for the trauma they had experienced in dealing with everything. Possibly related—we are told that same month there was a great earthquake.  So was that thought to be the curse being fulfilled?  There is nothing to connect them except that the one immediately follows the other. And yet, Ohoama would continue to rule as he saw fit.  In fact, he would rule roughly 14 years, in total, right up to his death in 686.  A rather substantial reign compared to so many other sovereigns.  And he would continue to make his mark. Next episode we will continue our journey through the reign of Ohoama, aka Temmu Tenno. Until then, if you like what we are doing, please 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 reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

Review de DRAGON BALL (1984), um dos, senão o mangá mais importante de todos os tempos, o clássico de Akira Toriyama. Review completa, do volume 1 ao 42!Referências:Vídeo do Izu sobre a técnica de narrativa de Akira Toriyama: https://www.youtube.com/watch?v=B0wQFVLuJXYEntrevista dos editores de Dragon Ball: https://x.com/Venixys/status/1893760600058069331APOIE O PROJETO NO CATARSE!!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.catarse.me/kitsune_da_semana⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠EDIÇÃO: Gilsomar do Livramento ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/outerheaven.bsky.social⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Contato: leokitsune@gmail.comBluesky: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/leokitsune.bsky.social⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.twitch.tv/leo_kitsune⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Capítulos:Introdução: 00:00:00Primeira Fase: 00:12:04Red Ribbon: 00:52:08Piccolo Daimaoh: 01:39:35"Fase Z" - Saiyajins e Freeza: 02:35:10Cell: 04:18:45Majin Boo: 05:29:37Encerramento: 06:52:37

Send us a textAs Shinichi rushes to Izu to protect his dad from the parasite that killed his mom, he encounters, of all things, a meet-cute with a jr. high girl who may have a crush on him. Then he pieces together the events surrounding his mom's murder. Meanwhile, Tim and Patrick find some more goofy sound effects. it's “Parasyte” chapter 13 by Hitoshi Iwaaki!

We get together with Matt Ketchum, Emil Gorgees, Tracey Northcott & Ziv Nakajima-Magen of the JREP crew, to discuss Ito, Izu peninsula and the Izu islands, akiya projects and renovations, loans - and two exciting new initiatives from Japan's favourite English speaking real estate experts!

Nichiren Daishonin wrote this letter while he was in exile in Itō on the Izu Peninsula. It was addressed to Kudō Sakon-no-jō Yoshitaka, known also as Kudō Yoshitaka, the lord of Amatsu in Awa Province.Kudō Yoshitaka is said to have converted to Nichiren Daishonin's teachings around 1256, about the same time Shijō Kingo and Ikegami Munenaka did, a few years after the Daishonin first proclaimed his teachings. While the Daishonin was in exile on Izu, Yoshitaka sent offerings to him and continued to maintain pure faith. He was killed defending the Daishonin at the time of the Komatsubara Persecution in the eleventh month of 1264. The Four Debts of Gratitude is the only letter still extant that the Daishonin addressed to him.In this letter, in light of the reason for his banishment, Nichiren Daishonin expresses his conviction that he is a true practitioner of the Lotus Sutra. He mentions the “two important matters” that concern his Izu Exile. He states, “One is that I feel immense joy,” and explains the reasons for his joy. The greater part of the letter consists of this explanation. Following this, he states, “The second of the two important matters is that I feel intense grief.” Citing passages from the Lotus and Great Collection sutras that reveal the gravity of the offense of slandering the Law and its devotees, the Daishonin explains that he grieves at the thought of the great karmic retribution his tormentors must undergo. This is the concluding part of the letter.In the body of the letter, the Daishonin gives two reasons for his “immense joy.” One is that he has been able to prove himself to be the votary of the Lotus Sutra by fulfilling the Buddha's prediction made in the sutra that its votary in the Latter Day of the Law will meet with persecution. The other reason is that, by suffering banishment for the sutra's sake, he can repay the four debts of gratitude. He declares that the ruler who condemned him to exile is the very person to whom he is the most grateful; thanks to the ruler, he has been able to fulfill the words of the Lotus Sutra and so prove himself to be its true votary.Then, the Daishonin stresses the importance of repaying the four debts of gratitude set forth in the Contemplation on the Mind-Ground Sutra. The four debts of gratitude are the debts owed to all living beings, to one's father and mother, to one's sovereign, and to the three treasures—the Buddha, the Law, and the Buddhist Order. Among these four debts of gratitude, the Daishonin places special emphasis on the debt owed to the three treasures, without which one could not attain Buddhahood.https://www.nichirenlibrary.org/en/wnd-1/Content/6

Yasunari Kawabata (Osaka, 1899-Zushi, 1972). Escribió más de doce mil páginas de novelas, cuentos y artículos, y es uno de los escritores japoneses más populares dentro y fuera de su país. Recibió el Premio Nobel de Literatura en 1968. Entre sus obras, muchas de ellas marcadas por la soledad y el erotismo, destacan 'La bailarina de Izu', 'El maestro de Go', 'Lo bello y lo triste', 'Mil grullas', 'País de nieve', 'El rumor de la montaña' o 'Historias de la palma de la mano'. 'La casa de las bellas durmientes' se publicó en  1961 y se tradujo al español por primera vez en 1978. 

Antes de nada, quiero desearte un muy feliz 2025, que esté repleto de kilómetros y experiencias chulas, pero sobre todo que la salud te acompañe y las lesiones te respeten. Mis mejores deseos para este año que acaba de empezar. Y el primer invitado de este nuevo año (aunque seguimos en la misma temporada) es Javier Bañón Izu, creador del canal de Youtube “Bikepacker” en el que suele analizar material y dar consejos muy divulgativos sobre gravel y bikepacking. Además, Javier ha sido redactor en varias revistas especializadas en el deporte de larga distancia y, aunque no es un practicante asiduo de brevets, es un mundo que no le es ajeno en absoluto. Te dejo con él y su visión personal del mundo de la bicicleta. Espero, como siempre, que lo disfrutes. ----- Algunos enlaces de interés: Canal de Youtube de Javier: https://www.youtube.com/c/JavierBa%C3%B1%C3%B3nIzu Perfil de Instagram: https://www.instagram.com/javibaiz/ Página web: https://xn--javierbaonizu-pkb.es/ Libro "Manual práctico de bikepacking": https://amzn.to/4j7cPp9 Libro "Manual práctico de ciclismo gravel": https://amzn.to/3BUWuD7 ----- Inscripción a RACE ACROSS SPAIN con un 15% de descuento usando el código "JAVIERFRIENDSRAS25": https://fr.milesrepublic.com/event/race-across-spain-12384 10% adicional de descuento en material SIROKO: https://srko.co/labrevetcard

It's the final episode of the year, and your favorite hosts, Izu and Precious, are here to take you on a trip down memory lane!

In this thought-provoking episode, Izu and Precious dive deep into the world of music criticism, exploring the often polarizing judgments that artists and their sounds face. They unpack the role of critics in shaping public perception, discuss whether harsh feedback stifles creativity or fuels artistic growth, and analyze how artists navigate the fine line between staying authentic and meeting audience expectations. Tune in for a candid conversation that sheds light on the evolving relationship between creators and their critics, with plenty of insights, humor, and real-world examples to keep you hooked.

Esta semana el capítulo no tiene un invitado, sino dos. No es la primera vez, porque ya estuvimos charlando con Antonio y Raquel, con Miguel y Roser, con Borja y Toni o con Quico y Néstor. En todas estas ocasiones, era por un motivo claro y es que, al igual que esta vez, suelen rodar juntos habitualmente y tenían algún objetivo en común. Sin embargo, en esta pareja hay un punto diferenciador: ninguno de los dos son breveteros, ni les va el tema de las ultras. Y es que Irra y Cris, a quienes vas a escuchar en breve, son el alma mater, al 50% de Surya Bikepacking. Una hibridación entre tienda y taller de bicis especializado en ciclismo de aventura y bikepacking (por su puerta pasan, como podrás oír, recorridos tan míticos como Montañas Vacías o la EDT o la vía verde de Ojos Negros) y un estudio de Yoga y meditación. Dos mundos a priori con pocas cosas en común pero que como comentamos durante la charla, tienen algunas cuestiones que pueden ponerse en común. Con Irra y Cris hablamos de todo un poco: de como emprendieron la aventura de montar este proyecto, de bicis de acero, de bolsas de bikepacking, de llevar al cuerpo y a la cabeza al límite y de varias cosillas más. Casi dos horas de tertulia que espero te resulten interesante. Ya sabes, como siempre… Disfrútalo. Web de Surya: https://suryabikepacking.com/ Instagram de Surya: https://www.instagram.com/suryabikepacking/ Algunos enlaces relacionados con la charla: Rutas de bikepacking que pasan por Teruel (o las mencionamos): Ibérica Norte: https://bikepacking.com/routes/iberica-norte/ Montañas Vacías: https://montanasvacias.com/ EDT (European Divide Trail): https://europeandividetrail.com/ Vía Verde de Ojos Negros: https://viasverdes.com/itinerarios/ojos-negros-teruel/ El Camino del Cid: https://www.caminodelcid.org/camino-cid/rutas-btt-mtb Montsec Bikepacking Loop: https://montsecloop.com/ Neurociencia: Instagram José Luis Trejo: https://www.instagram.com/trejoperezjoseluis?igsh=Y2VxcHcyYjd2YTRp Instagram Nazareth Castellanos: https://www.instagram.com/nazareth.castellanos/ Podcast J.L. Trejo (min. 19 habla de las consecuencias del deporte): https://go.ivoox.com/rf/131583994 Entrevista a Nazareth Castellanos: El poder del cuerpo sobre la mente: https://open.spotify.com/episode/45P9Ewc1SKFzv5SJ4bBHin?si=da55eafc39ee4a93 Otros: Canal YouTube Javier Bañón Izu: https://www.youtube.com/channel/UCP2q2Y7AqKOn7S42PQiLW6Q Grupo de FB "Ciclismo sin prisa": https://www.facebook.com/groups/ciclismosinprisa/?locale=es_ES Bicis de acero BBloque: https://bbloquebikes.com/ Libro "Manual práctico de bikepacking": https://amzn.to/4ej9mQE

Dennis and Kaku lead a church in Izu, Japan where only 1 in 1,000 people are Christians. New Day has supported their ministry for 30 years and look forward to their annual visits and updates. It's such an honor for us to be a part of what they are doing on the other side of the world.

In this episode, hosts Izu and Precious dive into a lively discussion about the latest buzz in the music industry. They explore the exciting news of Afrobeat artists submitting their projects for Grammy consideration, reflecting on the global impact of the genre. The duo also breaks down some of the top albums dominating the 2020s, sharing their thoughts on what makes these records stand out. Tune in for an entertaining mix of industry updates, artist highlights, and personal takes from your favorite hosts!

In this episode, Izu and Precious dive into the challenges and milestones many young adults face as they navigate life in their 20s. They explore how this period is filled with new experiences, from career decisions to personal growth, and reflect on the ways young people are learning to manage responsibilities. A key theme discussed is the role of music in shaping the journey of young adults. Izu and Precious share personal stories about how music has been a source of comfort, inspiration, and even guidance during times of uncertainty. They highlight the way different genres and artists resonate with the emotions and experiences of being in your 20s, offering not only entertainment but also a soundtrack to self-discovery. Tune in for a heartfelt conversation that captures the realities of “adulting” while celebrating the power of music in this transformative stage of life!

◆ In this episode, I'm talking about a red Torii gate of the 2400-year-old shrine in Izu overlooking the ocean, using vocabulary and grammar from GENKI 2. (GENKI 2 is a Japanese textbook meant for beginners at JLPT N4 / CEFR A2 level.)   ◆ I've started a monthly Patreon membership. If you want to get the most of my podcast to master Japanese, this is perfect for you. Here is what's included : - Vocabulary lists - Transcripts - Listening comprehension exercise (These are all in Kanji with Furigana.) - Answer keys for the exercises - Photos related to the episodes Note : The files of the simplified N5 version for N4 episodes have vocabulary lists, transcripts, and photos. Check out  my Patreon page for more information : patreon.com/JapanesewithMeg   ◆ You are cordially invited to... - leave me a review on Apple Podcast - rate my podcast on Spotify   ◆ My Website : https://www.japanesewithmeg.com/      Instagram : https://www.instagram.com/japanesewithmeg  

We're back after a long break! In this episode, Izu and Precious dive into the songs and albums that have been on repeat for them this year. From chart-toppers to hidden gems, they share their favorites and discuss the trends shaping 2024's music scene. Tune in, and let us know what you've been listening to!

***Note*** ◇The PDF file of the simplified N5 version of today's episode as well as that of the N4 version are available for my Patreon members : patreon.com/JapanesewithMeg ◇From August 2024 :  JLPT N5 level → on the first & third Tuesdays  JLPT N4 level → on the second & fourth Tuesdays   ************ Hello Japanese learners ! Let's practice listening and speaking basic Japanese using podcasts. Practice makes perfect !   ◆ In this episode, I'm talking about Shuzenji - the oldest Onsen town in Izu known as little Kyoto, using vocabulary and grammar from GENKI 2. (GENKI 2 is a Japanese textbook meant for beginners at JLPT N4 / CEFR A2 level.)   ◆ I've just started a Patreon membership. If you want to get the most of my podcast to master Japanese, this is perfect for you. Here is what's included : - Vocabulary lists - True or false questions - Transcripts - Answer keys for the questions - Photos related to the episodes Note : The files of the simplified N5 version for N4 episodes only have vocabulary lists, transcripts, and photos. Check out  my Patreon page for more information : patreon.com/JapanesewithMeg   ◆ You are cordially invited to... - leave me a review on Apple Podcast - rate my podcast on Spotify - support my podcast on Ko-fi   ◆ My Website : https://www.japanesewithmeg.com/      Instagram : https://www.instagram.com/japanesewithmeg  

【図解】台風７号の予想進路非常に強い台風７号は１６日午前、八丈島の北東海上を北上した。 Powerful Typhoon Ampil approached the Kanto eastern Japan region, including Tokyo, Friday morning, moving north off Hachijojima, one of the capital's Izu islands in the Pacific.

Powerful Typhoon Ampil approached the Kanto eastern Japan region, including Tokyo, Friday morning, moving north off Hachijojima, one of the capital's Izu islands in the Pacific.

夏休みに旅行に行きました。クロアチアに行きました。日曜日に帰りました。クロアチアの空港でおみやげを買いました。まめのジャムとビスケットです。 クロアチアはあつくて、海がきれいで、とても楽しかったです。島がたくさんありました。島は木が多くてみどり色でした。私は日本の伊豆や瀬戸内海を思い出しました。 私たちは空港から車と船で大きい島に行きました。島の名前はコルチュラです。 クロアチアは松の木が多かったです。松の木はいいにおいです。日本の松より緑色が明るかったです。コルチュラ島ではぶどうの木もたくさん見ました。広いぶどう畑の中にワイナリーがありました。散歩をしている時には、よく、いちじくの木を見ました。それから、おもしろい豆の木がありました。見たことがない豆でした。茶色くて長い豆がたくさん落ちていました。空港のお土産売り場でこの豆のイラストを見つけた時はとてもうれしかったです。クロアチアの言葉でロガチ、英語ではキャロブという名前の豆でした。ロガチが入っているジャムやビスケットがあったので買ってみました。ビスケットの見た目はチョコチップみたいです。味もココアっぽいです。甘過ぎない、やさしい味で、おいしかったです。ジャムはまだ食べていません。 I went on a trip during the summer holidays. I went to Croatia. I returned on Sunday. I bought souvenirs at the airport in Croatia. I bought some bean jam and biscuits. Croatia was hot, the sea was beautiful and I had a lot of fun. There were many islands. The islands were green with many trees. It reminded me of Izu and the Seto Inland Sea in Japan. We went from the airport to a big island by car and boat. The name of the island is Corčula. There were many pine trees in Croatia. Pine trees smell good. They are lighter green than Japanese pine trees. I also saw many grapevines on the island of Korcula. There was a winery in a large vineyard. When I was walking around, I often saw fig trees. Then there were interesting bean trees. I had never seen such beans before. There were a lot of long, brown beans on the ground. I was very happy when I found an illustration of these beans in the souvenir shop at the airport. The beans were called Rogaci in Croatian and carob in English. There were jams and biscuits with Rogaci in them, so I bought some. The biscuits look like choco chips. It also tastes like cocoa. They were tasty, not too sweet and had a gentle taste. I haven't eaten the jam yet.

In Episode 30 of the podcast I speak with outdoor guide Iida Taka about Oze National Park. Straddling four prefectures of the snow country – Gunma, Niigata, Fukushima and Tochigi – Oze National Park is relatively small at 373 squared kilometres however its smaller size is in fact one of its attractions. Known for its lakes, wetlands, moors and marshes, the park is ringed by mountains ascending over 2000 metres with areas of dense forest. As such, visitors to Oze can enjoy varied environments including unique flora and fauna within a confined area. Taka is an experienced outdoor covering many destinations in Central Japan including Oze National Park. Originally from Izu, Taka's journey to becoming an outdoor guide involves stints in Australia, New Zealand and Canada before pursuing certification in Oze – a park she is very familiar with and keen to introduce to international visitors. Based in Nagano, Taka operates Nozawa Onsen Tours in the popular ski resort and hot spring town of the same name. Offering tours that reveal the long history and culture of the village, along with the surrounding environment, Taka reveals a side of Nozawa that many if not most international visitors miss.We discuss the national park in the first half of the interview before moving onto the tours Taka offers at Oze and Nozawa Onsen in the second half of our chat. For more information, visit the Nozawa Onsen Tours website or Instagram - links are above - and of course you can find information, images and a map showing you where the national park is on the episode page of the Snow Country Stories Japan website. Snow Country Stories Japan is a bi-weekly podcast about life and travel in Japan's legendary 'yukiguni'. For more information about the show and your host, visit our website - www.snowcountrystories.com - and make sure to subscribe, rate and review the podcast and follow us on Instagram, Twitter and Facebook.

On this Episode, Izu and Precious take us down the memory lane of the legendary Wande Coal. His legacy and impact towards the Music Industry

【図解】海底光ファイバーケーブルによる津波観測昨年１０月に伊豆諸島・鳥島近海で発生した津波を、高知県・室戸岬沖の海底に長距離敷設した研究用の光ファイバーケーブルで観測できたと、海洋研究開発機構が６日発表した。 The Japan Agency for Marine-Earth Science and Technology, or JAMSTEC, said Thursday that it observed a tsunami that occurred off Torishima, an island in the Izu chain in the Pacific, in October last year using the long-distance fiber-optic cable it placed for research purposes on the seabed off Cape Muroto in the western prefecture of Kochi.

The Japan Agency for Marine-Earth Science and Technology, or JAMSTEC, said Thursday that it observed a tsunami that occurred off Torishima, an island in the Izu chain in the Pacific, in October last year using the long-distance fiber-optic cable it placed for research purposes on the seabed off Cape Muroto in the western prefecture of Kochi.

In this episode we follow the teenager Yoritomo - the future First Shogun of Japan - as he begins his exile on Leech Island in Izu province, where he experiences both love and tragedy in the household of his captor. Meanwhile, back in the Capital, Lord Kiyomori of the Heike continues to secure his position as the country's most powerful landlord. But a secret meeting at a remote mountain villa could present Kiyomori with a serious and unexpected challenge.Key figures in this episode:In Izu Yoritomo - Genji exile, the future First ShogunIto Sukechika - local Heike commander; Yoritomo's captorYaehime - Sukechika's daughterMorinaga - Yoritomo's friend and retainerIn the CapitalLord Kiyomori - Head of the Heike clanShigemori - Kiyomori's eldest sonSukemori - Shigemori's teenage sonLady Ike - a nun; Kiyomori's step-motherGo-Shirakawa - the Retired EmperorSaiko, Shunkan, Narichika, Yasuyori - conspiratorsWritten and presented by Sean Bermingham. Music and sound effects from Pond 5: www.pond5.comThe First Shogun podcast website: https://firstshogun.buzzsprout.com

In the podcast episode called "The Songwriters Episode," Izu and Precious talk about why some music styles like having songwriters while others don't.

In this episode of “Who Do You Think I Am,” join our hosts, Izu and Precious, as they guide you through a journey exploring their own identities, delving into their unique personalities, and sharing their personal preferences and aversions.

#ClaudiaSheinbaum en Mitin en Izúcar de Matamoros, Puebla --- Send in a voice message: https://podcasters.spotify.com/pod/show/4tmexico/message

W szesnastym odcinku Bełkotu literackiego chcemy was zabrać do Japonii. W rolę przewodnika po kraju, który dał nam Dragon Balla, Godzillę, karate i kwadratowe arbuzy (tak, takowe uprawia się w Kraju Kwitnącej Wiśni), wciela się Yasunari Kawabata, poeta i prozaik, pierwszy japoński laureat Nobla w dziedzinie literatury (było to w roku 1968). O książce „Tancerka z Izu. Opowiadania” rozmawiają Kasia Janusik (Wrocławski Dom Literatury), Jana Karpienko (Fundacja Olgi Tokarczuk) i Agata Sibilak (Następna Strona). Książka ukazała się w Polsce z końcem 2023 za sprawą Wydawnictwa Czytelnik, raptem 97 lat od premiery japońskiej… Za przekład odpowiadają Mikołaj Melanowicz i Anna Zielińska-Elliott. Czy warto było czekać niemal cały wiek, by w końcu móc przeczytać w języku polskim młodzieńcze opowiadania Kawabaty? Czy aby na pewno literackie zachwyty nad nastoletnimi dziewczętami wytrzymały próbę czasu? U nas zdania są podzielone. Posłuchajcie!

Join hosts Izu and Pepper P as they dive into the world of diss tracks, dissecting their impact on the music community. From legendary beefs to modern controversies, they explore the art of dissing and its significance in rap culture. Tune in as they analyze the lyrics, rivalries, and cultural context behind some of the most memorable diss tracks in music history.

26 Jan 2024. We've got the latest on US GDP at 3.3% for the fourth quarter and that fighting talk from Christine Lagarde – as well as reaction from economist Khatija Haque. It's a double dose of real estate leaders today as we speak to Aldar Development CEO, Jonathan Emery, who's here to tell us about his latest development. And he's brought a mate - Chef Izu! He'll tell us why he's getting involved in this latest project. We'll also speak to Arada real estate CEO, Ahmed Alkhoshaibi,  who explains why they're seeing huge demand for premium communities in Sharjah. Plus, we're talking about the finance of football: as Real Madrid knock Manchester City off their perch as the world's richest club, Deloitte sports expert Izzy Wray is here to crunch the numbers.See omnystudio.com/listener for privacy information.

We are back!! In this electrifying episode of Lemonvinyl, hosts Izu and Pepper P take you on a vibrant journey through the world of Afrobeats. Discover the genre's roots in West African music and its meteoric rise to global prominence. The duo explores key artists and tracks that have shaped the Afrobeats scene, from Fela Kuti's pioneering sounds to Burna Boy's chart-topping hits. Whether you're a long-time fan or new to Afrobeats, this episode is a must-listen for anyone looking to understand how this pulsating music is taking over the world. Join us on ‘The Journey - Afrobeats to the World' and feel the beat of a cultural revolution.

This episode we will finish up with many of the smaller episodes in the reign of Kashikiya Hime, aka Suiko Tenno.  Most of these are mentions of various public works projects, omens, expansion of the realm, and a couple of other stories, some more believable than others. As usual, more information can be found at https://sengokudaimyo.com/podcast/episode-101 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is Episode 101: Ponds, Peaches, and Thunder-gods. First off, a big thanks to Red and Ryan for helping to support the site and our show.  If you would like to join them, we'll have more information at the end of the episode, or check out our website at sengokudaimyo.com. When we last left off, we were going through some of the more random events that happened in the reign of Kashikiya Hime, aka Suiko Tennou. and we're going to continue with that this episode, touching on some of the things that happened in the latter part of her reign, starting in about 613 and going from there—and some of this is more exciting than others.  I'll try to hit the high points, but some of this will be familiar if you've been listening along. For example, one of the THRILLING things we'll start with (at least if you are a frog) is the building of ponds.  In the winter of 613, we are told that the ponds of Waki no Kami, Unebi, and Wani were constructed.  We've seen the construction of ponds since at least the time of Mimaki Iribiko, aka Sujin Tennou, the purported “first” sovereign, from around the probable time of Queen Himiko.  The exact nature of these ponds doesn't seem to be known, but one theory is that they are for irrigation of rice paddies in places where the water wasn't consistently sufficient for everyone's needs—a pond would allow for water to be gathered up throughout the year and then released when it was needed for the rice paddies.  More ponds may have indicated the opening of more fields, indicating continued growth.Ponds also had other uses, however, including breeding fish, and they were a habitat for birds, so this would also help encourage hunting and fishing.  Finally, the ponds were public utilities, and part of the way the Court flexed their power as they raised levies for the ponds' construction.  We might also say something about the way they indicated a certain amount of control over the land – but of course, most of these ponds are in the Nara basin and Kawachi regions, and so it doesn't tell us a whole lot more than what we already know about the centralized control there.  They were important enough, however, that by the 8th century the creation of these ponds was still being tracked and attributed to specific rulers. If you're wondering what it might have been like to travel around in this period of Japan, you might be more interested in the fact that in the same line about the ponds, we are also told that a Highway was built from Asuka to Naniwa.  This is believed to be the path of the ancient Takeuchi Kaidou in Kawachi, which some of the literature  claims is the “oldest official road” in Japan.  This road  connects to the Yoko-ohoji in Nara, which links the modern city of Sakai, near Ohosaka, with the city of Katsuraki, and presumably it then connected with other paths down to Asuka.    I suspect that the “official” qualifier is in there is because we have evidence of when it was made, whereas other roads and highways, such as the old highway along the foot of the mountains on the eastern edge of the Nara Basin, are perhaps even more ancient, but are simply mentioned, without evidence of how or when they were created—they may have been more organic footpaths that came to be heavily traveled, or just created with no record of who and when. This new highway was notable for connecting the port at Naniwa to the current capital and to the newly built temples in the Asuka area, as well. These temples were new institutions, but they were also fairly permanent structures, unlike even the palace buildings, which were still expected to be rebuilt each reign.  Of course, they could be moved—and were, in later periods—but it was going to take some doing.  That said, there were other permanent structures and religious sites—heck, many of the kami were associated with mountains, and you couldn't exactly move those, though they did have the ability to build sacred spaces elsewhere and bring the kami to them, so you weren't exactly tied to the physical geography.  And there were the giant kofun, but I'm not sure how often people were going to the kofun to worship the ancient kings and other elites, other than perhaps family members paying their respects.  The building of a highway to the capital alone would probably be an interesting flex, since the next sovereign could move somewhere else entirely.  But the temples were intended to be relatively permanent institutions, as far as I can tell, so even if the capital did move, the fact that there was a road there was probably going to be a big boon to the area. Of course it probably didn't hurt that this area was also a Soga stronghold, and so at least the Soga family would continue to benefit, which may have gone into *some* of the political calculus, there. It was also going to help with envoys to and from the continent.  And that leads us along to the next item of note about Kashikiya-hime's reign: sure enough, in the sixth month of the following year, Inugami no Kimi no Mitasuki and Yatabe no Miyatsuko were sent on a new embassy to the Sui court.  By the way, quick note on these two.  Inugami no Mitatsuki is given the kabane of “kimi”.  If you recall, the sovereign is “Oho-kimi”, or “Great Kimi”, and so “Kimi” is thought to be an important title, possibly referring to a high-ranking family that held sway outside of the immediate lands of Yamato, and Yatabe is given to us as “Miyatsuko”, also generally referring to one of the higher ranks of nobility under the kabane system—though not necessarily the inner court families of the Omi and the Muraji.  It is unclear whether those kabane were in use at the time, but it does indicate that the families were important.  An ancestor of the Inugami first shows up in the reign of Okinaga Tarashi Hime, aka Jingu Kougou, which is interesting as there are some who claim that the stories of that reign really solidified around the time of Kashikiya Hime, which is to say the current reign.  We'll get more into that in a future episode, but for now we can note that the Inugami family doesn't really seem to show up after that until this reign, and from here on out we see them as one of the regular interlocutors with the continent, whether the Sui, Tang, or on the Korean peninsula. The Yatabe are much more enigmatic.  Other than this entry, we don't have a lot.  There is an ancestor, Takemorosumi, mentioned in the reign of Mimaki Iribiko, aka Sujin Tennou, and there is some reasonable thought that they may have been set up for the maintenance of Princess Yata, the wife of Ohosazaki no Mikoto, aka Nintoku Tennou, but I don't see any clear indication one way or the other.  They aren't really mentioned again except as a family during the late 7th century. These two, Inugami no Mitatsuki and the unnamed envoy of the Yatabe family, would return a year later, bringing with them an envoy from Baekje.  Later in the year they would throw the envoy an elaborate feast.  We aren't given much else, but seems like relations were good. Shortly after the feast for the Baekje envoy, however, the monk Hyeja—or Eiji, in the Japanese reading—returned to his home in Goguryeo.  Hyeja had been one of the teachers of none other than Prince Umayado, aka Shotoku Taishi himself, and the two are said to have shared a special bond.  Shotoku Taishi eventually became Hyeja's equal, and it is said that they both discussed Buddhist teachings and philosophy together, with Hyeja appreciating Shotoku Taishi's unique insights.  When Prince Umayado eventually passed at an all too early age, the news reached Hyeja on the peninsula and he held a special feast in his student-turned-peer's honor.  They say that he then predicted his own death, one year later, on the anniversary of Shotoku Taishi's own passing. But that was still to come.  For now, you could say that everything was peachy—and so they did… sort of, in the next item of note.  What they actually said was that in the first month of 616, at the beginning of Spring, the Peach and Plum trees bore fruit, which may seem an odd thing to comment on.  However, Peach and Plum tress flowering or fruiting would be something that the Chroniclers commented on for at least the next two reigns, as well as in the reign of Oho-ama, aka Temmu Tennou, in the 7th century. It is possible that they were commenting on how they were fruiting out of season—the peach, or momo, in Japanese, blossoms between late March and mid-April.  This is around the same time as the plum, in this case the Sumomo, rather than the “ume” plum, sometimes called a Japanese apricot.  Momo and Sumomo would blossom towards the start of spring, and so it might be possible for them to blossom around the first month of the New Year, especially if that was a little later than it might be today, but highly unlikely that they would be fruiting.  Assuming they were talking about the blossoms—and some later accounts explicitly call out the flowers instead—it may have indicated a particularly warm winter or early spring season that year.  It is also possible that the Chroniclers were off on the dates at times, and so may have made some mistakes. It is also possible that they were recounting an odd event—having the peach trees and plum trees fruit or blossom at the obviously wrong time would likely have generated some concern, and thus be worthy of noting down as an omen.  It is also possible that this is part of a stock phrase that was used to indicate something else, like the start of Spring or a good or bad omen.  Peaches were thought to keep away evil spirits and it was said that they were the fruit of immortality in the western paradise of the Queen Mother of the West.  Peaches are often common decorations on Buddhist temples, as well—going back to the same stories about warding off evil and longevity. Whatever the reason, the blooming and fruiting of peach and plum trees was particularly important to the Chroniclers for this period—for whatever reason. Beyond the talk of peaches, in 616 there was something else, something fairly simple, but apparently important:  Men from the island of Yaku arrived as immigrants. This is the first mention of Yaku Island, and if you haven't heard of it I wouldn't blame you.  It is an island south of modern Kagoshima, off the southern tip of Kyuushuu, and just west of another famous island, that of Tanegashima.  Yakushima, today, is known for its status as a UNESCO World Heritage Site—so classified for its incredible natural beauty.  It is the home to some truly ancient cedars, with some thought to date back as far as 2300 years ago, well into the Yayoi era.  It is mentioned in the Nihon Shoki as well as Sui dynasty records, and in numerous other travel accounts since. We have evidence of human activity going back at least 17,000 years ago, so before even the Jomon era, though the earliest evidence of habitation on the island is more like 6,000 years ago—about 500 to a thousand years after the famous Akahoya eruption, which devastated Kyushu and which we discussed back in episode 4.  Yakushima would also have been devastated, situated as it is just south of the Kikai caldera, and it was likely devastated by pyroclastic flows along with its neighboring islands.  Since then, it was populated by people that were now, in the 7th century, making contact with the people of Yamato—perhaps indicating that Yamato had even further expanded its reach. Over the course of the year 616 the Chronicles note several groups of immigrants from Yaku Shima.  First was a group of three men who came as immigrants in the third month.  Then seven more arrived two months later.  Two months after that, you had a group of twenty show up.  They were all settled together in a place called Eno'i.  It isn't exactly clear where this is.  Some sources suggest that they came to the Dazaifu in Kyushuu, and so were settled somewhere on Kyuushuu, possibly in the south of the island.  There is also a connection with the name “Enoi” coming out of Mino, in the form of the Enoi family, which the Sendai Kuji Hongi says was an offshoot of the Mononobe family. Wherever they ended up, they stayed there for the rest of their lives. We aren't done with Yaku Island, though.  Four years later, we are told that two men of Yaku were “cast away”—which I suspect means banished—to the island of Izu, Izu-no-shima.  Once again, we are left wondering exactly where that is, though it may refer not to an island, at least not entirely, but to Izu no Kuni, the land of Izu, on the Izu Peninsula.  Aston suggests that perhaps at this time “shima” didn't mean just an island, but any place that was mostly surrounded by water, including a peninsula like Izu.  It could also mean one of the nearby islands, such as Ooshima, the largest of the islands to the east of the Izu peninsula. Nine years later, in the reign of the succeeding sovereign, Yamato sent an envoy, Tanabe no Muraji, to the island of Yaku.  I suspect that this was part of making the island an official part of the country. Records of the island fall off for a bit, but it does get mentioned, along with neighboring Tanegashima, in the reign of Temmu Tennou, in the latter part of the 7th century.  To be fair, the Nihon Shoki only continues until 696, but we continue to see them in the Shoku Nihongi, the continuation of the court historical records.  Sure, Yakushima was probably never going to be a huge story from a political perspective, but it does give us some insight into just how far Yamato's influence reached at this point. Going back to the record, we have another fruit related account.  This time it is about an enormous gourd coming out of Izumo—one as big as a, well… we aren't exactly sure.  The character they use is read “kan”, and today often refers to aluminum cans and the like, but that is a relatively recent meaning, if you'd believe it.  In the 7th and 8th century it was probably something more like “pou” and may have meant an earthenware pot for storing alcohol, like the Greek amphorae, or it may have been in reference to a kind of musical instrument.  Either way, we are talking a pretty good sized gourd.  Not sure if it would take a ribbon in some of today's largest pumpkin contests, but still, impressive for the time. Moving beyond the State Fair category of entries, we come to one of my favorite events.  It takes place, we are told, in 618, when Kawabe no Omi was sent to the land of Aki to build ships.  He went with his crews up into the mountains to fell timber when he met with something extraordinary, which was still being depicted in paintings centuries later, although most people probably haven't heard the story. Now the name Kawabe first shows up as the location of one of the Miyake, or royal granaries and administrative centers set up in the land of Ki, south of Yamato on the peninsula, in 535.  The first record of a person by the name, however, is less than auspicious:  It was the assistant general Kawabe no Nihi, who is panned by the Chroniclers for his actions during the reign of Amekunioshi.  As we discussed in Episode 82, Kawabe snatched defeat from the jaws of victory due to his lack of military expertise. This next mention of a Kawabe family member is coming a good many years later, but the family does seem to have recovered somewhat.  Kawabe no Omi no Nezu would be appointed a general several years later—and that could be the same Kawabe no Omi from this story, as there was only about seven or so years between events.  Furthermore, members of the family would find themselves in the middle of some of the most impactful events of the court, indicating their high status.  Multiple family members would be remembered and memorialized in the histories over the rest of the century, whether for better or for ill.  Which makes it a little interesting to me that the story of this Kawabe family ship builder does not give us a personal name of any kind. Now, later interpretations of this particular story would say that this Kawabe no Omi was out building ships on the orders of Prince Shotoku Taishi himself, though the Nihon Shoki would seem to indicate that he was out there, instead, at the behest of the sovereign herself, Kashikiya Hime.  Of course, given what the Nihon Shoki has to say about Shotoku Taishi's contributions to running the government, it could be either one.  Regardless, he had a job to do.  He searched through the forest and he found suitable trees for the timber he needed:  in all likelihood he was looking for large, straight trees, which would have a good grain and not so many knots to cause problems.  I suspect that older trees were likely preferable for the task.  Having found what he was looking for he marked it and they began to chop down the marked trees. Suddenly a man appeared—a stranger, or perhaps just a local coming to see what all the fuss was about.  He warned Kawabe no Omi and his men that the tree they had marked was a “thunder tree” and it shouldn't be cut.  To this Kawabe no Omi asked: “Shall even the thunder-god disobey the royal commands?”  However, he didn't just barrel on with the task.  Instead, he and his men started by offering mitegura, offerings of cloth.  This was likely done to appease any spirits before the crew got started, and I wonder if this was something exceptional, or perhaps something that people regularly did, especially when you were taking large, older trees.  It isn't clear, but an 8th century crowd no doubt understood the significance.  Once they had finished providing recompense to the kami, they went about their task. Suddenly, out of nowhere, it began to rain.  As the water poured down from the sky, thunder and lightning came crashing down.  Apparently the offering had *not* been accepted, and the kami was now quite angry.  While his men sought shelter, Kawabe no Omi drew out his iron sword and held it aloft, crying out to the angry kami:  “O Kami of Thunder, do not harm these men!  I am the one that you want!”  So saying, sword held aloft in the midst of this unexpected thunderstorm, he stood there, watching the roiling clouds, and waiting.  Ten times the lightning flashed and crashed around them, the thunder rolling each time.  One can only imagine the sight as Kawabe no Omi stood there, wind whipping his hair and clothes as he challenged the storm.  And yet, try as it might, the thunderous lightning did not strike Kawabe no Omi.  Finally, the lightning stopped, and Kawabe no Omi was still unharmed. As the men came out of hiding, they noticed a disturbance.  Above them, there was movement, and the men saw the strangest thing:  Up in the branches of the tree was a small fish.  Near as anyone could reckon, the god had turned visible, taking the form of a fish, and so Kawabe no Omi caught the fish and burnt it.  After that, they were able to safely harvest the rest of the timber and build the ships. While we may have some doubts as to the veracity of the story, or may even wonder if a particularly violent storm hadn't picked up fish from a nearby water source, an event that has been known to happen, it still holds some clues about how the people of the time thought and how they believed the world worked.  Even today, older trees and even rocks are thought to house spirits.  In some cases, shrines are built up, and people will worship the spirit of a particular tree or rock, so it isn't so far fetched to think that they were harvesting ancient trees that were believed by locals to contain some kind of spirit, which, if aroused, could bring serious harm to Kawabe no Omi and his men.  This is probably why they made their offering in the first place, hoping that would be enough to placate the spirit. At the same time, we see them drawing on the power of the sovereign, who isn't even present.  Kawabe no Omi's protection is in that he is following the sovereign's commands, and that alone is his shield.  Heck, he even goes so far as to raise up his sword.  I know we are still an eon from Ben Franklin and his kite, but I'm pretty sure that people had figured out certain things about lightning, beyond just “don't be out in it”, namely “don't wave around pointy metal things in the middle of a storm”. As for the symbolism of the kami turning into a fish, well, who knows just how kami think about these things?  They don't always do things that make sense.  For instance, there is one story where a man prayed for a boat, and the kami gave him one, but put it on top of a nearby mountain.  Maybe they just weren't that accurate, or maybe they didn't quite get how the visible world works, sometimes.  It is also possible that the kami turned itself into a helpless fish on purpose, as a sign that it was giving up, since it clearly had not been able to best Kawabe no Omi, and the burning of the fish may have also had some significance. Whatever the reason, the boats were built and not even the kami could defy the will of the sovereign. Now there were a few other things that happened the following year—more strange and bizarre happenstances.  The first was the on the fourth day of the fourth month, when there came a report of a creature shaped like a man in the Kamo river in Afumi.  Who knows what it was?  Perhaps it was some kind of kappa or other river spirit.  Or perhaps it was some stranger skinny-dipping and he just really put everyone off.  Or it was just a weird log viewed from the wrong angle.  Whatever the reason, the people were put off, and Aston notes that this was probably considered an inauspicious omen. Then, in the 7th month, a fisherman from the land of Settsu caught something in one of the manmade canals, or horie, in the area of modern Osaka.  The creature he caught was part fish and part man—perhaps that same creature that had been seen three months earlier further upriver, like some kind of ancient Yamato mermaid.  What exactly did it mean, though?  Certainly it seems a strange occurrence, but was it considered a good or bad omen?  Or was it just weird and strange? The following year, there was a shape in the sky.  The Chroniclers say it was red, shaped like a rooster tail, and over a rod—about ten feet or so—in length.  Perhaps this was a rogue cloud, being kissed by the red light of the rising or setting sun.  Or perhaps it was something else entirely.  These were the kinds of things that were likely seen as omens, though whether a good or bad omen, who could say?  A fishman in the rivers?  A red glowing light in the sky?  Often it wouldn't be until later that such things would be pieced together. In this case, the omens were likely pretty dire, as in that same year we are told that none other than Prince Umayado—Shotoku Taishi himself—grew ill, and passed away.  The whole of the realm mourned their collective loss.  The Crown Prince of the Upper Palace, heir to the throne of Yamato, was dead.  So yeah, I would say those were some pretty bad omens. Umayado's death would leave a real void.  Where there had once been certainty of succession, the land was back in the chaos of wondering what would happen when Kashikiya Hime finally passed away.  Would they be returned to a state of civil war for the throne?  Who could say?  And there was more.  The continent was also in a state of uncertainty, as only recently, the Sui dynasty had been overthrown, and now the new Tang was in its place.  In addition, a resurgent Silla on the Korean peninsula was getting ever more bold and sure of its own power.  There were many things to be concerned about. But let's not leave it on such a note.  We can cover all of that in future episodes—we really don't have time to go over all of it here.  But there is one other story I'd like to leave you with this episode. You see, a little earlier that year—the same year that Umayado passed away—the Yamato court had finished covering the tomb of Hinokuma with pebbles.  Although the kofun, today, are often overgrown, and seem as much like wooded hills as anything else, back in the day there would have been no mistaking their manmade origins.  The ground was cleared and tamped down into place.  The sides rose in distinct terraces, and the surface was covered in stones.  Around it would be the clay and wood haniwa.  Families were employed to keep the kofun, and likely refreshed them from time to time.  In the case of Hinokuma, recall that earlier in the reign Kitashi Hime, Kashikiya Hime's mother, had been re-interred with her husband.  This was likely further ceremonies for her, perhaps the culmination of years of work on the tomb.  We are also told that earth was piled up onto a hill, and each family erected a wooden pillar.  One official, Yamato no Aya no Sakanoue no Atahe, decided to go all out.  Maybe he didn't get the memo.  Or maybe he thought he would make a name for himself.  Either way, brought in the largest pillar—larger than any other of the family heads that were present. And, well, he did make a name for himself, though perhaps not the name he wanted.  That name was Ohohashira no Atahe, or the Atahe of the Giant Pillar.  Probably not exactly what he was going for, but there you have it.  By the way, if you recognize that name, Sakanoue, then you may have noticed that yes, this is likely an ancestor of the famous Sakanoue no Tamuramaro, a famous warrior of the late Nara and early Heian period, and the second person ever to carry the title of Sei-i Taishogun—but that is still over a century and a half away. For now, in the coming episodes, we'll finish up the reign of Kashikiya Hime, perhaps touch briefly on what was happening on the continent, and continue on as we make our way through the latter part of the seventh century. 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.  Thank you, also, to Ellen for her work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

“Izu and Precious lead us on a delightful exploration, sharing their personal spin on the ‘If Life Gives You Lemons' album with charm and insight.”

“It's been a minute! In this episode, Hakeeb and Izu dive into the latest endeavors of the Lemon Vinyl team, from immersive bootcamps to our exciting album launch.”

Hello everyone! Welcome to episode 7 of Deep Dish Discussion! In this episode, David and I, went on a list of everything new that we saw during the UCI world championship in Glasgow. New frames, technologies, wheels and much more! It's a packed episode! More pictures of the IZU bike please! You can learn more here: https://www.slowspinsociety.com/ddd/ep07 Support us on Patreon: https://www.patreon.com/slowspinsocietypodcast Follow us on Instagram: @slowpinsociety Email us at slowspinpodcast@gmail.com Join our Discord Server here: https://discord.gg/HnDdtRRQ9w © 2023 Slow Spin Society

Welcome to A Buddhist Podcast for 16 September 2023. Tonights show is the ninth in a series of dialogues on the Gohonzon between Luigi Finocchiaro, Peter Morris and myself. Tonight we talk about Nichirens travels to Kamakura, the Komatsubara battle and the Izu Exile, looking for evidence and embracing believers in his mandala signature. You can purchase Luigi's books here

Rời xa cha mẹ từ khi mới lên năm, cậu bé Kousaku đến sống cùng bà lão Onui trong căn nhà trát đất bình dị nơi thôn dã. Vốn là vợ bé của ông cố Kousaku, bà Onui phải chịu bao điều tiếng và cái nhìn phán xét từ người làng, nhưng bà vẫn dành cho Kousaku một tình thương đặc biệt. Và cứ thể dưới đôi bàn tay bà chăm sóc, tầm hồn non trẻ của Kousaku lớn lên từng ngày giữa thiên nhiên Izu thơ mộng đầy nắng ấm và cỏ thơm. Khắc họa thời thơ ấu của chính tác giả, Bọ tuyết là một kiệt tác đong đầy những hoài niệm cố hương và trần ngập tinh thần trào phúng phóng khoảng. Tác phẩm từng được chuyển thể thành phim điện ảnh vào năm 1962; phim truyền hình vào các năm 1964, 1973. YASUSHI INOUE (1907-1991) sinh tại Asahikawa. Sau khi tốt nghiệp khoa Triết học Đại học Kyoto, ông làm việc tại tòa soạn báo Mainichi Shimbun. Năm 1949, ông nhận giải thưởng văn học Akutagawa với tác phẩm Đấu bò. Năm 1951, ông nghỉ làm tại tòa soạn để chuyên tâm sáng tác và đã cho ra đời hàng loạt kiệt tác văn học. Năm 1976, ông nhận Huân chương Văn hóa. Các tác phẩm tiêu biểu: Đấu bò, Súng săn, Tường băng, Mái ngói Tempyo, Đôn Hoàng, Bọ tuyết... Tác phẩm Bọ tuyết là tiểu thuyết tự truyện của Yasushi Inoue. Được sự cho phép của Nhã Nam, Trạm Radio xin trích đọc 1 phần nội dung của cuốn "Bọ tuyết" Bản quyền bản dịch thuộc về dịch giả và đơn vị phát hành. ________ Để cam kết với bạn nghe đài dự án Trạm Radio sẽ chạy đường dài, chúng tôi cần sự ủng hộ của quý bạn để duy trì những dịch vụ phải trả phí. Mọi tấm lòng đều vô cùng trân quý đối với ban biên tập, và tạo động lực cho chúng tôi tiếp tục sản xuất và trau chuốt nội dung hấp dẫn hơn nữa. Mọi đóng góp cho Trạm Radio xin gửi về: Nguyen Ha Trang STK 19034705725015 Ngân hàng Techcombank. Chi nhánh Hà Nội.

This week we come to you from Tokyo, bringing you the best that Japan has to offer. Monocle's editorial director, Tyler Brûlé, is on the line from Bangkok to enlighten us about his recent trips to Japan, while Robert Bound travels to the Izu peninsula to meet the surfers of Shirahama beach. Also in the programme: Danielle Demetriou speaks to Katrina Uy, general manager of Kyoto's Shinmonzen hotel. Plus, Fiona Wilson and Chloe Potter are on hand to answer listeners' questions.See omnystudio.com/listener for privacy information.

Hoy vamos a hablar de bikepacking, esta actividad consistente en unir ciclismo, aventura y turismo; realizando rutas en bicicleta y durmiendo de acampada. Para ello, contamos con Javier Bañón Izu, autor del Manual de Bikepacking. Encuentra a Javi en su canal de youtube https://www.youtube.com/@JavierBanonIzu/ e Instagram https://www.instagram.com/javibaiz/ para aprender más. Espero que te guste, y si lo hace me ayudarías mucho compartiendo este episodio con amigos/as y en redes sociales. ______________________________________________________________________ 📚📌Libro La Naturaleza del Entrenamiento https://amzn.to/3zQQmbi 💎🔵Canal de Telegram: https://t.me/ciclismoevolutivo 💻✅Cursos para aprender más: https://ciclismoevolutivo.com 👁‍🗨🦉Todo lo demás: https://linktr.ee/solaarjona

The history of mokuhanga in Canada is small, yet strong. There are Canadian mokuhanga printmakers who have helped grow the art form in Canada and throughout the world, such as Walter J. Phillips (1884-1963), David Bull, Elizabeth Forrest, Barbara Wybou, to name but a few. But what if there was a tradition of printmaking you could never think have a connection with Japanese mokuhanga, thriving and growing in the Canadian Arctic?  Norman Vorano is the Associate Professor of Art History and Head of the Department of Art History and Conservation at Queen's University in Kingston, Ontario, Canada. In 2011 Norman published a book, with essays by Asato Ikeda, and Ming Tiampo, Inuit Prints: Japanese Inspiration.  This book opened me to the world of how various print traditions, so far away from each other, could influence one another. In this case, the Inuit of the Canadian Arctic in what is now known as Kinngait, have built one of the most thriving and economically sustainable print traditions in the world. But what I didn't know is that mokuhanga and the Japanese print tradition had a huge part to play in their early success.  I speak with Professor Norman Vorano about Inuit history and culture, how the Inuit print tradition began, how an artist from Toronto made his way to the Arctic, then to Japan, then back to the arctic, changing everything. Norman also speaks on how the work of sōsaku hanga printmaker U'nichi Hiratsuka influenced the early Inuit printmakers, and we discuss tools, pigments, and the globalization of art.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Norman Vorano PhD - is Associate Professor of Art History and Head of the Department of Art History and Conservation at Queen's University in Kingston, Ontario, Canada. For more information about Inuit printmaking and their association with mokuhanga you can get Norman's book, Inuit Prints: Japanese Inspiration (2011). For additonal information about Inuit printmaking and mokuhanga, Norman lectured on the subject for The Japan Foundation Toronto in 2022. The online lecture can be found, here.  A few topics that Norman and I really didn't have a chance to explore, but alluded too, was process. As wood is scarce in the Arctic, stone carving (soapstone), and linocuts are and were used. Also there is a chain within Inuit printmaking much like the hanmoto system of mokuhanga in Japan, where the Print Studio chooses images drawn by others in the community and those images are carved and printed by carvers and printers associated with the Print Studio in the Kenojuak Cultural Center in Kinngait, and then sold to the public.  Queens University at Kingston - is a public research university located in Kingston, Ontario, Canada. What began as a school for the Church of Scotland in 1841 has developed into a multi faculty university. More info can be found on their website, here.  Canadian Museum of History - one of Canada's oldest museums the CMH focuses on Canadian and world history, ethnology, and archeology. The museum is located in Gatineau, Québec, Canada. More info can be found on their website, here.  The Eastern Arctic of Canada - is a portion of the Arctic archipelago, a chain of islands (2,400 km or 1,500 mi) and parts of Québec and Labrador, located throughout the northern portion of the country of Canada. The Eastern portion discsussed in the episode is comprised of Baffin Island (Qikiqtaaluk - ᕿᑭᖅᑖᓗᒃ),  and Kinngait (Cape Dorset).  Kinngait (ᑭᙵᐃᑦ) - is located on Dorset Island at the southern part of Baffin Island in the territory of Nunavut, Canada. It was called  Cape Dorset until 2020, when it was renamed “high mountain” in the Inuktitut language.  Distant Early Warning Line (DEW)- was a radar system located in the Arctic regions in Canada, the Aleutian Islands of Alaska, the Faroe Islands, Greenland and Iceland. Its purpose was to help detect any aggression, militarily, from the then Soviet Union. This system was overseen by the Royal Canadian Air Force and the United States Air Force. It ceased activity in 1993.  The Canadian Guild of Crafts - also known as La Guilde, was established in 1906 in Montréal, Quebec, Canada. It has focused its work on preserving First Nations crafts and arts. It began working with James Houston (1921-2005) in 1948, having the first Inuit exhibition in 1949 showcasing Inuit carving and other crafts. It exists and works today. More information can be found, here. James Archibald Houston - was a Canadian artist who worked and lived in Kinngait (Cape Dorset) until 1962. He worked with La Guilde and the Hudson's Bay Company, bringing Inuit arts and crafts to an international community starting in 1948 through to the Cape Dorset co-operative of the 1950's. His work in helping to make Inuit art more commerical for the Inuit people has been documented in Norman Vorano's book, Inuit Prints: Japanese Inspiration (2011), as well as several articles from La Guilde, which can be found, here. Drum Dancer (1955) - chalk on paper West Baffin Eskimo Co-Operative - is the co-operative on Kinngait (Cape Dorset) established in 1959 and created by the Department of Natural Resources and Northern Development represented by Don Snowden and Alexander Sprudz, with James Houston. It focuses on drawings, prints, and carvings. More info can be found on their website, here.  The Department of Indian Affairs and Northern Development - in 2019 it was replaced by the Department of Indigenous Services Canada. The ISC is a government department whose responsibility is to colaborate and have an open dialogue with First Nations, Inuit and Métis peoples in Canada.  Terry Ryan (1933-2017) - was an artist and the arts director of the West Baffin Eskimo Co-Op in 1960 and General Manager in 1962. His work with the Cape Dorset Print Studio, bringing artists from all over Canada, helped to push the studio's work throughout the world. There is a fine Globe and Mail article about Terry Ryan's life and accomplishments, which can be found here.  Kenojuak Cultural Center - is located in Kinngait, and was opened in 2018 with a space of 10,440 sq ft. The KCC is a community center and space for sharing. It has a large printmaking studio, meeting spaces and exhibition spaces for work as well as a permanent gallery. It is associated with the West Baffin Eskimo Co-Operative.  Early Inuit Art - for more information regarding early Inuit art on record, from first European contact, La Guilde discusse this very topic in their article Going North: A Beautiful Endeavor, here. Grand-Mère, Québec - is a city in the province of Québec in Canada. Located in the region of Maricie, with a population of around 14,000. It was founded in 1898 and is made famous for the rock formation which shares its name. Grand Mère means ‘grandmother.' It is known for hunting and fishing tourism.  The Group of Seven - were a group of landscape painters from Canada. The artists were, Franklin Carmichael (1890–1945), Lawren Harris (1885–1970), A.Y. Jackson  1882–1974), Frank Johnston (1888–1949), Arthur Lismer  (1885–1969), J.E.H MacDonald (1873–1932), and Frederick Varley (1881–1969). Later, A.J. Casson (1898–1992) was invited to join in 1926, Edwin Holdgate (1892–1977) became a member in 1930, and LeMoine FitzGerald (1890–1956) joined in 1932. While Tom Thomspon (1877–1917), and Emily Carr (1871–1945) were not "official" members it is generally accepted that they were a part of the group because of their individual relationships with the other member of the group. More info can be found, here. A fine article on the CBC by Cree writer Matteo Cimellaro, discusses the role The Group of Seven played in Canadian nationalism and the exclusion of First Nation's voices in their work. This can be found, here.      Tom Thompson - The Jack Pine (1916-1917)   Moosonee, Ontario - is a town located in Northern Ontario, Canada. It was first settled in 1903, and is located on the Moose River. It's history was of trapping, and is a gateway to the Arctic. English and Cree is spoken.   Moose Factory, Ontario - is a town first settled in 1673, and was the first English speaking town in Ontario. Much like Moosonee, Moose Factory has a history of fur trading, in this case by the Hudsons Bay Company. Like Moosonee there is a tourist industry based on hunting and fishing. The population is predominantly Cree.    Cree (ᓀᐦᐃᓇᐤ) - are a Canadian First Nation's people who have lived on the land for centuries. Their people are divided into eight groups through region and dialect of language:   Attikamekw James Bay Cree Moose Cree Swampy Cree Woods Cree Plains Cree Naskapi and Montagnais (Innu)   For more information regarding history, tradition of the Cree people of today, Heritage Centre: Cree Nations, and the Cree Nation Government website can get you started.    John Buchan (Lord Tweedsmuire, 1875-1940) - was the 15th Governor General of Canada serving from 1935-1940 (his death). He was born in Scotland, but committed himself to Canada when taking to his position as Governor General. He was also a writer of almost 30 novels.    sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.    Un'ichi Hiratsuka (平塚 運一) - (1895-1977) - was one of the important players of the sōsaku hanga movement in mokuhanga. Hiratsuka was a proponent of self carved and self printed mokuhanga, and taught one of the most famous sōsaku hanga printmakers in Shikō Munakata (1903-1975). He founded the Yoyogi Group of artists and also taught mokuhanga at the Tōkyō School of Fine Arts. Hiratsuka moved to Washington D.C in 1962 where he lived for over thirty years. His mokuhanga was multi colour and monochrome touching on various subjects and is highly collected today.      Mara Cape, Izu (1929)   Munakata Shikō (志功棟方) - (1903-1975) arguably one of the most famous modern printmakers, Shikō is famous for his prints of women, animals, the supernatural and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work.      Castle ca 1960's   Venice Bienale  - is a contemporary art exhibition that takes place in Venice, Italy and which explores various genres of art, architecture, dance, cinema and theatre. It began in 1895. More info, here.   Sao Paolo Biennal - is held in Sao Paolo, Brazil and is the second oldest art bienale in the world. The Sao Paulo Biennal began in 1951. It's focus is on international artists and Brazilian artists. More info can be found, here.    German Expressionism - was produced from the early twentieth century to the 1930's and focused on emotional expression rather than realistic expression. German Expressionists explored their works with colour and shape searching for a “primitive aesthetic” through experimentation. More info can be found,  here, on Artsy.net    Vasily Kandinsky (1866-1944) : Poster for the First Exhibition of The Phalanx, lithograph 1901.  Yanagi Sōetsu (1889-1961) - was an art critic, and art philosopher in Japan, who began writing and lecturing in the 1920's. In 1925 he coined the term mingei (rural crafts), which he believed represented the “functional beauty” and traditional soul of Japan. While on paper an anti-fascist, Yanagi's early views on the relationship of art and people, focusing on the group and not the individual, going back to a Japanese aesthetic; veering away from Western modernity, was used by Japanese fascists leading up to and during the Pacific War (1941-1945). For more information about Yanagi and the mingei movement in Japan during war time check out The Culture of Japanese Fascism, Alan Tasman ed. (2009) mingei movement - began with the work of Yanagi Sōetsu in the 1920's. The movement wanted to return to a Japanese aesthetic which honoured the past and preserved the idea of the “everyday craftsman,” someone who went away from industrialization and modernity, and fine art by professional artists. It was heavily influenced by the European Arts and Crafts Movement (1880-1920) as conceived by Augustus Pugin (1812-1852), John Ruskin (1819-1900), and William Morris (1834-1896).    Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.”   Stuben Glass Works - is a manufacturer of glass works, founded in 1903 in New York City. It is known for its high quality glass production working with talented glass designers.    Ainu - are a First Nations peoples with a history to Japan going back centuries. They traditionally live in the northern Japanese island of Hokkaido as well as the northern prefectures of Honshū.  There are approximately 24,000 Ainu in Japan. Made famous for the face, hand and wrist tattooing of Ainu women, as well as animist practices, the Ainu are a distinct culture from the Japanese. There has been some attempts by the Japanese goverment to preserve Ainu heritage and language but the Ainu people are still treated as second class citizens without the same rights and prvileges of most Japanese. More information about the Ainu can be found at the World Directory of Minorities and Indigenous People, here.    baren - is a Japanese word to describe the flat, round shaped disc which is predominantly used in the creation of Japanese woodblock prints. It is traditionally made of cord of various types, and a bamboo sheath, although baren come in many variations.    Keisuke Serizawa (1895-1984) - was a textile designer who was a Living National Treaure in Japan. He had a part in the mingei movement where he studied Okinawan bingata fabric stencil dying techniques. He also used katazome stencil dying technqiues on paper in the calendars he made, beginning in 1946.      Happiness - date unknown: it is an ita-e (板絵) work, meaning a work painted on a piece of wood, canvas, metal etc.    National Museum of Ethnology (Minpaku) - is a research institute and public museum located on the old Expo '70 grounds in the city of Suita, Osaka Prefecture. It provides a graduate program for national and international students, doctorate courses, as well as various exhibitions. More information can be found on their website, here.    Prince Takamado Gallery -  is a gallery located in the Canadian Embassy in Tōkyō. It has a revolving exhibition schedule. It is named after Prince Takamado (1954-2002), the third son of Prince Mikasa Takahito (1916-2016). More info can be found, here.   Carlton University - is a public resesarch university located in Ottawa, Ontario, Canada. It was founded in 1942 in order to provide a serivce for returning World War II veterans. More information about the university can be found, here.     Kenojuak Ashavak (1927-2013) - was an Inuit graphic designer and artist born in Ikirisaq, Baffin Island. She moved to Kinngait (Cape Dorset) in 1966. Kanojuak Ashavek has made some of the most iconic imagery of Inuit art in Canadian history. One of her images, The Enchanted Owl was the subject of a TV Ontario short from TVO Today, and can be found here. The famous National Film Board of Canada documentary (1963) about her and her work can be found, here.       Luminous Char, stonecut and stencil, 2008. © Dorset Fine Arts   Inuit Prints: Japanese Inspiration -  was an Inuit print exhibtion at the Prince Takamado Gallery held at the Canadian Embassy in Tōkyō in 2011. It later toured across Canada.    Osaki washi - is a paper making family located in Kōchi, Japan. His paper has been provided to Inut printmakers for many years. The print by Kenojuak Ashavak, and printed by Qiatsuq Niviaksi,  was the one aluded to in Norman's interview as hanging on the washi makers wall.    Norman discusses, near the end of the interview, about how Inuit leaders were stripped of their power. The Canadian government instituted more policing in post war Canada, especially during the Cold War. The RCMP and other government officials used colonial practices such as policing, culturally and criminally, to impose Canadian practices from the South onto the Inuit.      Pitaloosie Saila - Undersea Illusion,  lithograph 2012     Lukta Qiatsuk (1928-2004)       Owl -  Stonecut print on paper, 1959. Canadian Museum of History Collection, © Dorset Fine Arts. Kananginak Pootoogook (1935-2010)       Evening Shadow: stone cut and stencil, 2010 © Dorset Fine Arts   Eegyvudluk Pootoogook (1931-1999)     Eegyvudluk Pootoogook w/ Iyola Kingwatsiaq , 1960, photo by Rosemary Gilliat Eaton, Library and Canadian Archives.      Our First Wooden Home: lithograph, 1979.     Osuitok Ipeelee (1922-2005)       Eskimo Legend: Owl, Fox, and Hare - stencil print, 1959 Canadian Museum of History Collection © Dorset Fine Arts.    Iyola Kingwatsiak (1933-2000)       Circle of Birds: stencil on paper, 1965   © Popular Wheat Productions opening and closing musical credit - From Professor Henry D. Smith II, lecture entitled, The Death of Ukiyo-e and the Mid-Meiji Birth of International Mokuhanga, as told at the 4th International Mokuhanga Conference in Nara in November, 2021.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***  All photos of Inuit artists and works of Inuit artists have been either provided by Norman Vorano, or have been sourced from elsewhere. These are used for educational purposes only. Any issues please reach out.   

Sailor Noob is the podcast where a Sailor Moon superfan and a total noob go episode by episode through the original Sailor Moon series!Usagi and Mamoru's bond is put to the test this week when a new romantic rival appears! Saori has designs on Usagi's boyfriend, but she'll have to move quick before he's smothered by an inflatable miscreant!In this episode, we discuss the Shinsengumi, Matsudaira Katamori, the Izu clan, Miburo or the "Wolves of Mibu", Serizawa Kamo, the Ikedaya incident, the Bakumatsu period, and Sakamoto Ryōma. We also talk about missing the monolith, "obvious" jokes, key parties in Japan, researching PolyFinda, the Three's Company anime, toliet umeshu, a butter-and-egg man, Parappa the Rapper, an Addicted to Love situation, "to protect and get served", learning real life lessons in kindergarten, the hippo or the horse, Ronin Squad, ox nuts, the Suns of Anarchy, and leaving all men behind!Goyo, slimeball!We're on iTunes and your listening platform of choice! Please subscribe and give us a rating and a review! Arigato gozaimasu!https://podcasts.apple.com/us/podcast/sailor-noob/id1486204787Become a patron of the show and get access to our Pretty Guardian Sailor Moon live-action show and our Animedification podcast!http://www.patreon.com/sailornoobPut Sailor Noob merch on your body!http://justenoughtrope.threadless.comSailor Noob is a part of the Just Enough Trope podcast network. Check out our other shows about your favorite pop culture topics and join our Discord!http://www.twitter.com/noob_sailorhttp://www.justenoughtrope.comhttp://www.instagram.com/noob_sailorhttps://discord.gg/49bzqdpBpxBuy us a Kōhī on Ko-Fi!https://ko-fi.com/justenoughtrope

Você sabe o que é bungei eiga? É o gênero de filmes adaptados de livros no Japão. Há, na cinematografia japonesa, uma conexão com a literatura, desde A Dançarina de Izu, na década de 30, passando por clássicos como Contos da Lua Vaga, nos anos 50, até os famosos filmes do Studio Ghibi, na atualidade, com características e contextos particulares.

伊豆諸島の須美寿島―鳥島間を通過したロシア海軍のフリゲート艦、１７日防衛省統合幕僚監部は１７日、ロシア海軍の艦艇７隻が伊豆諸島間を南西に向け航行したと発表した。 Seven Russian navy ships have sailed between two islands in Japan's Izu chain in the Pacific, the Japanese Defense Ministry's Joint Staff said Friday.

The four wise men and women from the mountain come down to discuss Hideo Nakata's Ringu! So feast upon our Kung Fu Banquet! Released in 1988, the film stars Nanako Matsushima, Miki Nakatani, Yuko Takeuchi, and many others. It was filmed in Jana and was distributed by Toho! Enjoy your bi-weekly trip to Shaolin.

Izuchukwu Ibe is an Orthopedic Surgeon & Assistant Professor at the University of Mississippi Medical Center. Dr. Ibe specializes in the treatment of Sarcoma, Cancer and Complex Orthopedic problems. His passions include efficiency in healthcare delivery, providing service to underrepresented communities and mentoring the next generation. If you thought being a Surgeon was enough, Izu still continues to contribute to the medical ecosystem by operating his podcast called, The Sarcoma Insight Effect. To any student, student athlete, or young professional seeking motivation to take on the challenge of pursuing a role as a physician, this is the interview for you!! _____________________________________ Stay in touch with Izuchukwu Ibe: LinkedIn: https://www.linkedin.com/in/izuchukwu-ibe-a073537a/ Link to Sarcoma Insight Effect: https://podcasts.apple.com/us/podcast/sarcoma-insight-podcast/id1567749530 _____________________________________ Stay in touch with Jerlisa "Juju" Fontaine: Instagram: @jujufontaine_ Twitter: @jujufontaine_ LinkedIn: https://www.linkedin.com/in/jerlisafontaine/ Contact: fontainejerlisa@gmail.com _____________________________________ Stay in Touch with HueCapitalPod: Instagram: @huecapitalpod Twitter: @huecapitalpod LinkedIn: https://www.linkedin.com/company/hue-capital-podcast/ Youtube: https://www.youtube.com/channel/UCa69jtxXFFFRa2C1iiDr22Q/videos Site (Coming Soon): https://huecapitalpod.com/ Email: info@huecapitalpod.com _____________________________________

I had the pleasure to sit down with my brother @livewithizu and talk about how businesses can thrive during this pandemic AND how you can personally thrive as well! Izu has a very unique perspective on this pandemic and people need to hear it.  With Izu being a great leader, he gave practical advice on how owners can manage their team and how to build better relationships with their team, during the quarantine! We even touched on how businesses can stay connected with their customers and a lot more!⁣ Lastly, we couldn't forget about the people who don't own businesses. A lot of great value in this episode, you don't want to miss this one. Izu Aginwa' Information  Instagram: https://wwhttps://www.instagram.com/livewithizu/ Website: https://www.richesandsaint.com/ Izu's Story: https://chrisbelloso.podbean.com/e/eps-12-what-are-you-bringing-to-the-table-wizu-aginwa/ If you enjoyed this podcast or found any value from it, please feel free to leave a rating and review! I would tremendously appreciate it!  If you wish to reach me with comments, suggests or any other inquiry please contact at following below: Instagram: @beautifulstrugglepodcast  Email: cbelloso94@gmail.com   Song: "Medicine" by Enrico Tolson @enricotolson

On this episode I take a deep dive into my brother Izu's come up in life and the things he went through to become the man he is today! It's such a blessing to be surrounded by another young man, who's a minority like me, who is pursuing entrepreneurship AND is God fearing. Izu has a incredible story and I am very confident you'll walk away with a ton of knowledge! If you enjoyed this podcast or found any value from it, please feel free to leave a rating and review! I would tremendously appreciate it!  Instagram: @chrisbelloso @livewithizu Email: cbelloso94@gmail.com   Song: "My Wrongs" by Othellobeats