Podcasts about lilacs

Spring is quickly turning into summer, and there's a lot of gardeners with questions as their yards and gardens start to take off for the season. In this episode, Don and John open the mailbag to answer questions from listeners.

The Scripps Spelling Bee has a lightning round finale??? / The Couch Potatoes have been around for 20 years??? (0:30); Chief Schmidt & WFPS challenges (8:40); things we only get to enjoy for a brief time every year, like Cherry Blossoms & Lilacs (17:05); THE COUCH POTATOES! (24:15); Weekly Reggie Recap (33:55); Ride for Dad is tomorrow! WITH A CAVEAT... Winnipeg Police escort ends at Portage & Moray, doesn't go all the way to Assiniboia Downs (41:20); Schroeder Foundation Announcement with Seven Oaks School Division -- funding to make sure kids get food (52:40); Winning entries on things we only get to enjoy for a brief time every year (59:50); Mental Health and Hockey (1:04:05).

Horticulturalist Dave Decock takes questions from listeners about their lawns, gardens, pests, trees and more. Have a random part of your lawn that wont grow? How about lilacs that bloom later in the growing season? Tune in each Thursday during the growing season from 1pm - 2pm for Plant Talk with Dave DecockSee omnystudio.com/listener for privacy information.

Broadway: Everything for the Boys “Berkley Square” 2/8/44 NBC, Texaco Star Theater “Green Grow the Lilacs” 10/25/39 CBS.

A quiet nighttime journey to count horseshoe crabs becomes an exploration of Nantucket's seasonal transformations. From blooming lilacs to shifting shorelines, Mary Bergman reflects on the beauty, fragility, and resilience of coastal life.

I Caught My Husband and Our Neighbor in the Lilac ShadowsBecome a supporter of this podcast: https://www.spreaker.com/podcast/true-cheating-wives-and-girlfriends-stories-2026-true-cheating-stories-podcast--5689182/support.

Originally Aired: May 5, 2025 (Season 15, Episode 36) Our story tonight is called The Lilac Booth, Part Two, and it's a story about a lovely spring day at the farmer's market and the sweet smell of a favorite flower. It's also about street food and sunshine, memories pulled forward by a breath of perfume, crumpled dollar bills, and the kind of beauty that can sit on your windowsill. Go to AquaTru.com now for 20% off your purifier using promo code NOTHINGMUCH. AquaTru even comes with a 30-day best-tasting water guarantee. Subscribe to our Premium channel. The first month is on us. Pre-order Kathryn's new book On the Street Where You Live. NMH merch, autographed books, and more Listen to our daytime show Stories from the Village of Nothing Much Sit Meditation with Kathryn Pay it forward subscription Follow us on Instagram Visit Nothing Much Happens for more Village fun. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode #424 of BGMania: A Video Game Music Podcast. Today on the show, Bryan and Bedroth are celebrating the season with an episode built entirely around flowers... or at least flower names. From soft and reflective themes to energetic idol tracks, strange late-night vibes, and even a few pieces carrying a little danger underneath the petals, every selection on today's playlist features a different flower in the title. Along the way, we'll be wandering through everything from visual novels and city builders to platformers, cyberpunk dystopias, puzzle games, and early-2000s Square weirdness. Some tracks feel warm and comforting like the first clear morning after a week of rain, while others drift into darker territory where the flowers probably grow under neon signs instead of sunlight. Turns out video game music has a surprisingly deep garden to pull from... No? Okay, I'll see myself out. Email the show at bgmaniapodcast@gmail.com with requests for upcoming episodes, questions, feedback, comments, concerns, or any other thoughts you'd like to share! Special thanks to our Executive Producers: Jexak, Xancu, Jeff & Mike. EPISODE PLAYLIST AND CREDITS Iris from FLOWERS [MANYO, 2016] Tulip -M@ster Version- from THE iDOLM@STER CINDERELLA GIRLS [Kakeru Ishihama feat. Yuko Iida, Ru Thing, Haruka Yoshimura, Asami Takano & Kotomi Aihara, 2011] Daffodil -Ginny's Theme- from Koibumi Romantica [Kensei, 2009] Pansy Town from Kururin Paradise [Atsuhiro Motoyama, 2002] Morning Glory from Cities: Skylines II [King Major, 2023] Lilac's Theme from Freedom Planet 2 [Leilani Wilson, 2022] Stadium -Daisy Cruiser- from Mario Super Sluggers [Ayako Yamaguchi, Masashi Sugiyama, Nobuhiro Ohuchi & Kazuyuki Fujita, 2008] Lily from Stellar Blade [seibin & Youngjee Lee feat. Miyo Takashiro, 2024] Bluebonnet from DYE [Danny Stracener, 2017] Kaldea Orchid from The Bouncer [Noriko Matsueda & Takahito Eguchi, 2000] White Sunflowers from Haruka: Beyond the Stream of Time [Kazuya Izumi feat. Kouki Miyata, 2000] Salvia from Alice Gear Aegis [Nakayama Raiden, 2018] Dirty Roses from Cyberpunk 2077 [OnenO & Perilous Futur, 2020] Al-Di-La -Bergamot Version- from Nights: Journey of Dreams [Tomoya Ohtani & Naofumi Hataya, 2007] LINKS Patreon: https://patreon.com/bgmania Website: https://bgmania.podbean.com/ Discord: https://discord.gg/cC73Heu Facebook: BGManiaPodcast X: BGManiaPodcast Instagram: BGManiaPodcast TikTok: BGManiaPodcast YouTube: BGManiaPodcast Twitch: BGManiaPodcast PODCAST NETWORK Very Good Music: A VGM Podcast Listening Religiously

“Questions, concerns, queries?” Lets chat!Its all by design...Literally.Jack, Lynne and Matt McFarland continue their Landscape Design chat on this week's episode of The Growing Season."95% of all designs need a tree, even on the small designs." Matt discusses why he feels this is the case.We have to bring down the immensity of the house - that's a Mattism.Lilacs, Baby Blue Eyes Spruce, Cumulus Serviceberry and Apollo Sugar Maples feature prominently in this chat. What is a Red Osier Dogwood and why is it important?Jack McFarland sees a fence and gets REALLY excited.  A fence area in shade and Jack dies a little bit. Clematis, morning glory, espaliers and more...  The trio discuss garden mirrors and how to use them.  Matt tells a sci-fi story. Matt's fear of poison plants effects his designs significantly.  Matt won't use Yews.  You's read that right - he won't use Yews.The use of epicurean plants must be designed with caution. Juglans nigra and its insanely effective way of reducing competition is discussed. The legendary Ginkgo biloba comes into focus. Daphne, Buckthorn, Rhododendrons, Azaleas and Poison Sumac are some plants to look out for. Everything is poisonous - what?What's better than one Contorted Corkscrew Hazel? 14!!!The show ends with a moment of silence. Tune in. Looking to book a consult for your property?  We'd love to help.  CLICK HERE.What is a TGS Tiny Garden? CLICK HERE.

Originally aired April 28, 2025 (Season 15, Episode 34) Our story tonight is called The Lilac Booth, Part 1, and it's a story about a Spring morning at a familiar farm house. It's also about bullfrogs and garden clogs, old vases collected from friends, armfuls of fresh flowers, driving with the window down on a warm day, and the small decisions that add up to make a new path in life. Subscribe to our ⁠⁠Premium channel⁠⁠. The first month is on us.

This week's guest is Chef Zubair Mohajir -- and he's got a lot going on. A former finance guy who found his calling in the kitchen after the 2008 crash, Zubair has since built one of the most compelling culinary identities in Chicago, rooted in the idea that food is migration made edible. He's the force behind Lilac Tiger, the Coach House, and Mirra -- and this summer, he's opening three more: Mariela, Muhājir, and Bobo. He joins us to walk through all of it, in a conversation that covers growing up between Qatar and the southwest suburbs, his mom's legendary garage catering operation, staging at Alinea with zero experience, why a 927-year-old duck recipe from medieval Islamic Spain is one of his signature dishes -- and so much more! 

Read beyond the headlines! Support Local Journalism  https://www.spokesman.com/podcastoffer

Fluent Fiction - Swedish: Finding Peace Amidst Stockholm's Spring Lilacs Find the full episode transcript, vocabulary words, and more:fluentfiction.com/sv/episode/2026-05-09-07-38-19-sv Story Transcript:Sv: Astrid promenerade längs kullerstensgatorna i Gamla Stan.En: Astrid walked along the cobblestone streets of Gamla Stan.Sv: Våren hade precis anlänt till Stockholm, och luften var full av syrenernas doft.En: Spring had just arrived in Stockholm, and the air was full of the scent of lilacs.Sv: Trots den vackra omgivningen kände Astrid sig tung i hjärtat.En: Despite the beautiful surroundings, Astrid felt heavy at heart.Sv: Hon väntade på resultat från ett medicinskt test, och oron tyngde henne som en blöt filt.En: She was waiting for results from a medical test, and the worry weighed on her like a wet blanket.Sv: Hon försökte distrahera sig.En: She tried to distract herself.Sv: På sitt jobb som grafisk designer i den ljusa studion på Södermalm kämpade hon med att koncentrera sig på sina projekt.En: At her job as a graphic designer in the bright studio in Södermalm, she struggled to concentrate on her projects.Sv: Färger och former brukade ge henne glädje, men nu verkade allt grått och suddigt.En: Colors and shapes used to bring her joy, but now everything seemed gray and blurry.Sv: Efter jobbet mötte hon sina vänner, Lars och Johan, på ett kafé vid Stortorget.En: After work, she met her friends, Lars and Johan, at a café by Stortorget.Sv: Lars berättade en rolig historia, och Johan skrattade högt.En: Lars told a funny story, and Johan laughed loudly.Sv: Astrid log, men tankarna fanns hela tiden på annat håll.En: Astrid smiled, but her thoughts were always elsewhere.Sv: "Tack för att ni alltid finns här," sa Astrid till dem.En: "Thank you for always being here," Astrid said to them.Sv: Hon försökte njuta av deras sällskap, men inre lugn undvek henne fortfarande.En: She tried to enjoy their company, but inner peace still eluded her.Sv: En dag bestämde hon sig för att möta sin oro.En: One day, she decided to face her anxiety.Sv: Hon gick till en av sina favoritplatser i Gamla Stan, ett tyst hörn nära en liten fontän.En: She went to one of her favorite spots in Gamla Stan, a quiet corner near a small fountain.Sv: De pastellfärgade husen runtomkring skapade en känsla av frid.En: The pastel-colored houses around created a sense of peace.Sv: Hon satte sig ner, kände vårens mjuka bris i håret och blundade.En: She sat down, feeling the soft spring breeze in her hair, and closed her eyes.Sv: Det var då hennes telefon ringde.En: That's when her phone rang.Sv: Hjärtat slog snabbare.En: Her heart beat faster.Sv: Det var doktorn.En: It was the doctor.Sv: Astrid tog ett djupt andetag och svarade.En: Astrid took a deep breath and answered.Sv: "Läkaren har goda nyheter," sa rösten i andra änden.En: "The doctor has good news," said the voice on the other end.Sv: "Testresultaten visar inga problem.En: "The test results show no problems.Sv: Allt är bra."En: Everything is fine."Sv: Astrid kände hur en enorm våg av lättnad sköljde över henne.En: Astrid felt a huge wave of relief wash over her.Sv: Tårar av glädje fyllde hennes ögon.En: Tears of joy filled her eyes.Sv: Hon tittade upp mot den klara, blå himlen och kände tacksamhet.En: She looked up at the clear, blue sky and felt grateful.Sv: På vägen tillbaka mötte hon Lars och Johan igen.En: On the way back, she met Lars and Johan again.Sv: "Det gick bra," ropade hon med ett leende som strålade genom hela Gamla Stan.En: "It went well," she shouted with a smile that beamed through all of Gamla Stan.Sv: De omfamnade henne och delade hennes glädje.En: They embraced her and shared her joy.Sv: Astrid lärde sig i det ögonblicket att leva i nuet och värna om de små stunderna av skönhet och vänskap.En: Astrid learned in that moment to live in the present and cherish the small moments of beauty and friendship.Sv: Med nya insikter om livet, fortsatte hon sin väg hem längs de gamla kullerstensgatorna, omgiven av historiens och vårens alla löften.En: With new insights about life, she continued her way home along the old cobblestone streets, surrounded by all the promises of history and spring. Vocabulary Words:cobblestone: kullerstenstreets: gatornascent: doftdespite: trotssurroundings: omgivningheavy at heart: tung i hjärtatresults: resultatweighed: tyngdewet blanket: blöt filtdistract: distraheraconcentrate: koncentrerablurred: suddigtfountain: fontänpastel-colored: pastellfärgadinner peace: inre lugneluded: undvekembraced: omfamnadeinsights: insiktercherish: värna ompromises: löftenhistory: historiensspring: vårensstruggled: kämpadejoy: glädjegrateful: tacksamhetlaughed: skrattadequiet: tystcorners: hörnbreeze: brispeace: frid

The Rochester Lilac Festival draws nearly 500,000 people every year, but most don't see what goes on behind the scenes. Executive Producer Jenny LoMaglio shares how the event comes together, from logistics and budgeting to weather challenges and real-time decision making. The conversation also dives into how the festival is adapting with new experiences, stronger security, and a focus on sustainability while still staying true to what makes it a staple in Rochester.

Finally I found it, this song people were telling me about; found it in the Alfred G. Arvold Collection of the Institute for Regional Studies, at NDSU. The song, written by an NDSU graduate, James Golseth, is “Lilac Days,” an ode to spring, and beauty. Maybe also to hope, and persistence.

In this episode of The Classical Mind, Fr. Wesley Walker and Dr. Junius Johnson welcome back Heidi White to explore the middle canticle of Dante's Divine Comedy, the Purgatorio. Is Purgatory “cosmic extra innings” or a “cosmic decontamination chamber” for the saved? How do Inferno and Purgatorio differ? Give a listen as Heidi, Junius, and Wesley discuss the moral and structural architecture of Mount Purgatory, specifically the “Order of Love” (ordo amoris) that governs the seven terraces and how Dante organizes the capital vices. Endnotes: Heidi: The Great Divorce by C.S. LewisJunius: The Voyage of the Dawn Treader by C.S. LewisWesley: “Ash Wednesday” by T.S. EliotI Because I do not hope to turn again Because I do not hope Because I do not hope to turn Desiring this man's gift and that man's scope I no longer strive to strive towards such things (Why should the agèd eagle stretch its wings?) Why should I mourn The vanished power of the usual reign? Because I do not hope to know The infirm glory of the positive hour Because I do not think Because I know I shall not know The one veritable transitory power Because I cannot drink There, where trees flower, and springs flow, for there is nothing again Because I know that time is always time And place is always and only place And what is actual is actual only for one time And only for one place I rejoice that things are as they are and I renounce the blessèd face And renounce the voice Because I cannot hope to turn again Consequently I rejoice, having to construct something Upon which to rejoice And pray to God to have mercy upon us And pray that I may forget These matters that with myself I too much discuss Too much explain Because I do not hope to turn again Let these words answer For what is done, not to be done again May the judgement not be too heavy upon us Because these wings are no longer wings to fly But merely vans to beat the air The air which is now thoroughly small and dry Smaller and dryer than the will Teach us to care and not to care Teach us to sit still. Pray for us sinners now and at the hour of our death Pray for us now and at the hour of our death. II Lady, three white leopards sat under a juniper-tree In the cool of the day, having fed to sateity On my legs my heart my liver and that which had been contained In the hollow round of my skull. And God said Shall these bones live? shall these Bones live? And that which had been contained In the bones (which were already dry) said chirping: Because of the goodness of this Lady And because of her loveliness, and because She honours the Virgin in meditation, We shine with brightness. And I who am here dissembled Proffer my deeds to oblivion, and my love To the posterity of the desert and the fruit of the gourd. It is this which recovers My guts the strings of my eyes and the indigestible portions Which the leopards reject. The Lady is withdrawn In a white gown, to contemplation, in a white gown. Let the whiteness of bones atone to forgetfulness. There is no life in them. As I am forgotten And would be forgotten, so I would forget Thus devoted, concentrated in purpose. And God said Prophesy to the wind, to the wind only for only The wind will listen. And the bones sang chirping With the burden of the grasshopper, saying Lady of silences Calm and distressed Torn and most whole Rose of memory Rose of forgetfulness Exhausted and life-giving Worried reposeful The single Rose Is now the Garden Where all loves end Terminate torment Of love unsatisfied The greater torment Of love satisfied End of the endless Journey to no end Conclusion of all that Is inconclusible Speech without word and Word of no speech Grace to the Mother For the Garden Where all love ends. Under a juniper-tree the bones sang, scattered and shining We are glad to be scattered, we did little good to each other, Under a tree in the cool of day, with the blessing of sand, Forgetting themselves and each other, united In the quiet of the desert. This is the land which ye Shall divide by lot. And neither division nor unity Matters. This is the land. We have our inheritance. III At the first turning of the second stair I turned and saw below The same shape twisted on the banister Under the vapour in the fetid air Struggling with the devil of the stairs who wears The deceitul face of hope and of despair. At the second turning of the second stair I left them twisting, turning below; There were no more faces and the stair was dark, Damp, jaggèd, like an old man's mouth drivelling, beyond repair, Or the toothed gullet of an agèd shark. At the first turning of the third stair Was a slotted window bellied like the figs's fruit And beyond the hawthorn blossom and a pasture scene The broadbacked figure drest in blue and green Enchanted the maytime with an antique flute. Blown hair is sweet, brown hair over the mouth blown, Lilac and brown hair; Distraction, music of the flute, stops and steps of the mind over the third stair, Fading, fading; strength beyond hope and despair Climbing the third stair. Lord, I am not worthy Lord, I am not worthy but speak the word only. IV Who walked between the violet and the violet Whe walked between The various ranks of varied green Going in white and blue, in Mary's colour, Talking of trivial things In ignorance and knowledge of eternal dolour Who moved among the others as they walked, Who then made strong the fountains and made fresh the springs Made cool the dry rock and made firm the sand In blue of larkspur, blue of Mary's colour, Sovegna vos Here are the years that walk between, bearing Away the fiddles and the flutes, restoring One who moves in the time between sleep and waking, wearing White light folded, sheathing about her, folded. The new years walk, restoring Through a bright cloud of tears, the years, restoring With a new verse the ancient rhyme. Redeem The time. Redeem The unread vision in the higher dream While jewelled unicorns draw by the gilded hearse. The silent sister veiled in white and blue Between the yews, behind the garden god, Whose flute is breathless, bent her head and signed but spoke no word But the fountain sprang up and the bird sang down Redeem the time, redeem the dream The token of the word unheard, unspoken Till the wind shake a thousand whispers from the yew And after this our exile V If the lost word is lost, if the spent word is spent If the unheard, unspoken Word is unspoken, unheard; Still is the unspoken word, the Word unheard, The Word without a word, the Word within The world and for the world; And the light shone in darkness and Against the Word the unstilled world still whirled About the centre of the silent Word. O my people, what have I done unto thee. Where shall the word be found, where will the word Resound? Not here, there is not enough silence Not on the sea or on the islands, not On the mainland, in the desert or the rain land, For those who walk in darkness Both in the day time and in the night time The right time and the right place are not here No place of grace for those who avoid the face No time to rejoice for those who walk among noise and deny the voice Will the veiled sister pray for Those who walk in darkness, who chose thee and oppose thee, Those who are torn on the horn between season and season, time and time, between Hour and hour, word and word, power and power, those who wait In darkness? Will the veiled sister pray For children at the gate Who will not go away and cannot pray: Pray for those who chose and oppose O my people, what have I done unto thee. Will the veiled sister between the slender Yew trees pray for those who offend her And are terrified and cannot surrender And affirm before the world and deny between the rocks In the last desert before the last blue rocks The desert in the garden the garden in the desert Of drouth, spitting from the mouth the withered apple-seed. O my people. VI Although I do not hope to turn again Although I do not hope Although I do not hope to turn Wavering between the profit and the loss In this brief transit where the dreams cross The dreamcrossed twilight between birth and dying (Bless me father) though I do not wish to wish these things From the wide window towards the granite shore The white sails still fly seaward, seaward flying Unbroken wings And the lost heart stiffens and rejoices In the lost lilac and the lost sea voices And the weak spirit quickens to rebel For the bent golden-rod and the lost sea smell Quickens to recover The cry of quail and the whirling plover And the blind eye creates The empty forms between the ivory gates And smell renews the salt savour of the sandy earth This is the time of tension between dying and birth The place of solitude where three dreams cross Between blue rocks But when the voices shaken from the yew-tree drift away Let the other yew be shaken and reply. Blessèd sister, holy mother, spirit of the fountain, spirit of the garden, Suffer us not to mock ourselves with falsehood Teach us to care and not to care Teach us to sit still Even among these rocks, Our peace in His will And even among these rocks Sister, mother And spirit of the river, spirit of the sea, Suffer me not to be separated And let my cry come unto Thee. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theclassicalmind.com/subscribe

In this episode, Kappy shares what's on his plate at the moment. Links and handles mentioned in this episode:Lilac Tiger | Chef Zubair Mohajir | Share Our StrengthBite Tuoso | Van Leeuwen | Cafe Panna | Hallie MeyerSoul & Smoke BBQ | Soul & Smoke FoundationWhat Could Possibly Go Right by Danny Meyer Unreasonable Hospitality: The Field Guide by Will GuidaraTake It Personal by David Grutman Guesting by Gail SimmonsWhite Bark Workwear | Chef Chris BiancoThe Spice House | Garlic Pepper Butcher's RubFollow Beyond the Plate on Facebook and X.Follow Kappy on Instagram and X.www.beyondtheplatepodcast.com www.onkappysplate.com

Gene has all of the big top sports stories lined up for you in shots!

Every House Displayed Lilacs Except One and It Led Us to the Truth We Were All HidingBecome a supporter of this podcast: https://www.spreaker.com/podcast/darkest-mysteries-online-the-strange-and-unusual-podcast-2026--5684156/support.Darkest Mysteries Online

Blind Hog and Acorn have had a relatively easy week- morning walkies with Sam, a trip to Springfield.  Fence work planning going on along with pasture management and gardening.Morels, asparagus, seed starting...  Lilacs and Japanese cherry trees blooming...  Kind of.  That last hard freeze really killed off a ton of fresh growth.  Here is to hoping that was the last hard freeze!

Now that the snow is melting, what can we start to do in our lawns and gardens? Is it time to remove burlap from trees? Treating for grubs. What goes into strategic root pruning? Is dethatching necessary? It is time to finish up your pruning. Fertilizer that cannot be used in Minnesota. What to do with overgrown lilacs? When to start splitting hostas. Creeping Charlie questions. Learn more from horticulturalist Laura Irish Hanson and Lawn and Turf expert Jon Trappe at extension.umn.edu.

At last, we're again joined by novelist Nancy Northcott to discuss the portrayal of women in Batman 66! We pick up near the start of Season Three, with the episodes "The Unkindest Tut of All" and "Louie, the Lilac." Can Tim, Paul, and Nancy survive S3? Have any three people used the word "cringe" more frequently in the space of 45 minutes? How is it that the Bat-season with more female villains and a female hero also seems to be the most sexist? Listen and find out, my dear. (cringe) Listen to Bat Bits by subscribing to our Patreon for at least $2 a month! At $4 a month you'll get that AND our monthly discussion of silver age Batman comics, as Paul or another in our stable of co-hosts joins me to examine individual Batman stories from the 1950s and '60s — most recently, the establishment of the idea that Bruce Wayne once wore the Robin costume! And coming up, Tim and Paul look at another comics story featuring Batwoman! So slide down your Batpole and join today!

From the Animal Welfare Department of Albuquerque, Selia Velasquez, and from Community Engagement Crystal Torres, as well as three sweet kittens named Snap, Dragon, and Lilac join TJ to talk about new events happening over at the Department. They discuss adoptions/fosters, kitten and puppy season, and Bow Wow Bingo. All this and more on News Radio KKOBSee omnystudio.com/listener for privacy information.

Book Besties Season 10 Episode 6: The Lilac PeopleThis week, besties, we are talking about Milo Todd's first novel, The Lilac People. Join the Besties as they discuss the realness of Milo Todd's work, what queer life was like in Berlin in the 1930s, and what queer history really looks like.PLEASE BE AWARE that the language in this novel and the discussion of it may be offensive to some folks. We here at Book Besties are talking about this language in the context it is used in the book and not as a derogatory term, please protect your mental health and heart while listening.Things talked about in this episode: Milo Todd Research Lilac People: https://www.milotodd.com/books/the-lilac-people/news/the-history-behind-the-lilac-people/The LGBTQ + History Book: https://a.co/d/0iCr0VGYThe Institute for Sexual Science: https://blog.sciencemuseum.org.uk/magnus-hirschfeld-and-the-institute-for-sexual-science/Dr. Kinsey and the Kinsey Scale: https://kinseyinstitute.org/research/publications/kinsey-scale.htmlGeorge Takei: https://www.georgetakei.com/Meet Molly and April, they bonded over books and became Book Besties. So, what do you do when you find your book bestie? Start a podcast of course. Hang out with April and Molly as they talk about everything they love and hate about books. Follow the Book Besties on Facebook, Instagram, Tiktok, and YouTube. If you'd like to contact the Book Besties, please email us at bookbestiespod@gmail.com or visit our website bookbestiespodcast.com. This episode is sponsored by Carpe Librium: Bookish Things for Bookish People. Use the code NEWTHINGS2026 to save $5 off of your order of $25 or more at https://beawesomereadbooks.com.

Today's Black History Month episode serves also as a belated birthday tribute to the exceptional African American soprano Faye Robinson, who was born in Houston on 2 November 1943. Robinson has a voice that transcends genre, encompassing both lyric-coloratura roles at one end and pure dramatic soprano repertoire on the other. In addition, she has been created vocal works by some of the greatest twentieth-century composers, including Michael Tippett, two of whose major vocal works she premiered, and with whose compositions she is especially associated, and George Walker, whose Lilacs she premiered in 1996 with the Boston Symphony Orchestra, and which subsequently won the 1996 Pulitzer Prize by the judges' unanimous decision. Robinson's immediately recognizable voice presented in a wide-range of repertoire, including the works referenced above and also including arias by Handel, Gounod, Offenbach, Bellini, and Handel, as well as the Chevalier de Saint-Georges; as well as concert work by Schoenberg and Barber. All in all, Faye Robinson's is a voice and artistic presence well worth getting to know better! Happy Belated Birthday, Diva! Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Lilac, que tiene el poder de salvar a los homúnculos al afinarlos, despierta en un laboratorio subterráneo del sector inferior. Allí encuentra a una homúnculo que parece guardar relación con la calamidad que ha asolado Humelia y forja un pacto con ella para recuperarla. Visita nuestra TIENDA ONLINE en cafeconnintendo.redbubble.com APÓYANOS por lo que cuesta un café en https://uncafeconnintendo.wordpress.com/ Para estar informado del programa síguenos en nuestra cuenta de X (@cafeconnintendo) o Bluesky (uncafeconnintendo.bsky.social) Únete también a nuestra comunidad de Telegram solicitando un enlace de invitación en los comentarios del programa

Conversation with and performance by the members of Spot the Difference, one of the barbershop quartets of Spokane's Lilac City Voices, a barbershop choir.

Send us a textWelcome to Stories Come to Life. I am your host, Kathryn Lopez Luker. Please enjoy Nancy's story as she anticipates a glimpse of the famous Crandall jewels. Looking forward to this thrilling opportunity helps her endure the stress of interviewing many candidates for the position of housekeeper for the Drew household while faithful Hannah Gruen has gone to help her ailing sister.Now, sit back, relax, and listen to this story come to life.Listening to audiobooks really does count as reading, and there's no better way to relax than to hear Stories Come to Life! Let me know what you think! Please send an email to me at kluker@marshallpl.org. I'd love to hear from you!

Send us a textWelcome to Stories Come to Life. I am your host, Kathryn Lopez Luker. Somehow, Nancy Drew just can't seem to avoid becoming involved in a thrilling mystery. With the puzzling disappearance of the Crandall jewels on her mind, Nancy is determined to help her friend regain her inheritance. But unlike other mysteries, this situation seems to have sprouted into an overabundance of clues, any one of which could lead to some sort of resolution. Finally, in an attempt to give her mind a rest from the confusing situation, Nancy goes shopping, and finds yet another strange piece that may or may not fit into the mysterious events at Lilac Inn.Now, sit back, relax, and listen to this story come to life.Listening to audiobooks really does count as reading, and there's no better way to relax than to hear Stories Come to Life! Let me know what you think! Please send an email to me at kluker@marshallpl.org. I'd love to hear from you!

Send us a textWelcome to Stories Come to Life. I am your host, Kathryn Lopez Luker. Do you remember the sullen and rather rude girl who applied to become the housekeeper for the Drew family? Well, Mary Mason is back in the story! How could this rather shabbily dressed young woman have found enough money to purchase expensive dresses and other clothing items? Nancy has a faint suspicion that there may be some connection between Mary's extravagant spending and the robbery at Lilac Inn. Now if she can only find some common thread!Now, sit back, relax, and listen to this story come to life.Listening to audiobooks really does count as reading, and there's no better way to relax than to hear Stories Come to Life! Let me know what you think! Please send an email to me at kluker@marshallpl.org. I'd love to hear from you!

Send us a textWelcome to Stories Come to Life. I am your host, Kathryn Lopez Luker. If Nancy Drew is anything, she is a good friend to those in need. Emily Crandall certainly needs a good friend to help restore her inheritance and, if possible, clear her guardian, Mrs. Willoughby, from suspicion of the jewel theft. Nancy is doing all she can, even following the tiniest whiff of a clue no matter where it leads. But is Nancy brave, or is she foolhardy when she sneaks into the dilapidated house in Dockville where three hardened criminals are discussing their latest heist? Now, sit back, relax, and listen to this story come to life.Listening to audiobooks really does count as reading, and there's no better way to relax than to hear Stories Come to Life! Let me know what you think! Please send an email to me at kluker@marshallpl.org. I'd love to hear from you!

Send us a textWelcome to Stories Come to Life. I am your host, Kathryn Lopez Luker. Oh, the scrapes Nancy Drew gets herself in! At the beginning of this episode, we find her gagged, and bound hand and foot as a captive of three scoundrels: Tom Tozzle, Bud Mason, and the particularly mean Mary Mason, who seems to have a personal antipathy toward Nancy. How can she ever extricate herself from their clutches? Here is the final, exciting segment of Nancy Drew in The Mystery at Lilac Inn! Now, sit back, relax, and listen to this story come to life.Listening to audiobooks really does count as reading, and there's no better way to relax than to hear Stories Come to Life! Let me know what you think! Please send an email to me at kluker@marshallpl.org. I'd love to hear from you!

Zzz . . . Snooze to this dreamy tale by Louisa May Alcott – "Under the Lilacs" zzz Donate to Otis' Coney Polar Plunge charity drive: www.runsignup.com/sleepy For an ad-free version of Sleepy, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/sleepyradio⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and donate $2! Or click the blue Sleepy logo on the banner of this Spotify page.  Awesome Sleepy sponsor deals: Quince: Go to Quince.com/sleepy for free shipping and 365-day returns BetterHelp: Visit BetterHelp.com/SLEEPY today to get 10% off your first month. GreenChef: GreenChef.com/50SLEEPYGRAZA and use code "SLEEPYGRAZA" to get started with 50% off Green Chef + FREE Graza Olive  Oil Set in your 2nd and 3rd boxes. ButcherBox: Sign up at butcherbox.com/sleepy and use code "sleepy" OneSkin: Get 15% off OneSkin with the code SLEEPY at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.oneskin.co/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ #oneskinpod GhostBed: Go to GhostBed.com/sleepy and use promo code “SLEEPY” at checkout for 50% off! Shopify: Sign up for your one-dollar-per-month trial period at Shopify.com/otis Learn more about your ad choices. Visit megaphone.fm/adchoices

There are many deadlines gardeners need to know about. More insight on dormant seeding as winter is in full swing. Caring for plants in Arizona. Preparing plants indoors before bringing them outside in the spring. Steps to take to protect plants from animals. Tree planting tips. The benefits of a snake plant. Checking seeds for quality. How to tell one a lilac bush is dead. Growing milkweed. Learn more from horticulturalist Mary Meyer at extension.umn.edu.

Does this shot of warm weather have an impact on outdoor plants? How to take the temperature of your soil. Some tips and tricks to get spring bulbs to bloom as we enter the colder months. When to cover strawberries for the winter. What is the best insulation for plants? When rose bushes should be covered. Why some lilac bushes are blooming once again. How to stop rabbits from eating hostas. When to dormant seed and aerate the lawn. Blanket flower basics. Learn more from Master Gardener Teresa Rooney at extension.umn.edu.

This week, the Dane County Board passed the 2026 budget with some contention about how to address its $31 million deficit. Meanwhile, a Channel 3000 story about nonprofit spending of county funds was published and then removed for alleged errors. Plus, Gov. Tony Evers declared a state of emergency in response to the stall in SNAP benefits. And some cool new restaurants opened around town. Host Bianca Martin breaks these stories down with executive producer Hayley Sperling and newsletter editor Rob Thomas.  P.S. Are you prepared for snow this weekend?  Mentioned on the show: Urban Triage alleges harassment [Madison 365]  Our interview with Governor Evers [

This episode we start to get more into the material culture of the period with court fashion, as we look at the court robes that went along with the updated court ranks.  Granted, we only have a few resources, but from those it does seem like we can construct at least a plausible idea of what the court may have looked like at this time. For more discussion, check out the blogpost:  https://sengokudaimyo.com/podcast/episode-137   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is Episode 137:  Courtly Fashion. In the New Year's ceremony, the court officials lined up in front of the Kiyomihara Palace, arranged by their relative court rank, dressed in their assigned court robes.  The effect was impressive—the rows of officials painting the courtyard like the bands of color in a rainbow, albeit one with only a couple of hues.  The fact that they were all wearing the same style of dress and black, stiffened gauze hats only added to the effect.  The individual officers were all but lost in what was, at least in outward form, a single, homogenous machine of government, just waiting for the command of their monarch to attend to the important matters of state. We are covering the reign of Ohoama no Ohokimi, aka Ama no Nunahara oki no mabito no Sumera no Mikoto, aka Temmu Tennou.  Last episode we went over the changes he had made to the family titles—the kabane—as well as to the courtly rank system.  For the former, he had consolidated the myriad kabane and traditional titles across Yamato into a series of eight—the Yakusa no Kabane.   These were, from highest to lowest: Mabito, Asomi, Sukune, Imiki, Michinoshi, Omi, Muraji, and Inaki.  By the way, you might notice that "Mabito" actually occurs in Ohoama's posthumous name:  Ama no Nunahara oki no mabito, which lends more credence to the idea that that kabane was for those with a special connection to the royal lineage. Besides simplifying and restructuring the kabane, Ohoama also reformed the court rank system.  He divided the Princely ranks into two categories:  Myou, or Bright, and Jou, or Pure.  For the court nobles the categories were:                Shou – Upright                Jiki – Straight                Gon – Diligent                Mu – Earnest                Tsui – Pursue                Shin – Advancement Each category was further divided into four grades (except for the very first princely category, Myou, which was only two).  Each grade was then further divided into large, "dai", or broad, "kou". And this brings us to our topic today. Along with this new rank system, Ohoama's administration also instituted a new set of court sumptuary laws. Some are vague in the record—we can just make assumptions for what is going on based on what we know from later fashion choices.  Others are a little more clear.  We'll take a look at those sumptuary laws, particularly those that were directly associated with the new court rank system, but we'll also look at the clothing styles more generally. To start with, let's talk about what we know about clothing in the archipelago in general.  Unfortunately, fabric doesn't tend to survive very well in the generally acidic soils of the Japanese archipelago.  Cloth tends to break down pretty quickly.  That said, we have fragments here and there and impressions in pottery, so we have some idea that there was some kind of woven fabric from which to make clothing out of. And before I go too far I want to give a shout out to the amazing people at the Kyoto Costume Museum.  They have a tremendous website and I will link to it in the comments.  While there may be some debate over particular interpretations of historical clothing, it is an excellent resource to get a feel for what we know of the fashion of the various periods.  I'll also plug our own website, SengokuDaimyo.com, which has a "Clothing and Accessory" section that, while more geared towards Heian and later periods, may still be of some use in looking up particular terms and getting to know the clothing and outfits. At the farthest reaches of pre-history, we really don't have a lot of information for clothing.  There is evidence of woven goods in the Jomon period, and we have Yayoi burials with bits of cloth here and there, but these are all scraps.  So at best we have some conjecture as to what people were wearing, and possibly some ability to look across the Korean peninsula and see what people had, there. There are scant to no reliable records from early on in Japanese history, and most of those don't really do a great job of describing the clothing.  Even where we do get something, like the Weizhi, one has to wonder given how they tended to crib notes from other entries. There is at least one picture scroll of interest: Portraits of Periodical Offering of Liang, or Liáng -Zhígòngtú.  It is said to have been painted by Xiao Yi in the early 6th century, and while the original no longer exists there is an 11th century copy from the time of the Song Dynasty.  The scroll shows  various ambassadors to the Liang court, including one from Wa.  The Wa ambassador is shown with what appears to be a wide piece of cloth around his hips and legs, tied in front.  His lower legs are covered in what we might call kyahan today: a rather simple wrap around leg from below the knee to the foot.  He has another, blue piece of cloth around his shoulders, almost like a shawl, and it is also tied in front.  Then there is a cloth wrapped and tied around his head. It's hard to know how much of this depiction is accurate and how much the artist was drawing on memory and descriptions from things like the Weizhi or Wei Chronicles, which stated that the Wa people wore wide cloths wrapped around and seamlessly tied As such, it may be more helpful to look at depictions actually from the archipelago: specifically, some of the human-figured haniwa, those clay cylinders and statues that adorned the burial mounds which gave the kofun period its name.  Some of these haniwa are fairly detailed, and we can see ties, collars, and similar features of clothing. These haniwa primarily seem to cluster towards the end of the Kofun period, in the later 6th century, so it is hard to say how much they can be used for earlier periods, though that is exactly what you will typically see for periods where we have little to know evidence.  I'm also not sure how regional certain fashions might have been, and we could very much be suffering from survivorship bias—that is we only know what survived and assume that was everything, or even the majority. Still, it is something. Much of what we see in these figures is some kind of upper garment that has relatively tight sleeves, like a modern shirt or jacket might have, with the front pieces overlapping create a V-shaped neckline.  The garment hem often hangs down to just above the knee, flaring out away from the body, and it's held closed with ties and some kind of belt, possibly leather in some cases, and in others it looks like a tied loop of cloth.  There is evidence of a kind of trouser, with two legs, and we see ties around the knee.  In some cases, they even have small bells hanging from the ties.  Presumably the trousers might have ties up towards the waist, but we cannot see that in the examples we have. We also see individuals who have no evidence of any kind of bifurcated lower garment.  That may indicate an underskirt of some kind, or possibly what's called a "mo"—but it could also be just a simplification for stability, since a haniwa has a cylindrical base anyway.  It is not always obvious when you are looking at a haniwa figure whether it depicts a man or woman: in some cases there are two dots on the chest that seem to make it obvious, but the haniwa do come from different artisans in different regions, so there is a lot of variability. We also see evidence of what seem to be decorative sashes that are worn across the body, though not in all cases.  There are various types of headgear and hairstyles.  Wide-brimmed and domed hats are not uncommon, and we also see combs and elaborate hairstyles depicted.  On some occasions we can even see that they had closed toed shoes.  For accessories, we see haniwa wearing jewelry, including necklaces (worn by both men and women), bracelets, and earrings.  In terms of actual human jewelry, early shell bracelets demonstrate trade routes, and the distinctive magatama, or comma shaped jewel, can be found in the archipelago and on the Korean peninsula, where it is known as "gogok".  Based on lines or even colored pigment on the haniwa, it appears that many of these outfits were actually quite heavily decorated.  Paint on the outfits is sometimes also placed on the face, suggesting that they either painted or tattooed themselves, something mentioned in the Wei Chronicles.  We also have archaeological examples of dyed cloth, so it is interesting that people are often depicted in undyed clothing.  There is one haniwa that I find particularly interesting, because they appear to be wearing more of a round-necked garment, and they have a hat that is reminiscent of the phrygian cap: a conical cap with the top bent forward.  These are traits common to some of the Sogdians and other Persian merchants along the silk road, raising the possibility that it is meant to depict a foreigner, though it is also possible that it was just another local style. If we compare this to the continent, we can see some immediate difference.  In the contemporaneous Sui dynasty, we can see long flowing robes, with large sleeves for men and women.  The shoes often had an upturned placket that appears to have been useful to prevent one from tripping on long, flowing garments.  Many of these outfits were also of the v-neck variety, with two overlapping pieces, though it is often shown held together with a fabric belt that is tied in front.  The hats appear to either be a kind of loose piece of fabric, often described as a turban, wrapped around the head, the ends where it ties together trailing behind, or black lacquered crowns—though there were also some fairly elaborate pieces for the sovereign. As Yamato started to import continental philosophy, governance, and religion, they would also start to pick up on continental fashion.  This seems particularly true as they adopted the continental concept of "cap rank" or "kan-i". Let's go over what we know about this system, from its first mention in the Chronicles up to where we are in Ohoama's reign. As a caveat, there is a lot we don't know about the details of these garments, but we can make some guesses. The first twelve cap-ranks, theoretically established in 603, are somewhat questionable in their historicity, as are so many things related to Shotoku Taishi.  And their names are clearly based on Confucian values:  Virtue, Humanity, Propriety, Faith, Justice, and Wisdom, or Toku, Nin, Rei, Shin, Gi, and Chi.  The five values and then just "Virtue", itself. The existence of this system does seem to be confirmed by the Sui Shu, the Book of Sui, which includes a note in the section on the country of Wa that they used a 12 rank system based on the Confucian values, but those values were given in the traditional Confucian order vice the order given in the Nihon Shoki.   The rank system of the contemporaneous Sui and Tang dynasties was different from these 12 ranks, suggesting that the Yamato system either came from older dynasties—perhaps from works on the Han dynasty or the Northern and Southern Dynasty, periods—or they got it from their neighbors, Baekje, Silla, and Goguryeo.  There does seem to be a common thread, though, that court rank was identifiable in one's clothes. As for the caps themselves, what did they look like?  One would assume that the Yamato court just adopted a continental style cap, and yet, which one? It isn't fully described, and there are a number of types of headwear that we see in the various continental courts. Given that, we aren't entirely sure exactly what it looked like, but we do have a couple of sources that we can look at and use to make some assumptions.  These sources l ead us to the idea of a round, colored cap made of fabric, around the brim that was probably the fabric or image prescribed for that rank.  It is also often depicted with a bulbous top, likely for the wearer's hair, and may have been tied to their top knot.     Our main source for this is the Tenjukoku Mandala Embroidery (Tenjukoku-mandara-shuuchou) at Chuuguuji temple, which was a temple built for the mother of Prince Umayado, aka Shotoku Taishi.    This embroidery was created in 622, so 19 years after the 12 ranks would have been implemented. It depicts individuals in round-necked jackets that appear to have a part straight down the center.  Beneath the jacket one can see a pleated hem, possibly something like a "hirami", a wrapped skirt that is still found in some ceremonial imperial robes.  It strikes me that this could also be the hem of something like the hanpi, which was kind of like a vest with a pleated lower edge.  Below that we see trousers—hakama—with a red colored hem—at least on one figure that we can see.  He also appears to be wearing a kind of slipper-like shoe. As for the women, there are a few that appear to be in the mandala, but it is hard to say for certain as the embroidery has been damaged over the years. That said, from what we can tell, women probably would have worn something similar to the men in terms of the jacket and the pleated under-skirt, but then, instead of hakama, we see a pleated full-length skirt, or mo.  We also don't have a lot of evidence for them wearing hats or anything like that. The round necked jacket is interesting as it appears to be similar to the hou that was common from northern China across the Silk Road, especially amongst foreigners.  This garment  came to displace the traditional robes of the Tang court and would become the basis for much of the court clothing from that period, onwards.  The round necked garment had central panels that overlapped, and small ties or fastenings at either side of the neck to allow for an entirely enclosed neckline.  This was more intricate than just two, straight collars, and so may have taken time to adopt, fully. The next change to the cap-rank system was made in 647, two years into the Taika Reform.  The ranks then were more directly named for the caps, or crowns—kanmuri—and their materials and colors.  The ranks translate to Woven, Embroidered, Purple, Brocade, Blue, Black, and finally "Establish Valor" for the entry level rank. The system gets updated two years later, but only slightly.  We still see a reference to Woven stuff, Embroidery, and Purple, but then the next several ranks change to Flower, Mountain, and Tiger—or possibly Kingfisher.  These were a little more removed from the cap color and material, and may have had something to do with designs that were meant to be embroidered on the cap or on the robes in some way, though that is just speculation based on later Ming and Qing court outfits. Naka no Ohoye then updates it again in 664, but again only a little.  He seems to add back in the "brocade" category, swapping out the "flower", and otherwise just adds extra grades within each category to expand to 26 total rank grades. And that brings us to the reforms of 685, mentioned last episode.  This new system was built around what appear to be moral exhortations—Upright, Straight, Diligent, Earnest, etc.  And that is great and all, but how does that match up with the official robes? What color goes with each rank category?  Fortunately, this time around, the Chronicle lays it out for us pretty clearly. First off we are given the color red for the Princely ranks—not purple as one might have thought.  Specifically, it is "Vermillion Flower", hanezu-iro, which Bentley translates as the color of the "Oriental bush" or salmon.  In the blogpost we'll link to a table of colors that the founder of Sengoku Daimyo, Anthony Bryant, had put together, with some explanation of how to apply it.  I would note that there is often no way to know exactly what a given color was like or what shades were considered an acceptable range.  Everything was hand-dyed, and leaving fabric in the dye a little longer, changing the proportions, or just fading over time could create slightly different variants in the hue, but we think we can get pretty close. From there we have the six "common" ranks for the nobility.  Starting with the first rank, Upright, we have "Dark Purple".  Then we have "Light Purple".  This pattern continues with Dark and Light Green and then Dark and Light Grape or Lilac.  Purple in this case is Murasaki, and green here is specifically Midori, which is more specifically green than the larger category of "Aoi", which covers a spectrum of blue to green.  The grape or lilac is specifically "suou", and based on Bentley's colors it would be a kind of purple or violet. The idea is that the official court outfits for each rank would be the proper color.  And yes, that means if you get promoted in rank, your first paycheck—or rice stipend—is probably going to pay for a new set of official clothes.  Fortunately for the existing court nobles at the time, in the last month of 685, the Queen provided court clothing for 55 Princes and Ministers, so they could all look the part. And the look at court was important.  In fact, several of the edicts from this time focus specifically on who was allowed—or expected—to wear what.  For instance, in the 4th month of 681, they established 92 articles of the law code, and among those were various sumptuary laws—that is to say, laws as to what you could wear.  We are told that they applied to everyone from Princes of the blood down to the common person, and it regulated the wearing of precious metals, pearls, and jewels; the type of fabric one could use, whether purple, brocade, embroidery, or fine silks; and it also regulated woollen carpets, caps, belts, and the colors of various things. And here I'd like to pause and give some brief thought to how this played into the goals of the court, generally, which is to say the goal of creating and establishing this new system of governance in the cultural psyche of the people of the archipelago.  From the continental style palaces, to the temples, and right down to the clothing that people were wearing, this was all orchestrated, consciously or otherwise, to emphasize and even normalize the changes that were being introduced.  When everything around you is conforming to the new rules, it makes it quite easy for others to get on board. The court had surrounded themselves with monumental architecture that was designed along continental models and could best be explained through continental reasoning.  Even if they weren't Confucian or Daoist, those lines of reasoning ran through the various cultural and material changes that they were taking up.  Sure, they put their own stamp on it, but at the same time, when everything is right in front of you, it would become that much harder to deny or push back against it. And when you participated in the important rituals of the state, the clothing itself became a part of the pageantry.  It reinforced the notion that this was something new and different, and yet also emphasized that pushing against it would be going against the majority.  So court uniforms were another arm of the state's propaganda machine, all designed to reinforce the idea that the heavenly sovereign—the Tennou—was the right and just center of political life and deserving of their position.  Getting back to the sumptuary laws and rank based regulations: It is unfortunate that the record in the Nihon Shoki doesn't tell us exactly how things were regulated, only that they were, at least in some cases.  So for anything more we can only make assumptions based on later rules and traditions.  A few things we can see right away, though.  First is the restriction of the color purple.  Much as in Europe and elsewhere in the world, getting a dark purple was something that was not as easy as one might think, and so it tended to be an expensive dye and thus it would be restricted to the upper classes—in this case the princely and ministerial rank, no doubt.  Similarly brocade and fine silks were also expensive items that were likely restricted to people of a particular social station for that reason. The mention of woolen rugs is particularly intriguing.  Bentley translates this as woven mattresses, but I think that woolen rugs makes sense, as we do have examples of woolen "rugs" in Japan in at least the 8th century, stored in the famous Shousouin repository at Toudaiji temple, in Nara.  These are all imported from the continent and are actually made of felt, rather than woven.  As an imported item, out of a material that you could not get in the archipelago, due to a notable lack of sheep, they would have no doubt been expensive. The funny thing is that the carpets in the Shousouin may not have been meant as carpets.  For the most part they are of a similar size and rectangular shape, and one could see how they may have been used as sleeping mattresses or floor coverings.  However, there is some conjecture that they came from the Silk Road and may have been originally meant as felt doors for the tents used by the nomadic steppe peoples.  This is only conjecture, as I do not believe any of these rugs have survived in the lands where they would have been made, but given the size and shape and the modern yurt, it is not hard to see how that may have been the case.  Either way, I tend to trust that this could very well have meant woolen rugs, as Aston and the kanji themselves suggest, though I would understand if there was confusion or if it meant something else as wool was not exactly common in the archipelago at that time or in the centuries following. The last section of the regulations talks about the use of caps and belts.  The caps here were probably of continental origin:  The kanmuri, or official cap of state of the court nobles, or the more relaxed eboshi—though at this time, they were no doubt closely related. In fact, a year later, we have the most specific mention to-date of what people were actually wearing on their heads: there is a mention of men tying up their hair and wearing caps of varnished gauze.  Earlier caps related to the cap rank system are often thought to be something like a simple hemisphere  that was placed upon the head, with a bulbous top where the wearer's hair could be pulled up as in a bun. The kanmuri seems to have evolved from the soft black headcloth that was worn on the continent, which would have tied around the head, leaving two ends hanging down behind.  Hairstyles of the time often meant that men had a small bun or similar gathering of hair towards the back of their head, and tying a cloth around the head gave the effect of a small bump.  This is probably what we see in depictions of the early caps of state.  Sometimes this topknot could be covered with a small crown or other decoration, or wrapped with a cloth, often referred to as a "Tokin" in Japanese.  But over time we see the development of hardened forms to be worn under a hat to provide the appropriate silhouette, whether or not you actually had a topknot (possibly helpful for gentlemen suffering from hair loss).  And then the hat becomes less of a piece of cloth and more just a hat of black, lacquered gauze made on a form, which was much easier to wear.  At this point in the Chronicle, the cap was likely still somewhat malleable, and would made to tie or be pinned to that bun or queue of hair.  This explains the mention of men wearing their hair up.  This pin would become important for several different types of headgear, but ties were also used for those who did not have hair to hold the hat on properly. Two years after the edict on hats, we get another edict on clothing, further suggesting that the court were wearing Tang inspired clothing.  In 685 we see that individuals are given leave to wear their outer robe either open or tied closed. This is a clue that this outer robe might something akin to the round-necked hou that we see in the Tenjukoku Mandala, where the neck seems to close with a small tie or button.  However, we do see some examples, later, of v-necked garments with a tie in the center of the neck, so that may be the reference..  Opening the collar of the formal robes was somewhat akin to loosening a necktie, or unbuttoning the top button of a shirt.  It provided a more relaxed and comfortable feeling.  It could also be a boon in the warm days of summer.  Leaving it closed could create a more formal appearance. The courtiers also had the option of whether or not to wear the "Susotsuki", which Bentley translates as "skirt-band".  I believe this refers to the nai'i, or inner garment.  This would often have a pleated hem—a suso or ran—which would show below the main robe as just a slight hem.  Again, this is something that many would dispense with in the summer, or just when dressing a bit more casually, but it was required at court, as well as making sure that the tassles were tied so that they hung down.  This was the uniform of the court.  We are also told that they would have trousers that could be tied up, which sounds like later sashinuki, though it may have referred to something slightly different.  We are also given some regulations specifically for women, such as the fact that women over 40 years of age were allowed the discretion on whether or not to tie up their hair, as well as whether they would ride horses astride or side-saddle.  Presumably, younger women did not get a choice in the matter.  Female shrine attendants and functionaries were likewise given some leeway with their hairstyles. A year later, in 686, they do seem to have relaxed the hairstyles a bit more: women were allowed to let their hair down to their backs as they had before, so it seems that, for at least a couple of years, women under the age of 40 were expected to wear their hair tied up in one fashion or another. In that same edict, men were then allowed to wear "habakimo".  Aston translates this as "leggings" while Bentley suggests it is a "waist skirt".  There are an example of extant habakimo in the Shousouin, once again, and they appear to be wrappings for the lower leg.  It actually seems very closely related to the "kyahan" depicted all the way back in the 6th century painting of the Wo ambassador to Liang. Even though these edicts give a lot more references to clothing, there is still plenty that is missing.  It isn't like the Chroniclers were giving a red carpet style stitch-by-stitch critique of what was being worn at court.  Fortunately, there is a rather remarkable archaeological discovery from about this time. Takamatsuzuka is a kofun, or ancient burial mound, found in Asuka and dated to the late 7th or early 8th century.  Compared to the keyhole shaped tombs of previous centuries, this tomb is quite simple: a two-tiered circular tomb nestled in the quiet hills.  What makes it remarkable is that the inside of the stone burial chamber was elaborately painted.  There are depictions of the four guardian animals, as well as the sun and the moon, as well as common constellations.  More importantly, though, are the intricate pictures of men and women dressed in elaborate clothing. The burial chamber of Takamatsuzuka is rectangular in shape.  There are images on the four vertical sides as well as on the ceiling.  The chamber is oriented north-south, with genbu, the black tortoise, on the north wall and presumably Suzaku, the vermillion bird, on the south wall—though that had been broken at some point and it is hard to make out exactly what is there. The east and west walls are about three times as long as the north and south walls.  In the center of each is a guardian animal—byakko, the white tiger, on the west wall and seiryuu, the blue—or green—dragon on the east.  All of these images are faded, and since opening of the tomb have faded even more, so while photos can help, it may require a bit more investigation and some extrapolation to understand all of what we are looking at. On the northern side of both the east and west wall we see groups of four women.  We can make out green, yellow, and red or vermillion outer robes with thin fabric belt sashes, or obi, tied loosely and low around the waist.  There is another, lightly colored—possibly white, cream or pink—that is so faded it is hard to make out, and I don't know if that is the original color.  These are v-necked robes, with what appear to be ties at the bottom of the "v".  Around the belt-sash we see a strip of white peaking out from between the two sides of the robe—most likely showing the lining on an edge that has turned back slightly.  The cuffs of the robe are folded back, showing a contrasting color—either the sleeves of an underrobe or a lining of some kind.  Below the outer robe is a white, pleated hem—possibly a hirami or similar, though where we can make it out, it seems to be the same or similar color as the sleeves.  Under all of that, they then have a relatively simple mo, or pleated skirt.  The ones in the foreground are vertically striped in alternating white, green, red, and blue stripes.  There is one that may just be red and blue stripes, but I'm not sure.  In the background we see a dark blue—and possibly a dark green—mo.  At the base of each mo is a pleated fringe that appears to be connected to the bottom of the skirt.  The toe of a shoe seems to peek out from underneath in at least one instance.  They don't have any obvious hair ornaments, and their hair appears to be swept back and tied in such a way that it actually comes back up in the back, slightly.  They appear to be holding fans and something that might be a fly swatter—a pole with what looks like tassels on the end. In comparison, at the southern end of the tomb we have two groups of men.  These are much more damaged and harder to make out clearly.  They have robes of green, yellow, grey, blue, and what looks like dark blue, purple, or even black.  The neckline appears to be a v-necked, but tied closed, similar to what we see on the women.  We also see a contrasting color at the cuff, where it looks like the sleeves have turned back, slightly.  They have belt-sashes similar to the women, made of contrasting fabric to the robe itself.  Below that we see white trousers, or hakama, and shallow, black shoes.  On some of the others it is suggested that maybe they have a kind of woven sandal, but that is hard to make out in the current image.  On their heads are hats or headgear of black, stiffened—probably lacquered—gauze.  They have a bump in the back, which is probably the wearer's hair, and there is evidence of small ties on top and larger ties in the back, hanging down.  Some interpretations also show a couple with chin straps, as well, or at least a black cord that goes down to the chin.  They carry a variety of implements, suggesting they are attendants, with an umbrella, a folding chair, a pouch worn around the neck, a pole or cane of some kind, and a bag with some kind of long thing—possibly a sword or similar. The tomb was originally found by farmers in 1962, but wasn't fully examined until 1970, with an excavation starting in 1972.  The stone at the entryway was broken, probably from graverobbers, who are thought to have looted the tomb in the Kamakura period.  Fortunately, along with the bones of the deceased and a few scattered grave goods that the robbers must have missed, the murals also survived, and somehow they remained largely intact through the centuries.  They have not been entirely safe, and many of the images are damaged or faded, but you can still make out a remarkable amount of detail, which is extremely helpful in determining what clothing might have looked like at this time—assuming it is depicting local individuals. And there is the rub, since we don't know exactly whom the tomb was for.  Furthermore, in style it has been compared with Goguryeo tombs from the peninsula, much as nearby Kitora kofun is.  Kitora had images as well, but just of the guardian animals and the constellations, not of human figures. There are three theories as to who might have been buried at Takamatsuzuka.  One theory is that it was one of Ohoama's sons.  Prince Osakabe is one theory, based on the time of his death and his age.  Others have suggested Prince Takechi.  Based on the teeth of the deceased, they were probably in their 40s to 60s when they passed away. Some scholars believe that it may be a later, Nara period vassal—possibly, Isonokami no Maro.  That would certainly place it later than the Asuka period. The third theory is that it is the tomb of a member of one of the royal families from the Korean peninsula—possibly someone who had taken up refuge in the archipelago as Silla came to dominate the entire peninsula.  This last theory matches with the fact that Takamatsuzuka appears to be similar to tombs found in Goguryeo, though that could just have to do with where the tomb builders were coming from, or what they had learned. That does bring up the question of the figures in the tomb.  Were they contemporary figures, indicating people and dress of the court at the time, or were they meant to depict people from the continent?  Without any other examples, we may never know, but even if was indicative of continental styles, those were the very styles that Yamato was importing, so it may not matter, in the long run.     One other garment that isn't mentioned here is the hire, a scarf that is typically associated with women.  It is unclear if it has any relationship to the sashes we see in the Kofun period, though there is at least one mention of a woman with a hire during one of the campaigns on the Korean peninsula.  Later we see it depicted as a fairly gauzy piece of silk, that is worn somewhat like a shawl.  It is ubiquitous in Sui and Tang paintings of women, indicating a wide-ranging fashion trend.  The hire is a fairly simple piece of clothing, and yet it creates a very distinctive look which we certainly see, later. Finally, I want to take a moment to acknowledge that almost everything we have discussed here has to do with the elites of society—the nobles of the court.  For most people, working the land, we can assume that they were probably not immediately adopting the latest continental fashions, and they probably weren't dressing in silk very much.  Instead, it is likely that they continued to wear some version of the same outfits we see in the haniwa figures of the kofun period.  This goes along with the fact that even as the elite are moving into palaces built to stand well above the ground, we still have evidence of common people building and living in pit dwellings, as they had been for centuries.  This would eventually change, but overall they stuck around for quite some time.  However, farmers and common people are often ignored by various sources—they aren't often written about, they often aren't shown in paintings or statues, and they did often not get specialized burials.  Nonetheless, they were the most populous group in the archipelago, supporting all of the rest. And with that, I think we will stop for now.  Still plenty more to cover this reign.  We are definitely into the more historical period, where we have more faith in the dates—though we should remember that this is also one of the reigns that our sources were specifically designed to prop up, so we can't necessarily take everything without at least a hint of salt and speculation, even if the dates themselves are more likely to be accurate. 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.  

Hey, all you Spongeworthy Singles!Live from Lilac City Comic Con, our subversive submariners, Brennon & Adam, are joined by THE VOICE OF SQUIDWARD, Rodger Bumpas,s to bring you the biggest and best interview yet!So grab your clarinet, paint a self-portrait if you wish, and get down on the deck on flop like a fish, on Super 90s Bros!

The SKATCAST Network presents:The Dave and Angus Show #194 - Legend of the Werewolf of Lilac HollowToday's Crap:Dave and Angus (along with RC and Gus) go camping (not with zombies) and they have a grand old time. What starts off as a night of spooky stories turns into some major family drama that probably goes too far for a family podcast. Luckily this is a podcast for degenerates. There is also some dumb singing.Have a happy as* Thursday! Visit us for more episodes of SKATCAST and other shows like SKATCAST presents The Dave & Angus Show plus BONUS material at https://www.skatcast.com Watch select shows and shorts on YouTube: bit.ly/34kxCneJoin the conversation on Discord! https://discord.gg/XKxhHYwu9zFor all show related questions: info@skatcast.comPlease rate and subscribe on iTunes and elsewhere and follow SKATCAST on social media!! Instagram: @theescriptkeeper Facebook: https://www.facebook.com/scriptkeepersATWanna become a Patron? Click here: https://www.patreon.com/SkatcastSign up through Patreon and you'll get Exclusive Content, Behind The Scenes video, special downloads and more! Prefer to make a donation instead? You can do that through our PayPal: https://paypal.me/skatcastpodcast Hosted on Acast. See acast.com/privacy for more information.

It is The Stacks Book Club day and we're discussing The Lilac People by Milo Todd. Our guest for today's conversation is editor and author, Denne Michele Norris. The Lilac People follows a trans man and his partner as they attempt to survive Nazi Germany and the aftermath of the Allies' takeover post-war. Together, we discuss the ways Milo Todd uses history to ground the book and its characters, the ever evolving language surrounding gender and identity, plus the ethical questions that arise in times of war.There are spoilers in this episode.Listen to the end of today's episode to find out what our October Book Club pick will be!You can find everything we discuss on today's show on The Stacks' website:https://www.thestackspodcast.com/2025/9/24/ep-391-the-lilac-peopleConnect with Denne: Instagram | PodcastConnect with The Stacks: Instagram | Twitter | Shop | Patreon | Goodreads | Substack | SubscribeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When is the best time to fertilize the lawn and how often should it be done? Is it time to plant apple tree seeds? Causes behind brown spots in the yard. What is causing lilacs to have so many issues in Minnesota? What is the lifespan of a lilac bush? Why are there so many acorns this year? How long should the lawn be aerated? What are the best hostas to plant in Minnesota? What to do after laying sod. What is the best apple for apple pie? Should clover be added to the lawn? Adjusting the height of your lawn mower. Learn more from horticulturalist Julie Weisenhorn and Lawn and Turf expert Jon Trappe at extension.umn.edu.

Not all hauntings begin with shadows and screams. Sometimes they start with something deceptively sweet — like the ghost of a little white dog curling up at your feet. In this haunting letter story, a young girl growing up in a two-story ranch home quickly realizes her new companion may not be so harmless after all. At first, the phantom dog seemed like comfort — a familiar presence keeping her company at night. But as the activity escalated, the haunting grew darker. TVs switched themselves on to Turner Classic Movies and Nick at Nite. A soothing mother-like voice called out in the dark. And when a Ouija board entered the picture, things took a terrifying turn. The name that came through: Lilac. At first, it sounded pretty. But Lilac wasn't here to play. Soon dreams turned to nightmares, shoves came from nowhere, and a child spirit revealed itself as something much more sinister. Tony, Carol, and Todd pick apart the story — debating whether this was multiple entities or one dark force, and whether Ouija boards really open doors that can't be closed. With a mix of chills, sarcasm, and lived experience, they bring this unsettling story to life in the only way Real Ghost Stories Online can. #ghostdog #OuijaBoard #hauntedhouse #paranormal #ghoststories #realghoststories #haunting #paranormalactivity #supernatural #creepy Love real ghost stories? Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

Not all hauntings begin with shadows and screams. Sometimes they start with something deceptively sweet — like the ghost of a little white dog curling up at your feet. In this haunting letter story, a young girl growing up in a two-story ranch home quickly realizes her new companion may not be so harmless after all. At first, the phantom dog seemed like comfort — a familiar presence keeping her company at night. But as the activity escalated, the haunting grew darker. TVs switched themselves on to Turner Classic Movies and Nick at Nite. A soothing mother-like voice called out in the dark. And when a Ouija board entered the picture, things took a terrifying turn. The name that came through: Lilac. At first, it sounded pretty. But Lilac wasn't here to play. Soon dreams turned to nightmares, shoves came from nowhere, and a child spirit revealed itself as something much more sinister. Tony, Carol, and Todd pick apart the story — debating whether this was multiple entities or one dark force, and whether Ouija boards really open doors that can't be closed. With a mix of chills, sarcasm, and lived experience, they bring this unsettling story to life in the only way Real Ghost Stories Online can. #ghostdog #OuijaBoard #hauntedhouse #paranormal #ghoststories #realghoststories #haunting #paranormalactivity #supernatural #creepy Love real ghost stories? Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

What it takes to become a Master Gardener. The best grass for a shady area. Killing Creeping Charlie. Continuing issues with lilacs. Using Google Lens to identify plants. Methods to killing moss. Growing grass on bare patches. The basics of tree planting. When tress should be trimmed. Can grass seed get too old to use? Learn more from Master Gardener Teresa Rooney at extension.umn.edu.

Monday's are engineered to entice and intrigue newer solvers, and today's crossword, by Margaret Seikel, does so admirably. There were a few clues that gave us pause: 47D, Attaches, ADDSON (not ADHERES, which, among other problems, would not fit); 43D, Georgia politico Stacey _______, ABRAMS, eventually came to mind (she has definitely not been prominent in the news as of late); and we were especially surprised by 42A, Flower symbolizing early love, LILAC. Now we know!Show note imagery: US Patent 4,530,631, for the POPTABWe love feedback! Send us a text...Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

Lavender wakes up from her Big Sleep with endless questions, mostly about the Annual Bear Picnic. When will it be? Will there be pie? And will her cousin Lilac be there? Mother Bear calmly answers some of the questions while leaving others open ended. Curl up in your den for this sweet story about a curious young bear cub, her loving mother, and the Annual Bear Picnic. This "Wandering Sleep Story" is part of a series available on Little Stories for Sleep, a bedtime podcast available to all Little Stories Premium subscribers. On Little Stories for Sleep, every episode begins and ends with soft music perfect for bedtime. There are no introductions before the story, no comments after--nothing to interrupt a soothing bedtime playlist. To hear more Wandering Sleep Stories, you can join or gift a subscription by visiting http://littlestoriespremium.com

Our story tonight is called The Lilac Booth, Part Two, and it's a story about a lovely spring day at the farmer's market and the sweet smell of a favorite flower. It is also about street food and sunshine, memories pulled forward by a breath of perfume, crumpled dollar bills, and the kind of beauty that can sit on your windowsill. Subscribe to our ⁠Premium channel.⁠ The first month is on us.

Our story tonight is called The Lilac Booth, and it's a story about a Spring morning at a familiar farm house. It's also about bullfrogs and garden clogs, old vases collected from friends, armfuls of fresh flowers, driving with the window down on a warm day, and the small decisions that add up to make a new path in life. We give to a different charity each week and this week we are giving to the Knuckle Bump Farms Foundation. Empowering Animals, Enriching Communities. Subscribe for ad-free, bonus and extra long episodes now, as well as ad-free and early episodes of Stories from the Village of Nothing Much! Search for NMH Premium channel on Apple podcast or follow this link. AquaTru water purifier: Click here and get 20% OFF with code NOTHINGMUCH. Beam Dream Powder: Click here for up to 40% off with code NOTHINGMUCH. BIOptimizers' Sleep Breakthrough: Click here and use code NOTHINGMUCH for 10% off any order! Cornbread Hemp's CBD gummies: Click here to save 30% on their first order! Cymbiotika products: Click here for 20% off and free shipping! Moonbird, the world's first handheld breathing coach: Click here and save 20%! NMH merch, autographed books and more! Pay it forward subscription Listen to our daytime show Stories from the Village of Nothing Much on your favorite podcast app. Join us tomorrow morning for a meditation