Podcasts about Midori

From co-founder to community builder, Midori Verity shares her evolution from running a business alongside her husband to launching Fuel to Fire, a growth accelerator helping entrepreneurs unlock their zone of genius, crush sales goals, and lead with unstoppable clarity.In our inspiring conversation, Midori opens up about the pivotal transitions that shaped her journey, from navigating corporate dynamics to scaling multiple ventures and ultimately designing a business that empowers others to grow without burnout. She speaks candidly about what happens when women hit the million-dollar mark and realize their focus shifts from personal achievement to team empowerment and collective success. For Midori, that realization became the spark behind Fuel to Fire and her 21-Day PowerSprint — a focused experience that helps entrepreneurs achieve measurable progress, fast.Throughout our conversation, Midori breaks down the mindset traps that keep even high-achieving women playing small, including fears like “I'm not ready,” or “I don't have time.” She reminds us that success isn't about doing it all; it's about doing what matters most, surrounding yourself with the right people, and staying laser-focused on leads and sales — the lifeblood of every growing business. Her approach blends structure, accountability, and confidence-building so entrepreneurs can stop spinning their wheels and start scaling strategically.At its heart, Midori's story is about evolution of mindset, leadership, and self-belief. It's proof that clarity, mentorship, and community can transform the way women lead and the way their businesses grow. If you've ever felt torn between doing more and doing better, this conversation will reignite your vision and remind you what's possible when you fully commit.Tune in to hear how Midori is helping women entrepreneurs accelerate with purpose and step boldly into their next level of success.Chapters

What vampiric activities happen in Vegas often stay in Vegas… until now!! That's right, we're going beyond The Strip to the suburbs of Glitter Gultch to be neighborly with the new vamp in town as we cover the 2011 remake of FRIGHT NIGHT!! Along the way, we dig into 2000s remake culture, discuss how the housing bubble burst enriches this teen vampire thriller, unpack what makes one Charley Brewster “so cool” and another an annoying jerk, and get thirsty on main over Colin Farrell and Toni Collette!! All this, plus the return of Count Orlock and his shoe fetish, Midori addiction, the importance of being a dweeb, spray-on hair, bad vampire planners, stealing from Children of Men, giving Amy something to do, and a sunny new edition of Choose Your Own Deathventure!! This episode is move-in ready!!    Part of the BLEAV Network.Get even more episodes exclusively on Patreon! Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today!Join the new Discord Server Comvo here! Our linker.ee Click here to visit our Dashery/TeePublic shop for killer merch! Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast!! Join us on Threads or even Bluesky Check out Gena's newsletter on Ghost!! Check out the films we've covered & what might come soon on Letterboxd! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

It is that time of the year again. Another late Halloween short story. Tonight I bring you a tale about a martyred anarcho-communist abbot who rallied farmers from his Zen temple in the mountains until the Meiji authorities caught him. Love, horror and revolutionary violence. I took plenty of freedoms with the story to make the characters come alive. The protagonist's fate is true as told. So too are the words of his political sermon which is read in parts when Uchiyama Gudō and Midori falls in love in the meditation hall. I hope you will enjoy it. In preparation for this ep I went on a road trip paying my respect at Gudō's grave. A rainy night that ended up lasting a week. I got lost in the mountains, slept in my car, a net-cafe and lodged at a cheap pension by the Izu ocean. Thanks to all the patreons that keep me going.

Midori Yamaguchi is a Senior Associate at Mori Hamada & Matsumoto in Tokyo whose career spans Singapore, the US, and Japan. We hear about her two-year secondment to METI (Ministry of Economy, Trade and Industry), where she was the only lawyer on the legislation drafting team where she helped create Japan's new pre-insolvency regime - literally dreaming about the law every night. If you're contemplating a step off the well trodden career path of private practice, and think it's not possible to come back on track, or if you are seeking inspiration, this episode is for you.If you enjoyed this episode and it inspired you in some way, we'd love to hear about it and know your biggest takeaway. Head over to Apple Podcasts to leave a review and we'd love it if you would leave us a message here!In this episode you'll hear:How Midori's father shaped her values of fairness and honestyThe pivotal role of taking opportunities based on enjoyment rather than fearPowerful lessons from working across Singapore, the US, and JapanPractical strategies for building visibility in Japan's humble culture, including why putting your skills on display, isn't self-promotion About MidoriMidori Yamaguchi is a Senior Associate at Mori Hamada & Matsumoto in Tokyo, where she specialises in restructuring and insolvency as well as dispute resolution. She is qualified in both Japan and New York.Her practice has a strong cross-border focus: she has worked in the firm's Singapore office, spent time at a U.S. law firm, and completed an LL.M. at New York University. Most recently, she concluded a secondment at Japan's Ministry of Economy, Trade and Industry, where she was involved in drafting legislation to introduce a new pre-insolvency regime.Recognised in Best Lawyers: Ones to Watch in Japan for Arbitration and Mediation in 2022, she is regarded as a rising expert in international legal matters.She actively contributes to the international restructuring and insolvency community through her regular publications and involvement with leading global organisations, including INSOL International as an INSOL Fellow, the International Insolvency Institute (III) as a NextGen member, the International Women's Insolvency & Restructuring Confederation (IWIRC), the Insolvency Section of the International Bar Association (IBA), and the American Bankruptcy Institute (ABI).She has an LL.B. from Hitotsubashi University and J.D. from Hitotsubashi Law School.Outside of work, she enjoys traveling abroad, scuba diving, and exploring Tokyo's traditional public bathhouses.Connect with MidoriLinkedIn: https://www.linkedin.com/in/midori-yamaguchi-3364a3222/  Firm: https://www.morihamada.com/en/people/midori-yamaguchiLinksGinza Music Bar: https://ginzamusicbar.com/ METI, Ministry of Economy, Trade and Industry: https://www.meti.go.jp/english/ Connect with Catherine LinkedIn https://www.linkedin.com/in/oconnellcatherine/Instagram: https://www.instagram.com/lawyeronair

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.  

© Copyright. Estos audios están protegidos por las leyes de Derechos de Autor.Para permisos, contactarme en:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.semperfiat.com

© Copyright. Estos audios están protegidos por las leyes de Derechos de Autor.Para permisos, contactarme en:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.semperfiat.com

Today's episode is a very planner-centric Q&A episode (since it's that time of year!). First, Cynthia opens with her planner peace - a mashup of prior BLP mentions, from the Passionate Pennypincher Planner to Planner Pad and a Stalogy notebook! Then, Kristin shares a pro tip for melding her digital planning (via Google calendar) with a paper system that allows for daily notes jotted in pen and a physical representation of the weeks and months. Susie shares a common planning conundrum - she has a life with LOTS of moving parts, but no one system to contain them all. Finally, a listener wonders how to handle events being tentatively booked in advance, while another gives a shout-out to Midori's unique Double Scheduler options (https://www.jetpens.com/Midori-Double-Schedule-Diary-2026-B6-To-Do-Blue) Notes: Yes, you can text your questions to Sarah -- just text (305) 697-71892026 courses are open for registration at theshubox.com/courses. Planning By Season is almost full, so don't wait to register if you are interested! Sponsor Notes: IXL: Make an impact on your child's learning, get IXL now. Best Laid Plans listeners can get an exclusive 20% off IXL membership when they sign up today at ⁠https://www.ixl.com/plans⁠ Green Chef: Make this fall your healthiest yet with Green Chef. Visit ⁠greenchef.com/50bestlaid ⁠and use code 50BESTLAID to get fifty percent off your first month, then twenty percent off for two months with free shipping. Mint Mobile: Ready to save on your wireless? Make the switch at ⁠mintmobile.com/BLP⁠. PrepDish: Meal plans ready to go, in your inbox each week. You can try 2 weeks free at ⁠prepdish.com/plans⁠! Learn more about your ad choices. Visit megaphone.fm/adchoices

Va ser una nena prodigi i fins i tot portada del New York Times. La violinista japonesa Midori i la seva vida fulgurant amb els Homes Cl

We're opening the curtain to take a look at the most disturbing banned anime, Midori: Shōjo Tsubaki, aka Girl in the Freak Show. We unpack the infamous cruelty it portrays, from the shocking puppy scene that IS worse than JoJo's, to the unsettling relationship between Midori and the magician dwarf who manipulates her. More than just shock value, we explore how these grotesque depictions reflect exploitation, trauma, and the limits of storytelling in extreme art. Check us out on our website: Https://www.otakuhostclub.com Chat with us in between episodes on our Discord server: https://discord.gg/VZWCpsMvmR and check us out on our Instagram @otakuhostclub

In this episode, DB talks with Midori, a sex eduator and artist who focuses on domination and power play for anyone who identifies as a woman. What does femme domination look like -- and why can it be so intimidating to tap into? Learn to tap into your domme side with tips from Midori on how to get there, and why domming is often so much simpler and sweeter than people might think. Guest Details Midori (she/her) is an educator, artist, and provocateur reshaping how we understand kink, consent, and connection. For over three decades, she has inspired people around the world to explore desire with courage, curiosity, and a touch of mischief. Born in Japan and forged in 1990s queer San Francisco, she brings a multicultural perspective to topics like Shibari, power dynamics, and playful negotiation. Founder of ForteFemme and Consent Dojo, she trains mental health professionals, educators, and everyday people in kink expertise, cultural competence, and trauma-informed care, making learning both profound and delightful. Event listing and all that Midori offers: https://planetmidori.com/ For great resources, class videos, live zoom events, and more : https://www.patreon.com/c/PlanetMidori ForteFemme Women's Dominance Intensive: https://www.fortefemme.com/ -- Register for upcoming intensive! November 14-16, 2025 Midori's socials https://bsky.app/profile/planetmidori.bsky.social https://www.instagram.com/planetmidori/ https://www.facebook.com/PlanetMidori/ https://substack.com/@planetmidori Midori's books Seductive Art of Japanese Bondage - https://www.twistedmonk.com/collections/bondage-education-books/products/seductive-art-of-japanese-bondage/?rfsn=264649.d9eeca Wild Side Sex: The Book of Kink - https://www.therippedbodice.com/aff/hello_34966/book/9781881943228 Silk Threads: Three Tales of Passionate Japan - https://www.therippedbodice.com/aff/hello_34966/book/9781626015302 An Intersectional Approach to Sex Therapy: Centering the Lives of Indigenous, Racialized, and People of Color - https://www.routledge.com/An-Intersectional-Approach-to-Sex-Therapy-Centering-the-Lives-of-Indigenous-Racialized-and-People-of-Color/Malone-Stewart-Gary-Smith-Wadley/p/book/9780367471958 Fundamental Concepts and Critical Developments in Sex EducationIntersectional and Trauma-Informed Approaches - https://www.routledge.com/Fundamental-Concepts-and-Critical-Developments-in-Sex-Education-Intersectional-and-Trauma-Informed-Approaches/Malone-Gilbert-Dukes-Fonte/p/book/9781032615431 DB is proud to be an affiliate of The Ripped Bodice! We may receive a percentage of profits from books purchased using our link. Thank you for supporting us by shopping The Ripped Bodice! ABOUT SEASON 12 Season 12 of Sex Ed with DB is ALL ABOUT PLEASURE! Solo pleasure. Partnered pleasure. Orgasms. Porn. Queer joy. Kinks, sex toys, fantasies—you name it. We're here to help you feel more informed, more empowered, and a whole lot more turned on to help YOU have the best sex. CONNECT WITH US Instagram: @sexedwithdbpodcast TikTok: @sexedwithdbTwitter: @sexedwithdb Threads: @sexedwithdbpodcast YouTube: Sex Ed with DB SEX ED WITH DB SEASON 12 SPONSORS Lion's Den, Uberlube, & Magic Wand Get discounts on all of DB's favorite things here! GET IN TOUCH Email: sexedwithdb@gmail.comSubscribe to our BRAND NEW newsletter for hot goss, expert advice, and *the* most salacious stories. FOR SEXUAL HEALTH PROFESSIONALS Check out DB's workshop: "Building A Profitable Online Sexual Health Brand" ABOUT THE SHOW Sex Ed with DB is your go-to podcast for smart, science-backed sex education—delivering trusted insights from top experts on sex, sexuality, and pleasure. Empowering, inclusive, and grounded in real science, it's the sex ed you've always wanted. ASK AN ANONYMOUS SEX ED QUESTION Fill out our anonymous form to ask your sex ed question. SEASON 12 TEAM Creator, Host & Executive Producer: Danielle Bezalel (DB) (she/her) Communications Lead: Cathren Cohen (she/her) Growth Marketing Manager and Producer: Wil Williams (they/them) MUSIC Intro theme music: Hook Sounds Background music: Bright State by Ketsa Ad music: Soul Sync by Ketsa, Always Faithful by Ketsa, and Soul Epic by Ketsa. Thank you Ketsa!

We’re talking Tinder weirdos (yes, even millionaires looking for “breeders”), a sad dinner showdown that somehow birthed a Midori trifle, and the wild story of Steve Jobs refusing to sign autographs… except when he actually did. Plus, in Glossy’s: Britney claps back, Rosie O’Donnell drags Ellen, Jeremy Clarkson loses his pants, and fresh tea on Taylor’s wedding plans. Oh, and Victoria Beckham’s finally letting Netflix in on the spice.See omnystudio.com/listener for privacy information.

From tuna on steak to dog food dinners, the sad meal comp has been wild — but today was next level. Isabella accidentally pitched us her “security board” (aka a DIY charcuterie board with corn kernels and cottage cheese), Phil served up a sardine omelette nobody asked for, and Christina went full chaotic auntie with a Midori trifle. In the end, we couldn’t pick, so two winners walked away with cash and Ufoods… and Joel’s still begging for that trifle recipe.See omnystudio.com/listener for privacy information.

各位听众朋友们大家好。本期节目，我们想来聊一聊关于云南咖啡的话题。伴随着旅游业的发展，有关云南本地的关键词在不断增加。今天我们与Torch Coffee Lab炬点咖啡实验室合作，邀请了资深的咖啡师和培训师大鹏老师，来与我们一起聊聊云南咖啡。 本期节目中，我们展开了一系列有意思的讨论，比如： 咖啡的风味到底是怎么来的，风味的命名是怎么样一个过程？ 不同产地的咖啡风味到底因为哪些原因出现不同？ 云南咖啡在市场当中的定位是什么？和别的产区的咖啡相比，云南咖啡具有的优势和劣势是哪些，是什么原因造成的？ 云南咖啡在消费市场上的接受度如何？为什么国内和国外的接受度会有微妙的差别？ 咖啡师培训是什么，咖啡师的比赛是什么？现在的SoE和blend为什么会出现鄙视链和种种迷思？ 咖啡品牌该如何与本地咖农合作？ 还有很多，很多…… 录制过程中，让我们感到惊讶的是，云南作为咖啡产地曾经饱受诟病。云南咖啡曾经面临的批评有”青草味很重“，或是”木质味很重“。然而随着咖啡产业的成熟，咖啡在风味上出现的问题和变化也渐渐变得明晰，可以在具体的生产链条上找到原因。比如青草味是和咖啡豆的采摘有关，而木质味的产生可能是因为豆子的干燥过程过快…… 针对这些问题，云南咖啡在加工方式上不断做着对应的改进，整条产业链也在这种技术迭代的过程里越发成熟。 ^ 大绿在播客中提到的云南咖啡风味地图（炬点咖啡实验室出品） 在与大鹏老师的聊天中，我们反复谈到咖啡品牌与咖农之间的关系。在展开这个问题的过程当中，我们对炬点咖啡实验室想要实现的目标有了更清楚的理解。与所谓的不断“寻找”更好的咖啡不同，炬点咖啡想要做的事情是和农户合作。即便有一天炬点的项目也可能会结束，但农户和咖啡之间的关系已经建立，咖啡生产的链条也已经成熟，咖啡种植还是可以成为农户可靠而稳定的生活来源。为了实现这一点，炬点咖啡在咖啡种植的过程里不断和农户沟通，让农户品尝自己种的咖啡，从而能够通过评估自己的咖啡进一步完善对咖啡作为一条产业链的认识。 ^ 炬点咖啡实验室的种植庄园 我们也聊到了对云南这座城市的喜爱。或许云南咖啡最大的优势就在于云南。产地就在中国这一点，让云南咖啡的市场和产地更容易架设起连接：如果喝到喜欢的风味，甚至可以直接去产地看一看，还可以直接和农户交流。相比起肯尼亚、埃塞俄比亚等等产地，云南咖啡这种产地和市场的亲密性是独一无二的。去云南旅游的经验也都让我们感受到一种慢下来的生活节奏，让感官更容易对生活打开。 ^ 炬点咖啡普洱门店 最后，对炬点咖啡在做的事情、在关心的问题感兴趣的朋友，欢迎关注炬点咖啡的公众号：Torch炬点咖啡实验室 也欢迎访问炬点咖啡的线下门店，包括炬点咖啡的昆明旗舰店和普洱店。 ^ 炬点咖啡昆明旗舰店 感谢大家收听！如果有任何想对我们说的话，欢迎给我们写信，我们的邮箱

Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important.  00:56:31 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA  for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

Iffland, Thorsten www.deutschlandfunk.de, Corso

I'm speaking with Olga Evans, co-founder of the Forest Bathing Institute and author of a new book exploring the science behind nature's healing power. We'll discover what forest bathing really means, whether you need an actual forest to benefit, and learn practical techniques you can use wherever you are. Links The Forest Bathing Institute The Healing Power of Trees by Olga Terebenina and Gary Evans Other episodes if you liked this one: Episode 48: Forest Bathing with Stefan Batorijs— Forest Bathing, or Shinrin Yoku, is the practice of immersing yourself in nature as therapy. It's the perfect antidote for those who feel disconnected from the land and unattached from nature, which is increasingly likely to happen in a world where 55% of us live in urban areas. In this episode, I speak to Stefan Batorijs who founded Nature and Therapy UK in 2017, as a response to a growing need to foster a spiritual and psychological connection to the land. If you've always wondered what Forest Bathing, or Shinrin Yoku, entails, this is the episode for you!.  Episode 118: The Tokachi Millennium Forest with Dan Pearson & Midori Shintani — In this episode, I am very pleased to have a double interview with Dan Pearson and Midori Shintani, the two key horticultural forces driving the Tokachi Millennium Forest project in Hokaido, Japan and co-authors of the book Tokachi Millennium Forest: Pioneering a New Way of Gardening with Nature. I speak to Midori first, then Dan, about this vast, 1000 year project, their hopes and intentions for now and the future and about their own places with the timeline of the forest. Please support the podcast on Patreon And follow Roots and All: On Instagram @rootsandallpod On Facebook @rootsandalluk On LinkedIn @rootsandall

Send us a textWhat happens when creative theme park fans decide to imagine the absolute worst possible Disney lands? We're about to find out while sipping on one of Epcot's most unusual cocktails.We kick things off by sampling the La Cava Avocado from La Hacienda de San Angel in the Mexico Pavilion – a unique $19 concoction featuring tequila, Midori, fresh avocado, lime juice, and agave. With its smoothie-like consistency and surprising flavor profile, this drink proves to be unexpectedly enjoyable and potentially a sleeper hit for our year-end list.Then we unleash our worst (or best?) terrible theme park concepts. "Corporate Land" brings the magic of endless meetings to life with attractions like the TPS Report Coaster that never actually leaves the station and the Annual Shareholders Review Musical. "Tax Season Terrace" features an IRS Audit dark ride and the Deduction Deli where servers take 30% of your food and throw it away right in front of you.The creativity continues with "Diet Land" (requiring 30,000 mandatory steps), "Dental Kingdom" (featuring the painfully slow "Floss Coaster"), "Plumland" (bathroom-themed attractions with active splash zones), "Potato Land" (celebrating root vegetables with no cleanup stations), and "The Emotionally Repressed Frontier" (where animatronics silently process family issues).Our most intriguing bad idea might be "Touchstone Land," celebrating Disney's adult-oriented film label with attractions based on hits like "The Rock," "Dead Poets Society," and "Pretty Woman." This concept actually contains elements many Disney fans might genuinely enjoy – proving that sometimes even terrible ideas contain a spark of inspiration.Join us for this hilarious brainstorming session that blends Disney parks knowledge, nostalgia, and creativity into one unforgettable cocktail of an episode. What's your favorite terrible theme park concept?Here's who we are and what is in store for you

各位听众朋友们大家好，欢迎收听新的一期《泉》播客。 大概在今年的三月底四月初，互联网上出现一股“吉卜力风格”的AI作画热潮。AI生成的“吉卜力风格”图片出现在各大社交媒体上，也引起了网民的激烈讨论。 “AI吉卜力是不是对「手绘作画」的一种侮辱？” “AI吉卜力有没有侵犯吉卜力的版权？”“我们该如何在AI面前保持创作的原创性？” 诸如此类的讨论持续发酵，在促使我们回顾AI与创作之间关系的同时，吉卜力这家工作室在观众心目中的独特地位也越发突出。很多英语世界的报道也强调吉卜力工作室在观众心目中的特殊地位，以及对AI不断发展的现状的担忧。比如福布斯在今年3月28日的报道“Studio Ghibli-Based Imagery Proves AI Art Keeps Generating Our Gag Reflex” 对“风格”的讨论已经由来已久，但是吉卜力工作室在观众心目中不可取代的位置让“AI创作”这一问题再次成为焦点。本期节目，我们特意邀请来了两位在日本动画行业的资深从业者——小一和小二，希望她们能够从从业者的角度分享对这个问题的见解。我们在本期节目中讨论的问题包括：目前日本的动画行业对AI的使用度究竟有多高？AI都被用来做什么？如何理解吉卜力这家公司？吉卜力工作室在日本动画行业的定位是什么？一部动画从被制作出来到走向市场到底要经过哪些坎？.... 带着这些问题，让我们跟随小一和小二，一起进入动画这个神奇又美丽的行业。 *录音过程因为远距离网络问题，有时候会有些许卡顿，或许会影响听感。以后我们也会更加注意录制的设备和环境问题。感谢各位听友的包容和理解。 本期节目中提到的动画电影作品包括： 《辉夜姬物语》 《平成狸合战》 《千与千寻》 《悬崖上的波妞》 《幽灵公主》 《侧耳倾听》 《起风了》 《你想活出怎样的人生》 《猫的报恩》 《岁月的童话》 《蓦然回首》 《言叶之庭》 《秒速5厘米》 《东京教父》 《哪吒闹海》 《头脑特工队2》 《天气之子》 《你的名字》 《利兹与青鸟》 《雄狮少年》 《机器人之梦》 《东京教父》 《我的邻居山田君》 ^《侧耳倾听》海报 © 1995 Aoi Hiiragi, Shueisha/Hayao Miyazaki/Studio Ghibli, NH ^《秒速五厘米》海报 本期节目中提到的纪录片和参考书目包括： 《梦与狂想的王国》 《芥子园画谱》 感谢大家收听！如果有任何想对我们说的话，欢迎给我们写信，我们的邮箱

Join Rob and Helen in this edition of Stationery Freaks as they welcome special guest Frank, from Yokogaki, for a deep dive into the fascinating world of travel journals / notebooks!Frank shares a mini masterclass on exactly what traveler's journals are, how they differ from the typical notebook, and various ways to use them for everything from bullet journaling to light scrapbooking on the go. Frank, who found himself crafting his own high-quality, leather journals, shares his unique philosophy behind creating companions that "love you back," exploring the Japanese concept of Mottainai (regret over waste) and a deep respect for resources. Learn why these versatile, customisable, and durable notebooks are truly more than just a notebook or journal, and why you might be missing out on a whole subculture of charms and inserts! Helen's already online buying charms. Frank also shares a whopping 20% off his Traveler's Journals for our listeners:Simply use code stationeryfreak20 at checkout: https://yokogaki.be/Key Takeaways:What Makes a Traveler's Journal Unique: Discover how these sturdy, customisable covers with rubber bands/ribbons allow you to mix and match any refills (dotted, sketching, calendar, etc.) and inserts (pouches, envelopes) to suit your needs, consolidating multiple notebooks into one portable system.The "Why" Behind the Craft: Learn about Frank's philosophy rooted in "Mottainai" – a deep respect for resources and a passion for creating high-quality, timeless designs that are built to last a lifetime, challenging the idea of disposable stationery. And pen loops designed for pens like Tom's Studio Lumos.Beyond the Page: Explore creative uses for traveler's journals, from combining them with Hobonichi inserts and Instax photos for daily mindfulness, to sketching scenes and collecting travel mementos.Choosing Wisely: Gain insights into what makes a good traveler's journal, with a look at materials like leather and even cork, and the importance of durability.A Growing Ecosystem: Hear about the vast community surrounding traveler's journals, from specific brands like Midori to subcultures dedicated to charms.We also kind of spring our usual Desert Island stationery on Frank (we forgot to mention we'd do it!) but Frank comes back with some solid items of stationery to accompany him on a desert island.Enjoy!Rob & HelenYou can find Frank on Instagram: https://www.instagram.com/yokogaki_shopUse code stationeryfreak20 at checkout for 20% of Traveler's notebooks / journals : https://yokogaki.be/---Discover the Stationery Freaks newsletter at : https://stationeryfreaks.substack.com/

After taking on the challenge of traveling all around Japan in a tuk-tuk, Tomoya Midori has hit pause due to the rainy season and shifted gears — all the way to Australia! Now, he's on a brand-new journey: hitchhiking from Cairns to Melbourne over the course of one month. Embracing the open road, local connections, and unpredictable twists of travel, Tomoya is experiencing Australia in the rawest and most adventurous way possible. - 昨年の11月からトゥクトゥクに乗って日本一周に挑戦している「緑の旅人」こと、緑ともやさん。日本が梅雨入りし、旅を一時中断したともやさんは、新たな挑戦の舞台をオーストラリアに決めて来豪。現在はケアンズからメルボルンを目指して、1ヶ月かけてヒッチハイクでオーストラリア縦断に挑戦中です。

"No compro manga porque son series muy largas" Desmontando ese mito, hacemos una selección veraniega en la que desmontamos esa idea y os recomendamos un montón de mangas de tomo único también. Junto al gran FAEH de Ramen Para Dos y 4 señoras fans del manga -Umaru, Aida TM, Emma Ríos y Sheila de Pro Shôjo Spain - hacemos una lista en la que cabe de todo. Clasicazos como Nausicaa o Don de Drácula, longsellers como Museum, obras muy bonitas como Metamorfosis Bl o La canción de Midori, BL como Mi vecino metalero, macarradas como Tokyo Zombi, Hideout de Kakizaki, Solanin de Asano, animes como El pecado original de Takopi, Dragonhead y hasta Superman vs la comida japonesa. Además entrevistamos al dibujante Toni Caballero que nos habla de su trabajo en Back Home o Yo soy Leyenda Y tenemos tiempo de reseñar cómic no japonés: Humor se escribe con lápiz, Mi vecino Bebeto y El caso de David Zimmerman Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

"No compro manga porque son series muy largas" Desmontando ese mito, hacemos una selección veraniega en la que desmontamos esa idea y os recomendamos un montón de mangas de tomo único también. Junto al gran FAEH de Ramen Para Dos y 4 señoras fans del manga -Umaru, Aida TM, Emma Ríos y Sheila de Pro Shôjo Spain - hacemos una lista en la que cabe de todo. Clasicazos como Nausicaa o Don de Drácula, longsellers como Museum, obras muy bonitas como Metamorfosis Bl o La canción de Midori, BL como Mi vecino metalero, macarradas como Tokyo Zombi, Hideout de Kakizaki, Solanin de Asano, animes como El pecado original de Takopi, Dragonhead y hasta Superman vs la comida japonesa. Además entrevistamos al dibujante Toni Caballero que nos habla de su trabajo en Back Home o Yo soy Leyenda Y tenemos tiempo de reseñar cómic no japonés: Humor se escribe con lápiz, Mi vecino Bebeto y El caso de David Zimmerman

© Copyright. Estos audios están protegidos por las leyes de Derechos de Autor.Para permisos, contactarme en:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.semperfiat.com

© Copyright. Estos audios están protegidos por las leyes de Derechos de Autor.Para permisos, contactarme en:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.semperfiat.com

© Copyright. Estos audios están protegidos por las leyes de Derechos de Autor.Para permisos, contactarme en:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.semperfiat.com

© Copyright. Estos audios están protegidos por las leyes de Derechos de Autor.Para permisos, contactarme en:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.semperfiat.com

© Copyright. Estos audios están protegidos por las leyes de Derechos de Autor.Para permisos, contactarme en:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.semperfiat.com

© Copyright. Estos audios están protegidos por las leyes de Derechos de Autor.Para permisos, contactarme en:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.semperfiat.com

© Copyright. Estos audios están protegidos por las leyes de Derechos de Autor.Para permisos, contactarme en:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.semperfiat.com

© Copyright. Estos audios están protegidos por las leyes de Derechos de Autor.Para permisos, contactarme en:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.semperfiat.com

© Copyright. Estos audios están protegidos por las leyes de Derechos de Autor.Para permisos, contactarme en:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.semperfiat.com

Impulse buys — love them or regret them, we all have them. And this week, we're putting our bank statements on the table and exposing our most unhinged purchases of the year so far.From breaking the bank on stationery to selling our kidneys for would-be family heirlooms, and convincing ourselves we're definitely not just gonna use it once — you might wanna sit down for this very expensive show-and-tell.#youmightwannasitdownforthispodcast Follow The Takeaway Table!https://www.instagram.com/thetakeawaytable/ Join our Community Discord Server!https://discord.gg/thetakeawaytableCHAPTERS04:45 - Justifying a RM3.89K mall cop scooter 12:50 - The Anywhere 3s14:20 - Strictly killing expensive Japanese trees29:50 - What standup comics stand on 22:50 - Buying the Midori of new jeans27:35 - Japanese denim maker hype 31:00 - God level RM900 stationary hauls 31:30 - We only bring dogshit water to S&S 34:30 - The Parker Pen36:45 - Graeme's Influencer starter pack41:25 - The end game coffee maker 44:50 - Dropping RM13k on a coffee machine 45:25 - Mingyue & Sof's home cafe 47:00 - End Game Items 48:24 - Strong Independent Corporate Girl Bag52:00 - Buying a RM25K family heirloom 56:00 - Single-use happiness only buys 1:00:00 - Can't make this one up it's bad bad1:07:50 - Buying a sandwich shop

Studio E is all laughs as Eric recalls his 90s Casanova days with Midori margaritas, while Kiley weighs in on the Karen Read trial and Palm Springs bombing.

Wwwhats up swingaz? From the TBHQ in the grizzly lands of Wisconsin, welcome to Thrall's Balls episode #184!Mdotw: Johnnie - Gallywix - Liberation of UndermineVersion 11.5 oz Scotch / Whiskey / Bourbon0.5 oz Blue Curacao0.5 oz Midori0.5 oz Roses Lime Juice (If you don't want to use Roses, use 0.75 oz of real lime juice)Add All Ingredients into a shaker with crushed iceShake how much you want to shake your lieutenant who hasn't paid their dues this week for at least 8 secondsstrain out into a rocks glass with ice (half full) I suggest Crushed ice for better texture.Version 2Double the Volume of ALL ingredientsAdd everything except the Midori to the Shaker and shake it like you just had to bazooka your competition.Add Midori to a shot glass separatelyUse a pint Glass unlike my dumbassPoured Shaken contents into the Pint GlassBomb in the Midori like you just dropped a Stink bomb on your rebelling employeesand Take a big gulp of the drink quickly after shifting the cup around a couple times.Next week: current patch drinks! Woolly is gonna make...The Nightfall! Hint: it's gonna be COLDWoW NewsIon on 11.1.5https://www.wowhead.com/news/game-director-responds-to-buggy-patch-11-1-5-launch-interview-with-pc-gamer-376918Turbo Boosthttps://www.wowhead.com/news/turbo-boost-event-now-live-puzzling-cartel-chips-crafted-gear-boosts-and-more-376844#commentsTriple Threat Titlehttps://www.wowhead.com/news/triple-threat-title-now-available-complete-keys-as-every-role-to-unlock-376855Player Housing and Content Creatorshttps://www.wowhead.com/news/world-of-warcraft-player-housing-content-creator-reviews-and-interviews-376885Final thoughts?Follow us:@Woolly08 twt insta bsky, @Woolly_08 tktk@HunterGershom twt Bsky, @HunterGerrshom insta@BoomyNation twt YouTubeJohnnie.Tips Discord, @Johnnie.Tips InstaCRAIIIIG! @CraigAddict Twt@ThrallsBallsPod TwtEmail us with any feedback or questions: ThrallsBallsPodcast@gmail.comYou can also leave us feedback on Spotify, Apple Podcasts or even in a specialized reviews channel on our Discord. Go to ThrallsBalls.com to find our Linktree. All our relevant links (including Discord) can be found there.Bye we love you be good!https://discord.gg/HuFkhagM3Z

Fluent Fiction - Japanese: Blossoms & Serendipity: Haruto's Leap into Adventure Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2025-05-17-22-34-02-ja Story Transcript:Ja: 新宿の春、ゴールデンウィークの賑やかさの中、道は人でいっぱいだった。En: In Shinjuku during spring, amidst the bustling Golden Week festivities, the streets were filled with people.Ja: ビルの間に小さな桜の花が風に揺れて、都会に美しい色を添えていた。En: Among the buildings, small cherry blossoms swayed in the wind, adding beautiful colors to the city.Ja: 春の暖かい日差しを感じながら、遥斗という一人の青年が歩いていた。En: Feeling the warm spring sunshine, a young man named Haruto was walking.Ja: 毎日、彼は家と仕事を行ったり来たりするだけの単調な日々に、少しうんざりしていた。En: Every day, he was getting a bit tired of the routine monotony of just going back and forth between home and work.Ja: その日、新宿の雑踏の中で、遥斗は少しだけ自分を変えることを考えていた。En: That day, amid the hustle and bustle of Shinjuku, Haruto was considering changing himself just a bit.Ja: もっと人生に刺激が欲しいと彼は思っていた。En: He felt he wanted more excitement in his life.Ja: 人々は楽しそうに休暇を楽しんでいる。だけど、遥斗の心はどこか落ち着かない。なぜなら、彼には何かが欠けているような気がしていたからだ。En: People were cheerfully enjoying their holidays, but Haruto's heart was somehow restless because he felt something was missing.Ja: そのとき、彼の目に異変が映った。En: At that moment, something unusual caught his eye.Ja: 向こうで、一人の女性が倒れるのが見えた。En: In the distance, he saw a woman fall.Ja: 緑と名乗る外国の旅行者だった。En: It was a foreign traveler who went by the name Midori.Ja: 彼女は急に顔を青ざめ、苦しそうにしていた。En: She suddenly turned pale and appeared to be in distress.Ja: どうやら、食物アレルギーの発作だったようだ。En: It seemed to be an allergic reaction to food.Ja: 周りの人は驚いて立ち止まり、何をすればいいかわからない様子だった。En: The people around were startled and stopped, unsure of what to do.Ja: 遥斗は一瞬立ち尽くした。En: Haruto stood frozen for a moment.Ja: どうするべきかわからない自分を責めた。En: He blamed himself for not knowing what to do.Ja: でも、彼の心の中で何かが弾けた。En: But then, something inside his heart burst forth.Ja: 「このままではいけない」と思い、彼は前に出た。En: Thinking “I can't just stand by,” he stepped forward.Ja: 「大丈夫ですか？」と彼は緑に声をかけた。En: “Are you okay?” he called out to Midori.Ja: 彼女は苦しそうにうなずく。En: She nodded with difficulty.Ja: 遥斗はスマートフォンを取り出し、急いで119に電話をかけた。En: Haruto quickly took out his smartphone and called 119.Ja: 「助けが来ますからね」と彼は言った。En: “Help is on the way,” he said.Ja: 周囲の人に助けを求め、彼は応急処置を試みた。En: He asked people around them for help and attempted first aid.Ja: 彼は心の中で必死に念じた。「大丈夫、大丈夫だ...」En: In his heart, he desperately wished, “It'll be okay, it'll be okay...”Ja: 時間がゆっくり流れるように感じたが、やがて救急車のサイレンが聞こえてきた。En: Time seemed to pass slowly, but eventually, the sound of ambulance sirens reached their ears.Ja: 救急隊が到着し、緑を保護したとき、遥斗の胸には安心感と達成感が広がった。En: When the paramedics arrived and took care of Midori, a sense of relief and accomplishment spread through Haruto's chest.Ja: 彼は自分の行動を信じて良かったと感じたのだ。En: He felt good about trusting his actions.Ja: 数時間後、病院で落ち着いた緑は、遥斗に心からの感謝を述べた。En: A few hours later, Midori, who had calmed down at the hospital, expressed her heartfelt gratitude to Haruto.Ja: 「助けてくれて本当にありがとう」と彼女は言った。En: “Thank you so much for helping me,” she said.Ja: 「あなたがいなければ、どうなっていたことか。」En: “I don't know what would have happened without you.”Ja: その後、緑は彼に一つの提案をした。En: Afterward, Midori made a suggestion to him.Ja: 「もしよければ、一緒に旅をしませんか？En: “If you don't mind, why don't we travel together?Ja: 新しい世界を見つける旅です。」En: A journey to discover a new world.”Ja: 遥斗は一瞬ためらったが、その誘いに心が踊った。En: Haruto hesitated for a moment, but his heart danced at the invitation.Ja: 彼は勇気を出し、一歩を踏み出すことにした。En: He gathered his courage and decided to take a step forward.Ja: 二人は笑顔で新たな冒険を誓い、賑やかな新宿の街を後にした。En: The two pledged to a new adventure with smiles and left the lively streets of Shinjuku behind.Ja: 遥斗は、人生は変化に満ちていると気づいた。En: Haruto realized that life is full of changes.Ja: 彼は、もう自分の殻に閉じこもる必要がないと知っていた。En: He knew that he no longer needed to stay confined in his own shell.Ja: これからの旅は、彼にどんな刺激と経験を与えるのか。En: What kind of excitement and experiences will this journey bring him?Ja: それは未知数だが、それこそが彼の求めていた興奮だった。En: It remains unknown, but that was precisely the thrill he was seeking.Ja: 遥斗は心の中で笑顔を浮かべながら、新しい一歩を踏み出していった。En: With a smile on his heart, Haruto took a new step forward. Vocabulary Words:amidst: 賑やかさの中bustling: 雑踏monotony: 単調routine: 日々restless: 落ち着かないunusual: 異変distress: 苦しそうstartled: 驚いてfrozen: 立ち尽くしたblamed: 責めたburst forth: 弾けたattempted: 試みたparamedics: 救急隊achievement: 達成感relief: 安心感hearted: 心からのgratitude: 感謝calmed down: 落ち着いたhesitated: ためらったgathered: 出しpledged: 誓いconfined: 閉じこもるshell: 殻thrill: 興奮sought: 求めていたwander: 旅をしませんかdiscovered: 見つけるsense: 感expression: 述べたuncertainty: 未知数

各位听众朋友们大家好。本期节目是Mila对一年前参与“黑船祭”经历的一次复盘，由大绿来进行采访。 1854年，美国马修·佩里（Matthew Perry）总督率领的黑船队抵达日本，静冈县下田市因此成为日本最早对外开放的港口城市。同时，下田市自1934年起，每年都会举办“黑船祭”。去年的5月16日至18日，Mila也变相地参与到了祭典当中，负责“黑船祭”中日美亲善活动的一些随行翻译工作。作为小喽啰的Mila承担的翻译工作相对轻松，大部分时间都在借这个机会观察和理解下田市，尤其是观察黑船祭这个节日本身。可能在到达下田市之前，Mila自己也没有想到这次经历会成为一个不愿想起的记忆黑洞，甚至直到将近一年后才可以重新把整件事组织好，叙述出来，这期节目也是这么应运而生的。 本期节目，我们将跟随Mila复盘她在黑船祭的行程，审视整个活动的组织和运作逻辑。为了帮助各位听友更加具有画面感，Mila从相册中找出去年拍的照片，还原当时的场景： 当地报纸对白浜小学日美亲善活动的报道 当时伊豆下田経済新聞的相关报道和照片 白浜小学小朋友做的手工 从東急酒店（三岛由纪夫爱住）望出去看到的海景 晚宴当天的水果塔 黑船祭当天的队列 黑船祭当天的舞台剧（复现黑船来港的历史场面） 了仙寺的环境 在下田市看的烟花大会 下田市本地的理发店（三岛由纪夫爱去）装裱的御使用理发剪刀和梳子 下田市当地店铺里摆放的三岛由纪夫肖像 玛德琳蛋糕（三岛由纪夫爱吃） 下田市的柑橘咖啡 下田市的自然景观 白浜神社 下田市的柑橘 感谢大家收听！今年的黑船祭应该也将在五月如期举行，不知道又会是怎么样一番景象呢… 如果有任何想对我们说的话，欢迎给我们写信，我们的邮箱

「小氣」不是吝嗇，而是有原則。 - 本集感謝【販奇網】贊助播出

Send us a textEver wonder how all those RHD cars in Florida got titled? Heard all the tariff hype and want to know what people are actually paying?Anthony Chaudruc from Car Shop Midori in Florida/Japan talks about what its like being an importer, current tariffs, Registration in Florida and more.Check out Car Shop Midori on FacebookJoin the Facebook group -  Search "RHDGUYS - JDM BOYS" Socials - @RHDGUYS Merch - http://RHDGUYS.COMWant a discount on Nissan parts?Use code "RHDGUYS" athttps://nizmopartsplug.com

Send us a textMidori Koyama ObituaryMidori was born in West Torrence, California on Dec., 27, 1930 to Masaichiro Marumoto and Asako Okuda.  Midori was raised in Southern California until age 11 at which time she and her family moved to Utah as part of the voluntary evacuation “option” of Executive Order 9066 during World War II.  After moving to Utah she attended schools in the Clearfield and Layton, UT area and graduated from Davis High School in Ogden, UT in 1950.  She attended Weber State College and worked at Hill Air Force Base.Midori's father was a judo instructor in the Ogden area.  At her father's judo dojo annual tournament in 1960 she saw George Koyama, a judo instructor from Nampa, eating lunch.   She grabbed the teapot out of her mother's hand and walked over to serve him tea and the rest as they say is history.  They were married in 1962 at which time Midori moved to Nampa where she and George set up their home and started a family.One of Midori's passions was supporting education and working with children.  She began working for the Nampa School District in 1970 and worked at Lincoln, Kenwood & Centennial elementary schools.  Midori was part of the inaugural staff of Centennial school when it opened in 1976 and worked there until her retirement in 2004.  She served as an instructional aide and librarian during her 28 year career at Centennial.  At one point as librarian at Centennial she got the idea of selling pencils and origami cranes to raise money to buy books for the library.  The idea was so successful she continued and expanded her product line.  Kids at the school would save up their coins to make a purchase at “Mrs. Koyama's School Store” every week.  While no official tally exists, she raised thousands of dollars used to purchase books for the library.  Because of that work and her dedication, a section of the Centennial School library was dedicated in 1995 as “Mrs. Koyama's Book Garden” an honor in which she took great pride.  She volunteered at Centennial after retirement and continued to raise money for the school through her store.Another passion of Midori's was sharing and educating others about Japanese culture and the experiences of the Japanese Americans during WWII.  Before leaving California Midori's father, in fear of retribution and racism, piled many of the family's Japanese possessions in a heap to be burned.  Midori secretly pulled a favorite story book of historic Japanese heroes and hid it inside her belongings and took it to Utah unbeknownst to anyone in the family.  Perhaps spurred by that and other similar childhood experiences she wanted pass along her culture and experiences to future generations.  For many summers she held Japanese language classes for local area children.  She also presented information to many local school classes about her WWII relocation experience.Midori passed away due to a brief and sudden illness on Sunday, June 12, 2011.  She is survived by her husband, George.  She is also survived by her son John, daughter-in-law Joyce, and 3 grandchildren - Kristina, Jackie and Mason Koyama all from Sacramento, CA.  Her surviving brother and sisters are Hiroki Marumoto of Layton, UT; Yukari “Vicky” Mikesell of Belmont, CA; Bill Marumoto of Westminster, CA and Seiko Kikuta of Eugene, OR.  She was preceded in death by her parents.                Support the show

We are halfway through Lent, and for many of us, that means we are midway through Hallow's Pray40 Challenge. Today, Ben Eriksen joins Sr. Orianne Pietra René, who reads the passages for “A Song for Nagasaki” in the French version of Hallow's Pray40 Challenge. Sr. Orianne not only gives us a behind-the-scenes look at recording for Hallow, but she also provides insights into the life of Takashi Nagai and his wife, Midori. Because Takashi's story is told elsewhere, Sr. Orianne and Ben reflect on the impact that this story has had on their personal lives, and how Takashi is a model for Catholics struggling with the problem of evil and suffering. Both marvel at how relevant Takashi and Midori are for us today. For those who love Hallow's Pray40 challenge or are interested in the life of Takashi and Midori, this episode is for you!   Get Your Copy of A Song for Nagasaki: https://ignatius.com/a-song-for-nagasaki-snhep/   SUBSCRIBE to our channel and never miss an episode of the Ignatius Press Podcast. You can also listen to the podcast on Apple, Spotify, and other podcast platforms. Follow us on social media: Twitter/X: https://twitter.com/IgnatiusPress Facebook: https://www.facebook.com/ignatiuspress Instagram: https://www.instagram.com/ignatius_press/

In this episode, hosts Bill and Chris delve into the world of anime, discussing their personal experiences and the evolution of the genre. They explore notorious titles like 'Midori' and 'Kite', analyzing the darker themes and adult content present in these films. The conversation highlights the contrast between the innocence of animation and the often disturbing narratives that accompany it, providing a comprehensive overview of the complexities within the anime landscape. The conversation delves into the complexities of relationships depicted in anime, particularly focusing on the darker themes of manipulation and abuse. The speakers discuss their expectations versus the reality of storytelling in these narratives, highlighting cultural reflections and the impact of artistic choices on viewer experience. They express frustration over character development and the lack of agency for protagonists, ultimately questioning the purpose and audience of such disturbing content. In this conversation, Chris and Bill delve into the complexities of revenge narratives in film, particularly focusing on the animated and live-action adaptations of certain stories. They discuss the effectiveness of animation styles, character development, and the challenges of remaking controversial content. The dialogue highlights the emotional depth required in storytelling and critiques the execution of various cinematic elements, ultimately leading to their recommendations and reflections on the films discussed.

Phụ nữ vẫn thường được nhắc đến với sự dịu dàng, kiên trì và tận tụy. Phải chăng, phụ nữ thời nào cũng như thế – vẫn gánh vác muôn phần trách nhiệm, vẫn hy sinh thầm lặng mà ít khi đòi hỏi điều gì cho riêng mình? Nhưng cũng chính họ, qua từng thời đại, đã chứng minh rằng “phụ nữ thời nào cũng có thế” – có vị thế, có bản lĩnh để định đoạt số phận, để sống một cuộc đời không chỉ là bổn phận, mà còn là khát vọng, là tự do.Quốc tế Phụ nữ năm nay, Have A Sip tiếp tục dành sự tri ân và tôn vinh tới những người phụ nữ thông qua cuộc trò chuyện giữa ba thế hệ của gia đình host Thùy Minh - cô Thường & em bé Midori.Ba thế hệ trong một gia đình quy tụ trong một tập podcast với rất nhiều lần đầu. Lần đầu một cuộc trò chuyện “nội bộ gia đình” được công khai trước tất cả mọi người. Lần đầu host Thùy Minh cùng mẹ & con gái được lắng nghe những chia sẻ, suy nghĩ mà trước giờ họ chưa nói cho nhau nghe. Và còn rất nhiều những khoảnh khắc lần đầu đầy chân thật khác đã được ghi lại trong suốt cuộc trò chuyện.Tập phát sóng này cũng là một món quà mà Vietcetera muốn gửi đến các khán giả của Have A Sip, đặc biệt là các khán giả nữ, hãy luôn yêu thương, trân trọng chính mình và những người phụ nữ xung quanh mình. Bởi dù ở quá khứ, hiện tại hay tương lai, dù mình thuộc “thời” nào cũng sẽ “như thế”, cũng sẽ dám dấn thân, dám trải nghiệm, dám là mình để luôn “có thế” cho riêng mình.#HaveASip #Vietcetera #Vietcetera_Podcast #HAS214 #DoveVN #DoveHair #Sharethefirst #PhucHoiHuTon— Đừng quên có thể xem bản video của podcast này tại: YouTube Và đọc những bài viết thú vị tại website: Vietcetera — Yêu thích tập podcast này, bạn có thể donate tại: ● Patreon: https://www.patreon.com/vietcetera ● Buy me a coffee: https://www.buymeacoffee.com/vietcetera Nếu có bất cứ góp ý, phản hồi hay mong muốn hợp tác, bạn có thể gửi email về địa chỉ team@vietcetera.com

We chat with Midori Monet. She is Miss International Queen USA 2025. Midori is the overall founding mother of the Kiki house of Moschino. She also competed in the Miss Washington USA pageant where she was named to the top 6. She is the first Transgender Woman to do so in Washington USA history.

Should you take up journaling, and if you do, will it help you with your time management and productivity? That's what we're exploring this week.  You can subscribe to this podcast on: Podbean | Apple Podcasts | Stitcher | Spotify | TUNEIN Links: Email Me | Twitter | Facebook | Website | Linkedin Get Your Copy Of Your Time, Your Way: Time Well Managed, Life Well Lived Subscribe to my Substack  Take The NEW COD Course The Working With… Weekly Newsletter Carl Pullein Learning Centre Carl's YouTube Channel Carl Pullein Coaching Programmes The Working With… Podcast Previous episodes page Script | 355 Hello, and welcome to episode 355 of the Your Time, Your Way Podcast. A podcast to answer all your questions about productivity, time management, self-development and goal planning. My name is Carl Pullein, and I am your host of this show. This year is the 10th anniversary since I took up consistent journaling. And it's been one of the best things I've ever taken up.  Not only is it one of the most therapeutic things you can do, it's also one of the best ways to organise your thoughts, work your way through problems and vent your anger towards those who really wind you up.  Over the years, I've also found that journaling has helped me to achieve my goals because each day I am writing about how I am doing and if I find myself making excusing, the act of writing out my excuses exposes them for what they really are—excuses.  So, this week, I've chosen a question related to journaling and I hope it will inspire you to invest in a quality notebook and pen and start doing it yourself. And if I can inspire just one of you to take it up and become a Samuel Pepys, I'll be very happy.  So, to kick ups off, let me hand you over to the Mystery Podcast Voice for this week's question.  This week's question comes from Tom. Tom asks, hi Carl, I've heard you talk about your journaling habit numerous times. Do you think writing a journal has helped or hindered your productivity?  Hi Tom, thank you for your question.  To answer your question directly, I can say with certainty that journaling has contributed to my overall productivity.  To explain further, I write in my journal every morning, no matter where I am. And one of the things I always write down is my two objective tasks for the day. Those objectives are the two non-negotiable tasks for the day and by writing them down at the top of my journal entry, I have a way of ensuring I did them when I write my journal the next day,  But more powerfully, writing them down each morning focuses my mind on what needs to be done and how and when I will do them.  Those tasks are also in my task manager, but it's the act of writing them out by hand that gives me the focus.  Writing a journal is much more than being an aid to productivity. It's also a form of therapy.  Like most people, I feel frustrated, overwhelmed and stressed at times. Those feelings need an outlet. A negative way to do that is to get angry, shout, and scream. Sure, that blows off steam, but it also transfers your negative feelings to others—your colleagues and family. Not great.  Instead, if you have a way to write about these things, you start to find ways to solve whatever the underlying issues are. Writing slows down your thinking, and if you were to step back and analyse why you sometimes feel stressed, frustrated and overwhelmed, it is because you feel—incorrectly—everything has to be done right now.  That slowing down helps to bring back some perspective and you can decide when you will do something and what can be left until another day.  When it comes to achieving your goals, a journal is perhaps the best way to track progress. It can also help you establish new, positive habits. When I developed my morning routines around eight years ago, I chose to track them in my journal. I always draw a margin on left of the page, and I list out the six items I do as part of my morning routine: make coffee, wash face and teeth, drink lemon water, write my journal, clear my email inbox and do my shoulder stretches.  I write them down at the top of my journal entry for the day in the margin. And, for the dopamine hit, I check them off too.  I exercise in the late afternoon and, again, I will write out what I did in the margin of my journal.  Now, I could spend a lot of money on habit-tracking apps, but with my journal, I've found no need. I have my record and can review it at any time.  Over the years, I've been asked what I write about and if I use any prompts. The answer is no. Well, apart from writing out my objectives for the day.  Now, prompts can be helpful when you first start—you can think about them as those little stabilisers we put on kids' bikes to help them learn to ride. Sooner or later you want to take them off so you can experience the freedom of riding freely.  I write whatever's on my mind that morning. If everything's going great I write about that. If things are not so great I write about it and why I think things are not going as well as I want them to. I often find as I am writing about an issue, a solution begins to form in my mind and I will continue writing.  If a task comes from that solution, I can put that in its appropriate place later.  As a general rule, I will write for around fifteen minutes. However, if I don't have much to write about, I will give it ten minutes. The weather's a good subject to write about when you have little to write.  If there's a lot on my mind, I'll keep going until I've emptied my thoughts. That's very rarely more than thirty minutes, though. Over the years, I've tried both analogue journaling—with pen and paper and digital journaling using an app called Day One.  On balance, I've found that pen and paper journaling works best.  I spend most of my working time in front of a screen. I type a lot. So, opening up a nice notebook and picking up a fountain pen is a lovely break from the constant screen time. It also feels a lot less rushed and more relaxing.  One thing I noticed when I was writing my journal in Day One—a popular digital journal—was I never went back to my old entries. I read enough typed documents on screen all day. I have no desire to read through more, even if it's my journal.  I keep my old paper journals on my bookshelf and often skim through pages when waiting for a call to start. It's incredibly nostalgic and leaves you realising you have accomplished a lot.  I was recently asked if I am worried about people reading my journals. Hahaha, that's the point.  One of the inspirations for me to start writing a journal was how the journals of people like Samuel Pepys, Charles Darwin and Isaac Newton are still around.  These journals were written hundreds of years ago and, in the case of Samuel Pepys, are a snapshot of how we lived in the 17th Century.  Pepys was very open about what he did. Some good things and a lot of bad things. But does he care we are reading them today? Of course not. He's been dead for 320 years.  I have the same attitude. I've nothing to hide from my wife, and the journals are kept in my study—home office. If I lost my journal when travelling, so be it. There's nothing scandalous in there—well, not yet anyway hahaha. There are a few tips I would share with you if you are thinking about journaling. Start on paper. Buy yourself a nice notebook. You'll find bound notebooks with a hard cover are best. Choose A5 or B5 size. You'll find an A4 notebook a little daunting at first.  Hardback notebooks will last a long time, and the hardcover will protect the pages better than a soft cover.  I would also suggest investing in a fountain pen. You can pick up a refillable one for less than $20 these days. Lamy Safaris are excellent pens, and so are the Pilot Metropolitans and Platinum Preppys.  If you invest in a fountain pen, ensure the paper you buy is fountain pen-friendly. Rhodia Web-books and Clairefontaine notebooks are good choices, as are many Japanese notebooks such as Midori's MD notebooks.  When you start journaling, think of it as if you were meeting a stranger for the first time. You will naturally be a little reserved at first. You might only write about the weather and perhaps what you did yesterday.  As long as you remain consistent with it, you will soon open up. You'll start writing a few thoughts and feelings after a few weeks. Let it roll and don't hold back.  I would also recommend writing in the morning. You will likely be much more consistent that way. Evening times can be difficult because you will sometimes be tired. You may even have had a few too many G'nTs, and you won't write.  Tie writing your journal to your morning routines. You don't have to write for long. Give yourself ten minutes.  And if you want to be more focused, after writing the date at the top, write out your two must-do tasks for the day. That way, you have a method to hold yourself accountable. If, for whatever reason, you didn't do your must-do tasks, dedicate a sentence or two to writing about why you didn't do them.  This helps you because over time you may see a pattern developing. You might discover that afternoons are terrible for doing your focused work because your boss always wants to have meetings then. You can then use that information to change your structure.  If you draw a margin on the page, you can use the margin to track other data such as a food log, exercise and even your energy levels. I track my weight there. Each Wednesday, I weigh myself and write my weight in the margin (in a different coloured ink).  And there you go, Tom. Yes, journaling has helped me to be more productive. It slows me down and gets me to think better, leading to better focus on the day ahead. It also gives me a place to consider new ideas and play around with possible solutions.  I hope this episode has inspired some of you to start journaling. It's a fantastic way to bring perspective on chaotic days and weeks. It also slows you down—always a good thing in a fast-paced world, and gives you a place to express your thoughts.  And who knows, you may be the next Samuel Pepys or Leonardo Da Vinci in three-hundred years or so.  Thank you, Tom, for your question, and thank you to you, too, for listening. It just remains for me now to wish you a very, very productive week.   

Wed, 27 Nov 2024 16:00:00 GMT http://relay.fm/penaddict/642 http://relay.fm/penaddict/642 Well Actually 642 Brad Dowdy and Myke Hurley Brad discusses new products on his desk from Stanford Pen Studio and Midori, and he and Myke dig in to the analog leanings of one of AI's biggest proponents. We also tackle your Ask TPA, where Brad has more questions than answers. Brad discusses new products on his desk from Stanford Pen Studio and Midori, and he and Myke dig in to the analog leanings of one of AI's biggest proponents. We also tackle your Ask TPA, where Brad has more questions than answers. clean 2875 Brad discusses new products on his desk from Stanford Pen Studio and Midori, and he and Myke dig in to the analog leanings of one of AI's biggest proponents. We also tackle your Ask TPA, where Brad has more questions than answers. This episode of The Pen Addict is sponsored by: Squarespace: Save 10% off your first purchase of a website or domain using code PENADDICT. Enigma Stationery: Shop online with code PENADDICT24 for a free gift and discounted shipping on orders of $50 or more. Links and Show Notes: Support The Pen Addict with a Relay FM Membership Submit Feedback Stanford Pen Studio Handcrafted Fountain Pens The Intwana Launch Collection of hand-painted fountain pens – Thunderfund Brad's Stanford Pen – Instagram Midori MD Cotton Notebook Review — The Pen Addict Mike Matteson - YouTube inkdependenceMike - Twitch I have some notes on Sam Altman's note-taking advice - The Verge Master (A4+) - LEUCHTTURM1917

Wed, 27 Nov 2024 16:00:00 GMT http://relay.fm/penaddict/642 http://relay.fm/penaddict/642 Brad Dowdy and Myke Hurley Brad discusses new products on his desk from Stanford Pen Studio and Midori, and he and Myke dig in to the analog leanings of one of AI's biggest proponents. We also tackle your Ask TPA, where Brad has more questions than answers. Brad discusses new products on his desk from Stanford Pen Studio and Midori, and he and Myke dig in to the analog leanings of one of AI's biggest proponents. We also tackle your Ask TPA, where Brad has more questions than answers. clean 2875 Brad discusses new products on his desk from Stanford Pen Studio and Midori, and he and Myke dig in to the analog leanings of one of AI's biggest proponents. We also tackle your Ask TPA, where Brad has more questions than answers. This episode of The Pen Addict is sponsored by: Squarespace: Save 10% off your first purchase of a website or domain using code PENADDICT. Enigma Stationery: Shop online with code PENADDICT24 for a free gift and discounted shipping on orders of $50 or more. Links and Show Notes: Support The Pen Addict with a Relay FM Membership Submit Feedback Stanford Pen Studio Handcrafted Fountain Pens The Intwana Launch Collection of hand-painted fountain pens – Thunderfund Brad's Stanford Pen – Instagram Midori MD Cotton Notebook Review — The Pen Addict Mike Matteson - YouTube inkdependenceMike - Twitch I have some notes on Sam Altman's note-taking advice - The Verge Master (A4+) - LEUCHTTURM1917

Coming out as non-monogamous can bring its own set of challenges and concerns, especially if you also hold other marginalized identities. And maintaining the social appearance of monogamy can come at a cost. In this episode, we're exploring the risks and rewards of sharing your non-monogamous identity. And, if you do want to come out to the people in your life, we're breaking down some key steps you can take to get ready for whatever reactions may come your way. We're breaking down: — Why coming out conversations can be important for authenticity and relationship health — The different "circles" of people you might consider coming out to (family, friends, work, etc.) — How geographical location and social context can impact coming out experiences — The importance of considering and discussing your partners' comfort levels and boundaries — Practical tips for planning and executing coming out conversations — Why it's okay to not have all the answers when you're first exploring non-monogamy — How to handle potentially invasive questions — Addressing the potential turn-on of secrecy in non-monogamous relationships — The value of celebrating your authentic self when coming out Resources mentioned in this episode: — Episode 89 of Playing with Fire: Learning the taxonomy of non-monogamy — Laura Boyle's book Monogamy, in This Economy? — The work of Sunny Megatron, Midori, and Mollena Williams-Haas JOIN The Year of Opening community for a full year of learning & support. Registration is open now at ⁠⁠www.TheYearOfOpening.com⁠⁠ Are you ready to open your relationship happily? Find out at www.JoliQuiz.com Learn the 5 secrets to open your relationship the smart way Get the answers you want to create the open relationship of your dreams! Sign up for an Ask Me Anything here Music: Dance of Felt by ⁠Blue Dot Sessions

Girls Gone Hueco is an all-female bouldering film now available on Vimeo. In this episode, I sit down with V11 climber Midori Buechli and filmmaker Long Truong to discuss the making of the film, the power of climbing with a girl gang, hidden costs of making a film, trash can showers, pad-less sends, imposter syndrome, advice for aspiring filmmakers, and more.Watch Girls Gone Hueco:girlsgonehueco.vhx.tvKAYA:kayaclimb.comUse code "NUGGET" at checkout for 20% off your first year of KAYA PRO.Shoutout to KAYA for supporting Girls Gone Hueco!Show Notes:  thenuggetclimbing.com/episodes/girls-gone-huecoNuggets:(00:00:00) – Intro(00:02:38) – Midori's background(00:09:08) – Long's background(00:13:26) – What Long learned making Girls Gone Hueco(00:15:41) – What surprised Midori about the experience(00:17:32) – Why Midori wanted to make the film(00:20:30) – Forming the girl gang(00:24:36) – How Long got involved with this film(00:28:36) – Making the film(00:37:48) – What they wish they had known(00:40:10) – Hidden costs of making a film(00:48:08) – Carving out the time to make a film(00:50:57) – Trash can shower(00:55:39) – Amanda's pad-less send(01:00:36) – Will there be a Girls Gone Hueco 2?(01:01:35) – Takeaways(01:06:11) – Where to watch the film(01:06:45) – Advice for aspiring filmmakers(01:10:03) – Imposter syndrome(01:15:15) – Don't be afraid to try(01:16:45) – V11 in legit(01:18:03) – Shoutout to Julie Ellison(01:20:45) – Congratulations