Podcasts about Miko

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Miko Branch. Here is a clear, structured summary of the Miko Branch interview with Rushion McDonald, along with its purpose, key takeaways, and notable quotes, drawn directly from the transcript you provided.All information cites the uploaded file. SUMMARY OF THE INTERVIEW In this Money Making Conversations Masterclass episode, Rushion McDonald interviews Miko Branch, co‑founder and CEO of Miss Jessie’s, a pioneering hair‑care brand serving people with textured, curly, kinky, and wavy hair. Miko recounts how she and her late sister, Titi Branch, built Miss Jessie’s from their kitchen table in their Brooklyn brownstone, developing products designed to genuinely work for people with textured hair. She highlights the brand’s deeply personal roots—named after their grandmother Jessie Mae Branch, the first “CEO” they ever observed in action. Throughout the interview, Miko explains how Miss Jessie’s expanded from grassroots marketing, word‑of‑mouth, and early internet chat rooms to becoming a national brand found in Walgreens, CVS, Target, and more. She stresses the brand’s emphasis on education, authenticity, and providing solutions for all textured hair types. Miko also discusses signature product lines (Curly Pudding, Pillow Soft Curls, Daily Soft Curls, sulfate‑free shampoo) and how Miss Jessie’s became a leader in the natural hair movement—well before it became a mainstream trend. PURPOSE OF THE INTERVIEW 1. To showcase Miss Jessie’s origin story and entrepreneurial journey McDonald highlights how Miko built a multimillion‑dollar brand from her kitchen table. 2. To inspire current and aspiring entrepreneurs Miko demonstrates how authentic problem‑solving creates brand loyalty and long-term success. 3. To educate listeners about textured hair and the natural hair care industry The interview reinforces that natural hair is not a trend—it's an identity and lifestyle. 4. To highlight the importance of cultural heritage and family influence Miko shares how her grandmother, her sister, and her Brooklyn salon shaped Miss Jessie’s values and innovation. KEY TAKEAWAYS 1. Miss Jessie’s was built on authenticity and real consumer needs The brand emerged from real hairstyling challenges Miko and Titi solved for themselves and their salon clients.. 2. Education is central to the brand’s success Miss Jessie’s teaches customers how to understand and care for their curl types—wavy, curly, kinky, multicultural, or transitioning.McDonald says the site offers more information than any hair‑care brand he has interviewed. 3. Family legacy guides the company Their grandmother Jessie Mae’s leadership, work ethic, and kitchen‑table lessons inspired their business approach. 4. The natural hair movement is here to stay People increasingly embrace their God‑given texture; straightening is no longer the dominant norm. 5. Social media amplified—did not create—their success Word‑of‑mouth began long before social media; platforms today simply extend their reach. 6. Miss Jessie’s serves everyone with texture—not just Black women Men, boys, Latinas, mixed‑race individuals—anyone with curls or waves—can find a solution. 7. Product innovation drove their growth Curly Pudding, Pillow Soft Curls, Daily Soft Curls, and sulfate‑free shampoos transformed textured hair care. 8. Their Brooklyn salon doubled as R&D It allowed the sisters to test products directly on customers and ensure real‑world performance. NOTABLE QUOTES (from transcript) On the company’s beginnings “We started our business in our brownstone right at our kitchen table.” “Curly Pudding was the groundbreaker—the game changer.” On the brand’s philosophy “The bottom line is being able to create products that are helpful.” “Information and communication is key to success.” On inclusivity “Anyone who has texture… we have something for you.” On natural hair “Natural hair, curly hair is preferred… it’s how people want to express themselves.” “Natural hair is not a trend—it’s here to stay.” On social media and growth “We were going viral before ‘going viral’ was a word.”. On legacy “Our grandmother Jessie was the first female CEO we’d ever seen.”. #SHMS #STRAW #BESTSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Miko Branch. Here is a clear, structured summary of the Miko Branch interview with Rushion McDonald, along with its purpose, key takeaways, and notable quotes, drawn directly from the transcript you provided.All information cites the uploaded file. SUMMARY OF THE INTERVIEW In this Money Making Conversations Masterclass episode, Rushion McDonald interviews Miko Branch, co‑founder and CEO of Miss Jessie’s, a pioneering hair‑care brand serving people with textured, curly, kinky, and wavy hair. Miko recounts how she and her late sister, Titi Branch, built Miss Jessie’s from their kitchen table in their Brooklyn brownstone, developing products designed to genuinely work for people with textured hair. She highlights the brand’s deeply personal roots—named after their grandmother Jessie Mae Branch, the first “CEO” they ever observed in action. Throughout the interview, Miko explains how Miss Jessie’s expanded from grassroots marketing, word‑of‑mouth, and early internet chat rooms to becoming a national brand found in Walgreens, CVS, Target, and more. She stresses the brand’s emphasis on education, authenticity, and providing solutions for all textured hair types. Miko also discusses signature product lines (Curly Pudding, Pillow Soft Curls, Daily Soft Curls, sulfate‑free shampoo) and how Miss Jessie’s became a leader in the natural hair movement—well before it became a mainstream trend. PURPOSE OF THE INTERVIEW 1. To showcase Miss Jessie’s origin story and entrepreneurial journey McDonald highlights how Miko built a multimillion‑dollar brand from her kitchen table. 2. To inspire current and aspiring entrepreneurs Miko demonstrates how authentic problem‑solving creates brand loyalty and long-term success. 3. To educate listeners about textured hair and the natural hair care industry The interview reinforces that natural hair is not a trend—it's an identity and lifestyle. 4. To highlight the importance of cultural heritage and family influence Miko shares how her grandmother, her sister, and her Brooklyn salon shaped Miss Jessie’s values and innovation. KEY TAKEAWAYS 1. Miss Jessie’s was built on authenticity and real consumer needs The brand emerged from real hairstyling challenges Miko and Titi solved for themselves and their salon clients.. 2. Education is central to the brand’s success Miss Jessie’s teaches customers how to understand and care for their curl types—wavy, curly, kinky, multicultural, or transitioning.McDonald says the site offers more information than any hair‑care brand he has interviewed. 3. Family legacy guides the company Their grandmother Jessie Mae’s leadership, work ethic, and kitchen‑table lessons inspired their business approach. 4. The natural hair movement is here to stay People increasingly embrace their God‑given texture; straightening is no longer the dominant norm. 5. Social media amplified—did not create—their success Word‑of‑mouth began long before social media; platforms today simply extend their reach. 6. Miss Jessie’s serves everyone with texture—not just Black women Men, boys, Latinas, mixed‑race individuals—anyone with curls or waves—can find a solution. 7. Product innovation drove their growth Curly Pudding, Pillow Soft Curls, Daily Soft Curls, and sulfate‑free shampoos transformed textured hair care. 8. Their Brooklyn salon doubled as R&D It allowed the sisters to test products directly on customers and ensure real‑world performance. NOTABLE QUOTES (from transcript) On the company’s beginnings “We started our business in our brownstone right at our kitchen table.” “Curly Pudding was the groundbreaker—the game changer.” On the brand’s philosophy “The bottom line is being able to create products that are helpful.” “Information and communication is key to success.” On inclusivity “Anyone who has texture… we have something for you.” On natural hair “Natural hair, curly hair is preferred… it’s how people want to express themselves.” “Natural hair is not a trend—it’s here to stay.” On social media and growth “We were going viral before ‘going viral’ was a word.”. On legacy “Our grandmother Jessie was the first female CEO we’d ever seen.”. #SHMS #STRAW #BESTSee omnystudio.com/listener for privacy information.

World's Toughest Mudder 2026 came and went and there was a lot of excitement captured both on the live stream as well as in our interviews! This is our part 4 of 4 of our WTM coverage and it focuses on everything during the bar crawl! See time stamps below for more information as to who we got on the mic! Part 1 was focused on Friday interviews and the TMHQ course announcements! Part 2 was race weekend interviews and audio, and part 3 was from the brunch! Start – 2:55 – Intro 2:55 – 8:12 – Quick News 8:12 – 8:53 – Content Preface 8:53 – 1:48:44 - Interviews (Melissa Linden and James Del Verde, Miko, Jack O'Reilly, Kris Mendoza, Kye Chapman, Carlo Piscitello, Grant Thompson, Jason Dupree, Gary Judd, Fran Chiorando, and Dave Webster) 1:48:44 – End – Outro Next weekend we will be airing part 1 of our Spartan Ultra World Championships coverage! ____ News Stories: Rowing from California to Hawaii Record Spartan Pays On Site Thunder Run Race Map James and Missy Married Magida Pregnancy Announcement Justin Manning 5 Year Anniversary Spartan New England Super and Sprint Podiums Spartan Morzine Beast Men Podium Spartan Northeast US Series Leaderboard Spartan West US Series Leaderboard Kid Dreams Secret Link Karate Humor Secret Link Lego Sibling Secret Link Difference Championship Secret Link Samsung Concert Secret Link ____ Related Episodes: 360. World's Toughest Mudder 2023! (Part 3: Bar Crawl Interviews and a Musical Performance) 412. World's Toughest Mudder 2024! (Part 3: Brunch Interviews and Audio) 438. World's Toughest Mudder First Timer Questions with Josh Fiore! 441. World's Toughest Mudder in UK Prep with Wil Chung and Fran Chiorando! 442. Katelyn's Pre-World's Toughest Mudder Thoughts! 443. World's Toughest Mudder 2025! (Part 1: Course Walkthrough with The OCR Report) 444. World's Toughest Mudder 2025! (Part 2: Event Day Audio, Interviews, and Katelyn's Pit Audio) 445. World's Toughest Mudder 2025! (Part 3: British Brunch Interviews and Audio) 446. World's Toughest Mudder 2025 (Part 4: Bar Crawl Interviews) 449. World's Toughest Mudder 2025! (Part 5: Giles Chater Interview) 493. Mike's First Hyrox Experience and Katelyn's Pre-World's Toughest Mudder Thoughts! 494. Grant Thompson on Scotland, UKOCR Endurance Series, World's Toughest Mudder, and More! 495. World's Toughest Mudder 2026! (Part 1: Pit Set Up Interviews, and Course Briefing Audio) 496. World's Toughest Mudder 2026! (Part 2: Event Weekend Interviews and Audio with Athletes, Pit Crew, and Volunteers) 497. World's Toughest Mudder 2026! (Part 3: Brunch Interviews and Audio) ____ The OCR Report Patreon Supporters: Jason Dupree, Kim DeVoss, Samantha Thompson, Matt Puntin, Brad Kiehl, Charlotte Engelman, Erin Grindstaff, Hank Stefano, Arlene Stefano, Laura Ritter, Steven Ritter, Sofia Harnedy, Kenny West, Cheryl Miller, Jessica Johnson, Scott "The Fayne" Knowles, Nick Ryker, Christopher Hoover, Kevin Gregory Jr., Evan Eirich, Ashley Reis, Brent George, Justin Manning, Wendell Lagosh, Logan Nagle, Angela Bowers, Asa Coddington, Thomas Petersen, Seth Rinderknecht, Bonnie Wilson, Steve Bacon from The New England OCR Expo, Robert Landman, Shell Luccketta Jules Estes, and Alan "Muddy Duck" Moore. Sponsored Athletes: Javier Escobar, Kelly Sullivan, Ryan Brizzolara, Joshua Reid, and Kevin Gregory! Support us on Patreon for exclusive content and access to our Facebook group Check out our Threadless Shop Use coupon code "adventure" for 15% off MudGear products Use coupon code "ocrreport20" for 20% off Caterpy products Like us on Facebook: Obstacle Running Adventures Follow our podcast on Instagram: @ObstacleRunningAdventures Write us an email: obstaclerunningadventures@gmail.com Subscribe on Youtube: Obstacle Running Adventures Intro music - "Streaker" by: Straight Up Outro music - "Iron Paw" by: Dubbest

Miko Mission – One Two Three Alan Cook - Do You Want To Stay Karel Sanders - I Just Wanna Linda Jo Rizzo - You're My First, You're My Last Fred Ventura - Wind Of Change Kristian Conde- Dolce VitaStyloo Stylóo - Pretty Face Miko Mission – The Music Is My Life Coo Coo – Easy Lover (Sección Alberto Pucela Closed - Living In Your Eyes Entrevista a Miko Mission Ken Laszlo – Tonight Toni Peret & Josep Maria Castells - Max Mix 4 Anthony´s Games- Sunshine Love Perickko sección IA Riky Maltese – Warrior Koto - Visitors DanyCohiba & Julio Delgado- Colder Than Ice 2009 Nueva Sintonía Para Temporada 26/27 by Mariví Righeira - Vamos A La Playa

ぬるぽ放送局おたより投稿フォーム https://forms.gle/6tbmBzK6wbyavJG47 2026年7月パワープレイ M1. Comeback 作編曲：HiroHiro & Smeets 音楽ジャンル：Happy Hardcore, UK Hardcore サークル：Notebook Records 収録アルバム：YATSUZAKI HARDCORE COLLECTION 17 2026・7・1 Release https://notebookrecords.net/discographyportal.php?cdno=YHC-017 番組時間：83分28秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2026/7/16に公開録音したものを配信いたします。 ラジオ記事はリスナーのEEチャンピオンさんが書いてくれているので楽してます。 ＜オープニング＞ ・夕野さんどこに行ってたんですか？ ・ねぎしチュール ・池袋にサウナに行ってきました ・ホントはイベント前にご飯食べないでほしいな ・イベント用のしょうゆ出来てます ・ぺロッ…これはしょうゆ ・味見で半分残ればいいんですけどね ・10/24阿佐ヶ谷で味見できます ・飲み過ぎたのはヨシミのせいよ ・今週1週間なにもありませんでした ・メズラシイネ ・マクスウェルのパズルな悪魔がやばい ・台風一過ってことですね ・いきなりトイストーリー５から見ちゃう ・え？音響マンになりつつある？ ・千葉から追っかけが ・ひとのでんわ展行ってきました ・察するゲームなのかい ・飛行機ってなんであんなに遅れるんですか？ ＜Aパート＞ ・ふつおたです ・突合なんて、ITおじさんしか使わないよ ・北海道はあの広さで1道なんだぞ ・ついにネットフリックス ・地面師のヨシミ ・水曜もうええでしょう ・ジャンプ売り切れ ・ハンターハンターが読める幸せ ・ハンターハンター専用SNS ・初老の飲み会の報告 ・はかせが体調不良 ・前川さんの上の人って限られてますよね？ ・はかせの息子の名前を誰も知らない ・一人くらい捕まった方が面白いかと ・ARM「しゃちょうってのに気をつけろよ」 ・お、雀魂！ ・ハコパーク ＜Bパート＞ ・夏に聞くとちょうどいい曲 ・鉄アレイが捗る曲 ・パワープレイ中は鉄アレイやってます ・みつをたです ・汗をかかない裏技でもあるのかな？ ・読書は最低限で ・エアコンの中古はどうなのか ・おまねこくん ・いいねしてありました ・麻雀ファイトガールやべーよね ・西村社長ーいいねしましたよー ・リポストはしないんかい ・寝起きヤシの木レベル12に ・これ、全部同じ流れか ・カナメストーンだ ・イオシスしか出ねーだろ！ ・にじさんじピックアップニュース ・小笠原で野生化したるんちょま ・当たり屋と被害者のてぇてぇ ・6年前の初コラボ日を結婚記念日にしよう ・夕野ヨシミVの姿も7周年 ・キンタマが2tあったらどうする？ ・見るものがあり過ぎて大変 ・自分たちの配信好き過ぎ ・キャベツは切ってるのを買ってます ・dpgkじゃないですか ・ホロピックアップニュース ・もんじゃっておいしいんですか？ ・それだとねぎし行っちゃう ・ホロライブコミケ出展決定 ・Vピックアップニュース ・イオンモール系ではない ・お世話になってる人がぬるぽに集結してる ・ベスト４からでもよくない ・ハーフタイムが30分 ・今日はヤニねこ見よう ＜エンディング＞ ・ハーフタイムでねぎしが食べれるね ・この番組はねぎしの提供でお送りしました（冗談です） ・スポンサー待ってますよ ・マクドナルドさんは来てくれましたね ・がんばれねぎし外伝　消えた黄金キセル　 ・シムねぎし ・ねぎし大喜利始まった

 Wadi Rum od lat zachwyca nie tylko podróżników, ale także największych reżyserów Hollywood. Monumentalne formacje skalne, czerwono-różowy piasek i surowy krajobraz sprawiły, że jordańska pustynia wielokrotnie zamieniała się na ekranie w odległe planety i egzotyczne światy. Podczas podróży po Jordanii o niezwykłym miejscu opowiadał Mikołaj Murkociński. 

#horror #ghostseriespodcast #cursedvilla #shaapitvilla #horrorKutukan Sembilan Setan, or Curse of the Nine Demons, is an Indonesian horror film that follows five friends-Verdy, Lia, Devon, Miko, and Sarah-on a vacation to the breathtaking region of Mount Bromo..but they are in cursed horror villa.

Mirek Mikołajczak, założyciel Selsey, to człowiek, którego historia przeczy wszystkim podręcznikowym regułom budowania biznesu. W dzisiejszym odcinku „Zaprojektuj swoje życie” rozmawiamy o tym, jak trudne dzieciństwo - w tym pobyt w domu dziecka - stało się fundamentem jego późniejszego sukcesu.To nie jest kolejna, wygładzona opowieść o „sukcesie od zera”. To surowa spowiedź o tym, jak w wieku 9 lat odkryć, że nie masz rodziny, jak kombinować w Australii, żeby dostać paszport i jak przetrwać moment, w którym firma przypomina tonącego Titanica. W tym odcinku usłyszysz o:

 Od upadku Imperium Osmańskiego, przez powstanie Emiratu Transjordanii w 1921 roku, aż po ogłoszenie Królestwa Haszymidzkiego w 1946 roku. Taką dawkę wiedzy o historii Jordanii usłyszeć można było w serwisie informacyjnym Mikołaja Murkocińskiego. Amina - mieszkanka tego kraju przybliża tajemnice państwa, aby w pełni zrozumieć sytuację współczesnego Bliskiego Wschodu. 

出演者： miko、quim 配信ペース： 隔週 番組時間：98分10秒 ♯本番組はリモート収録です。 ♯収録時環境の影響により、全体的に聴き取り辛くなっております。 　申し訳ございません。 隔週に1回お届け。mikoラジ、第401回です。 我さんの国外脱出（？）に伴い、配信スケジュールを変更して1週ズレての401回。 我さんの旅行のお話、しがないさんの対AI奮闘記（？）。 凄いことするな、何してんだろこの人達……そんな変わらぬ光景を今回もお届けいたします。 最後までごゆるりとお楽しみくださいませ。 ♯途中で色々とノイズ等入りますが、収録時のものです。 　ご安心ください、お手持ちの機器は正常です。 ・おとらってRECORD 公式サイト http://www.n-remix.com/otolatte/ ↑『おとらって10thライブ KUWANA』に参加予定の方は、 　「来場予約はこちらから」からご予約を！ 開催日／2026.8.23(日) 　第一部　OP11:30　ST12:00 　第二部　OP14:40　ST15:00 //////////////////// VOICEVOX:ずんだもん VOICEVOX:四国めたん //////////////////// -------------------- ●お便り募集中！ mikoラジでは以下の内容でお便りを募集中です！ ・ふつおた 　／普通のお便り、お待ちしています！ ・mikoは大変な絵を描いていきました 　／miko画伯に描いて欲しいお題をお待ちしています！ ・メシヲコエテ 　／料理人・mikoに教えて欲しいレシピをお待ちしています！ bit.ly/2GAWjyv 投稿フォームからラジオに投稿が出来ます！ コーナー名を選び、メッセージ・ラジオネーム・お所を入力して、 どんどん送ってください！　お待ちしています！！ ------------ 本ラジオのメインパーソナリティーである「チーム我等(miko/quim)」、 それぞれ以下個人サークルにて活動中です。 ・miko：miko ・quim：SHIGANAI RECORDS（ shiganai.com/ ） 活動詳細については、上記HPの他 各人のブログ/twitter等にて随時告知しておりますので、チェックしてみてください！ ・みころぐ。(mikoのブログ)（ ameblo.jp/miko-nyu/ ） ・@ mikonyu(mikoのtwitter)（ twitter.com/mikonyu ） ・@ quim(quimのtwitter)（ twitter.com/quim ） --- その他の活動については、以下のとおりです！ -- チーム我等がメインクルーとして活動していた「アルバトロシクス（ albatrosicks.com/ ）」、 これまでリリースしたCDは、イオシスショップ（ iosys.booth.pm/ ）にて頒布しております。ご興味ある方は是非！ ---------- ☆2026年7月IOSYSはいてない.comパワープレイ楽曲 M1. Comeback 作編曲：HiroHiro & Smeets 音楽ジャンル：Happy Hardcore, UK Hardcore サークル：Notebook Records 収録アルバム：YATSUZAKI HARDCORE COLLECTION 17 2026・7・1 Release https://notebookrecords.net/discographyportal.php?cdno=YHC-017 YATSUZAKI HARDCOREが贈る「YATSUZAKI HARDCORE COLLECTION」シリーズ第17弾！ ハイクオリティな直球UK Hardcoreコラボレーションが直撃！"HiroHiro & Smeets - Comeback" ジャパニーズカワイイカルチャーが生み出した次世代ポップコア"10den - Dear" 動きのデカさを感じさせるハードコアトラック"ZEPHYR - Celestia" ピュアでクレイジーな狂気が一心不乱にちょっかいをかけてくる"hitogomi - Nutty as a fru!tcake" 4組による書き下ろしトラックが収録！

Mixed live Duration: 1:17:00

#płatnawspółpraca | Zapraszamy na środowe #OnetRano, w którym gośćmi Mikołaja Kunicy będą: Magdalena Sroka - Polskie Stronnictwo Ludowe, Helena Turek - psycholożka, Sofia Ennaoui - była lekkoatletka, Radosław Majdan - Przegląd Sportowy Onet. W części #OnetRanoWiem gościnią Agnieszki Homy będzie Elżbieta Turlej - Newsweek Polska.

出演者：藤原鞠菜 配信ペース：隔週火曜日 番組時間：平均40分 ——————————————————————— ＜各テーマ紹介＞配信されるテーマは回によって異なります。 「ふつおた」･･･何でもありのお便りコーナー。投稿は毎日募集中！！！！！ 「歴史秘話ウィステリア」･･･サークル曲の裏話など。 「まりにゃのこれな～んだ？」･･･音当てクイズ。 「まりにゃのオススメ」･･･オススメ商品をご紹介。 「はじおと」･･･「音楽」×「初めて」に関して語るコーナー。 （初めて買ったCD、初めて心を動かされた音楽、初めてカラオケで歌った曲等。） 「これかた」･･･テーマを決めて語る割とフリーダムなコーナー。 （テーマや語ってみた投稿募集中。） 「答えて、まりにゃ」･･･まりにゃへの質問募集中。 「トレンドなう」･･･収録時に開いたTwitterのリアルタイムトレンドについてコメント。 「まりにゃのTOP5」･･･思いついたら勝手にランキング。 「まりにゃのドキドキ質問箱」…twitter投稿になります。（ https://peing.net/marinya_）  「みんなの答え合わせ」…twitterで出題するアンケートの結果報告。みんなに聞きたいこと募集中。 ——————————————————————— ——————————————————————— ■CD新作・出演告知など■ ★Wisteria Magic通販サイト「うぃすましょっぷ」★ wismashop.booth.pm/ 新作も旧作も全て送料込み！ ★イオシスショップ様にて一部旧作を委託販売中！★ www.iosysshop.com/SHOP/list.php?Search=wisteria ★しがないレコーズのyoutube「しがない5分ショー」に出演してます。 藤原鞠菜は木曜日担当です。 https://www.youtube.com/channel/UCA_FmkoMu24R_6o3m3_Ulqg —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– ・の〜すとらいく様の18禁PCゲーム 「女装百合畑/Trap Yuri Garden」にて、主題歌「優雅にヒロイン宣言」を担当させて頂きました。 ・TinklePosition様の18禁PCゲーム 「お兄ちゃん、朝までずっとギュッてして！夜までもっとエッチして！」 にて女未こはくちゃん(三女)のED曲担当させて頂きました。 ・TinklePosition様の18禁PCゲーム 「お兄ちゃん、朝までずっとギュッてして!」 にて女未こはくちゃん(三女)のED曲を担当させて頂きました。 —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– ——————————————————————— この番組は音楽サークルWisteria Magicがお届けする番組です。 藤原鞠菜やサークルの過去または最新の活動内容につきましては 以下をチェックしてくださると嬉しいです♪ ・藤原鞠菜のTwitter（ twitter.com/marinya_ ） ・藤原鞠菜のHP「ふじわらんど」（ fujimari.com/ ） ・磯村カイのTwitter（ twitter.com/isomurakai ） ・磯村カイのHP「TONAKAI soundworks」（ https://soundworks.tonakaii.com/ ） 藤原鞠菜への贈り物の宛先 〒107-0052 東京都港区赤坂4-9-25 新東洋赤坂ビル10F レイズイン　アカデミー気付　藤原鞠菜宛 VOICEVOX:ずんだもん VOICEVOX:四国めたんWisteria Magic

This week on Democracy Dialogues, Frances Cayton speaks with four experts on Polish politics about the success of Poland's opposition coalition in 2023, and the headwinds that democracy continues to face today. What challenges do parties and civil society face in building pro-democracy electoral coalitions? If victorious, how do these challenges affect post-election governance and efforts at pursuing democratic renewal? This episode brings together politicians, political scientists, and civil society leaders who each played a critical role in the 2023 elections to examine what made Poland's pro-democracy mobilization possible, the gains the 2023 coalition has achieved since entering power, and the challenges it continues to face in pursuing democratic renewal.This episode was originally recorded as a part of the Lessons from Global Democratic Resistance panel series. The series brings together frontline activists, civic leaders, institutional actors, and field‑informed scholars to examine how democratic actors have resisted, responded to, and learned from democratic backsliding across countries. The series aims to identify practical lessons and comparative insights for those defending democracy today and is organized in collaboration with the Ash Center for Democratic Governance and Innovation at Harvard University; Perry World House at the University of Pennsylvania; the Kellogg Institute for International Studies at the University of Notre Dame; the Democratic Futures Project at the University of Virginia; Stanford's Center on Democracy, Development and the Rule of Law; and the Carnegie Endowment for International Peace. Mikołaj Cześnik, Director of the Institute of Social Science at SWPS University, Chairman of the Council of the Stefan Batory Foundation Michał Wawrykiewicz, Member of the European Parliament (MEP). Co-Founder of the civic initiative Wolne Sady (Free Courts) Marek Tatała, President and Co-Founder of the Economic Freedom Foundation Dominika Lasota, Student and Activist in the Youth Climate Strike Poland, Co-Founder of Inicjatywa WSCHÓD Frances Cayton is a PhD Candidate in Government at Cornell University. Her research focuses on questions surrounding democratic backsliding, civil society, and political communication. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This week on Democracy Dialogues, Frances Cayton speaks with four experts on Polish politics about the success of Poland's opposition coalition in 2023, and the headwinds that democracy continues to face today. What challenges do parties and civil society face in building pro-democracy electoral coalitions? If victorious, how do these challenges affect post-election governance and efforts at pursuing democratic renewal? This episode brings together politicians, political scientists, and civil society leaders who each played a critical role in the 2023 elections to examine what made Poland's pro-democracy mobilization possible, the gains the 2023 coalition has achieved since entering power, and the challenges it continues to face in pursuing democratic renewal.This episode was originally recorded as a part of the Lessons from Global Democratic Resistance panel series. The series brings together frontline activists, civic leaders, institutional actors, and field‑informed scholars to examine how democratic actors have resisted, responded to, and learned from democratic backsliding across countries. The series aims to identify practical lessons and comparative insights for those defending democracy today and is organized in collaboration with the Ash Center for Democratic Governance and Innovation at Harvard University; Perry World House at the University of Pennsylvania; the Kellogg Institute for International Studies at the University of Notre Dame; the Democratic Futures Project at the University of Virginia; Stanford's Center on Democracy, Development and the Rule of Law; and the Carnegie Endowment for International Peace. Mikołaj Cześnik, Director of the Institute of Social Science at SWPS University, Chairman of the Council of the Stefan Batory Foundation Michał Wawrykiewicz, Member of the European Parliament (MEP). Co-Founder of the civic initiative Wolne Sady (Free Courts) Marek Tatała, President and Co-Founder of the Economic Freedom Foundation Dominika Lasota, Student and Activist in the Youth Climate Strike Poland, Co-Founder of Inicjatywa WSCHÓD Frances Cayton is a PhD Candidate in Government at Cornell University. Her research focuses on questions surrounding democratic backsliding, civil society, and political communication. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

This week on Democracy Dialogues, Frances Cayton speaks with four experts on Polish politics about the success of Poland's opposition coalition in 2023, and the headwinds that democracy continues to face today. What challenges do parties and civil society face in building pro-democracy electoral coalitions? If victorious, how do these challenges affect post-election governance and efforts at pursuing democratic renewal? This episode brings together politicians, political scientists, and civil society leaders who each played a critical role in the 2023 elections to examine what made Poland's pro-democracy mobilization possible, the gains the 2023 coalition has achieved since entering power, and the challenges it continues to face in pursuing democratic renewal.This episode was originally recorded as a part of the Lessons from Global Democratic Resistance panel series. The series brings together frontline activists, civic leaders, institutional actors, and field‑informed scholars to examine how democratic actors have resisted, responded to, and learned from democratic backsliding across countries. The series aims to identify practical lessons and comparative insights for those defending democracy today and is organized in collaboration with the Ash Center for Democratic Governance and Innovation at Harvard University; Perry World House at the University of Pennsylvania; the Kellogg Institute for International Studies at the University of Notre Dame; the Democratic Futures Project at the University of Virginia; Stanford's Center on Democracy, Development and the Rule of Law; and the Carnegie Endowment for International Peace. Mikołaj Cześnik, Director of the Institute of Social Science at SWPS University, Chairman of the Council of the Stefan Batory Foundation Michał Wawrykiewicz, Member of the European Parliament (MEP). Co-Founder of the civic initiative Wolne Sady (Free Courts) Marek Tatała, President and Co-Founder of the Economic Freedom Foundation Dominika Lasota, Student and Activist in the Youth Climate Strike Poland, Co-Founder of Inicjatywa WSCHÓD Frances Cayton is a PhD Candidate in Government at Cornell University. Her research focuses on questions surrounding democratic backsliding, civil society, and political communication. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

#高雄 正義站&黃線捷運計劃，平面車位3房全新完工 實品屋預約鑑賞中。正義站通勤南科，未來捷運串連衛武營、Lalaport。正義公園，風景入門廳 。陽明國中自由學區07-7801988 洽澄清路227號 https://sofm.pse.is/9b7wkx -- (裕富數位 | 吉速袋) 急用周轉 為你應援  線上申辦3步驟  資料齊全最快 5 分鐘  專人依序審核，最快當日撥款 前往了解更多: https://sofm.pse.is/9ctpb6 (警語) 總費用年百分率約16.45%-23.97%。利率15.75%~15.99%，手續費1~2.5千元。詳參裕富官網。實際撥款時間與條件視審核而定。請謹慎理財。 －－－－以上為 SoundOn 動態廣告－－－－ DJ：陶晶瑩（飛碟電台） 週一至五 首播 17:00​​​​​​​​​​​​​​-18:00​​​​​​​​​​​​​​ ◎中時新聞網7/7報導 日本夫妻檔YouTuber「Nihonjinfufu」曾來台長居13年，經常透過影片和大家分享健康飲食與永續日常，憑藉溫暖療癒的風格擁有超過41.5萬人訂閱。怎料，先生Masa竟在今（7日）發布噩耗，證實太太Miko不敵卵巢癌，已於上月離世，消息一出令廣大粉絲震驚且不捨。….. Masa感性提到，粉絲們留下的每一句加油與祝福，Miko生前都有讀到，這些溫暖給了她很大的力量，他也代妻子向所有支持者致謝：「真的被救贖了，謝謝大家」。關於兩人共同建立的「小恰好商店」，Masa強調會繼承妻子的遺志，以同樣的標準持續經營下去。…..   ◎BBC NEWS中文網7/9報導 台灣食油大廠「中聯油脂」的大豆沙拉油驗出一級致癌物「苯駢芘」（BaP）超標，涉及批次達2600公噸，已影響下游360家業者，包括超市、餐廳和便利店等。….. 事件揭露抽驗機制漏洞，生產商今年4月首次抽驗沒超標，到5月下游業者自主檢驗發現超標後，只在供應鏈內逐層向上游通報，主管機關延至6月底才收到通知，逾50日「空窗期」令問題油擴散全台。….. 根據食藥署截至7月8日統計，相關食油涉及下游360家業者，當中有348家有產品流入市面，包括大全聯、家樂福、路易莎和桂冠等。現時署方公佈預防性下架產品清單多達401項，包含知名餐飲與各大超商的食品。…..   飛碟聯播網 提醒關心您： ※酒後不開車，飲酒過量有礙健康，未成年請勿飲酒。 ※自我傷害不能解決問題，勇敢求救並非弱者，請珍惜生命。衛福部24小時安心專線：1925，張老師：1980，生命線：1995。 ※尊重身體自主權，遇到性騷擾勇於制止，勇敢說不！報案：110，保護專線：113，婦女救援基金會：02-2555-8595，勵馨基金會：02-8911-8595。 ※拒絕暴力，如遇霸凌請勇於求助，反霸凌專線：1953，教育部投訴專線：0800-200-885，iWIN網路防護機構諮詢專線：02-2577-5118。 ※任何人在依法被判決有罪確定前，均應推定為無罪。 飛碟APP！收聽零距離 ▶ IOS：https://reurl.cc/3jYQMV ▶ Android：https://reurl.cc/5GpNbR ▶ 飛碟聯播網 Youtube頻道 https://www.youtube.com/@飛碟電台uforadio ▶ 飛碟聯播網 FB粉絲團 https://www.facebook.com/ufonetwork921 ▶ 網路線上收聽 http://www.uforadio.com.tw/ ▶ Podcast SoundOn : [https://bit.ly/30Ia8Ti]() Apple Podcasts : [https://apple.co/3jFpP6x]() Spotify : [https://spoti.fi/2CPzneD]() KKBOX：[https://reurl.cc/MZR0K4]() 陶晶瑩 ●Instagram：https://www.instagram.com/momoleelee/ ●facebook：https://www.facebook.com/people/%E9%99%B6%E6%99%B6%E7%91%A9/100044575080077/ 按讚 訂閱 分享 開啟小鈴鐺 -- Hosting provided by SoundOn

ぬるぽ放送局おたより投稿フォーム https://forms.gle/6tbmBzK6wbyavJG47 2026年7月パワープレイ M1. Comeback 作編曲：HiroHiro & Smeets 音楽ジャンル：Happy Hardcore, UK Hardcore サークル：Notebook Records 収録アルバム：YATSUZAKI HARDCORE COLLECTION 17 2026・7・1 Release https://notebookrecords.net/discographyportal.php?cdno=YHC-017 番組時間：75分48秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2026/7/9に公開録音したものを配信いたします。 ラジオ記事はリスナーのEEチャンピオンさんが書いてくれているので楽してます。 ＜オープニング＞ ・いよいよ夏です ・夏と言えばアイスクリーム ・D.wattはpinoが大好き ・眼精疲労で頭痛が ・二日酔いが原因なのでは？ ・イオシスくんの活動報告 ・「ROSE ～禁じられた愛～」 のMV毎日見てね ・楽曲提供しました！ 　『beatmania IIDX』2026/7/2～ 　「D.K.N. ON／RoughSketch」 ・ダケンオンであってると思います ・本人には確認しないんだ ・ゲーム実況はたくさんやってます ・ヤツコアもありました ・二日酔いの予約ってあるんですか？ ＜Aパート＞ ・食べなくても体重は減らない ・ふつおたです ・攻殻機動隊のアニメの話 ・夏は夏でした ・欧州のようにはならないぞ ・みんな脱いでほしいって夕野さんが言ってた ・強めのお薬宛 ・ASMRを聞きながら寝てるんですね ・あのケースにワインを入れたらいいのでは？ ・あの有名な全身筋肉さん ・ぬるぽさんすう教室 ・ﾄｶｼｷｸﾝﾉｺﾀｴ！ ・なんでそんなスピードで走るんですか？ ・マナーの虎宛 ・トウモロコシのマナー ・とんがりコーンは5本の指に入れないと ・じゃあ、コーン茶でいいじゃないか ・ヒゲの有効活用 ・阿佐ヶ谷でヤングコーンのヒゲ ・10月の阿佐ヶ谷の情報ポローン ・しょうゆが活きるメニュー ＜Bパート＞ ・漫才やりますか ・ありがとうございましたーはハモりたい ・写真集で水着解禁しようよ ・2ヶ月近く経っちゃったら賞味期限が切れちゃうだろ！！！！！！ ・ブーメランパンツだと片玉ってわかっちゃうんですかね？ ・ドネシア ・「円安エグッ」って2回言っちゃった ・駿河屋も買い取ってくれないだろ！ ・しまむらより安いじゃないか！ ・VRのハワイならタダ ・VR元年来なかったねー ・みつをたです ・ヤニねこなのに禁煙の役に立つ ・ふしだらな母たちのグッズ ・何も不祥事起こしてないけど坊主にしようかな ・反面教師は大事 ・創作昔話　ごんぎつね ・ごんぎつねフォロワー増えましたね ・一攫千金の願いが健康第一に変わりました ・古いゲームのデータ破損 ・TVerでは削除済み ・にじさんじピックアップニュース ・葛葉とアンジュ名前が似てるからな ・腰の位置は重なってないから大丈夫 ・旦那にはギリギリ聞かれてなかったから大丈夫 ・作詞家だから歌詞が気になっちゃうね ・ホントだセンシティブな歌詞だ ・ホロピックアップニュース ・米食いにハリウッドへ ・ケツバットでバットが壊れる ・素麺の茹で方で笑いがとれる ・すいせいさんが始球式？ ・事前登録130万 ・Vピックアップニュース ・一言でやっつけろのコーナー ・スーパースモーキングタイム ・音だけで楽しめるリズム天国 ＜エンディング＞ ・洞爺湖温泉に1泊してきたんですよ ・5回浸かると効果あるね ・周りはみんな外国人 ・花火はやってましたね ・スポンサーは不明 ・みなさんも洞爺湖行ってください ・自動翻訳で全部「こんにちは」になっちゃう

#płatnawspółpraca | Zapraszamy na czwartkowe "Onet Rano.", w którym gośćmi Mikołaja Kunicy będą: Paweł Kowal, przewodniczący Rady ds. współpracy z Ukrainą; Łukasz Kozłowski, główny ekonomista Federacji Przedsiębiorców Polskich; Anna Stańko, prezeska Fundacji im. Tomasza Stańko; Rafał Sonik, były kierowca rajdowy; Krzysztof "Diablo" Włodarczyk, pięściarz.

Mixed live Duration: 1:07:00

Czy nie tego mam pilnować, aby mówić to, co Pan włożył w moje usta? 4 Mż 23,12 Jezus powiedział: Nowe przykazanie daję wam, abyście się wzajemnie miłowali, jak Ja was umiłowałem; abyście się i wy wzajemnie miłowali. J 13,34 Tyś, Miłości, przykazała miłość pełniąc, w wierze trwać. Dusza jednak tak ospała; chciej w nas nowe życie wlać. Zapal wszystkich serc płomienie, aby świat ten widział wciąż, żeśmy jedno pokolenie, godne jako jeden mąż. ŚE 564, 6; bp Mikołaj L. von Zinzendorf †1760

ぬるぽ放送局おたより投稿フォーム https://forms.gle/6tbmBzK6wbyavJG47 2026年7月パワープレイ M1. Comeback 作編曲：HiroHiro & Smeets 音楽ジャンル：Happy Hardcore, UK Hardcore サークル：Notebook Records 収録アルバム：YATSUZAKI HARDCORE COLLECTION 17 2026・7・1 Release https://notebookrecords.net/discographyportal.php?cdno=YHC-017 番組時間：85分2秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2026/7/2に公開録音したものを配信いたします。 ラジオ記事はリスナーのEEチャンピオンさんが書いてくれているので楽してます。 ＜オープニング＞ ・始まる0秒前までスターウォーズの話してましたよ ・半夏生とは ・黄経（こうけい）100度 ・１週間7日もやめちゃう？ ・あれ？休み減ってません？ ・令和の働き方改革やってもらって ・令和の大合併 ・カレーは強すぎる ・この流れでイオシスくんの活動報告は嫌だな ・ロケテストはもう、おわっちゃったんだ ・重大発表は絶対大したことない ・FANBOXのスパムコメントには気を付けてください ・スープカレープランはいかがですか？ ・YouTubeメンバーシップの値段が140円に（新規の方？） ・YouTube IOSYS musicチャンネル 　フルコーラスが聴けるやつ100万再生！ 　MVはワンコーラスなのでフルも聴いてね 　【東方】行列のできるえーりん診療所【IOSYS】 　歌編曲：D.watt 　音編曲：溝口ゆうま(Innocent Key) 　作詞：七条レタス 　ボーカル：3L ・2026/6/27放送・テレビ朝日『題名のない音楽会』にて「みんなの　とまチョップ」が演奏されました！ 　作曲：D.watt(IOSYS) ・THE IDOLM@STER CINDERELLA MASTER NUMBER ONE! 　「ROSE ～禁じられた愛～」 　作詞：夕野ヨシミ 　作編曲：ARM 　歌：桐生つかさ、木村夏樹、白雪千夜 　2026/7/1リリースされました！！ 　MV見てね ・みんなで決めた曲です ・楽器も聴いてもらってもいいですか ・スタッフリストが長い ・毎日聴いてください ・2026/7/5　ヤツコアあります ・2026/10/24のイオシストークライブのリーク情報 ・夕野ヨシミと言えば…バニーガール！ ・しょうゆを仕込んでいます ・しょうゆ生絞りショーご覧いただけます ・トーク醤油ってこと？ ＜Aパート＞ ・ふつおたです ・ラフさんが隣の部屋で別の生放送に出てます ・ペロっ！これは醤油！ ・PS Vita探します ・ゲームもパッケージ版が出なくなる ・steamのライブラリがぐちゃぐちゃに ・ファルダ作れますよ？ ・カッコいいキャラにカッコよく歌わせるトンチキソング ・デレマス総選挙 ・グリーンバック素材なので、ご活用していいんですよね？ ・KMNZの話 ・ちょうどいいまとめ具合 ・500行のおたよりは読めない ・強めのお薬宛のお便り ・あの…お便りありがとうございます ・南平岸には、いったい何が ・パワープレイの間にピザ画像を送ってもらって ＜Bパート＞ ・UKハードコア ・UKなのにアメリカの曲？ ・困ったらダンス＆ハウス ・プラン名言っちゃった ・みつをたです ・直射日光を舐めたらいけない ・ハンディファンはあった方がいいですよ ・うちの猫のにゃーんが入っちゃった ・センチメンタルグラフティのオーディションに声優29歳の壁 ・なんでもありの餓狼伝説 ・ごんぎつねリベンジ ・しわくちゃゴールデンボール ・審神者みつを ・いったん暗転してるんだけど ・もうちょっとダジャレ感が出ると創作昔話ごんぎつね感が出ます ・ごんぎつねワールドカップ ・折り返し好きだからね ・創作昔話　ごんぎつね ・あーあーあーひどい ・5時に起こして ・日本対ブラジルいい試合でしたよ ・キャプ翼の頃からブラジルは強い ・もう、ワールドカップの話したくなったよね ・身の振りようがねーな ・にじさんじピックアップニュース ・るんちょま活動休止 ・今週一番ショックを受けてます ・その間イオシスが、がんばります！ ・自認江渡貝くん ・にじさんじ甲子園始まる ・水風呂で生活したい ・みんなパワプロ好きだね ・ホロピックアップニュース ・なんで7台も掃除機を？ ・画鋲でも敷けばいいのに ・しゃべる陰キャ ・Vピックアップニュース ・NIKKEにVTuberが？ ・一言でやっつけろ ・世の中楽しいことがいっぱいあるね　みつを ・インチャネ懐かしいですね ＜エンディング＞ ・あっちのイオシスさんの話 ・安心してください履いてませんよ ・何もないですか？ ・ためるような話ではない ・スープカレープランの名称がピザプランに変わります ・写真はぼいどさんです ・何で縦横比が違うのか

出演者：藤原鞠菜 配信ペース：隔週火曜日 番組時間：平均40分 ——————————————————————— ＜各テーマ紹介＞配信されるテーマは回によって異なります。 「ふつおた」･･･何でもありのお便りコーナー。投稿は毎日募集中！！！！！ 「歴史秘話ウィステリア」･･･サークル曲の裏話など。 「まりにゃのこれな～んだ？」･･･音当てクイズ。 「まりにゃのオススメ」･･･オススメ商品をご紹介。 「はじおと」･･･「音楽」×「初めて」に関して語るコーナー。 （初めて買ったCD、初めて心を動かされた音楽、初めてカラオケで歌った曲等。） 「これかた」･･･テーマを決めて語る割とフリーダムなコーナー。 （テーマや語ってみた投稿募集中。） 「答えて、まりにゃ」･･･まりにゃへの質問募集中。 「トレンドなう」･･･収録時に開いたTwitterのリアルタイムトレンドについてコメント。 「まりにゃのTOP5」･･･思いついたら勝手にランキング。 「まりにゃのドキドキ質問箱」…twitter投稿になります。（ https://peing.net/marinya_）  「みんなの答え合わせ」…twitterで出題するアンケートの結果報告。みんなに聞きたいこと募集中。 ——————————————————————— ——————————————————————— ■CD新作・出演告知など■ ★Wisteria Magic通販サイト「うぃすましょっぷ」★ wismashop.booth.pm/ 新作も旧作も全て送料込み！ ★イオシスショップ様にて一部旧作を委託販売中！★ www.iosysshop.com/SHOP/list.php?Search=wisteria ★しがないレコーズのyoutube「しがない5分ショー」に出演してます。 藤原鞠菜は木曜日担当です。 https://www.youtube.com/channel/UCA_FmkoMu24R_6o3m3_Ulqg —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– ・の〜すとらいく様の18禁PCゲーム 「女装百合畑/Trap Yuri Garden」にて、主題歌「優雅にヒロイン宣言」を担当させて頂きました。 ・TinklePosition様の18禁PCゲーム 「お兄ちゃん、朝までずっとギュッてして！夜までもっとエッチして！」 にて女未こはくちゃん(三女)のED曲担当させて頂きました。 ・TinklePosition様の18禁PCゲーム 「お兄ちゃん、朝までずっとギュッてして!」 にて女未こはくちゃん(三女)のED曲を担当させて頂きました。 —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– ——————————————————————— この番組は音楽サークルWisteria Magicがお届けする番組です。 藤原鞠菜やサークルの過去または最新の活動内容につきましては 以下をチェックしてくださると嬉しいです♪ ・藤原鞠菜のTwitter（ twitter.com/marinya_ ） ・藤原鞠菜のHP「ふじわらんど」（ fujimari.com/ ） ・磯村カイのTwitter（ twitter.com/isomurakai ） ・磯村カイのHP「TONAKAI soundworks」（ https://soundworks.tonakaii.com/ ） 藤原鞠菜への贈り物の宛先 〒107-0052 東京都港区赤坂4-9-25 新東洋赤坂ビル10F レイズイン　アカデミー気付　藤原鞠菜宛 VOICEVOX:ずんだもん VOICEVOX:四国めたん

#płatnawspółpraca | Zapraszamy na wtorkowe "Onet Rano.", w którym gośćmi Mikołaja Kunicy będą: Krzysztof Szczucki, Prawo i Sprawiedliwość; Dr Paula Kukołowicz, Kierowniczka zespołu analiz procesów społecznych PIE; Radosław Majdan, Przegląd Sportowy Onet; Dawid Karpiuk, wokalista, Newsweek. W części "Onet Rano. #WIEM" gościem Magdaleny Rigamonti będzie: Bartosz Arłukowicz, Koalicja Obywatelska.

Rozmowa o Ferdku Kiepskim, alkoholu, kobietach, ojcostwie, małżeństwach, samotności aktora i popularności, z której czasem trudno się wydostać. Grabowski mówi o 22 latach pracy przy „Świecie według Kiepskich”, o tym, dlaczego serial został przeciągnięty, o „gębie Ferdka”, Pitbullu, Tańcu z Gwiazdami i o tym, jak wygląda życie człowieka, którego miliony ludzi znają z jednej roli.Jest też Kraków, teatr, bohema, Jerzy Pilch, Marek Grechuta, Jan Nowicki, Mikołaj Grabowski, Wojciech Smarzowski, praca, wiara, starzenie się i anegdoty, których nie da się wymyślić w agencji PR.To rozmowa z człowiekiem, który potrafi rozśmieszyć salę, a chwilę później powiedzieć coś, po czym robi się ciszej._____Z kodem: ZURNALISTA20 na stronie: https://tolpa.pl/dermo-shots.html?utm_source=zurnalista&utm_medium=influencer&utm_campaign=dermo_shots&utm_term=2026 -20% na produkty tołpa dermo shots, również na produkty przecenione.

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ 　良かったよ！と思ったら高評価👍 　感想・ツッコミなどチャット＆コメントもぜひ！ 　 ✅番組時間：74分05秒 ✅出演：ジャーマネ・あくとん・蛇草千尋 　 2005年にスタートして、ついに800回を突破した、 今年もいろんなことにゆるーく挑戦するラジオ。 地球の平和のためにはみなさんのおたよりが必要です！ 　 ✅コーナー： 　メルヘンチャンピオンシップトロフィーの話 　熱闘！メルヘン大相撲「アリキラマナー講座」 　 🟧投稿フォームはこちら。 　① https://forms.gle/DkTHQ38qNNWTPpta7 （新） 　② https://ja-mane.com/form/ （旧・画像添付可能） 　※ 画像を添付する場合のみ②をご利用ください 🟧投稿テーマや締切など、番組情報はジャーマネ.comからどうぞ 　https://ja-mane.com 　 🟧アリキラ白書 2023と2024、公開中！ 　https://ja-mane.com/blog/2023/10/26/hakusho2023/ 　https://ja-mane.com/blog/2025/03/09/hakusho2024/ 🟦CLOSING MUSIC 　極東の羊、テレキャスターと踊る by しゃろう 　https://www.youtube.com/watch?v=qy05MFjNZbE ■2026年6月27日配信 　 #ラジオ #ポッドキャスト #webラジオ #IOSYS #イオシス

ぬるぽ放送局おたより投稿フォーム https://forms.gle/6tbmBzK6wbyavJG47 2026年6月パワープレイ 「Phantasmagoria mystical expectation」 アレンジ・ギター・ベース　ARM ボーカル　悠 杏李 作詞　kiku　夕野ヨシミ 原曲：風神少女 音楽ジャンル：ミクスチャーポップ 収録アルバム：東方風櫻宴 2006・5・21 Release https://www.iosysos.com/discographyportal.php?cdno=IO-0090 MV https://www.youtube.com/watch?v=fOmaLZDp3y0 番組時間：91分32秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2026/6/25に公開録音したものを配信いたします。 ラジオ記事はリスナーのEEチャンピオンさんが書いてくれているので楽してます。 ＜オープニング＞ ・見事な押し間違えでミュートにしてしまった ・リバーブかけるのにもう一回やるか ・ぬるぽ放送局はしゃべってなくても大丈夫だから ・2026年も本当の折り返しですよ ・今日はしこたま買い物をしてきました ・外出警察に怒られちゃう ・ワールドカップ初優勝します ・会場間移動がとんでもない ・今からだと安い便がとれない ・海外だとタイムスケジュールが大変 ・今週はいろいろありましたよ ・ちゃんとアメリカに着地した ・ありがとうアメリカニキ ・ビートまりおは神 ・絶対届かない軽い「ありがとう」 ・北海道ご当地キャラフェスタありました ・4万5千人いたかな？ ・ツカツカが物販に ・アーカイブがありますのでご覧ください ・4万5千体のはかせ ・小樽でちゃんとラーメン食べていたはかせ ・ぐんまちゃんはお付きのスタッフが多い ・サツコスありました ・DJ卓は高さが難しい ・北大でやったのは去年です ・YouTube 2500万再生！ 　「天天天国地獄国」 　歌：ななひら & P丸様。 　作詞：夕野ヨシミ (IOSYS) 　作編曲：Aiobahn +81 ・楽曲提供しました！ 　THE IDOLM@STER CINDERELLA MASTER NUMBER ONE! 　「ROSE ～禁じられた愛～」 　作詞：夕野ヨシミ 　作編曲：ARM 　歌：桐生つかさ、木村夏樹、白雪千夜 　2026/7/1リリース予定 ・作詞を担当させて頂きました！ 　ブルーアーカイブ 青春あんさんぶる Vol.18「お祭り運営委員会」 　笑顔お祭りわっしょい！ 　アーティスト：シズコ(CV:森永千才)／フィーナ(CV:木戸衣吹)／ウミカ(CV:新田ひより) 　作詞：夕野ヨシミ(IOSYS) 　ブルーアーカイブ 絆ダイアローグ Vol.25「ツクヨ」 　背筋を伸ばして 　アーティスト：ツクヨ(CV:後藤彩佐) 　作詞：夕野ヨシミ(IOSYS) 　作曲：EmoCosine 　ブルーアーカイブ 絆ダイアローグ Vol.24「ハルカ」 　その一滴に 　アーティスト：ハルカ(CV:石飛恵里花) 　作詞：john＝hive(IOSYS) 　作曲：Nor ・楽曲提供しました！ 　『ゆんゆん電波シンドローム』 　「どうにでもなあれ」 　歌：Qちゃん & ゆんゆん 　作編曲：MARON feat. 小林ヒロト 　作詞：MARON ・楽曲提供しました！ 　「ガチ炊きちゅーなの！？ ALL NIGHT LONG／猫汰つな」 　作詞：七条レタス 　作編曲：D.watt ・仕事し過ぎでは？ ・恐れていた四十肩に ・明日スープカレープラン 生放送やります ・6/28　イオパあります ・TBAはTBAと言いますね ・8/16　イオパ（未定） ・10/24　阿佐ヶ谷でイベントやります ・イオシスは1㎜もかすってないけどHUNTER×HUNTER連載再開です ＜Aパート＞ ・ふつおたです ・台風合体！ ・高橋の法則 ・高橋ではなく藤原です ・進む方向にズレていく時計 ・スマホの時計で十分 ・アイドルの家にウォシュレットはいらない ・北から地震　南から台風　これなーんだ ・A:アポカリプス ・ギャバンの話 ・そして、農協が生まれた ・サムネの未来予知が合致した ・止めたら儲かるからやっちゃうんだろうな ・ワイヤレスマイクの話 ・ぬるぽ聞いてる人は何でも詳しい人がいる ・2.4GHzいいじゃん ・いろんな電波が飛び過ぎでは？ ・これで来年の小樽は自信をもっていけます ・ハウリングが辛い ・鉄腕DASHよりやってるぬるぽ放送局 ・ぬるぽのロケは何回かはやってる ・許されないのは俺たち ・マイケルジャクソンの映画やってるみたいですね ・鉄道のスジ屋さん ・話題の広さがぬるぽ放送局 ＜Bパート＞ ・たまに「ガチ曲あるんですか？」って聞かれちゃう ・キャノンボールの曲たくさんあるな ・みつをたです ・ブルアカの水着グッズ ・うすほそ ・Yostarの回し者みたいだな ・ぬるぽ放送局のスポンサーお待ちしてます ・始めるなら今！ ・ソープランドから拉致された安浦刑事 ・Kアリーナでやりましょ ・33人でも埋まんないからなー ・あと2万10人 ・ふつおたにあと2万人来る方法を送ってください ・サッカー選手はおっぱい揺らしたくなんですか？ ・それを顔に付けてたの？ ・出すのはごんぎつねじゃないので減点です ・にじさんじピックアップニュース ・もちもちした動きのるんちょま ・急な業界視点の分析 ・1秒が早い ・脳みそのクロック数が落ちてるのでは？ ・ホロピックアップニュース ・除湿タンクの存在に気付く ・ロボ子さん抽選に当たってしまう ・Vピックアップニュース ・街スパチャ ・一言でやっつけろ ・バッテリーがはまぐりに ・半年でまた引っ越し ＜エンディング＞ ・エンディングですが、もうおわりますか ・各種お便りお待ちしてます ・あぶおたもお待ちしてます

出演者： miko、quim 配信ペース： 隔週 番組時間：70分25秒 ♯本番組はリモート収録です。 ♯収録時環境の影響により、全体的に聴き取り辛くなっております。 　申し訳ございません。 隔週に1回お届け。mikoラジ、第400回です。 記念すべき400回!!!!11111 かつて存在したドット回を含めると、通算では突破していたものの… いよいよ数字として400回となりました。 そんな400回でも特に特別なことはせず、いつも通りなチーム我等。 これで良い、これが良い。そんなmikoラジ。 最後までごゆるりとお楽しみくださいませ。 ♯途中で色々とノイズ等入りますが、収録時のものです。 　ご安心ください、お手持ちの機器は正常です。 ♯収録都合により、次回配信予定は7/15の週となります。 　以降、隔週にて配信予定です。 ・おとらってRECORD 公式サイト n-remix.com/otolatte/ ↑『おとらって10thライブ KUWANA』に参加予定の方は、 　「来場予約はこちらから」からご予約を！ 開催日／2026.8.23(日) 　第一部　OP11:30　ST12:00 　第二部　OP14:40　ST15:00 //////////////////// VOICEVOX:ずんだもん VOICEVOX:四国めたん //////////////////// -------------------- ●お便り募集中！ mikoラジでは以下の内容でお便りを募集中です！ ・ふつおた 　／普通のお便り、お待ちしています！ ・mikoは大変な絵を描いていきました 　／miko画伯に描いて欲しいお題をお待ちしています！ ・メシヲコエテ 　／料理人・mikoに教えて欲しいレシピをお待ちしています！ bit.ly/2GAWjyv 投稿フォームからラジオに投稿が出来ます！ コーナー名を選び、メッセージ・ラジオネーム・お所を入力して、 どんどん送ってください！　お待ちしています！！ ------------ 本ラジオのメインパーソナリティーである「チーム我等(miko/quim)」、 それぞれ以下個人サークルにて活動中です。 ・miko：miko ・quim：SHIGANAI RECORDS（ shiganai.com/ ） 活動詳細については、上記HPの他 各人のブログ/twitter等にて随時告知しておりますので、チェックしてみてください！ ・みころぐ。(mikoのブログ)（ ameblo.jp/miko-nyu/ ） ・@ mikonyu(mikoのtwitter)（ twitter.com/mikonyu ） ・@ quim(quimのtwitter)（ twitter.com/quim ） --- その他の活動については、以下のとおりです！ -- チーム我等がメインクルーとして活動していた「アルバトロシクス（ albatrosicks.com/ ）」、 これまでリリースしたCDは、イオシスショップ（ iosys.booth.pm/ ）にて頒布しております。ご興味ある方は是非！ ---------- ☆2026年6月IOSYSはいてない.comパワープレイ楽曲 「Phantasmagoria mystical expectation」 アレンジ・ギター・ベース　ARM ボーカル　悠 杏李 作詞　kiku　夕野ヨシミ 原曲：風神少女 音楽ジャンル：ミクスチャーポップ 収録アルバム：東方風櫻宴 2006・5・21 Release https://www.iosysos.com/discographyportal.php?cdno=IO-0090 MV https://www.youtube.com/watch?v=fOmaLZDp3y0

Mixed live Duration: 1:11:00

#płatnawspółpraca | Zapraszamy na wtorkowe "Onet Rano.", w którym gośćmi Mikołaja Kunicy będą: Radosław Pyffel - ekspert ds. Azji i polityki międzynarodowej, Instytut Sobieskiego, Wojciech Mościbrodzki - politolog, Michał Leksiński - alpinista, zdobywca Korony Ziemi, Martyna Pobuta - psycholog kliniczna, trycholog. W części "Onet Rano. WIEM" gościem Odety Moro będzie Łukasz Mickiewicz - menedżer ds. komunikacji inwestycyjnej, PKO Bank Polski.

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ 　良かったよ！と思ったら高評価👍 　感想・ツッコミなどチャット＆コメントもぜひ！ 　 ✅番組時間：77分18秒 ✅ゲスト：夕野ヨシミさん (IOSYS) ✅出演：ジャーマネ・あくとん・蛇草千尋 　 2005年にスタートして、ついに800回を突破した、 今年もいろんなことにゆるーく挑戦するラジオ。 地球の平和のためにはみなさんのおたよりが必要です！ 　 ✅コーナー： 　ゲストトーク 　 🟧投稿フォームはこちら。 　① https://forms.gle/DkTHQ38qNNWTPpta7 （新） 　② https://ja-mane.com/form/ （旧・画像添付可能） 　※ 画像を添付する場合のみ②をご利用ください 🟧投稿テーマや締切など、番組情報はジャーマネ.comからどうぞ 　https://ja-mane.com 　 🟧アリキラ白書 2023と2024、公開中！ 　https://ja-mane.com/blog/2023/10/26/hakusho2023/ 　https://ja-mane.com/blog/2025/03/09/hakusho2024/ 🟦CLOSING MUSIC 　極東の羊、テレキャスターと踊る by しゃろう 　https://www.youtube.com/watch?v=qy05MFjNZbE ■2026年6月20日配信 　 #ラジオ #ポッドキャスト #webラジオ #IOSYS #イオシス

ぬるぽ放送局おたより投稿フォーム https://forms.gle/6tbmBzK6wbyavJG47 2026年6月パワープレイ 「Phantasmagoria mystical expectation」 アレンジ・ギター・ベース　ARM ボーカル　悠 杏李 作詞　kiku　夕野ヨシミ 原曲：風神少女 音楽ジャンル：ミクスチャーポップ 収録アルバム：東方風櫻宴 2006・5・21 Release https://www.iosysos.com/discographyportal.php?cdno=IO-0090 MV https://www.youtube.com/watch?v=fOmaLZDp3y0 番組時間：63分28秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2026/6/18に公開録音したものを配信いたします。 ラジオ記事はリスナーのEEチャンピオンさんが書いてくれているので楽してます。 ＜オープニング＞ ・機材をがっちゃんこしないといけないんですよ ・全部聞き取れたのにわからない ・詳しくない人は心配すらしない ・流れるような宣伝 ・土日小樽に来てください ・すごいデッカイウイングベイ小樽 ・詳し過ぎるのは気持ち悪い ・イオン大学強そう ・イオンにないものはあるの？ ・ガールズバーはない ・イオンラウンジ ・イオシスくんの活動のあれです ・今週はゲーム実況をがんばってたな ・まろんくんがカリフォルニアに向かってます ・このお品書きパクりましょ ・小樽の方がハードルが低いのでは？ ・はかせは物販のおじさんとして有名 ・アイドルマスターシンデレラガールズ 　新曲の作詞を担当させて頂きました！ 　7月1日リリース予定です 　ROSE ～禁じられた愛～ 　作詞：夕野ヨシミ（IOSYS） 　作曲・編曲：ARM（IOSYS） 　歌：桐生つかさ、木村夏樹、白雪千夜 ＜Aパート＞ ・ふつおたです ・すき家のラーメン ・高森浩二さん本人から？ ・わぁ～炭酸の音～ ・歯医者が嫌いになりそう ・サラダバー ・全部抜けば全部生えてくるのでは？ ・11,000円が10円で買える ・FANZAのアカウントはあるんですね ・セール中の本は買ってしまう ・25GBのDLがんばってください ＜Bパート＞ ・音楽サークルみたいな話が聞けた ・みつをたです ・ふつおたより多いみつをた ・デレマスの新曲にイオシスの名前が ・しまむらのマツケンサンバコラボ ・しまむらでセガのTシャツ ・スパッツ履いてるセンシティブモード ・スパッツもそれはそれで ・700万でゲボ出そう ・円と書いてないから ・ここ10年の出来の和平 ・袋は白黒のままでもいいのでは？ ・ねこちゃんが膀胱炎に ・ねこちゃんお大事にー ・せやろ、可愛いんだよちょまは ・にじさんじピックアップニュース ・オタク語りは楽しい ・すごいってか怖い ・町田ちま かわいい ・ハブ酒は全部持って行っちゃう ・イネイネさんのnote助かります ・ホロピックアップニュース ・体重表示には誤差 ・素麺には何も入れない ・青森の子供あるある ・Vピックアップニュース ・かかぽさん活動休止 ・いろんなことがあって脳が追いつかない ・NGSでにじさんじコラボ中 ・おじいちゃんはついていけないねー ＜エンディング＞ ・今週もいっぱいあります ・さすがに暑くなってきましたね ・5年後に氷河期が？？？ ・それなら、地球オンラインサ終ですよ ・今年も折り返しですね（ホント） ・2026年下半身がんばっていきましょう！

#płatnawspółpraca | Zapraszamy na piątkowe "Onet Rano.", w którym gośćmi Odety Moro będą: Ryszard Petru, Centrum; lek. Michał Jacek Sutkowski, Prezes Stowarzyszenia Kolegium Lekarzy Rodzinnych w Polsce; Jaśmina Marczewska, Onet Lifestyle; Adam Milwiw-Baron, producent muzyczny,muzyk instrumentalista, kompozytor. W części "Onet Rano. WIEM" gościem Mikołaja Kunicy będzie: Jolanta Ojczyk, Business Insider Polska.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on Apex Express, Host Miko Lee talk story with singer-songwriter Thao Nguyen.  Hear about her new album Fossil,  her short documentary, and about her artistic inspirations. Thao's tour starts this week in North Carolina, so listen in to hear from the brilliant Thao, and then check out her website to catch a live show.   SHOW TRANSCRIPT [00:00:00] Opening: 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.   [00:00:35] Miko Lee: Tonight on Apex Express, we talk story with singer-songwriter Thao Nguyen. Join me, your host, Miko Lee, as I talk with this multi-hyphenated artist. We get to hear about her new album, chat about her short documentary, and hear about her artistic inspirations. Thao's tour starts this week in North Carolina, so listen in to hear from the brilliant Thao, and then check out her website to catch a live show.   [00:01:05] Ayame Keane-Lee: In today's show, you'll be listening to some songs from Thao & The Get Down Stay Down's 2020 album, Temple. First off, let's listen to “Pure Cinema.”   MUSIC     [00:05:44] That was “Pure Cinema” by today's guest, Thao Nguyen. Let's get to the interview.   [00:05:50] Miko Lee: Welcome  Thao Nguyen to Apex Express.    [00:05:54] Thao Nguyen: Thank you. I'm so happy to be here.    [00:05:57] Miko Lee: I love talking with creative people and you're such an amazingly talented singer and songwriter and imagination creator. I'm wanna start with the first question I ask all of my guests, which is, who are your people and what legacy do you carry with you?   [00:06:16] Thao Nguyen: Who are my people? Some of them include the family I was born into. I'm from Virginia. I was born and raised in Virginia. but I'm the daughter of Vietnamese refugees of war. And, I moved out to the Bay in 2006 after my first US tour. And, I'm so fortunate to have such a robust community here in the bay and all of my chosen family here.   [00:06:40] Miko Lee: And what legacy do you carry with you?    [00:06:43] Thao Nguyen: What legacy? I think the legacy I prioritize. I think, you know, [laughs] we inherit a lot and as time goes on and we get older, we realize everything is finite and you have to choose which legacies you choose to continue, and perpetuate and honor and what you have to leave by the wayside. And so the things I choose to continue and celebrate are that of a real ability to be very present and in the moment and available to joy and I think the people I come from are really good at metabolizing joy because they know the flip side of it so well.    [00:07:23] Miko Lee: Ooh, that's so interesting. Can you speak more about what it means to metabolize joy?    [00:07:30] Thao Nguyen: [Laughs] uh, an ongoing practice? I think it is to be truly present and I believe, of course gratitude goes a long way, but I to fully metabolize it is to allow yourself to feel embodied in it. And, you know, there's more somatic practice I think that to actually feel it course through your body, you are allowing it, you're honoring it as completely as possible. And, do you have to acknowledge that it's happening as it's happening? You know, I think that's having true presence with it.   [00:08:08] Miko Lee: Can you roll back with me in time and talk about your earliest childhood memories of being a singer or songwriting? What came first?    [00:08:18] Thao Nguyen: I loved music from a very early age, but I didn't have a lot of access to it, to making it, it was more as a listener. The soundscape that I grew up with, there was a series called Paris by Night, which probably you've heard of within Vietnamese diaspora, uh, community and Culture. And it was this variety show that was, created by, people who had to flee Vietnam. And originally it was in Paris and it showcased A lot of singers and performers, who had fled, either before, during, or right after the fall of Saigon. And, it was this one gathering wherein. entertainers from the different generations, from my grandmother's generation, from my parents were able to coalesce and exist together. And there was just this sampler platter of a lot of different sonic influences. And then you had the younger generation, which was reinterpreting what American pop music was at the time. So you'd have my grandmother who [sang] cải lương which was this incredibly, it's like, almost like folk operatic, very dramatic, theatrical singing with a lot of pitch bending and, which I didn't understand that I was absorbing it in such a way that I would recreate it later on in my playing, but I would go on to credit it to being from Virginia and saying it was more of like an Appalachian influence, which it was as well. But the origins, the true origins were within my soundscape before I understood what that was. You know, so you have that and then you have, an artist named Lynette who's. basically in reinterpreting, like the latest Madonna song and has a cone bra on, so everyone's existing act after act in the same, um, sorry for that ramble. Did I answer that question?    [00:10:13] Miko Lee: Yeah. Uh, I, so what was, do you remember the age or you just grew up hearing all these different kinds of sounds?    [00:10:20] Thao Nguyen: I mean, that was from before I knew what age I was, you know, that was just like, and that was such, um. For the community and within my family it was such an event every time one of these, you know, double VHS things were issued that people would be making copies, someone would drop it off at the house. You know, there, there was always one or two in circulation, but it was this. Event that you'd,    [00:10:43] Miko Lee: are these like bootleg copies?    [00:10:45] Thao Nguyen: Yeah, there's like, wow, there's bootleg. There's also, there was one book in music store in Eden Shopping Center, which was like the hub of, of the Vietnamese community in, in, uh, Northern Virginia. And so someone would buy the original and then go and bootleg it. You don't know how you ended up with what, but just like they would drop off some citrus and and Hennessy or whatever, and then the Paris By Night thing. And um,    [00:11:11] Miko Lee: I love that the combo citrus, Hennessy and some music.   [00:11:16] Thao Nguyen: Everything is a digestif, you know? And, um, so I would have that. But then of course, I, you know, I, I listened to the radio. That was what, that was my main resource and I listened to the oldie station the most, and I loved Motown. And I remember, in this I was like five or six, we had these large speakers that's sat on the floor either side of, of this cassette deck, radio unit. And I would lay down and, every time Smokey Robinson came on, “You really got a hold of me” that was like my favorite song and I would tape it and then so either I would listen to it live or I would play the cassette and I would just lay down and get as close to the speakers as I could. But at that point, I hadn't seen who Smokey Robinson was, and I imagined, because I also am a child of eighties and nineties. I imagined it was Crystal who was Roseanne's best friend from the Roseanne show. You know, I didn't know anything, but I felt all of it.    [00:12:20] Miko Lee: Wow. Yeah. I love that. So, I love that. And I was really wondering, I heard this story about you, that you actually did a rap for on Charlotte's Web when you were in elementary school.   [00:12:33] Thao Nguyen: Okay. Okay. This is a deep cut. You've done some research.    [00:12:39] Miko Lee: Tell me about how that came to be. So you must have been introduced to rap pretty young to be doing that.    [00:12:44] Thao Nguyen: Oh, absolutely. This, so this was another, and this, I'm so glad you brought that up, because all of this is, every genre, every kind of music I, at this point is so vital to me, and it actually goes on to reflect the kind of music I make. And so I have an older brother who's almost eight years older, and around this same time, he's a huge hip hop fan, or that's one of the things he loves, he loves like Duran Duran and like the Fat Boys, you know? And , when I saved money, the first cassette I ever bought was Salt-n-Pepa. And I, yeah, so I was listento the Fat Boys and Queen Latifah. And I loved, I loved every, I loved to hear the flow, the different cadences and in third grade I was voted best rapper. This, and, you know, not coincidentally. This is the year I, I do the book report, the Charlotte's Web, you know, and they gave me the option. You can either write it or you can write a song or whatever. And so I wrote a rap about Charlotte's Web, but I was too shy. I had recorded it and just played it in my presentation. I didn't perform it live.    [00:13:51] Miko Lee: And how was it received?    [00:13:54] Thao Nguyen: I mean, I can still hear the roar. yeah, everyone, [laughs] I think the teachers    [00:14:01] Miko Lee: The crowd roared. The third graders roared.    [00:14:03] Thao Nguyen: Yeah. I mean, everyone's standing on their desks. It's rickety, you know, teachers are worried about child safety, it doesn't matter. They're like, Encore. I'm like, I don't have anything else. Uh, you know, uh,   [00:14:15] Miko Lee: Wait for real?   [00:14:17] Thao Nguyen: No, no. [laughs] the teachers thought it was cute. Probably the kids thought it was funny. I actually don't know because I was so nervous I even pressing play. I was so nervous. I don't know if I registered what, how it was received.    [00:14:34] Miko Lee: That's so sweet. Given your eclectic music knowledge and the music that was around you at the time as a musician, now you've been described with so many different categories, country tinge, indie folk, pop, blues. How would you describe your music?  [00:14:54] Thao Nguyen: I would describe it as. What's embarrassing is I've been doing this a long time now and I've never figured out a way to describe it. I would, I, I generally just say it's, you know, it's under the umbrella of indie rock, but influenced by jazz and hip hop. And because I learned to play guitar by picking out country blues songs. And because I grew up in Virginia, there, there are these, like old time, Country blues picking patterns that I've used. I, you know, it's, yeah. So that, I've never figured out a way to say it succinctly and I continue    [00:15:29] Miko Lee: and you don't need to. That's okay.    [00:15:31] Thao Nguyen: Thank you.    [00:15:31] Miko Lee: Is there a big Vietnamese population in Virginia?    [00:15:35] Thao Nguyen: Yeah, I, I think there is a very healthy population there. And it was one of the first places that people were settling when they were being resettled. And my parents met, in a refugee camp in Guam. And then they were sent to Arkansas. And then from there sponsored out to North Carolina. And then from there of a few friends that they had made, had found work with Metro, which is the public transportation train system in DC and found my dad work there. So that's why people resettle, that's why we ended up in Virginia.    [00:16:16] Miko Lee: So Thao & The Get Down Stay Down you released five studio albums and now you're working primarily as a solo artist. Right?    [00:16:25] Thao Nguyen: Yes. Yeah. I will say I still work record and perform with a band. And a lot of the people who worked and performed with me in that iteration are still with me. it was more I wanted to, just use my name and move beyond what the get down stay down was, which I was never really sure. With things that you choose when you're 22. As time goes, you know, it starts to, and you're lucky if you can kind of shed things and not, not stay beholden too much.   [00:16:57] Miko Lee: Ah, what have you learned to shed?   [00:17:02] Thao Nguyen: Oh my gosh. Thankfully a great deal and it's an ongoing exercise, but. I used to be so much heavier with the weight of what I thought a serious artist was what I thought a serious songwriter should be, who I thought, where I thought my, you know, different benchmarks of what success were. What I should be making versus what people wanted to hear versus what I wanted to hear. I actually never I wasn't always all the way sure about what I wanted. You know, I, I think a lot of people encounter that, but I've thankfully been able to shed as much as I can. It's an ongoing practice, but I, you know, one thing it. Is that I used to think, I can't believe I've been doing this this long. And it's, not necessarily, I didn't understand what I was working towards, but only that I had not gotten there yet. And then, you know, I think pandemic and on, I've been just so and as I get older, the transition into being so sincerely grateful that I'm still here and I get to do this. this is what my job is, and however I can, and whatever I can do to sustain, being able to, to do this for my livelihood and maintain my integrity within it is the greatest gift. So as when I made that switch a a lot of things, a lot of the darkness left me.    [00:18:39] Miko Lee: Oh, that's beautiful. Thank you for sharing.   [00:18:42] Ayame Keane-Lee: Next, let's listen to Temple, the first track off of Thao's album of the same name.   MUSIC   [00:22:56] That was Temple by Thao and the Get Down Stay Down. Back to her interview with Miko.   [00:23:01] Miko Lee: I'm wondering if you could talk a little bit about the 2017 documentary Nobody Dies, a film about a musician, her mom in Vietnam. How did that, and that's a documentary that follows you and your mom as you go to Vietnam. I'm wondering how that project came about.  [00:23:17] Thao Nguyen: Yes, I'm happy to tell you about it. in 2015 I was invited by concert promoters in conjunction with the US Embassy based in Hanoi, to come perform for the, I guess at that point it was the 25th anniversary of the normalization of relations between the US and Vietnam, and I was able to bring my band and I was able to bring my mom, and she hadn't been back in 43 years, and she used to work for the South Vietnamese embassy and was stationed in Lao, when Saigon fell. So she actually left Vietnam in 73, assuming she would go back after her time abroad and then was never able to return. So I was able to bring her, the struggle was would she actually come, you know, and we had, I had, a bear of the time initially convincing her it would be okay. And, it was like, just begging her to come. She's like freaking out. She hangs up on me. I call back. She hangs up. You know, it was a back and forth that I'm trying to convince her of things that I'm not sure of where she's like, I'm still on a list. I'm like, no, you're not. But I don't know that, you know who, how would I know that? But I told her she wasn't on the list. Anyway, my, a friend of mine who's a filmmaker, as this all was happening, he asked if he could come along and document all of it. And he and, his DP traveled with us and it was an incredibly intense trip, and it was beautiful and I am so glad it was documented. And then somewhere along the way I had a performance and, this was all in editing. And then I ran into Don Young at CAAM Center for Asian American Media. Oh, I know what it was. It was something for Sundance and Don Young and I were just in the same shuttle going to the airport and we were talking and I told him a little bit about this and then I sent him some footage and you know, and then CAAM and PBS were gracious enough to co-produce and, Make it so it could be, you know, a a half hour documentary that aired on PBS. Um,    [00:25:21] Miko Lee: so that that was on a bus ride.    [00:25:23] Thao Nguyen: That was on an airport shuttle.    [00:25:25] Miko Lee: Airport shuttle. I love it.    [00:25:26] Thao Nguyen: Yeah [laughs].    [00:25:28] Miko Lee: So was it hard to convince your mom, I know it was hard to convince her to go to Vietnam. Was it hard to convince her also then to be on film? What was her response to that?    [00:25:37] Thao Nguyen: Well, luckily for all of us, my mom loves to be on film and is, um, a total flirt and ham and. Oh,    [00:25:48] Miko Lee: so that was a bonus. That was like a,    [00:25:49] Thao Nguyen: that was a bonus. The camera loves her. As did the film director, my friend Todd, she loved it. And she just, she comes alive and she's a true performer. And, it was really beautiful to see her in this element that I, I didn't know if I'd ever, I actually. Never thought I'd get to see her this way. You know, I grew up, both my brother and I grew up translating for her, it is sort of at every, at every level. And, we'd go out to restaurants and it's not that she, you know, it's like she would get shy and then it would just easier, it always just became easier if we just did it for her. But, so we'd order for restaurants and, and to see her. not to say that she doesn't I mean, she was a small business owner. She owned a laundromat, dry cleaners in Virginia and totally is the reason why everybody is alive, you know? But, to see her move so seamlessly and easily, I'm sorry, it's emotional in the world was this, such a gift I didn't know I'd get. And, You see her haggling with people, you know, and, and she's directing as she's pointing out. Yeah. It was just a really, no matter how long someone has been away from the place they were born, you know, to see them back there is, um, it was, yeah, it was just such a beautiful gift and I'm glad we have it on film.   [00:27:17] Miko Lee: Did you discuss that with your mom? How different that was for you to see her in a different way?    [00:27:22] Thao Nguyen: You know, not, not, um, not directly. I've written about it, but I've not, we don't have the kind of, Yeah. That, that's never come up in those ways. You know, we talk a lot. I basically, I try to call her at least, uh, almost every day, just 'cause she lives across the country. So I wanna just be sure that, you know, I'm just doing these like, casual wellness checks, but we don't often get into those more philosophical conversations. Um, but she did, you know, the, the song Temple, Which would become the lead single of the album Temple was, inspired by this moment of candor that I had never experienced before and I would never experience again. It happened one night when we were in Vietnam and she just said outta nowhere. You have to understand what freedom is and you have to understand why a million people would risk their lives at sea, and I can't. I can't teach you that. I can't help you with it. You have to know for yourself. And that's what became, the song Temple where wherein she's speaking to me about her life before, during, and after war.   [00:28:35] Miko Lee: That's so powerful. Thank you for sharing. I, I appreciate that about your music, the personal, visions and dreams and pain that you experience putting that in. Is there another song of yours that really stands out to you?    [00:28:51] Thao Nguyen: Another one. Aside from that?    [00:28:53] Miko Lee: Aside from that.    [00:28:54] Thao Nguyen: There's. You know, yes, there's a, there's definitely a few from this new album that is, that I just finished and it's releasing in September. From that same album Temple there's, the song Marrow. there's a few. That album is as much, it was, it was this, I just had this, I knew that I had to make it both about, what my Vietnamese identity is and what it is to be queer in Vietnamese and stay in the culture, which is not something that I thought I could do. So yeah, I would say both Temple and Marrow encapsulate, this effort to fully align myself in ways that I hadn't been able to.    [00:29:40] Miko Lee: And what is Marrow about?    [00:29:42] Thao Nguyen: Marrow is about what it means to fully accept yourself so that you could offer yourself to the rest of your life. You know, it's, it's like.   [00:29:54] Miko Lee: That's all.   [00:29:56] Thao Nguyen: That's all. And it's, and it was against the backdrop of getting married. but it was more about me coming to terms with not even coming to terms, like even that language is so, disparaging. It's, it was just about claiming myself and saying to my family, I need to be, you know, I, I need to be my full self and I believe I can be with you still. But you know, the lines are, It's so funny. I sing it all the time and I can't do that. The line I'm thinking of in particular is, at that point I'm apologizing to my partner at the time and saying, you know, I am basically, I couldn't claim us because of this barrier, but I'm sorry to you and I'm sorry to me, and the, you know. I have grief in my marrow. Will you marry me still? So is it, that's a roundabout way of explaining what that, what that song is.   [00:30:54] MUSIC    [00:34:24] Ayame Keane-Lee: You just listened to “Marrow” by tonight's guest, Thao Nguyen.    [00:34:28] Miko Lee: You talk about Temple and how that was based on this trip you took in 2015, right? 2016. How long does it generally take you for a song to germinate?    [00:34:41] Thao Nguyen: You know, that one, um, that's, that is an example of a, a longer, uh, gestation period because it was such an intense, because Vietnam was such an intense time. Uh, it was months, maybe it was two years before I could even think about it, honestly. And there are other things that happen. I wish things happened more instantaneously. It's very rare that a whole song will just present itself. You know, temple, that song in particular, when I started writing it, it took maybe two hours, but it took me two years to get to the point where I could    [00:35:20] Miko Lee: And it just came to you in two hours?   [00:35:22] Thao Nguyen: Yeah. It just came, just the vision. All those, the imagery, everything that I'd wanted to say. It just, I understood how. To present it. And I think I had tried in other forms over that time, but it just wasn't ready. Other songs, um, yeah, anywhere from it's, it's like the chorus or a hook or a verse will come very quickly, and then the time, the more arduous stuff is building around it to make sure that it, it, you know, it's properly bolstered. Like I, if I believe in a hook, then I'll, I'll try to build the house around it.    [00:36:02] Miko Lee: And how, what do you do? Do you just record it straight up right when you get the hook, like on a small device or what's your process?    [00:36:09] Thao Nguyen: It um, typically I'm playing an instrument, either guitar or piano or I've written, you know, sometimes I get bored, I write on other instruments, but primarily it's guitar, piano, and, um. It'll be the melodic hook only on the instrument, and then I'll put words. But yeah, it's, I, I just use voice memos and then as I'm building it, then I'll move into pro tools and, and, and record a more proper demo.    [00:36:40] Miko Lee: And do you have a set working process or you just vibe it whenever you're feeling it? And I ask because I always ask this of artists. Because I think it's so interesting, what is the discipline it takes for your art form? And I remember I interviewed Isabel Allende years ago and she said, yes, I make myself go in my studio at 8:00 AM every day. And even if I can't write, I sit there from this time to this time. So what, what is your process like? Or do you have a set process?    [00:37:05] Thao Nguyen: Yes. Absolutely. And it's taken me so many years to figure out what my set process is and to have the discipline to really, really, um, I do believe it is a daily practice and it is a daily discipline and I'm so afraid of what happens when I slip out of it because I know what happens. I've tumbled into this very dark, deep well of despair and I don't know. You, you start to question what your whole purpose is. It gets bad very quickly, right? So I'm always trying to stay on the side of not completely sliding down. Not to say it isn't very joyful and I mean this a very lucky position to be in. One of the things that's been going on for the last few years is I have multiple projects going on at once and I do have to figure out, I had an, um, the album is just finished thankfully, but I am developing a musical and I'm also writing a book. And so I have to figure out, I divvy out the days. I would like to say that I can work on all three in one day, not possible. So I have to choose, um. And it's always, the morning time is the best for generating something from nothing. And then I try not to edit or revise or question it until that afternoon or later. Actually, you don't question it within that same day. Like the main, I think the main priority for me is maintaining momentum and optimism. So I need to do whatever it is to thwart whatever part of me is trying to take it down. Um, so I'll work in the morning for a few hours and then leave it, you know, and as writers say, leave it no matter if it's songwriting or whatever, like leave it at a place where you, when you start again, you feel good about it and you know what the next step is.   [00:39:08] Miko Lee: Do you have a set time? It's like just the morning from this time to this time. And then do you say musical today? Book today. Album today. How do you do that?    [00:39:17] Thao Nguyen: Well, it depends on the deadlines.    [00:39:21] Miko Lee: Of course.    [00:39:22] Thao Nguyen: I, yeah, I, I work to the deadline. 'cause there's always, thankfully, there's always at least one happening and yeah, I. I love this by the way, because I actually, when I'm stuck, I just look up different routines for writers and artists. It's like my favorite thing to do. So I love to participate in this conversation. Um, but I wake up, I meditate, I try to do a little stretching, and then I do a walk. It depends on where I'm working. Okay? Here's the thing. If I'm working on music, I have to work at home. If I can write, then I'm gonna go to a coffee shop or the library or my friends just opened up local economy, uh, that, that, so I've been going there and because writing is so lonely and miserable that I cannot be in the house, I, I, there's no way I have to be in public. Um, and just at least feeling the energy of other life    [00:40:18] Miko Lee: With songwriting also?    [00:40:19] Thao Nguyen: With songwriting, I have to be home 'cause I'm making all this noise. So what? Yeah, with songwriting I'll be at home, but that's way less miserable 'cause I can just play guitar or piano or something and then, or I'll be in studio with my friends that I'm making the album with. Um, now that I've finished the album and I'm moving and I'm more squarely in the book writing, um, I try to do two hours. You know, not, not solid. I will try, like, for a while, um, I was doing the timer with the, you know, 25 minutes at a time. And then that wasn't, I wasn't getting enough done and then, yeah, and then more than two hours. I, I just can't, it's not sustainable. Um, for me, I feel like I get a solid hour to two. Or maybe you hit like a two page, two or three page, um, quota or something, and then just don't even look at it and then go, and then I go exercise and I need to be outside and, or go on a hike or something.    [00:41:34] Miko Lee: Okay. Tell us about this book. What is it about, what's the timeline? No pressure.    [00:41:41] Thao Nguyen: I would love to tell you what it was about, if I knew better. Um, what it was. It's, it's a collection of essays and I'm calling it, so it's, it's, uh, it'll be out on Gray Wolf, um, into, in spring of 27. And so it is due relatively soon 'cause they, it's a longer lead time. I'm calling it a community memoir, um, because it's a collection of essays from different, it's all through my lens, but it's to celebrate these characters that I grew up with in Foster Virginia, within my family, within the community that I, they're so vivid to me and. Their stories. The quieter sides, the quieter moments of what it means to live in diaspora or what I wanna capture. And also what, you know, part of it is what shaped my musical life. And, and there are all these influences and elements that I, that I just wanted to celebrate and honor and. These people that I remember, but I, I'm, we're all, you know, I'm, I'm turning 42. I'm like, I, we're close to lo I'm close to losing the Hi-Fi detail of them, you know, and, and I don't know who else, is in a position to capture it. You know, and, and also it's this amazing opportunity to talk to my mom's, brothers and sisters. You know, there are tales. There's, of course, you grow up with, I think it's really different to, I was raised, you know, in Virginia by my, primarily by my mom. My grandmother and my aunt didn't come till I was five, but the stories that I heard. Mostly were from my mom who fled in, who left in 73, and her experience is so different than my grandmother, my aunt, all of my mom's siblings who stayed, who had to stay through the fall and, and live in a different regime, you know?    And so to get to hear those stories of just like the more quotidian indignities of what is life after you've lost your. To them they've lost their country, but they're still in it. You know, like, what is it to, with what were the rice rations like? Yeah. So, 50 years on what stays with people, you know, against the backdrop of the most devastating thing that can happen is that like the rice was so broken and it was so rationed and the quality of it was so infuriating and that they and my uncle talks about just for the 50th anniversary, I went back, I had an event, um, I think at the Smithsonian, and I went and I was staying with my uncle, and so I was able to ask them questions and he remembers buying meat on the black market. But you, you'd go to this market, you'd make eye contact with the person. They, you follow them to a behind the stall. They give you this meat wrapped in newspaper. You don't even know what it is. You don't, you can't unwrap it till you get home, you know? Anyway, those are the things that I, I just am so fascinated by, and I, there's just this kind of humanity and life in them that I wanna help. Um, record and if nothing else, just so that I know that it gives me an opportunity to ask these questions. Um, there's stuff about, you know, I'm estranged from my father and I have a lot there, there are things that I, you know, it just, these essays are helping me, better understand and, and process. these open-ended. storylines that, that, have punctuated and haunted me.    [00:45:38] Miko Lee: And this is your first book, right?    [00:45:40] Thao Nguyen: It is, yes.    [00:45:42] Miko Lee: What made you decide to do a book format and also essays, I heard you say? Mm-hmm. Um, as opposed to another album or a series of songs.    [00:45:52] Thao Nguyen: Um, I've always wanted to be a writer. Bef I wanted to be a writer before I was a songwriter, before I wanted to do anything. And I think it scares me the most in my life. And, and it was time to, you know, the opportunity came up, um, very fortunately to get to write a book for Gray Wolf, which of which I'm a huge fan, you know, and, uh, it's a true honor to be affiliated with them. And. Uh, I wanted to do it because it's a lifelong goal and dream, that actually is way scarier to me than making music and performing music. So I, I kind of just needed to see that I, I needed to try.    [00:46:38] Miko Lee: And why an essay format?    [00:46:40] Thao Nguyen: Um, I think that's what naturally. For this, for the first go, it, it, it is what naturally I'm drawn to and what happens most easily. Uh, and I think they're similar to songs in that way. And I, I am very much as a writer, as a songwriter or any or prose writer, I want to try and just capture the, a moment and a feeling and I. Um, that's my main prerogative and my main compulsion when I write. And so for this first go, I'm hoping that there will be more, but this, yeah. Is, is just the, the easiest way to package it.    [00:47:28] Miko Lee: I'm absolutely looking forward to reading it. Now share about a musical. Tell me more    [00:47:34] Thao Nguyen: Musical. I don't know how much I can say besides, uh, it's not been announced yet, but I do, I have been in, I do spend a lot of time in New York, um, and it's an adaptation. Um, I. I shouldn't have. I, I just wanted to mention that it was happening, but I know now that I sh I can't actually say.    [00:47:56] Miko Lee: Okay. That's okay. It's secret, So how can our audiences find out more about you and your work? We'll put a link to your website absolutely. On their webs, on our, program page. But are there other ways that folks can find out more and keep up to date with what you're doing?   [00:48:11] Thao Nguyen: For sure there's, um, well, all the social media, um, outlets were on there @thaogetstaydown. And um, I have a substack called THAO For The Record, which actually was just me sort of documenting my process of making this next record. Um, but that is my preferred way to be in touch in a more long form, um, less harried way. And the new album is coming out in mid to late September. And so I'm really excited about that. And we're, we are gearing up for more touring, starting the summertime.    [00:48:54] Miko Lee: Excellent. Can't wait to listen to you more and hear the new, piece. And thank you so much for joining us on Apex Express.    [00:49:02] Thao Nguyen: Thank you so much for having me. It was such a joy to speak with you.   [00:49:05] Ayame Keane-Lee: The last song we're playing tonight is also the last on the album Temple. It's called “I've Got Something.”   MUSIC [00:53:51] That was “I've Got Something” by Thao & The Get Down Stay Down. [00:53:55] Miko Lee: Thank you so much for listening tonight. Remember to reconnect to your ancestral technologies and hold in the power of tenderness. Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night.            The post APEX Express – 6.18.26 Talk Story with Thao Nguyen appeared first on KPFA.

The Dazai no Sochi--the head of the Yamato government in Kyushu--was a powerful position, with a lot of autonomy with lucrative opportunities.  The people in this position were often powerful members of the court capable of representing the sovereign.  They would often go on to become quite powerful in their own right.  So who were the movers and shakers that held this prestigious position during Uno no Sarara's reign?  This episode, we take a look at those who held the position and those who supported them. For more, check out our blogpost:  https://sengokudaimyo.com/podcast/episode-151 PS:  Hang around to the end (or check the end of the transcript) for information on some possible updates coming to the show. Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is Episode 151: The Dazai no Sochi of the late 7th century   Tsukushi no Masaru was busy.  A new boss was coming in, and he wanted to make sure everything was prepared.  The Dazai may have been about as far as one could get from the capital and still be in Yamato, but it was also the first—and sometimes only—encounter some would have with the archipelago, so there was no excuse to be slacking off.  Of course, this was hardly his first new boss, though for as long as he'd been on the job, each one could well be his last.  He was getting a bit long in the tooth, after all.  Twenty-nine years was a long time to be working in the same position.  As Masaru paused, he thought back on some of the people he'd served.  There was Soga no Akae—he was ambitious.  Apparently he'd been in some rather compromising positions before coming out, but he'd done well enough when he went back.  Shame that he backed the wrong horse. That did bring a chuckle to old Masaru's throat, though.  He remembered when Prince Kurikuma had come out there, to the the Dazai, , and there were still people around who told stories of him.  When those Afumi court stooges had showed up to try and conscript the barrier guards, Prince Kurikuma and his sons just stared them down.  Everyone had been afraid that it would end in bloodshed, or at least that there would be consequences for defying the court, but Kurikuma was adamant, and the messenger had left with his tail firmly between his legs. Then there was Shima. By the time he came, Masaru already knew how everything was supposed to work. He may not have been in charge, but that wasn't his ambition.  It was enough for him to be good at what he did.  He didn't need to go all the way to the Palace and deal with the politics there—there were enough politics out here already.  Shima, though, he was clearly suited for that Palace life.  He was a capable administrator, but Masaru could tell he was ambitious.  When he left, everyone knew that he would be going on to bigger and better things. And now there was another Prince coming out. So they would get the government offices prepared and greet him with proper fanfare.  They'd bring him in and hold the ceremonies, and then they would get down to work.  A stream of officers would present him with what they were working on and what had to happen.  Masaru would be there to help make sure that everything was running smoothly and nothing got too out of hand.  And that was the way things worked out on the edge of the realm.   Welcome back to Sengoku Daimyo.  We are still covering the reign of Uno no Sarara, and, similar to last episode, we are going to continue to talk about the people who made up Yamato at this time.  This episode, more specifically, we are going to be turning away from the capital, in Asuka, and looking all the way over to Tsukushi—modern Kyushu—and at the people who served as Dazai no Sochi, or head of the local government out there, as well as the bureaucrats and staff that worked for them—at least as far we know.  Many of them went on to have considerable careers that took them well beyond Kyushu.  At the same time, we'll take a look at some of the things that happened under their rule as what Aston translates as the "Viceroy of Tsukushi". After that, I have a special announcement about the podcast at the end of the episode, so if you are interested in learning more about what we plan on doing, please listen all the way to the end to hear about some plans for the future. And with that out of the way, let's begin. So we are talking about the position of Dazai no Sochi or the Viceroy of Tsukushi.  Often these people are referred to only as being of the "Tsukushi no Dazai" or the "Tsukushi no Ohomochi".  The term "Sochi" appears later, and we first see this term applied to Prince Kawachi, in 689.  It seems to show up with two different characters, which might be a term from the later Taihou code that was retroactively applied or may refer to an evolution of the position over time.  I'm honestly not sure.  There is still plenty of confusion over what was meant in some of the references. We've discussed this position before on the podcast: This was the sovereign's representative to the world outside of the archipelago.  Not only did the Dazai no Sochi  oversee all of Tsukushi—all of Kyushu— and extensive defensive forces stationed there and in the outlying islands, but they oversaw all diplomatic and trade missions to and from the archipelago.  Envoy missions would come to Tsushima, where they would get a local pilot and send word ahead.  They would then be received at the government center, the Dazai, near modern Fukuoka and Hakata bay.  For most envoys, this was as close as they would ever get to Yamato proper.  They would offload their goods there and be put up at the government supplied quarters in Wogohori.  They would be wined and dined there, entertained as appropriate to their status, while word was sent on to the capital.  In rare cases, envoys would be sent on another journey through the inland sea to Naniwa, and then on to Asuka, but otherwise their journey would end at the Dazaifu.  Any return gifts would come back with the correspondence from the capital, and thus be handed out to the envoys and their escorts before the mission was sent back home to Silla, Tamna, or wherever they had come from. Being the middle man in this operation offered a lot of power and authority, but it also would have been quite lucrative.  While diplomatic missions brought gifts for the court, they also brought  trade goods, of which the Dazai no Sochi could have first  pick.  This is on top of the fact that this position often came with a stipend equaling the labor of hundreds of individuals.  Many of the Dazai no Sochi would serve limited terms, eventually returning to Asuka, where we see them take on powerful positions. Take, for example, our first Dazai no Sochi, Tajihi no Mabito no Shima. Tajihi no Shima was born, we are told, in or around 624 to Tajihi no Maro and a daughter of Ohotomo no Hirafu.  Tajihi no Maro, Shima's father was a powerful noble in the court of Ohoama, aka Temmu Tennou, and he had enough standing that he was one of the named individuals who provided eulogies for Ohoama on the occasion of his passing.   The Tajihi family were quite well placed: they were descendants of Hinokuma no Takata no Miko, aka Senka Tennou, Shima's great-grandfather.  This earned them the kabane of "Mabito", or "True Person" because of their royal lineage.   Tajihi no Shima was placed in charge of the Dazai from at least 682.  His predecessor that we know about is Prince Yagaki, who was dismissed around 676, and we don't know who filled the gap between him and Shima. Shima had quite the run.  We don't know exactly when he returned to the court in Asuka, but it cannot have been later than 689, when we see Awada no Mahito in the position.  A year later, in 690, Shima was made Udaijin, or minister of the right.  That's a huge deal and we will talk about that in a bit, but what did Shima actually oversee during his tenure as Dazai no Sochi? We have quite a few events attributed to him, this reign.  In 686, we see the Tsukushi no Dazai sending tribute in the form of human beings:  Common men and women of Goguryeo, Baekje, and Silla, along with 62 priests and nuns.  We aren't told where these men and women came from, but I suspect that they were refugees or captives from all the fighting on the peninsula.  That they were given as tribute suggests to me that they were enslaved—or at the very least they were not free.  If they were uneducated, they were likely put to work as labor, perhaps building out the new capital or opening new farmlands.  Later we see the various missions from Silla around the death of Ohoama, and the back and forth that went on, there, and in 688 the Tsukushi no Dazai entertained Kara, a Minister of Tamna, aka modern Jeju island, who had been sent by the king of that small country.  You may recall that Tamna, while late to the game, may have been one of the last holdouts of an early Japonic speaking people outside of the archipelago. Being the Tsukushi no Dazai, Shima would not have only been concerned with foreign envoys, but also with two other groups of Hayato—specifically the Ohosumi no Hayato and the Ata no Hayato.  Little is known about them, other than that Yamato considered them to be distinct ethnic and cultural groups living in the far south of Kyushu.  We've talked before about how southern Kyushu maintained a significantly different material culture through Kofun period until more recent times.  We also have indication that they had a distinctive shield and even art style—the famous "Hayato shields" appear to have been appropriated by the court, along with a contingent of Hayato men that were expected to act as an exotic guard for the sovereign and the court.  The earliest reliable evidence we have for them is a record from 682.  There are some questions as to whether or not they were related to the groups previously called Kumaso or even the Tsuchigumo, but there is no clear historical or archaeological  evidence linking them other than the common cultural finds in Kyushu more generally. The Ata and Ohosumi Hayato may have been distinct clans or lineage groups living in Ohosumi and the area of modern Satsuma.  We have a record in 687 of the Ata no Hayato attending Ohoama's funeral and presenting a eulogy.  The chiefs who came brought 337 others—a sizeable contingent—and they were all given presents by the court.  Later, we would see presents given out to 174 Hayato by Shima's successor in the Dazai, Awada no Mahito, and then in 692 we know that the court sent priests to preach Buddhism to Ata and Ohosumi.    In 695, Hayato of Ohosumi were entertained in the capital, and they even held a wrestling match for the Queen and her attendants in the area west of Asukadera, by the site of the famous Tsuki tree. So the Hayato would have been another group that Shima no doubt dealt with on a somewhat regular basis in his capacity as Dazi no Sochi—and then later on when he returned to Asuka and took up his new role as Udaijin.   And as I mentioned, that appointment was a Big Deal.  The position of Udaijin had been vacant since Nakatomi no Kane, one of the infamous leaders of the Afumi court, was non-consensually removed from the position—and this plane of existence—when he was executed in 672, at the closure of the Jinshin no Ran.  After that, Ohoama appears to have been gun-shy about sharing power with anyone outside the royal family.  The position had been left vacant for about 18 years.  So what made Uno no Sarara take up Shima as Minister of the Right?  And what about the Minister of the Left, or the Sadaijin? Well, we don't have a Sadaijin, but we do have a Dajodaijin in the form of Prince Takechi, Ohoama's first-born son.  The Dajodaijin was the Prime Minister in charge of the entire Dajokan, the Council of State, made up of the ministers of the left and right and the 8 bureaus of the government.  The Sadaijin and Udaijin served under the Dajodaijin, in that hierarchical order, with the Sadaijin generally being considered higher in precedence.  So it looks like, in this case, they had the Dajodaijin, Prince Takechi to run the Council and Shima, as Udaijin would have been responsible for ensuring the administration of the eight bureaus was properly carried out. That Shima was appointed just under Prince Takechi again shows the power and influence he likely had and the trust he must have had from Uno no Sarara.  Remember, the Crown Prince, Kusakabe, had died before he could take the throne.  Uno was enthroned as Queen, while the Crown Prince, Karu, was still a minor.  Whereas Ohoama had his wife and many sons to help him run things, Uno no Sarara was running thin.  As had been seen with Prince Ohotsu, there was always the threat that one of Ohoama's other sons could be propped up on the throne.  Uno had to look after Karu's birthright, but there was no guarantee that he would make it to adulthood in times before modern medicine.  It appears that Prince Takechi was actually considered the next in line, just in case something happened to Karu before he could ascend the throne, which makes sense that Prince Takechi was also trusted as Dajo Daijin.  Shima's place as Udaijin must have been indicative of similar trust that he would look after the royal family's interests.  This was no doubt helped by the role he played as Dazai no Sochi. As Udajin, Tajihi no Shima went on to have a rather incredible career.  He was given 4 cho of land for his residence.  This appears to be around 10 acres or so—a not inconsiderable amount of land, and it probably refers to the amount of land he was granted in the new Fujiwara capital city.  Later, in the Nara capital of Heijo-kyo, Prince Nagaya's residence was about that size and Fujiwara no Nakamaro's residence is thought to have been about twice that.  This would have given Shima space for multiple buildings, sprawling gardens, servants quarters, quarters for his wives and children, and much more. Tajihi no Shima would continue in his role as Udaijin, and would eventually, be promoted to the position of Sadaijin, a post he held only briefly, as he passed away almost a year later. He was not forgotten, however.  It is thought that he was the model for one of the suitors of Kaguya Hime in the famous story of Taketori Monogatari—the tale of the Bamboo Cutter.  Taketori Monogatari, also known as Kaguya Hime Monogatari, is considered the oldest known story in the Monogatari form.  It was probably written in the late 9th or early 10th century, with references to it appearing in works as early as 909 CE.  This suggests that Tajihi no Shima and others were still remembered, at least in part, over a century later. Shima is also thought to have been the patron of the famous poet, Kakinomoto no Hitomaro, one of the famous 36 immortal poets.  We'll have to include Hitomaro in a later episode, though we might come back to him after this reign, as he isn't mentioned in the Chronicles, but we do have some fragmentary biographical information thanks to his inclusion in the Man'yoshu.  In fact, he's probably one of the most famous poets in the Man'yoshu who is not otherwise mentioned.  We are told that he was the court poet during the reign of Uno no Sarara, so it makes sense that Shima may have very well been his patron and helped him get his start. Now while Shima was back in Asuka, making it big in the court, the position of Tsukushi no Dazai had to be filled, and we are told that the mantle was taken up by Awada no Mahito no Ason.  This name is a bit tricky, as it seems to have two kabane:  Mahito and Ason.  Since his father is said to have been Kasuga no Awada no Omi no Kudara, the assumption seems to be that "Mahito" was his name, rather than his kabane.  Although it was likely pronounced "Mabito" at the time, I'm going to go with the modern pronunciation of "Mahito" in part to distinguish it from the kabane.  A quick side note:  When reading names from this period, we usually see the kabane coming right after the family name, as the kabane is basically a rank for the family and not the individual.  But we do occasionally see the kabane tacked on at the end of a name, as in Awada no Mahito's case.  I would also like to quickly draw your attention to his father's name:  Kudara.  That can also be read as Baekje.  Was this an indication that his father or an ancestor came from the continent, perhaps from Baekje?  Or just that he had close ties to that kingdom?  I couldn't find anything specific, but it seems interesting that he was put in place at the Dazai, where dealing with the continent would have been an important part of his duties. Awada no Mahito was not just a noble of the court, and even if his father was of Baekje descent, that may not have been the main thing that gained him the position.  It may have also had to do with an earlier incident.  We are told that in 653 Mahito was one of those who traveled with the 2nd envoy to the Tang court as a scholar monk.  He would later return to secular life, but that experience must have been a big feather in his cap, helping him land a good position at court.  In fact, in 685, we are told that he was Jikikwoushi rank—a fairly respectable position for anyone at the time—and he apparently tried to get his father raised to the same rank as he was.  Aston translates the record as saying he was willing to give his rank to his father, but it is unclear to me if this means he was offering to give up his rank altogether.  At the very least it seems that he felt awkward outranking his father—a good, filial attitude, it would seem.  However, Ohoama didn't care.  In the past, rank may have been given to entire families, but now the court was giving rank to individuals, and the rank Mahito had earned was his, not his father's.  And so his request was denied. Four years later, Ohoama was gone and Awada no Mahito was sent to the Tsukushi no Dazai.  We are told that he was in that position as of 689.  If that was the position of Dazai no Sochi, however, he didn't hold it for long, as Prince Kawachi was raised up to that position that same year, and here we have a bit of a conundrum.  Mahito is only mentioned as "Tsukushi no Dazai" while Prince Kawachi is specifically mentioned, at least twice, as Tsukushi no Dazai no Sochi.  There are some who suggest that Mahito may have been the Dazai Daini, an assistant to the Dazai no Sochi—effectively the second-in-command it would appear.  This makes some sense, when you consider it, and he may even have been acting Dazai no Sochi until Prince Kawachi was appointed. Of course, because our records are quite lackluster, and we are never actually told when Tajihi no Shima left the position, it is possible that Awada no Mahito was actually the Dazai Sochi for many years leading up to 689, and that Shima had returned to Asuka some time ago.  This is the problem with the way things are written—sometimes they mention a name and sometimes just a position, and rarely do they mention when someone stepped down. Still, Mahito oversaw a few things that we can be somewhat sure about as they happened after he is first mentioned in the position, though it was all in the same year.  For one thing, he is the one who presented gifts to the 174 Hayato in the first month of 689.  This included cloth, ox hides, and deerskins.  He was also there when the Queen sent relief to the Barrier Wardens whose terms were up.  These were the Sakimori, a position set up to defend the archipelago and repel any potential invasions.  I would assume they were regularly rotated out, especially if they were expected to man the fortifications out on some of the islands.  It is interesting that we don't often see them referenced, so it isn't clear to me why the reference was made here—it may have just been a note in one of the sources the Chroniclers were using. Later that same year, we also see garments being given out—likely meaning official court clothing—to the Tsukushi Dazai and others.  This was probably to bring them all in line with the latest formal wear being used in the court in Asuka.  We also know that in the 6th month of that year they entertained the Silla envoys, who were given various presents. And then, two months later, Mahito is out and Prince Kawachi comes in.  At the same time that Prince Kawachi is being made the Dazai no Sochi, our previous Dazai no Sochi, Tajihi no Shima, had his rank and fief increased.   I doubt this was a coincidence, and it is one of the things that, for me, lends credence to the idea that Shima had just then returned to Asuka and Prince Kawachi was his replacement, suggesting that Mahito had really just been in an acting capacity while the change over was taking place. Unfortunately, if we were looking for more information about Prince Kawachi's background, we would be disappointed.  Although he is a prince, probably descended from Nunakura, aka Bidatsu Tennou, we don't have a lot about him.  He—or someone with the same name, since we do see these Princely titles get reused, it seems—is found in the reign of Ohoama traveling with Ohotomo no Yasumaro and Fujiwara no Ohoshima to go entertain Gim Jisyang of Silla.  Later we see a Prince Kawachi delivering eulogies during Ohoama's funeral.  That suggests he held an important position, and that he was somewhat familiar with the continent, but we don't get a whole lot more.  Our next evidence is when he was appointed to the post of Dazai no Sochi in 689, a position he would hold until his death in 694—which may also explain why we just don't see too much of him in the record.  A promising career may have been cut short, as happened all too often back in that day and age. Still, as Dazai no Sochi, he had plenty to keep him busy.  Not a month after he arrived, Isonokami no Maro and Ishikawa no Mishina arrived at the head of a delegation.  They were there to deliver patents of rank to members of the Tsukushi government and to inspect the fortifications at the edge of the archipelago.  These were the same fortifications being manned by the newly arrived Sakimori. Speaking of the members of the Tsukushi government, it took a lot of people to make the Dazaifu work, not just the Sochi giving people orders about what they should do.  There were numerous assistants helping to keep everything running.  Some of them would have just been dealing with the Sochi's own residence, while others were clerks, guards, and more.  It really was a miniature version of the court in Asuka, and would have required a lot of people to tend to it.  And we know of at least one of them:  Tsukushi no Fubito no Masaru, whose imagined thoughts we heard at the top of the episode.  In 691, Masaru was recognized for 29 years of service as a secretary to the Tsuksuhi no Dazai.  Twenty-nine years in place suggests to me that he would have likely been one of the longest serving members of the Tsukushi government center.  He would have known where all the bodies were buried—perhaps quite literally.  While the Dazai no Sochi was often a temporary appointment, sometimes just for a few years, they would have likely leaned on Masaru for his expertise.  This is just like how modern government appointees like ambassadors may come and go, including for political reasons, but they rely on permanent staff, including a lot of locals, to provide the institutional knowledge they need to do their jobs.  One can assume that if Masaru had been successful for 29 years he knew how things were supposed to work.  And so I hope that his superiors made sure to remember that when Secretary's day rolled around. Prince Kawachi didn't make it 29 years, but he made it five.  He might have gone even longer, but he died in office in 694 and was posthumously raised in rank for his service.  History is full of stories, but in real life, the stories don't always follow the expected narratives.  As much as we'd like to think otherwise, good, moral people do not always triumph and sometimes those who do awful things are never punished.  And some times stories come to abrupt ends.  Of course, looking back, it just is what it is.  Prince Kawachi's life becomes little more than a footnote.  And yet, what if he had gone on?  Would he have followed Tajihi no Shima to help become one of the grand ministers of the court?  Unfortunately, we will never know.  He could have been a rising star, but we just know about his passing. Five months after Prince Kawachi's untimely death, he was followed in the post by Prince Mino.  Prince Mino would continue in the position, it seems, through the end of the reign in 697—or at least nobody else was appointed until 700, when Isonokami no Maro—apparently the same one who had previously come out to inspect the fortifications during Prince Kawachi's tenure—was appointed.  Although he came into the position in the next reign, we'll still touch on him, as he was another notable figure at this time. Looking back at Prince Mino, however, we seem to run into a problem—there are too many Princes Mino in the record.  If you just use the English translations, you'll find several references to Prince Mino, but if you look at the original text, you'll see that there are at least three different spellings.  For one it means "Beautiful Field" and another is just "Three Fields".  A third "Mino" is spelled with characters that don't necessarily create obvious meaning, and may just be a phonetic spelling. It is possible that all of these Princes Mino are the same.  Spelling wasn't standard, and different characters could be used for the same name.  On the other hand, we have one set of characters being used to describe a Prince Mino who supported Ohoama during the Jinshin no Ran, while another, the "Three Fields" Prince Mino, describes one of the sons of Prince Kurikuma, who was with his father in Tsukushi when the Afumi court came calling.  Since travel wasn't necessarily an overnight endeavor—unless you were Ohoama, rushing through the mountains to the east—it would seem that the Prince Mino in Tsukushi is unlikely to be the same one as the Prince Mino who joined Ohoama's forces back in the Home Provinces. So let's make the assumption that Prince Mino—Prince "Three Fields" Mino—is one person and the others are separate.  What do we know about him? Well, he appears to have had experience with Tsukushi and the government out  there, since he would be the son of Prince Kurikuma, a former Tsukushi Dazai no Sochi.  We talked about Prince Kurikuma before, back in numerous episodes, but particularly in episodes 128 and Episode 144, as well as references in betweend. Prince Kurikuma was not only a significant factor in the outcome of the Jinshin no Ran, denying the Afumi court the resources of all of the defenders at the Tsukushi fortifications, he shows up in local legends in Tsukushi still today.  So he definitely seems to have had an impact on the region.  It also suggests that Prince Mino had connections in the area through his father. After his father's posting as Dazai no Sochi ended, Prince Mino appears to have returned with him to Asuka.  He is described as a key member in Ohoama's court.  He was one of the Princes mentioned in the audience at the Daigokuden in 681, when Ohoama instituted the commission to bring together the various court sources that we presume would eventually lead to the creation of the Chronicles—the Nihon Shoki and the Kojiki.  Later, he become a daibu, a high official, of the Household Bureau, responsible for the household of the sovereign, the sumera no mikoto.  This meant the upkeep of the palace, the kitchens, and the various servants waiting on the sovereign and his family.  This also means that he was likely close to the movers and shakers of the court. One of the projects under his purview appears to have been the laying out of a new palace and a new capital city.  In 682 he headed up the investigations at the place called Nihiki, determining that it would be a good location for what would eventually become Fujiwara-kyo—a project still underway in Queen Uno's reign.  He was also sent out to Shinano two years later to look for a site for a second capital.  It ended up not happening, but he spent a couple months and eventually came back with a map of the region.  It may be that the Fujiwara-kyo project took up a lot of Mino's time and effort, because we then don't hear from him for another decade, during which Ohama passed away and so much more happened.  Assuming he was still involved with the Fujiwara capital project, however, we see that in 691 there was a ceremony held for the tranquility of the new capital—a Chin-sai or, what we would today call a "Ji-chin-sai".  This is a "land pacification ceremony" done when breaking ground on a new building or other project.  So it looks like planning and land clearing had taken some 10 years, but it was finally ready to get started.  Later that same year we hear of them laying out the residences of high ranking nobles, like the Udaijin, Tajihi no Shima, and we also see the Queen inspecting the roads.  Then, a year later in 692, they were holding the land pacification ceremony for the new palace.  The queen would move into the new palace in the very last months of 694. But by that time, Prince Mino was on to his next assignment.  He had been appointed Tsukushi Dazai no Sochi earlier that year following the death of Prince Kawachi.  Not much more is said of Tsukushi for the next three years of the reign, but we do see the Hayato visiting Asuka, presumably with Prince Mino's assistance. We don't have a clear idea of when Prince Mino retired—it's certainly not in the Nihon Shoki—but we know that he did because he was succeeded in the role by none other than Isonokami no Maro, who would take up the position in 700.  Prince Mino, on the other hand, returned to the court, where he would eventually pass away in the year 708. And that was the last Dazai no Sochi who held the position during this reign, but I do want to talk about the one who came after Prince Mino just a bit—though more because this was an up-and-coming court noble whom we should be watching. Isonokami no Maro was born, by all accounts, in the year 640.  Despite his name he was actually born to a family that we know somewhat well from much earlier on: The Mononobe.  In fact, his father is apparently Mononobe no Muraji no Umaro, and he appears to be descended from the main line of the Mononobe family, which had declined ever since Mononobe no Moriya had been defeated and killed by Soga no Umako and others. And it seems that the Mononobe curse of being on the losing side in a contest for power hit Maro during the Jinshin no Ran, because we see him, at that time referenced as Mononobe no Muraji no Maro, along with two servants, or Toneri, serving Prince Ohotomo—aka Koubun Tennou—up to the very end.  In fact, when Ohotomo fled and the Afumi court deserted him, only Mononobe no Maro and the servants stayed with him when he eventually strangled himself. And one would think that would be it.   You were with the rival for the throne in the most contentious fight in recent memory.  You couldn't protect him and you were on the wrong side.  Sure, Ohoama was going to pardon you because he couldn't just rid himself of half of the court and hope things would still run smoothly—that would be a surefire recipe for disaster, and nobody wanted the government crippled like that.  However, you can't imagine that those on the losing side would be given any position of trust or authority. And yet, in 676, we see that Mononobe no Maro was sent to Silla.  And he wasn't just helping out: he was sent as the chief envoy of Ohoama's court.  That is quite the turnaround in four years, and we don't really know why, but it has been speculated that Ohoama was actually impressed.  While other members of the Afumi court fled and abandoned Ohotomo to his enemies, Maro and the two toneri with him did not, staying with Ohotomo until the bitter end, and likely conveying what had happened to the other side once it was all over.   That kind of loyalty was impressive, especially back then. It is also thought that Maro may have benefited from the fact that Enoi no Okimi, who was also descended from the Mononobe family, fought on the side of Ohoama.  This is a common scenario we see throughout Japanese history, where different members of the same family fight on different sides of a conflict, often meaning that no matter who wins the family can still claim to have been on the winning side.  When Okimi passed away in 676 he was posthumously recognized as the ujigami, or clan head, of the Mononobe, leading some to suspect that a bit of his shine may have rubbed off on Maro as well. In 684, when the various kabane were being rectified by Ohoama's court, the Mononobe no Muraji were included as Ason, or Asaomi.  There is some thought that around this time is when Maro changed his name to Isonokami, which is a name that was previously used by members of the Mononobe, including one of the brothers to Mononobe no Moriya.  We see him mentioned as Isonokami no Maro in 686, as one of those giving a eulogy for Ohoama: specifically he gives the eulogy on behalf of the Houkan, or Nori no Tsukasa, the Judicial officers.  He is mentioned right after Fuse no Miushi, whom we talked about last episode, who would go on to become a Dainagon and, later, Udaijin, or Minister of the Right. The first connection between Isonokami no Maro and Tsukushi was in 689, and we noted it earlier—he came out to inspect the fortifications as well as to hand out patents of rank to the court officials working out there on the edge of the realm.    He would return to Asuka in time to be a part of Uno no Sarara's official enthronement ceremonies.  There he is named Mononobe no Maro, and is in charge of the shields.  Given what we know of the role of the Mononobe as the early soldiers of the court, it makes sense that he would play this role, and that they would use the name Mononobe rather than Isonokami.  In the same way, the ritual was conducted by Fujiwara no Ohoshima, but he is recorded as Nakatomi no Ohoshima, probably because these were roles specifically for the Mononobe and Nakatomi, rather than for the Isonokami and the Fujiwara. This is another thing that can be quite frustrating when researching Japanese history—names can change at the drop of a hat, and people often had various ancestral names and titles that could be pulled out for various political or ceremonial reasons.  If you don't have the history or understand the nuance it can be easy to just think that it is a different person altogether.  And when you don't have much information, sometimes you have to ask yourself which is it? Maro would stay close to Queen Uno, even accompanying her to Ise shrine, and then, in the following reign, he would succeed Prince Mino as Dazai no Sochi in the year 700.  It isn't clear, however, if he left for the Dazaifu immediately, since in 701 he is noted as having been promoted from the office of Chunagon to Dainagon, and in that same year he went with Royal Prince Osakabe to pay respects at the house of the late Udaijin, Tajihi no Shima, who had just passed away.  He then left for Tsukushi in 702—or possibly headed back.  But in 703, he was once again back in Asuka, paying condolences on the death of the next Udaijin, Abe no Miushi—aka Fuse no Miushi, the same one whom Maro had pronounced a Eulogy with during the funeral ceremonies for Ohoama.  Isonokami no Maro would go on to take the mantle of Udaijin, and then eventually Sadaijin as well.  He would be raised up to the second rank, along with the famous Fujiwara no Fubito, who took the vacated position of Udaijin.  This meant that technically Maro was the senior of the two, though many people think that Fujiwara no Fubito held most of the actual power.  Regardless of that, Isonokami no Maro nonetheless would go on to become the highest ranking court noble before his eventual death in 717.  At that point he was 78 years old, by the reckoning of the day, and he had seen multiple sovereigns, several bloody conflicts, and the creation of two permanent capitals—Fujiwara kyo and Heijo kyo, in modern Nara.  He went from being a supporter in the Afumi court, on the wrong side of the Jinshin no Ran to become the highest ranking court noble in the land.  He would be granted the head of the Mononobe family and would continue to prosper as Isonokami.  It was truly a remarkable career over an incredible span of time. And there you have it.  A look at some of those that were sent out to the Dazaifu in Tsukushi.  In later years, the post of Dazai no Sochi would be seen more as a burden than a blessing, but at this point it was still a lucrative and powerful position.  Several of those involved in the Dazaifu or who held the position as Dazai no Sochi would go on to even more powerful positions back in Asuka.  Whilst this posting did move you further away from the politics—perhaps not always a bad thing—it also put you atop a structure where one had considerable power, authority, and autonomy, at least at this point. Next episode we'll get back to the court in Asuka and take a look at a little more of what is going on.  Before I end this, however, a quick administrative note about the podcast.  This creation is a labor of love.  It was started largely as a way to get myself to regularly dive into the Chronicles and really see what was going on.  In particular, I was excited about the Asuka period, because I don't think we really have enough of a sense of what life was like and what was going on back then.  It was clearly a very dynamic time, and yet we tend to see it through the lens of later Nara and Heian court culture, which was still very much evolving.  The stories that I *didn't* know about were what drew me to this project, and I hope that we've all learned a bit more as the project has continued. And we are reaching the end of the area that is covered by the main Chronicles, the Kojiki, the Nihon Shoki, and the Sendai Kuji Hongi, which have been our main guides through this period.  But that doesn't mean we are bringing things to a close. Next we have the Shoku Nihongi and many other grecords, and I am going to keep up with the project and the schedule as best I can.  In fact, it looks like I may be able to devote even more time to it in the near future as some drastic life changes are coming for me, such that I will no longer be working a 9-to-5 job while also trying to get this podcast out like clockwork twice a month—not to mention my other passion, teaching traditional Japanese martial arts here in the DC region at a local not-for-profit dojo.  This is happening as we are also in the process of building a house, traveling, and more.  But it does mean that we are going to be looking into alternative sources of funding beyond just donations.  We are eternally grateful to everyone who has donated, but I may end up doing something that I've been putting off for a while: allowing advertisements.  I want to do this so that we can continue to offer this for podcast for free, but hosting, staying up to date on sources, etc. does cost money.  I'm not looking to make a huge profit, but if we can at least get the podcast paying for itself, that would be a good start. Before I do that I'll look to find a way that we can get subscribers on Patreon and elsewhere ad-free copy.  I just need to figure that out, but once I do, I'll let you all know. So there you have it.  We aren't going to stop the podcast, but we may be adding a bit more to it in the future.  I hope, though, that we can do more beyond the historical chronicles.  For instance, did you know that we have an English translation of a 17th century cookbook up on our website, SengokuDaimyo.com?  I would love to redact those recipes and maybe provide some cooking videos for anyone who would want to try them.  A shoutout to Max Miller of Tasting History, who reached out to us about using a couple of our translations for his episodes on historical Japanese cooking – Max is a great guy and his series and cookbook are well worth following.  But there's a lot more to explore: one of my favorites so far that we've tried is "keiran", or "eggs": doughy balls filled with brown sugar and cooked in a miso based soup.  I don't know if there is anything like that still being served in Japan, but it's a strange and pleasant recipe and I would love to do that again and record it for everyone to try. All of this is in the works, and nothing will change immediately, but I wanted to keep you all in the loop.  Thank you so much for listening, I can't tell you how much it means. And of course, as always, 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.

出演者：藤原鞠菜 配信ペース：隔週火曜日 番組時間：平均40分 ——————————————————————— ＜各テーマ紹介＞配信されるテーマは回によって異なります。 「ふつおた」･･･何でもありのお便りコーナー。投稿は毎日募集中！！！！！ 「歴史秘話ウィステリア」･･･サークル曲の裏話など。 「まりにゃのこれな～んだ？」･･･音当てクイズ。 「まりにゃのオススメ」･･･オススメ商品をご紹介。 「はじおと」･･･「音楽」×「初めて」に関して語るコーナー。 （初めて買ったCD、初めて心を動かされた音楽、初めてカラオケで歌った曲等。） 「これかた」･･･テーマを決めて語る割とフリーダムなコーナー。 （テーマや語ってみた投稿募集中。） 「答えて、まりにゃ」･･･まりにゃへの質問募集中。 「トレンドなう」･･･収録時に開いたTwitterのリアルタイムトレンドについてコメント。 「まりにゃのTOP5」･･･思いついたら勝手にランキング。 「まりにゃのドキドキ質問箱」…twitter投稿になります。（ https://peing.net/marinya_）  「みんなの答え合わせ」…twitterで出題するアンケートの結果報告。みんなに聞きたいこと募集中。 ——————————————————————— ——————————————————————— ■CD新作・出演告知など■ ★Wisteria Magic通販サイト「うぃすましょっぷ」★ wismashop.booth.pm/ 新作も旧作も全て送料込み！ ★イオシスショップ様にて一部旧作を委託販売中！★ www.iosysshop.com/SHOP/list.php?Search=wisteria ★しがないレコーズのyoutube「しがない5分ショー」に出演してます。 藤原鞠菜は木曜日担当です。 https://www.youtube.com/channel/UCA_FmkoMu24R_6o3m3_Ulqg —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– ・の〜すとらいく様の18禁PCゲーム 「女装百合畑/Trap Yuri Garden」にて、主題歌「優雅にヒロイン宣言」を担当させて頂きました。 ・TinklePosition様の18禁PCゲーム 「お兄ちゃん、朝までずっとギュッてして！夜までもっとエッチして！」 にて女未こはくちゃん(三女)のED曲担当させて頂きました。 ・TinklePosition様の18禁PCゲーム 「お兄ちゃん、朝までずっとギュッてして!」 にて女未こはくちゃん(三女)のED曲を担当させて頂きました。 —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– ——————————————————————— この番組は音楽サークルWisteria Magicがお届けする番組です。 藤原鞠菜やサークルの過去または最新の活動内容につきましては 以下をチェックしてくださると嬉しいです♪ ・藤原鞠菜のTwitter（ twitter.com/marinya_ ） ・藤原鞠菜のHP「ふじわらんど」（ fujimari.com/ ） ・磯村カイのTwitter（ twitter.com/isomurakai ） ・磯村カイのHP「TONAKAI soundworks」（ https://soundworks.tonakaii.com/ ） 藤原鞠菜への贈り物の宛先 〒107-0052 東京都港区赤坂4-9-25 新東洋赤坂ビル10F レイズイン　アカデミー気付　藤原鞠菜宛 VOICEVOX:ずんだもん VOICEVOX:四国めたん

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ 　良かったよ！と思ったら高評価👍 　感想・ツッコミなどチャット＆コメントもぜひ！ 　 ✅番組時間：44分02秒 ✅出演：ジャーマネ・あくとん・蛇草千尋 　 2005年にスタートして、ついに800回を突破した、 今年もいろんなことにゆるーく挑戦するラジオ。 地球の平和のためにはみなさんのおたよりが必要です！ 　 ✅コーナー： 　モザイク貫通王 　 🟧投稿フォームはこちら。 　① https://forms.gle/DkTHQ38qNNWTPpta7 （新） 　② https://ja-mane.com/form/ （旧・画像添付可能） 　※ 画像を添付する場合のみ②をご利用ください 🟧投稿テーマや締切など、番組情報はジャーマネ.comからどうぞ 　https://ja-mane.com 　 🟧アリキラ白書 2023と2024、公開中！ 　https://ja-mane.com/blog/2023/10/26/hakusho2023/ 　https://ja-mane.com/blog/2025/03/09/hakusho2024/ 🟦CLOSING MUSIC 　極東の羊、テレキャスターと踊る by しゃろう 　https://www.youtube.com/watch?v=qy05MFjNZbE ■2026年6月13日配信 　 #ラジオ #ポッドキャスト #webラジオ #IOSYS #イオシス

ぬるぽ放送局おたより投稿フォーム https://forms.gle/6tbmBzK6wbyavJG47 2026年6月パワープレイ 「Phantasmagoria mystical expectation」 アレンジ・ギター・ベース　ARM ボーカル　悠 杏李 作詞　kiku　夕野ヨシミ 原曲：風神少女 音楽ジャンル：ミクスチャーポップ 収録アルバム：東方風櫻宴 2006・5・21 Release https://www.iosysos.com/discographyportal.php?cdno=IO-0090 https://www.youtube.com/watch?v=fOmaLZDp3y0 番組時間：86分22秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2026/6/11に公開録音したものを配信いたします。 ラジオ記事はリスナーのEEチャンピオンさんが書いてくれているので楽してます。 ＜オープニング＞ ・札幌も夏が始まりました ・外は、暑いんでしょうね ・喉の肉離れ ・VDONinjaの調子が悪い ・今日はアイドリングがないから事故っちゃう ・ポッドキャストの人は待ってないよ ・イオシスくんの活動をあれしますか ・かつ丼と活動って似てますよね ・＜楽曲提供＞ 　カバー楽曲 　「天ノ弱」／ドラゴンブラッド：スレイヤーズ学院 　歌唱：花たん 　作詞・作曲：164 　編曲：コバヤシユウヤ(IOSYS) 　ギター：三浦公紀 　ベース：john=hive(IOSYS) ・ドラゴンブラッドを始めるなら今！ ・正解はじゃがポックル ・じゃがポおじさん ・楽曲提供のお知らせ 　「私たちは、花になる／イロドリミドリ｜HaNaMiNa｜S.S.L.」 　作詞：七条レタス 　作曲：D.watt 　編曲：fu_mou(Hifumi,inc.) ・楽曲提供のお知らせ 　「きゅんキラ☆ネバギバ行進曲／あぴゃりちゃん」 　作編曲：コバヤシユウヤ 　作詞：john=hive 　Guitar：三浦公紀 ・トピックチャンネルとは ・やはり、かわいいキャラは必要 ・自由の女神を女性枠ととらえるとは ・ガワだけのwiki ・追加されたよ 　Nintendo Switch『グルーヴコースター フューチャーパフォーマーズ』 　2026/6/11 無料アップデート 　「HG魔改造ポリビニル少年」 　作詞・作編曲：IOSYS TRAX 　歌：さきぴょ ・YouTubeタイトーチャンネルにて試聴動画が公開されました 　「DX超性能フルメタル少女」 　作詞・作編曲：IOSYS TRAX 　歌：ちよこ 　「HG魔改造ポリビニル少年」 　作詞・作編曲：IOSYS TRAX 　歌：さきぴょ ・もう、12,3年前 ・アメリカニキは現金を持ってきてください ・​ありったけのキャッシュをかき集め ・何をやります？ ・1分将棋を盤面もなく初心者が？ ・歩が8枚集まってキング歩 ・マイクラ将棋 ・ムダ話を雑談力って言いました？ ・新日本将棋連盟作ろう ＜Aパート＞ ・ふつおたです ・歯医者で引き分け ・ぬるぽもギネスいけるのでは？ ・急なニンテンドーダイレクト ・強引に同意を求める ・ビールおかわりした直後にワインを飲む ・生ビール放送 ・東方projectすげーな ・ニュークラだとキャバクラになっちゃうな ・ぴっちりした服はみんな好きだから ・歯って欠けませんか？ ・吉野家がタッチパネルに ・梅干しとチーズと炭酸水しかない冷蔵庫 ・え？ネットスーパーで2万も？何を？ ・ウイスキーは普通1本で済むから ・お便り1通で何分やってるのか ・ホラー映画をご所望 ・ミーガン ・女性Vならホラーゲームは映えますよね ・英語のタイトルなら自信がない ・東方アレンジっぽい単語を組み合わせる ・穴からは離れてほしい ・マスパ音頭はありそう ・バニーガーデンを買ってしまいました ・重い過去のキャラに定評のあるキュリエイトさん ・今日は漫才をやりますか ・そのお店がグレーだったとしても？ ・片玉から紹介されました ・バター犬牧場ってなんだよ ＜Bパート＞ ・みつをたです ・水道管が壊れたので送ります ・おっきなゴンってなんだよ ・シアンさんどうしたの？ ・減った骨は食べちゃったの？ ・暗殺の母のＣＶが柴田理恵さん ・ばんちょーがせくちーな件について ・豆柴でごまかせる ・供給の多いブルアカ ・ブルアカ始めるなら今！ ・にじさんじピックアップニュース ・にじさんじストーンズ ・小ジョッキで水を飲みましょう ・でび様の新曲 ・カラオケでオケツブンブンフェスティバル ・ほな、エンドラ討伐がええんじゃないかな ・ボーイは食べ物じゃないんだよな ・ホロピックアップニュース ・しぐれういだから ・75万円のエレキギター ・イオシスは1万日ですけどね（マウント ・100万円のＰＣも使ったことない ・合体してもスペックは大したことはない ・お家で核融合発電 ・Ｖピックアップニュース ・ローソンのVTuber ・いろんなＶがいるんだね ・ガッツ石松さんご冥福をお祈りします ・ロリ3人組 ・今はフローラ ・ポロって出るゆうじ ・おにぎりスライムとは ・ゲーム実況をやる曜日が足りない ・冥曜日 ・朝配信でおやすみなさーい ・お便りお待ちしてます ＜エンディング＞ ・Forza Horizon 6やりますか ・あまりテクテクライク知識は生かせない ・梅雨はやる気あるんですか？ ・もう、ほぼ水 ・キリン5番絞り ・体内で石の錬成しないようにしましょう

Free Your Mind Mixed live Duration: 1:09:00

W nowym odcinku wideokastu „Kultura na weekend” Bartek Chaciński sprawdza, jak wygląda od kuchni współczesny rynek muzyczny i dlaczego masowe wydarzenia to coś więcej niż tylko rozrywka. Naszym gościem jest Mikołaj Ziółkowski, szef agencji ALTER ART, człowiek, który od lat kształtuje festiwale muzyczne w Polsce. Rozmawiamy m.in. o nadchodzących rewolucjach pokoleniowych, wyzwaniach logistycznych i Open'er Festival 2026. Analizujemy też globalne zjawiska: współczesna konsumpcja muzyki i gig tripping, czyli turystyka koncertowa, która drastycznie zmienia ceny noclegów w miastach festiwalowych. Mikołaj Ziółkowski tłumaczy, dlaczego tradycyjne openerowe pole namiotowe to wciąż kluczowy element tożsamości imprezy, pozwalający utrwalić jej historię i zapewnić dostępność. Dlaczego pojedyncze koncerty na żywo potrafią dziś kosztować krocie, jak na polskim rynku wyglądają kontrowersyjne ceny dynamiczne i z czego naprawdę wynika ostateczna cena biletu za wielodniowy karnet. Od nas dowiesz się, jak na przestrzeni lat zmieniają się najlepsze koncerty w Polsce i dlaczego współczesne line-upy to unikalny miks pokoleniowy. Ziółkowski odpowiada krytykom, którzy powtarzają, że „kiedyś to były Openery”, i dowodzi, że współczesny festiwal wymaga przełamywania barier i otwartości na nowe brzmienia. Objaśniamy, dlaczego obok młodych gwiazd na scenie stają legendy muzyki, tacy artyści jak Florence+The Machine, The xx, Calvin Harris, Nick Cave&The Bad Seeds czy The Cure. Jest też nowa fala, którą reprezentuje np. zespół Kneecap. Festiwale to być może ostatni bastion, który ratuje relacje międzyludzkie i leczy samotność Gen Z. Dlaczego dla młodego pokolenia kontakt z przyrodą i... czyste toalety są tak samo ważne jak dobra muzyka? Dlaczego aktywne słuchanie muzyki i wychodzenie ze strefy komfortu mają dziś wymiar niemal polityczny, a sobota na tegorocznym Open'erze będzie najważniejszym miejscem na świecie? Czego dowiesz się z odcinka: 1. Z czego wynika cena biletu na festiwal i jak Mikołaj Ziółkowski ocenia ceny dynamiczne w Polsce? 2. Dlaczego legendarne zespoły i legendy muzyki występują na scenie obok artystów młodego pokolenia? 3. W jaki sposób festiwale muzyczne w Polsce walczą z samotnością Gen Z i dlaczego pole namiotowe to świętość? Oś czasu: 00:00 - Najciekawsze fragmenty rozmowy 00:01:53 - Jak zmienia się świat letnich festiwali? 00:08:50 - Co jest najważniejsze dla Open'era? 00:14:58 - Skąd taka cena biletów festiwalowych? 00:34:35 - Jak zmieniają się oczekiwania młodej publiczności? 00:43:33 - Największe marzenie artystyczne szefa Alter Art Dowiedz się więcej na polityka.pl: https://www.polityka.pl/ Obserwuj nas w mediach społecznościowych: Facebook https://www.facebook.com/TygodnikPolityka Instagram https://www.instagram.com/tygodnikpolityka/ X https://x.com/Polityka_pl

出演者： miko、quim 配信ペース： 隔週 番組時間：126分10秒 ♯本番組はリモート収録です。 ♯収録時環境の影響により、全体的に聴き取り辛くなっております。 　申し訳ございません。 隔週に1回お届け。mikoラジ、第399回です。 記念すべき400回まで、あと1回！ そんな収録だったのですが、まさかの収録開始時にまさかの事態が?! ほぼほぼ収録開始前のトークのような雰囲気からの、ロングロングトーク！ ……ハプニングが起きると、収録って長引きますよね（遠い目）。 最後までごゆるりとお楽しみくださいませ。 ♯途中で色々とノイズ等入りますが、収録時のものです。 　ご安心ください、お手持ちの機器は正常です。 大切なお知らせ https://x.com/quim/status/2064306767971180693?s=20 大変な絵 https://x.com/radio_4649/status/2064723321288380804?s=20 ・おとらってRECORD 公式サイト n-remix.com/otolatte/ ↑『おとらって10thライブ KUWANA』に参加予定の方は、 　「来場予約はこちらから」からご予約を！ 開催日／2026.8.23(日) 　第一部　OP11:30　ST12:00 　第二部　OP14:40　ST15:00 //////////////////// VOICEVOX:ずんだもん VOICEVOX:四国めたん //////////////////// -------------------- ●お便り募集中！ mikoラジでは以下の内容でお便りを募集中です！ ・ふつおた 　／普通のお便り、お待ちしています！ ・mikoは大変な絵を描いていきました 　／miko画伯に描いて欲しいお題をお待ちしています！ ・メシヲコエテ 　／料理人・mikoに教えて欲しいレシピをお待ちしています！ bit.ly/2GAWjyv 投稿フォームからラジオに投稿が出来ます！ コーナー名を選び、メッセージ・ラジオネーム・お所を入力して、 どんどん送ってください！　お待ちしています！！ ------------ 本ラジオのメインパーソナリティーである「チーム我等(miko/quim)」、 それぞれ以下個人サークルにて活動中です。 ・miko：miko ・quim：SHIGANAI RECORDS（ shiganai.com/ ） 活動詳細については、上記HPの他 各人のブログ/twitter等にて随時告知しておりますので、チェックしてみてください！ ・みころぐ。(mikoのブログ)（ ameblo.jp/miko-nyu/ ） ・@ mikonyu(mikoのtwitter)（ twitter.com/mikonyu ） ・@ quim(quimのtwitter)（ twitter.com/quim ） --- その他の活動については、以下のとおりです！ -- チーム我等がメインクルーとして活動していた「アルバトロシクス（ albatrosicks.com/ ）」、 これまでリリースしたCDは、イオシスショップ（ iosys.booth.pm/ ）にて頒布しております。ご興味ある方は是非！ ---------- ☆2026年6月IOSYSはいてない.comパワープレイ楽曲 「Phantasmagoria mystical expectation」 アレンジ・ギター・ベース　ARM ボーカル　悠 杏李 作詞　kiku　夕野ヨシミ 原曲：風神少女 音楽ジャンル：ミクスチャーポップ 収録アルバム：東方風櫻宴 2006・5・21 Release https://www.iosysos.com/discographyportal.php?cdno=IO-0090 MV https://www.youtube.com/watch?v=fOmaLZDp3y0

Gościem Jakuba Chełmińskiego jest wiceminister Ministerstwa Klimatu i Środowiska Mikołaj Dorożała – Główny Konserwator Przyrody. Co czeka dziki w miastach a niedźwiedzie w Bieszczadach? Dlaczego nowe bagna mogą być ochroną przed ruską armią? Czym są lasy społeczne? Więcej podcastów na: https://wyborcza.pl/podcast. Piszcie do nas w każdej sprawie na: listy@wyborcza.pl.

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ 　良かったよ！と思ったら高評価👍 　感想・ツッコミなどチャット＆コメントもぜひ！ 　 ✅番組時間：71分20秒 ✅出演：ジャーマネ・あくとん・蛇草千尋 　 2005年にスタートして、ついに800回を突破した、 今年もいろんなことにゆるーく挑戦するラジオ。 地球の平和のためにはみなさんのおたよりが必要です！ 　 ✅コーナー： 　オープニングなぞなぞ 　アリキラ社員食堂 　ふつうのおたより 　 🟧投稿フォームはこちら。 　① https://forms.gle/DkTHQ38qNNWTPpta7 （新） 　② https://ja-mane.com/form/ （旧・画像添付可能） 　※ 画像を添付する場合のみ②をご利用ください 🟧投稿テーマや締切など、番組情報はジャーマネ.comからどうぞ 　https://ja-mane.com 　 🟧アリキラ白書 2023と2024、公開中！ 　https://ja-mane.com/blog/2023/10/26/hakusho2023/ 　https://ja-mane.com/blog/2025/03/09/hakusho2024/ 🟦CLOSING MUSIC 　極東の羊、テレキャスターと踊る by しゃろう 　https://www.youtube.com/watch?v=qy05MFjNZbE ■2026年6月6日配信 　 #ラジオ #ポッドキャスト #webラジオ #IOSYS #イオシス

ぬるぽ放送局おたより投稿フォーム https://forms.gle/6tbmBzK6wbyavJG47 2026年6月パワープレイ 「Phantasmagoria mystical expectation」 アレンジ・ギター・ベース　ARM ボーカル　悠 杏李 作詞　kiku　夕野ヨシミ 原曲：風神少女 音楽ジャンル：ミクスチャーポップ 収録アルバム：東方風櫻宴 2006・5・21 Release https://www.iosysos.com/discographyportal.php?cdno=IO-0090 MV https://www.youtube.com/watch?v=fOmaLZDp3y0 番組時間：94分7秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2026/6/4に公開録音したものを配信いたします。 ラジオ記事はリスナーのEEチャンピオンさんが書いてくれているので楽してます。 ＜オープニング＞ ・焼肉焼いても家焼くな ・鉄骨飲料 ・最近CMを見ない ・イザベルがCDをたたき割るCMを今こそ再び ・詐欺広告は法律で禁止にするぞ！ ・広告のゲームが大好き ・イオシスくんの活動をあれしましょ ・東方名華祭行ってきました ・ミューズの患部って石鹸みたいだね ・昨日はハムを作ってました ・楽曲提供しました！ 　「すぷれあダイアリー／すぷれあ」 　作詞：七条レタス 　作編曲：D.watt 　ギター：Hylen　花籠つばさ ・YouTube 300万再生！【東方MV】行列のできるえーりん診療所【IOSYS】 ・さすがD.watt ・イロドリミドリラストライブあります ・D.wattって何人いるの？ ・クークリのイオシスとは ・ご当地キャラが80体 ・しゃべるご当地キャラにろくなやつはいない ・2026年のケツが見えてきた ・バニーガーデン２の1周目をクリアしました ・漁船RTA ・RTA in IOSYSをやらないと ・アプデでアルケミーファクトリー盛り上がってます ・先週は控えてた無駄話が大量に出てしまった ・カチン コチン湖 ＜Aパート＞ ・ふつおたです ・上半期おわっちゃうよー ・梅雨がない北海道 ・エアコンのリモコンを探すところから ・今日はペースが早いな ・ブルアカの話 ・ダンジョンウィズイン ・え？電車の中でえっちなゲームを？ ・スマホでゲームしだすとベットから出てこなくなっちゃう ・それ、キーボードだよ ・小宮果穂ちゃんの30MS ・勝手に首だけ発売しちゃう ・サウンドクラウドアプリはいいぞ ・1人でも使っているならポッドキャストは続けます ・初老の飲み会の報告 ・車車機金のめかとき ・東京秘密クリニックとは ・家で肉を食べない ・世界一長いカレーのレシピ ・漫才は来週 ＜Bパート＞ ・懐かしっ！ ・20年経ったね ・あれは東方って書いてあるだけなんだよな ・2枚組は手作りするの大変なんだって ・TINAMIとは ・みつをたです ・おじさんの漫才ほど面白いのはないね ・1行ふつおたみたいなみつをた ・おしっこなぞなぞ ・創作昔話ごんぎつね ・チョコモナカ〇ンポー！ ・ごんぎつね中毒の我々 ・さらに悪手を重ねてます ・完全新作ロボットアニメ ・出だしだけで面白い ・ｲﾔｯ! 来ないで！ ・にじさんじピックアップニュース ・この悪魔、人生経験豊富なのでは？ ・どっちの料理ショー ・電波の届かない岩の中 ・ススキノ1丁目からススキノ2丁目に引っ越し？ ・番組の途中ですが速報です ・センシティブフォルダが増えていく ・どうしてイオシスに発注しなかったんですか ・好き過ぎるのも問題 ・ホロピックアップニュース ・ポルカの中のユニコーンがそわそわ ・お腹の調子をそのままポスト ・Vピックアップニュース ・SusHi Tech TOKYO って何ですか？ ・車の運転にテンポのいい曲は危ない ＜エンディング＞ ・伝えたい思いはありますか？ ・オープニングで全部言っちゃった ・90分やってるからおわろう

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight's APEX Express show is focused on food justice and Asian America. First, Host Miko Lee talks with artist Macy Tran about their work on food as a form of resistance, and then she speaks with researcher Dr. Milkie Vu around her work on food insecurity and Asian American communities.   Show TRANSCRIPT [00:00:00] Opening: 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.   [00:00:30] Miko Lee: Welcome to Apex Express. I'm your host, Miko Lee, and tonight we're talking about food justice and Asian America. First, we talk with artist Macy Tran about their work on food as a form of resistance, and then we speak with researcher Dr. Milkie Vu around her work on food insecurity and Asian American communities. Join us tonight as we delve into food justice. Welcome to Apex Express, Macy Tran, I'm so happy to meet you.    [00:01:03] Macy Tran: I'm happy to meet you as well, Miko. Thanks for having me.   [00:01:06] Miko Lee: I just wanna start with the question I ask all of my guests, which is, who are your people and what legacy do you carry with you?    [00:01:13] Macy Tran: I come from a legacy of powerful Vietnamese people who were born and raised in Vietnam and now are part of the diaspora in Minnesota. I come from food peoples and healers and chefs and creatives of all sorts who have learned how to make ends meet and to adapt and to work with what they have. I come from a long line of people who have loved through food and who have used food as a means of cultural preservation and education and survival, which has now been passed on to me. There's so much to say about who I come from. My grandparents have stories of survival and resilience throughout the American War in Vietnam. And it's only because of just their love and the decisions they've made on behalf of their love that I am here today. My parents own a restaurant in Minneapolis, Minnesota, Vietnamese restaurant called Pho 79/Caravelle That has a 40 plus year legacy of serving Chinese and Vietnamese food to the Minneapolis community. It started with my grandma's brother, and then it passed down to my grandma. And now my grandma has since passed and has passed it down to my father and my mother. And so I like to say that it's restaurant people who raised me. I grew up sleeping in the booths and all of the aunties, even though they weren't blood aunties were my aunties. Because our survival was just so foundationally just predicated on food and what we served and shared with others, and also what we ate at home and the celebrations that we would have both at the restaurant and at home. This is really what makes me.    [00:03:20] Miko Lee: Thank you for sharing. Do you wanna talk more about the legacy part?   [00:03:24] Macy Tran: I carry a legacy of peoples who really know the importance of food and the way we use food to care and support each other. Even in the most hard of times when my family was. On a boat with 200 other people and didn't know if they were going to survive when they kind of landed abroad. The shores of Indonesia, food has been with them throughout it all, and it is how I was raised to love and care for people. I see the ways that food is not just a means for sustenance, but also as joy, as creativity, as love, and I carry all of those, decisions and skills with me.    [00:04:19] Miko Lee: Thank you so much. I learned first about your book when I read a piece that you wrote for 18 million Rising, and I'm wondering if you could just talk about how that piece around food as a form of resistance, how did that come about?   [00:04:33] Macy Tran: I have a friend who works with 18 million Rising, and since the federal occupation in Minneapolis, I've been doing a lot of food justice organizing here. And it has been a way in which I have seen and expressed just the skills and love that I give to my community. I was just feeling compelled to give food. That was what I knew. In the past two months as my friends have been going out on the streets following ICE agents around legally observing, I have felt that my role in this movement is to feed frontline folks who are out doing the work and also feeding our community during a time in which it's very scary and difficult to leave your home without fear of being abducted. In Minneapolis we have created systems of, food resource sharing that have been really powerful to witness and experience and to get engaged with. And so one way that I've been doing it is I've been cooking community meals most Sundays, sometimes Saturdays that feed 200 plus people.   [00:05:47] I am providing delicious food for my friends who are out on the streets and coming home and hungry and cold. And I also helped facilitate and organize a food distribution at my parents' restaurant after the murder of Alex Preti I really wanted to not just be involved in like acting and responding to what was happening but as an artist, as a creative, I felt the need for also remembering and preserving and reflecting about what's been going on in Minneapolis. I kept being pulled in all these different directions and was organizing over here and supporting this community and doing this. And then when my friend reached out to me at 18 million Rising,. It was such a great opportunity for me to really reflect on my practice of food as resistance and food as justice. I've been a food writer in the Twin Cities for about the past three years. Food, events, I mostly cover restaurant stories and festivals and theater and all that sort of stuff in the BIPOC community here in the Twin Cities. And I realized writing this piece that this was the first time in a while, that I had written something actually for myself from my heart that was in my voice. Without an editor saying, no, you have to say it this way. No, we have to cut that part out. No, you use too many words here, and so I really took this piece as an opportunity to share what my life was like here in my own words and my own experiences. And just use it as a moment to really reflect and share the things that I'm learning and the way that I am practicing and using food as a bridge to healing and transformation during this time in which we are ripe for needing that.   [00:07:47] Miko Lee: Can you roll back a little bit and talk to me about how you got started as an organizer? What, when you first learned about social justice work and what pulled you in?   [00:07:56] Macy Tran: It definitely wasn't the way that I was raised. I was born in the us my parents were born in Vietnam and then came over to the US and they really raised me with the mentality of you just put your head down and you work hard and you don't really get involved. And like, yeah, you care for others, but mostly you care for your family. I was actually someone who was always butting heads with my family because I was like, do you not see all of these issues that are happening in the world? Like the issue, the systems that were implicated in. We have to care beyond just ourselves, and we would always butt heads about that.   [00:08:33] Miko Lee: At what age did that start?    [00:08:35] Macy Tran: Oh, probably when I was a teenager. around that time I was finding my voice. and it wasn't until college that I really started putting words and frameworks and theory into what I have already witnessed in my family and my community, which is just community care and the ways that facilitates justice and transformation I would say since college that I really started actively organizing primarily on campus. I went to a smaller liberal arts school. So organizing and just getting involved in our community in that way was pretty easy. And like after I graduated college, I spent five years in Southeast Asia, one year in Vietnam, and then four years in Thailand where I was primarily working at the intersections of education and refugee justice and environmental justice. I got to meet all sorts of organizers and activists from across the region who have taught me. Really everything, a lot of what I know about organizing and what it means to show up specifically within a Southeast Asian context and how to use kind of my feet in both worlds, both my American political identity and my Southeast Asian political identity.   [00:09:59] And to merge those for the better and for my community. So I would say that. I've always had a big heart ever since I was little. And actually my parents were always like, you are too trusting. You people are gonna take advantage of you in the world. And I was like, I just wanna live in this world with so much love. And the way that they taught me to do that was. Through food and through reliability and just what it means to show up consistently for my people. And so in some ways it was all baked into me, even though they might not see that and they might not have raised me in that way. I see the ways in which they have sacrificed for love and nourished their families through food and made incredibly scary risks for the freedom of their family and for their people, and for a new life. And I just feel like I'm walking in their footsteps, doing the same even if they might not feel that way.    [00:11:09] Miko Lee: So did you have to talk your family and the restaurant into getting involved in the food support work for activists in Minnesota?   [00:11:18] Macy Tran: it wasn't a challenging conversation to have and I was surprised by that.    [00:11:22] Miko Lee: Oh, great.    [00:11:23] Macy Tran: Um, yeah, my parents have been, actually, this is the most politically active and vocal I have seen them. It's really incredible. I would say that for a lot of actually the Vietnamese community that I've been witnessing in Minneapolis, like they're saying things that I never thought that they would say. They're putting analysis like what together? The Vietnamese community is, I would say, skews at least the older generation, I should say. The older generation of Viet folks skews pretty right wing, conservative Republican, Trump supporting. And I'm just seeing dissent for the first time. It's not always like that explicit, but it is, I would say in the past what I've seen is just like. When kind of rightwing or more Republican opinions come up, if people disagree with that, it's just like you're just quiet. But now I'm seeing a way in which like people are responding, commenting on social media, like posting publicly about it. It's just been really, really powerful. When I first started organizing in response to the federal occupation, my parents were really quite worried and they did not want me to get involved. And they didn't really understand why I felt compelled to do this. And then when Alex Prety was murdered, I. It was actually my auntie, my mom's youngest sister that brought up the idea of a food distribution because she was feeling like I just wanna do something and like, what is an avenue in which we can do something? Well, we have this restaurant. Mm-hmm. And so she proposed it to my parents first, which Oh    [00:13:05] Miko Lee: wow.   [00:13:06] Macy Tran: Love, shout out to her because    [00:13:09] Miko Lee: Thank you, auntie.    [00:13:10] Macy Tran: She did right. She did the hard work for me. I think I would've been a little more hesitant or would've taken a little bit more time to just process, like how to go about asking them, because there's just a different power dynamic there. Sure. But because my auntie is more of a peer mm-hmm. And she had this idea and she has also worked at the restaurant mm-hmm. For many, many years of her life. I think it really spoke to my parents and I think it really was a moment for them to connect the ways that this restaurant is so important to not only our family and how we show up in community, but also to our community in Minneapolis. Mm-hmm. I have traveled all across the world and have met people who have eaten at Pho 79 and have told me stories of getting engaged there, of getting a tattoo of the, like restaurant on their, on their arm. The, the logo. Yeah, the logo. It's crazy, you know, like people, and I've also heard generations of families like growing up on my parents' food. Mm-hmm. As we share food with people and they support our business, it's only because of our community that we've been able to survive this far you know?. My parents came to Minnesota with nothing, and it's only because of the kindness of other Minnesotans and other Vietnamese Minnesotans that we were able to get anywhere.   [00:14:35] In this moment they saw that and they saw that. We can, we have these resources. This won't be hard for us. We have everything here that we need. This is the channel in which we can work in. And yeah, they were just ready to do it. I think also my parents were ready to take a risk because the business was not doing well, we weren't, there were not people coming out to eat. Everyone was scared to go out to eat. People were not really spending money. And this was really ever since the pandemic and the way that has impacted the restaurant industry and particularly immigrant businesses, and then also the George Floyd uprisings and the way that just the, violence and also the transformation that happened to the street that we were on Eat Street. It just really changed the ways people saw that corridor, that business corridor. And it was a really big business impact. And so my dad was just, I think, in a place where he was really willing to take a risk and a stand for what he believed in. And my mom as well. As a way to also just like. Really be present in community and show that, hey, like we are out here and we believe in loving our community and seeing the ways that people are showing up for our community as and for our business as well. And honestly, since the food distribution business has been steady and I think. My parents are, I mean, they're definitely feeling relieved, but I'm just feeling so grateful that they stood on their values, you know, and they stood grounded in that. And as a result, like the community is reciprocating. and that is such a beautiful thing that I don't, I think my dad took a risk not knowing what would happen, because more exposure is not always good. And I've been telling him that, you know, especially with the Vietnamese community being, of, of his genera generation being more right wing and more conservative. He recognizes that and he recognizes that we had to do something. So I feel so proud of them for just being really chill and okay, and actually impassioned and compelled to do something.   [00:16:57] Miko Lee: It sounds like it brought you a little bit closer with your family too.    [00:17:00] Macy Tran: Definitely. Definitely did. Yeah. I feel like me and my family have never really been able to sit at a table and talk about politics and what's going on in the world without one of us just like getting activated or feeling defensive or not seeing each other. It is a terrible thing what has happened and what continues to happen in our city, under federal occupation and so much beauty and creativity and love has come from it. And I even feel that at the most micro scale between me and my parents.    [00:17:39] Miko Lee: Can you, share with us that are not located in Minnesota, what the experience is like of this federal occupation on a day to day? Like, we're talking today on March 2nd, and I say that because our world, everything's changing every day and this is gonna air on a separate day. So I wanna name that. So right now, what is it like when you're just walking through the streets in downtown Minneapolis ?   [00:18:01] Macy Tran: Yeah. It's interesting because when you ask me this, I think about my experience like a month ago and how different it was and it felt to walk around a month ago compared to now. A month ago. It. I was seeing a neighbor on every corner of major streets, like looking for ice. You know, I was seeing car caravans, honking and following ICE agents. It's interesting 'cause like I actually just had a friend visit from Milwaukee and. She was nervous about ice. She's Asian American as well, and she was like, should I be scared? What's actually going on? And I told her, actually, yes, what's going on is scary and violent. And I feel so safe because I am meeting neighbors I have never met before. I'm making small talk with people who are just. Out on the streets walking their dog in a way that they would not normally, I'm talking to business owners, we're talking about the impacts of this occupation. Everywhere I go, there were eyes and that felt really powerful and strong. And now that operation Metro Surge is technically over they are supposed to be withdrawing ICE agents from the city. I would say there is definitely a decrease in the number of ICE agents in our city. Activity is much slower. However I would say out in the suburbs of Minneapolis and St. Paul, they are seeing action and enforcement from ICE agents. That is. Either at the, kind of the same amount that we were receiving or escalated. The concentration is higher out in the suburbs And so even though things were quieter in the city, they were elsewhere. And    [00:19:57] Miko Lee: yeah, I just saw videos this morning of protesters that were peacefully marching that just got tackled. Actually by Minnesota Sheriff's department working in conjunction with ice. I know every state in every region is a little bit different. But I thought that was something that Governor Waltz was working on right?    [00:20:15] Macy Tran: So actually the city ordinance that you are talking about is actually on a Minneapolis City level. So that was a decision made by Mayor Fray. Oh, that's only city. So it's only MPD, Minneapolis Police Department, who is not supposed to assist in, federal and right. Federal enforcement. However, on a county level, that's different. I see. So sheriffs might be working with, I know it's like, so complic, what a mess complicated. I    [00:20:41] Miko Lee: know. This is the same, I mean, this is the same everywhere, right? Mm-hmm. It's all broken down. Okay. So, so I think I hear you saying that ICE has kind of moved on with the targeted big city approach and they're going out into the suburbs instead. Is that right?    [00:20:57] Macy Tran: Yes. There are still protestors, and observers going every day to the Whipple building. The Whipple building is where ICE agents are coming from, and so they have definitely recorded a decrease in the number of ICE vehicles. So the volume isn't as high, but the cars are still coming and we're still seeing enforcement and violence in our neighborhoods. Just the other day, just a few streets down, a person was abducted in our neighborhood in Minneapolis. And because the volume isn't as high, they're not as easily able to track. And so they're working a lot more under the radar. Yeah. Mm-hmm. And their tactics have become just a lot more. Under the radar as well. In the early days in January, it was really easy to identify ICE out-of-state license plate, tinted windows. Big vehicles like super easy. Nowadays they're putting like coexist bumper stickers and little things on their dashboards and like, you know, driving little sedans and it's definitely not as easy and they're moving a lot more covertly. And because Operation Metro Surge has technically decreased and because many of our frontline activists have been working at this for months and are getting tired. Mm-hmm. There is a really interesting transition period happening here. Mm-hmm. Where I think we're all trying to align on what is the next.   [00:22:31] What's the next step? Mm-hmm. How? How are we, what is the best way to move given that this is the way that ICE is operating now? Yeah,    [00:22:40] Miko Lee: right. Just    [00:22:41] Macy Tran: under reflection. Mm-hmm.    [00:22:42] Miko Lee: Under such sneaky circumstances, like what they recently did in New York at Columbia, showing up at Columbia University with a missing child picture of a little kid. And that's how they got entry into the dorms, which is so wrong to terrible get a student. So that's actually illegal to like misrepresent being a police officer when they're not, they're a nice officer and    [00:23:05] Macy Tran: mm-hmm.    [00:23:06] Miko Lee: Showing a photo, I mean, it's so awful.    [00:23:08] Macy Tran: Mm-hmm.    [00:23:09] Miko Lee: I'm wondering how people that don't live in Minnesota can get involved.   [00:23:14] Macy Tran: Hmm. The, greatest frontier currently that is in need of support is rent support. There are, probably hundreds of maybe thousands of people who are likely at risk of eviction in the Twin Cities, because they have not been able to work for the past two months without fear of being abducted. We're calling on Governor Waltz for an eviction moratorium, which would prevent folks from being evicted. Governor Waltz is the only person who really has jurisdiction to implement an immediate rental moratorium, and he's done that before during the pandemic, and so we're trying to make arguments that this is. A state of emergency people are like not able, they weren't able to work. Like people are going to get evicted putting calls to his office, sending emails. So that's one way to get involved from abroad, uh, or not abroad outside of Minnesota, but also abroad if you're abroad And listening to this. The other way was, is that there's a lot of hyper-local organizing that is happening within Minneapolis that I can speak to every. Neighborhood and corner, I feel like, of Minneapolis is being accounted for usually by a team of just volunteer mutual aid groups who are fundraising for rent, who are fundraising for groceries who are fundraising for utilities.   [00:24:45] And these are all like live fundraising pages on the internet. And if you have even just 10, $20 to spare to help a Minneapolis resident, um, not get evicted in the next month. Um, every dollar matters. In this moment, rent is due. Soon, we're just at the beginning of March. And if folks aren't able to pay rent now and they haven't been able to pay rent in the last couple of months, like this is only going to have a snowball effect. We cannot risk vulnerable neighbors migrants, immigrants being, like more of them being unhoused at this moment. We already in our city have so many unhoused people who are not being cared for by our city officials, who are having their encampments being taken down and who are already not receiving adequate support. Our system cannot handle an influx of more unhoused people and we can prevent this. I would say that is kind of the biggest frontier at the moment in terms of what I'm seeing organizing on the ground.    [00:26:01] Miko Lee: Would you have links that you could share with us definitely for rent support. That would be really great if, and I'll definitely, I'll add them to the Apex Express show notes so folks that wanna get involved can contribute and help support community. You wrote in your piece about books, lovely books and podcasts and things that inspired you, which I always love hearing about those things. And one of the books you wrote about was Rice and Baguette, A History of Food in Vietnam. Can you talk a little bit about it, how it deepened your understanding of food legacies and resistance?    [00:26:33] Macy Tran: Mm So I read that book while I was living in Vietnam actually. So it was really cool for me to, what I love about that book, it's a little like academic. I will say that it is a food history like you are reading history, you know, it's a little bit like dense at some points, um, for    [00:26:49] Miko Lee: the real foodie audience.    [00:26:51] Macy Tran: For real. I'm like, if, yeah, exactly. And luckily that's me. I was into it. What I loved about it were, the legends, like there were some what I, so in Vietnam when I was living there, something that I loved and was learning more was that like Vietnamese people have so many legends about folk legends about food, like the origins of the watermelon,, the origins of our bunte cake, which is the cake that we eat, the sticky rice cake we eat during, lunar New Year. There are so many Food origin stories that I just did not grow up being raised on. And so, this book talked about some of like, how did pho even get started, you know, is pho even truly Vietnamese? It's, that's a debate I'm not gonna have right now. But. I loved just hearing the greater context in which all of this existed, especially not growing up with those stories and being,    [00:27:55] Miko Lee: Hey, wait, what is the origin of watermelon?    [00:27:58] Macy Tran: So it's this like funny little. Story where, this prince essentially gets banished to an island with his wife. And then on this random island, he finds this like incredible fruit, the watermelon, and he's like, whoa, this is so delicious. I want I must show this to the people back at home, but they won't have me because I'm banished. And then he basically floats the watermelon back to the mainland and they find it and they're like, oh my gosh, this is so incredible. We must, invite this man back to the mainland.    [00:28:38] Miko Lee: How did they know it was from him? Did he like carve his name in the watermelon?    [00:28:43] Macy Tran: I don't know. It's actually been a while since I've heard this story, so I could be just like. You know, I don't know all the details. That's    [00:28:50] Miko Lee: okay. That's always better anyway.   [00:28:53] Macy Tran: just stories like that. I love to hear them. I also learned about what it was like to eat and cook during foreign occupation when, oh, you know, the French were colonizers mm-hmm. When the Chinese were colonizers. Mm-hmm. And just the incredible Vietnamese food ways that emerged from those periods of colonization. Mm-hmm. They were both brutal and violent and also full of adaptation and creativity and survival foods. And so the book just talked about all of that, and I just love knowing those stories that help me know the ways in which our people have been able to survive for this long and are now free under, foreign  occupation.    [00:29:40] Miko Lee: Speaking of, you mentioned creativity and adaptability, and you are a multihyphenate person, as an artist, as an organizer, as a writer, as a visual artist, collage maker, I'm wondering how your artistry impacts your organizing and vice versa. How do they speak to each other? How do they influence each other?    [00:30:01] Macy Tran: Hmm. I am someone who, when there is an issue or a problem that arises, I'm often just confronting it with what can I do? What can I like feasibly do? How can I show up? And I think my artistic practices actually help me slow down. Even the ways that I can show up in community and do things in community, I'm very responsive. I'm always like, okay let's do a thing. Let's organize it. Let's get our hands dirty. I am out there, I am organizing people, you know, like tangibly. And I think the ways that my artistic practices partner with that is that my artistic practices help me reflect and remember and deepen and find spiritual grounding and purpose. my art is a way that I bridge conversations with my ancestors and I bridge what it means to know myself and be a person, a community member, a Vietnamese American daughter in this moment, right? And it reminds me of the skills that I have and wanna bring to the world. It also helps me create different narratives for understanding what's happening and. For finding creative solutions and for collaborating with others. So I think I would honestly be so burnt out and exhausted and sad if it were not for my artistic practices. I think it's because of my artistic practices that I find energy, that I find belonging, that I find meaning in the work that I'm doing.    [00:31:51] Miko Lee: I love that answer. Can you share, because you brought this up, can you share about a conversation or an interaction you've had with an ancestor and how that's influenced you recently?   [00:32:03] Macy Tran: Hmm. That's such a great question. I'm going to tie this answer into Lunar New Year because, lunar New Year is a time in which our material world and the spiritual world really can converge in a meaningful way, at least for me. And every year when I celebrate Lunar New Year, I will do something different. I deepen my practices. I just kind of deepen what I know about. Folk tradition and ancestor worship. And every year I learned new things and I wanna try new things. And so this year was the first year that I built a public altar space in my living room. Usually I just have it in my bedroom or in a small corner of my home somewhere that's like usually private. But I built like. It wasn't like a tiny little altar, like it was big, you know, like I had photos of all my relatives on there. I had flowers, I had five kinds of fruits. I had, you know, little, every time I ate a meal, I was putting a meal aside for my family to eat with me. And, Some cultures you don't eat the food that you leave on the altar, but in my family we do. And the reason for that is because we get to become one with our ancestors. We get to embody what our ancestors are and eat as well and their spirits, and so this past Lunar New Year, I actually threw a, I had celebrations on both sides of the family. And then I organized a new year party for my chosen family who came from all walks of life. And the prompt for the party, it was a potluck. The prompt for the potluck was cook something or bring something that your ancestors would be just delighted to eat on the altar. And so we    [00:34:00] Miko Lee: love that.    [00:34:01] Macy Tran: Oh yeah. It was so sweet. People came out with their best work, I should say, like the food was fantastic. Our ancestors were eating well, and I was sitting there. And this altar was full of tiny little plates of food, beautiful flowers. I also asked people to bring pictures, photos of their ancestors or people that they wanna honor. Incense were lit. The room was filled with incense smoke, and I was just, there was a moment where I was just, kinda in the corner of the room just watching, you know, and I had a feeling like, wow, all of our ancestors are hanging out right now. Not only are me and my chosen family, you know, building a community and belonging for ourselves but also like. I could have never, and probably they could have never predicted that my friend's like Jewish grandpa was hanging out with my Vietnamese grandmother and grandfather, you know, or yeah, my friends like grandparents from Antigua are now hanging out with like my family members and it's, it was just a moment where I just felt not just the joy.   [00:35:16] And love in the space of connecting with my real, like my friends in that moment. But also just the miraculousness of what it meant to hold all of our ancestors in that space. And so, after that I ended up writing a piece on my substack, actually as a letter to my ancestors. I, I kept the altar up for a week, a week and a half. And on the last day I was ready to take it down and move it back upstairs into my room. But on the last day, I thought, I'm gonna light the incense one more time. And have my ancestors in the space as I write this piece to them. There were so many things I wanted to say to them. And also at the same time, I felt like as I was writing, they were saying things to me, this is what I have to teach you in this moment, is kind of what they were saying to me. This is like, this is what it's like to celebrate that under occupation. This is what it was like when we thought it wasn't even possible to celebrate Tet. Like we had literally nothing but rice and water and yet we still did, and my grandma recently passed a I mean, it's not so recent anymore, but it's been just over a year now. And she was like, One of the first like major deaths of the elder generation in my family. And Tet was the time that I could commune with her and share love with her. And, I could just feel her presence in the space and I would even, memories felt like a way that she was talking to me. The memory of just the crackle of her sesame balls, like she made the best sesame balls. They were like. Thin and crispy and fluffy, but also like so like they were not skimping on the mung bean on the inside. It was fantastic. So I'm just like, I haven't had a sesame ball from her in over a year, but I can remember how it tastes and feels, and my mouth and that memory itself is a message from her. To remember what has fed me through so many years, and how important it is to just remember the, not only just the foods that we eat, but the people that have loved that food into existence. And now me, you know,    [00:37:38] Miko Lee: have you made it the dish, the sesame balls.    [00:37:43] Macy Tran: I actually have her recipe books, so I planned to I just didn't have time, this past Tet, but me and my brother were going to, and then I think we decided we wanted to do it on just like on a lower key day, like instead of like in the midst of just like so much family celebration, there was so much to prepare and we were like, let's just plan a low key weekend where it's just me and you and there's no timeline and we don't have to get this anywhere and they don't have to be perfect. Like    [00:38:14] Miko Lee: that sounds lovely. So it's personal and it's family and Exactly. And if for a one year anniversary, death anniversary is coming up, that might be a great time to honor her.    [00:38:22] Macy Tran: Exactly. Exactly.    [00:38:24] Miko Lee: I'm wondering what was like some standout dishes from that lovely event to you?    [00:38:29] Macy Tran: Ooh. I mean, I will talk about the dish I made.   [00:38:33] Miko Lee: Okay.    [00:38:36] Macy Tran: Which I thought was fantastic and I think my friends also thought were delicious. Was delicious. Um, but a dish that is commonly eaten during the lunar new year for Vietnamese people is a tit ka, which is a caramelized, braised pork belly. This caramelized, braised pork was stewing for probably three hours. Wow. And so, yeah, and I used coconut water with it. I didn't like, straight up coconut water and it    [00:39:04] Miko Lee: no Coca-Cola.    [00:39:06] Macy Tran: No Coca-Cola not in this one. And I just made a huge, huge pot and it was basically almost all gone by the end of the night. So that was like a really good feeling. Um, my brother made an incredible duck heart lap. He works at Diane's Place, actually, it's a famous Hmong restaurant in Minneapolis. And they processed duck on the menu. And so he had like access to all these duck organs and he made an incredible loup that he brought to the party. And my, one of my little sisters, Iris, she's Puerto Rican and she made like tostones, like fried plantains and then she also made Puerto Rican rice, and she, she made like three or four dishes. So like, people really went above and beyond for their ancestors. I could really, I mean, it was probably like 20 people who came to this party, so there were so many dishes and they were all. So good. So I, I don't wanna, once I get into it, I'm gonna go into it, so I'm not gonna chat your ear off.    [00:40:13] Miko Lee: Sounds lovely. Sounds yummy. Mm-hmm. And my last question is, I'm wondering what manifestation for the year of the horse you have for yourself.    [00:40:23] Macy Tran: The 18 million rising essay that I wrote came, it was right before the lunar new year that it got published. And it came during a time where I was already thinking a lot about my creative practice and how in, in relationship my creative practice in relationship with also the ways that I organize and the ways that I cook and, organize around food. And when this opportunity for this essay emerged and just the way it has been received has been such an honor, like, because I haven't written for myself, you know, in so long and like really with my own voice I just didn't realize that people were going to resonate with it so much and find like an invitation to engage in food justice themselves and their own ancestry. And also the ways that it made them think about food and their relationship to food. And it was such a blessing for me to receive that resonance from people, you know, and to receive, just the stories that I've heard and the way it spoke to them. And I felt like that has been a blessing for me to just really expand my creative practice and be more public with it. I'm like, dang, if this little thing that I wrote impacted people in the way that they think about the world, like. I have so many more ideas I wanna share and like be in partnership with others about.   [00:41:57] And I just launched my Substack, right after the Lunar New Year and I was like, all right, you're the fire horse. Let's freaking go. I am ready, I am running. So, I just wanna be creating so much and like act manifesting and actualizing a lot of the dreams that I have, my creative dreams that I have continued to put on the back burner. Things about hosting supper clubs and doing more work around my parents' restaurant, like helping them create narrative around the restaurant and sharing our restaurant story with people. And just using my words and experiences as a way to connect with the world and also be open to the ways that people wanna connect with me. So that's kind of the ways that I'm, I'm seeing this year unfold already, and it's already started with a bang. I also wanna add that year of the fire horse for me is just a lot about movement and progress. And so in this sense movement, I think of social movements and the ways that social this particular social movement against ICE in our city will fundamentally. Impact us for the next lunar year. It happened right at the beginning of the lunar New Year and it's going to have deep effects into the year, and we will forever be changed by this. And I am so excited to see the ways in which we harness this energy for transformation, for care into something that's really meaningful.   [00:43:37] Miko Lee: Thank you so much for joining us on Apex Express. It was a delight to talk with you.    [00:43:42] Macy Tran: Thank you, Miko. This was so great. Thanks for having me.   [00:43:45] Miko Lee: Next up, listen to researcher professor, Dr. Milkie Vu, speak on her exploration on Asian Americans and food insecurities. Welcome, Dr. Milkie Vu, assistant professor at Northwestern. Welcome so much to Apex Express.    [00:44:04] Dr. Milkie Vu: Thank you. I'm delighted to be here.    [00:44:07] Miko Lee: Dr. Milkie is a mixed methods researcher focusing on community engagement and health issues, and I'm excited to talk with you today. I wanna start by first asking the question that I ask all of my guests, which is, who are your people and what legacy do you carry with you?   [00:44:24] Dr. Milkie Vu: My people are the Vietnamese community, and when I think of my people, the first word that comes to my mind is resilience. I was raised in Vietnam. I speak Vietnamese fluently and I embrace my culture very deeply. I carry the memory of my parents and grandparents who have lived to colonization multiple world. And the challenge of post-war poverty and the ability to, endure all these hardship is the legacy that I bring with me and in my day to day life it acts as a personal life of hope for me and then professionally in the. Work that I do is really a foundation and it drives my dedication and commitment to working on health solution with Asian American and immigrant communities who have similar stories of hardship, but also perseverance.   [00:45:19] Miko Lee: Thank you so much. I really appreciate how your background has informed the work that you're doing, and I wonder if you could talk a little bit more about this study, this scoping review on food insecurity among Asian Americans. Can you one first start off by breaking down what a scoping review is.   [00:45:37] Dr. Milkie Vu: Yeah, I'm happy to talk about that. So a scoping review is essentially a methodology that we use to be able to summarize existing scientific literature and try to understand how this literature. Answer research questions that we have.   [00:45:56] Miko Lee: Can you tell me what inspired this study?    [00:45:59] Dr. Milkie Vu: I've done community engaged research with, Asian American population for over a decade. In doing so, I have come to realize , as an anecdotal evidence, how food insecurity is a issue in the community. And yet that's very little that has been, done in terms of research or policy that target this problem., So for example, the US Department of Agriculture, will publish annually a report on food insecurity in America and it will include several, racial and ethnic populations, but Asian Americans are frequently ommitted from that report. So, you know, at the national level, that data doesn't exist, which then, makes it very difficult to understand what is the severity of the problem and what are some of the solutions that could be done to address them. So that's why we were interested in doing a deeper dive into summarizing the literature too be able to see what has been done about this problem and what are some of the barriers that exist, towards food security for community members, and what are some of the literature gaps? Our review was published in 2024 was the first scientific review of the literature on food insecurity among Asian Americans.    [00:47:27] Miko Lee: And what did your study uncover?    [00:47:31] Dr. Milkie Vu: We documented several important findings. There is a lack of existing data on this problem. Due to this myth of Asian Americans being the model minority. Assuming that Asian Americans are uniformly successful socioeconomically and thus not experiencing, any challenge including food insecurity. One of the things that we found is the importance of data disaggregation and looking at food insecurity in different Asian origin groups. We found that food insecurity really varied. So for example, if you look at some groups like Japanese Americans, we found the prevalence of between two to 11% of the population reporting food insecurity. But then if you look at some of the Southeast Asian groups, for example, Filipinos or Hmong American or Vietnamese, the rates are much higher. So the studies that we found report, between eight to 41% of food insecurity and among Filipino population. Close to 48% for more Hmong American, and then between 14 or 28% for Vietnamese Americans, so much higher than the rates for other groups.   [00:48:48] Data Dion is important and there shouldn't be this grouping of different Asian groups in research because then it really erased like the struggles specific communities with food insecurity. I think the other finding that was really important is looking at more systemic or structural barriers that prevent people from being food secure. Our review found that limited English proficiency is a important driver of food insecurity. The lack of appropriate language services, whether that's food pantry or for things like snap navigation. These could be important target point infusion policy or interventions that could help address food insecurity, community members. We also look at a couple of qualitative studies that found really interesting things. So for example, even when Asian American community members do use food assistance programs like snap, the benefits are often not sufficient. And they have a negative experience. There's also fear of how that might negatively impact the immigration status or application. Those are important barriers that should be acknowledge.   [00:50:08] Miko Lee: Some of these numbers are so high. You mentioned 48% with Hmong folks with, it's just so surprising, and I wonder if there's a sense of the why some of these communities have a higher food insecurity than others.    [00:50:21] Dr. Milkie Vu: Yeah, one of the things that we did point out in the conclusion was the need for just more studies focusing on these, smaller Asian groups or smaller Asian population that are done in like the appropriate language to be. From some of the experience I've had, part of it is probably shaped by, the historical conditions to which some of these, communities might have come to the us. For example, thinking about my community Vietnamese, coming to America as refugees, fleeing persecution or free fleeing war and how that, historical conditions might create structural and socioeconomic challenge in Britain, in the community. I am also curious about is the availability of service and program that are linguistically appropriate or, providing culturally relevant food for these communities. So those are important points that we can hypothesize, but obviously more research is needed to understand, the root cause of these challenge and how to address them.   [00:51:28] Miko Lee: And were you focused on specific regions or this was national?    [00:51:34] Dr. Milkie Vu: I'm really glad that you asked about this. So the review itself is, summarizing all published literature focusing on Asian Americans. All of the studies take place in the us. A lot of the, studies probably focus on data that are from the coast. So either on Asian American, on the east coast or the west coast. , But we looked at the study like from a nationwide angle and I'm also happy to talk about some of the new committee organizations in Chicago looking at food insecurity and community-based solutions to address that among Asian Americans. Part of the motivation for the follow-up study was just thinking about the lack of data focusing on the Midwest or Chicago where I live.    [00:52:20] Miko Lee: Please, I'd love to hear more about that . [00:52:23] Dr. Milkie Vu: The COVID pandemic, had brought a lot challenges for food insecurity. For people nationwide in general, but then for Asian American, there's also this, so what I call like the double, almost like a double pandemic, like the waves of entire Asian violence and hate crimes. And so thinking about how that impact food insecurity in general among, Asian American community members. About two years ago, we interviewed around, 13 organizations in Chicago. All of them are either community based organizations, social services or food pantry, working with, primarily with Asian American community members, from diverse groups: korean, Chinese, Vietnamese, Filipino, south Asian, Mongolian, et cetera throughout Chicago. And the question that we asked them was, thinking about what programs they have offered during the COVID pandemic that aim at reducing food insecurity among community members. How did they implement this program? Who are some of the vulnerable populations served by the program? How did the pandemic as far as anti-Asian racism impact the program organization? That was the first study that looked at how community organization in Chicago help address this issue of insecurity on this, the COVID pandemic.   [00:53:57] Miko Lee: And so what is the next step for this study or what is the next piece that you're working on as connected to this?    [00:54:05] Dr. Milkie Vu: Yeah. Think about the role of the community organization as grassroots organizations that work from the ground up , as opposed to more top down program structure. They're doing a lot of the heavy lifting to help community members address food insecurity, because they know the community very well. They are able to provide the in language service that community members need. They're also trusted by community members. So a lot of the time,, certain populations especially say if those with limited their English proficiency or, more newly arrived immigrants, might feel more comfortable going here as opposed to going to this organization as opposed to, another one that are more generic and don't have the staff that speak the right language. I think the other thing is, staff with the similar cultural backgrounds are able to understand. There was one quote from the study that I did in Chicago. That stuck with me. When we tell them you could go to the food bank, the American food is not quite tailored to their taste. So they will get a big chunk of cheese and they will be like, what is this? Nobody wants to eat this. Again, thinking about the role of committee organization as so important in knowing the language, knowing the cultural preferences. And then just thinking of ways that we can further support, the programs and operations that they do. This is a really challenging time for nonprofits, social service organization, both in terms of providing food as well as other social service to Asian American and immigrant communities. How can research from a place like, researchers, from academia like me, are able to partner with them to further the service that they do and be able to find the funding that support them and community members. I think that's the important step for me.   [00:56:02] Miko Lee: Dr. Vu, how can folks find out more about your work?    [00:56:06] Dr. Milkie Vu: Yeah, In order to understand more about the work that we do, so we have a website, for our lab that frequently include, you know, like our current projects as well as publications. So you can go to site, so SI ts.northwestern.edu/vu group. and you'll be able to find more information about the research that we published. We've also recently, in the beginning of the year start, to find ways to disseminate research on social media. So we also have a Facebook group for our lab that disseminates our research findings as well as include information about the community members and partners Other trainees in the lab that make this work possible. The labs Facebook group is at facebook.com/maybe give research. and then you can always reach out to me via my email milkie.vu@northwestern.edu So I'm glad to connect with people who have similar research interests or would like to learn more about the work that we do.   [00:57:06] Miko Lee: Thank you so much for joining us and sharing your information about your important work that you're doing on research with Asian American community. Appreciate hearing from you.    [00:57:15] Dr. Milkie Vu: Thank you so much.   [00:57:18] Miko Lee: Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night.   The post APEX Express – 6.4.26 – Food Justice appeared first on KPFA.

出演者：藤原鞠菜 配信ペース：隔週火曜日 番組時間：平均40分 ——————————————————————— ＜各テーマ紹介＞配信されるテーマは回によって異なります。 「ふつおた」･･･何でもありのお便りコーナー。投稿は毎日募集中！！！！！ 「歴史秘話ウィステリア」･･･サークル曲の裏話など。 「まりにゃのこれな～んだ？」･･･音当てクイズ。 「まりにゃのオススメ」･･･オススメ商品をご紹介。 「はじおと」･･･「音楽」×「初めて」に関して語るコーナー。 （初めて買ったCD、初めて心を動かされた音楽、初めてカラオケで歌った曲等。） 「これかた」･･･テーマを決めて語る割とフリーダムなコーナー。 （テーマや語ってみた投稿募集中。） 「答えて、まりにゃ」･･･まりにゃへの質問募集中。 「トレンドなう」･･･収録時に開いたTwitterのリアルタイムトレンドについてコメント。 「まりにゃのTOP5」･･･思いついたら勝手にランキング。 「まりにゃのドキドキ質問箱」…twitter投稿になります。（ https://peing.net/marinya_）  「みんなの答え合わせ」…twitterで出題するアンケートの結果報告。みんなに聞きたいこと募集中。 ——————————————————————— ——————————————————————— ■CD新作・出演告知など■ ★Wisteria Magic通販サイト「うぃすましょっぷ」★ wismashop.booth.pm/ 新作も旧作も全て送料込み！ ★イオシスショップ様にて一部旧作を委託販売中！★ www.iosysshop.com/SHOP/list.php?Search=wisteria ★しがないレコーズのyoutube「しがない5分ショー」に出演してます。 藤原鞠菜は木曜日担当です。 https://www.youtube.com/channel/UCA_FmkoMu24R_6o3m3_Ulqg —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– ・の〜すとらいく様の18禁PCゲーム 「女装百合畑/Trap Yuri Garden」にて、主題歌「優雅にヒロイン宣言」を担当させて頂きました。 ・TinklePosition様の18禁PCゲーム 「お兄ちゃん、朝までずっとギュッてして！夜までもっとエッチして！」 にて女未こはくちゃん(三女)のED曲担当させて頂きました。 ・TinklePosition様の18禁PCゲーム 「お兄ちゃん、朝までずっとギュッてして!」 にて女未こはくちゃん(三女)のED曲を担当させて頂きました。 —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– —–　　—–　　—–　　—–　　—–　　—–　　—–　　—– ——————————————————————— この番組は音楽サークルWisteria Magicがお届けする番組です。 藤原鞠菜やサークルの過去または最新の活動内容につきましては 以下をチェックしてくださると嬉しいです♪ ・藤原鞠菜のTwitter（ twitter.com/marinya_ ） ・藤原鞠菜のHP「ふじわらんど」（ fujimari.com/ ） ・磯村カイのTwitter（ twitter.com/isomurakai ） ・磯村カイのHP「TONAKAI soundworks」（ https://soundworks.tonakaii.com/ ） 藤原鞠菜への贈り物の宛先 〒107-0052 東京都港区赤坂4-9-25 新東洋赤坂ビル10F レイズイン　アカデミー気付　藤原鞠菜宛 VOICEVOX:ずんだもん VOICEVOX:四国めたん

The Oakland-based singer, Miko Marks, first came onto the music scene as a country artist. But Miko's powerful vocal range is wide, and so is her creativity. Now she identifies as an Americana and roots singer. She currently has a residency at Yoshi's in Oakland that's running now throughout the summer. Her next show is Thursday, May 21st. And her special guest is jazz legend Faye Carol. Miko sat down with KALW's Jenee Darden on “The Sights + Sounds Show.” They spoke about Miko's growth as an artist. Here's an excerpt of that interview.