Podcasts about Miko

ぬるぽ放送局おたより投稿フォーム https://forms.gle/6tbmBzK6wbyavJG47 2025年7月パワープレイ M6. 月夜のアイとキミの嘘 Produced by RoughSkreamZ Vocal by DD"Nakata"Metal, PASTEL RADIO 収録アルバム：RoughSkreamZ / With Skreaming Friendz 2025・4・27 Release https://notebookrecords.net/discographyportal.php?cdno=NBCD-049 番組時間：82分47秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2025/7/17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＞ ・先週お休みして長旅して来ました ・8泊 ・あの世に近づいてきました ・2泊7日のD.watt ・暖かいと腰の調子がいい ・オープニングは告知をするんだった ・mikoさんが中国でイベントやってます ・ぱんのみみさんのPCゲーム『おにいちゃんコンティニュー！』のOP楽曲を作りまし　　　　た！ 　作編曲：コバヤシユウヤ（IOSYS） 　作詞：john=hive（IOSYS） 　ギター：三浦公紀 　OPムービー、ぜひご覧ください！ ・ちょっと叡智かどうか確認しますか？ ・楽曲提供のお知らせ 　「合成音声ソフト」×「WIXOSS」コラボレーション 　VOICE ACROSS!!コラボ記念ソング「ルリグになっちゃった！！ 」 　作詞：かたほとり(IOSYS) 　作編曲：uno(IOSYS) ・何回見てもリグルに見えちゃう ・楽曲提供のお知らせ 　PASTEL RADIOの最新曲「すきぴぽ」 　作詞・作曲：RoughSketch ・今月のパワープレイの方々です ・タイトーさんのお知らせ 　パズル×音ゲーの新次元MIX『QQQbeats(キュキュキュビーツ)!!!』2025年秋、　　　Nintendo Switch専用ソフトで発売決定！ 　シナリオ制作で参加しています！ 　七条レタス／夕野ヨシミ／まろん ・毎週宣伝します ・海外イベントのお知らせ 　2025/9/6 Tracon X Neonya!! Party 2025 　at フィンランド 　＊IOSYS (D.watt,まろん,uno) ・北海道くらいの人口なんだ ・タイトーさんのお知らせ 　「グルーヴコースター フューチャーパフォーマーズ」 　更科リッカ (CV：大空直美)のテーマソングをかたほとり・ARMが楽曲提供します！ 　GRV-1105 MEI (CV：大和田仁美)のテーマソングをIOSYS TRAXが楽曲提供します！ ・楽曲提供のお知らせ 　「ホロメン体操／夏色まつり」 　作詞・作編曲：まろん(IOSYS) ・2025/7/30に始まるセールの予告 　YouTubeチャンネル登録者20万人＆IOSYS SHOP20周年記念セールをやります！ 　イオシスアイテムがお得になるうえ、「おまけアイテム」がとてもいい感じになっちゃっ　たのでセール期間中に必ずお買い物してほしい！ ・来週モザイク薄めになります ・ヒントでピントかな？ ・おまけだけ欲しい ・セールの詳細は来週で ・特製!!スヤ活めぐりズム☆ ・ロッテは消化試合に入りました ・ファンボックスに久しぶりに記事を書いたよ ・やり切ったからおわるか ・お便り読もう読もう ＜Aパート＞ ・ふつおたです ・ドローンが墜落したよ　のうか ・あ、みつをただった ・北海道に台風上陸 ・男は黙って菅笠 ・ビニールハウスだと暑くなるのでは？ ・太陽にダイソン球 ・金剛福寺行ってきました ・38番だけ行くお遍路さん ・好きなかき氷は？ ・味噌きゅうり食ってればいいんですけどね ・初老の飲み会の報告です ・ハッシュタグという文化がない ・胡蝶蘭はガラが悪い ・外注のどいちゅー ・はかせは新しい会社に ・ラーメンの香水 ・はかせへのプレゼントへ ・ちいかわって鶏の皮みたいだね ・お金券じゃん ・送り先間違ってますよ ・ぬるぽのお便りが空気階段さんの方に行ってないよね？ ・ファンとの直接交流は大事 ・共済ホールって、どこだ？ ・1話からバニーちゃん回 ・音声のみ放送のぬきたし ・サウンドノベルってこと？ ・札幌公演残席情報 ・北海道にどんな事情が ＜Bパート＞ ・転調するといいよね ・みつをたです ・Aniちゃんに会いたいけど、Androidはダメかー　 ・steamから叡智なゲームが… ・銚子まで行っちゃいましたか ・虚無を清掃してたわ ・出禁のモグラ ・ハッピーになれるアニメですからね ・元気な時に見てください ・おわるっぴ ・みなさんお便り送るっぴ ＜エンディング＞ ・世の中コンテンツに溢れてますね ・仕事してる暇がない ・ハッピーガストはまだやってない ・Factorio: Space Age Blueprint Any% 4時間半なら1人でもやれなくもない ・ガイドを見るだけで4時間半 ・みなさんもどうですか？ ・字幕自動書き起こしのために正しい日本語をしゃべろう ・老舗が死偽に ・来月はRTAJapan ・イオシスの曲がフリーで99％聞けます ・後半半年もいろいろあります ・納品済み8曲あるぞ ・健康診断100％RTA ・家でビール飲むのやめました ・水飲んで卵かけご飯食べれば大丈夫 ・我々は「至って」しまった ・毎週新しい方からのお便り頂いてます

W środę w "Onet Rano." przywita się Mikołaj Kunica, którego gośćmi będą: Adam Szłapka, rzecznik rządu; prof. Małgorzata Zachara-Szymańska, amerykanistka, UJ; Jarosław Koliński, Przegląd Sportowy Onet; Ewa Minge, projektantka. W części "Onet Rano. WIEM" gośćmi Odety Moro będą: Jakub Józef Orliński, śpiewak i Aleksander Dębicz, kompozytor.

Praėjusių metų gruodį Vilniaus arkikatedros požemiuose atrastos karališkos insignijos viešojoje erdvėje sulaukia klausimų dėl insignijų buvimo vietos, teisinės apsaugos ir jų ateities. Pokalbis su kultūros viceministre Ingrida Veliute, Kultūros paveldo departamento Vilniaus teritorinio skyriaus vedėja Gerda Mockeviče, Bažnytinio paveldo muziejaus direktore Rita Pauliukevičiūte ir Seimo nare, Laisvės kovų ir valstybės istorinės atminties komisijos pirmininko pavaduotoja Paule Kuzmickiene.Vystantis mokslui, vis dažniau – tiesiog kasdienybėje – susiduriame su naujais terminais ir sąvokomis. Pavyzdžiui, psichologai akcentuoja emocijų ekologiją, taip pat neatsparumą kritikai. Kodėl net ir konstruktyvi kritika skaudina? Kokios priežastys lemia polinkį įsižeisti ar sukelti kitų gailestį? Pasakoja Karina Metrikytė.Vakar Vilniuje apsilankiusi interneto žvaigždė IShowSpeed sukėlė ažiotažą. Koks šios interneto įžymybės fenomenas ir kuo jo vizitas bus naudingas Lietuvai? Pokalbis su Lietuvos marketingo asociacijos valdybos nariu Andriumi Milinavičiumi ir skaitmeninio turinio kūrėju Pauliumi Mikolaičiu – Paul de Miko.Rubrikos „Be kaukių“ viešnia – šokėja, šiuolaikinio šokio choreografė ir pedagogė Aira Naginevičiūtė.Ved. Donatas Šukelis

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

We wtorek w "Onet Rano." przywita się Agnieszka Woźniak-Starak, której gośćmi będą: Urszula Zielińska, wiceministra klimatu i środowiska; Dominik Kuc, Fundacja GrowSpace; Wiki Gabor, wokalistka; dr inż. Klaudia Żerańska, Centrum Kopernika Badań Interdyscyplinarnych UJ. W części "Onet Rano. WIEM" gościem Mikołaja Kunicy będzie: Agnieszka Warso-Buchanan, członkini zarządu Fundacji ClientEarth

Książki, Internet czy aplikacje? Gdzie szukać planu treningowego i jak ocenić propozycje pod kątem swoich celów, stażu treningowego i predyspozycji?Najpopularniejsze dostępne publicznie plany treningowe omówił w tym odcinku trener biegania Mikołaj Raczyński.***Partnerem odcinka jest ⁠⁠⁠⁠⁠⁠⁠Baran Trail Race⁠⁠⁠⁠⁠⁠⁠ - kameralny bieg z mocną obsadą poprowadzony w dwóch Beskidach - Śląskim i Żywieckim [reklama]O pyszną kawę w podcaście dba Dobra Palarnia Kawy. Specjalnie dla słuchaczy Dobra ma 10% rabatu na swoje kawy, herbaty i dripbagi, z którego skorzystacie wchodząc na stronę z ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠tego linka⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ lub wpisując kod "Racepace" [reklama]

O porzuconym przez swojego pana psie, który odnalazł nowy dom w psiej komunie mieszkającej w starym wagonie kolejowym. Dla dzieci i dla dorosłych.  

Po dwóch latach wracając na Slot Art Festival, tym razem z zupełnie nowym materiałem i brzmieniem, podnieśli na nogi cały parkiet. O kontrastach pomiędzy chowaniem wokalu a bawieniu się nim, improwizacjach a synergii oraz procesie twórczym.Przy okazji występu w Lubiążu, z wyróżnionym jako mocograj krakowskim duetem MVZE — Fryderykiem i Antoniną, rozmawiał Mikołaj Domalewski.

Robią mniej więcej wszystko dookoła rapu, najszerzej jak się da. Tomek i Szymon to producenci, raperzy i instrumentaliści, którzy razem tworzą Betton, krakowski projekt łączący elementy ich różnych muzycznych inspiracji i początków, a kiedyś też różnych języków. Przy okazji koncertu na Slot Art Festivalu, przedpremierowo prezentującego debiutancką płytę „Szara Taśma”, z artystami okazję miał porozmawiać Mikołaj Domalewski.

Drs. Hope Rugo, Sheri Brenner, and Mikolaj Slawkowski-Rode discuss the struggle that health care professionals experience when terminally ill patients are suffering and approaches to help clinicians understand and respond to suffering in a more patient-centered and therapeutic way. TRANSCRIPT Dr. Hope Rugo: Hello, and welcome to By the Book, a monthly podcast series from ASCO that features engaging conversations between editors and authors of the ASCO Educational Book.  I'm your host, Dr. Hope Rugo. I'm director of the Women's Cancers Program and division chief of breast medical oncology at the City of Hope Cancer Center, and I'm also the editor-in-chief of the Educational Book. On today's episode, we'll be exploring the complexities of grief and oncology and the struggle we experience as healthcare professionals when terminally ill patients are suffering. Our guests will discuss approaches to help clinicians understand and respond to suffering in a more patient-centered and therapeutic way, as outlined in their recently published article titled, “Oncology and Suffering: Strategies on Coping With Grief for Healthcare Professionals.” I'm delighted today to welcome Dr. Keri Brenner, a clinical associate professor of medicine, palliative care attending, and psychiatrist at Stanford University, and Dr. Mikołaj Sławkowski-Rode, a senior research fellow in philosophy in the Humanities Research Institute at the University of Buckingham, where he also serves as director of graduate research in p hilosophy. He is also a research fellow in philosophy at Blackfriars Hall at the University of Oxford and associate professor at the University of Warsaw.  Our full disclosures are available in the transcript of this episode. Dr. Brenner and Dr. Sławkowski-Rode, thanks for being on the podcast today. Dr. Keri Brenner: Great to be here, Dr. Rugo. Thank you so much for that kind introduction. Dr. Mikołaj Sławkowski-Rode: Thank you very much, Dr. Rugo. It's a pleasure and an honor. Dr. Hope Rugo: So I'm going to start with some questions for both of you. I'll start with Dr. Brenner. You've spoken and written about the concept of suffering when there is no cure. For oncologists, what does it mean to attune to suffering, not just disease? And how might this impact the way they show up in difficult conversations with patients? Dr. Keri Brenner: Suffering is something that's so omnipresent in the work of clinical oncology, and I like to begin by just thinking about what is suffering, because it's a word that we use so commonly, and yet, it's important to know what we're talking about. I think about the definition of Eric Cassell, who was a beloved mentor of mine for decades, and he defined suffering as the state of severe distress that's associated with events that threaten the intactness of a person. And my colleague here at Stanford, Tyler Tate, has been working on a definition of suffering that encompasses the experience of a gap between how things are versus how things ought to be. Both of these definitions really touch upon suffering in a person-centered way that's relational about one's identity, meaning, autonomy, and connectedness with others. So these definitions alone remind us that suffering calls for a person-centered response, not the patient as a pathology, but the panoramic view of who the patient is as a person and their lived reality of illness. And in this light, the therapeutic alliance becomes one of our most active ingredients in care. The therapeutic alliance is that collaborative, trusting bond as persons that we have between clinician and patient, and it's actually one of the most powerful predictors of meaningful outcomes in our care, especially in oncologic care.  You know, I'll never forget my first day of internship at Massachusetts General Hospital. A faculty lecturer shared this really sage insight with us that left this indelible mark. She shared, “As physicians and healers, your very self is the primary instrument of healing. Our being is the median of the medicine.” So, our very selves as embodied, relationally grounded people, that's the median of the medicine and the first most enduring medicine that we offer. That has really borne fruit in the evidence that we see around the therapeutic alliance. And we see this in oncologic care, that in advanced cancer, a strong alliance with one's oncologist truly improves a patient's quality of life, treatment adherence, emotional well-being, and even surpasses structured interventions like psychotherapeutic interventions. Dr. Hope Rugo: That's just incredibly helpful information and actually terminology as well, and I think the concept of suffering differs so much. Suffering comes in many shapes and forms, and I think you really have highlighted that. But many oncologists struggle with knowing what to do when patients are suffering but can't be fixed, and I think a lot of times that has to do with oncologists when patients have pain or shortness of breath or issues like that. There are obviously many ways people suffer. But I think what's really challenging is how clinicians understand suffering and what the best approaches to respond to suffering are in the best patient-centered and therapeutic way. Dr. Keri Brenner: I get that question a lot from my trainees in palliative care, not knowing what to do. And my first response is, this is about how to be, not about knowing what to do, but how to be. In our medical training, we're trained often how to think and treat, but rarely how to be, how to accompany others. And I often have this image that I tell my trainees of, instead of this hierarchical approach of a fix-it mentality of all we're going to do, when it comes to elements of unavoidable loss, mortality, unavoidable sufferings, I imagine something more like accompaniment, a patient walking through some dark caverns, and I am accompanying them, trying to walk beside them, shining a light as a guide throughout that darkness. So it's a spirit of being and walking with. And it's so tempting in medicine to either avoid the suffering altogether or potentially overidentify with it, where the suffering just becomes so all-consuming like it's our own. And we're taught to instead strike a balance of authentic accompaniment through it. I often teach this key concept in my palli-psych work with my team about formulation. Formulation is a working hypothesis. It's taking a step back and asking, “Why? Why is this patient behaving in this manner? What might the patient's core inner struggle be?” Because asking that “why” and understanding the nuanced dimensions of a patient's core inner struggle will really help guide our therapeutic interactions and guide the way that we accompany them and where we choose to shine that light as we're walking with them. And oftentimes people think, “Well Keri, that sounds so sappy or oversentimental,” and it's not. You know, I'm just thinking about a case that I had a couple months ago, and it was a 28-year-old man with gastric cancer, metastatic disease, and that 28-year-old man, he was actually a college Division I athlete, and his dad was an acclaimed Division I coach. And our typical open-ended palliative care questions, that approach, infuriated them. They needed to know that I was showing up confident, competent, and that I was ready, on my A-game, with a real plan for them to follow through. And so my formulation about them was they needed somebody to show up with that confidence and competence, like the Division I athletes that they were, to really meet them and accompany them where they were on how they were going to walk through that experience of illness. Dr. Hope Rugo: These kinds of insights are so helpful to think about how we manage something that we face every day in oncology care. And I think that there are many ways to manage this.  Maybe I'll ask Dr. Sławkowski-Rode one question just that I think sequences nicely with what you're talking about.  A lot of our patients are trying to think about sort of the bigger picture and how that might help clinicians understand and support patients. So, the whole concept of spirituality, you know, how can we really use that as oncology clinicians to better understand and support patients with advanced illness, and how can that help patients themselves? And we'll talk about that in two different ways, but we'll just start with this broader question. Dr. Mikołaj Sławkowski-Rode: I think spirituality, and here, I usually refer to spirituality in terms of religious belief. Most people in the world are religious believers, and it is very intuitive and natural that religious beliefs would be a resource that people who help patients with a terminal diagnosis and healthcare professionals who work with those patients appeal to when they try to help them deal with the trauma and the stress of these situations.  Now, I think that the interesting thing there is that very often the benefit of appealing to a religious belief is misunderstood in terms of what it delivers. And there are many, many studies on how religious belief can be used to support therapy and to support patients in getting through the experience of suffering and defeating cancer or facing a terminal diagnosis. There's a wealth of literature on this. But most of the literature focuses on this idea that by appealing to religious belief, we help patients and healthcare practitioners who are working with them get over the fact and that there's a terminal diagnosis determining the course of someone's life and get on with our lives and engaging with whatever other pursuits we might have, with our job if we're healthcare practitioners, and with the other things that we might be passionate about in our lives. And the idea here is that this is what religion allows us to do because we sort of defer the need to worry about what's going to happen to us until the afterlife or some perspective beyond the horizon of our life here.  However, my view is – I have worked beyond philosophy also with theologians from many traditions, and my view here is that religion is something that does allow us to get on with our life but not because we're able to move on or move past the concerns that are being threatened by illness or death, but by forming stronger bonds with these things that we value in our life in a way and to have a sense of hope that these will be things that we will be able to keep an attachment to despite the threat to our life. So, in a sense, I think very many approaches in the field have the benefit of religion upside down, as it were, when it comes to helping patients and healthcare professionals who are engaged with their illness and treating it. Dr. Hope Rugo: You know, it's really interesting the points that you make, and I think really important, but, you know, sometimes the oncologists are really struggling with their own emotional reactions, how they are reacting to patients, and dealing with sort of taking on the burden, which, Dr. Brenner, you were mentioning earlier. How can oncologists be aware of their own emotional reactions? You know, they're struggling with this patient who they're very attached to who's dying or whatever the situation is, but you want to avoid burnout as an oncologist but also understand the patient's inner world and support them. Dr. Keri Brenner: I believe that these affective, emotional states, they're contagious. As we accompany patients through these tragic losses, it's very normal and expected that we ourselves will experience that full range of the human experience as we accompany the patients. And so the more that we can recognize that this is a normative dimension of our work, to have a nonjudgmental stance about the whole panoramic set of emotions that we'll experience as we accompany patients with curiosity and openness about that, the more sustainable the work will become. And I often think about the concept of countertransference given to us by Sigmund Freud over 100 years ago. Countertransference is the clinician's response to the patient, the thoughts, feelings, associations that come up within us, shaped by our own history, our own life events, those unconscious processes that come to the foreground as we are accompanying patients with illness. And that is a natural part of the human experience. Historically, countertransference was viewed as something negative, and now it's actually seen as a key that can unlock and enlighten the formulation about what might be going on within the patient themselves even. You know, I was with a patient a couple weeks ago, and I found myself feeling pretty helpless and hopeless in the encounter as I was trying to care for them. And I recognized that countertransference within myself that I was feeling demoralized. It was a prompt for me to take a step back, get on the balcony, and be curious about that because I normally don't feel helpless and hopeless caring for my patients. Well, ultimately, I discovered through processing it with my interdisciplinary team that the patient likely had demoralization as a clinical syndrome, and so it's natural many of us were feeling helpless and hopeless also accompanying them with their care. And it allowed us to have a greater interdisciplinary approach and a more therapeutic response and deeper empathy for the patient's plight. And we can really be curious about our countertransferences. You know, a few months ago, I was feeling bored and distracted in a family meeting, which is quite atypical for me when I'm sharing serious illness news. And it was actually a key that allowed me to recognize that the patient was trying to distract all of us talking about inconsequential facts and details rather than the gravitas of her illness.  Being curious about these affective states really allows us to have greater sustainability within our own practice because it normalizes that human spectrum of emotions and also allows us to reduce unconscious bias and have greater inclusivity with our practice because what Freud also said is that what we can't recognize and say within our own selves, if we don't have that self-reflective capacity, it will come out in what we do. So really recognizing and having the self-awareness and naming some of these emotions with trusted colleagues or even within our own selves allows us to ensure that it doesn't come out in aberrant behaviors like avoiding the patient, staving off that patient till the end of the day, or overtreating, offering more chemotherapy or not having the goals of care, doing everything possible when we know that that might result in medically ineffective care. Dr. Hope Rugo: Yeah, I love the comments that you made, sort of weaving in Freud, but also, I think the importance of talking to colleagues and to sharing some of these issues because I do think that oncologists suffer from the fact that no one else in your life wants to hear about dying people. They don't really want to hear about the tragic cases either. So, I think that using your community, your oncology community and greater community within medicine, is an important part of being able to sort of process. Dr. Keri Brenner: Yes, and Dr. Rugo, this came up in our ASCO [Education] Session. I'd love to double click into some of those ways that we can do this that aren't too time consuming in our everyday practice. You know, within palliative care, we have interdisciplinary rounds where we process complex cases. Some of us do case supervision with a trusted mentor or colleague where we bring complex cases to them. My team and I offer process rounds virtually where we go through countertransference, formulation, and therapeutic responses on some tough cases.  You know, on a personal note, just last week when I left a family meeting feeling really depleted and stuck, I called one of my trusted colleagues and just for 3 minutes constructively, sort of cathartically vented what was coming up within me after that family meeting, which allowed me to have more of an enlightened stance on what to do next and how to be therapeutically helpful for the case. One of my colleagues calls this "friend-tors." They coined the phrase, and they actually wrote a paper about it. Who within your peer group of trusted colleagues can you utilize and phone in real time or have process opportunities with to get a pulse check on where what's coming up within us as we're doing this work? Dr. Hope Rugo: Yeah, and it's an interesting question about how one does that and, you know, maintaining that as you move institutions or change places or become more senior, it's really important.  One of the, I think, the challenges sometimes is that we come from different places from our patients, and that can be an issue, I think when our patients are very religious and the provider is not, or the reverse, patients who don't have religious beliefs and you're trying to sort of focus on the spirituality, but it doesn't really ring true. So, Dr. Sławkowski-Rode, what resources can patients and practitioners draw on when they're facing death and loss in the absence of, or just different religious beliefs that don't fit into the standard model? Dr. Mikołaj Sławkowski-Rode: You're absolutely right that this can be an extremely problematic situation to be in when there is that disconnect of religious belief or more generally spiritual engagement with the situation that we're in. But I just wanted to tie into what Dr. Brenner was saying just before. I couldn't agree more, and I think that a lot of healthcare practitioners, oncologists in particular who I've had the pleasure to talk to at ASCO and at other events as well, are very often quite skeptical about emotional engagement in their profession. They feel as though this is something to be managed, as it were, and something that gets in the way. And they can often be very critical of methods that help them understand the emotions and extend them towards patients because they feel that this will be an obstacle to doing their job and potentially an obstacle also to helping patients to their full ability if they focus on their own emotions or the burden that emotionally, spiritually, and in other ways the illness is for the patient. They feel that they should be focusing on the cancer rather than on the patient's emotions. And I think that a useful comparison, although, you know, perhaps slightly drastic, is that of combat experience of soldiers. They also need to be up and running and can't be too emotionally invested in the situation that they're in. But there's a crucial difference, which is that soldiers are usually engaged in very short bursts of activity with the time to go back and rethink, and they often have a lot of support for this in between. Whereas doctors are in a profession where their exposure to the emotions of patients and their own emotions, the emotions of families of patients is constant. And I think that there's a great danger in thinking that this is something to be avoided and something to compartmentalize in order to avoid burnout. I think, in a way, burnout is more sure to happen if your emotions and your attachment to your patients goes ignored for too long. So that's just following up on Keri's absolutely excellent points. As far as the disconnect is concerned, that's, in fact, an area in which I'm particularly interested in. That's where my research comes in. I'm interested in the kinds of connections that we have with other people, especially in terms of maintaining bonds when there is no spiritual belief, no spiritual backdrop to support this connection. In most religious traditions, we have the framework of the religious belief that tells us that the person who we've lost or the values that have become undermined in our life are something that hasn't been destroyed permanently but something that we can still believe we have a deep connection to despite its absence from our life. And how do you rebuild that sense of the existence of the things that you have perceivably lost without the appeal to some sort of transcendent realm which is defined by a given religion? And that is a hard question. That's a question, I think, that can be answered partly by psychology but also partly by philosophy in terms of looking at who we are as human beings and our nature as people who are essentially, or as entities that are essentially connected to one another. That connection, I believe, is more direct than the mediation of religion might at first suggest. I think that we essentially share the world not only physically, it's not just the case that we're all here, but more importantly, the world that we live in is not just the physical world but the world of meanings and values that helps us orient ourselves in society and amongst one another as friends and foes. And it is that shared sense of the world that we can appeal to when we're thinking about retaining the value or retaining the connection with the people who we have lost or the people who are helping through, go through an experience of facing death. And just to finish, there's a very interesting question, I think, something that we possibly don't have time to explore, about the degree of connection that we have with other people. So, what I've just been saying is something that rings more true or is more intuitive when we think about the connections that we have to our closest ones. We share a similar outlook onto the world, and our preferences and our moods and our emotions and our values are shaped by life with the other person. And so, appealing to these values can give us a sense of a continued presence. But what in those relationships where the connection isn't that close? For example, given the topic of this podcast, the connection that a patient has with their doctor and vice versa. In what sense can we talk about a shared world of experience? Well, I think, obviously, we should admit degrees to the kind of relationship that can sustain our connection with another person. But at the same time, I don't think there's a clear cutoff point. And I think part of emotional engagement in medical practice is finding yourself somewhere on that spectrum rather than thinking you're completely off of it. That's what I would say. Dr. Hope Rugo: That's very helpful and I think a very helpful way of thinking about how to manage this challenging situation for all of us.  One of the things that really, I think, is a big question for all of us throughout our careers, is when to address the dying process and how to do that. Dr. Brenner, you know, I still struggle with this – what to do when patients refuse to discuss end-of-life but they're very close to end of life? They don't want to talk about it. It's very stressful for all of us, even where you're going to be, how you're going to manage this. They're just absolutely opposed to that discussion. How should we approach those kinds of discussions? How do we manage that? How do you address the code discussion, which is so important? You know, these patients are not able to stay at home at end-of-life in general, so you really do need to have a code discussion before you're admitting them. It actually ends up being kind of a challenge and a mess all around. You know, I would love your advice about how to manage those situations. Dr. Keri Brenner: I think that's one of the most piercing and relevant inquiries we have within our clinical work and challenges. I often think of denial not as an all-or-nothing concept but rather as parts of self. There's a part of everyone's being where the unconscious believes it's immortal and will live on forever, and yet we all know intellectually that we all have mortality and finitude and transience, and that time will end. We often think of this work as more iterative and gradual and exposure based. There's potency to words. Saying, “You are dying within days,” is a lot higher potency of a phrase to share than, “This is serious illness. This illness is incurable. Time might be shorter than we hoped.” And so the earlier and more upstream we begin to have these conversations, even in small, subtle ways, it starts to begin to expose the patient to the concept so they can go from the head to the heart, not only knowing their prognosis intellectually but also affectively, to integrate it into who they are as a person because all patients are trying to live well while also we're gradually exposing them to this awareness of mortality within their own lived experience of illness. And that, ideally, happens gradually over time. Now, there are moments where the medical frame is very limited, and we might have short days, and we have to uptitrate those words and really accompany them more radically through those high-affective moments. And that's when we have to take a lot of more nuanced approaches, but I would say the more earlier and upstream the better. And then the second piece to that question as well is coping with our own mortality. The more we can be comfortable with our own transience and finitude and limitations, the more we will be able to accompany others through that. And even within my own life, I've had to integrate losses in a way where before I go in to talk to one of my own palliative care patients, one mantra I often say to myself is, “I'm just a few steps behind you. I don't know if it's going to be 30 days or 30 years, but I'm just a few steps behind you on this finite, transient road of life that is the human experience.” And that creates a stance of accompaniment that patients really can experience as they're traversing these tragedies. Dr. Hope Rugo: That's great. And I think those are really important points and actually some pearls, which I think we can take into the clinic. I think being really concrete when really the expected life expectancy is a few days to a couple of weeks can be very, very helpful. And making sure the patients hear you, but also continuing to let them know that, as oncologists, we're here for them. We're not abandoning them. I think that's a big worry for many, certainly of my patients, is that somehow when they would go to hospice or be a ‘no code', that we're not going to support them anymore or treat them anymore. That is a really important process of that as well. And of course, engaging the team makes a big difference because the whole oncology team can help to manage situations that are particularly challenging like that. And just as we close, I wanted to ask one last question of you, Dr. Brenner, that suffering, grief, and burnout, you've really made the point that these are not problems to fix but dimensions that we want to attend to and acknowledge as part of our lives, the dying process is part of all of our lives. It's just dealing with this in the unexpected and the, I think, unpredictability of life, you know, that people take on a lot of guilt and all sorts of things about, all sorts of emotions. And the question is now, people have listened to this podcast, what can they take back to their oncology teams to build a culture that supports clinicians and their team at large to engage with these realities in a meaningful and sustainable way? I really feel like if we could build the whole team approach where we're supporting each other and supporting the patients together, that that will help this process immeasurably. Dr. Keri Brenner: Yes, and I'm thinking about Dr. Sławkowski-Rode's observation about the combat analogy, and it made me recognize this distinction between suppression and repression. Repression is this unconscious process, and this is what we're taught to do in medical training all the time, to just involuntarily shove that tragedy under the rug, just forget about it and see the next patient and move on. And we know that if we keep unconsciously shoving things under the rug, that it will lead to burnout and lack of sustainability for our clinical teams. Suppression is a more conscious process. That deliberate effort to say, “This was a tragedy that I bore witness to. I know I need to put that in a box on the shelf for now because I have 10 other patients I have to see.” And yet, do I work in a culture where I can take that off the shelf during particular moments and process it with my interdisciplinary team, phone a friend, talk to a trusted colleague, have some trusted case supervision around it, or process rounds around it, talk to my social worker? And I think the more that we model this type of self-reflective capacity as attendings, folks who have been in the field for decades, the more we create that ethos and culture that is sustainable because clinician self-reflection is never a weakness, rather it's a silent strength. Clinician self-reflection is this portal for wisdom, connectedness, sustainability, and ultimately transformative growth within ourselves. Dr. Hope Rugo: That's such a great point, and I think this whole discussion has been so helpful for me and I hope for our audience that we really can take these points and bring them to our practice. I think, “Wow, this is such a great conversation. I'd like to have the team as a whole listen to this as ways to sort of strategize talking about the process, our patients, and being supportive as a team, understanding how we manage spirituality when it connects and when it doesn't.” All of these points, they're bringing in how we process these issues and the whole idea of suppressing versus sort of deciding that it never happened at all is, I think, very important because that's just a tool for managing our daily lives, our busy clinics, and everything we manage. Dr. Keri Brenner: And Dr. Rugo, it's reminding me at Stanford, you know, we have this weekly practice that's just a ritual where every Friday morning for 30 minutes, our social worker leads a process rounds with us as a team, where we talk about how the work that we're doing clinically is affecting us in our lives in ways that have joy and greater meaning and connectedness and other ways that might be depleting. And that kind of authentic vulnerability with one another allows us to show up more authentically for our patients. So those rituals, that small 30 minutes once a week, goes a long way. And it reminds me that sometimes slowing things down with those rituals can really get us to more meaningful, transformative places ultimately. Dr. Hope Rugo: It's a great idea, and I think, you know, making time for that in everybody's busy days where they just don't have any time anymore is important. And you don't have to do it weekly, you could even do something monthly. I think there's a lot of options, and that's a great suggestion. I want to thank you both for taking your time out for this enriching and incredibly helpful conversation. Our listeners will find a link to the Ed Book article we discussed today, which is excellent, in the transcript of this episode. I want to thank you again, Dr. Brenner and Dr. Sławkowski-Rode, for your time and for your excellent thoughts and advice and direction. Dr. Mikołaj Sławkowski-Rode: Thank you very much, Dr. Rugo. Dr. Keri Brenner: Thank you. Dr. Hope Rugo: And thanks to our listeners for joining us today. Please join us again next month on By the Book for more insightful views on topics you'll be hearing at the education sessions from ASCO meetings and our deep dives on new approaches that are shaping modern oncology. Disclaimer: The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience, and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity, or therapy should not be construed as an ASCO endorsement. Follow today's speakers:      Dr. Hope Rugo @hope.rugo Dr. Keri Brenner @keri_brenner Dr. Mikolaj Slawkowski-Rode @MikolajRode Follow ASCO on social media:      @ASCO on X (formerly Twitter)      ASCO on Bluesky     ASCO on Facebook      ASCO on LinkedIn      Disclosures:     Dr. Hope Rugo: Honoraria: Mylan/Viatris, Chugai Pharma Consulting/Advisory Role: Napo Pharmaceuticals, Sanofi, Bristol Myer Research Funding (Inst.): OBI Pharma, Pfizer, Novartis, Lilly, Merck, Daiichi Sankyo, AstraZeneca, Gilead Sciences, Hoffman La-Roche AG/Genentech, In., Stemline Therapeutics, Ambryx Dr. Keri Brenner: No relationships to disclose Dr. Mikolaj Slawkowski-Rode: No relationships to disclose    

Bartek Kamiński i Julia Rzemek rozmawiają o tym, co dzieje się w świecie literackim i co warto czytać latem. A więcej czasu poświęcają najnowszej książce Mikołaja Grynberga "Zawał", w której reporter i pisarz przetworzył literacko swoje krytyczne doświadczenie i bliskość śmierci. Podcast Big Book Cafe powstaje dzięki wsparciu Patronów i Matronek.Dołączcie do nas!https://patronite.pl/bigbookcafeCo dwa tygodnie, w soboty, opowiadamy Wam o wybranych nowych książkach, zapowiadamy nadchodzące premiery i mówimy, co słychać w branży literackiej. A co dwa tygodnie dzielimy się z Wami najlepszymi rozmowami ze sceny naszych centrów literackich. Zapraszamy do komentowania, subskrybowania i polubienia naszego kanału!

Już w tę sobotę gospodarzem audycji będzie Piotr Brzek — serwujemy Wam solidną porcję śląskiej muzyki, wakacyjnego klimatu i najciekawszych informacji ze świata Polonii

ぬるぽ放送局おたより投稿フォーム https://forms.gle/6tbmBzK6wbyavJG47 2025年7月パワープレイ M6. 月夜のアイとキミの嘘 Produced by RoughSkreamZ Vocal by DD"Nakata"Metal, PASTEL RADIO 収録アルバム：RoughSkreamZ / With Skreaming Friendz 2025・4・27 Release https://notebookrecords.net/discographyportal.php?cdno=NBCD-049 番組時間：41分26秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2025/7/3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＞ ・2本録りの2本目 ・イオシスくんの活動は前回放送をお聞きください ・Xとか見ればいいじゃない？ ・告知はいろんなところでやってます ・ヘッジしてます ・ふーん、ヘッジじゃん ・インスタやってないなー ＜Aパート＞ ・ふつおたです ・渋谷ロフト9周年イベントの話 ・左右どっちでも履けるスリッパはどっちを履いても違和感 ・お世話になってるロフトグループさん ・イオシス10周年イベントが最初なのでは？ ・閃光のハサウェイの2部 ・7月は暇なんですね ・無職みたいなもんだって ・無職と無職でお送りしてまーす ・チョコミント　よりも　ガールズバー ・声優は毎日結婚してるし ・ガールズバーよりチョコミント ・ガールズバーは引退です ・ヨシミバーにガールズがバーした方がいい ・みんな大好きゴールドバー ・ゴールデンミリオンおすすめですよ ・原作全部買うは1番いい ・「優しさの記憶」 ・​​「天天天国地獄国」 ・ファンボックスに記事を書くしか ・勝手に新コーナー　ぬるぽの泉 ・あかりちゃんにお兄ちゃんと呼んでもらう ＜Bパート＞ ・ヘイ、ヨー ・みつをたです ・大佐生存RTA ・45年かかりましたよ ・スバル船長 ・どうですか？2級取っちゃいますか？ ・バニー海賊団 ・海上保安庁も苦笑い ・お、片玉船長 ・ビッグゴットみおーん先生的中 ・2本録りの2本目は時事ネタとかないんだよな ・来週は海の日　そしてダブルインパクト ・創作昔話ゴンきつね ・チン/ポーナスじゃないか ・血糖値が尽きました ・おじさんの麻婆なす ・オイシックスさんも結局スポンサーについてくれなかったもんなー ＜エンディング＞ ・収録時点は言えないいい話があります ・Xとかでご確認ください ・もうすぐ、アレが出ます ・何も言えないから、モヤっとしておわるしか ・こういうところは、ちゃんとしてますから ・忙しくてswitch2が遊べてない ・スカスカなのでおわろう

Episode 093 hits with peak-time energy; 1 hour and 14 minutes of hypnotic techno built to move you. Expect pulsing rhythms, rolling basslines, and relentless momentum; with standout selections from Boris Brejcha, Teenage Mutants, Human Resource, and Wiwek. One highlight: “Can't Stop” by Teenage Mutants and NoNameLeft; a pure warehouse weapon that anchors the vibe of the set. Mixed live with no edits and no fluff. Just sweat, sound, and underground energy.

W okresie wakacyjnym odwiedzamy znajdujące się poza głównymi szlakami turystycznymi perełki kultury polskiej.

W okresie wakacyjnym odwiedzamy znajdujące się poza głównymi szlakami turystycznymi perełki kultury polskiej.

出演者： miko、quim 配信ペース： 隔週水曜日 番組時間：75分57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。 mikoラジ、第376回です。 暑いですね……。そんな中、暗い部屋の人と明るい画質の人が収録するmikoラジ。 神と50:50になろうとする人、セールまで暗い部屋で過ごしてやろうという人。 そんなふたりの井戸端会議のようなお家ラジオをお届けいたします。 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。 //////////////////// 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！ ---------- ☆2025年7月IOSYSはいてない.comパワープレイ楽曲 M6. 月夜のアイとキミの嘘 Produced by RoughSkreamZ Vocal by DD"Nakata"Metal, PASTEL RADIO 収録アルバム：RoughSkreamZ / With Skreaming Friendz 2025・4・27 Release https://notebookrecords.net/discographyportal.php?cdno=NBCD-049

Episode 092 drops just in time for the July 4th weekend — and it's stacked with party-starting breaks, bass house, and tech house to keep the energy up whether you're road-tripping, grilling, or getting ready to go out.

W środę w "Onet Rano" przywita się Mikołaj Kunica, którego gośćmi będą: Ryszard Petru, Polska 2050; dr Alicja Pawelec-Olesińska, hydrobiolożka, WWF Polska; Karol Wójcicki, popularyzator astronomii, "Z głową w gwiazdach"; Piotr Cugowski, wokalista. W części "Onet Rano. WIEM" gościnią Odety Moro będzie: Katarzyna Ciechanowska-Ciosk, zarządzająca sklepem Amazon.pl.

Absurd, dowcip i koreańskie społeczeństwo w krzywym zwierciadle, czyli zbiór opowiadań Yuri Lee "Brokułowy cios", w których zmarły ojciec staje się gadatliwą rośliną doniczkową lubiąca oglądać telewizję, ręka pewnego boksera zamienia się w brokuł, a kosmici obserwują pscychofankę gwiazdora K-popu.  

Przegląd bliskowschodni Mikołaja Murkocińskiego, dziennikarza Radia Wnet! Nasz kolega analizuje dzisiejsze wydarzenia z tego regionu, a także spotkanie premiera Izraela i prezydenta USA. Głównym tematem rozmów przywódców jest propozycja Kataru, dotycząca 60-dniowego zawieszenia broni w Strefie Gazy oraz szerokiego planu pokojowego.

We wtorek w "Onet Rano." przywita się Dominika Długosz, której gośćmi będą: Piotr Zgorzelski, wicemarszałek Sejmu, PSL; Jakub Wiech, redaktor naczelny portalu Energetyka24; Grzegorz Walijewski, IMGW-PIB; Wojciech Brzeziński, współautor książki "Co to będzie? Krótki przewodnik po końcach świata". W części "Onet Rano. WIEM" gościem Mikołaja Kunicy będzie: Bartosz Stawiarz, Perspektywy.

Návrh Evropské komise na omezení emisí oxidu uhličitého o 90 procent do roku 2040 se okamžitě setkal s ostrou kritikou, vymezil se vůči němu i český eurokomisař Jozef Síkela (za STAN). Podobně jako mnozí další se obává dopadů na ekonomiku. „Alternativou je neomezovat se. Ale to je ve všech aspektech i v dopadech na každého člověka horší,“ varuje poradce prezidenta pro otázky životního prostředí Ladislav Miko.

Witajcie, witajcie! Są wakacje, jest LAMU! Zapraszamy na piąte lato, w którym wspólnie będziemy badać tajemnice świata, a na Wasze pytania odpowiadają suuuper mądrzy ludzie – naukowcy! W tym odcinku: tajemnice roślin, bursztynu i bakterii. Zapraszamy!Czemu pokrzywy wszędzie rosną, a nikt ich nie sieje? Kuba, 9lJak drzewa tak wysoko wciągają wodę? Ignaś, 6lPo co drzewom żywica? Julka, 7lOdpowiada prof. Marcin Zych, dyrektor Ogrodu Botanicznego Uniwersytetu WarszawskiegoJak owady zachowują się w bursztynie? Edi, 6lJak się tworzy bursztyn? Łucja, 7lDlaczego bursztyn znajdujemy na plaży, a nie w górach jak jest z żywicy? Bogusia, 6lDr Jakub Ciążela, geolog z Instytutu Nauk Geologicznych Polskiej Akademii NaukCzy mrówki widzą bakterie? Przemek, 8lDr Magda Witek, Muzeum i Instytut Zoologii Polskiej Akademii NaukCzy bakterie mają swoje bakterie? Mikołaj, 5lCzy bakterie mogą zachorować? A jak zachorują, to co im się dzieje, jak to wygląda? Natalka, 7lDlaczego niektóre jedzenie musi być w lodówce, a niektóre nie? Ola, 7lCzy jak wszystkie bakterie się z całego świata złączą w jedną kulkę, to czy wtedy można zobaczyć je gołym okiem? Rysio, 6lProf. Aleksandra Ziembińska-Buczyńska z Katedry Biotechnologii Środowiskowej, Politechnika Śląska

Návrh Evropské komise na omezení emisí oxidu uhličitého o 90 procent do roku 2040 se okamžitě setkal s ostrou kritikou, vymezil se vůči němu i český eurokomisař Jozef Síkela (za STAN). Podobně jako mnozí další se obává dopadů na ekonomiku. „Alternativou je neomezovat se. Ale to je ve všech aspektech i v dopadech na každého člověka horší,“ varuje poradce prezidenta pro otázky životního prostředí Ladislav Miko.Všechny díly podcastu Interview Plus můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Ojcostwo to coś więcej niż obecność. To czas, uwaga i gotowość, żeby naprawdę być z dzieckiem. Mikołaj mówi o relacji ojca z synem – o tym, dlaczego potrzebuje ona miejsca, wysiłku i wspólnych przeżyć. Rozmawiamy o wyjazdach i warsztatach, które pomagają budować zaufanie i pozwalają spojrzeć na siebie nawzajem inaczej niż na co dzień. Partnerem cyklu: Ogarnij się, jest Velvet.

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ ✅番組時間：だいたい50分 ✅出演： MOC・tsZ・ジャーマネ (Arima.Y)・アサミ閣下・あくとん・ぴぃ・くれは 2005年にスタートして、ついに700回。 みなさんのおたよりだけが頼りなこの番組。 回替わりレギュラー陣がお送りします。 　 ✅コーナー： お祝いメールを読みます 🟧投稿フォームはこちら。 https://forms.gle/DkTHQ38qNNWTPpta7 （新） https://ja-mane.com/form/ （旧・画像添付可能） 🟧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、公開中！ https://ja-mane.com/blog/2023/10/26/hakusho2023/ 🟦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 ■2025年7月5日配信 #ラジオ #webラジオ #IOSYS #イオシス

Happy Independence Day!  On this 4th of July Morning show Chad Andrus and John Davis sit in.  In hour 2 the guys ponder which was more shocking Miko being traded or MPJ? Is there more news for the Nuggets and Valanciunas?  The top 5 backyard games continues.  The guys get into the Broncos scenarios to win the west. 

ぬるぽ放送局おたより投稿フォーム https://forms.gle/6tbmBzK6wbyavJG47 2025年7月パワープレイ M6. 月夜のアイとキミの嘘 Produced by RoughSkreamZ Vocal by DD"Nakata"Metal, PASTEL RADIO 収録アルバム：RoughSkreamZ / With Skreaming Friendz 2025・4・27 Release https://notebookrecords.net/discographyportal.php?cdno=NBCD-049 番組時間：50分49秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2025/7/3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＞ ・2本録りの1本目 ・すき家レイディオやっていきましょう ・あれ、何分尺なの？ ・うなおたやってるんじゃない？ ・今回も先にイオシス情報です ・タイトーさんのお知らせ 　「グルーヴコースター フューチャーパフォーマーズ」 　尾流渦キララ (CV：のぐちゆり)のテーマソングを楽曲提供します！ 　作詞：john=hive 　作曲：コバヤシユウヤ ・おまるポルカみたいでしょ ・ズブズブでやらしてもらってます ・はー、かわいい ・セガさんのお知らせ 　オンゲキ描き下ろし曲「BOUNCE & DANCE／IOSYS TRAX」がCHUNITHMへ2025/7/3に収録されます！ ・まもなくチュウニズム10周年！祝！ 　「アーティスト」のコバヤシユウヤと、「スタッフ」のD.watt/七条レタスがお祝いコメントをお届けしました ・D.wattはセガの社員じゃないから ・好きな言葉　正しい癒着 ・IOSYSのインターネット通販サイト IOSYS_SHOP はもうすぐ運営20周年！ 　IOSYSアイテムの記念セール（おまけつき）を今月末から実施予定です。お楽しみに～ ・これ、売り物にした方がいいのでは？ ・RiJ2025summer ゲームの味見会(通称：芋煮会)やりました ・面白いゲーム、イオシスが見つけたことにならないかなー ・mikoさんが参加する江西省THO（2025/7/11-13）にて 　IOAC-0220 新装版 miko BEST Toho of IOSYS 　が海外先行頒布されます（日本での頒布は未定です） 　(新装版 東方氷雪大感謝も頒布されます) 　※イベントにIOSYSは参加しません ・シューマッハと悟飯 ・2週間後空けといてください ・シューマッハと馬糞？？イオシスとして？？ ・もうエンディング感 ・え？1本目おわっちゃう？ ＜Aパート＞ ・ふつおたです ・こんばんわー！ ・1番短いお便りかも ・3xICEの話 ・音ゲー老人会青年部 ・こうやって財布を忘れていくんだろうな ・糖質制限したいお年頃 ・D.wattを1人で外に出してはいけない ・高温多湿地獄で辛い ・雪解け水で、こっちは大丈夫 ・道民の老人はクーラーを使うことを知らない ・あたし、ケチらないピーポーなの ・いろんな部位にｼﾞｭ ・アマプラの話 ・笑ゥせぇるすまんのビジュアルがすごい ・手抜きお便りのコーナー ・映画のタイトルの羅列です ・侍ストリッパー見てください ・映画ってホントにいいものですね ・はかせ転職する ・夕野さんスク水を買う ・2本録りだから、このくらいで ＜Bパート＞ ・みつをたです ・山形新幹線を何とかして欲しいのだ ・どこもかしこも暑い ・本当の親不孝が見れる ・イオシスショップ20周年おめでとうございます ・MOCさんもすごいけど、つまぽんもすごい ・つまぽんに弱みはない ・かなたんの結石 ・YES!ロリータNO!タッチの精神は大事なんだなぁ ・ちひろさん蒸してたあの頃がなつかしいなぁ ＜エンディング＞ ・特にないですー ・朝飯は外で食ってきた方がいい ・ホームベーカリーは、つまぽんにあげます ・わぁー社長ありがとー ・時間が合わせられないホームベーカリー ・焼きたての米 ・今からパン焼けるのか ・すき家にパンはないからなー ・まぜそばは簡単なんだろうな

W piątek w "Onet Rano." przywita się Mikołaj Kunica, którego gośćmi będą: Marcin Horała - Prawo i Sprawiedliwość; Aleksandra Uznańska-Wiśniewska - Koalicja Obywatelska; dr Przemysław Witkowski - politolog; Maja Todd - Miss Polonia 2025. W części "Onet Rano. WIEM." gościnią Odety Moro będzie: Natalia Jasińska - Onet Podróże. 

The sovereign, Naka no Oe is dead, and with his death comes an all too familiar tradition: different factions warring for the throne.  And this time it isn't just something we are guessing at, we get a front row seat to the show, with enough details to fill several episodes.  In Part I we will look at what kicked off the war--or at least what we know--and discuss a few of the theories.  We will also go over some of the events that happened while Prince Otomo was the head of state. For more, check out our podcast webpage at https://sengokudaimyo.com/podcast/episode-129 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is episode 129:   The Jinshin no Ran, Part I: Prologue to War. The long bridge at Uji arched over the river, like a wooden rainbow.  Former Crown Prince Ohoama, his head shaved and wearing the garments of a monk, was carried over the bridge.   This was no simple priestly procession, however: he was accompanied by his entire household. Some on foot, and some on horseback.  Even the kesa, once meant to be a symbol of priestly humility and simplicity, cried out that this was a man of wealth and power and status. The procession made its way across the bridge, headed south, to the ancient Yamato capital and then on to the mountain passes beyond, where the cherry trees would bloom, come the spring.  At the north end of the bridge, the high ministers and nobility of Yamato watched them go.  The ministers of the Left and the Right stood in the cold, winter air, wrapped in their warmest clothing, but it wasn't just the weather that was causing a chill.  To some, this seemed a miracle—a clear sign that the succession would now be an easy one, with Ohoama taking himself off the board.  But to others, they weren't so sure. While many of Yamato's traditions had evolved or changed—or even been outright replaced by continental ideas—many still remembered how things had been.  The bloody politics and power struggles that often accompanied any transition of power.  Naka no Oe had risen to power in just such a fashion.  Now that he was not long for this world, would his legacy be any less violent? Greetings, everyone, and welcome back.  Last episode we took you through the official reign of Naka no Oe, aka Tenji Tennou.  Granted, this reign was only from 668 to 671, but Naka no Oe had already been putting his stamp on the state for over 33 years.  Now, however, he was dead, as were those who had helped him implement his enormous changes, and with his death there was the question:  Who would now ascend to the throne? And that question brings us to today's topic:  The Jinshin no Ran, also known as the Jinshin War.  This was a succession dispute that occurred in the year 672 following the death of Naka no Oe, between Naka no Oe's son Ohotomo and his brother Ohoama.  The name, “Jinshin”, is formed much as the name of the “Isshi” incident, using the sinified Japanese reading of the sexagenary cycle characters used for the year.  672 was a “Mizu-no-e Saru” year, or what we today might just call a “Water Monkey” year.  Read together, these characters can be pronounced “Jinshin”, hence “Jinshin no Ran”. Quick digression:  That word “Ran”, indicating a war or similar martial disturbance, is the same character used as the title of the famous Kurosawa film that took Shakespear's King Lear story and set it in the Warring States period of Japan.  If you haven't seen it, I highly recommend it—definitely a classic.  Not exactly relevant here, but still worth it. But back to the Jinshin War: we're going to likely spend a few episodes on this, not just because it is important, but also because the record is fairly detailed, and I'd like to use it to really help us get an idea of what was going on.  This episode we'll look at the broad picture: some of the causes of the war and where things were, generally speaking, just before the major campaigns kicked off. Of course, this isn't the first succession dispute in the Chronicles, but this one is incredibly detailed, and especially importantbecause it goes to the heart of the legitimacy of the royal family—the imperial family—for at least the next century.  To a certain extent, I would also suggest that it was exactly the kind of thing that the Nihon Shoki was created to address: an official history as propaganda for the Japanese court, telling  the court approved story of the royal family and providing justification as to why they are in power.  Along the way it also props up the lineages of other elites. So let's go over the basic story of the conflict before we get into the details.  I know, I know: spoilers.  But I think it will help to have context for what we are talking about right now.  To try to summarize: Ohoama, Naka no Oe's brother, is mentioned as the Crown Prince throughout Naka no Oe's reign, but just before Naka no Oe's death, Ohoama declined the position and went to Yoshino to become a Buddhist monk.  This allowed Naka no Oe's son, Prince Ohotomo, the current Dajo Daijin, or head of the council of state, to run the government and eventually take the throne.  However, shortly into Prince Ohotomo's reign, Ohoama raised an army and fought with Ohotomo and the court at Ohotsu-kyo, known as the Afumi court.  After a couple of months of intense fighting, Ohoama defeated the Afumi forces and Ohotomo.  Ohoama would go on to take the throne, becoming known as Temmu Tennou.  He is credited with starting the projects that culminated in the creation of the Kojiki and the Nihon Shoki. On the surface, this could easily look like a simple case of usurpation—especially if you come from a cultural background where sons are expected to inherit from their fathers, as is common in many European monarchies.  However, we have to remind ourselves that this isn't Europe.  For centuries, succession in Yamato had been much more chaotic than that.  Often succession went not to a son or daughter, but first to a brother, and even then it didn't necessarily go to the oldest brother, or to the oldest child.  Even designating an heir wasn't a guarantee that, after a ruler's death, someone else wouldn't come along and change things by force. Of course, the Nihon Shoki appears to lay out various rules for succession.  In most cases, your mother has to be descended—however distantly—from a previous sovereign.  Also, inheritance typically doesn't come at the attainment of adulthood.  It isn't like someone turns 20 and they are suddenly eligible.  We see plenty of reigns that are passed off as regencies—that is, the sovereign is legally just a caretaker for the throne until the true heir comes of age.  Perhaps the most famous of these is Okinaga Tarashi Hime, aka Jingu Tenno, who supposedly held the throne from the death of her husband until their son, Homuda Wake, aka Ojin Tenno, was of age.  But it isn't like she just abdicated.  In fact, I don't think we've seen a single example where a regent has abdicated the throne.  The only real abdication that we see is in 645, when Takara Hime, known as Kogyoku Tenno during her first reign, abdicated after the Isshi Incident.  There are also plenty of examples of possible claimants to the throne who certainly seem like they may have been supremely qualified for the position who end up dying or being killed, sometimes with the specific claim that they were trying to usurp the throne.  The most recent example is Furubito no Oe, who likely was in line to inherit the throne from Takara Hime prior to the Isshi Incident.  It doesn't help that the Chronicle often only calls people by their titles:  so it is the “Crown Prince” who does such and such, or it is “the sovereign”—without explicitly naming who that person is.  Of course, this is sometimes made clear by context, but that can't always be relied upon. This is compounded by the fact that at this time, Wa cultural norms were being overwritten by continental concepts of propriety and morality, with the growth of reading and continental works introducing many people to the discourses of Confucius and others.  Borrowing governmental structures and ideas from a Confucian state meant that Confucian ideals would get pulled along as well, even if those structures and ideas weren't strictly Confucian.  An example is the importance of filial piety, and so-called “Proper” relationships between people.  In some cases Confucian or even Buddhist concepts were used to explain and rationalize existing traditions, and in others they were used to provide a counter-narrative.  Thus the world described by the Nihon Shoki is one that was no doubt much more comprehensible to an 8th century member of court than to someone from the 3rd. I say all that so that we can keep an eye out for the Chroniclers' bias and perhaps give some thought to what might not have gotten written down. The creation of the Ritsuryo state was the culmination of over 33 years of work.  During that time, the Yamato court had centralized their power and control.  The Chronicles, looking back at the end of the process, report this as a good thing, and it is hard to argue that these reforms truly did lead to the country of Japan as we know it, today.  However, it probably wasn't all lollipops and rainbows.   The centralization of authority received pushback, and we see the center flexing its military might as well as legal and moral authority.  The new Ritsuryo state claimed a much greater control over land and resources than any previous government had done or  been able to do.  Even if the 5th century sovereign Wakatakeru no Ohokimi, aka Yuryaku Tenno, had people at his court from Kyushu to Kanto, influence isn't the same as control.  Up until the Ritsuryo reforms, it appears that local administrators had a lot of leeway in terms of what happened in their local domains.  After all, what could Yamato do about it?  As long as “taxes” were paid, then there was no reason for Yamato to otherwise interfere with local events, and even if there were, who would they get to enforce their will? But In the Ritsuryo system, at least conceptually, the State had local governors who reported back to the central authority.  These governors  were set apart from the Kuni no Miyatsuko, the traditional local authority, and their income was tied to the court. Moreover, this system wasn't just tradition and the whims of the elites: it was codified in written laws and punishments.  In fact, the Record of the Fujiwara—the Toushi Kaden—claims that the entire legal code was written down in 668 by their patriarch, Nakatomi no Kamatari, prior to his death.  There are also other references to this compilation, known to us as the “Oumi Code”, referencing the region that the court had moved to:  Afumi, around Lake Biwa.  Unfortunately, we don't have any extant copies of what, exactly, the Code said, other than various laws explicitly noted in the Nihon Shoki.  Still, we can assume that it was probably similar to later codes, which would have been using the Oumi code as a base from which to work from. The new authority for this code descended from the throne, based on continental and even Confucian concepts of the State.  And Naka no Oe had no doubt been the one to help maintain continuity over the past three decades.  Now he was dead, so what came next? Well based on what we have in the Nihon Shoki, that should be obvious:  His brother, the Crown Prince, Ohoama, would take the throne, wouldn't he?  After all, he was the designated Crown Prince, and he had been in that role, promulgating orders, and otherwise acting as we might expect, at least since Naka no Oe had given up the position. And yet, it seems there was some doubt.  After all, while a brother—or sister—inheriting the throne was hardly unheard of, Naka no Oe did have children of his own.  Most importantly, there was his son, Prince Ohotomo.  Ohotomo was only about 23 years old, but he had been made the Dajoudaijin, the head of the Council of State, which one would think would put him in a position of tremendous authority. Naka no Oe apparently had some inkling that there could be a succession dispute upon his death.  And so, two months after he had taken ill, as it became painfully obvious that he might not recover, he called in his brother, Crown Prince Ohoama, and he told him clearly that it was his intention to have his brother succeed him on the throne. Before going much further, I would note that the entries in the Nihon Shoki that speak to this incident are spread across two different books in that chronicle.  Part of it takes part in the chronicle of Tenji Tennou (Naka no Oe), but then the reign of Temmu Tennou (Ohoama) is actually broken up into two books, the first of which is often considered the history of the Jinshin Ran, while the second is really Temmu's reign.  And in some cases we get slightly different versions of the same event.    The Nihon Shoki was written less than 50 years after the events being discussed, so likely by people who had actual memory of what happened, it was also propaganda for the regime in power at the time.  So as we read through the events, we have to be critical about our source and what it is telling us. To that end, I'll mostly start out with the narrative as it appears in the Nihon Shoki, and then we can look back and see what else might be going on if we make some assumptions that the Chroniclers may not be the most reliable of narrators for these events. Anyway, getting back to the story as we have it in the Nihon Shoki:  So the person sent to fetch Prince Ohoama to come see his brother, the sovereign, was a man by the name of Soga no Yasumaru.  And Yasumaru brought not only the summons, but a warning, as well.  He told Prince Ohoama to “think before you speak”.  This suggested to Ohoama that there was some kind of plot afoot. And lest we forget, for all that Naka no Oe is often put up on a pedestal for his role in the Taika reforms and founding the nation—even the posthumous name they gave him was the “Sovereign of Heavenly Wisdom”—that pedestal he stands on is covered in blood.  Naka no Oe's political career starts with the brazen murder of Soga no Iruka in full view of all the gathered nobility, and is immediately followed with him marshalling forces against Soga no Emishi, who set fire to his own house rather than surrender. And then, shortly into the Taika period, Naka no Oe had his own brother, Furubito no Oe, killed so that he wouldn't be a threat.  And later, when he just heard a rumor that Soga no Ishikawa no Maro—his father-in-law, Prime Minister of the Right, and co-conspirator—was having treasonous thoughts, he gathered up forces to have him and his family murdered. And though it may have been a bit less bloody, let's not forget his apparent falling out with his uncle, Karu, where he left the giant palace complex at Naniwa and took the entire royal family to Asuka against his uncle, the sovereign's, wishes. Add to that the note from the Fujiwara family records, the Toushi Kaden, about the party at the “shore pavilion” where Ohoama spiked a spear through a plank of wood which rattled Naka no Oe enough that he was contemplating having him taken out right there.  According to that account, it was only the intervention of Nakatomi no Kamatari that saved Ohoama's life.  Even if it weren't true, it likely illustrates something about how their relationship was viewed by others. Given all of that, I think we can understand how Ohoama might not be entirely trusting of his older brother's intentions.  So when that same brother offered him control of the government, Ohoama was suspicious.  Perhaps it was because he was already the Crown Prince, the expected heir, so why would Naka no Oe be offering him the throne?  Perhaps it was some kind of test of his loyalty? And so Prince Ohoama declined.  He claimed that he had always had bad health, and probably wouldn't be a good choice.  Instead, he put forward that the Queen, Yamatobime, should be given charge, and that Naka no Oe's son, Prince Ohotomo, should be installed as the Crown Prince—the new successor to the throne.  Furthermore, to demonstrate his resolve, he asked to be allowed to renounce the world and become a monk. Indeed, immediately after the audience with his brother, Prince Ohoama went to the Buddhist hall in the palace itself and had his head shaved and took holy orders.  He even gave up any private weapons that he might have—likely meaning not just his personal weapons, but any private forces that might be under his command.  The sovereign himself sent his brother a kesa or clerical garment, apparently approving of—or at least accepting—his decision. Two days later, Prince Ohoama went back to his brother and asked to be allowed to leave for Yoshino to go and practice Buddhism there.  He was given permission and he headed out.  The ministers of the left and right, that is Soga no Akae and Nakatomi no Kane, along with Soga no Hatayasu, a “Dainagon” or Chief Counselor, and others, all traveled with him all the way to Uji, where they saw him off.  By evening he had made it as far as the Shima Palace, which is assumed to have been in Asuka—possibly at or near the site of the old Soga residence.  The following day he was in Yoshino. Arriving at Yoshino with his household, Prince Ohoama gave his servants a choice—those who wished could take orders and stay with him in Yoshino.  Those with ambitions at the court, though, were allowed to return back to Ohotsu, presumably going to work for another family.  At first, none of them wanted to leave his side, but he beseeched them a second time, and half of them decided to stay and become monks with him while half of them left, returning to the court. As we mentioned earlier, another royal prince—and possibly crown prince—had taken a similar option back in the year 645.  That was Prince Furubito no Oe, half-brother to Naka no Oe and Ohoama.  We talked about that back in episode 109.  As with that time, taking Buddhist orders and retiring from the world was meant to demonstrate that the individual was renouncing any claims on the throne and was no longer a threat to the succession. The Nihon Shoki notes, though, that as Prince Ohoama was leaving Uji, some commented that it was like the saying: “Give a tiger wings and let him go.”  The first part of that is no doubt referencing a saying still used in Mandarin, today:  “Rúhǔtiānyì” or “Yǔhǔtiānyì, meaning to “add wings to a tiger”—in other words to take something strong and make it even more powerful.  In this case, the choice to renounce the succession and leave court made Ohoama more powerful and then set him free to do what he wanted. There is a lot of speculation around what actually happened.  Prince Ohotomo had only recently come of age and been given the important position of Dajo Daijin.  Still, he was also only 23 years old.  Now, granted, Naka no Oe hadn't been much older, himself, when he instigated the Isshi Incident, but most sovereigns aren't mentioned as having come to the throne themselves until they were maybe 30 years old or more.  Still, there is at least one theory that suggests that Naka no Oe wanted to have his brother, Ohoama, step aside and let Ohotomo take the throne.  According to that theory, his request for Ohoama to succeed him as ruler eas a ruse to get Ohoama to admit his own ambition, which Naka no Oe could then use as a pretext to get rid of his brother. There is another theory that Naka no Oe wanted Ohoama to step in as effectively regent:  Ohoama would rule, but Ohotomo would then inherit after him. Ohoama's counterproposal is intriguing.  He suggested that the affairs of state should be given to Yamato-bime, Naka no Oe's queen, and that she should rule as regent until Ohotomo was ready.  Of course, we have examples of something like this, most recently from the previous reign.  Takara Hime came to the throne, originally, because her husband, who was the sovereign, passed away and their children were not yet of age to take the throne.  However, there is something interesting, here in the relationship between Yamato Bime and Ohotomo.  Because while Yamato Bime was the queen, and daughter, herself, of Furubito no Oe, Ohotomo was not clearly of the proper parentage.  He was not Yamato Bime's son – she had no children herself - , but  his mother was simply a “palace woman” named “Iga no Uneme no Yakako”.  This suggests that she was an uneme from Iga named Yakako, and we are given no details about her parentage.    She is also listed as the last of Naka no Oe's consorts, suggesting to the reader that she was the lowest in status. For this reason Ohotomo is known as the Iga Royal Prince, Iga no Miko. Of course, there are plenty of reasons why the Chroniclers might not want to give any glory to Prince Ohotomo or his mother.  After all, the story works out best if Ohoama should have just been the sovereign all along.  And this could all be technically true—the best kind of true—while also omitting key details so that the reader draws a certain inference.  The Chroniclers were pulling from lots of different sources, and you didn't have to do a lot of changing things when you could just not put them in in the first place.  In other cases we know that they changed the records, because we see them using anachronistic language that doesn't make sense if drawn from a contemporary record. And so we have at least a couple of theories of what might be going on here, beyond just the straight narrative.   One idea is that Naka no Oe wanted Ohotomo to inherit all along, and perhaps he thought Ohoama could be a regent to help him out once Naka no Oe passed away.  Or maybe he just wanted Ohoama out of the way.  There is also the theory that the Nihon Shoki is, in fact, correct, that Naka no Oe wanted to give the state to Ohoama, but the latter refused, either misunderstanding Naka no Oe's intentions or perhaps gauging the feeling at court—perhaps it wasn't Naka no Oe that Ohoama was worried about, but rather some of the high nobles and officials?   It is probably telling that Ohoama's reported solution was to have Yamato-bime act as regent, with Ohotomo eventually inheriting. Whatever the actual reason, Ohoama declined Ohoama headed off to self-imposed exile in Yoshino. Meanwhile, back in Afumi in the Ohotsu capital, Ohotsu-kyo, Ohotomo was now the de facto Crown Prince.  We are told that on the 23rd day of the 11th month of 671 he took his place in front of the embroidery figure of Buddha in the Western Hall of the Dairi, the royal quarters of the Ohotsu Palace.  He was attended by the Minister of the Left, Soga no Akaye, the Minister of the Right, Nakatomi no Kane, as well as Soga no Hatayasu, Kose no Hito, and Ki no Ushi.  Taking up an incense burner, Ohotomo made a vow that the six of them would obey the sovereign's commands, lest they be punished by the various Buddhist and local deities. These five ministers, along with Ohotomo, are going to show up again and again.   Moving forward, they would manage the government, and would be generally referred to as the Afumi court. And it is clear that the Chroniclers laid the blame for anything that might happen at their feet. The Afumi court would continue court business as usual, and they were immediately thrown into the thick of it.  For instance, they were likely the ones to entertain the Tang envoys that arrived that same month.  You see, the priest Douku (or possibly “Doubun”), along with Tsukushi no Kimi no Satsuyama, Karashima no Suguri no Sasa, and Nunoshi no Obito no Iwa, had finally made it back from their journey to the mainland.  They brought with them Guo Wucong along with an embassy from the Tang court that numbered approximately 600 members, as well as ambassador Sathek Sonteung, of Silla, with his own embassy of about 1400 people. This enormous entourage sailed in 47 ships, and they had anchored at the island of Hijishima.   The Governor of Tsushima, responsible for being the first line of met with them.  Given then number fo ships, they didn't want it to look like it was a hostile invasion, so the governor sent a letter to  Prince Kurikuma, the viceroy of Tsukushi, to let him know what was happening.  Prince Kurikuma had them send Doubun and others ahead to the capital, so that they could let the court know that a massive embassy had arrived, and to prepare the way for them. However, with the sovereign in extremely poor health, and the court otherwise preoccupied with preparations for what might come next, , they kept the embassy at Tsukushi, for the time being.  We are told that that they sent presents on the 29th for the king of Silla, but no indication of them being brought to the court. Enormous foreign embassies aside, the Afumi court had plenty to deal with close to home.  It didn't help that the day after Ohotomo and the ministers had gathered to make their oaths, a fire broke out in the Ohotsu palace, apparently originating with the third storehouse of the treasury.    Several days later, the five ministers, attending the Crown Prince, Ohotomo, made oaths of loyalty in the presence of Naka no Oe, whose condition was only growing worse.  And four days later, on the third day of the fourth month, Naka no Oe passed away.  He was then temporarily interred in what is referred to as the “New Palace”. And contrary to what Ohoama had suggested, there is no indication that Queen Yamato-bime was installed as any kind of regent.  Instead it seems as if Ohotomo was just jumping in and taking the reins.  Granted, he also had the Council of State to lean on, so there's that.  The Chronicles are pretty quiet for a couple of months after Naka no Oe's death, and then we are told that Adzumi no Muraji no Inashiki was sent to Tsukushi to let the Tang ambassador Guo Wucong know the news.  We are told that on the 18th day of the 3rd month, Guo Wucong, I presume having made it to Ohotsu, publicly mourned the late sovereign.  Three days later, on the 21st, he made obeisance at the court, presumably to Ohotomo, and offered up a box with a letter from the Tang emperor and various presents in token of goodwill for the sovereign of Yamato.  A couple of months later, the Afumi court returned the favor, presenting armor, bows, and arrows as well as cloth, floss, and silk.  Later in that same 5th month, Guo Wucong and his people departed for the continent. And here is where we hit one of the big questions of this whole thing:  Had Ohotomo been formally invested as sovereign, yet?  We clearly see that he had his father's ministers on his side, and they were running things.  Then again, it took years after Takara Hime's death before Naka no Oe, himself, formally stepped up. It is quite possible that Ohotomo was not yet invested, and perhaps that was, in part, because there was another person with a claim who was still alive.  It is hard to say. What we do know is that the consensus opinion for centuries was that Ohotomo was never formally invested as sovereign.  He is certainly seen as having inherited the governance of the kingdom, but he was never considered one of the official sovereigns.  That all changed in relatively recent times.  In fact, it wasn't until 1870, the early years of the Meiji period, that Prince Ohotomo was given a posthumous title and regnal name:  Koubun Tennou.  Today, the Imperial Household Agency and some historians consider Ohotomo to have been an official sovereign, but that isn't everyone.  If he was, though, much what we see would have been happening at his court. That same month that Guo Wucong departed, Prince Ohoama got wind that something hinky was afoot.  Ohoama was residing as a monk in Yoshino, but by all accounts he still had half of his household staff, his wives, and family, all with him.  Also, as the former Crown Prince, he clearly had friends and allies.  After all, he was still a member of the royal household. And so it was in the 5th month that he heard from one Yenewi no Muraji no Wogimi that there was something amiss.  For one thing, the Afumi court had called up laborers to build the tomb for Naka no Oe, but word was that they had issued those so-called laborers with weapons rather than tools.  Wogimi seemed worried that they were preparing to do something about Ohoama.  After all, even though he had theoretically retired from the world, as long as he was alive, he still had a claim on the throne, similar to the problem of Prince Furubito no Oe back in 645. Someone else told Ohoama that they noticed pickets were being set up in various places between the Afumi and Yamato—another sign that the Afumi court was apparently expecting some kind of military action.  Furthermore, the guards at the Uji bridge were no longer allowing supplies bound for Yoshino and Ohoama's household. It seemed clear that something was up, and so Ohoama made an announcement:  while he had renounced the royal dignity and retired from the world, it was only because of his poor health and a desire to live a long and happy life.  If that life was being threatened by forces outside of his control, then why would he let himself be taken quietly? From that point, he seems to have started plotting and gathering  forces of his own, in case things came to a head.  Of course, there are those who suggest that, in truth, Ohoama had been plotting and raising forces ever since he started his exile in Yoshino—or at least since his father passed away.  Indeed, once things kick off, you'll notice how quickly people are levying troops, as if spontaneously deciding to support Ohoama's cause, and I would suggest that there was probably lot of back and forth that we just don't see because it was never recorded. Things reached a tipping point on the 22nd day of the 6th month.  That is when Ohoama gave orders to three of his vassals, Murakami no Muraji no Woyori, Wanibe no Omi no Kimide, and Muketsu no Kimi no Hiro.  He claimed that the Afumi Court was plotting against him, so he asked his vassals to go to the land of Mino—modern Gifu prefecture—and to reach out to Oho no Omi no Honeji, the governor of the Ahachima district hot springs—now the area of Anpachi.  Honeji was to levy soldiers and set them out on the Fuwa road—this was the road from Mino to Afumi, and was one of the few ways in and out of Afumi region. As we've mentioned in the past, the benefit of Ohotsu-kyo was its naturally defended position.  Lake Biwa is surrounded on all sides by mountains, and there were only a few ways in and out.  The Fuwa Pass is at the edge of a location that you may have heard of: today we know that region as Sekigahara.  That is because it was one of several seki, or barriers, set up to help check movements across the archipelago.  To the south, one could also use the Suzuka pass, where there would likewise be set up the Suzuka no Seki, or Suzuka barrier.  Suzuka was accessible from Afumi via the regions of Koga and Iga.  There was also the Afusaka no Seki, between Afumi and the area of modern Kyoto, and the Arachi no Seki, between Afumi and Tsuruga, on the Japan Sea—where many of the Goguryeo missions had arrived. Of these, the Afusaka barrier and the Fuwa barrier were probably the most well known and most heavily traveled.  Control of the Fuwa pass would be critical throughout Japan's history, controlling much of the traffic between eastern and western Japan.  Hence why, over 900 years later, another fight would come to a head here, as the battle of Sekigahara would see Tokugawa Ieyasu's eastern forces defeating the western army of Ishida Mitsunari.  That battle is seen as a decisive victory that birthed the Tokugawa shogunate, who would rule Japan for the next 250 years. So for Ohoama, having Honeji and his men take control of the Fuwa barrier was critical, as it would limit the Afumi court's ability to levy forces in the eastern provinces. A few days later, Ohoama was himself about to move out,  but his advisors stopped him.  They were worried about heading east without an army, yet.  Ohoama agreed, and he wished that he hadn't sent Woyori out just yet—Woyori was someone he trusted, militarily.  Instead, however, he had to make do.  And so he had Ohokida no Kimi no Yesaka, Kibumi no Muraji no Ohotomo, and Afu no Omi no Shima go to Prince Takasaka, who was in charge of the Wokamoto Palace in Asuka, and apply for posting bells—the tokens that would allow him and others use the various official post stations to supply them with provisions as they traveled.  Speaking of this palace,  although the court had moved to Ohotsu, a palace was maintained in Asuka.  After all, this was still seen as the “ancient capital” and the home to a lot of powerful families, so it makes sense that the royal family kept the palace in working order.  It also appears to have functioned as the local government headquarters for the region, with Prince Takasaka, or Takasaka no Ou, at its head. Asking for the posting bells was a test by Ohoama.  If he received them, then great, it would give him the ability to travel to the east, where he could presumably raise troops to protect himself.  However, if Prince Takasaka refused, then that would be a sign that the Afumi government had, indeed, sent word that Ohoama was not supposed to go anywhere.  If that was to happen, then Afu no Shima would return to Yoshino to let Ohoama know, while Ohokida no Yesaka would go to Afumi to tell Ohoama's sons, Prince Takechi and Prince Ohotsu, to make haste and meet him in Ise. Sure enough, Prince Takasaka refused the posting bells, and so, on the 24th of the 6th month, Prince Ohoama made the decision to move.  They left quickly—he didn't even let anyone saddle a horse for him or prepare his carriage.  He just started to head out on foot on a journey to the East. That journey would set in motion the coming conflagration.  Ohoama and his allies would quickly gather their forces in an incredibly short period of time, starting with a daring trek across the mountainous path between Yoshino and the land of Ise.  At the same time, the Afumi court would levy their own forces.  It was now a race for people and positions.  And to see how that race progressed, I'll ask you to tune in next episode, when we take a look at the opening moves in the war for the throne of Yamato.Until then, thank you once again for listening and for all of your support. 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

We wtorek w "Onet Rano." przywita się Agnieszka Woźniak-Starak, której gośćmi będą: Mikołaj Dorożała - wiceminister klimatu i środowiska; Artur Lencznarowicz - dyrektor biura zarządu Fundacji SAFE-ANIMAL; Robert Małecki - pisarz; Ewa Raczyńska - Onet; Arne - raper. W części "Onet Rano. WIEM" gościem Dominiki Długosz będzie: Piotr Zimolzak - wiceprezes zarządu SW Research, koordynator projektu EKObarometr.

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ ✅番組時間：51分01秒 ✅出演：ジャーマネ・tsZ・あくとん・蛇草千尋 2005年にスタートして、ついに700回。 みなさんのおたよりだけが頼りなこの番組。 回替わりレギュラー陣がお送りします。 　 ✅コーナー： さまざまなおたより バカ一茶の俳句のコーナー 🟧投稿フォームはこちら。 https://forms.gle/DkTHQ38qNNWTPpta7 （新） https://ja-mane.com/form/ （旧・画像添付可能） 🟧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 ■2025年6月28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 2025年6月パワープレイ 01. Stay Foolish 編曲：D.watt 原曲：東方紅魔郷 / おてんば恋娘 収録アルバム：TOHO BOOTLEGS 9 2025・5・5 Release https://www.iosysos.com/discographyportal.php?cdno=IO-0341 番組時間：79分20秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2025/6/26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＞ ・自分の番組の名前が出てこないと終わりよ ・金八先生が始まるのかと思った ・金八先生そんなに前なの？ ・定年して、ちゃんとおわったんだ ・はじめての告知からやります ・今週のベスト10 ・たくさん人が来てた北海道ご当地キャラフェスタ ・楽曲提供のお知らせ 　「つよつよナースブロウちゃん！」 - Muse Dash 　歌唱：まるもこ 　作編曲：コバヤシユウヤ(IOSYS) 　作詞：john=hive(IOSYS) 　ギター：三浦公紀 ・ジョン…ハイヴ！ ・正解 ・作詞提供のお知らせ 　ブルーアーカイブ 青春あんさんぶる Vol.12「ヴァルキューレ」 　「パトランプハーモニー！」 　アーティスト：カンナ／キリノ／フブキ 　作詞：夕野ヨシミ(IOSYS) 　作曲：Nor ・ブルーアーカイブ 絆ダイアローグ Vol.12「ヨシミ」 　「イマハカラメル―Sweeten Up Later」 　アーティスト：ヨシミ 　作詞：夕野ヨシミ(IOSYS) 　作曲：KARUT　 ・ダブルヨシミです ・「憧れの日々」 　アーティスト：フウカ(CV:ファイルーズあい) 　作詞：john=hive(IOSYS) 　作曲：EmoCosine ・ブルアカは3曲出ました ・CD欲しい人はお早めに ・イオシス君やってるねー ・ゲーム『東方ダンマクカグラ ファンタジア・ロスト』DLC12 　「オーディエンスを沸かす程度の能力 feat.タイツォン」 　編曲：D.watt(IOSYS) 　2025/11/27配信 ・あれ、あずきバーなんだ ・ゴブリン・ノーム・ホーンの2回目は、ないんだ ・来週は2本撮りです ・「リスアニ！Vol.58『ブルーアーカイブ -Blue Archive-』キャラクター＆ミュージックガ　イド」 　いろんな方のインタビューが掲載されていますが、作詞家として夕野ヨシミのインタビューも掲載されています！ ・このままエンディングに行っちゃいそう ＜Aパート＞ ・昔のCMを引っ張ってきました ・MOCさんの声聞きたいなー ・ふつおたです ・ToHeartのリメイク版 ・ギャルゲー大好きフワモコちゃん ・農機屋さんの話 ・忙しいです ・需要に生産が追いつかない ・イオシスライス ・バケツで米を育てる ・​​籾摺りご用命はぜひ ・えんぴつ削りを魔改造 ・1年に1回しか使わないならリースすればいいのでは ・知らない人がトップになるのは… ・自動操舵は大事 ・ウッド村さんの最近の農業の話 ・やらしい話聞きたいよね ・鉄腕DASHが続くのはヨシ！ ・熱中症には気を付けようね ・TOKIO解散しちゃったね ・じぎゃくさんお誕生日おめでとうございます ・ロンドンブーツ解散しちゃったね ・ラジオは、もっと自由に ・キーワードはガールズバー ・ガールズバーは卒業？ ・最近はラウンジに行ってます ・ぬるぽはスナックなんだ ・もし、高級だとしたら ・名曲なのにマイナーな曲 ・リメイクの方はお持ち帰りで ・ダンスモーションの配布がしたい ・技術だけは蓄積されてるんだよな ・外で撮るのは恥ずかしかった ・7月は暇なので、いろいろやってみよう ＜Bパート＞ ・あいよ！ ・mikoおねえさんは、すごいあっちこっちで出演してますね ・みつをたです ・梅雨明けてないじゃないですか！やだー！ ・ガルマをなぜ出さない ・予定納税46万円 ・シャア専用ヅダ ・最終回は水着回 ・みこち「ご報告があります」 ・マチュからだった ・リアルタイムに見るのはいい ・あとはみなさん同人誌で ・来週から何を見たら ・Nintendo Switch2をやりましょう ・ランキングのコーナー ・実際に食べてみたい丼物 ・第1位　橘姉妹丼（ブルアカ） ＜エンディング＞ ・最近、美味しい海鮮丼食べました ・ウニ食べたいなー ・カンジャンケジャン食べました ・奥さんと娘と食べてきました ・父さんは引きこもり ・明日は、すってはっくん ・いつもの工場ゲームです ・ゲームのDEMO版を3つ用意してます ・今年も半分おわります ・7,8,9月は余裕、余裕 ・エンディングを持て余してる ・空っぽのエンディングです ・ファンボックス5周年です ・も、もうなんもないっす ・イオシスショップセールやります ・成人は18歳なのかい？ ・期日前投票に10回くらい行こう ・あの投票所何度も投票できるみたいですねー ・壁抜け投票バグ ・​​投票所をホットプレートで温める ・これ以上は利用契約に違反しちゃう

W piątek w "Onet Rano." przywita się Mikołaj Kunica, którego gośćmi będą: Michał Szczerba - Platforma Obywatelska; Paweł Mrozek - Akcja Uczniowska; Eliza Kuna - adwokatka; Magdalena Kozak - pisarka, lekarz, Oficer Sił Powietrznych RP; Małgorzata Rozenek-Majdan - prezenterka telewizyjna, działaczka społeczna. W części "Onet Rano. WIEM" gościem Odety Moro będzie: Piotr Suchodolski - Dyrektor Wykonawczy ds. Marketingu Komercyjnego ORLEN.

W czwartek w "Onet Rano." przywita się Marcin Zawada, którego gośćmi będą: Tomasz Trela, Lewica; gen. Leon Komornicki, generał dywizji Wojska Polskiego w stanie spoczynku, Stowarzyszenie Euro-Atlantyckie; Sławomir Broniarz prezes ZNP. W części "Onet Rano. WIEM" gościem Mikołaja Kunicy będzie dr Paweł Pietrzyk, Naczelny Dyrektor Archiwów Państwowych. 

In this episode of the Mobile Dev Memo podcast, I speak with returning guest Mikołaj Barczentewicz on the current state of DMA enforcement, including the recently-released text of the European Commission's April decision on Meta's Pay or Okay business model. Mikołaj returns to the podcast for his fourth appearance — he's a professor of law at the University of Surrey and holds a PhD in Law from the University of Oxford. He also regularly publishes insightful commentary on the EU regulatory landscape on his blog, EU Tech Reg.Among other things, we episode covers:An overview of the EC's April decision related to Meta's Pay or Okay model;What the EC says about the economic impact of DMA enforcement with its decision; The changes that Meta made to its business model in the EU after the EC and EDPB published their preliminary guidance on its Pay-or-Okay model; How this decision impacts other so-called gatekeepers; The knock-on economic implications of this decision;The latest developments in EU AI regulation.Thanks to the sponsors of this week's episode of the Mobile Dev Memo podcast:INCRMNTAL⁠⁠. True attribution measures incrementality, always on.⁠⁠⁠Clarisights⁠⁠⁠. Marketing analytics that makes it easy to get answers, iterate fast, and show the impact of your work. Go to⁠⁠⁠ clarisights.com/demo⁠⁠⁠ to try it out for free.Interested in sponsoring the Mobile Dev Memo podcast? Contact ⁠Marketecture⁠.

出演者： miko、quim 配信ペース： 隔週水曜日 番組時間：86分35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。 mikoラジ、第375回です。 海外（米、中）帰りの我さんと、銚子帰りのしがないさん。 それぞれの多忙な日々を、お家ラジオ感覚でざっくりお届け！ SNSにポストしていないことも、あったり無かったりな約80分。 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。 //////////////////// 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！ ---------- ☆2025年6月IOSYSはいてない.comパワープレイ楽曲 01. Stay Foolish 編曲：D.watt 原曲：東方紅魔郷 / おてんば恋娘 収録アルバム：TOHO BOOTLEGS 9 2025・5・5 Release https://www.iosysos.com/discographyportal.php?cdno=IO-0341

If you like it hard and relentless — the music, I mean — this one's for you. Episode 091 160 BPM and does not ease up. This is high-pressure, no-vocals, no-fluff techno built for full immersion. Whether you're training, driving, zoning out, or tuning in — let it ride. Let the tension build. Let the rhythm take over.

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ ✅番組時間：52分15秒 ✅出演：ジャーマネ・tsZ・あくとん・蛇草千尋・ぴぃ 2005年にスタートして、ついに700回。 みなさんのおたよりだけが頼りなこの番組。 回替わりレギュラー陣がお送りします。 　 ✅コーナー： フリートーク 🟧投稿フォームはこちら。 https://forms.gle/DkTHQ38qNNWTPpta7 （新） https://ja-mane.com/form/ （旧・画像添付可能） 🟧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 ■2025年6月21日配信 #ラジオ #webラジオ #IOSYS #イオシス

This one's different. Episode 090 celebrates 16 years of Basement Beats Radio — a podcast born in 2009, but with roots going all the way back to 1996. Whether you've been listening since Episode 001 or just found me, this one's your invitation to lock in and let go. Melodic house, techno, and emotion from start to finish — with brand new tracks and zero repeats. Start at the beginning. Let it ride. See where it takes you.

ぬるぽ放送局投稿フォーム https://docs.google.com/forms/d/e/1FAIpQLScwYSAEyRhDCHd-JRk9dLA05JKnGINgvnDhY3Xmkw2lwwDjQw/viewform 2025年6月パワープレイ 01. Stay Foolish 編曲：D.watt 原曲：東方紅魔郷 / おてんば恋娘 収録アルバム：TOHO BOOTLEGS 9 2025・5・5 Release https://www.iosysos.com/discographyportal.php?cdno=IO-0341 番組時間：98分10秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2025/6/19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＞ ・21時きっかりに始まりました ・2回に1回は2の倍数 ・北海道なのにエアコン付けてますよ ・即売会におけるイオシスの列のよう ・よそのサークルの列整理してますし ・シャッター前配置って昭和の話してます？ ・列整理の同人誌 ・名華祭はイベントスタッフが多い ・お弁当がいいのかな？ ・ラフな格好した刺青入りガードマン ・彫物だけにね ＜Aパート＞ ・ふつおたです ・元同僚の結婚式で横浜へ ・初老のイベントやってますよ ・0時から酒飲んで仕上げて行く ・結婚式は寝てても大丈夫 ・エンジニア寝をしてる夕野ヨシミ氏 ・ラーメン博物館って何があるんですか？ ・ラーメンの化石 ・アンパンマン博物館は何があるんですか？ ・そんな、まじめなことをネイキッドロフトでやられてもな ・渋谷のはかせの部屋 ・俳優を見ると犯人が分かるドラマ ・はかせがアニメの話をしないときは儲かってる ・前川が落ちてた ・陰謀論流行ってるんだ ・歩き始めためかとき ・3年B組ー！唯我独尊ー！ ・ブラウザ三国志のスマホアプリ版 ・steam版ブラウザ三国志のMOD ・クラスはバッター ・元祖二刀流 宮本武蔵 ・つまぽんがプロ野球にハマってる ・サンキューピッチおすすめです ・2000万円のリースとは ・炎上商法なのか？ ・名華祭の話 ・感想はよかったです（語彙力） ・C＆Cさんは、ちゃんとやってましたよ ・まろんくんはサークル反復横跳びが出来る ・アクスタの現物をどこかに置きたい ・スカ警アクスタはいいぞ ・老舗のアクリルサークルになっちゃった ・石川のねこ ・あのswitch2は当たったやつだから ・今週は芸能界とスポーツ界がプチ炎上なんだな、なるほど ・って毎週やん ・赤い三角コーン ・プリキュアのシャア ・来週は実写かな？ ・ぬるぽ聞いてます（ｺｯｿﾘ） ・5％アップするのに押すの？ ・懲役も禁固もなくなりました ・半分がリピーター ・大人のキッザニアだ ・老人福祉施設になってる ・ぬるぽは幅広く何でもウエルカムです ＜Bパート＞ ・アレンジがちゃんと令和最新版 ・デジタルリリースも始まってるのでお聞きください ・これはどこで聞けるんですか？ ・東方アレンジもいろんなところで聞けるってすごいな ・CD焼いてたあの頃 ・出すのは簡単だけど聞いてもらうのは大変 ・CDにちゃんとシール貼るのも大変 ・やることないから仕事してるんだ ・みつをたです ・6月の気温じゃねー！ ・嘘だと言ってよみつを ・新装版発売おめでとう ・しかも免税かい ・働く車は高いよ ・母親29歳にビックリ ・レベルEいいぞ ・飛影はそんなこと言わない ・知らないところでお見合いが組まれてる ・11年前に結婚してる ・ダブルインパクトは年寄りの大会に ・梅雨前線に喝！出ちゃった ・子供がいると子供の話始めちゃう ・親子で すってはっくん ・全部隠語だったのか ・こいつらヒメウズラしたんだ！ ・ED曲にBEYOND THE TIMEはズルじゃん ・親戚じゃない小室さん ・頬を赤らめるハロ ・みんながおめでとう ・ホロライブswitch2当選早抜けレース ・じゃあ、エンディングに行きましょう ＜エンディング＞ ・イオパの中継はなくなりましたので現地で聞いてください ・Aiobahn +81 feat. ななひら & P丸様。- 天天天国地獄国 (Official Music Video) 　作詞：夕野ヨシミ(IOSYS) 　YouTube1000万再生めでたい！ ・作詞しましたｲｴｰｲ ・何がとは言わないんだけど、最近話題のTシャツがありますよ 　2025イオシス万博公式ロゴマークTシャツ ・楽曲提供のお知らせ 　〖 Original 〗 ぴゅぴゅっと☆エロイムエッサイム / なぃとめあ 〖 IOSYS (D.watt&まろん) 〗 　作詞：まろん(IOSYS) 　作編曲：D.watt(IOSYS) ・ランプ（意味深） ・作詞提供のお知らせ 　【主題歌 解禁PV】『ネコぱら セカイコネクト』（ネココネ）スマホ/PC向け新作　　ゲーム Aiobahn書き下ろし新曲『Cute Domination』 　作詞：john=hive（IOSYS） 　作編曲：Aiobahn +81 　歌唱：水無月時雨（CV. M・A・O） ・デジタルリリースのお知らせ 　TOHO BOOTLEGS 9 　リッスンナウしてねー ・IO-0335 IOSYS ALL TIME TOHO BEST COLLECTION 　IOSYSの在庫が完売しました！ 　追加のCDプレス予定はありません～ ・提供楽曲のMVが公開されました！ 　『ぬこぬこ♡なでにゃん♡ETERNAL♡』 　作詞：恋汐りんご・七条レタス(IOSYS) 　作編曲：D.watt(IOSYS) ・6/21-22　北海道ご当地キャラフェスタ ・中々発表にならないものたくさんありまーす ・7/3の生放送は2本録りの予定です ・イオシスショップも20周年 ・土曜日はブルアカの生放送あります（出演はありません） ・うなぎ食べてがんばろう

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 show is June 19th. We are all connected. We are talking with Asian and Asian American Children's book authors. PowerLeeGirls host Miko Lee talks with Chi Thai and Livia Blackburne about the power of storytelling, maternal heritage, generational trauma, and much more. Title:  We Are All Connected Show Transcripts Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Ayame Keane-Lee: [00:01:17] Welcome to Apex Express. Tonight's show is June 19th. We are all connected. We are talking with Asian and Asian American Children's book authors. PowerLeeGirls host Miko Lee talks with Chi Thai and Livia Blackburne about the power of storytelling, maternal heritage, generational trauma, and much more. First, we want to start by wishing everyone a happy Juneteenth, Juneteenth commemorates, an end to slavery and the emancipation of Black Americans after the Civil War. In 1865, 2 years after the Emancipation Proclamation, enslaved people in Galveston, Texas finally learned of their freedom. Juneteenth marks the day the last enslaved people learned of their freedom. Though outright slavery became illegal, the systematic oppression of African Americans continues to this day. We see that show up in almost every aspect of American culture, from the high rate of infant mortality to the over punishing of Black children in schools, to police brutality, to incarceration. We must continue to recognize the importance of championing Black lives and lifting up Black voices. We are all connected. June 19th is also an important day in Asian American history. In 1982 in Detroit, Vincent Chin was at a bar celebrating his bachelor party prior to his wedding the next day. Ronald Ebens, a white auto worker, and his stepson Michael Nitz taunted Vincent with racial epithets. They thought he was Japanese and were angry about the Japanese rise in the auto industry. When Vincent left the bar later, the two men attacked and killed Vincent with a baseball bat. He was 27 years old. Ronald Ebens never did time for this murder. Ronald Ebens is 85 years old now. Ebens not only skirted prosecution, he has used bankruptcy and homesteading laws in Nevada to avoid a wrongful death civil suit settlement. Ordered by the court in 1987 to pay $1.5 million to Chin's family, the Chin estate has received nothing. Lily Chin, Vincent's mom could have stayed silent about the racist attack on her son. Instead she spoke out. She took a courageous stance to highlight this most painful moment in her life. In doing so, she helped ignite a new generation of Asian American activists working for civil rights and social justice. We find ourselves in a new wave of activism as our communities band together to work against the injustices of the current regime. And what does this have to do with children's books? It is all connected. We highlight children's books by Asian and Asian American authors because we want our next generation of children to know and appreciate their own heritage. We want them to proudly represent who they are so that they can work in solidarity with other peoples. Our struggle is interwoven. As Grace Lee Boggs said, “History is a story not only of the past, but of the future.” Thank you for joining us on apex express. Enjoy the show.   Miko Lee: [00:04:24] First off. Let's take a listen to one of Byron Au Young's compositions called “Know Your Rights” This is part of the trilogy of the Activist Songbook. This multi-lingual rap, give steps to know what to do when ICE officers come to your door.    MUSIC   That was “Know Your Rights” performed by Jason Chu with lyrics by Aaron Jeffries and composed by Byron Au Yong Welcome, Chi Thai to Apex Express.    Chi Thai: [00:07:13] Hello. I'm really happy to be joining you, Miko.  Miko Lee: [00:07:16] I'm really happy to meet you and learn about you as an artist, as a filmmaker, as a children's book author. And I wanna first start with a personal question, which is, who are your people and what legacy do you carry with you? Chi Thai: [00:07:30] Ooh, what a great question. You know what? I love being asked stuff that hasn't been asked kind of before. I mean, there's a kinda really kinda natural answer to that, which is, you know, family are my people. Of course. 100%. And certainly, you know, the reason why I'm talking to you today, you know, in regard to the, to the book, you know, it's about my family's journey. But I found, and I don't know if this is. Somewhat to do with, you know, being a child of two cultures and you know, being a child of the diaspora that you really have to kind of find your own family too. 'cause I suppose I grew up feeling, I didn't quite relate to maybe my parents in a way that, you know, you normally would if you weren't part of the diaspora. And I felt estranged from my birth country and I didn't really feel like British either a lot of the time. So in terms of like, who are my people? I've gathered those people as I've kind of grown up and it's, it's a kind of strange feeling too. I feel like it's taken me a really long to grow up and to figure out who I am. And I suppose that's why, you know, the people that I have a really, a lot of people that have come, kinda later in my life, I actually have no friends in my childhood as an example of that. I've had to kind of find these people as I've grown up, but it's taken me a long time to grow up because growing up in the UK there wasn't any literature to read about what it was like to be Asian. And British, to be a refugee and things like that. So it just took me longer and I then, as a result, it just took me longer to find my tribe. but I have it now, but it's still work in progress. That was a very convoluted answer. I'm very sorry Miko.    Miko Lee: [00:09:15] No, it wasn't. No worries. It's fine. And what legacy do you carry with you?   Chi Thai: [00:09:19] Kind of an extension to that answer, I think when you're an artist, practicing your voice, figuring out your voice, can take a while. And I think I've only really started maybe the last like five to 10 years at the most really figured out what I want my legacy to be. The things I wanna talk about are really about s tories from the diaspora, certainly, and about community and healing. These are the things I think that are really important to me, especially when we talk about maybe coming from struggle. I don't feel it's enough to be an artist today and just talk about struggle. I want to talk about justice as well. And justice really is about healing, you know?    Miko Lee: [00:10:00] Oh, that's beautiful. Can you talk a little bit more about that healing and what that means to you and how that shows up in your work?    Chi Thai: [00:10:07] A couple years ago, no, not even that long ago, I produced a, a feature film. This is probably the best example for it, but I produced a feature film called Raging Grace, which we called it Horror with a small H and it. Basically took the story of what it was like to be, undocumented Filipina in the uk who was also a mother. And I think if that film had been made 10 years ago, it would just shown how hard her life was, and unrelentingly. So, and I think the reason why Raising Grace is so special is it goes beyond the trauma, it takes us to a place of justice, of being able to speak out for someone who has felt invisible, to be visible for someone who's not. Had a voice, to have a voice and to begin that kind of healing process of sticking up for herself, making a change transforming herself from maybe the good immigrant to the bad immigrant and things like that. I think that's a really great example and I think I read a really wonderful thing. It might have been in a Guardian article where we, so a lot of my work is around, inclusion representation of like diasporic stories. And I think when you have, when you exist in the poverty of like representation, I. the solution to that is plentitude. I think that Viet Thanh Nguyen probably said that, so I don't wanna take credit for it. He comes up with so many wonderful things, and that's a wonderful thing to be able to move from poverty, like to plentitude and that be the solution, is kinda really wonderful. So I enjoy being really prolific. I enjoy supporting artists to be able to do their work. So as a community, we can also be prolific and I wanna support, narratives that. Take us beyond a place of struggle and trauma to a place of like healing and justice and so forth.    Miko Lee: [00:11:57] Your work crosses so many genres. You were just mentioning how that film was kind of a horror film and, and then you've done these kind of dreamy animation pieces and then now this children's book. Do you select the genre and the format and the medium, or does it select you?   Chi Thai: [00:12:16] Oh, I think the story chooses it. I like 100% believe that. I just actually was thinking about this 'cause I was doing an interview on something else, people, often ask about the creative process and I, can only speak for my own. But usually when I get an idea for a story, the general shape of it comes almost like really well formed. There's a sense of a lready kinda what genre it'll be. There's a sense of the character, there's a sense of the journey and all these things. I felt the same about, writing The Endless Sea I knew it would be from the voice of a child. This probably sounds like my creative process is terrible, but it was just. This is how it was going to be. That kind of part was writing itself, or at least I feel that it'd been writing itself like that in my subconscious for many, many years before it kind of surfacing and writing. Like the writing bit is just the tip of the iceberg at the end of the day. there wasn't like a kind of decision about that. the story in that sense was quite intact. So I often feel like the story is demanding something about kind genre and for, for Raging Grace 'cause I've talked about this a lot, not just in listen to me, but other things. But we always said like if you are an an undocumented person, every breath you take is taken in a hostile environment. It's so natural for it to be a horror. So there's not a sense that you kinda decide that it's like that is the very reality of someone who's going, you know, that's their lived experience. And if you're going to represent that truthfully, it will be through the prism of horror. And I suppose that's how I think about genre. the story is kind of telling you what it needs to tell its emotional truth. and I felt that way, with The Endless Sea same thing with the Raging Grace, with Lullaby. And I think you talked about The Promise, I suppose I, with The Promise, which is an adaptation I had less choice about that because that was a book and it was a adapted into an animation. I've heard Nicola, who's the author of the book, talk about that and she talks about like the story coming to her in a dream and tiptoeing down her arm coming onto the page, she like describes it really beautifully. so maybe our processes are the same. It feels that way. there's not long deliberations. I mean, that's not to say the writing process isn't difficult. It is. But that, I've never found the, [genre] the difficulty or the bit that's required a lot of, I don't know soul searching with it.    Miko Lee: [00:14:28] So with that being said, how did Endless Sea your latest children's book? How did that tiptoe into your imagination?    Chi Thai: [00:14:36] This is a strange one because this is probably the closest thing to like, almost autobiographical work. What I can say is like, it's the true story o f how I and my family, which would've been at the time my mom and dad, my older sister, me, how we fled Vietnam after the fall of an Saigon. we actually left quite late we left in 1979 w hen things were tr were getting truly, truly, truly, quite terrible. And, this was very much a last resort. I think my parents would try to make things work, but realized that they couldn't. This journey that we took on these, boats that were made badly, made poorly, that many of which sank has become almost like the genesis story of our family. It's like it's a big, it has a long shadow, right? Ever since you know I, it is like the first story that I can remember. It's one of the few stories my mom would tell me again and again when we, when they see their old friends, it's something they talk about. So it's something that has happened to it to us, but it's such a big thing that it's just, echoed In my life growing up, as I've you know, got older and older, and the wonderful thing about having a story kinda live with you eventually it's in your blood and in your bones, but also if it's a thing that's kinda shared with you again and again, you actually build up this, there's something about the repetition of it, and then every time you hear it told from an uncle or a family friend or from your mom, a new little detail is embroidered that someone adds. So I've kinda lived with this story for 40 plus years and I've been collecting all these little things about it all this time and all that time it was, I think, kind of just writing itself, you know? You know, it was doing all that work before I actually put like pen to paper. Um, yeah.    Miko Lee: [00:16:31] Was there a catalyst or something that made you actually put the pen to paper?   Chi Thai: [00:16:36] That's really interesting. You know, I probably don't mind it is probably something really banal like. I think I probably wrote it during Covid and I had more time. Um, I think there are probably be some bigger forces in place. And you know what, I can tell you what it is actually if I'm, I'm forcing myself to think and examine a bit closer so when this is totally true. So I remember hearing the news about Viet Thanh Nguyen win winning the Pulitzer for The Sympathizer. And it made such a mark on me and I kind of felt, wow, someone from our community has achieved this incredible thing. And I thought, why? Why now? Like, and I was like, well, you know what? It's probably taken our community certain amount of time to come of age, to develop not just the abilities to write, to create, to make art, but also to have possibly the relationships or networks in place to be able to then make the art and get it out into the world. And I kind of felt when he was able to do that and came of age, I kind of felt there was going to be like other people from the kind of diasporic Vietnamese community that would also start to flourish. And that made me feel really good. About probably being a bit older than the average kind of artist, like making their, kinda like their pieces and everything and saying, you know what? My time can be now. It's okay. And I just find it just really inspiring that, you know our community was kind of growing, growing up, coming of age and being able to do these, these things And I kind of felt like it had given me the permission, I suppose the, the confidence to go, “Oh this story that I've been carrying my whole life, which I don't really see a version of out there I can write that and now I can write it and I'm the right person to write it.” And I had just done The Promise so I had a relationship with Walker. I was like, I have a, you know, a relationship with the publisher. I feel my writing is matured. Like I can do this. And so it was like a culmination and, you know, convergence of those things. And, but I do remember having that thought thinking, “This is a good time to be alive in our community 'cause we're actually able to make our art and get it out there now.” I, I felt it was like a real watershed moment really.   Miko Lee: [00:19:11] What made you decide to do it in this format as a Little Kid's Children's Illustrated book? We were talking earlier about how to, to me, this is the first more realistic version of a boat people experience in a very little kid's voice. What made you decide to do it in this style?    Chi Thai: [00:19:33] So interesting. At the same time, I was writing The Endless Sea. I was writing also the script for a short film, which is called Lullaby, which is takes an incident that happened on my boat but expresses it as a film, as a little kinda horror kinda drama, but a kid cannot watch that. It's like too terrifying. Um, and I wrote, you know, The Endless Sea at the same time. And again, I can't, it's really hard for me to articulate. I just knew it was gonna be a kid's book, like, and I knew it'd be written from the voice of a kid, and I didn't actually, can I say I didn't even ascribe a particular kind of value to that. It wasn't until I had started conversations with the publisher they're like, you know, we see like there's a really high, like this is really great that it's written in the voice of the kid. It somehow gives it something else. Something more is something kind of special. I didn't set out to like, overthink, like what was the most effective way to tell this story? I, I think I just told the story as honestly as I could, you know, with the words that I felt that, you know, I had in me to de, you know, to describe it. In the most authentic way to, to me. And like I say, at the same time, I knew, like I knew that was a kid's book. There was another part of that I wanted to express that was really important to me and that was survivor's guilt. But that I felt was like, that was a horror, so that was really not gonna be suitable for kids. So I was definitely thinking about lots of things to do with the same subject of the same time, but they were definitely being expressed in different ways. And again, Lullaby came to me very kind of quickly, almost fully formed. And I knew, you know, it would be a ghost story. I knew it would be the story of a mother and things like that. And I often maybe, you know, I should, I, I should interrogate more, but I kinda, I take these kinda. These ideas, which are quite well shaped and, and then I just like lean into them more and more and more. But they, the way they arrive it, I've kinda, I, I can see a lot of what is already about to unfold.   Miko Lee: [00:21:43] And do you still dream about that experience of being on the boat as a kid?    Chi Thai: [00:21:52] It's, it's a really difficult thing to explain because you know that that happened now so long ago, and I've probably heard the story thousands of times. I've watched all the terrible Hollywood movies, I've seen all the news clippings, I've watched all the archive. I've listened to, you know, people talk, and I have my own memories and I look at photographs and I have memories of looking at photographs. I feel like, you know, my memory is really unreliable, but what it is instead is it's this, this kind of, kind of tapestry of, you know, of the story of memories, of, you know, images as I grow up of hearing the story, like all coming together. One of the things I did when I wrote, I wrote The Endless Sea, is I then went back to my mom and I did a recorded interview with her 'cause I was really worried about how unreliable my memory might be. And I interviewed her and I asked a lot of questions and I said, and I, it was like, you know, in the way I would've just like listened to the story quite passively before this time I interviewed her and I asked a lot of questions about details and all sorts of things. 'cause I really wanted to be able to represent things, you know, as factually as I could. And that was kinda one of my kinda kind of fact checking kinda exercises I did 'cause I was, I was much quite worried about how unreliable my memory was about it all. And you know, what is, what is a memory of a memory of memory, like, you know, especially when it comes to thinking about that time on the boat and the feelings I had. Yeah. So, you know,    Miko Lee: [00:23:34] and you were so young also to    Chi Thai: [00:23:37] Totally 100%. And sometimes, I don't know, you know, is it a memory of a memory? Is it a dream of a dream?   Miko Lee: [00:23:44] Mm-hmm.    Chi Thai: [00:23:44] Or just some, yeah.   Miko Lee: [00:23:46] Was there anything that your mom said that surprised you?    Chi Thai: [00:23:50] Yeah. Um, she didn't realize how bad it was gonna be and she was like, “God, if it, I'd known how terrifying it was I dunno if I, we could have done it.” I think there's a certain amount of naivety involved and I suppose that surprised me. You know? 'cause we know already now how bad it was. Um, so things like that surprised me.    Miko Lee: [00:24:15] and your mom, the dedication of the book is to your mom. What does she think when she first read it?    Chi Thai: [00:24:22] I've got a funny story. My parents, you know, they, we left, they were in their early twenties and I think it was, you know, the escape was hard for them, but settling in new country was really hard for them. That's. That's been kind of their struggle. They had to work so hard, so many hours to kind of, you know, give us a great life. And, I think a lot of that meant they weren't people that could go out, enjoy, enjoy movies, look at art, read lots of literature and things like that. They're very, very simple, very working class. Simple life or working class kinda life. Very much all about, uh, the work. Um, and I remember when I had a, the publisher had made like a mockup of the book and I gave it to my mum to read 'cause I wanted her to be happy about it too, and she's probably been my toughest critic. I think everything I've done, she hasn't really liked, to be honest. Um, and when I gave her the mockup to read. She went, “Yeah,” but she said it in such a way I knew what she meant was Yeah, that's right. You know, that's the truth. That's the, you know, the book isn't the testimony, but it felt like she was saying yeah. It was like the simple kind of approval. It wasn't like a lot    Miko Lee: [00:25:50] That is the most Asian mom's approval ever.    Chi Thai: [00:25:54] It's so funny, like people say to me, oh Chi, it's such a beautiful book. Oh, the writing so lit, like lyrical. It's stripped back, it's elegant. Like, you know, Viet Thanh Nguyen , like God bless his like consults, gave me a comment to put in the book, said these wonderful things, and my mom goes, “yeah.”. You know, it made me laugh at the time, but I knew what it meant. And I also was old enough, I was mature enough, you know, God, if she'd given me that, if I'd been 20 written that I might have cried and my heart might have broken. Right. But I, I knew I had, I've so much compassion, you know, for my parents. Mm-hmm. And people like my parents, what they've been through and, you know, but    Miko Lee: [00:26:38] That was incredibly high praise for her.    Chi Thai: [00:26:40] It was, I couldn't have asked more.   Miko Lee: [00:26:47] Oh, I totally get that. I think that's such an Asian thing. That is so funny.    Chi Thai: [00:26:53] It is, it is. I didn't feel bad. I, I remember showing her Lullaby, um, and she didn't like it at all.    Miko Lee: [00:27:02] What did she say? What is her not like voice? What did she say to that?    Chi Thai: [00:27:05] Oh, she. Well, firstly, she, well, the, the film is almost silent because basically it tells a story. It's inspired by a mother that was on our boat who lost her baby on the border crossing, and I was very much ever, for as long as I knew about this woman's story, I was like, I was very much haunted by it, and I was haunted by, you know, the fact that that's how she felt and her guilt. Over losing her baby on this journey. And I knew, I knew I wanted to tell her story. 'cause one of the things I feel very strongly about is when you are on the losing side. So I'm from South Vietnam, like that's not the, you know, that's not the story that's told, the story is told of who triumphs at the end of the day. And I was just like all those people that we lost at sea, this mother, her baby. The stories kind of aren't told. So I kind of felt really strongly that this was somehow a very creative way to put down like a, an historical record like this happened. And actually I found out after making the film that five babies were lost in our boat, not just one.   Miko Lee: [00:28:24] Wow. So what did she say, your mom say?   Chi Thai: [00:28:28] Yes. So I made this film, which was for the most part, a silent film. This is a woman that's shut down. She barely speaks anymore. She is living with the guilt ever. You know, when she was on the boat before her baby died, she sang a lullaby, and ever since then, she hasn't been able to speak again. And then we find out that she has been haunted by the ghost of her child that she lost. And then a bit too, you know, to kind of free herself from that. She, she actually sings, you know, the, the film culminates in her singing the Luby one last time. S saying Goodbye finally being able to move beyond her Gild and I Griffin, saying goodbye and hoping she's able to, you know, progress. So I made a film about that was largely silence except for this lullaby, and my mum watched it. She went, next time you make a film, you know you need more words. I was just like, oh, I think my heart probably did crumple off a bit a bit at that point.    Miko Lee: [00:29:30] Aw.    Chi Thai: [00:29:31] You know? Um, but yeah. But yeah, it's okay. It's okay because you know what? My mom doesn't get to see stuff like that very often. So sometimes she doesn't have the wider, and this is why, I mean, like, the life that she's had, you know, hasn't been one where she's been able to surround herself with, oh, I'm so lucky. You know, my life has been so different, but it's been different. Different because of, you know what she's, what she's done for us, so it's okay. I can take it on the chin when she says my film doesn't have enough dialogue in it.    Miko Lee: [00:30:04] I love that. For you, have you had conversations with your mom about your life as an artist, and what are her thoughts on that?   Chi Thai: [00:30:16] Well say. So I, so my mom, I don't really like, you know, she's probably not that into it. I'll be honest about being an artist. I can understand why she wants you to have a good life. And I would say for the most part, being an artist is, is a, is a tough life because it's hard to make, you know, the, the pennies work, right?   Miko Lee: [00:30:44] She wants stability for you, right?    Chi Thai: [00:30:45] Yeah, exactly. But she's made a peace with it. And basically what happened, I think all the best story is gonna be about my mom, right? Is that she basically, I, I, um, I have a partner, we've been together for 15 years. Um, he's a really nice guy and he has a reliable job and we have two kids together and i,    Miko Lee: [00:31:08] So that makes it okay.   Chi Thai: [00:31:10] So yeah, this is what I was saying. So she said to me like. It doesn't really matter what you do now. 'cause she, you are already peaked. You're somebody's wife. We're not married. But she told everyone in Vietnam we were married 'cause she couldn't cope with this not being like having kids out of wedlock. In her head. She's rewritten that we are married. Right. She's like, you are married, you're somebody's wife and you mother, it doesn't get better than that. So if you are an artist or if you're a filmmaker, whatever, it doesn't matter. 'cause nothing can be better than that. Right. So she's accepted on the basis that I've already fulfilled, kind of my promise.   Miko Lee: [00:31:46] Wow. Interesting.    Chi Thai: [00:31:50] And she means that in the nicest possible way.    Miko Lee: [00:31:52] Yeah.    Chi Thai: [00:31:52] That she feels like you have a home, you have stability, you have someone who loves you, you know, you have a, a purpose in life, but really her value, you know, the way, I think, the way she measures my value is like, that's how she looks at it. The, the art is something else.    Miko Lee: [00:32:10] Well, I really appreciate you sharing your art with us in the world and your various, um, genres and styles. And I'm wondering how our audience can find out more about your work. Clearly we'll put links to where people can buy the book and let's see, but how do they find out more about your films?   Chi Thai: [00:32:28] Um, so that like, because it is the 50th anniversary of the end of the Vietnam War in 2025. Actually the very anniversary of that is the tomorrow, the 30th, April, right? Um, you can watch Lullaby on Altar, which is a YouTube channel. Um, and I can give you the link for it. Rating Grace is on Paramount Plus if you want to, if you've got Paramount Plus, but you can also buy it from all the usual kind of places too. Um, and you know, and we'll see us from all great book stockists, I imagine in, in the us.   Miko Lee: [00:33:07] Thank you so much. Um, I'd love to get, I'd love for you to send me the link so I could put 'em in the show notes. I really appreciate chatting with you today. Um, is there anything else you'd like to share?    Chi Thai: [00:33:19] Um, no, I think, I think that's good. Your, your questions are so good. Mika, I'm already like, kinda like processing them all. Uh, yes.    Miko Lee: [00:33:30] Well, it was a delight to chat with you and to learn more about your artistic vision, and my wishes are that you continue to grow and feel blessed no matter what your mama says, because deep down, she's still proud of you. Even if she doesn't say it out loud.    Chi Thai: [00:33:47] I believe it. I totally believe it.    Miko Lee: [00:33:50] Yay. Thank you so much for spending time with us on Apex Express.Next up, listen to stay, go from dark heart, a concert narrative by singer and songwriter Golda Sargento.   MUSIC   That was the voice of Golda Sargento from the new Filipino futurism punk rock sci-fi dark heart. Welcome, Livia Blackburne Children's book, author of Nainai's Mountain. Welcome to Apex Express.    Livia Blackburne: [00:38:56] Thank you so much for having me.    Miko Lee: [00:38:58] I wanna start with a personal question, which is, who are your people and what legacy do you carry with you?    Livia Blackburne: [00:39:05] I am Chinese American, and so I carry the stories of my grandparents who fled China to Taiwan, fled that war. And I also carry the stories of my parents and myself who immigrated. To America, and I am, I grew up in New Mexico, so I have fond memories of green chili and new Mexican food. I went to college, Harvard and MIT on the east coast. So I've got a bit of that kind of ivory tower. And now I'm in LA and, you know, my people are, my family and my community, the writing community here. So I, I'm a big mix. Yes.    Miko Lee: [00:39:44] What legacy do you carry with you?    Livia Blackburne: [00:39:47] I mentioned a bit of my grandparents and my parents. What they went through in the war in China, and then my parents and me coming here. the experience of being here in two worlds, coming from Taiwan having that cultural background and also, growing up in the United States. The culture I've been surrounded with here as well.    Miko Lee: [00:40:06] Thank you so much for sharing. Can you tell us about your new illustrated children's book? Nainai's Mountain. What inspired this work?    Livia Blackburne: [00:40:14] The story of this book actually started with another book that is coming out in a couple years that actually I can't share too much about. My grandparents fled the war in China and then my. Parents grew up in Taiwan and I wanted to preserve that family story. My parents are getting older. So I started doing oral interviews with my parents about their childhood, what it was like, growing up. I wouldn't say they weren't refugees in Taiwan. It's a very complicated political situation, but they were transplants to Taiwan, and what it was like growing up there, their daily life. What kind of things they did when they were a child, their pastimes, I wanted to preserve their stories and I got a lot of great material., A lot of that is going into a novel that I'm currently working on. But also as I worked on it, there were so many great details that I thought would be really good in a picture book as well. Also, I'm a mother now. I have an 8-year-old daughter, and she is half Caucasian, half Asian. She has never gone to Taiwan before and I. As I'm writing this, I'm thinking, it would be really great to, I do want to share Taiwan and, my own childhood, home with her at some point. And so I start imagining what would it be like to bring her back to Taiwan and show her everything. And that became the seed for Nainai's Mountain, which is a. Story of a girl visiting Taiwan for the first time with her grandmother. And her grandmother shows her around and tells her stories about her childhood, and the girl through her grandmother's eyes, sees Taiwan, you know, for the beautiful place that it is.    Miko Lee: [00:41:56] You also wrote the book I Dream of Popo. How are these companions to each other and also for audiences that might not speak Chinese. One is a grandmother on the mother's side, and the other is the grandmother on the father's side. Can you talk about how I dream of Popo is linked to Nainai's Mountain?   Livia Blackburne: [00:42:15] Thank you for pointing that out. Yes. So Popo is maternal grandmother, and Nainai is a paternal grandmother. And that is a fantastic question. So I dream of popo is kind of my story. So it's about a little girl who moves from Taiwan , to the United States and it's about her relationship with her grandmother who stays in Taiwan. And it talks about, how a close relationship, navigating long geographical distances about the language barrier that comes up. And that was very much me, Nainai's Mountain. It's kind of like Popo in reverse, you know, it's now it's someone going back to Taiwan and kind of getting in touch with those roots. That, as I mentioned, that's inspired by my daughter. And you'll see in Nainai's Mountain, I specified that the child should be, half Asian, half Caucasian. Because, I wanted more of that representation in the children's literature.    Miko Lee: [00:43:07] Thank you. I, I wonder if you could talk a little bit about the artistic style. So you are the author, but you had different illustrators for both of the books and the style is really different. The in, when I look at Nainai's Mountain, which I'm holding here, it's sort of collage and really vibrant colors. Where I Dream of Popo has a different, more. I'm almost realistic, kind of look to it. And I'm wondering what your process was like in collaborating with illustrators.    Livia Blackburne: [00:43:37] That's one of the best things about being a picture book author, is that you get to collaborate with so many illustrators and they all have such different styles, such different visions. Most of the time it's the publisher who chooses the illustrator, although they. Consult me usually. My editor for I Dream of Popo picked Julia Kuo. And she sent me samples and I loved it. And, it was great. I'm friends with Julia now and that book did really well. It was very well known, especially in kind of Taiwanese American, Asian American circles. And so when I did, Nainai's mountain, that was with a different publishing house and my editor. He very consciously said, you know, because it's also a book about Taiwan and a grandmother. We don't want to get it confused with I dream of Popo. So, we made a conscious decision to pick an artist with a very different style and Joey Chou is fantastic. He's very well known for his Disney art. You can see his art in a lot of the hotels and cruise ships. And, he, very bright, vibrant, and I, he's also from Taiwan. I think he did a fantastic job.   Miko Lee: [00:44:41] And have the artistic work ever surprised you as being really different from your imagination while you were writing?    Livia Blackburne: [00:44:48] That's a great question. I don't think they've ever surprised me. By being different. They surprised me in the specifics that they've chosen. For example, I dream of Popo. Julia, spent a lot of time in Taiwan and she put in these great, Taiwan details that, you know, if you're from Taiwan, you would know for sure. There's like a specific brand of rice cooker called the rice cooker, and she has one there and like the giant bag of rice in the corner, and the calendar on the wall.   Miko Lee: [00:45:16] Even the specificities of the food and the trays and everything is quite lovely.    Livia Blackburne: [00:45:20] Yeah, yeah. You know, every time I read that, I look at that spread, I get hungry. So surprise there. And, with Joey, I, I love how he does the different, there's kind of flashback pictures and there's, pictures now and. The thing about him, his color, I just love the color that he put in from the greens, of Taiwan to kind of the bright fluorescent lights, neon lights of Taipei, and then there's kind of the slight sepia tones of the past and he just, you know, brings it so to life so well.   Miko Lee: [00:45:49] I didn't know he was a Disney animator, but it totally makes sense because it feels very layered. It does feel animated in a way and kind of alive. So I appreciate that.   Livia Blackburne: [00:45:59] I'm not sure. If he's an animator. He does a lot of art for the theme parks and like products and the cruise ships and stuff. I'm not sure.    Miko Lee: [00:46:07] Oh, interesting.   Livia Blackburne: [00:46:07] He does like movies and  stuff.    Miko Lee: [00:46:08] Interesting. It looks like animation though. Your book.    Livia Blackburne: [00:46:13] It does look very, yeah. Lively. Mm-hmm.    Miko Lee: [00:46:16] That I'm looking forward to that series. That would be so cute. The grandmother series as a whole little mini series traveling to different places. can you tell us about your new book, Dreams to Ashes? Has that been released yet?   Livia Blackburne: [00:46:29] Dreams to Ashes? That has been released that, released about a month before Nainai's Mountain. Yeah, that one's quite a bit different. So that one is a nonfiction book and it's a picture book, and it's about the Los Angeles massacre of 1871. Whenever people, I tell people about that, they're like, wait, you wrote a picture book about a massacre? Which is slightly counterintuitive. So I never knew about the Los Angeles massacre growing up. And, and, given that I am a Chinese person in Los Angeles, that is kind of weird. Basically, it was a race massacre that occurred. One of the biggest mass lynchings in history, uh, where there was a between two rival Chinese organizations and a white bystander was killed. And because of that, , a mob formed and they rounded the Chinese population up basically. And. Blame them for that death. In the end, 18 Chinese men were killed and only one of them were involved in the original gunfight. It was a horrible tragedy. And unfortunately, as often happened with these kind of historical tragedies in our country, nobody was really punished for it. A few men were indicted and convicted, but their convictions were overturned and it just kind of disappeared into history. And it really struck me that, you know, nobody knew about this. I wanted to kind of bring this to light and unfortunately when I was writing it, it was also, during the Covid pandemic and, I was seeing a lot of anti-Asian rhetoric, anti-Asian hate crimes were going up. And I saw so many parallels between what happened. Back then, because, you know, Chinese people specifically were being vilified , they were being called immoral, stealing people's jobs. And you can see in the years before the massacre the newspapers were saying horrible things and, you know, the hate was just becoming very strong and all that exploded one night into an unspeakable tragedy. Unfortunately as an author, you want your work to be relevant, but sometimes you don't want your work to be relevant in this way. Right. Nowadays I'm seeing so much rhetoric again against immigrants and not of many ethnicities. And in some ways I'm sad. That, this is happening now. And I also hope that this book will contribute to the conversation and show how the danger of racism and xenophobia and hate and what, what can happen because of that.   Miko Lee: [00:48:55] So this occurred in the late 1800s, right? Was it before the Chinese Exclusion Act?    Livia Blackburne: [00:49:03] Yes, it was before the Chinese Exclusion Act. So you'd hope that people kinda learn from these things. And it was just kind of one of the, one of the horrible things that happened on the way to the Chinese Exclusion Act and Chinese immigrants being excluded basically Chinese laborers at least.   Miko Lee: [00:49:23] Oh wow. Okay. I'm looking this up now. And 1882 we know was the Chinese Exclusion Act and this incident actually happened in 1871. Yes. A decade beforehand, Helen Zia always talks about these moments that are missing. MIH missing in history and this is clearly another one of, another time of just wiping out a population.I'm wondering if you could speak a little bit more about how Children's Books can make a difference in the world that we're currently living in, where our government is banning books and you know that there's a narratives that they want to align with a certain kind of conservative ideology. Can you talk about the power of being a Children's Book author in this time that we're living in right now? . I'm really thinking about dreams to Ashes and even I dream of Popo and even Nainai's Mountain, which you would think, oh, they're, you, they're visiting their grandparent, their grandmothers, that would not be controversial. But now when even words like inclusion and diversity are threatened and books are being banned, I'm just wondering if you could. Share a little bit more about your superpower as a children's book author?    Livia Blackburne: [00:50:31] Yeah, that's a fantastic question. We live in a time right now, there's, a lot of hate, a lot of intolerance, a lot of fear of different people groups. And a lot of that I think is because people are unfamiliar with people unlike themselves. They see. People who are different, look differently, act differently, speak differently, and it scares them. And I think the best way to get around that is to actually get to know people of other backgrounds, to see them as human. And I think that's where children's books come in. ‘Cause we don't, children are not born. With this hate of the other. They learn it. But, if they grow up being familiar with people of different backgrounds seeing their stories seeing them as, normal human beings, which, should be obvious, but sometimes it's hard, for adults to realize. Then, I'm hoping, as a children's book author that it will lead to a more empathetic world. And perhaps that's why the government sometimes in certain groups are wanting to, censor this and control the flow of children's books because, children are the most their minds are still open. They're still able to learn.    Miko Lee: [00:51:48] And Livia, tell us what you're working on next.   Livia Blackburne: [00:51:53] So right now I am. Working on a historical middle grade. We haven't quite announced it yet, so I can't say the title or too many details, but it is based on my family history of my parents and grandparents who moved from China to Taiwan after the civil War.   Miko Lee: [00:52:12] Please check out our website, kpfa.org. To find out more about our show 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 created by Miko Lee, Jalena Keane-Lee, Preti Mangala-Shekar, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tanglao, Cheryl Truong and Ayame Keane-Lee.   The post APEX Express – 6.19.25 We Are All Connected 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

This episode we are covering the end of the reign of Naka no Oe, aka Tenji Tennou.  We cover the events in the Chronicles, including the death of Nakatomi no Kamatari, the creation of the Fujiwara family, the destruction of Goguryeo, and the continued development of the Baekje refugees. For more, check out the podcast blog at: https://sengokudaimyo.com/podcast/episode-128 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is episode 128: Immigrants, Princes, and High Officials. There was a pall over the house, despite the visiting royal retinue creating something of a stir,.  While craftspeople were still hard at work repairing damage from the lightning strike only a few months earlier, that wasn't the reason for the low spirits.  Rather, the house was worried for their patriarch, the Naidaijin, Nakatomi no Kamatari.  He had fallen ill, and despite all the pleas to the kami and the Buddhas , it seemed the end might be near. And so even the sovereign himself had come.  Kamatari was not just a loyal official, but  a close friend of the sovereign, someone who had been there since the beginning.  And so we can imagine how Naka no Oe felt.  He may have been the sovereign of Yamato, but he was still a human being, visiting his friend of some 30 or so years, knowing that for all of the power that he held, there was nothing he could do against the ravages of time and disease.     The year is 668—Naka no Oe has moved the capital to Ohotsu, on the banks of Lake Biwa, and has formally assumed the throne. This episode we are going to cover the last several years of Naka no Oe's reign.  In contrast to last week's dive into Yamato science, this week is going to be a bit of a grab bag, looking at what was going on in Yamato and talking about what was recorded in the Chronicles. And for the most part, the entries for the rest of the year 668 are fairly normal, and yet there are some oddities… For instance, in the fourth month we are told that Baekje sent Mitosapu and others to offer tribute.  And any other time that would be just a normal thing.  Except that at this point in history, Baekje was about as going a concern as a parrot in a Monty Python sketch.  So if the Kingdom of Baekje was no longer a thing, who was it that was sending the tribute? Most likely it was the Baekje communities in exile living in the archipelago.  Remember how many of them had settled around Biwa and in 666, two thousand Baekje people were settled somewhere in the East.  These immigrants  were still being supported by the Yamato government, who were basically subsidizing their settlement for the first three years, during which time they would be expected to make it into a permanent settlement. Based on the way the Chronicles talk about it, these early Baekje communities sound like they were maintaining a kind of kingdom in exile.  With many immigrants from Baekje living together in proximity, they were likely keeping their own groups, with their own language and traditions, at least for now.  It would be interesting to know if there were specific Baekje settlements that have been identified through the archaeological record.   That said, we definitely see Baekje's mark on the archipelago: Physically, there are the Baekje style castles, and various temples following Baekje style layouts.  Of course there were also continental building styles, but some of that was shared across multiple cultures at this point, and one should consider how much Baekje influence might have been found in things that we later see as Japanese. Additionally, Baekje nobles were involved in the court, often given court rank based in part on their rank in Baekje, though it wasn't quite equivalent.  Still,  in time, some of the nobles would trace their lineages back to Baekje nobles and princes. Speaking of princes and Baekje, on the fifth day of the fifth month of 668 —a day that would come to be known as Ayame no hi, or Tango no Sekku, one of the major days of court ceremony—Naka no Oe went out hunting on the moor of Kamafu, known today as Gamou district, near Kanzaki, where 400 Baekje people had been settled.  He was out there with the Crown Prince, his younger brother, aka Prince Ohoama, and all the other princes and ministers.  A grand outing. A month later, however, tragedy struck.  One “Prince Ise” and his younger brother died on consecutive days.  While this was undoubtedly a blow to the court, the interesting thing for our purposes – which also highlights the challenge of interpreting the Chronicles is that we aren't exactly sure who this is referring to.  It's not the first time we've seen this title: we first see a “Prince Ise” show up around 650, during the presentation of the white pheasant that ushered in the Hakuho era, but we later see that that individual had passed away in 661.  We also see the name show up less than 20 years later in the Chronicles for another prince, so this can't be the same.  So this is clearly a position or title for a prince, but it isn't clear if it was passed down or inherited.   One possibility is that “Prince Ise” or “Prince of Ise” was a title for one of the royal sons. IAt this point in the narrative, Naka no Oe had three sons.  Prince Takeru had passed away at the age of 8, but he also had Prince Kawajima, Prince Shiki, and Prince Iga, aka Prince Ohotomo, all sons of “palace women”.  We know, though, that these princes show up later, so I don't think the so-called Prince Ise was one of them.  Perhaps another line?   The term “Prince” might also refer to something other than a royal son.  You see, English translators have often been somewhat cavalier with the way we tend to render titles.  The English term “Prince” has  been used for “Hiko”, “Miko”, or “Ou” (which was probably pronounced “Miko” in many of these cases).  And in English, we often think of “Prince” as the son of a king, but “Prince” can also be an independent ruler of a principality, or may just refer to a person with power in a monarchic state.  Even the term “king” is not unambiguous—early European accounts of Japan during the Warring States period often refer to the various daimyou as “kings”, given the often absolute dominion with which they apparently ruled their particular domains. At this time, the term “Miko”  (also pronounced “ouji”, or “koushi”, or even “sume-miko”) seems rather unambiguously to refer to a “royal prince”, from the lineage of the sovereign.  The term “Ou”, which also seems to be read as “Miko” in some cases, is also the term for “King” and probably more broadly fits the concept of a “prince” as a ruler.  However, in this case, it seems to be equal to the term “Miko”, and may have been used almost interchangeably for a time, though later it would be used to refer to members of princely rank who were not directly related to a reigning sovereign—the grandchildren and so forth of royal princes who did not go on to inherit. In this case, I think the best we can say for certain is that Prince Ise—or the Prince of Ise—was someone important enough to be included in the chronicles – but who he was, exactly, will remain a mystery for now. The following month, the 7th month, was chock full of activities.  First of all, Goguryeo sent envoys by way of Koshi—meaning they landed on the Japan Sea side, probably around Tsuruga.  While this may just have been closer, I suspect it meant they avoided any Tang entanglements traveling through the Bohai sea.  They did run into a spot of trouble, however, as the winds and waves prevented their return. Koshi also shows up as presenting some strange gifts to the court:  burning earth and burning water.  There is some thought that maybe this is something like coal or natural oil deposits. We are also told that in this month, Prince Kurikuma was appointed the governor of Tsukushi.  Kurikuma no Ou appears to have been the grandson—or possibly great-grandson—of the sovereign, Nunakura, aka Bidatsu Tennou.  The position Kurikuma was given was important, of course, overseeing the Dazai, which meant overseeing anyone traveling to the archipelago from the continent. This would be a relatively short-lived appointment—this time.  He would be re-appointed about three years later, which would prove important, as he would be governor there during some particularly momentous events.    Stories appear to have continued about him in the Nagasaki region, and various families traced their lineage back to him. Also in that month, we are told that Afumi, home of the new capital, practiced military exercises—likely in preparation in case of a future Tang or Silla invasion.  Recall we discussed in Episode 126 how the choice of Afumi as a capital site might have been related to its defensibility in the event of such an invasion. At the same time, the court entertained Emishi envoys, and the toneri, by royal command, held banquets in various places. There is also mention of a shore-pavillion, presumably at Lake Biwa, where fish of various kinds came, covering the water.  Interestingly enough, there is another story of a “shore pavilion”, likely the same one, in the Fujiwara Family Record, the Toushi Kaden.  We are told that Prince Ohoama – Naka no Oe's younger brother spiked a large spear through a plank of wood in some kind of feat of strength.  This apparently shocked Naka no Oe, who saw it aa  kind of threat—perhaps seeing that his five-years younger brother was still hale and healthy.  Granted, Naka no Oe was only in his 40s, but his brother Ohoama was in his later 30s.  We are also told that at this time, in 668, Naka no Oe was apparently not doing so well, with people wondering if he would be with them much longer. The Toshi Kaden account seems rather surprising in that it claims Naka no Oe was so shocked by this proof of his brother's vitality that he wanted to have him put to death, suggesting to me that he felt that Ohoama might be a threat to him and his rule.  Ultimately, though, he was talked out of this by his old friend, Nakatomi no Kamatari – the one whom he had plotted with to overthrow the Soga, and whose relationship was initiated by an interaction on the kemari field, as we discussed in Episode 106. Speaking of whom: Nakatomi no Kamatari was still Naijin, the Inner or Interior Minister, and so  quite prominent in the administration. In the 9th month, as a Silla envoy was visiting the court, Kamatari sent Buddhist priests Hoben and Shinpitsu to present a ship to the Prime Minister of Silla, which was given to the Silla envoy and his companions, and three days later, Fuse no Omi no Mimimaro was sent with a ship meant for the King of Silla as well. This incident is also recounted in the Toshi Kaden.  In this case it says that the people, hearing about the gifts to Silla, were quite upset.  After all, it stands to reason:  Yamato was still smarting from their defeat at the hands of Tang and Silla forces, and building up defenses in case of an attack.  They'd also taken in a number of Baekje nobles and families, who may have also had some influence on the court.  We are told that Kamatari himself excused all of this by stating that “All under heaven must be the sovereign's land.  The guests within its borders must be the sovereign's servants.”  In this case, all under heaven, or “Tenka”, is a common phrase used to describe a monarch's sovereignty over everything in the land.  And so, while Silla envoys were in Yamato as guests, they also fell under similar rules, and as such were considered, at least by Yamato, as the sovereign's servants and thus worthy of gifts. The Silla envoys stayed for over a month.  They finally departed by the 11th month of 668, carrying even more gifts, including silk and leather for the King and various private gifts for the ambassadors themselves.  The court even sent Chimori no Omi no Maro and Kishi no Woshibi back with the envoy as Yamato envoys to the Silla court. This all tells us that just as the Tang were working to woo Yamato, Silla was likely doing so as well.  And while Yamato might still begrudge the destruction of Baekje, they also had to face the political reality that Baekje was probably not going to be reinstated again—especially not while the Tang government was occupying the peninsula. So making nice with both Tang and Silla was prudent. Furthermore, though they had been visited by Goguryeo envoys earlier that year, Yamato may have had some inkling that Goguryeo was not in the most powerful position.  Ever since the death of Yeon Gaesomun, the Goguryeo court had been involved in infighting—as well as fighting their external enemies.  One of Gaesomun's sons had been exiled and had gone over to the Tang, no doubt providing intelligence as well as some amount of legitimacy.  What they may not have known was that as Yamato was hosting the Silla envoys, a new assault by the Tang-Silla alliance was advancing on Pyongyang and setting siege to the city.  The Nihon Shoki records that in the 10th month of 668 Duke Ying, the Tang commander-in-chief, destroyed Goguryeo. This would dramatically change the international political landscape.  Tang and Silla had been triumphant—Yamato's allies on the peninsula had been defeated, and what we know as the “Three Kingdoms” period of the Korean peninsula was over.  However, the situation was still fluid.  The peninsula was not unified by any sense of the imagination.  The Tang empire had their strategic positions from which they controlled parts of the peninsula and from which they had been supplying the war effort against Goguryeo.  They also likely had to occupy areas to ensure that nobody rose up and tried to reconstitute the defeated kingdoms.  In fact, there would be continued attempts to revive Goguryeo, as might be indicated in the name we use: by the 5th century, the country was actually using the name “Goryeo”, a shortened form of “Goguryeo”, but we continue to refer to it as “Goguryeo” to distinguish it from the country of the same name that would be established in 918, laying claim to that ancient Goguryeo identity. A bit of spoilers, but “Goryeo” is where we would eventually get the name that we know the region by, today:  “Korea”.  In the Nihon Shoki it is referred to as “Gaori”. But none of that could have been known at the time.  Instead, there was no doubt some exuberance on the side of both Silla and Tang, but that would settle into something of unease.  With Baekje and Goguryeo destroyed, Silla may have thought that Tang would leave, allowing them to solidify their hold and manage those territories as an ally.  If this is what they thought, though, I'm not sure they had run it by the Tang empire just yet. In the Yamato court, there appear to have been separate factions: a pro-Tang faction, and also a pro-Silla faction.  We have to assume, based on the actions in the record at this time, that this was a ongoing debate. The last thing I'll note for the year 668 is attempted theft.  The Buddhist priest Dougyou stole Kusanagi, the famous sword forming part of the imperial regalia, and escaped with it.  Kusanagi, you may recall, was the royal sword.  It was named “Kusanagi” or “grass cutter” because it is said that when Prince Yamato Takeru was subduing the eastern lands, he was surrounded in a field that had been set on fire, and he used Kusanagi to create a firebreak by cutting down all of the grass around him.  The sword was given to him by Yamato Hime, the Ise Princess at the time, and it was thought to have been first found by the god Susanowo inside of the legendary Yamata no Orochi.  We talked about this in Episodes 16, 34, and 35.  Yamato Takeru left the sword in Owari, and it would eventually live there, at Atsuta Jingu, Atsuta Shrine, its traditional home. It isn't clear if Dougyou obtained the sword from Owari or if it was being kept in the capital at the time.  It would have likely been brought out for Naka no Oe's coronation, but then it would probably have been returned to the shrine that was holding it. Dougyou tried to head to Silla with his illicit goods, but wind and rain forced him to turn back around.  This is a fascinating story and there's a lot to dive into here. So first off, let's point out that this is supposed to be a Buddhist priest.  What the heck was going on that he was going to try to run a heist on what are essentially the Crown Jewels of the Yamato crown?  While the sword, mirror, and jewel were still somewhat questionable as the sole three regalia, they were clearly important.  We aren't given Dougyou's motives.  We don't know enough about him.  Was he anti-Yamato or anti-Naka no Oe?  Was he actually a Buddhist priest of his own accord, or was he a priest because he was one of those who had been essentially conscripted into religious orders on behalf of some powerful noble?  Was he a Buddhist who wanted to attack the hold of the kami? Was he pro-Silla, or perhaps even a Silla descendant, trying to help Silla? Or was he just a thief who saw the sword, Kusanagi, as a valuable artifact that could be pawned outside of Yamato? That last possibility feels off.  While we aren't exactly sure what Kusanagi looked like, based on everything we know, the sword itself wasn't necessarily blinged out in a way that would make it particularly notable on the continent.    And if Dougyou and whoever his co-conspirators were just wanted to attack the Yamato government, why didn't he just dump Kusanagi in the see somewhere?  He could have destroyed it or otherwise gotten rid of it in a way that would have embarrassed the government. It seems mostly likely that this theft had something to do with pro-Silla sentiment, as if Silla suddenly showed up with the sword, I imagine that would have been some diplomatic leverage on the Yamato court, as they could have held it hostage.  In any case, the plan ultimately failed, though the Chronicles claim it was only because the winds were against him—which was likely seen as the kami themselves defending Yamato. On to a new year.  At the start of 669, Prince Kurikuma (who we mentioned above) was recalled to the capital and Soga no Akaye was appointed governor of Tsukushi. We mentioned Akaye a couple of episodes back.  He was involved in the broken arm-rest incident, where Prince Arima was plotting against Takara Hime, aka Saimei Tennou, and Akaye's daughter Hitachi no Iratsume, was one of the formal wives of Naka no Oe, who would give birth to the princess Yamabe. Now Akaye was given the position of governor of Tsukushi. This position is an interesting one throughout Japanese history.  In many ways it is a viceroy—the governor of Tsukushi has to effectively speak with the voice of the sovereign as the person responsible for overseeing any traffic to and from the continent.  This also was likely a highly lucrative position, only handed out to trusted individuals. However, it also meant that you were outside of the politics of the court.  Early on that was probably less of a concern.  At this time, court nobles were likely still concerned with their traditional lands, which created their economic base, meaning that the court may have been the political center, but there was still plenty of ways to gain power in the archipelago and it wasn't solely through the court.  Over time, as more and more power accrued to the central court government, that would change.  Going out to manage a government outpost on the far end of the archipelago—let alone just going back to manage one's own estates—would be tantamount to exile.  But for now, without a permanent city built up around the palace, I suspect that being away from the action in the capital wasn't quite as detrimental compared to the lucrative nature of a powerful position.  Later, we will see how that flips on its head, especially with the construction of capitals on the model of those like Chang'an. For now, new governor Soga no Akaye was likely making the most of his position.  On that note, in the third month of 669, Tamna sent their prince Kumaki with envoys and tribute.  They would have come through Tsukushi, and Soga no Akaye likely enjoyed some benefits as they were entertained while waiting for permission to travel the rest of the way down to the Yamato capital.  The Tamna embassy did not exactly linger at the court.  They arrived on the 11th of the 3rd month, and left one week—seven days—later, on the 18th.  Still, they left with a gift of seed-grain made to the King of Tamna. On their way out, they likely would have again stopped in at Tsukushi for provisions and to ensure that all of their business was truly concluded before departing. A couple of months later, on the 5th day of the 5th month, we see another hunting party by Naka no Oe.  This seems to have been part of the court ritual of the time for this ceremonial day.  This time it was on the plain of Yamashina.  It was attended by his younger brother, Crown Prince Ohoama, as well as someone called “Fujiwara no Naidaijin” and all of the ministers. “Fujiwara no Naidaijin” is no doubt Nakatomi no Kamatari.  This is an interesting slip by the Chroniclers, and I wonder if it gives us some insight into the source this record came from.  Kamatari was still known as Nakatomi at the time, and was still the Naidaijin, so it is clear they were talking about him.  But historically his greatest reputation is as the father of the Fujiwara family, something we will get to in time.  That said, a lot of the records in this period refer to him as “Fujiwara”.  We've seen this previously—because the records were being written later they were often using a more common name for an individual, rather than the name—including title—that the individual actually would have borne at the time of the record.  This really isn't that different from the way we often talk about the sovereigns using their posthumous names.   Naka no Oe would not have been known as “Tenji Tennou” during his reign.  That wouldn't be used until much later.  And yet, many history books will, understandably, just use the name “Tenji” because it makes it clear who is being talked about. This hunting trip is not the only time we see the name “Fujiwara” creep into the Chronicles a little earlier than accurate: we are told that only a little later, the house of “Fujiwara” no Kamatari was struck by lightning.  But that wasn't the only tragedy waiting in the wings.  Apparently, Kamatari was not doing so well, and on the 10th day of the 10th month, his friend and sovereign, Naka no Oe, showed up to pay his respects and see how he was doing. Ever since that fateful game of kemari—Japanese kickball—the two had been fast friends.  Together they envisioned a new state.  They overthrew the Soga, and changed the way that Japan even conceived of the state, basing their new vision off continental ideas of statehood, governance, and sovereignty.  Now, Kamatari was gravely ill. What happens next is likely of questionable veracity Sinceit is unlikely that someone was there writing down the exact words that were exchanged, but the Chronicles record a conversation between the sovereign and his ill friend.  And the words that the Chroniclers put in their mouths were more about the image that they wanted to project.  According to them, Naka no Oe praised his friend, and asked if there was anything that he could do. Kamatari supposedly eschewed anything special for burial arrangements.  He supposedly said “While alive I did no service for my country at war; why, then, should I impose a heavy burden on it when I am dead?”  Hard to know if he actually felt like that or not, or if thr Chroniclers were likening him to  Feng Yi of the Han dynasty, the General of the Great Tree.  He was so-called because he would often find a tree to take time to himself.  He likewise was renowned for his dislike of ostentation, much like Kamatari foregoing a fancy burial mound. Five days later, Naka no Oe sent Crown Prince Ohoama to Kamatari's house to confer on him the cap of Dai-shiki, and the rank of Oho-omi.  They also conferred on him and his family a new surname:  Fujiwara, and so he became Fujiwara no Daijin, the Fujiwara Great Minister.  The next day he died.  One source known as the Nihon Seiki, said that he was 50 years old, but according to the Chronicles there was an inscription on his tomb that stated he died at age 55. Three days later, we are told that Naka no Oe went to the house of the now late Fujiwara no Naidaijin, and gave orders to Soga no Akaye no Omi, declaring to him his gracious will and bestowing on him a golden incense-burner.  This is somewhat odd, because as we were just talking about, Soga no Akaye had been appointed governor of Tsukushi, though the Toshi Kaden claims that it was actually Soga no Toneri who was in Tsukushi—but these could also mean the same people.  Why this happened right after Kamatari's death suggests to me that Soga no Akaye may have had something to do with the arrangements for Kamatari's funeral or something similar. Let's talk about this whole incident.  There are many that think the Nihon Shoki has things a bit out of order, and on purpose.  Specifically, it is quite likely that the name “Fujiwara” was actually granted after Kamatari's death, and not on the day of, as it has here.  He may even have been posthumously elevated.  But since the Fujiwara family would go on to be quite powerful, the order of events and how they were recorded would have been very important in the 8th century. By naming Kamatari's line the Fujiwara, the court were effectively severing it from the rest of the Nakatomi.  The Nakatomi family would continue to serve as court ritualists, but the Fujiwara family would go on to much bigger and better things.  This change also likely meant that any inheritance of Kamatari's would go to his direct descendants, and that a brother or cousin couldn't necessarily just take over as the head of the household.  So it's very possible that this “setting apart” of the Fujiwara family immediately upon Kamatari's death is a later fiction, encouraged by the rising Fujiwara themselves, in an attempt to keep others from hanging on to their coat tails, as it were. Also a quick note about the idea that there was an inscription on Kamatari's tomb.  This is remarkable because so far, we have not actually found any such markers or tombstones on burials prior to this period.  We assume that they would have been stone or wood markers that were put up by a mound to let you know something about the person who was buried there.  Over time, most of these likely wore away.  But it is interesting to think that the practice may have had older roots. The death of Kamatari wasn't the only tragedy that year.  We are also told that in the 12th month there was a fire in the Treasury, and that the temple of Ikaruga—known to us as Houryuuji, the temple built by Shotoku Taishi—also was burnt.  It isn't said how bad, but only three months later, in 670, another fire struck during a thunderstorm, and we are told that everything burned down—nothing was left. That said, it seems that they may have been able to reuse some of the materials.  I say this because an analysis of the main pillar of the pagoda in the western compound suggests that the tree it came from was felled in 594. The rest of 699 included some less dramatic events. For instance, in the 8th month, Naka no Oe climbed to the top of Takayasu, where he took advice as to how to repair the castle there.  The castle had been built only a couple of years earlier, but already needed repairs.  However, the initial repair project had been abandoned because the labor costs were too much.  The repairs were still needed, though, and they carried out the work four months later in the 12th month, and again in the 2nd month of the following year, and that stores of grain and salt were collected, presumably to stock the castle in case they had to withstand a siege. I suspect that the “cost” of repairing the castle was mostly that it was the 8th month, and the laborers for the work would have to be taken away from the fields.  By the 12th month, I can only assume that those same laborers would be free from their other duties. Speaking of costs, sometimes the Chronicles really make you wonder what was going through the mind of the writers, because they noted that the Land-tax of the Home Provinces was collected.  Maybe this was the first time it had actually been instituted?  I don't know.  It just seems an odd thing to call out. There was also 700 more men from Baekje removed and settled in Kamafu—Gamou District—in Afumi.  And then there was a Silla embassy in the 9th month, and at some point in the year Kawachi no Atahe no Kujira and others were sent to the Tang court.  In response, an embassy from the Tang to Yamato brought 2000 people with them, headed by Guo Wucong, who I really hope was getting some kind of premiere cruiser status for all of his trips. The following year, 700, started out with a great archery meeting, arranged within the palace gate.  I presume this to mean that they had a contest.  Archery at this time—and even for years to come—was prized more highly than even swordplay.  After all, archery was used both in war and on the hunt.  It is something that even the sage Confucius suggested that people should practice.  It is also helpful that they could always shoot at targets as a form of competition and entertainment. Later, on the 14th day of the 1st month, Naka no Oe promulgated new Court ceremonial regulations, and new laws about people giving way on the roads.  This rule was that those of lower status should get out of the way of those of higher status.  Funnily enough, in the description of Queen Himiko's “Yamateg”, back in the 3rd century, this was also called out as a feature of the country.  It is possible that he was codifying a local tradition, or that the tradition actually goes back to the continent, and that the Wei Chroniclers were projecting such a rule onto the archipelago.  I'm honestly not sure which is which.  Or perhaps they expanded the rules and traditions already in place.  There were also new laws about prohibiting “heedless slanders and foul falsehoods”, which sounds great, but doesn't give you a lot to go on. The law and order theme continues in the following month.  A census was taken and robbers and vagabonds were suppressed.  Naka no Oe also visited Kamafu, where he had settled a large number of the Baekje people, and inspected a site for a possible future palace.  He also had castles built in Nagato in Tsukushi, along the route of any possible invasion from the Korean peninsula. In the third month, we have evidence of the continued importance of kami worship, when they laid out places of worship close to Miwi mountain and distributed offerings of cloth.  Nakatomi no Kane no Muraji pronounced the litany.  Note that it is Nakatomi no Muraji—as we mentioned, the Nakatomi would continue to be responsible for ceremonial litany while the Imibe, or Imbe, family would be responsible for laying out the various offerings. Miwi would seem to be the same location as Miidera, aka Onjou-ji, but Miidera wouldn't be founded for another couple of years. In the 9th month of 670, Adzumi no Tsuratari, an accomplished ambassador by this point, travelled to Silla. Tsuratari had been going on missions during the reign of Takara Hime, both to Baekje and to the lands across the “Western Seas”.  While we don't exactly know what transpired, details like this can help us try to piece together something of the relative importance of the mission. In the last entry for 670, we are told that water-mills were made to smelt iron.  If you are wondering how that works, it may have been that the waterwheel powered trip hammers—it would cause the hammer to raise up until it reached a point where it would fall.  Not quite the equivalent of a modern power hammer, it still meant that fewer people were needed for the process, and they didn't have to stop just because their arms got tired. The following year, 671, got off to a grand start, with a lot of momentous events mentioned in just the first month of the year. First off, on the 2nd day of the first month, Soga no Akaye – now back from his stint as governor of Tsukushi - and Kose no Hito advanced in front of the palace and offered their congratulations on the new year.  Three days later, on the 5th day, Nakatomi no Kane, who had provided the litany at Miwi, made an announcement on kami matters.    Then the court made official appointments.  Soga no Akaye was made the Sadaijin, or Prime Minister of the Left, and Nakatomi no Kane was made Prime Minister of the Right.  Soga no Hatayasu, Kose no Hito, and Ki no Ushi were all made daibu, or high ministers.  On top of this, Naka no Ohoe's son, Prince Ohotomo, was appointed as Dajodaijin. “Dajodaijin” is a new position that we haven't seen yet, and it is one of those positions that would only show up on occasion.  It is effectively a *Prime* Prime Minister.  They were considered superior to both the ministers of the left and the right, but didn't exactly have a particular portfolio.  The Ministers of the Left and the Right each had ministries under them that they were responsible for managing.  Those ministries made up the Daijo-kan, or the Council of State.  The Dajodaijin, or Daijodaijin, was basically the pre-eminent position overseeing the Council of State.  I suspect that the Dajodaijin seems to have been the evolution of the Naidaijin, but on steroids.  Nakatomi no Kamatari had administered things as Naidaijin from within the royal household, but the Dajodaijin was explicitly at the head of the State.  Of course, Prince Ohotomo was the son of Naka no Oe himself, and the fact that he was only 23 years old and now put in a place of prominence over other ministers who were quite likely his senior, is remarkable.  I wonder how much he actually was expected to do, and how much it was largely a ceremonial position, but it nonetheless placed Ohotomo just below his uncle, Crown Prince Ohoama, in the overall power structure of the court. Speaking of which, following the new appointments, on the 6th day of the year, Crown Prince Ohoama promulgated regulations on the behalf of his brother, Naka no Oe.  There was also a general amnesty declared, and the ceremonial and names of the cap-ranks were described in what the Chronicles calls the Shin-ritsu-ryo, the New Laws. Towards the end of the first month, there were two embassies, both from now-defunct kingdoms.  The first was from Goguryeo, who reportedly sent someone named Karu and others with Tribute on the 9th day, and 4 days later, Liu Jenyuan, the Tang general for Baekje sent Li Shouchen and others to present a memorial.  I'm not sure if the Goguryeo envoys were from a government in exile or from a subjugated kingdom under Tang and Silla domination.  The Tang general in Baekje was a little more transparent.  That said, that same month we are told that more than 50 Baekje nobles were given Yamato court rank, perhaps indicating that they were being incorporated more into the Yamato court and, eventually, society as a whole.  That said, the remains of the Baekje court sent Degu Yongsyeon and others with tribute the following month. This is also the year that Naka no Oe is said to have placed the clepsydra or water clock in a new pavilion.  We talked about this significance of this last episode.  We are also told that on the third day of the third month, Kibumi no Honjitsu presented a “water level”, a Mizu-hakari.  This would seem to be what it sounds like:  A way of making sure that a surface is level using water.  There is also mention of the province of Hitachi presenting as “tribute” Nakatomibe no Wakako.  He was only 16 years old, and yet we are told he was only one and a half feet in height—one shaku six sun, more appropriately.  Assuming modern conversions, that would have put him approximately the same height as Chandra Dangi of Nepal, who passed away in 2015 but who held the Guiness World Record for the world's shortest person at 21.5”—or 54 centimeters.  So it isn't impossible. The fact that he is called “Nakatomibe” suggests that he was part of the family, or -Be group, that served the Nakatomi court ritualists.  Unfortunately, he was probably seen more as an oddity than anything else at the time.  Still, how many people from that time are not remembered at all, in any extant record?  And yet we have his name, which is more than most. In the following month, we are also told that Tsukushi reported a deer that had been born with eight legs.  Unfortunately, the poor thing died immediately, which is unfortunately too often the case. And then the fifth day of the fifth month rolled around again. This year there was no hunting, but instead Naka no Oe occupied the “Little Western Palace” and the Crown Prince and all of the ministers attended him.  We are told that two “rustic” dances were performed—presumably meaning dances of some local culture, rather than those conforming to the art standards passed down from the continent.  As noted earlier, this day would be one of the primary ceremony days of the later court. The following month, we are told that there was an announcement in regards to military measures requested by the messengers from the three departments of Baekje, and later the Baekje nobles sent Ye Chincha and others to bring tribute.  Once again, what exactly this means isn't clear, but it is interesting to note that there were three “departments” of Baekje.  It is unclear if this was considered part of the court, or if this was Baekje court in exile managing their own affairs as a guest in Yamato. It is also interesting that they seem to have been traveling to the Yamato court while Li Shouchen was still there, sent by the Tang general overseeing Baekje.  That must have been a bit of an awkward meeting.  We are told that they all took their departure together on the 11th day of the 7th month.  Does that mean they left with the Tang envoy?  Was the Tang inviting some of them to come back?  Or just that they all left the court at the same time. The same month, Prince Kurikuma was once more made Governor of Tsukushi—or possibly made governor the first time, depending on whether or not you think the Chronicles are accurate or that they pulled the same event twice from different sources.  We are also told that Silla sent envoys with gifts that included a water buffalo and a copper pheasant for the sovereign. The 8th month of the year, we hear that Karu of Goguryeo and his people took their leave after a seven month long visit.  The court also entertained the Emishi.  Two months later, Silla sent Kim Manmol and others with more tribute, but this envoy likely found a different feeling at court. And that is because on the 18th day of the 8th month, the sovereign of Yamato, Naka no Oe, took to his bed, ill.  There was a ceremony to open the eyes of 100 Buddhas in the interior of the palace, and Naka no Oe sent messengers to offer to the giant Buddha of Houkouji a kesa, a golden begging-bowl, an ivory tusk, aloeswood, sandalwood, and various objects of value, but despite any spiritual merit that may have accrued, it didn't seem to work.  Naka no Oe's illness continued to grow more serious.  He would continue to struggle for another two months, until, on the 3rd day of the twelfth month, Naka no Oe, aka Tenji Tennou, sovereign of Yamato, passed away. For all that we should be careful to avoid the “Great Man” theory of history, it is nonetheless hard to deny that Naka no Oe had an incredible impact on the country in his days.  From start to finish, while one could argue that many of the reforms were simply a matter of time as the archipelago absorbed more and more ideas from across the straits, Naka no Oe found himself in the middle of those reforms.  The Yamato State would never be the same, and he oversaw the birth of the Ritsuryo state, a new state nominally based on laws and rules, rather than just tradition.  It may not be entirely clear, but he also helped inculcate a new sense of the power of the sovereign and of the state, introducing new cultural imaginaries.  Yamato's reach wasn't just vague boasting, but by instituting the bureaucratic state they were able to actually expand the reach of the court farther than any time before. And through those changes, Naka no Oe had, in one way or another, been standing at the tiller.  Now, he was gone, as were many of his co-conspirators in this national project.  Which leaves us wondering:  What comes next? Well, we'll get to that, but not right now.  For now, let us close this episode with Naka no Oe's own end.   Next episode, we can get into the power struggles that followed, culuminating in an incident known as the Jinshin no Ran:  The Jinshin war. Until then, thank you once again for listening and for all of your support. 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.  

Exklusiv zum 10. Jubiläum von The Witcher 3 verrät uns Mikołaj Szwed, der Lokalisierungschef von CD Projekt, warum man für Geralt kreativ fluchen musste und welche Geheimnisse die Synchro birgt.

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ ✅番組時間：59分02秒 ✅出演：ジャーマネ・tsZ・あくとん・蛇草千尋・ぴぃ 2005年にスタートして、ついに700回。 みなさんのおたよりだけが頼りなこの番組。 回替わりレギュラー陣がお送りします。 　 ✅コーナー： フリートーク 🟧投稿フォームはこちら。 https://forms.gle/DkTHQ38qNNWTPpta7 （新） https://ja-mane.com/form/ （旧・画像添付可能） 🟧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 ■2025年6月14日配信 #ラジオ #webラジオ #IOSYS #イオシス

Chip and Bryan talk to Nikki and Miko from Boots2Heels_Podcast about their show helping service members transfer to civilian life. Plus breaking news all through the show, the protests in LA draw Trump into a military crackdown. The courts ruled against him, and now stayed that. Israel bombed Iran while we were on air. Plus headlines, and the most amazing animal stories you can imagine.Become a supporter of this podcast: https://www.spreaker.com/podcast/chipchat--2780807/support.

WELCOME to Season 5 of the ⁠⁠WE GOT US NOW Podcast⁠⁠ series POWERED by ⁠⁠Chicago Beyond ⁠HOSTED by ⁠⁠Ebony Underwood⁠⁠For our 7th annual #KeepFamiliesConnected multimedia campaign series that runs from Mother's Day through Father's Day, WE spotlight voices from our community, and uplift our allies working across the field to create a just and equitable society that seeks to keep justice-impacted families connected.  S5 | EP5: MIKO UNDERWOOD ~ Fashion as a Bridge: Catalyzing Healing, Sustainability & Creative ExpressionMiko Underwood  is the award-winning  Founder / Designer of OAK & ACORN ~ Only for the Rebelles, the first sustainable brand in Harlem, NY.  A denim expert and innovator, with nearly twenty years of wash, product and brand development, Miko has become a leading voice in the sustainable denim space. She is committed to propelling the fashion industry into a more sustainable era where empowerment, cultural responsibility & accountability are at the forefront. She is passionate in telling a more inclusive American Denim story by shining a light on the UNTOLD HISTORY of the Indigenous American and the enslaved Africans contributions that have shaped American manufacturing and American Denim. Miko noticed firsthand the devastating environmental effects of manufacturing denim, inspiring her to research and innovate sustainable alternatives.Her work in Denim has won her industry accolades including a feature in VOGUE  & other global recognition. The CEO of Council of Fashion Designers of America (CFDA), Stephen Kolb, recommended Miko as WGSN Future Designer 2021.  And she was voted as one of the most influential people in denim for the Rivet 50 2021, an annual index of the most influential people in denim globally.  Miko is also the 2021 WINNER of RIVET + PROJECT AWARDS: Best Men Collection. She garnered support from fashion organizations like Harlem's Fashion Row, RAISEfashion & is a CFDA/Bethann Hardison Designer Hub Grant Recipient and Designer Hub Founding Member. OAK & ACORN was one of 6 brands featured in Nordstrom NYC's Black Founders x Center Stage Pop-Up in February 2020. The brand made history in Nordstrom as the first Black Designer Brand on the Designer 4th Floor in their New York City Flagship. OAK & ACORN ~ Only for the Rebelles has been listed as “Label to Watch” by The SPINOFF, HIGHSNOBIETY, HYPEBAE and most recently was highly recommended by Essence Magazine's, EssenceGu "Look to Shop" for BEYONCE's Cowboy Carter Tour. In this episode, Miko takes us along her personal journey and shares who and what sparked fashion and denim design for her. She gives insights into the creative process of fashion design, the importance of sustainability, and how her passion for art & design has been a healing catalyst for spiritual, transformation and creative expression.This insightful episode is deeply introspective and inspiring!FOR MORE INFORMATION, GO TO: ⁠⁠WEGOTUSNOW.org⁠ ⁠|⁠⁠ Instagram⁠⁠ LISTEN to the WE GOT US NOW Podcast on ApplePodcasts , Spotify and all podcasts platforms.#WEGOTUSNOW #Fashion #Artist #Sustainability #Denim #History #OakandAcorn #OnlyFortheRebelles #ArtistisTheHealer #Designer #MikoUnderwood #Craftsmanship #Creative #CreativeExpression #Incarceration #Daughter #Father #Mother #Family #WeGotUsNowCommunity