Podcasts about Miko

Toruńska architektura XX wieku rozwijała się w cieniu ceglanego gotyku, tworząc z nim intrygujący sojusz w mniej lub bardziej oczywisty sposób. W okresie międzywojennym lokalni twórcy poszukiwali formy, która z jednej strony manifestowałaby nowoczesność odrodzonego państwa, z drugiej zaś szanowała historyczną tkankę dawnego imperium hanzeatyckiego. Powstał wówczas unikatowy nurt modernizmu narodowego i klasycznego, umiejętnie cytujący zastane wątki ceglane. Kolejny zwrot nastąpił w roku 1973. Wielki jubileusz 500-lecia urodzin Mikołaja Kopernika stał się pretekstem do totalnej transformacji przestrzennej miasta. Powojenne realizacje zerwały z dawną skalą, wprowadzając do architektury kosmiczne motywy, sztukę i rozległe kompozycje urbanistyczne.

  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. Hosts Miko Lee & Guest Host Mia Nakano celebrate Bayanihan in Ballhalla. Bayanihan is a core Filipino cultural value of community unity, and Balhalla is the home arena of the Golden State Valkyries. Apex Express was invited to join Filipino Heritage Night at the Valkyries game. We speak with the community behind this cultural celebration. That includes Al Perez, artists Venazir Martinez and Kristian Kabuay, and coach Carolyn Sideco about the history of Philippines and basketball. Links for more information: More information on our guests: Golden State Valkyries Al Perez, President of the Filipino American Arts Exposition Artist Venazir Martinez DJ P-LO Cultural Practitioner Kristian Kabuay Carolyn Sideco Coaching Kapwa Raquel Redondiez SOMA Pilpinas     Show Transcript: [00:00:00] Opening: Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express. [00:01:13] Miko Lee: Welcome to Apex Express. I'm your host, Miko Lee, and tonight is Bayanihan in Ballhalla. Bayanihan is a core Filipino cultural value of community unity, and Balhalla is the home arena of the Golden State Valkyries. Apex Express was invited to join Filipino Heritage Night at the Valkyries game. Tonight, please join me and my guest host, Mia Nakano, as we speak with the community behind this cultural celebration. That includes Al Perez, artists Venazir Martinez and Kristian Kabuay, and coach Carolyn Sideco about the history of Philippines and basketball. Join us. Today I have the honor of having my bestie with me who's gonna co-host Welcome to Apex, Mia Nakano.  [00:01:59] Mia Nakano: Hi, Miko. Thank you for having me.  [00:02:01] Miko Lee: I was invited to a Valkyries game, and I said, “Oh, my gosh, I need somebody with me that can speak basketball.” And so I thought of you.  [00:02:10] Mia Nakano: And here we are. And the Valkyries do put on a show. That's one of the things that makes them so great.  [00:02:15] Miko Lee: Yeah, it was super fun. It was Filipino Heritage Night, and so we got a chance to talk with the different artists that are there, what is the night about, what's the cultural celebration. What were some of the things that stood out to you?  [00:02:28] Mia Nakano: I think that it really got to the roots of, one, what a great sports city San Francisco and then just the broader Bay Area is, and two, the deep connections to the Filipino community that exists within the Bay Area. When you look at how historically the Warriors really came up and the fan shots from when they were at Oracle Arena, the huge fan base that was there initially was the Filipino community. To see that translate in a very different way as the Valkyries are coming up in the WNBA as this incredible team, second year, on their way to probably making the playoffs for the second year in a row, bringing that community back, particularly with all the connections of the artists, the activations, and even the food that they have in Chase Arena brings it full circle. [00:03:26] Miko Lee: Having Natalie Nakase as the coach there is so powerful and important representation for Asian Americans as well. The other thing that stood out to me was I did not know there was this history of basketball in the Philippines, and then to talk to the different guests on our show tonight about what that history represents, where it comes from, the connection to colonization, and then also how it's really developed into its own cultural phenomena in the Philippines. [00:03:55] Mia Nakano: I played basketball- All throughout junior high and high school and was very immersed in it in Southern California, but I had no idea that basketball was the national sport of the Philippines. After we came back from the game, I did a little a bit of a deep dive, and it was really wonderful to see that it actually started in the Philippines as a women's sport? And it was making sports more accessible to folks, and also very clearly connected to,, roots of colonization and religion. But to still have that anchor and connection there, and then this interesting juxtaposition where right now there has still never been a Filipina player in the WNBA. There are folks who people really thought were almost gonna make it. So there's still that one last phase that they need to break into this sport that is their national sport, but in the United States they're not quite there yet in terms of representation.  [00:04:55] Miko Lee: And talking with Coach Caroline, which people can hear later in the episode, about that history and how it was intended to be this women's sport in the Philippines because it was easier. They thought they'd give it to the women to play. But the men were watching going like, “Oh, this looks fun. This looks more fun than baseball. So it really just took off. I love that transition for that it went and across the country. A few of our guests talked about tenement basketball courts. It's just so wildly different from this country.  [00:05:25] Mia Nakano: I think that that is contextually just how sports are played in a lot of different countries in the world where they don't have access. When you think about people playing football, right, like soccer, in different areas where they are playing barefoot. They are playing in dirt or, like, fields that are not necessarily fields. I think that in the context of playing basketball differently in the Philippines versus the United States or even in European leagues, when the United States goes to play in the Olympics, even though you have the USA women's team, USA men's teams who are supposed to be the best of the best in the world, the way that the game is played at that particular level and arena is quite different. And so they all have to adjust to the physicality, to how calls are called just slightly differently. With smaller players in the WNBA what I find really incredible, and this is what Carolyn talks about a little bit, is like the layup packages? When you get close to the rim, you don't have a Filipino who just goes up and makes a regular layup. They do it with flair, right? There's a part of that maybe is a little bit of showmanship, but also it's a part of trying to sneak your way around bigger players so that you can get the basket. And anybody that you play against, even in a league that is familiar to you, you're gonna have to change your game up, and play to your strength, and also just know what you can't do in the game, and go to another person who has more of those strengths  [00:07:03] Miko Lee: One of the other things that stood out to me in talking with one of the artists, Christian, who was there in the outside, in the cultural area, and he was doing, pre-Filipino writing with folks, and we'll interview him later in the episode. He was saying how he does this activity at a lot of different games, but it was very different. That was the first time at the Valkyries, and he said the crowd was so different, that it felt like back in the day. It felt like community. There weren't tech bros. You feel like it, The audience was way more women, As someone that goes to Warriors' and Valkyries' games, do you notice a difference in the audience?    [00:07:41] Mia Nakano: The first Valkyries game that I had the opportunity to go to last year was their Pride Night, and that is the game that my wife and I always go to for the Warriors. It's a special feeling there. I noticed there was a whole parking lot area for strollers on different levels. There was such great energy, and people just talking about the game, people cheering or rooting for players on the other team. There was not a lot of negative energy going around. When Christian mentions, the tech bro energy, the people rolling around with Patagonia shirts, and sweatshirts, that is so true. You truly feel this family environment that's also very queer friendly. There's so many folks of color, and they're not just there because the team's winning, because last year we didn't know if the team was gonna win or not. They were just showing up. The Valkyries have really created such a strong culture that is team based. That's what you see with the Valkyries, but I also think that that's a testament to the coach, to the players, who really trust in one another, and to the community that we have in the Bay Area. I think even the players did not understand when they came here what they were stepping into, and they talk about talking to other players on opposing teams who are like, “Is it always like this? Is it every night?” They're like, “Every single night, this is how our fans are, and we love it.”  [00:09:14] Miko Lee: So it's in different WNBA hometowns it's not like that? [00:09:18] Mia Nakano: Absolutely not. The Valkyries have sold out every single game from day one. They are the first WNBA team, and I think the first women's professional sports team, to reach $100 billion in valuation. then you see other teams, like the Atlantic Dream, who are playing in arenas of 3,500, or the Dallas Wings, who are playing in much smaller arenas, even though they have all these franchise players like Angel Reese and Paige Bueckers and AZ Fudd. The Dallas Wings are actually moving to the same arena that the Mavericks are gonna play in next year. It's an interesting juxtaposition given where the context of our world is at, who's in office right now, the battles that we're having to fight to keep women's rights, queer rights, trans rights in the forefront and not have them stripped away. Yet on the other side of this, we have this huge, meteoric rise of women's sports, and it's not just basketball. It's baseball. It's hockey. It's all these different leagues that are starting to emerge and have huge fan bases where you can watch women's professional sports all year round. They're nationally televised games. [00:10:31] Miko Lee: Thank you for the history lesson and current events of women's sports. I love it. One of the other things that was really special for this Filipino heritage night was the halftime show where they had DJ P-Lo playing. And then they brought onto the court, the director of SOMA Pilipinas, Raquel Redondiez, and she runs San Francisco's Filipino Cultural Heritage District. She got her name on a Valkyries jersey, and was announced in the halftime moment as a big show. [00:11:05] Mia Nakano: I had a conversation with her said, ” the work that you are doing, particularly in this moment, bringing together the artists, the culture of Filipinos and Filipino history is so critical right now because so many of our communities, cultures, and stories are getting erased, that we are the culture bearers and culture keepers, and so thank you for doing that work.” [00:11:31] Miko Lee: SOMA Pilipinas, for those that don't know, was established as a Filipino cultural heritage district in 2016 and was one of the first in the state designated as an arts district by California Arts Council in 2017. So they do so much great work, they host great things from the, United States of Asian America Festival every year. Self-defense workshops for women. I've taken those in Kapwa Gardens that were amazing. They do mental health services for Filipino folks and provided groceries and COVID education and, Filipino language training, and then artists, as you were saying. They pulled together all these different folks, for this wonderful night to introduce a sense of heritage and a sense of pride that was really powerful. [00:12:19] Mia Nakano: , It's a really lovely connection back to the Filipinos banding together with Chinese American folks in Chinatown that really helped create the broader Asian American movement and what that word and power even means. [00:12:38] Miko Lee: From the I-Hotel to today [00:12:40] Mia Nakano: exactly, and all of that being really anchored and rooted in San Francisco, as well as everything that Larry Itliong did with union organizing that I think has just recently started to get recognized in the broader social justice movement.  [00:12:58] Miko Lee: I'll put links to past shows that we've done on the I-Hotel, on Larry Itliong, because folks, if they don't know about either of those movement le- leaders and huge moments in our Asian American history, they should. It's powerful part of our labor and housing rights history. Were there other things that stood out to you at this Valkyries game? [00:13:20] Mia Nakano: I know that this is probably not gonna be a surprise to you, but the fact that we honestly just got to go behind the scenes and see the inner workings of what the Valkyries, the tunnels and getting lost and trying to figure out where we're going. [00:13:34] Miko Lee: It was a maze down there, by the way. It was like, which direction? Go to this press room. No, this press room. This place. It was very much kind of, in theater-wise, it's like going backstage and seeing how the tech is done.  [00:13:46] Mia Nakano: The thing that was the most exciting about this unique experience was being able to see Natalie Nakase talk after the game, and the snippet in here is really incredible because it shed light into not just who she is as a coach and how she approached the game, but her investment in people, and the importance of seeing people for their full selves, and the importance of the whole WNBA as a league, as a business. They have a lot of money and power, so who are we gonna lift up? It's a always a very intentional choice of what is happening at Chase Arena, at the Valkyries nights, these heritage nights that really uplift so many wonderful communities that are doing incredible work.  [00:14:36] Miko Lee: We're gonna get a chance to do an interview with Coach Natalie in a different episode, so stay tuned for that. Is there anything else that you would like to share with our audience?  [00:14:45] Mia Nakano: Go see a Valkyries game. Go to Balhalla. It will change your life.  [00:14:50] Miko Lee: Experience Balhalla. Okay. Thank you for joining me, and hopefully you'll join me back when we do an interview with Coach Natalie too.  [00:14:59] Mia Nakano: Oh, absolutely.  [00:15:00] Miko Lee: To frame the conversation, we start with Valkyries coach Natalie Nakase, the first Asian American woman to coach a WNBA team. Last year, she was named WNBA Coach of the Year, and at the post-game presser, a reporter asked her, “Tonight is Filipino National Heritage Night, so can you talk a little bit about what it means for fans to be seen around the league?” This is her response. [00:15:25] Natalie Nakase: Yeah. It's huge. I love the fact that we can celebrate and acknowledge different cultures. I'm really big on that. I think it gives people almost like a superpower or a confidence for, you know, the day to be recognized like that and to be celebrated for everything that their, their culture brings. it also, I think, educates people about different cultures. And so I love the fact that we're super intentional about that because I think we have to do that more than not. And, it's exciting. I think this world needs more celebration. I think this world needs more love, more care, especially when some people are not seen as much. [00:16:01] Miko Lee: In the very loud outdoor Chase Arena area, we spoke with several of the folks involved in Filipino Heritage Night at the Valkyries. Please note that the sound quality is due to the nature of being outside a really excited fan base at the game. First off, listen in as we hear from Al Perez, who helped to curate this community celebration. [00:16:23] Al Perez: Hello, my name is Al Perez. I am a community organizer. I'm serving as president of a nonprofit called the Filipino American Arts Exposition, and we partnered with the Valkyries to help curate their cultural activation for Filipino Heritage Night tonight. [00:16:41] Miko Lee: Since the Valkyries are named after women warriors, is there a Filipina version of a woman warrior? [00:16:48] Al Perez: Absolutely. We have one that's local. Her name is Victoria Manalo Draves. She was the first American woman to win two Olympic golds in the Olympics in nine- 1928. She happens to be Filipina-American. So yeah, she was born and raised here in, in San Francisco Bay Area, so we're very proud of her to be, to represent us and be the warrior and an inspiration for all of us.  [00:17:11] Miko Lee: Excellent. And since Valhalla or Valhalla is the space that we want to get to, what is the Filipino version of that place you want to see? [00:17:19] Al Perez: Wow. [00:17:20] Miko Lee: That perfect world you wanna get to. [00:17:21] Al Perez: I think for us, we have this tradition called bayanihan. That's when we help each other towards a common goal. Yes. No matter how Herculean that task is, it's just coming together to help each other. So it's not necessarily a destination. It's more like an attitude of, coming together as a community towards a common goal, towards a cultural pride and community empowerment. [00:17:46] Miko Lee: Great. And tell us what you're doing here today with all these groups. [00:17:47] Al Perez: So we have an outreach table here because we're part of the organizing committee to curate tonight's event. So we actually have an event next weekend called the Pistahan Parade and Festival. It's the largest Filipino cultural celebration in the country, happening August 8th and 9th at the Yerba Buena Gardens, so please come check us out. There's a big parade down Market Street on Saturday to kick off the festival weekend, and then the festival's at the Yerba Buena Gardens, 11 to 5. We're here to promote that event as well as all our other upcoming events in the fall. We're also curating the Filipino Heritage Night with the Golden State Warriors, with the Giants, San Jose Sharks, and San Jose Earthquakes. And then one more. October is Filipino American History Month in the country. So we also produce official celebration proclamation by the mayor at City Hall. So we have a reception, we have entertainment, and we light the City Hall building with Philippine flag colors.  [00:18:42] Miko Lee: And when folks are coming out to these Filipino nights, what should they expect? What's happening?  [00:18:47] Al Perez: Our goal is to be here to be in community, to help showcase our beautiful culture, our traditions. So when these events happen, we usually have, cultural performances, either a pre-game or a halftime. Tonight you're gonna see, P-Lo, a Filipino rapper and a hip hop singer. Here in the plaza we have some basketball hoops, because basketball is a big thing in the Philippines, our national sport. There's also, Sarap Shop is a concession inside. They have Filipino food there. Our goal is to get people a little taste of our Filipino culture, so hopefully they'll be inspired to, to learn more about our community and our culture. [00:19:29] Miko Lee: And what's your dream for the game tonight?  [00:19:31] Al Perez: Of course, to win, right? Number, yeah, number one, Valkyries to win. And also, I hope that people will come and learn about our culture, and to appreciate it more. Maybe it will inspire them to try some Filipino food, or even come to our Pistahan Festival next weekend. Also Señor Sisig is right here in the plaza. They also do fusion Filipino food. I'm hoping that, by being here, people can get to be a little bit more familiar and curious about Filipino culture and community. We have such a, vibrant and diverse culture, we love to be in community. Our food's delicious, and entertainment's fantastic. So come check us out wherever and whenever you can.  [00:20:14] Mia Nakano: I'm wondering if you could talk a little bit about the artists who are here and the community organizations that are here tonight.  [00:20:19] Al Perez: So there's several of us nonprofit organizations here. Our group's the Filipino American Arts Exposition, our mission is more about broadening awareness and deepening understanding of Filipino culture and traditions by doing these cultural events. There's another group here called Young Filipino Professionals Association, or YFPA. They're more about, , uplifting young entrepreneurs, young career-minded, individuals to help them on their path to being more successful. There's also SoMa Pilipinas Cultural District is here. That's a new, relatively new, neighborhood in San Francisco. You know, there's Chinatown, there's Japantown, there's North Beach, so now we also have a Filipino community. It's called SoMa Pilipinas, they're also celebrating their 10th anniversary this year as being, designated as a cultural district. There's also Venazir is a visual artist. She's doing live art mural here inspired by Filipino culture and the intersection of culture and basketball. So it's a great way for people to kind of learn about our fine arts, our visual arts, and our he- heritage. Kristian Cabuay is doing script writing of traditional pre-colonial Philippine script. You know, Chinese and Japanese have their own script writing. The Phi- Filipino community also did before we were colonized by Spain. It's kind of almost forgotten and almost wiped out, so there's a few people now that's trying to revive that, that old tradition of writing .. It's called Baybayin.    [00:21:42] Mia Nakano: Can you talk a little bit about the history or why basketball is the national sport of the Philippines?   [00:21:48] Al Perez: Yeah. It's interesting. Yeah, why is basketball the national sport? I'm not sure exactly, but I think it has to do when after the Philippines was colonized by Spain, and then it, the country became, a commonwealth of the United States, right? And during that time, a lot of Americans came to the Philippines, to establish educational institutions, and one of them is sports. It just got introduced to us, and somehow it clicked. Everybody loves basketball. No matter where you are in the Philippines, in every little barrio, every little town, there's always a game happening [00:22:21] Miko Lee: So are people playing in school, like they start in elementary school, or is it more community based?  [00:22:26] Al Perez: I think it's both. It's just kinda grow, ingrown when you're just a kid growing up in your community. There's always basketball around you, surrounded by basketball. And then of course in more, elementary, high school, it became more teams dynamic, and you got competitions , intramural games. Even between little neighborhoods and little towns, they also have competitions. It's really a big deal. In fact, they love NBA. All the American basketball players are so popular. Everybody knows who they are. [00:22:54] Miko Lee: Al mentioned artist Venazir Martinez, and we pulled her away from the beautiful mural she was creating to talk with us. Again, this is outside, so the sound is quite loud. Venazir is a muralist and a visual anthropreneur. She weaves a tapestry of narratives that explore the connections between human traditions and the ever-changing landscapes that shape them. Listen as she tells us about her work and how she utilizes a symbolic red thread [00:23:25] Venazir Martinez: I'm Venazir Martinez. I am a muralist and a visual entrepreneur, and I am invited to create a live painting for the Golden State Valkyries. [00:23:36] Miko Lee: What has inspired you to create this work of art? [00:23:39] Venazir Martinez: So first and foremost, of course, women empowerment, and we have a lot of very talented Filipino Americans who play basketball. In the Philippines, because I grew up in the Philippines, basketball is such a huge deal. Everywhere in the most promote areas in the Philippines, basketball is their way of enjoying themselves and just pretty much having a time of their life. Basketball tenements are everywhere in the most remote areas in the Philippines. There's this concept of Filipino resiliency that I wanted to incorporate in my work, there are basketball hoops that is made out of wood scraps and like discarded metals. I wanted to highlight that part of Philippine ingenuity. That's why I'm here is to just shed light on that beautiful concept of Filipino ingenuity that we have.  [00:24:40] Miko Lee: I love that. Thank you for sharing. Can you break down what a basketball tenement is?  [00:24:44] Venazir Martinez: Oh, basketball tenement. So tenement courts, these are,.. How do I say this? In America, there's basketball courts that is, like, roofed. Okay. With a roof, and-  [00:24:54] Miko Lee: Like in a gymnasium.  [00:24:56] Venazir Martinez: In a gymnasium, yes. But in the Philippines, anywhere can be a basketball tenement court. They'll just put up a basketball hoop in a pole, like an electricity pole, and they can already play basketball in that area. [00:25:12] Miko Lee: So their court's just made up anywhere. Yeah. Anywhere in the community.  [00:25:14] Venazir Martinez: Anywhere in the community, in the most remote areas in the Philippines, they do that all the time. I grew up in the Philippines, so, it's that really is an immersive experience of having to see basketball really change lives for young people in our community. [00:25:32] Miko Lee: So we're at a WNBA game, and I'm wondering if there was a woman basketball player that you looked up to when you were growing up.  [00:25:39] Venazir Martinez: Growing up, my dad plays basketball. That's the only experience I know that, remembering what basketball is like. ‘Cause I'm mostly in martial arts. But here I am trying to experience a different, like, more empowering way of sports. And it's when I came to America that I experienced this kind of really, it's kind of empowering.  [00:26:01] Miko Lee: And since the Valkyries are women warriors, is there a Filipina equivalent of the woman warrior? Is there a Filipina equivalent of a woman warrior? [00:26:01] Venazir Martinez: There's a lot. There's a lot of very empowering Filipina. First and foremost, it's the Filipina community leaders that I know of in the Bay Area. They are my women warriors. They helped me from the ground up. They created a home for me. They, you know, so they welcomed me. The filipina community in the Bay Area welcomed me. They're all women.  [00:26:31] Miko Lee: Who would you say are some of those folks, some of those women?  [00:26:34] Venazir Martinez: Sonia Villarin, she wears so many hats. She's president of Filipina Food Movement, founder of summer camp in the University of the Philippines Alumni Association in San Francisco. She was the, senior vice president for Bank of America Global Leasing, and she welcomed her home to me and, pretty much, helped me establish my life here as an artist. So those are my women warriors. [00:27:00] Miko Lee: And when people see your beautiful work, what do you want them to walk away with feeling? [00:27:05] Venazir Martinez: I want them to take a second look again in my work, because these, my work pretty much talks about Filipino immigrants, and immigration at large, and pretty much our contributions and the harvested hopes that we have contributed in this cultural landscape,  [00:27:28] Miko Lee: this show is a pop-up tonight, so where can folks find out more about your work or see your work in the community? [00:27:34] Venazir Martinez: I have a huge, huge mural, 2,500 square feet mural in 5th and Folsom in San Francisco, downtown San Francisco in SoMa. It's called Ani, meaning to harvest. There's one in downtown Santa Cruz. There is one in Yuba City. There are multiple murals in Michigan, in New York, mostly in Queens. It's pretty much everywhere, but if you follow the red thread, which is my signature, my artist signature, you'll know that it's my work.  [00:28:08] Miko Lee: Thank you so much. Thank you so very much. Appreciate you taking the time. Another artist presenting their work was Kristian Kabuay working on pre-Philippines calligraphy. His line was so long that we ended up interviewing him separately. Christian is an artist, entrepreneur, futurist who specializes in endangered writing systems and tattoos from the Philippines. Hello, and welcome to Apex Express. Can you tell me your name, your background and what you were doing at the Valkyries Filipino Heritage Night? [00:28:40] Kristian Kabuay: Yeah. My name is Kristian Kabuay. I'm a cultural practitioner specializing in our old, uh, pre-colonial, I say pre-Philippine, writing system and tattooing traditions. I was at the Valkyries, Filipino Heritage Night to interact with the community. I've done a lot of work with the Warriors, you know, going back to Oracle for these cultural nights, the Giants, as well. So most of the teams in the Bay Area, but it was my first time with the Valkyries, and it was quite different. [00:29:16] Miko Lee: How was it different?  [00:29:17] Kristian Kabuay: The vibe was, um… I'm telling everybody that it was my first Valkyries game, too. So the vibe was different. It reminds me of the old Oracle, it wasn't full of, like, tech money that are, you know, Patagonia vests watching the game. It felt very homegrown and it just brought me back to those days in old Oakland A's and when the Warriors were in Oracle. [00:29:42] Miko Lee: What does that evoke for you? What is that feeling like?  [00:29:46] Kristian Kabuay: It gives me a stronger sense of community and the audience is different. The demographics is different. There isn't that toxic male energy. I don't have to worry about someone being drunk and going off and, it was very homey and welcoming. It brings back, as a kid, when I used to watch A's games in the bleachers, watching at Oracle, the community, and not everyone was there to be seen. They were really there for the team.  [00:30:15] Miko Lee: Oh, I love that. I actually do feel like it is, it's such a we're together community vibe. [00:30:20] Kristian Kabuay: Yeah. They even had the wave. I know some snooty teams, they don't have the wave, so-  [00:30:26] Miko Lee: That wave went on for a long time, too.  [00:30:29] Kristian Kabuay: Exactly. I've been to a lot of games. They're, “Oh, I don't wanna look stupid,” or whatever? So that's a big part of my childhood.  [00:30:36] Miko Lee: So I was gonna try and talk with you at the game like I did the other artists, but you had a huge line waiting to see you and talk to you. Talk with me a little bit more about your art form and this pre-clo colonization form of writing.  [00:30:52] Kristian Kabuay: Yeah. Most civilizations had a writing system. It was prior to the land alphabet when the Spanish came and colonized the Philippines in the 1500s. We have this writing. There's only one ethnolinguistic group left in the Philippines that writes it. I come from a background of calligraphy, graffiti and abstract art. When I started to practice it, I incorporated those things. Later I found that I had to become an educator. Then starting to do the cultural festivals. Then you make your parents proud. It wasn't until I started to interact with the community that, there was this responsibility. I didn't come from a highly academic background, but I was being invited to Stanford and Berkeley to give talks about this. So, you know, that imposter syndrome kicked in. Because of the efforts that I've started in, 2010s, the idea of education around this specific writing system, my service isn't really needed. It's out there. Wikipedia, even AI can do it now, and there's a lot of influencers on TikTok that are, building on the stuff that I did 10 years ago. It goes in line with my idea of putting myself out of business. ‘Cause if it's a cultural practice, then you shouldn't be this gatekeeper, this apex of this this knowledge or this practice. It needs to be spread  [00:32:15] Miko Lee: What is the writing system called?  [00:32:17] Kristian Kabuay: A couple names. One of the popular names is Baybayin, and that literally means to spell. It's an adverb, but then it became a noun. So there's many different names depending on the languages in the Philippines.  [00:32:30] Miko Lee: And you said that there's a village of folks that still utilize it. Have you been there?  [00:32:34] Kristian Kabuay: Yeah, I was there in 2016 with a research trip. I stayed with them for a few days to learn, a bit about more about the culture and to donate some time and volunteer, 'cause there's the Mangyan Heritage Foundation. I did some technology work with them. But then also meet with the elders that were there. The village elder did an interview for a film project that I'm doing, but also met the heirs, the daughters in the family that ultimately inherited this practice. [00:33:02] Miko Lee: And so they know that you're teaching this cultural practice around the world, and what is their opinion of that? What do they think?  [00:33:09] Kristian Kabuay: They like it, because it's a different perspective, and a lot of questions. When I go home they go, “Oh, why are you interested in this?” It's a totally different perspective. ‘Cause out here, we have our identity, and the diaspora issues. But back home, because of circumstances, colonization, et cetera, then, the priority is to eat, to live, not to preserve these cultural practices. I've had some indigenous elders tell me that when People come over there, to do their dissertation and they need to figure out their paper to get their PhD. They ask them, “What are you doing to preserve this?” It's kind of extractive or, like, information gathering. Honestly, it really is you strip it down, it is, survival: food, clothing, and shelter.  [00:33:52] Miko Lee: When people were standing in line for you at the actual Valkyrie's game, what were they asking you to write? Were they asking you to write notes or their name, or what was the request?  [00:34:03] Kristian Kabuay: Yeah. Yeah, the line… I was telling people I've never had a line that long when I've done the Warriors. So- … you know, it's kind of different.  [00:34:10] Miko Lee: That's interesting. Just saying [00:34:11] Kristian Kabuay: Yes. I was writing mainly people's names- Mm um, and some words. Maybe a, a good third were non-Filipino, some were there just curious and asking and cultural sharing. Someone knows a Filipino and they go, “Oh, can you write mahal kita?” Like, I love you. And so, we pick up things, just here in the Bay Area. I have conversations with people wanna hear a family name that I never heard about. I say, “Whoa, where's your family from?” Kids learn the stories on how they combine names and some of the origins. It's always interesting when I do this with folks. [00:34:44] Miko Lee: I love that. And you're also a tattoo artist. Do you use some of this writing in your tattoo artistry?  [00:34:51] Kristian Kabuay: Yeah, I do. And that's where the separation between the art and the cultural practice is. Where the writing wasn't tattooed traditionally, but that's where I kind of balance the art. And I separate those two where art is my expression, my personal expression on paper or maybe even on a body, but a cultural practice is more about them and their lineage. So I have to be clear to make those two distinctions.  [00:35:20] Miko Lee: So a question I've asked all the different people that have been involved in this night is that the Valkyries are based on women warriors, and I wonder if there's a Filipina woman warrior that comes to mind to you? [00:35:32] Kristian Kabuay: Yeah, there is. There's one that, part of the lore. Where my dad's from, in his area called Pangasinan, the land of the salt. There's a princess warrior named Princess Urduja that was thought of as a great warrior. This specific Princess Urduja has that Valkyrie's spirit. All the artwork that you see and Academics will say, “Oh, it's you're romanticizing,” and things like that. But you know what? We need a little romance in our lives, right? And romance leads to action.  [00:36:03] Miko Lee: Ah, we certainly do. I'm wondering, with all those people, the long line that stood waiting for you, and you're having these conversations, what would you like them to walk away with after interacting with you?  [00:36:14] Kristian Kabuay: Yeah. That's why there was a sign, and I took a picture of it. It doesn't say, Philippine writing. So it says pre-Philippine calligraphy. I made that term up in 2007 as a way to jolt someone's idea of what pre-Hispanic, pre-colonial is. ‘Cause those things kinda just fly overhead. But if I said pre-Philippines, people, they take a step back and they, “What's that mean?” Or they try to have a smart comeback, “Well, what were we before then?” And my question's always then, “Well, I don't know. Let's talk about it.” That gray area, that being uncomfortable, leads to more curiosity, and ultimately, that's what I want folks to go ahead and, you know… oh, I have this banana leaf. I ran out of index cards. I brought 100 of them. I had these banana leaves that I just meant to decorate the table. I said, “You know what? Let me write on these banana leaves like how our ancestors did.” People are asking, “Oh, what, we wrote on banana leaves?” I'm all, “Yeah, we wrote on, organic materials.” So this thing is probably gonna wilt away in a few weeks or a month or so, but that's how it is. So it's a metaphor for our physical selves, but then also, the message. Maybe they can go ahead and learn how to write it themselves or until we reconnect again. [00:37:31] Miko Lee: Hmm. That's beautiful. And how can our audience find out more about you and your work?  [00:37:36] Kristian Kabuay: Yeah, you can just search for me online. My last name's K-A-B-U-A-Y. First name's Kristian, both with a K. All over the internets and the socials, pretty easy to find.  [00:37:46] Miko Lee: Thank you. And we'll put links to your website in our show notes, so thank you so much for chatting with me today. [00:37:52] Kristian Kabuay: Thanks, Miko [00:37:54] Miko Lee: I honestly didn't know that basketball was such a revered sport in the Philippines. So wanting to find out more, I reached out to a bunch of community folks, and multiple people said, “Reach out to Coach Carolyn Sudeco. She's the one. She's in the know.” So talking to me from her vacation spot halfway around the world is Coaching Kapwa's Carolyn Sudeco. Welcome, Carolyn Sideco, to Apex Express. I'm so happy to have you here.  [00:38:19] Carolyn Sideco: Thank you for having me.  [00:38:21] Miko Lee: Can you first start by telling me who are your people and what legacy do you carry with you? [00:38:27] Carolyn Sideco: Oh my gosh, my people are, collectively, folks who identify as, Philippinics, Filipina, Filipino, and American, and, migratory, and those who claim blood relation and those who I'm still looking for. I live in San Francisco, California, Ohlone land, and also in the land of Choctaw Bulbancha, which is New Orleans, Louisiana. Those are the two places I reside.  [00:39:04] Miko Lee: Can you share about your work with Coaching Kapwa?  [00:39:08] Carolyn Sideco: Coaching Kapwa is what I love to do, and my background professionally is as a certified athletic administrator. I'm a physical educator at the high school level by profession, by certification, by training. But really what I love to do, and so what I do in my consultancy, is I explore and I examine and I think about and learn about everything related to sports cultures and how the culture of sports in all its various ways affect our societies. Specifically, I geek out over learning about my own Filipino American histories and other peoples. Learning that through the concept or the constructs of culture and how sports really is, for me, the funnest way to investigate who I am and who we are to each other. I call myself a sports relationship coach. I am a sports cultures consultant. I also like to identify as a sports liberator. [00:40:16] Miko Lee: Ooh, can you break down what a sports liberator is? [00:40:20] Carolyn Sideco: Miko, I took that from a friend of mine, Danya Cabello, also from the East Bay. Played at Cal, played professionally, and when I first met her years ago, she identified as such, and I said, “That is exactly the kind of person that I wanna be, like, in sports.” I wanted sports to be a way that I could share with people who we are to one another. I wanted to teach young people that they can express themselves in a way that helps make them feel free. With my background in sports administration, I was feeling like the sports industrial complex was really the antithesis of that. And what a lot of people in my profession were striving for was this success that was not defined in the same way that I was defining what my liberation was, and what I felt through sports. So I adopted that. I asked Dania, “Can I call myself a sports liberator too?” And she said, “Girl, you call yourself whatever you want.” So that's what I go by.  [00:41:37] Miko Lee: Ooh, thank you for sharing. That's so interesting in the midst of our kind of capitalization of sports, how corporate it has become. Interesting. Thanks. I also wanted to thank you for sharing with me, Rafe Bartholomew's Hoop Nation and Cassidy Hubbard's, Hoop's Paradise. So those, along with your YouTubes, really gave me a grounding in the connection to between basketball and the Philippines. I'll put a link to those in the show notes for other people that like to do deep dives like me. But can you just give our audience a sense of why basketball is so popular in the Philippines?  [00:42:10] Carolyn Sideco: I learned about the history of basketball and Filipino culture in the Philippines through various people, Rafe Bartholomew one of them, and his book Pacific Rims. A friend of mine here in the San Francisco Bay Area, Kevin Santos, was doing his master's thesis on the history of basketball in the Philippines, and putting an ethnic studies frame on it, so he was the one who actually, practiced his thesis and presentation with me, and I learned a lot through him, and through other people as I was learning about this myself, and how basketball when it was initially, or as we, the modern game of basketball was invented, by Dr. Naismith in Massachusetts with the peach tree basket. Most of us are familiar with that history, but also that was around the time of the Philippine-American War, and US colonization was at its beginning. And so what did the United States export, was its culture, and a lot of that was through sports, mainly baseball, 'cause baseball was already the national pastime. Basketball was relatively new, and basketball was taught in the Philippines also, like in conjunction with the American education system by teachers, by the Thomasites, and by others who were using that form of colonization. They gave basketball to the women and the girls, because it was the lesser sport. It was the newer sport, so it was the lesser sport. They gave it to the women. The men were supposed to play baseball. The Philippines is a collective society- Baseball is a spread out sport, and people aren't close to one another. You're out on a field, it's hella hot, and it's boring. [00:44:17] Miko Lee: Agree. Totally agree …  [00:44:19] Carolyn Sideco: it's easy, to make this assumption that these people playing baseball were watching the girls and women play basketball, and it's faster. Close to one another. It's easy to make a space. So they started playing basketball.  [00:44:39] Miko Lee: Also, you don't need all the things. You need a ball. [00:44:41] Carolyn Sideco: Exactly. In the early days, you didn't even need shoes. Yeah. So it took off in that way because basketball already itself was an activity that Filipino people, kinda took hold of already, and they made it their own. Trained teams started forming and the Philippines had national teams that were already very successful in Asian context, so Asian tournaments they were dominating. In 1975, the Philippine Basketball Association became the first men's, basketball league in Asia, and the first after the NBA in America. So the Philippines has had a long history of relationship with the sport of basketball, but because it's been so long, the sport itself was formed in response to all the cultural aspects that were already existing, right? a lot of town squares had basketball courts 'cause it was so easy to put there. So the same plazas, meeting spaces where people would have their town gatherings, social places, were also courts  [00:45:56] Miko Lee: And why do you think or just surmise that basketball has taken off more than, football or American term soccer, which is developed so much in other countries, which is also a little bit more communal? [00:46:08] Carolyn Sideco: My opinion is that American colonization, in the United States dictated, much more the United States cannot dictate because football or soccer is a more global sport, and the US didn't have as much stake in guiding that as a colonization tool as they did basketball. [00:46:29] Miko Lee: Hmm. Interesting. Speaking of the colonization and politics, I'm wondering about the connection between basketball and politics. In, Cassidy's podcast, they were talking about a politician who released their own basketball shoe, which is wild to me. Yes. So I wonder if there's other connections between basketball or politics, and if that's generally somebody who's more on the colonizer's viewpoint or more conservative viewpoint. Hmm.  [00:46:58] Carolyn Sideco: Hmm. Interesting. I, hmm, I go back and forth with this a lot, Miko, the colonizing tool that is sports, especially the capitalistic sort of, extraction, of sports, right? Of its players, who I like to think of as workers. They're also workers, right? The professional, Philippine Basketball Association is not much different than even professional sports in America with the way they're set up, right? You have owning groups or companies, and so you have these ways that exploitation and that workers' rights are… how do I say it? Because it's at the professional level, these concepts are very much at play, excuse the pun. The Philippines also has a governmental arm related to sports. So sports in and of itself is recognized, right? It doesn't have as much of this sort of altruistic thing as, as we say in the United States, like the sports is like the good of mankind, like that sort of thing. Like, I think, you know-  [00:48:08] Miko Lee: The kind of Olympic idea of unity, it brings us all together. [00:48:11] Carolyn Sideco: Right, like that, those conceptual sorts of virtues.  [00:48:15] Miko Lee: Mm-hmm.  [00:48:15] Carolyn Sideco: Yeah. So in the Philippines, I think it's so much more practical because it's fun, and you could get in a game anywhere, and it's accessible. Mm-hmm. It's accessible to all strata, economic strata, right? You see basketball courts everywhere, in rural areas in cities. Everywhere you'll see basketball courts. The Philippines itself as a country- I think that relationship to sports is something different than the American relationship to professional sports, where dominance and, winning and, beating others and making as much money as possible in that is at the forefront. In the United States even with youth sports now. I do some consulting work, especially in youth sports spaces, and the privatization and the extraction of the youth sports space is, is… We could go on all day about that. I think, this is obviously from a Filipino American perspective. For sure. I've never lived in the Philippines. I was born in the Philippines, but my relationship to the Philippines is also, being mitigated by how I experience American sports, right? So when I think about how I've experienced basketball when I've gone to the Philippines, , and it's the same as any aspect of that culture, right? It's warm, it's welcoming, it's friendly, and those are the cultural aspects that kind of, , supersede the fact that basketball… Basketball has its place, but it's in service to the cultural needs, right? To the need to be social, to participate in a town gathering. It's so sociopolitical.- And because it is, it's still a colonizing tool, right? But it's still mitigated in a way that I think just like Filipino basketball players are so, like, quick. They're known for quickness, agility, and finesse, and, like, drama, right? I used to joke around, like, you can always tell where a Filipino basketball player is in the United States 'cause no Filipino who has Filipino blood in them can do a regular layup. Like they have to make it all fancy. I think that, those sorts of aspects that are not tangible, that bring to light, the way a culture of people affect the sport. it enables a culture to push out through the boundaries of that sport what was given to them. What was given to them is, “This is how you play. These are the rules,” and all that kinda stuff, and that's great, but Filipino history of basketball is always, like, how do you integrate all the really cool things about your culture? It's something that's very different, and it emerges as something that's not quite American. [00:51:36] Miko Lee: Thank you so much. I'm wondering how our audience can find out more about you and your work.  [00:51:43] Carolyn Sideco: They can, follow me on Instagram at coachingkapwa, K-A-P-W-A. Kapwa is the Filipino word for the concept of interrelationship, interconnectedness. And so everything I learned about being, being a person really is through being a good teammate, and sports is the funnest way, like I've said before to practice being a good teammate  [00:52:12] Miko Lee: Thank you so much, Coach, for sharing with me about Sports Liberation and your work, and I'll put links to all that in our show notes. And I thank you so much for joining us on Apex Express.  [00:52:23] Carolyn Sideco: Thank you, Miko [00:52:25] Miko Lee: Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night.    The post APEX Express – 8.13.26 – Bayanihan in Ballhalla appeared first on KPFA.

W tym odcinku bierzemy na warsztat kolejną biegową „magiczną” granicę, czyli 40 minut na 10 kilometrów. Zastanawiamy się jak wartościowy jest to wynik, dla kogo może być realnym celem i czy rzeczywiście jest osiągalny dla każdego. Rozmawiamy też o tym, jak powinien wyglądać trening prowadzący do złamania 40 minut, jakie elementy przygotowań mają największe znaczenie oraz jaki wynik u kobiet można uznać za odpowiednik męskiego 40:00.Nie zabrakło również naszego kącika newsowego. Omawiamy start Pawła w Berlinie, podsumowujemy występy podopiecznych Mikołaja podczas Mistrzostw Polski i zaglądamy do przygotowań Eli Glinki przed Mistrzostwami Europy.Partnerem podcastu jest MOST Elements, polska marka nowoczesnych suplementów diety, które kompleksowo wspierają aktywny styl życia i zrównoważone odżywienie. Z kodem COFFEERUN słuchacze naszego podcastu otrzymują dodatkowe 10% zniżki na zakup na mostelements.pl. A jeśli lubisz takie rozmowy i chcesz pomóc nam rozwijać podcast, możesz postawić nam wirtualną kawę na Buy Coffee - https://buycoffee.to/coffeerunpodcast.

“Alam mo ang weird no? Parang kanina lang hindi naman tayo magkakilala. Tapos ngayon pakiramdam ko may mga nasabi akong hindi ko naman basta sinasabi sa tao. Hindi naman sa madaldal ako. Kabaligtaran nga eh. Sanay akong may mga bagay na ako lang nakakaalam tapos hahayaan ko na lang lumipas.”#DearMORTooLate- The Miko Story

Mixed live Duration: 1:19:00

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

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ 　良かったよ！と思ったら高評価👍 　感想・ツッコミなどチャット＆コメントもぜひ！ 　 ✅番組時間：53分38秒 ✅出演：ジャーマネ・あくとん・蛇草千尋 　 2005年にスタートして、ついに800回を突破した、 今年もいろんなことにゆるーく挑戦するラジオ。 地球の平和のためにはみなさんのおたよりが必要です！ 　 ✅コーナー： 　フリートーク 　ふつおた＆アリキラ社員食堂 　 🟧投稿フォームはこちら 　① https://forms.gle/DkTHQ38qNNWTPpta7 （新） 　② https://ja-mane.com/form/ （旧・画像添付可能） 　※ 画像を添付する場合のみ②をご利用ください 🟧投稿テーマや締切など、番組情報はジャーマネ.comからどうぞ 　https://ja-mane.com 　 🟧アリキラ白書 2023と2024、公開中！ 　https://ja-mane.com/blog/2023/10/26/hakusho2023/ 　https://ja-mane.com/blog/2025/03/09/hakusho2024/ 🟦CLOSING MUSIC 　極東の羊、テレキャスターと踊る by しゃろう 　https://www.youtube.com/watch?v=qy05MFjNZbE ■2026年8月8日配信 　 #ラジオ #ポッドキャスト #webラジオ #IOSYS #イオシス

Transkrypcja:Transkrypcję tego odcinka znajdziesz tutaj. Odświeżamy temat wejścia w świat inteligentnego domu. Rozmawiamy o nowych produktach Aqara, o moich doświadczeniach z tą sprzętami i przede wszystkim — o realnych scenariuszach ich użycia. #BoCzemuNie ? POBIERZ ODCINEK Partnerzy technologiczni: > iDream – Apple Premium Partner – z kodem URODZINY30 dostajecie 30% rabatu na akcesoria w iDream.pl do 9 sierpnia. Partner odcinka: > Aqara Polska – Odkryj świat inteligentnego domu razem z ich produktami! Linki: Zadaj pytanie w odcinku lub zgłoś temat! Newsletter podcastu Myślisz o podcaście? Sprawdź warsztat „Poznaj podcasting” Gość: Mikołaj Siwiak z firmy Batna24, oficjalnego dystrybutora marki Aqara w Polsce. #383 – Inteligentny dom w 2025 roku Zamek U200 Domofon G410 Czujnik P100 Czujnik FP300 Bądźmy w kontakcie: X | Facebook | Instagram | kontakt@boczemunie.pl > Prowadzący: Krzysztof Kołacz Mam prośbę: Oceń ten podcast w Apple Podcasts oraz na Spotify i YouTube. Zostaw tyle gwiazdek, ile uznasz. Twoja opinia ma znaczenie! Zainteresowany współpracą? Pogadajmy. > Liczby znajdziesz na boczemunie.pl/partner/ Słuchaj, gdzie chcesz: YouTube | Apple Podcasts | Spotify | Overcast FM i przez RSS Dobrego odbioru! Bo czemu nie? Rozdziały: (00:00:00) PARTNERZY (00:00:36) INTRO (00:01:10) Wstępniak i gość: Mikołaj Siwiak (00:06:42) Nowości marki Aqara i liczby w Polsce (00:12:23) Zamek U200 (00:32:07) Czujniki P100 i FP300 (00:41:06) Do usłyszenia niebawem!

ぬるぽ放送局おたより投稿フォーム https://forms.gle/6tbmBzK6wbyavJG47 2026年8月パワープレイ 「歓迎光臨☆デビュー・ザ・ワールド／picco × D.watt × ななひら」 歌唱：ななひら 作詞・作編曲：picco × D.watt 2026・4・23 Release MV https://www.youtube.com/watch?v=rtTbKXsLBHo 配信 https://orcd.co/welcomedebuttheworldsinger 番組時間：59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 ---- 2026/8/6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＞ ・夏！海！水着！ ・家から出ない夕野ヨシミが海に！？ ・水着の女性がダンスするイベントですか？ ・アキネーターやってます？ ・それは島編ですか？ ・あのミリオンのバニーガールさんが野に放たれる ・82月1日もバニーの日 ・熱帯夜の上 ・イオシスやってんねー ・イオシスメンバーマルチプレイ ネセス始まりました ・楽曲提供しました！ 　『Blooming Cinderella』 　2026/10/14 Release 　「電脳神楽ミコビート／さくらみこ」 　作詞・作編曲：まろん ・ホロドリのイベントがはじまっておわりました ・また明日からイベントあります ・ホロドリ始めるなら今！ ・まろんくんはカナダのモントリオールへ ・現在はカムチャッカ半島です ・仕事の締め切りは無茶が言えませんね ・YouTube 100万再生！ 　【オリジナルMV】ZUNDA!アッパレ☆運命【にじさんじ】 　作詞：かたほとり 　作曲：ARM ・【8/7(金)追加楽曲情報💊💉】 　🔽追加楽曲 　🎵行列のできるえーりん診療所 / D.watt+溝口ゆうま+七条レタス 　feat. 3L 　行列が出来る前に並びましょう🏥 ・8/16イオパあります ・お盆もいつも通りですね ・海は寒いイメージだった ・水着写真集出します？ ＜Aパート＞ ・ふつおたです ・浴衣の女子中学生に夏を感じる ・鳥皮ＴＨＥムービー ・イオシスが関わったことになりませんかねー ・将棋ならやぶさかでもない ・素人が和服で対局場へ ・元々しょうゆ好きの元醤ですが？ ・真纏麗羅（しんでれら）武闘服♥ ・お餅は起こしたい ・あなたの夢は、どのウマ娘ですか？ ・お仕事ください ・これは強めのお薬必要だね ・暑いので漫才はやりません ＜Bパート＞ ・ＭＶにミクさんバージョンもありますのでご覧ください ・piccoとは ・みつをたです ・サンパレス閉館 ・1+1＝200の本家 ・5時に起こして ・えとたまってことね ・仮面ライダーダット ・スク水の出品禁止 ・にじさんじピックアップニュース ・7年ぶりの配信 ・ウミガメの刺身 ・生のパッションフルーツ ・にじさんじ甲子園開幕 ・小笠原諸島行きます？ ・沖縄でワンチャン食べられるかも ・ウミガメのスープ（本物） ・ホロピックアップニュース ・マヨラー油そうめん ・はちみつパン ・イオフェス2030とかあったらがんばらないと ・幕張メッセでマッチョドラゴン ・Ｖピックアップニュース ・VTuberは地域なにがしと相性いいよね ・引っ越し先が1.5kｍ ＜エンディング＞ ・10/24　阿佐ヶ谷でイベントありますのでチケット買ってください ・21日後にちょっとした動画出ます ・ブルアカのCDの受注販売始まってますので、よろしくお願いします ・イオシスロードショーの予定を２か月分アップしてます ・今週はコマンドーです

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ 　良かったよ！と思ったら高評価👍 　感想・ツッコミなどチャット＆コメントもぜひ！ 　 ✅番組時間：30分24秒 ✅出演：ジャーマネ・あくとん・蛇草千尋 　 2005年にスタートして、ついに800回を突破した、 今年もいろんなことにゆるーく挑戦するラジオ。 地球の平和のためにはみなさんのおたよりが必要です！ 　 ✅コーナー： 　フリートーク 　 🟧投稿フォームはこちら 　① https://forms.gle/DkTHQ38qNNWTPpta7 （新） 　② https://ja-mane.com/form/ （旧・画像添付可能） 　※ 画像を添付する場合のみ②をご利用ください 🟧投稿テーマや締切など、番組情報はジャーマネ.comからどうぞ 　https://ja-mane.com 　 🟧アリキラ白書 2023と2024、公開中！ 　https://ja-mane.com/blog/2023/10/26/hakusho2023/ 　https://ja-mane.com/blog/2025/03/09/hakusho2024/ 🟦CLOSING MUSIC 　極東の羊、テレキャスターと踊る by しゃろう 　https://www.youtube.com/watch?v=qy05MFjNZbE ■2026年8月1日配信 　 #ラジオ #ポッドキャスト #webラジオ #IOSYS #イオシス

ぬるぽ放送局おたより投稿フォーム https://forms.gle/6tbmBzK6wbyavJG47 2026年7月パワープレイ M1. Comeback 作編曲：HiroHiro & Smeets 音楽ジャンル：Happy Hardcore, UK Hardcore サークル：Notebook Records 収録アルバム：YATSUZAKI HARDCORE COLLECTION 17 2026・7・1 Release https://notebookrecords.net/discographyportal.php?cdno=YHC-017 番組時間：68分14秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2026/7/30に公開録音したものを配信いたします。 ラジオ記事はリスナーのEEチャンピオンさんが書いてくれているので楽してます。 ＜オープニング＞ ・札幌寒いです ・台風くんはちょっと空気読んでほしいです ・落ち着いたらと思ってたら10年後に再びですよ ・イオシスくんの活動がんばったね報告 ・ブルアカの話します？ ・作詞提供しました！ 　『ブルーアーカイブ』 青春あんさんぶる Vol.19「特殊交易部」 　「特殊交易部はやめられない」 　アーティスト：ミヨ(CV:花岩香奈)／フユ(CV:十二稜子)／リツ(CV:　瀬戸桃子) 　作詞：夕野ヨシミ(IOSYS) 　作曲：KARUT 　『ブルーアーカイブ』 絆ダイアローグ Vol.26「キキョウ」 　「伝う距離、綾なす色」 　アーティスト：キキョウ(CV:小松未可子) 　作詞：john=hive(IOSYS) 　作曲：Nor 　『ブルーアーカイブ』 絆ダイアローグ Vol.27「カズサ」 　「I May…」 　アーティスト：カズサ(CV:夏吉ゆうこ) 　作詞：夕野ヨシミ(IOSYS) 　作曲：ミツキヨ ・「憧れの残響」も出てます ・始めるなら今！ ・2026/10/25 M3-2026秋 ブース当選しました！ありがとうございます！ 　■IOSYS S-06a 　なにか出ます！ 　※Notebook Recordsとの合同ブースです ・リミックス提供しました！ 　「ムリムリ進化論 (D.watt ムリなものはムリ Remix)／ナナヲアカリ」 　2026/8/26 CD Release ・タイトー『グルーヴコースター』シリーズ15周年のお祝いメッセージを掲載していただきました！ 　15周年すごい！おめでたい！ ・楽曲提供しました！2026/7/28から遊べます！ 　『ホロライブドリームス』 　「爆夏!!トロピカバケーション」 　歌：大空スバル/不知火フレア/白銀ノエル/角巻わため/音乃瀬奏 　作詞：かたほとり(IOSYS) 　作編曲：ARM(IOSYS) ・フルバージョンがYouTubeで見れます ・ホロドリ始めるなら今！ ・2026/8/21　IOSYSくま牧公開生放送　チケット販売中です　https://livepocket.jp/e/pnkrr ・2026/8/16　イオパあります ・2026/8/5からイオメンマルチプレイでNecesseやります ・TBAなので言えないことはいっぱいあります ・イオシスのファンになるなら今！ ＜Aパート＞ ・チルパフィーバーTシャツは在庫が少ないのでお早めに ・イオシスショップおチェックしてください ・つまぽん「来週は何もないですねー」 ・ふつおたです ・こんばんは、ちいかわです（嘘） ・東北の梅雨は中々明けない ・しょうゆを1滴1滴飲む仕事 ・そういう拷問があった気がする ・おすそ分け用の容器をたくさん買いました ・しょうゆvsみりんvsダークライ ・チケット販売中！よろしくお願いします ・ダークライも発酵調味料みたい ・ブルアカの話 ・詳しい人いたー！ ・ヤニねこが脳裏に… ・あれ？ブルアカに稲田さん出てる？ ・漫才一発やりますか ・下茹でと並行して本番行きますか ・爆笑問題さんの漫才をパクって出たいと思います ・せんのかい！ ・おショートですわ ・思っててえらい ・なぜか漫才もやるラジオです ・落語「おっぱい怖い」 ・おっぱいにおっぱいを重ねていこう ・今月の鉄アレイやってこう ＜Bパート＞ ・パワープレイ中に何回鉄アレイを上げ下げしましたか？ ・正解は不明です ・来月の曲を3回かけるか ・駅を降りたらスラム街♪ ・みつをたです ・イブキちゃんの水着がかわいい ・きるプラ ・夕野ヨシミ巡回済みじゃなかった ・映画館はどこに行けばいいの？ ・スガイディノス懐かしいですね　ｷｬﾊｯ ・にじさんじピックアップニュース ・ゴンさん状態の町田ちま ・なんでうまぴょい伝説でしめるの？ ・これ、完全に映画行こうの流れだよね ・モモカニ推し ・本屋さんを営んでるんですか？ ・ちら(かっていて)かわ(いそうな)夕野ヨシミ ・うち本棚埋もれてるけど来る？ ・ホロピックアップニュース ・食べないと冷蔵庫がヤバイ ・マリン船長 年齢ギリ耐え ・リアル凸待ち０ ・ぺこら「こ、こんなことが許されていていいのか」 ・ホロドリのストリームやるなら今！ ・Vピックアップニュース ・お風呂にポスター貼ってもいいですよ ・​​音ズレの訪れのコメント被り ・ホロドリは3Dのキャラがかわいい ・これ、やった方がいいですよ（小声） ＜エンディング＞ ・色々コンテンツを摂取してください ・水着を四捨五入したら全裸です ・帰ってホロドリやろう ・7月もおわりですよ ・8月はファンボックスの記事を書くかなー ・おっぱい漫才？ ・NetFlixでまだ何も見てない ・稲田さんも出てるのかな？

Mixed live Duration: 1:28:00

Do wysłuchania odcinka podcastu Muzeum Historii Polski zaprasza Łukasz Starowieyski. Tym razem przyjrzymy się jak wyglądała Polska po II wojnie światowej. Jest to moment, gdy komuniści przejmują władzę w Polsce. Opowiemy jak konferencja w Jałcie przypieczętowała losy Polaków. Czy historia Polski mogła potoczyć się inaczej? Czy Stanisław Mikołajczyk, rzeczywiście miał szanse, by zmienić bieg historii? Jak wyglądał nowy układ sił po II wojnie światowej? Opowiemy krok po kroku jak wyglądały początki rządów komunistów w Polsce, prowadzące do powstania PRL. Zapraszamy do wysłuchania odcinka podcastu Muzeum Historii Polski! Gościem podcastu był historyk Bartosz Wójcik z Muzeum Historii Polski.

#płatnawspółpraca | Zapraszamy na czwartkowe #OnetRANO, w którym gośćmi Dominiki Długosz będą: Jan Strzeżek, były szef gabinetu trzech ministrów gospodarki; Katarzyna Duda, autorka książki "Uberyzacja"; dr Krzysztof Rak, historyk; Michał Brennek, Instytut Geofizyki PAN; Adam Traczyk, Dyrektor Instytutu More in Common Polska. W części #OnetRanoWIEM gościem Mikołaja Kunicy będzie Michał Nestorowicz, dyrektor segmentu ubezpieczeń indywidualnych w Nationale-Nederlanden.

出演者： miko、quim 配信ペース： 隔週 番組時間：86分40秒 ♯本番組はリモート収録です。 ♯収録時環境の影響により、全体的に聴き取り辛くなっております。 　申し訳ございません。 隔週に1回お届け。mikoラジ、第402回です。 我さん、遂にお仕事を○○に?! しがないさん、エンジンブレーキとサイドブレーキが……。 隔週でも話すことは尽きないふたりがお届けするお家ラジオ、 400回を越えても平常運転です。 最後までごゆるりとお楽しみくださいませ。 ♯途中で色々とノイズ等入りますが、収録時のものです。 　ご安心ください、お手持ちの機器は正常です。 ・おとらってRECORD 公式サイト http://www.n-remix.com/otolatte/ ↑『おとらって10thライブ KUWANA』に参加予定の方は、 　「来場予約はこちらから」からご予約を！ 開催日／2026.8.23(日) 　第一部　OP11:30　ST12:00 　第二部　OP14:40　ST15:00 //////////////////// VOICEVOX:ずんだもん VOICEVOX:四国めたん //////////////////// -------------------- ●お便り募集中！ mikoラジでは以下の内容でお便りを募集中です！ ・ふつおた 　／普通のお便り、お待ちしています！ ・mikoは大変な絵を描いていきました 　／miko画伯に描いて欲しいお題をお待ちしています！ ・メシヲコエテ 　／料理人・mikoに教えて欲しいレシピをお待ちしています！ bit.ly/2GAWjyv 投稿フォームからラジオに投稿が出来ます！ コーナー名を選び、メッセージ・ラジオネーム・お所を入力して、 どんどん送ってください！　お待ちしています！！ ------------ 本ラジオのメインパーソナリティーである「チーム我等(miko/quim)」、 それぞれ以下個人サークルにて活動中です。 ・miko：miko ・quim：SHIGANAI RECORDS（ shiganai.com/ ） 活動詳細については、上記HPの他 各人のブログ/twitter等にて随時告知しておりますので、チェックしてみてください！ ・みころぐ。(mikoのブログ)（ ameblo.jp/miko-nyu/ ） ・@ mikonyu(mikoのtwitter)（ twitter.com/mikonyu ） ・@ quim(quimのtwitter)（ twitter.com/quim ） --- その他の活動については、以下のとおりです！ -- チーム我等がメインクルーとして活動していた「アルバトロシクス（ albatrosicks.com/ ）」、 これまでリリースしたCDは、イオシスショップ（ iosys.booth.pm/ ）にて頒布しております。ご興味ある方は是非！ ---------- ☆2026年7月IOSYSはいてない.comパワープレイ楽曲 M1. Comeback 作編曲：HiroHiro & Smeets 音楽ジャンル：Happy Hardcore, UK Hardcore サークル：Notebook Records 収録アルバム：YATSUZAKI HARDCORE COLLECTION 17 2026・7・1 Release https://notebookrecords.net/discographyportal.php?cdno=YHC-017 YATSUZAKI HARDCOREが贈る「YATSUZAKI HARDCORE COLLECTION」シリーズ第17弾！ ハイクオリティな直球UK Hardcoreコラボレーションが直撃！"HiroHiro & Smeets - Comeback" ジャパニーズカワイイカルチャーが生み出した次世代ポップコア"10den - Dear" 動きのデカさを感じさせるハードコアトラック"ZEPHYR - Celestia" ピュアでクレイジーな狂気が一心不乱にちょっかいをかけてくる"hitogomi - Nutty as a fru!tcake" 4組による書き下ろしトラックが収録！

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

#płatnawspółpraca | Zapraszamy na wtorkowe #OnetRANO, w którym gośćmi Mikołaja Kunicy będą: Michał Gramatyka - Wiceminister cyfryzacji, Polska 2050, ppłk. Maciej Korowaj - analityk rosyjskiej wojskowości, prof. dr n. med. Anna Raciborska - kierownik kliniki onkologii dzieci i młodzieży, instytut matki i dziecka, Marek Konderski - Autor książki "Antydietetyk". W części #OnetRanoWIEM gościnią Marcina Zawady będzie Dr n. med. Katarzyna Pogoda, Onkolog kliczniczny, Narodowy Instytut Onkologii w Warszawie.

Think Scandinavians don't have a sense of humor? Think again. In this episode of Nordic on Tap, Eric Stavney uncovers the hilarious side of Nordic folklore through stories packed with lovable fools, clever tricksters, boastful husbands, and animals that outsmart everyone around them. Journey from Denmark's famous Molbo tales to Norway, Finland, and Sápmi, where centuries-old stories reveal that people have always made the same wonderfully ridiculous mistakes. Along the way you'll discover why these tales have endured for generations—and why you may recognize a little of yourself in every character. If you enjoy folklore, history, and a good laugh, this episode is for you. Transcript on our Extras page: https://nordicontap.com/p/extras-for-humorous-folktales/ Show Notes Exploring Nordic Humor: Folktales, Silliness, and Human NatureDiscover how Nordic folktales and humor reflect deep cultural values and human nature. Join Eric Stavney as he shares amusing stories and insights into Scandinavian humor, revealing that silliness and logic coexist in timeless tales that mirror our own behaviors. Key Topics: The cultural taboo of making fun of neighbors in Nordic societies Types of humor found in Scandinavian folktales, including anecdotes, jokes, and stories about towns of fools Examples of humorous folktales from Denmark, Norway, Sweden, Finland, and Sami traditions How folktales about fools, tricksters, and exaggerated characters serve as mirrors to human behavior The role of storytelling in preserving culture and teaching humility through laughter Notable stories: Molfs' town tales, the husband who thinks keeping house is easy, the clever fox and tricky animals, and the silliness that unites us How humor helps us recognize our own foolishness and keep life interesting Resources for further learning: collections of Scandinavian folktales, books, and podcasts The significance of humor in maintaining cultural identity among indigenous Sami people Timepoints 00:00 - Introduction to Nordic humor and folktales 00:50 - Cultural beliefs in Scandinavia about making fun of others 01:19 - Categories of humorous folk tales and common themes across countries 02:16 - Tales of towns of fools from Scandinavia, England, Germany, and Jewish traditions 02:46 - Stories from Denmark's Moles and other towns of fools, featuring absurd but relatable characters 03:42 - The story of shaking hands with Norwegian sailors and European humor traditions 04:40 - Danish tales of Moles: absurd situations involving lobsters and mistaken identities 05:34 - Personal anecdote: greeting Norwegian royalty and cultural insights into handshaking 06:34 - The town of Mulse and matches: a humorous take on logical reasoning in absurd situations 07:59 - The story of "Leg Sorting" and how silly solutions reflect human ingenuity 10:00 - A Norwegian folktale about a husband who underestimates household work 10:56 - The tale of the overconfident husband, humorous yet reflective of human pride 11:53 - Finnish trickster Miko and the clever fox stories 16:18 - The story of Miko and the bear: wins through wit, not strength 20:09 - Sami stories and their importance in preserving indigenous culture 21:38 - Folktale about animals working together for safety and cleverness 22:38 - The story of the fox and the lion: clever deception and recognizing true strength 26:35 - Reflections on stories of fools and the universal nature of silliness 27:08 - American Norwegian humor: Red Stangland's jokes about silliness in Uff da, Ole, and Lena jokes 28:19 - The enduring appeal of folktales and their role as mirrors of human nature 29:00 - The “Five Sillies” story: foolishness as a journey of discovery 33:06 - The story of the mallet and the fears about misfortune in Scandinavian folktales 36:50 - A humorous tale of wardrobe mishaps and human awkwardness 38:49 - The universality of silliness in folktales, regardless of culture or country 39:17 - Final reflections: humor as a way to remember our imperfections and remain humble Resources & Links: Old Stories from Denmark by Kaya Ella Molbo Stories online By the Fire: Sami Folk Tales and Legends Sami Folktales of Near and Far Worlds The Five Sillies story Mighty Mikko ebook Red Stangland jokes Scandinavian Folktale Collections Enjoy the humor and wisdom of Nordic folktales and remember that sometimes life's silliness offers the best lessons. Until next time, embrace your own silliness — it's part of what makes us human.   Enjoyed this episode? Be sure to subscribe to Nordic on Tap on your favorite podcast platform and leave us a review! Connect with Eric Stavney: Email Website

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ 　良かったよ！と思ったら高評価👍 　感想・ツッコミなどチャット＆コメントもぜひ！ 　 ✅番組時間：75分51秒 ✅出演：ジャーマネ・あくとん・蛇草千尋 　 2005年にスタートして、ついに800回を突破した、 今年もいろんなことにゆるーく挑戦するラジオ。 地球の平和のためにはみなさんのおたよりが必要です！ 　 ✅コーナー： 　フリートーク 　熱闘！メルヘン大相撲「アルファベット3文字の魔法とその効果を教えてください」 　 🟧投稿フォームはこちら 　① https://forms.gle/DkTHQ38qNNWTPpta7 （新） 　② https://ja-mane.com/form/ （旧・画像添付可能） 　※ 画像を添付する場合のみ②をご利用ください 🟧投稿テーマや締切など、番組情報はジャーマネ.comからどうぞ 　https://ja-mane.com 　 🟧アリキラ白書 2023と2024、公開中！ 　https://ja-mane.com/blog/2023/10/26/hakusho2023/ 　https://ja-mane.com/blog/2025/03/09/hakusho2024/ 🟦CLOSING MUSIC 　極東の羊、テレキャスターと踊る by しゃろう 　https://www.youtube.com/watch?v=qy05MFjNZbE ■2026年7月25日配信 　 #ラジオ #ポッドキャスト #webラジオ #IOSYS #イオシス

ぬるぽ放送局おたより投稿フォーム https://forms.gle/6tbmBzK6wbyavJG47 2026年7月パワープレイ M1. Comeback 作編曲：HiroHiro & Smeets 音楽ジャンル：Happy Hardcore, UK Hardcore サークル：Notebook Records 収録アルバム：YATSUZAKI HARDCORE COLLECTION 17 2026・7・1 Release https://notebookrecords.net/discographyportal.php?cdno=YHC-017 番組時間：81分3秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2026/7/23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＞ ・秋のトークライブイベントがあるんですよ ・今日は素数かな？ ・33の二乗だって ・景気がいいからみんなにトークライブのチケットを買ってもらおう ・夏将軍本気出し過ぎ ・45℃超えたら新しい名前決めなきゃ ・まじで塩分摂って ・イオシスくんの活動報告 ・楽曲提供しました！ 　Nintendo Switch『グルーヴコースター フューチャーパフォーマー　ズ』 　「Dive in glory!」 　作詞、ベース：john=hive (IOSYS) 　作曲、編曲：コバヤシユウヤ (IOSYS) 　ギター：三浦公紀 　ボーカル：尾流渦キララ(CV: のぐちゆり) 　2026/7/23配信開始です ・リミックス提供しました！ 　『ブレイクマイケース』 　「just what I see(Remixed by IOSYS TRAX)」 ・2026/7/23リリース『hololive Dreams』 　IOSYS提供楽曲が遊べます！ 　「ぎゅーどんかーにばる！／白銀ノエル」 　「Ahoy!! 我ら宝鐘海賊団☆／宝鐘マリン」 　「地獄で会おうぜ！ スバちょこるなたん／スバちょこるなたん」 　「みっころね×しょうたいむ!!／さくらみこ, 戌神ころね」 ・ホロドリやった方がいいですよ ・はじめるなら今！ ・7/25　プロ野球ファンの集い ・8月からイオメンマルチプレイやります ・なんとかファクトリオかなー ・今後のアップデートがない ・全員真顔の客 ・また海外行くのまろんくん？ ・8/16　イオパ　北海盆踊り回 ・たまにあるブルアカの長い生放送 ＜Aパート＞ ・ピザプランご支援よろしくお願いします ・はかせは5人いる ・ふつおたです ・好きなそばメニュー ・冷たい肉そば ・肉と言っても鶏肉 ・ぬるいのでお願いします（めんどくさい客） ・アツアツのモバイルバッテリーはいかがですか？ ・薄いバッテリーが厚くなる ・ノンフライヤー買いました ・いつ箱から出すのか　レビュー待ってます ・12年ぶりのゴンさん ・最近のハンターハンターに後方彼氏顔の夕野さん ・MOCさんは活動20周年ってことにしときました ・枠を埋めてもらうと前川さんがよろこびます ・手作りしょうゆ動画は編集中です ・農家の心の窓 ・機械のために農家やってたのか ・3時半に起こして ・パンパンのペットボトルが道端に ・ボトラーのみなさん ・怖い黄色いお茶 ・これは不法投棄とかですよね？ ・また、漏らしたお便り来てますよ ・台所の水漏れ ・ロフトが崩壊？ ・札幌にゴキブリが ・ねこは日本語がわかる ・来年結婚します ＜Bパート＞ ・みつをたです ・お姉さんtier表配信 ・大家さんのコスプレが本人すぎる稲田徹さん ・だんだん覚えていくサイゼリヤのメニュー番号 ・にじさんじピックアップニュース ・ギリギリ覚えられるラインがギリギリ過ぎる ・10分で崩壊するチルラジオ ・パンティーを履くと礼儀正しくなる ・ピックアップニュースからピックアップ ・よそのラジオからコーナーパクって来るか ・井上陽水LINEスタンプってあるのかな？ ・ホロピックアップニュース ・ラプだもん ・ホロドリをみんなやってます ・Vピックアップニュース ・すべてねぎしでやっつけろ ・スーパーの裏でねぎし食べるふたり ・よろしくメカねぎし ・健康診断の後は牛タン食べました ・マダム「ねぎしを食べに行きましょう」 ・しょうゆ片手にサウナに入らないと ・塩対応 ＜エンディング＞ ・情報収集の10割がTwitterって ・マックの炙り醤油ソース抜きはホントにおいしいのでやってください ・お便りお待ちしてます

Spór frakcji wewnątrz Prawa i Sprawiedliwości trwa. – Jestem ciekaw, kto zabierze „prawo” a kto „sprawiedliwość” z partii Kaczyńskiego – zastanawia się Roman Imielski. Prezes apeluje do swoich posłów o „łyk zimnej wody”, bo „wróg jest w innym miejscu”. Ultimatum postawione przez kierownictwo partii mija 23 lipca. Co się wtedy wydarzy? Czy Morawiecki odpuści? Na podcast zaprasza Roman Imielski i Dominika Wielowieyska. Więcej podcastów na: https://wyborcza.pl/podcast. Piszcie do nas w każdej sprawie na: listy@wyborcza.pl. --- „Wyborcza” od początku inwazji rosyjskiej na Ukrainę w lutym 2022 roku pomaga jej mieszkańcom. Osobiście zawozimy pomoc humanitarną i rozdajemy najbardziej potrzebującym, w sumie zorganizowaliśmy już ponad dwadzieścia konwojów humanitarnych do Charkowa, Kupiańska, Iziumu, Łymania, Słowiańska, Konstantynówki, Chersonia, Zaporoża, Orichiwu, Mikołajowa, Tarnopola czy Bracławia. Możesz dołożyć swoją cegiełkę: https://zrzutka.pl/n2fj3m --- [Autopromocja] Wejdź na https://wyborcza.pl/WYBORCZA12 i wpisz kod WYBORCZA12, aby uzyskać bezpłatny dostęp do Wyborczej Premium aż na 12 tygodni* *Pierwsza płatność: 0 zł za 12 tygodni, kolejne płatności to 36 zł co 4 tygodnie. Możesz zrezygnować z autoodnowienia w dowolnym momencie. Oferta dla osób, które w ciągu ostatniego roku nie posiadały prenumeraty w serwisie Wyborcza.pl. Dostępność do 31.12.2026 r. Szczegóły na stronie zakupu.

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

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

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

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

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

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

Mixed live Duration: 1:17:00

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

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

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

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

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

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

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

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

Mixed live Duration: 1:07:00

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

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

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

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

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

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

Mixed live Duration: 1:11:00

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

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