Podcasts about Miko

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

出演者： miko、quim 配信ペース： 隔週水曜日 番組時間：86分35秒 ♯本番組はリモート収録です。 ♯収録時環境の影響により、全体的に聴き取り辛くなっております。 　申し訳ございません。 mikoラジ、第375回です。 海外（米、中）帰りの我さんと、銚子帰りのしがないさん。 それぞれの多忙な日々を、お家ラジオ感覚でざっくりお届け！ SNSにポストしていないことも、あったり無かったりな約80分。 最後までごゆるりとお楽しみくださいませ。 ♯途中で色々とノイズ等入りますが、収録時のものです。 　ご安心ください、お手持ちの機器は正常です。 //////////////////// VOICEVOX:ずんだもん VOICEVOX:四国めたん //////////////////// -------------------- ●お便り募集中！ mikoラジでは以下の内容でお便りを募集中です！ ・ふつおた 　／普通のお便り、お待ちしています！ ・mikoは大変な絵を描いていきました 　／miko画伯に描いて欲しいお題をお待ちしています！ ・メシヲコエテ 　／料理人・mikoに教えて欲しいレシピをお待ちしています！ bit.ly/2GAWjyv 投稿フォームからラジオに投稿が出来ます！ コーナー名を選び、メッセージ・ラジオネーム・お所を入力して、 どんどん送ってください！　お待ちしています！！ ------------ 本ラジオのメインパーソナリティーである「チーム我等(miko/quim)」、 それぞれ以下個人サークルにて活動中です。 ・miko：miko ・quim：SHIGANAI RECORDS（ shiganai.com/ ） 活動詳細については、上記HPの他 各人のブログ/twitter等にて随時告知しておりますので、チェックしてみてください！ ・みころぐ。(mikoのブログ)（ ameblo.jp/miko-nyu/ ） ・@ mikonyu(mikoのtwitter)（ twitter.com/mikonyu ） ・@ quim(quimのtwitter)（ twitter.com/quim ） --- その他の活動については、以下のとおりです！ -- チーム我等がメインクルーとして活動していた「アルバトロシクス（ albatrosicks.com/ ）」、 これまでリリースしたCDは、イオシスショップ（ iosys.booth.pm/ ）にて頒布しております。ご興味ある方は是非！ ---------- ☆2025年6月IOSYSはいてない.comパワープレイ楽曲 01. Stay Foolish 編曲：D.watt 原曲：東方紅魔郷 / おてんば恋娘 収録アルバム：TOHO BOOTLEGS 9 2025・5・5 Release https://www.iosysos.com/discographyportal.php?cdno=IO-0341

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ ✅番組時間：52分15秒 ✅出演：ジャーマネ・tsZ・あくとん・蛇草千尋・ぴぃ 2005年にスタートして、ついに700回。 みなさんのおたよりだけが頼りなこの番組。 回替わりレギュラー陣がお送りします。 　 ✅コーナー： フリートーク 🟧投稿フォームはこちら。 https://forms.gle/DkTHQ38qNNWTPpta7 （新） https://ja-mane.com/form/ （旧・画像添付可能） 🟧投稿テーマや締切など、番組情報はジャーマネ.comからどうぞ。 https://ja-mane.com 🟧アリキラ白書 2023と2024、公開中！ https://ja-mane.com/blog/2023/10/26/hakusho2023/ https://ja-mane.com/blog/2025/03/09/hakusho2024/ 🟦CLOSING MUSIC 極東の羊、テレキャスターと踊る by しゃろう https://www.youtube.com/watch?v=qy05MFjNZbE ■2025年6月21日配信 #ラジオ #webラジオ #IOSYS #イオシス

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

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

Wybierz swojego ulubionego władcę w Rankingu Królów Polski! Zagłosuj na stronie https://ranking.muzhp.pl/ Zygmunt miał niewielkie szanse na to, by zostać królem. Przymierzano go do różnych, niekiedy absurdalnych funkcji. Okazało się jednak, że na tron wstąpił i pozostał na nim na tyle długo, by otrzymać od potomnych przydomek "Stary". Zygmunt objął tron mocarstwa, składającego się z Polski, Litwy oraz licznych księstw i lenn. Dwór na Wawelu był wówczas jednym z najwspanialszych w Europie, Wisłą spławiano coraz więc zboża na eksport, a Mikołaj Kopernik pisał „O obrotach sfer niebieskich”. Największy dotychczas wróg Polski i Litwy – państwo krzyżackie – został unieszkodliwiony przez ojca Zygmunta, a nowy przeciwnik – Moskwa – dopiero rósł w siłę. W 1525 roku Zygmunt pokonał zbuntowanego wielkiego mistrza zakonu krzyżackiego, Albrechta Hohenzollerna, który złożył mu hołd zwany pruskim. Czy jego przyjęcie było błędem? A może łagodne potraktowanie Albrechta miało geopolitycznie uzasadnione i świadczyło o dalekowzroczności Zygmunta? Co zawdzięczamy Zygmuntowi Staremu? Jaką rolę na jego dworze odegrała Bona Sforza? Co możemy powiedzieć o Stańczyku?O tym wszystkim w Podcaście Muzeum Historii Polski z serii Inne historie Polski. Rozmawiają Cezary Korycki i jego gość, prof. Hieronim Grala z Uniwersytetu Warszawskiego. Podcast zrealizowano w ramach zadania: kontynuacja i rozbudowa multimedialnego projektu informacyjno-edukacyjnego - Portal Historyczny Dzieje.pl

W dzisiejszym programie specjalnym przyglądamy się uroczystości Bożego Ciała, rozpatrując różnorodne wątki związane z tym świętem. O istocie Eucharystii, będącej w centrum Uroczystości Najświętszego Ciała i Krwi Chrystusa, opowiada ks. prof. Jan Przybyłowski z Wydziału Teologicznego UKSW. Wyjaśnia też zmieniający się kształt obchodów Bożego Ciała w Kościele. Następnie łączymy się z ks. dr hab. Dariuszem Taborem, historykiem sztuki z Uniwersytetu Papieskiego Jana Pawła II w Krakowie. Nasz gość przypatruje się związanymi ze świętem Eucharystii sakraliom. Zwraca szczególną uwagę na późnogotyckie monstrancje, nazywane przez niektórych „małymi Kościołami”. W drugiej godzinie audycji kierujemy swoją uwagę poza granice Polski. Ks. Mikołaj Bieliczew z Charkowa mówi m.in. o wstrzymaniu procesji, idących ulicami ukraińskich miast, z powodu wojny. Następnie przenosimy się na Bliski Wschód. Ks. Jan Żelazny opowiada o ekumenicznych procesjach w Libanie. 

W kraju nie widać sił, które mogłyby szybko przejąć władzę -  mówi dr Mateusz Kłagisz z Uniwersytetu Jagiellońskiego. Również na emigracji nie widać wystarczająco silnych środowisk opozycyjnychwskazuje dr Kłagisz w rozmowie z Mikołajem Murkocińskim. Jak dodaje:Faktem jest, że dla wielu Irańczyków jest to w pewnym stopniu dzisiaj trochę taki konflikt i takie rozdarcie między dwoma bardzo skrajnymi uczuciami. Z jednej strony głębokim patriotyzmem [...]  a z drugiej strony takie głęboką niechęcią do istniejącego systemu politycznego.Gość Radia Wnet jednoznacznie wskazuje, że w Iranie nie jest możliwy powrót do obalonej w 1979 r. monarchii, jedynie można się spodziewać federalizacji istniejącej republiki.

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

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

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

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ ✅番組時間：59分02秒 ✅出演：ジャーマネ・tsZ・あくとん・蛇草千尋・ぴぃ 2005年にスタートして、ついに700回。 みなさんのおたよりだけが頼りなこの番組。 回替わりレギュラー陣がお送りします。 　 ✅コーナー： フリートーク 🟧投稿フォームはこちら。 https://forms.gle/DkTHQ38qNNWTPpta7 （新） https://ja-mane.com/form/ （旧・画像添付可能） 🟧投稿テーマや締切など、番組情報はジャーマネ.comからどうぞ。 https://ja-mane.com 🟧アリキラ白書 2023と2024、公開中！ https://ja-mane.com/blog/2023/10/26/hakusho2023/ https://ja-mane.com/blog/2025/03/09/hakusho2024/ 🟦CLOSING MUSIC 極東の羊、テレキャスターと踊る by しゃろう https://www.youtube.com/watch?v=qy05MFjNZbE ■2025年6月14日配信 #ラジオ #webラジオ #IOSYS #イオシス

Te wille mija każdy kto jedzie od dworca w stronę mikołowskiego rynku. Budynek przy Miarki 8 jest bardzo okazały i zwraca uwagę przechodniów. To miejsce wiąże się także z historią dwóch ważnych braci. O tym w kolejnym odcinku Tajemnic Kamienic Dorocie Stabik opowiada dyrektor muzeum w Mikołowie, Wojciech Szwiec. Muzycznie audycję zrealizował Jacek Kurkowski.

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

ぬるぽ放送局投稿フォーム https://docs.google.com/forms/d/e/1FAIpQLScwYSAEyRhDCHd-JRk9dLA05JKnGINgvnDhY3Xmkw2lwwDjQw/viewform 2025年6月パワープレイ 01. Stay Foolish 編曲：D.watt 原曲：東方紅魔郷 / おてんば恋娘 収録アルバム：TOHO BOOTLEGS 9 2025・5・5 Release https://www.iosysos.com/discographyportal.php?cdno=IO-0341 番組時間：78分8秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2025/6/12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＞ ・梅雨入りです ・沖縄は梅雨明けしました ・北大祭は人がびっちり ・ういビームを念入りに撃つ ・変な夢なのでは？ ・広すぎるお祭り会場 ・ボーイズバー ・サッポロソフトのゼリー ・クラーク先生も泣きながら食べてますよ ・札幌来た方がいいよみんな ・作詞が捗ってます ・サクシゼンブワカッタ ・今日は誕生日でした ・祝イオシスロードショーch収益化 ・岸ちゃん、おめでとうございます ・増税スタンプとメガネスタンプ ・イオシスチャンネルが追い越されちゃう ＜Aパート＞ ・ふつおたです ・夕野さんぼいどさんお誕生日おめでとうございます ・最近、エロゲの案件ないなー ・1000億再生で1億円 ・ロッテリアがゼッテリアに ・それよりバーガーキング出来てほしい ・最寄りのラッキーピエロは300キロ先 ・100回行って銀のハンバーガー ・虫けらです ・タイタンライブのライブビューイング ・うそでーす！ ・まだ田中さんも玉が２つあった頃 ・今日も筋トレしてます ・レース中にウマが話をするな ・リングフィット２が出てくれれば ・伝説のハサミレッグ復活か ・サムライトルーパーの新作 ・CLAMPさんもコミケに？ ・ミシャさんの話 ・デカ女呼びは好きじゃない ・翌日はイオパです ・初老の話 ・初老セットって何が出てくるんです？ ・トビウオの捌き方 ・Ｐ先生のフォローを外したはかせ ・先生は元気そうですね ・世界で一番高いスリーブ ・CLAMPとお仕事してるとき？ ・汎用性があることがいいことでもない ・本が半額の店アミューズ ＜Bパート＞ ・みなさんリッスンナウしてますか？ ・あのーイオシスの曲いいらしいですよ ・最近、長い動画（1分）が見れない ・聞きながら作詞はできない ・お風呂のフタがない ・フロに浮くカバーありますよ ・ウォークマン持ってけばいいじゃない ・スマホじゃTELしない ・みつをたです ・ニャーンとキシリア様は、一緒にお風呂入ってるよね？ ・あと2回でおわるらしいね ・意外に料理するキシリア ・シャア再び ・先週の答え合わせ ・解散しちゃったね ・がんばってお笑いやって下さい ・ジークアクス考察してる人いつ寝ていつ仕事してるの？ ・ダブルインパクト 初めて知りました ・雨降ったなら温度も下がってくれないと辛い ・5時に起こして ・巨乳のお姉さんていくつだよ ・高年齢女子 ・漫☆画太郎先生の世界観に ・今後の農業をどうするのか教えてください ・壺おじの名言がみつをたっぽい ・明日クリアして下さい ・1031回って狂ってるな ・陳素数とは ＜エンディング＞ ・エンディングです！ ・新アイテムの予約受付開始しました～ 　・新装版 5種 　・スカ警アクスタ 　初回発送は2025/6/18の予定です ・「一日三食チクワでござる！の巻」が収録された 　『藤子不二雄Ⓐ生誕90周年記念　藤子不二雄Ⓐ大全集』が本日2025/6/11発売！ 　歌：高橋名人 　デュエット：あゆ(IOSYS) 　作詞：夕野ヨシミ(IOSYS) 　作曲：HUDSON SOFT、ぼいど(IOSYS) ・コナミさんのお知らせ 　「DanceDanceRevolution 25th anniversary ～ボーカルオーディション～」 　「トラウマ催眠少女さとり！ / Covered by TOCORO十」 　本日2025/6/12収録 ・次回の即売会参加予定 　2025/6/15 東方名華祭19 　■IOSYS L41 　新装版第一弾がでます！ ・まだ四国を知らない ・イオパの配信がなくなりました ・現地で聞いてください ・え？MODが使えるんですか？ ・イオシス関係ない情報でした ・2025/10/25昼に横浜で集いが… ・いろいろ仕込んでます ・えっちなゲームやります！(デカい声 ・のりがいっぱい入ったラーメン食べたいな

Współcześni artyści, tacy jak Daniel Rycharski, Małgorzata Mycek czy Mikołaj Sobczak, inspirują się ludowością, interpretują swoje dziedzictwo na nowo i sięgają po tradycyjne metody twórcze. Czy świat sztuki znów ogarnęła chłopomania? Autorka: Marta Czyż Artykuł przeczytasz pod linkiem: https://www.vogue.pl/a/vogue-polska-x-bmw-art-academy-wspolczesni-artysci-inspiruja-sie-ludowoscia-i-interpretuja-dziedzictwo

W nocy z 12 na 13 czerwca lotnictwo izraelskie zbombardowało cele związane z programem nuklearnym na terenie Iranu - komentarz red. Mikołaja Murkocińskiego

W czwartek w "Onet Rano." przywita się Dominika Długosz, której gośćmi będą: Agnieszka Dziemianowicz-Bąk, ministra rodziny, pracy i polityki społecznej; Krzysztof Hetman, europoseł PSL; Kamil Wolnicki, redaktor naczelny Przeglądu Sportowego Onet; Martyna Bielska, Onet. W części "Onet Rano. WIEM" gościem Mikołaja Kunicy będzie: Zbigniew Bogucki, PiS. 

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

出演者： miko、quim 配信ペース： 隔週水曜日 番組時間：77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。 mikoラジ、第374回です。 給料が上がったらしい我さん。どれぐらい上がったのか、お互いの伸び率を確認するチーム我等（解散中）。 仕事が出来る人の話題や海外遠征のお話などなど……流れるように話題は移ろいます。 最後までごゆるりとお楽しみくださいませ。 ♯途中で色々とノイズ等入りますが、収録時のものです。 　ご安心ください、お手持ちの機器は正常です。 //////////////////// VOICEVOX:ずんだもん VOICEVOX:四国めたん //////////////////// -------------------- ●お便り募集中！ mikoラジでは以下の内容でお便りを募集中です！ ・ふつおた 　／普通のお便り、お待ちしています！ ・mikoは大変な絵を描いていきました 　／miko画伯に描いて欲しいお題をお待ちしています！ ・メシヲコエテ 　／料理人・mikoに教えて欲しいレシピをお待ちしています！ bit.ly/2GAWjyv 投稿フォームからラジオに投稿が出来ます！ コーナー名を選び、メッセージ・ラジオネーム・お所を入力して、 どんどん送ってください！　お待ちしています！！ ------------ 本ラジオのメインパーソナリティーである「チーム我等(miko/quim)」、 それぞれ以下個人サークルにて活動中です。 ・miko：miko ・quim：SHIGANAI RECORDS（ shiganai.com/ ） 活動詳細については、上記HPの他 各人のブログ/twitter等にて随時告知しておりますので、チェックしてみてください！ ・みころぐ。(mikoのブログ)（ ameblo.jp/miko-nyu/ ） ・@ mikonyu(mikoのtwitter)（ twitter.com/mikonyu ） ・@ quim(quimのtwitter)（ twitter.com/quim ） --- その他の活動については、以下のとおりです！ -- チーム我等がメインクルーとして活動していた「アルバトロシクス（ albatrosicks.com/ ）」、 これまでリリースしたCDは、イオシスショップ（ iosys.booth.pm/ ）にて頒布しております。ご興味ある方は是非！ ---------- ☆2025年6月IOSYSはいてない.comパワープレイ楽曲 01. Stay Foolish 編曲：D.watt 原曲：東方紅魔郷 / おてんば恋娘 収録アルバム：TOHO BOOTLEGS 9 2025・5・5 Release https://www.iosysos.com/discographyportal.php?cdno=IO-0341

W środę w "Onet Rano." przywita się Mikołaj Kunica, którego gośćmi będą: Aleksandra Gajewska, wiceministra rodziny, pracy i polityki społecznej; prof. Tomasz Płudowski, amerykanista; Radosław Majdan, Przegląd Sportowy Onet; Piotr Henicz, wiceprezes biura podróży "Itaka". W części "Onet Rano. WIEM" gościem Odety Moro będzie: Jan Krzysztof Bielecki, były premier, przewodniczący Rady Programowej Europejskiego Kongresu Finansowego.

#Formula1 - Mikołaj Sokół czyli człowiek, który niejeden kraj z Cezarym zjechał!Verstappen nie taki straszny? Przynajmniej nie dla dziennikarzy z Polski! Jak rozmawiać z dzikim Maxem!Sezon rozstrzygnięty? McLaren odjeżdża w siną dal, a przednie skrzydła nie miały na to żadnego wpływu!"To miał być kolejny krok" - Wspomnienie zwycięstwa Roberta Kubicy w Kanadzie.Grand Prix Kanady 2025: świszcze, najpiękniejsze polskie motorsportowe wspomnienia i tor na który pojechać powinien każdy.Nadchodzi zmierzch Hamiltona? Ferrari mu nie pasuje (i chyba z wzajemnością!). Do tego co wspólnego ma Kasia Kowalska, Kimi Raikkonen i Ayrton Senna!Zwrot 100 zł za zakup OC/AC w Mubi.pl !!!https://bonus.mubi.pl/id-codive-0625-01Regulamin dostępny u organizatora.

Fala protestów w Los Angeles wybuchła po nalotach służb imigracyjnych ICE, które w piątek zatrzymały co najmniej 44 osoby w różnych częściach miasta, m.in. w Paramount i centrum L.A. Demonstranci, niosąc meksykańskie flagi i skandując „ICE precz z L.A.”, sprzeciwiają się polityce masowych deportacji administracji Donalda Trumpa, która do kwietnia 2025 roku deportowała już około 140 000 osób. W odpowiedzi Biały Dom wysyła 2000 żołnierzy Gwardii Narodowej do Kalifornii, a sekretarz obrony Pete Hegseth grozi użyciem regularnego wojska – Marines z bazy Camp Pendleton są w stanie podwyższonej gotowości. Czy administracja sięgnie po Insurrection Act, co oznacza wysłanie wojska, aby pełniło funkcje policji, by stłumić protesty? Gubernator Kalifornii Gavin Newsom i burmistrz Los Angeles Karen Bass ostro krytykują działania federalne, nazywając je „politycznym spektaklem” i wzywając do pokojowych protestów. Tymczasem nagrania z ulic pokazują brutalne zatrzymania, użycie gazu łzawiącego przez agentów federalnych i transporty nieoznakowanymi pojazdami, co budzi niepokój wśród aktywistów i prawników. Organizacje broniące praw imigrantów alarmują o braku dostępu do adwokatów dla zatrzymanych. Wiceprezydent JD Vance i doradca Stephen Miller określają protesty jako „gwałtowną insurekcję”, podsycając napięcia między władzami federalnymi a demokratycznie rządzonym Los Angeles. Czy polityka Trumpa, zakładająca minimum 3000 zatrzymań dziennie przez ICE, doprowadzi do dalszej eskalacji? Jakie są historyczne precedensy użycia Insurrection Act, ostatnio zastosowanej w 1992 roku podczas zamieszek w Los Angeles? Jakie konsekwencje dla społeczności imigrantów i relacji federalno-stanowych przyniesie ten konflikt? Sprawie przyglądają się red. Tomasz Winiarski oraz Mikołaj Teperek na kanale Niepoprawny Dyplomata. W tym odcinku analizujemy kulisy protestów, polityczne rozgrywki i możliwe scenariusze dla USA. Dołącz do dyskusji i poznaj, co to oznacza dla Ameryki i świata! Subskrybuj kanał Niepoprawny Dyplomata, by nie przegapić naszych analiz najgorętszych wydarzeń międzynarodowych!

W najnowszym odcinku Niepoprawnego Dyplomaty Tomasz Winiarski i Mikołaj Teperek analizują zaskakujące podobieństwa między kampanią Karola Nawrockiego a stylem Donalda Trumpa. Czy Nawrocki, wzorem Trumpa, buduje wizerunek "silnego mężczyzny" i samca alfa, inspirowany postaciami jak Pete Hegseth, sekretarz obrony USA? Zastanawiamy się, czy Nawrocki pójdzie w ślad za Trumpem i otworzy się na współpracę z podcasterami i youtuberami, by dotrzeć do młodych wyborców? Poruszamy też temat syna Nawrockiego, Daniela – czy jest polskim odpowiednikiem Barrona Trumpa? Jaką rolę odgrywają dzieci polityków w kampaniach? Czy polityka to gra toczona w kuluarach, np. na polu golfowym? Czy Nawrocki powinien chwycić za kij golfowy i zagrać z Trumpem, by zbudować przyjacielskie relacje i wzmocnić pozycję Polski? Dyskutujemy, dlaczego administracja Trumpa poparła Nawrockiego i co to oznacza dla relacji Warszawy z Waszyngtonem. Czy jego prezydentura zapewni lepsze stosunki z USA niż Trzaskowskiego? Przyglądamy się fenomenowi silent majority – cichej większości, która boi się przyznawać do konserwatywnych poglądów. Dlaczego sondaże niedoszacowują kandydatów prawicy? Na koniec analizujemy przemysł pogardy – jak lewicowe media atakują wyborców prawicy i dlaczego ta strategia szkodzi lewicy. Włącz film, by odkryć, jak wygląda współczesna polityka, gdzie kończy się PR, a zaczyna gra o władzę!Daj łapkę w górę i zasubskrybuj Niepoprawny Dyplomata!

Miko Veldkamp by Lisson Gallery

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ ✅番組時間：54分46秒 ✅出演： ジャーマネ・tsZ・あくとん・蛇草千尋 2005年にスタートして、ついに700回。 みなさんのおたよりだけが頼りなこの番組。 回替わりレギュラー陣がお送りします。 　 ✅コーナー： フリートーク 🟧投稿フォームはこちら。 https://forms.gle/DkTHQ38qNNWTPpta7 （新） https://ja-mane.com/form/ （旧・画像添付可能） 🟧投稿テーマや締切など、番組情報はジャーマネ.comからどうぞ。 https://ja-mane.com 🟧アリキラ白書 2023と2024、公開中！ https://ja-mane.com/blog/2023/10/26/hakusho2023/ https://ja-mane.com/blog/2025/03/09/hakusho2024/ 🟦CLOSING MUSIC 極東の羊、テレキャスターと踊る by しゃろう https://www.youtube.com/watch?v=qy05MFjNZbE ■2025年6月7日配信 #ラジオ #webラジオ #IOSYS #イオシス

ぬるぽ放送局投稿フォーム https://docs.google.com/forms/d/e/1FAIpQLScwYSAEyRhDCHd-JRk9dLA05JKnGINgvnDhY3Xmkw2lwwDjQw/viewform 2025年6月パワープレイ 01. Stay Foolish 編曲：D.watt 原曲：東方紅魔郷 / おてんば恋娘 収録アルバム：TOHO BOOTLEGS 9 2025・5・5 Release https://www.iosysos.com/discographyportal.php?cdno=IO-0341 番組時間：79分42秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2025/6/5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＞ ・外に出ると気持ちいい季節になりましたよ ・季節固定コマンド ・なんで雪が降るんですかね？ ・雪かきはみなさんで ・雪かきの器具ないのに？ ・金ビキニの話は、いつしてもいい ・梅雨も２文字変えたら雪なので ・消費税3％は平成元年 ・ペットボトルの値段でハマっちゃった ・ピッとできるガールズバー ・それはクレジット会社は止めてくれないか ・あ、6月だ！ ＜Aパート＞ ・ふつおたです ・などと供述しており ・チャリーからチャールズに ・長嶋茂雄さんご冥福をお祈りします ・マジで炎上する5秒前 ・う～ん、どうでしょう ・私の荷物は誰が運んでくれるの？ ・宇宙世紀とそれ以外 ・積んだもんなのだ ・182cmのお姉さんに会いに行きに ・バニーイベント ・ひじきとみそ汁が時価 ・みそ汁に半額シール浮いてるんだ ・すでにフォローしています ・特に変わったことはないので下半期もがんばっていきましょう ・年一のMOCさんのクロスワード ・グーグルカレンダーに予定入れてますからね ・eQカズラとは ・緑化工専用 地被植物 ・プリンターのインクを思い出します ・何かを始めた時って、何を始めるんですか？ ・ロケットおっぱい記念日 ・わかった方はお便りください ＜Bパート＞ ・ホントに続編ないんですか？ ・ロケットおっぱい記念日はブルアカでした ・ご協力ありがとうございました ・みつをたです ・山形の人口が100万人切りました ・抹茶レモネード ・お好み焼きにご飯 ・ごはんにもパンにも合う食材 ・ハンバーガー釜めし ・4人中3人が坊主頭 ・2歳しか若返ってない ・イクラちゃんも引退 ・声優さんはすごいね ・全部食べ物だ ・またタマの話してる ・ロリメイドちゃん可愛いな ・3本でお送りしまーす ・セコムしてますか？ ・長嶋茂雄のＣＶっておかしいのよ ・オオタニサーンのなく頃に ・結構取られる住民税 ・４等分の住民税 ・落選者によるマリカ8 ・ジオン水泳部バンザイ ・アピールはうまい ・古古古米と樹木希林は似てるね ・各種お便りお待ちしてます ＜エンディング＞ ・もしもし ・新装版の話 ・一律1000円です ・封印されしチルノディア ・スリーブが倍の圧さ ・1枚1枚手作業でやってます ・クソ高ーい ・お知らせです ・楽曲提供のお知らせ 　「インキャラララバイ／天音かなた」 　作詞・作編曲：まろん ・にじさんじ 不破湊 さんに提供した楽曲がYouTube 1600万回再生 　「一旦ステイ TONIGHT」 　作詞：七条レタス 　作編曲：D.watt ・みなさんご存じの北大工学部のあの建物 ・行く方は迷うので早めに行ってください ・6/15 東方名華祭19 ■IOSYS L41 ・北海道ご当地キャラフェスタ　配信エンジニアをやってます ・6/22日 イオパ ・夢グループの動画を見た方がいい ・これはリスペクトだから

Niepoprawni Dyplomaci powracają z petardą! W najnowszym odcinku siadamy do rozmowy z mecenas Iloną Szymkowicz, która prowadzi kancelarię prawną w Miami na Florydzie i stronę Imigracja. Jak spełnić swój amerykański sen? Dowiedz się wszystkiego o imigracji do USA i uzyskaniu wiz, takich jak biznesowa czy studencka oraz poznaj wiele innych opcji wyjazdu!Ilona zdradza kulisy i praktyczne wskazówki, a także zaprasza na organizowaną przez siebie konferencję "Wizja USA", która odbędzie się 13 czerwca w Warszawie! To pierwsze tego typu wydarzenie w Polsce! Kup bilety i zrób pierwszy krok do realizacji swoich amerykańskich marzeń! Rozmawiają: Tomasz Winiarski i Mikołaj Teperek.

Trump vs. Musk: Finansowa Wojna Tytanów! Lista o czekujących e-book przewodnik "Nowy Nowy Jork" - https://dashboard.mailerlite.com/forms/1513881/155016022188885369/shareTomasz Winiarski i Mikołaj Teperek w najnowszym odcinku podcastu Niepoprawnu Dyplomata rozkładają na czynniki pierwsze konflikt: Donald Trump kontra Elon Musk! To starcie o miliardy dolarów, cła i przyszłość gospodarki USA! Co się stało z tym wielkim bromansem? Trump grozi zerwaniem kontraktów z Teslą i SpaceX Muska po krytyce jego „wielkiej, pięknej ustawy” budżetowej. Musk ripostuje, sugerując impeachment i ostrzegając przed recesją z powodu ceł! Akcje Tesli tracą 14,3%, a giełda szaleje! Ustawa za 3,8 biliona dolarów: obniżki podatków, podwyższenie limitu zadłużenia o 4 biliony i cięcia ulg dla zielonej energii. Musk nazywa to „abominacją”, która pogrąży USA w deficycie. Czy to gospodarczy boom, czy katastrofa?Musk grozi wycofaniem statków Dragon i pyta na X o nową partię polityczną. Czy republikańscy senatorowie, jak Rand Paul, zablokują ustawę? To wojna wizji: innowacje Muska kontra protekcjonizm Trumpa. Jak cła i podatki wpłyną na inflację i portfele? Tomasz i Mikołaj analizują z humorem i precyzją! Oglądaj teraz! Subskrybuj, lajkuj i dołącz do dyskusji: Trump, Musk, czy nowa partia?

W Bełkocie literackim nr 28 rozmawiamy równocześnie o Japonii na przełomie lat pięćdziesiątych i sześćdziesiątych oraz o Japonii w bliżej nieokreślonej przyszłości, bo bohaterką tego odcinka jest „Czwarta epoka” japońskiego pisarza Kōbō Abe, autora m.in. „Kobiety z wydm”. Napisana pod koniec lat 50. „Czwarta epoka” jest pierwszą japońską powieścią science fiction przetłumaczoną na języki zachodnie. Właśnie ten fantastyczno-naukowy charakter książki zwabił przed mikrofony dwóch bełkotowych nowicjuszy – Rafała Komorowskiego, który dotychczas w Radio Proza ograniczał się do robienia zdjęć, oraz Piotra „Picia” Pflegela, który z kolei zwykle pilnował tylko, by głosy uczestników dobrze się nagrały. Tym razem dołączyli do stałych bywalców – Kasi Janusik i Waldka Mazura, i w czwórkę zastanawiają się, czy Kōbō Abe to ta sama liga, co tworzący mniej więcej w tym samym czasie Stanisław Lem. Wydaje się, że w tym starciu japoński pisarz zajmuje mocne drugie miejsce, jednak wszyscy się zgadzają, że choć Lem jest lepszy, to i Kōbō Abe zasługuje na lekturę, bo jego wymyślona sześć dekad temu wizja świata przewidzianego przez maszynę prognostyczną niepokojąco przypomina świat, w którym przyszło nam żyć dzisiaj. A być może przypomina nawet bardziej niż się wydaje – jeśli możni tego świata coś przed nami ukrywają. Zaintrygowani? Zapraszamy do słuchania. „Czwartą epokę” (第四間氷期) Kōbō Abe przełożył Mikołaj Melanowicz, a wznowiło w 30 lat po polskiej premierze wydawnictwo Karakter. 

Eine Scheibe Zitrone mit ein paar Krümeln Zucker und Kaffee auf die Zunge gelegt, dann etwas hochprozentig Alkoholisches, am besten einen Weinbrand, darüber gespült – fertig ist der Nikolaschka, ein Cocktail, der es in den 1960er und 70er Jahren in West wie Ost zum Modegetränk brachte. Die Rezeptur ist freilich deutlich älter. Möglicherweise deutet sein Name auf eine Herkunft aus dem masurischen Ort Nikolaiken, heute polnisch: Mikołajki, hin. Neueste Spuren führen freilich eher in nordwestliche Richtung, denn wenn man den Ausführungen der Altonaer Neuesten Nachrichten vom 4. Juni 1925 trauen darf, firmierte der Nikolaschka in den 1920er Jahren als Signature drink im „Hotel Stadt Hamburg“, dem heutigen „Cap Polonio“, in Pinneberg. Überhaupt ist der Artikel darauf aus, die Altonaerinnen und Altonaer zu einem Ausflug in die gar nicht so ferne Nachbarstadt zu animieren. Rosa Leu ist ihm für uns gefolgt.

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

This one's heavy. Episode 089 is pure Hard Techno from start to finish—no filler, no fluff. Just 69 minutes of high-BPM pressure with tracks that punch straight through. You'll hear everything from warehouse stompers to distorted grooves, with names like The Horrorist, Morison, Alignment, Mickey Nox, and Bassjackers in the mix. Free to stream. Free to follow. New episodes weekly – subscribe to Basement Beats Radio.Find me @ www.djmiko.net

Fluent Fiction - Japanese: A Young Inventor's Awakening: Confidence at the Science Museum Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2025-06-01-22-34-01-ja Story Transcript:Ja: 春のある日、ハルトは学校の遠足で仲間たちと科学館にやって来た。En: One spring day, Haruto arrived at the science museum on a school field trip with his companions.Ja: 科学館の中は、子供の日を祝う明るいバナーが飾られ、人々で賑わっていた。En: Inside the science museum, bright banners celebrating Children's Day were hung, and it was bustling with people.Ja: ロボットや宇宙、自然界の不思議を展示するインタラクティブな展示がいっぱいだった。En: There were numerous interactive exhibits showcasing the wonders of robots, space, and nature.Ja: ハルトは科学が大好きだったが、クラスの中で最も人気のある存在ではなかった。En: Haruto loved science, but he wasn't the most popular in class.Ja: 彼は心の中で発明家になることを夢見ていたが、自分の才能に自信が持てないでいた。En: Secretly, he dreamed of becoming an inventor, but he couldn't find confidence in his own talents.Ja: その日、彼はクラスメイトのユキとミコと一緒に展示を見て回っていた。En: That day, he was going around the exhibits with his classmates Yuki and Miko.Ja: ユキはとても才能があり、いつもクラスの中心人物だった。En: Yuki was very talented and always the center of attention in class.Ja: 「これすごいね！」とユキが言った。彼は新しいロボットの展示に夢中だった。En: "This is amazing!" said Yuki, completely engrossed in the new robot exhibit.Ja: ハルトもロボットに興味があったが、ユキに比べると自分が小さく見えた。En: Haruto was also interested in robots, but compared to Yuki, he felt small.Ja: ハルトは心の中で決意を固めた。En: Haruto made a resolution in his heart.Ja: 「自分のペースで見てまわろう」。En: "I'll look around at my own pace."Ja: 彼はユキとミコから離れ、展示をじっくり見始めた。En: He distanced himself from Yuki and Miko and began to carefully examine the exhibits.Ja: 写真を撮り、メモを取りながら、自分が何を本当に好きなのか考えた。En: Taking pictures and notes, he thought about what he truly liked.Ja: 科学館のロボットコーナーに来たとき、ハルトは親切なガイドと出会った。En: When he arrived at the robot corner of the science museum, Haruto encountered a kind guide.Ja: ガイドは、簡単だけど魅力的なロボットの仕組みを説明してくれた。En: The guide explained the simple yet fascinating workings of the robots.Ja: この説明を聞いたハルトの頭の中に、ぱっと電球がともった。En: Listening to this explanation, a light bulb moment went off in Haruto's mind.Ja: 「これだ！」ハルトは思わず声を上げた。En: "This is it!" Haruto exclaimed unexpectedly.Ja: 自分のアイデアが輝き出したのだ。En: His own idea began to shine brightly.Ja: 彼はその日の初めに感じていた不安を忘れ、一生懸命ノートにアイデアを書き込んだ。En: He forgot the anxiety he had felt earlier that day and enthusiastically scribbled down his ideas in a notebook.Ja: 遠足が終わり、家に帰る途中でハルトはふと気づいた。En: On the way home after the field trip ended, Haruto realized something.Ja: 大事なのは、他の人がどう思うかではなく、自分が何を好きであるかだった。En: What was important wasn't what others thought, but what he himself liked.Ja: 彼の考えや好みは唯一無二のものであると分かった。En: He understood that his ideas and preferences were one of a kind.Ja: そうしてハルトは科学館を後にした。En: And so, Haruto left the science museum.Ja: 彼の歩くステップには、以前とは違う自信が満ちていた。En: Confidence filled his steps in a way it hadn't before.Ja: 科学展示会のプロジェクトに向けて、本当の興奮と意欲で取り組み始める準備が整ったのである。En: He was now ready to dive into the science exhibition project with genuine excitement and enthusiasm.Ja: ハルトの心には、唯一の目標があった。それは、自分自身を信じること。En: Haruto had a singular goal in his heart: to believe in himself.Ja: 自分の興味や直感を大切にすることで、新たな発見の旅が始まるのだと彼は確信していた。En: By valuing his own interests and intuition, he was certain that a new journey of discovery was about to begin. Vocabulary Words:spring: 春arrived: やって来たcompanions: 仲間たちbright: 明るいbanners: バナーcelebrating: 祝うbustling: 賑わっていたinteractive: インタラクティブなexhibits: 展示wonders: 不思議numerous: いっぱいpopular: 人気のあるdreamed: 夢見ていたinventor: 発明家confidence: 自信talented: 才能がありengrossed: 夢中だったresolution: 決意distanced: 離れexamine: 見始めたencountered: 出会ったfascinating: 魅力的なexplanation: 説明moment: ぱっとscribbled: 書き込んだenthusiastically: 一生懸命preferences: 好みconfidence: 自信intuition: 直感discovery: 発見

AMX アリキラ 第795回「ソーセージと野球チーム」 by IOSYS

ぬるぽ放送局投稿フォーム https://docs.google.com/forms/d/e/1FAIpQLScwYSAEyRhDCHd-JRk9dLA05JKnGINgvnDhY3Xmkw2lwwDjQw/viewform 2025年5月パワープレイ M2. バンド辞めようぜ！ Produced by RoughSkreamZ Vocal by DD"Nakata"Metal, 臨界モスキー党 収録アルバム：RoughSkreamZ / With Skreaming Friendz 2025・4・27 Release https://notebookrecords.net/discographyportal.php?cdno=NBCD-049 番組時間：76分10秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2025/5/29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＞ ・5月最終週です ・肉の日です ・焼肉ライク ・半額の日は混むので行かない ・まずは100gのアツアツ小話から ・回転ずしのベルトにイオシスのCD乗せましょう ・D.wattのウザがらみ ・寿司とDJの相性はいいね ・笑点みたーい ＜Aパート＞ ・ふつおたです ・白髪染めって、どうしてますか？ ・おすすめのガンダム作品 ・これは海なのでは？ ・そして白髪染め？ ・必要なのは亜鉛 ・食べる米がない ・まずはお代官様、染める髪を用意してください ・全部白にする ・イオシス全員リバウンド王 ・はかせはバウンド王 ・ナタリー・ポートマンの話 ・パチンコ屋さんに貯金してるお金をおろしたい ・生のお笑いライブに行きたい ・ローワライ ・昨日のぬるぽ見た？ ・初老の報告です ・はかせ太ったなー ・中老は朝まで過ごすのは辛い ・アンハッピーセット ・はかせの隣の席のおじさんの話が、ラーメンと同じくらい饒舌 ・世田谷は人の住むところではない ・H判定だからHな衣装を着てきます ・禁酒うちわ ・すくすく育っているメカトキ ・残り物だからカロリー0 ・鉄道辞めたらただの米菓子屋さんだから ・イオシスの生み出すAI VTuberとは ・見た目はバニーガール ・恥じらいが欲しい ・​​見た目は美少女、中身ははかせ ・はかせVTuberはすぐにできるね ＜Bパート＞ ・ギターソロがH判定 ・過去ジャケのキャラだ ・みつをたです ・市ゴマさんの会社がウハウハ ・トイレCDのオチだ ・ぬるぽ流行語候補「辛子が一番うまい」と「バンド辞めようぜ」 ・梅雨入りの早さを競う ・なんで地元の会社じゃないんだろう ・食べられるだけありがたい米 ・米の話題でもちきり ・お米むしゃむしゃくん ・お気に入りはぶっかけもの ・これ、ビールに合うんだよな ・片栗粉X ・きみエヴァじゃないよね？ ・濃縮したまま出してる ・みつをじゃなかった任◯堂だ ・さーて、今週のジークアクスは ・お腹すいたので、おわりまーす ＜エンディング＞ ・お知らせです ・楽曲提供のお知らせ 　【Original MV】Full Scratch me / ボカロのCiちゃん【公式デモソング】 　作詞：七条レタス 　作編曲：D.watt ・スカ警24時アクスタ 　M3と例大祭で初回分がなくなってしまいましたが、増産できました～ 　・署長 vs チルノセット 　・全員集合セット 　の2パターンあります ・beatmania IIDXのお知らせ 　2025/5/29 LEGGENDARIA譜面追加されました 　「神っぽいな」Remixed by uno(IOSYS) & NUE feat. Chiyoko(2023年提供) 　「グッバイ宣言」Remixed by uno(IOSYS) & Liqo feat. Chiyoko(2022年提供) ・次回の即売会参加予定 　2025/6/15 東方名華祭19 　■IOSYS L41 　＊たくや 　春の新作と、名華祭合わせの新作を持っていきます ・来週末のおもしろ事案 　2025/6/7 北大ダンパ 　at 北大工学部 　＊D.watt ・母校凱旋DJ ・あそこは格ゲーとカップラーメンしかない ・すってはっくん明日やります ・渋いパズルと渋い映画を好む ・H判定出ちゃった ・肉の回おわろう

W piątek w #OnetRano przywita się Mikołaj Kunica, którego gośćmi będą: Michał Rogalski - analityk i dziennikarz danowy Onetu; Michał Fedorowicz - analityk internetu i mediów społecznościowych, Res Futura; Sylwia Gregorczyk-Abram - adwokatka; Iwona Prószyńska - ekspertka NASK z zespołu CERT Polska; Katarzyna Grochola - pisarka; Ewa Raczyńska - zastępczyni Redaktor Naczelnej Onet Lifestyle. W części "Onet Rano. WIEM" gościem Agnieszki Homy będzie: prof. Katarzyna Koziak - kierowniczka wydziału nauk o zdrowiu WUM, zakład immunologii, biochemii i żywienia.

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. Happy Asian American & Pacific Islander Heritage Month! Even though the Trump Administration has eliminated recognizing cultural heritage months, we are still celebrating diversity and inclusion here at APEX Express and KPFA. We believe in lifting up people's voices and tonight on APEX Express the Powerleegirls are focusing on “Asian American Children's book authors”. Powerleegirl hosts Miko Lee and daughter Jalena Keane-Lee speak with: Michele Wong McSween, Gloria Huang, and Andrea Wang   AAPINH Month Children's Books part 1 transcript Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Ayame Keane-Lee: [00:00:49] Happy Asian American and Pacific Islander Heritage Month. Even though the Trump administration has eliminated recognizing cultural heritage months, we are still celebrating diversity and inclusion. Here at Apex Express and KPFA, we believe in lifting up people's voices. And tonight on Apex Express, the PowerLeeGirls are focusing on Asian American Children's book authors. PowerLeeGirl hosts Miko Lee and daughter Jalena Keane-Lee. Speak with Michele Wong McSween, Gloria Huang and Andrea Wang. Thanks for joining us tonight on Apex Express. Enjoy the show.   Miko Lee: [00:01:21] Welcome, Michele Wong McSween to Apex Express.    Michele Wong McSween: [00:01:26] Thank you, Miko. It's nice to be here.    Miko Lee: [00:01:28] I'm really happy to talk with you about your whole children's series, Gordon & Li Li, which is absolutely adorable. I wanna start very first with a personal question that I ask all of my guests, which is, who are your people and what legacy do you carry with you?   Michele Wong McSween: [00:01:45] I would say my people are really my family starting with, my great, great grandparents who came here down to my grandparents, my parents, and onto my children because, to me family is. The reason why I created Gordon & Li Li in the first place, it was really to bridge that connection for my children. I didn't grow up feeling that connected with my culture because as a fourth generation Chinese American, I was really in the belief that I'm American. Why do I need to know anything about my culture? Why do I need to speak Chinese? I never learned. As a sidebar to that, I never learned to speak Chinese and it didn't really hit me until I had my own kids that I was really doing a disservice to not only my kids, but to myself. my people are my family. I do this for my kids. I do this to almost apologize to my parents for being so, Disrespectful to my amazing culture and I do it for the families who really want to connect and bridge that gap for their own children and for themselves.    Miko Lee: [00:02:53] And what legacy do you carry with you?    Michele Wong McSween: [00:02:55] Again, my family. My, great grandparents. Really. Started our family's legacy with the hard work and the prejudices and all the things that they endured so that we could have a better life. And I've always felt that it is my responsibility to teach my own kids about the sacrifices that were made and not to make them feel guilty, but to just make them appreciate that we are here. Because of the the blood, sweat, and tears that their ancestors did for them. And so we are, eternally grateful for that. I think it's important for us to continue that legacy of always doing our best, being kind and doing what we can do to further the experience of not just our family, but the people in our community that we connect with and to the greater world.    Miko Lee: [00:03:43] when you were growing up, were your parents speaking with you in Chinese and did you hear about your great grandparents and their legacy? Was that part of your upbringing?    Michele Wong McSween: [00:03:52] I heard about my great grandparents in the stories that my mom told us, but to be quite honest, I wasn't receptive to really digging deep in my cultural understanding of. my great-grandfather and what he went through. I know mom, I know he came over in 19 whatever. I know he brought over all these young sons from his village, but I really didn't fully take it in and. No, I didn't hear Chinese spoken in the house much. The only time my parents spoke it was to each other so that we didn't know what they were talking about. They had like this secret code, language. My experience with my language was not, That positive. we did attempt to go to Chinese school only to be teased by all the other kids because we didn't speak it. It didn't end up well. my mom ended up pulling us out and so no, we were really not connected all that much to the language.   Miko Lee: [00:04:48] I can really relate to what you're saying. As a fifth generation Chinese American, and my parents their ancestors came from different provinces, so their dialects were so different that they even spoke to each other in English. 'cause they couldn't understand each other in Chinese. So it happens so often. Yeah. Yeah. And so I really relate to that. I'm wondering if there was an epiphany in your life or a time where you thought, oh, I. I wish I knew more of those stories about my ancestors or was there some catalyst for you that changed?   Michele Wong McSween: [00:05:17] All of this really kind of happened when I moved to New York. I, you know, raised in Sacramento, went to college in the Bay Area, lived in San Francisco for a while with a job, and then I eventually moved to New York. And it wasn't until I came to New York and I met Asians or Chinese Americans like me that actually spoke Chinese and they knew about cool stuff to do in Chinatown. It really opened my eyes to this new cool world of the Chinese culture because I really experienced Chinatown for the first time when I moved to New York. And it was just so incredible to see all these people, living together in this community. And they all looked the same. But here's the thing, they all spoke Chinese, or the majority of them spoke Chinese. So when I went to Chinatown and they would look at me and speak to me in Chinese and I would give them this blank stare. They would just look at me like, oh my gosh, she doesn't even speak her own language. And it kind of made me feel bad. And this was really the first time that it dawned on me that, oh wow, I, I kind of feel like something's missing. And then it really hit me when I had my kids, because they're half Chinese and I thought, oh my gosh, wait a minute, if I'm their last connection to the Chinese culture and I don't speak the language. They have no chance of learning anything about their language they couldn't go that deep into their culture if I didn't learn about it. So that really sparked this whole, Gordon & Li Li journey of learning and discovering language and culture for my kids.    Miko Lee: [00:06:51] Share more about that. How, what happened actually, what was the inspiration for creating the Children's book series?    Michele Wong McSween: [00:06:58] It was really my children, I really felt that it was my responsibility to teach them about their culture and language and, if I didn't know the language, then I better learn it. So I enrolled all of us in different Mandarin courses. They had this, I found this really cute kids' Mandarin class. I went to adult Mandarin classes and I chose Mandarin because that was the approved official language in China. I am from Taishan, My parents spoke Taishanese, but I thought, well, if Mandarin's the official language, I should choose that one probably so that my kids will have at least a better chance at maybe some better jobs in the future or connecting with, the billion people that speak it. I thought Mandarin would be the way to go. When I started going to these classes and I just realized, wow, this is really hard, not just to learn the language, but to learn Mandarin Chinese, because we're not just talking about learning how to say the four different tones. We're talking about reading these characters that if you look at a Chinese character, you have absolutely no idea what it sounds like if you're, if you're learning Spanish or French or German, you can see the letters and kind of sound it out a little bit. But with Chinese characters. No chance. So I found it extremely difficult and I realized, wow, I really need to support my kids more because if I am going to be the one that's going to be bridging this connection for them, I need to learn more and I need to find some more resources to help us. when we would have bedtime story time, that whole routine. That was always the favorite time of my kids to be really, quiet and they would really absorb what I was saying, or we would talk about our days or just talk about funny things and I realized, wow, these books that they love and we have to read over and over and over again. this is the way that they're going to get the information. And I started searching high and low for these books. back in 2006, they didn't exist. and so I realized if they didn't exist and I really wanted them for my kids, then I needed to create them. That's the impetus, is there was nothing out there and I really wanted it so badly that I had to create it myself.   Miko Lee: [00:09:09] Oh, I love that. And I understand you started out self-publishing. Can you talk a little bit about that journey?    Michele Wong McSween: [00:09:15] I'm glad I didn't know what I know today because it was really hard. luckily I had, A friend who used to work for a toy company, it was all through connections. there was nothing really on Google about it. there was no Amazon print on demand. There were none of these companies that provide these services like today. So I just kept asking questions. Hey, do you know a toy manufacturer in China that maybe prints books? Do you know a company that could help me? get my books to the states. Do you know an illustrator that can help me illustrate my books? Because I had gone to fashion design school, but I had not learned to illustrate characters or things in a book. So asking questions and not being afraid to ask the questions was really how I was able to do it because, Without the help of friends and family, I wouldn't have been able to do this. I had all my friends look at my books, show them to their kids. I had my kids look at them, and I kind of just figured it out as I went along. Ultimately when I did publish my first book, I had so much support from my kids' schools. To read the books there, I had support from a local play space for kids that we would go to. I really leaned on my community to help me, get the books out there, or actually it was just one at the time. Two years later I self-published two more books. So I had three in total. no one tells you that when you self-publish a book, the easy part is actually creating it. The hard part is what comes after that, which is the pr, the marketing, the pounding, the pavement, knocking on the doors to ask people to buy your books, and that was really hard for me. I would just take my books in a bag and I would explain my story to people and I would show them my books. sometimes they would say, okay, I'll take one of each, or Okay, we'll try it out. and slowly but surely they would reorder from me. I just slowly, slowly built up, a whole Roster of bookstores and I kept doing events in New York.    I started doing events in Los Angeles and San Francisco, and through that I gained some following, some fans and people would tell their friends about me. they would give them to their nieces they would give them to their cousin's kids, or, things like that. I knew that I had to do it because my ultimate goal was to have Scholastic be my publisher. That was my ultimate goal. Because they are the publisher that I grew up with, that I love that I connected with, that I was so excited to get their book club, little flyer. I would check off every book that I wanted. And my mom never said no. She always let me get every single book I wanted. I realize now that that's what really Created the love of books for me is just having access to them and, going to the libraries and seeing all these books on the bookshelves and being able to take them out and read them on the spot. And then if I loved them enough, I would check them out and take them home and read them over and over. So it was really, my experience, having that love for books that I thought, oh gosh, it would be a dream. To have Scholastic become my publisher. So after 10 long years of events and community outreach and selling to these bookstores, I finally thought, okay, I've sold, about 17,000, 18,000 books. Maybe, maybe now I can take my series to them. I also had created an app. Maybe I can take this to them and show them what I've done. Maybe they'll be interested in acquiring me. And I got an appointment with the editor and I pitched my books on my app and within a couple of days they offered to acquire my books, which was my dream come true. So anyway, that was a very long story for how self-publishing really is and how ultimately it really helped my dream come true.    Miko Lee: [00:13:08] Now your books are on this Scholastic book, fair Circuit, right?    Michele Wong McSween: [00:13:13] Yes, they are. Well, it's actually just one book. They took the three books, which were everyday Words. Count in Mandarin and learn animals in Mandarin. They took all three books and they put them in one big compilation book, which is called My First Mandarin Words with Gordon & Li Li. So it's a bigger book. It's a bigger board book. Still very, very sturdy and it's a great, starter book for any family because it has those three first themes that were the first themes that I taught my own boys, and I think. It just, it's very natural for kids to want to learn how to count. animals were, and my kids were animal lovers, so I knew that that's what would keep them interested in learning Mandarin because they actually loved the topic. So, yes, my first mandarin words with Gordon & Li Li does live on Scholastics big roster.   Miko Lee: [00:14:01] Fun. Your dream come true. I love it. Yeah. Thanks. And you were speaking earlier about your background in fashion design. Has there been any impact of your fashion design background on your voice as a children's book author?   Michele Wong McSween: [00:14:14] I don't know if my background as a fashion designer has had any impact on my voice. I think it's had an impact on how I imagined my books and how I color my books and how I designed them because of working with, you know, color palettes and, and putting together collections I can visually see and, can anticipate. Because I have that background, I can kind of anticipate what a customer might want. And also, you know, speaking with people at my events and seeing what kids gravitate to, that also helps. But I think there's so much more to being an author than just writing the books. You know, when I go to my events, I have a table display, I have setups, I have props, I have, I actually now have a, a small. Capsule of merchandise because I missed designing clothes. So I have a teeny collection of, you know, sweaters, hoodies, onesies, a tote bag, and plushies   Miko Lee: [00:15:04] they're super cute by the way.    Michele Wong McSween: [00:15:06] Oh, thank you. So, you know, fashion has come in in different ways and I think having that background has really helped. kind of become who they are    Miko Lee: [00:15:17] Can you tell us about the latest book in the series, which is Gordon and Li Li All About Me. Can you tell a little bit about your latest?   Michele Wong McSween: [00:15:25] Gordon & Li Li All About Me is really, it's, to me, it's. I think my most fun interactive book because it really gets kids and parents up and out of their chairs, out of their seats and moving around. And you know, as a parent, I always would think about the kind of books that my kids would gravitate towards. What would they want to read and what as a parent would I want to read with my kids? Because really reading is all about connection with your kids. That's what I loved about books is it gave me a way to connect with my kids. And so a book about body parts to me is just a really fun way to be animated and get up and move around and you can tickle and, and squeeze and shake it around and dance around. And, you know, having three boys, my house was just like a big energy ball. So I knew that this book would be a really fun one for families and I have two nieces and a nephew, and I now, they're my new target market testers, and they just loved it. They had so much fun pointing to their body parts and the book ends with head, shoulders, knees, and toes in English and in Mandarin. And so of course. Every kid knows head, shoulders, knees, and toes in English. So we sing that. We get up, we point to our pottered parts, we shake it around, we dance around. And then the fun part is teaching them head, shoulders, knees, and toes in Mandarin because they're already familiar with the song. It's not scary to learn something in Mandarin. It just kind of naturally happens. And so I think the All About Me book is just a really fun way to connect with kids. I've actually launched it at a couple of events already and the response to the book has been overwhelming. I was at the Brooklyn Children's Museum and even the president of the museum came and did the head shoulders. Knees and toes, songs with us. It was so much fun. Everybody was dancing around and having a great time. So I'm just really, really excited for people to pick up this book and really learn about the body. It's, you know, body positivity, it's body awareness, and it's just a great way to connect with your kids.   Miko Lee: [00:17:31] So fun. I, I saw that you're recently at the Asian American Book Con. Can you talk a little bit about that experience?    Michele Wong McSween: [00:17:38] Oh, that was great. That was the first of its kind and. I led the entire author segment of it. I would say individual authors. There were, there were, publishing companies that brought in their own authors, but I was responsible for bringing in the independent authors. And so I think we had about eight of us. There were Indian, Korean, Chinese, Taiwanese, and we all came together for this one really special day of celebrating our voices and lifting each other up. And there was so much energy and so much positivity in that event, and I. Actually was just thinking about reaching out to the organizers last year and seeing if we could maybe do, part two? So, I'm glad you brought that up. It was a really positive experience.    Miko Lee: [00:18:27] So we're celebrating the end of Asian American Pacific Islander Native Hawaiian month. Can you tell us why this month is important to you?    Michele Wong McSween: [00:18:36] When you have something designated and set aside as, this is the month that we're going to be celebrating Asian American Native Hawaiian Pacific Islander heritage all month long, I think it kind of perks up. People's ears and they think, oh wow, this is a great opportunity for me to see what's happening in my community. I think it just brings the awareness to. The broader community and ultimately the world. And I think when we learn about each other and each other's cultures, it brings us closer together and makes us realize that we're really not that different from each other. And I think when there are so many events happening now it peaks the interest of people in the neighborhood that might otherwise not know about it and it can, really bring us closer together as a community.   Miko Lee: [00:19:27] Michelle Wong McSween, thank you so much for joining me on Apex Express. It's great to hear more about you and about your latest book Gordon & Li Li and the entire series. Thank you so much.    Michele Wong McSween: [00:19:39] Thank you, Miko   Jalena Keane-Lee: [00:19:40] Thank you all so much for joining us. I'm here with Gloria l Huang, author of Kaya of the Ocean. Thank you so much for joining us, Gloria.    Gloria Huang: [00:19:48] Oh, thanks so much for having me here.    Jalena Keane-Lee: [00:19:50] So first off, one question that we're asking all of our guests on our show tonight is, who are your people? However you identify, you know, your community, your ancestors, and what legacy do you carry with you?    Gloria Huang: [00:20:01] Oh, that's such a good question. So I am my heritage is Chinese. My parents were born in China and then grew up in Taiwan. And I myself was actually born in Canada. But then moved the states pretty young and and American Canadian dual citizen and now, but I, my heritage plays a lot into my. Kind of my worldview. It really shaped, how I grew up and how I saw things. And so it features very prominently in my writing and in my stories as you could probably tell from Kaya the ocean.    Jalena Keane-Lee: [00:20:34] Yes. And I love the book so much. It was such a    Gloria Huang: [00:20:37] thank you,    Jalena Keane-Lee: [00:20:38] amazing read. And I'm also half Chinese and love the ocean. Just love the beach so much and have always felt such a connection with the water. I don't wanna give away too much things about the book, but I was wondering if you could talk about your inspiration for writing it and a little bit about, setting and everything.   Gloria Huang: [00:20:56] Of course. So the inspiration for the book actually started I came up with the idea when the world was first emerging from the pandemic and I was seeing a lot of people obviously experiencing a lot of anxiety, but a lot of children very close to me in my life. And they were experiencing it for the first time, which was can be so difficult. I remember when it happened to me and there's just this tendency to. Worry that there's something wrong with you or that you've done something and you feel so alone. And so I remember standing by the ocean one night actually and thinking that I'd really love to write a book about a girl who is struggling with. The anxiety just to be able to send a message to all these kids that there's nothing wrong with them. They're not alone and really all parts of who they are. Even the parts they might not love so much are important parts of these amazing, beautiful, complicated people. They are. So that was the inspiration for that part of the story, the setting. I was very inspired. As you mentioned, the ocean is a huge inspiration to me. It actually comes into my mind, a lot of my stories and someone pointed that out once and I was like, you're right, it does. And I think part of it is that I love the ocean. I love the beach. I love being there, but I'm also so in awe of this powerful thing that, you know, where we know so little about it. It is. There's so much mystery to it. It can look so beautiful on the surface and be so dangerous underneath. I love it as a metaphor. I love it as a part of nature. So I think that was a huge part of why I wanted to incorporate that, especially because I think it also plays well into the metaphor for how some people experience anxiety and you can be calm on the surface, but so much is happening underneath.    Jalena Keane-Lee: [00:22:29] Absolutely. Yeah. Those interplay with each other and are metaphors for each other in such a beautiful way, mirror the experience. Yeah. I wanted to talk a little bit more about anxiety and particular, as a young Asian American girl the cultural specificity of having anxiety as a young Asian American woman.    Gloria Huang: [00:22:46] Yes I definitely think it's no coincidence. I think that anxiety often goes hand in hand with perfectionism and pressure and I, many people feel that kind of pressure, but certainly a young Asian girl especially with immigrant parents, will feel specific kind of pressure. And so I was really trying to portray that, Somebody once said to me, they were like, oh, I really like how Kaya on the surface seems so put together. She's, got really good grades. She works really hard at school. She's close to her parents, but there's all this going on underneath. And I actually think that's not unusual in terms of that experience for Asian American children of immigrants, and especially if you're female I was really trying to. Tease that out. And then in addition I think there's a tendency, and this might exist in other cultures as well, but in Asian culture, at least in my family history there's a tendency not to really want to talk about mental health. There was a, there's a joke in my family that my parents thought anything could be solved with good sleep and good nutrition, like anytime you had any problem. And I think that there is a, there's a. resistance to feeling like your child can be struggling in a way you can't help them. So I, really wanted to touch on that, part of the cultural pressures at play in kaya's life.    Jalena Keane-Lee: [00:23:59] And you did so beautifully and it was very relatable, as a anxious Asian girly. And also just, the discussion of big feelings and somehow, having inklings that you may be more powerful than you even realize, but the kind of like emotions that come with that too.    Gloria Huang: [00:24:15] Yes. I think that's a huge part of it is that like when you experience these huge feelings they feel powerful, know, in a negative way. But what I was really trying to get at was, there is also power in accepting these parts of yourself and realizing that They can make up this powerful being that you are, even if you might not love them in that moment.    Jalena Keane-Lee: [00:24:34] Yeah. I felt very seen by the book and I, couldn't help but wonder wow, what would it have been like if I had read this when I was, 13 or 12 or kind of Closer to the age of the characters in the book.   Gloria Huang: [00:24:45] Thank you so much for saying that it actually means a lot because a lot of my motivation when I do write these books is to write for people who are either of that age or, wish they had a book like that at that age, which is also how I feel a lot about books nowadays and oh, I, I'm so glad that exists. I wish that had been around when I was that age.    Jalena Keane-Lee: [00:25:03] Yes. Were there any books that really set an example for you that either you read, maybe when you were, in the young adult. Age range or that you've read now as an adult where you're like, okay, this is definitely the audience that I wanna be writing for.   Gloria Huang: [00:25:17] Definitely. I actually love this question 'cause I'm a big reader and so I love talking about books . When I was a kid, middle grade books were my gateway into my love of reading. So I still remember a lot of my favorite books, but I would say a recent book, it's actually maybe not that recent now, it's maybe a couple years old, but a book that really. Had an effect on the middle grade book was when you trap a tiger by Tae Keller and it explores. The kind of Korean experience, but also through the prism of kind of understanding generational grief. And it was just so beautifully done and really made an impact on me. So that was one recently that I thought was really powerful. And, I was like, this is an important book. This is definitely a book I would've loved as a child. When I was younger and I was reading books, there were three books that meant a lot to me. One was called the true confessions of Charlotte Doyle, and it was like a swashbuckling adventure story starring a girl, which was, at that time not very common. And it was, it meant, it was so earth shattering to me to be able to see a female character in that role. So that was great. There's a book called. Homecoming by Cynthia Voigt. And it's an adventure story and it also stars. The main character is a very strong female character and Tuck everlasting, which I just think is a beautiful book. It's also female characters. Now I'm saying it out loud. They are all female main characters. And all about, existentialism and adventure and things that, it was important for me to see. Female characters exploring. But I did also wanna say that when I was reading middle grade books, some of my favorite books included a series called, babysitters Club, which I think that they've redone now as a graphic novel. And that was actually really important, not necessarily for the stories, but because there's a character named Claudia Kishi who. Was a Japanese American character and she absolutely shattered the minds of, I think all kids that age were Asian descent and female in reading these books because there just wasn't a character like her before that, she was so cool and artistic but she had immigrant parents and she had a sister who was very good at math and they didn't get along and she loved junk food and she was. So incredibly nuanced and it was just not something that we saw back then. So that really inspired me, I think, to want to add to the diversity of voices. And thankfully there are many more diverse voices now than when I was reading.    Jalena Keane-Lee: [00:27:30] I love that. And I also feel like books that you read at that age, they stay with you forever.   Gloria Huang: [00:27:35] They really do.    Jalena Keane-Lee: [00:27:35] And they shape so much of like your worldview and your friendships. And I'm curious, 'cause I know the book was released this year in January. Mm-hmm. So what has it been like for you on your book tour and what's been some other responses that you've heard? I.    Gloria Huang: [00:27:48] It's been really great. It was so exciting to do the book launch and then just the amount of support from the writing community from, my, my kind of network, my agents and my publisher and editor. And also just readers. It's been really great. But one thing I think I wasn't expecting to love quite so much, not because I was expecting to not love it. I just said, it occurred to me that I would feel this way is getting feedback from, child readers is amazing because, I think as writers we love feedback no matter what. And if it's positive feedback, that's even better. But having a child reach out and as some of my friends will send a video of their. Children reacting to the book or they'll, their, let their child type out a text messages and just to hear how the book hits with them and to hear their excitement or to hear that they were moved or to have them want to know what happens next. It meant so much to me because it was, they're the target audience and to have them feel seen in that way was just, it's just the ultimate kind of powerful feeling.    Jalena Keane-Lee: [00:28:51] That is so sweet. Oh my gosh. I can only imagine. And so you're talking about the young readers. Yes. But I'm also curious if you have any advice or thoughts for young writers who might be wanting to share and get similar stories out to the world?   Gloria Huang: [00:29:05] Yeah I definitely do. And one of the. Experiences I've had that's been great is I've been doing, some school visits and I go and I talk about the book, but I actually talk about the writing process. And when I do that, I really talk to the kids. As if they're writers. The one of the first questions I ask is, hold up your hand. If you love writing or you think you want me, you might wanna be a writer someday. And a lot of hands go up and I tell them like, what the publishing process is, what are, the different genre options, what you might wanna consider, how you come up with an idea, how you sit down and write it, how you reach out to an agent. And I am surprised at how. Intensely, they're hanging onto every word and they're insightful questions after it. It shows me that a lot of them are really thinking about this. I think for one of the school visits, I remember someone held up her hand and she said what is the youngest age I. Someone has been able to be published. And I thought that was great. Because they're so inspired and you can tell that, that they're thinking for the first time this is a possibility. I have all kinds of advice during the school visits, the main piece of advice is really. Just that it can be a tough industry. writing is a very isolated process usually. There's a lot of kind of obstacles and there's a lot of gatekeeping. And so I tell 'em that the most important thing they can do is just keep pushing through and not to let any, setbacks stop them, because the ultimate goal is to reach even just one person.    Jalena Keane-Lee: [00:30:24] Absolutely. And what kind of advice do you give around learning how to hone your own voice and also having discipline when it comes to an artistic practice?   Gloria Huang: [00:30:33] Yeah, I think that's such a great question. And I was gonna say this piece of advice is probably more for I. Older writers, but adult writers, I guess I should say. The one thing that I've really been thinking about having published a middle grade book is the very specific and unique experience of writing for middle grade audiences. I think a lot of my friends who write for older audience groups, young adults, adults, They have their own challenges, but one of the things that is different is when they're writing, they are writing for the same target audience. That's also the decision makers. So generally, adults and young adults are picking their own books, and they're speaking to someone who will. Ultimately be the ones to pick up the books where when you're writing for middle grade audiences they're not usually the decision makers. at bookstores, they may or may not be in charge of which book they buy, in. Schools, usually it's a librarian or a teacher. So in some ways you're writing for one audience, but you're also writing a subject matter that you're hoping the decision makers will decide is worthy to put in front of your ultimate readers. So that's one challenge. And then the other challenge is I think middle grade audiences are so. fascinating because they're going through this amazingly unusual time in their lives, whether it's eventful and there's new experiences and that can be exciting, but also scary. So there's a lot to mind in terms of topics, but they are also a mixture of being very sophisticated readers who are on the cusp of being teens. And so there's a healthy dose of, skepticism, but they're still young enough that they. Believe in magic, at least in the literary world. So you, there's a lot of room to play with that. But they also. They sound different. They speak differently than adults. So it's important to get the dialogue, for me I, turn to children in my life, including my own, just to do a check to make sure that the dialogue sounds authentic and something that, people, that kids would say. So a lot of thoughts there, but I think, I've been thinking a lot about middle grade and writing for middle grade, and what a unique experience it is.   Jalena Keane-Lee: [00:32:26] Yeah, that's such a good point about the decision maker and having the multiple audiences, and I'm sure sometimes the decision makers are reading the books too, right? Or reading it with their kids or what have you. For your personal writing practice, are there any upcoming projects that you can share with us? And how do you stay inspired for what I imagine is like the long haul of writing something.    Gloria Huang: [00:32:45] I'm happiest when I have like several projects in the pipeline. So as soon as I am done a book or it's, outta my hands, it's with my agents or my editors. I'm looking to write another book. And I think sometimes I probably overwhelm my amazing book before agents. 'cause I'm like, I'm ready to start another story. And they're like, we're still looking at the book you just sent us. But I, that's very much how. I am happiest. I would definitely say that everybody finds their own rhythm. I'm in some writers groups and some people are incredibly fast drafters and just need multiple projects at a time. And some people are like, no, I need to work on one project and I need to have it to perfection and I'm gonna work on it for a year or two. And I think whatever works for the individual artist, I think is the best kind of process for them. But yes, for me it's very much about having multiple projects. I think I'm most inspired when I have different projects going at the same time. finding your own rhythm, I think is my advice.    Jalena Keane-Lee: [00:33:40] kaya of the ocean has, strong themes and storylines about, myths, mythology, Chinese mythology, and goddesses. I'm curious if you wanna talk any more about that and then also if that shows up in any of the other projects you're working on    Gloria Huang: [00:33:54] Yes, the Chinese mythological water goddess that features. Pretty prominently in Kaya of the Ocean is Matsu. And I find her to be such a fascinating character. She is a real goddess who's worshiped still in Asia. I think. Fishermen often will, pray to her for safe passage when they go out on the water. And my father told me about her when I was younger he told me like the side stories and I thought that was really interesting. But it was only when I started thinking about this book that I thought, I'd love to, I'd love to incorporate her. I hadn't heard about her too much in, in the fictional world, even though I knew she was still like a revered goddess. But I thought it was so cool that she was this strong. I. Strong female figure in a space that didn't always have that, hundreds of years ago. And so I dove into her story a little bit and found out, the story is that she was once a human child who loved to read and then she was afraid of swimming in water until she was older and then she drowned, saving, trying to save some relatives and it was interesting 'cause I'd already started plotting out Kaya and writing Kaya. And so much of her story wove easily into what I had already come up with. Like there, I think she has two sidekicks that were one time enemies that she, made into her friends and I'd already had Kaya written with two friends, Naomi and Ana. So I, there was just so much that I felt was kismet. And it was really fun to be able to weave that story together and fictionalize it. But I think it was also meaningful for me to be able to do that because. When I was younger, I loved reading Greek mythology. the stories are beautiful and they've been redone in beautiful ways, but it definitely was an area where I didn't necessarily see myself reflected. As part of my goal to add to the diversity of voices, I really wanted to feature Chinese mythology and bring those stories in so that. Kids can either see themselves reflected in those stories and or understand a new kind of set of mythology and learn about a new culture.   Jalena Keane-Lee: [00:35:46] Yes. I'm so glad you put it that way because it is, it's such a privilege to have access to, our own I. Cultural stories and knowledge through these, like fun and modern interpretations. Definitely. So I'm so glad that this can provide that.    Gloria Huang: [00:36:00] Oh, thank you. I did realize I didn't answer your other question, which is does it feature my other works? Which so I have sold another middle grade novel and I'm, it's not announced yet. I'm hoping to announce it soon. And I have some other. Books. I'm working on a young adult novel so far. They have not featured Chinese mythology, but I do definitely have a type that my most of my books tend to be contemporary settings, but with elements of speculative. Fantasy, just like the light touch of that and sometimes a little bit of historical elements as well. So they, they definitely all have that similar motif, but so far chi of the ocean is the only one to feature a Chinese mythological goddess.   Jalena Keane-Lee: [00:36:43] Thank you so much for sharing that. I love that. And I really love the relationship that Kaya had with her two friends and just and then also like the cousin that comes and just capturing like the banter amongst, amongst the girls.    Gloria Huang: [00:36:56] Thank you so much. that was really important to me, I think because at the stage that Kaia is in her life the loves of her life really are her two friends, Naomi and Ana, and they feature very prominently in how she learns to cope with her anxiety and her symptoms of anxiety. And so I really, I think that I really wanted to center her their friendship as much as possible. So I'm I'm glad that you saw it that way too.    Jalena Keane-Lee: [00:37:19] Yeah. And I feel like, I mean, it truly is the most important relationship. And so it's nice when works of fiction and yeah, works of fiction, can reflect that in such a beautiful way. I know you mentioned that you have daughters or have children?    Gloria Huang: [00:37:32] I do, yes. I have a son and a daughter. And my daughter actually was quite involved because when I first started writing Kaya, I think she was exactly of the age that she would be the target reader group. And so she actually helped Beta read it. She provided a lot of feedback. She became like a cheerleader. She was definitely involved in the process and I think that was really exciting for her. my son became of the reading age once it came out, so he reads it and he's a big fan too,   Jalena Keane-Lee: [00:38:00] that's so sweet. I love that your daughter was part of the editing process too. That's amazing.    Gloria Huang: [00:38:04] Yeah. Yeah. She loves writing and always says she wants to be a writer herself, so it was really special that she got to be part of this and see it up close.    Jalena Keane-Lee: [00:38:13] Oh wow. Do you think you would do any collaborative projects with her in the future?   Gloria Huang: [00:38:16] It's so funny that you say that. She always suggests that. And then sometimes they'll actually start a Google doc and they'll say, let's write a story together. And we all have, of course, very different writing styles. And then at some point they both actually usually just start reading what I'm writing. And at that point I'm like, this is not collaborative. You have to write as well. So we've had a couple of false starts, but that's always a joke that we're gonna do that together.    Jalena Keane-Lee: [00:38:39] that's so sweet. What else is upcoming for you? I know this is, Asian American and native Hawaiian Pacific Islander month right now, and the episode will come out towards the end of May. So if there's anything else coming up from you for this month or for June or the summer. Yeah. We'd love to hear what you have going on.    Gloria Huang: [00:38:57] Oh, yeah. Today actually Kaya's audio book was released people can listen to it. It was narrated by this amazing, narrator, Cindy K. And so anywhere you find audio books is available. And that was really cool. I've listened to a little bit of it and you, when you write, you hear the words in your head one way, and then it's amazing to hear like another artist do their take on it. So that's really cool. I will be at the Bay Area book Festival at the end of the month of May. There. Doing like different panels and I'll be on a panel. it's about Fantastical Worlds. I'm really excited about that. hopefully we'll be able to announce this other book soon. As you, you may know publishing is a very long lead time it will be a while before it's released, but I think the hope is to release it during, a API month as well just not this year. And working on a young adult novel that hopefully we can go on submission with at some point. But it's an exciting time for sure.    Jalena Keane-Lee: [00:39:51] Wow, that does sound so exciting. I can't wait to hear about your new projects and to continue to read the work that you put out into the world. Is there anything else that you'd like to discuss or talk about?   Gloria Huang: [00:40:01] I think just to say a thank you to you for, having me on here and reading Kaya of the Ocean and really anyone who's been interested in joining Kaya and her friends on their journey. It's just, it's so amazing, I think, to create these characters that become real to you, and then have them become real to other people. I don't have the words to describe how meaningful it is to me, but thank you.    Jalena Keane-Lee: [00:40:24] Thank you for letting us join into the world of Kaya for a little bit 'cause it was very fun and healing and all of the amazing things. And thanks so much for joining us today on Apex Express.    Gloria Huang: [00:40:36] For sure. Thanks so much.   Miko Lee: [00:40:38] Welcome, Andrea Wang, award-winning children's book author to Apex Express.    Andrea Wang: [00:40:43] Thank you, Miko. I'm so happy to be here.    Miko Lee: [00:40:46] Happy to have you. I'd love to start first with a personal question, which is, who are your people and what legacy do you carry with you?   Andrea Wang: [00:40:57] My people are from China. My mother's family belonged to an ethnic minority, called the Haka or the Kaja people, and she and her siblings were. A military family, and we're each born in a different province. And when the Chinese Civil War ended in 1949, they went to Taiwan where she grew up and immigrated to the United States in 1965 or 1966. My father's family are from Guangdong Province, and so I'm Cantonese on that side, although I don't speak any Cantonese. And he went to Hong Kong after the Chinese Civil War. So I am the daughter of Chinese immigrants, second generation Chinese American.    Miko Lee: [00:42:01] And what legacy do you carry with you?   Andrea Wang:[00:42:03]  I carry the legacy of their stories, both the ones that I know and the ones that I don't know yet.    Miko Lee: [00:42:12] Ooh. It sounds like there's lots of juicy things for you still to discover. That is fun.    Andrea Wang: [00:42:16] Yes.    Miko Lee: [00:42:17] Today we're talking about your new book, watercress, can you share what the audience, what the book is about, and then what is your inspiration for this book?    Andrea Wang: [00:42:25] So the book is about a Chinese American girl who is growing up in rural Ohio and her parents spot watercress growing in a ditch by the side of the road, and they immediately pull over and make her enter older brother, get out of the car and get down into the ditch with them and collect this. Vegetable, but to her it's a weed. And so when they serve it to her and her family at dinner, she really is unhappy about this and. For her, picking food out of a ditch has a really different meaning than it does to her parents who survived a lot of hardship in China. And it's not until her mom tells her a story about her childhood growing up in China and spoiler alert, loses a sibling to the famine that the girl begins to understand and better appreciate her parents, her culture, and her heritage.   Miko Lee: [00:43:29] And the inspiration for this book.    Andrea Wang: [00:43:32] So the inspiration is largely my own life. this is a semi autobiographical story. The memory of picking watercress by the side of the road was just something that I couldn't forget, I don't know why this memory continued to haunt me into adulthood. And then after my mom passed away, I started writing down, memories and stories of being with my family in order to maintain a connection to her. When I wrote this, at first it was a personal essay and it just wasn't working. I would put it away and I would occasionally take it out and I would put it away and take it out and work on it again. And it wasn't until I decided to pursue writing for young people that I completely changed the manuscript from a personal essay into a picture book. But at that point it still wasn't working. It was in third person and it wasn't very personal It took me several more years to figure out the heart of the story for me. So it was largely based on my own memories and my mother's childhood stories that she shared with me.   Miko Lee: [00:44:39] Can you share more about the power of memory and the artistic process? 'cause you've written many books and in different genres as well, but can you talk a little bit more about memory and its impact on your work?   Andrea Wang: [00:44:52] Yeah, that's a great question. I tend to write primarily for myself. And to figure out how I felt about certain experiences, how they've changed me, to try and process things I feel like I remember a lot about my childhood. parts of it are very vivid and I like to go back to those. Moments that have stuck with me all these years and explore what it means to me. Like I'm just very curious about why I remember certain things watercress was largely my way of processing my childhood feelings of shame about my family and my culture. I have leaned into that and am still writing stories about identity and the struggle to find our identity. Memory has a lot to do with it. I put myself in every single book.    Miko Lee: [00:45:45] Ooh, that's so interesting. And you're talking a little bit about shame and overcoming that. I'm wondering if you could speak more on, if you feel like memories hold the power to heal.    Andrea Wang: [00:45:56] I firmly believe that memories hold the power to heal. I think that writing watercress and talking about these feelings has really helped me, , heal from, that sort of trauma of not feeling like I belonged as a kid and also that I may have been. Not the nicest kid to my parents, not the most filial, right? And so writing this story was, as I say in the author's note, sort of an apology and a love letter to my parents. So it's been very healing and healing to hear about from all the. People who have read the book and had it resonate with them, the things that they regretted in their lives and hoped to, heal as well.    Miko Lee: [00:46:42] Oh, have you heard that story a lot from adult readers?   Andrea Wang: [00:46:46] I have. They will often tell me about the things that their parents did that embarrassed them. A lot of foraging stories, but also stories about, relatives and ancestors who were sharecroppers or indigenous peoples. And it's just been fascinating how many people connect to the story on different levels. There is that theme of poverty. I think recognizing. That's not often talked about in children's books, I think makes people feel very seen.   Miko Lee: [00:47:14] Yeah. That feeling of shame is really showcased by the illustrator Jason Chin. I mean your young you character kind of has a grumpy look on their face. And it was just so fun. Even in the book notes, Jason Chin, the illustrator, writes about how he combined both the western and eastern style of art, but also his similar cross-cultural background. I'm wondering when you very first saw the artwork and this was kind of young you did anything surprise you by it?    Andrea Wang: [00:47:42] I mean, it's amazing, gorgeous artwork and I was really struck by how he dealt with the flashbacks because when I sold this manuscript, I. Had no idea how an illustrator would deal with how interior it is and, , and how they would tackle those flashbacks. And there's one spread where on the left hand side of the page, it shows the main character's current time and then it morphs across the gutter of the book into. The moms past and her childhood memories in China, and it was just exquisite is really the only way to describe it. It was, it's just brilliant, and amazing. We don't, as picture book authors typically get to work with our illustrators. We often do not have contact with them through the making of a picture book. But in this case. Our editors said since it was such a personal story for me, that he, , felt that Jason and I should collaborate. And so I provided photos, family photos, photos of Ohio, lots of different, , source materials to Jason and would talk to him about the feelings that young me in the book went through. And so the fact that, he was able to take all of that and put it on the page, it was just. Spectacular.    Miko Lee: [00:49:01] Oh, that's so fun. I also understand that you love mythical creatures as you I, and one of your children's books is the Nian Monster, which I love. I'm wondering what is your favorite mythical creature and why?   Andrea Wang: [00:49:15] I. Have been sort of fascinated with the qilin, the, or they call it the Chinese unicorn. Right. Although it looks very different from what we think of a, a European unicorn looks like. Yes. And I think it's because they're supposed to be this really benevolent, creature and Have all sorts of powers and I would love to do more research about the qilin and, you know, incorporate that into a book someday.   Miko Lee: [00:49:42] Ooh, fun. Next book. I love it. you have so many books and I'm really curious about your upcoming book Worthy about Joseph Pierce. I love these as Helen Zia talks about these. MIH moments that are missing in history. And Joseph Pierce was the highest ranking Chinese American man who fought in the Civil War. Some people might recognize this picture of this Chinese American guy in a kind of civil war, uniform. Can you tell us one, when is the book being released and a little bit more about it?    Andrea Wang: [00:50:11] Sure. The book is being released on September 9th, 2025, and it is. A picture book, which we typically think of as for younger readers, but it is 64 pages. So you know, it's an all ages picture book. I think my editor and I would like to say, and it is the story of a Chinese boy born in the, First half of the 18 hundreds in China in Guangdong province, and was sold by his father to an American ship captain named Amos Peck. the reasons for that are, lost to time, right? He left no primary sources behind, there was so much going on in China at the time. Famine war, you know, all of these, Difficult things that his father probably sold him in order to keep the rest of the family alive and as well as give him the opportunity to have a better life. And he did end up in Connecticut. He was raised with the captain's, siblings and sent to school and treated almost like a member of the family except for the fact that he was. Clearly Chinese and there were very few Chinese people in, Connecticut at that time. he joined the Union Army when he came of age and was able to leverage his service into gaining citizenship, which really people of color, weren't really able to do successfully back then. And so. He gained a citizenship. He married, he had a family. He was able to own property and accomplish all these amazing things. Sort of right before the Chinese exclusion Act was, enacted. So he was a very brave guy.    Miko Lee: [00:51:45] It's a wild story and you sent me on a little bit of a rabbit hole, which is fun. Just, looking at Ruth Ann, McCune's. historical piece that there were 10 different Chinese American men in the Civil War, but he was exceptional because he rose to such high ranks. And I just think it's so interesting that, in the 1880 census, he registered as Chinese. But then after the Chinese Exclusion Act in 1882, he listed his race as Japanese in the 1890 census. but he was racialized as white so that he could buy property and everything. Yeah. Can you just talk a little bit about that, like talk about code switching? He like literally changed his race,    Andrea Wang: [00:52:26] right. And people at that time could not tell the difference. Similar to now, people often can't tell different Asian, ethnicities apart. Right. I found actual newspaper articles where Joseph Pierce was interviewed about the battles, that the United States was having with Japan or the battles that Japan was having. He was asked his opinion on what the Japanese government was doing because he told these reporters he was Japanese and that was really the only clue that I had that he, Was code switching that after the Chinese exclusion Act was passed, he felt like he needed to protect himself and his family and he must have cut off his cue because otherwise, you know, that would've identified him immediately as Chinese. So that went into the book. I think it's a powerful moment, right, where he's doing what he has to do to survive and ensure his protection and his family's safety,   Miko Lee: [00:53:25] You have a, a really interesting background. Just having No really, I mean, having done all these different things and I, you know, I think you have a science background too, right? Can you talk about the times that we're living in right now, the political times that we're living in, where our government is banning books that don't align with certain conservative ideologies, where right now certain words are forbodden suddenly. And can you talk a little bit about how that impacts you as a children's book author?    Andrea Wang: [00:53:59] it is very disheartening and discouraging that the current climate is against, people who look like me or other people of color. And as a children's book author, we are experiencing a huge decrease in the number of teachers and librarians who are asking us to come and visit schools, to talk to students, which is horrible because. These young people are the ones who need to learn from books, right? Knowledge is power. And if we are not keeping them informed, then we are doing them a disservice. I think the attacks on our freedom to read are really unjust. and. personally as an author of color, I understand that books like Worthy may end up on some of these banned book lists because it does talk about racism. but these are the stories that we need now, and I'm going to continue writing these stories about the Hidden History, And to talk about these difficult subjects that I think kids understand on some level. but if they're not reading about it in books, then it's hard to spark a conversation with, educators or adults about it. So I think these books that I'm writing, that many of my friends and other children's book authors are writing are providing that. Sort of gateway to talk about, the topics that are so important right now.    Miko Lee: [00:55:29] Thank you so much for sharing, and thank you so much for being on Apex Express today. We appreciate your voice and the work that you're putting out there in the world. Is there anything else you'd like to say?   Andrea Wang: [00:55:39] you know, there's so much to say, I think just to. Stand up for what we all believe in and to, I encourage people to stand up for their intellectual freedom and that of their children.   Miko Lee: [00:55:56] Thank you, Andrea Wang. I appreciate hearing from you and hearing your voice and seeing your work out there in the world.    Andrea Wang: [00:56:03] Thank you so much, Miko. It was a pleasure.   Miko Lee: [00:56:05] Please check out our website, kpfa.org. To find out more about our show tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. Apex Express is created by Miko Lee, Jalena Keane-Lee, Preti Mangala-Shekar, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tanglao, Cheryl Truong and Ayame Keane-Lee.   The post APEX Express – 5.29.25 AAPI Children's Books appeared first on KPFA.

Another relentless assault of Hard Techno—Episode 088 pushes BPMs and boundaries. Featuring bangers from Xenia (UA), Jason Little, Chemtrailz, NON (PL), Golpe, ROÜGE, and Shogun, this mix is pure energy from start to finish. Not for the faint of heart—if you know, you know. Find me @ www.DJMIKO.net

出演者： miko、quim 配信ペース： 隔週水曜日 番組時間：78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。 mikoラジ、第373回です。 国内・海外と忙しい我さんと、そんな我さんに髪を切ったのに気が付かれないしがないさん。 我さんの今日無さっぷりと、他諸々。 解散しっぱなしチームでお送りするお家ラジオ、本日も平常運転です。 最後までごゆるりとお楽しみ下さいませ！ 前回に引き続き番組内で触れている銚子電鉄の商品等は、以下URLでお買い求めいただけます。 http://chodenshop.com/ ♯途中で色々とノイズ等入りますが、収録時のものです。 　ご安心ください、お手持ちの機器は正常です。 //////////////////// VOICEVOX:ずんだもん VOICEVOX:四国めたん //////////////////// -------------------- ●お便り募集中！ mikoラジでは以下の内容でお便りを募集中です！ ・ふつおた 　／普通のお便り、お待ちしています！ ・mikoは大変な絵を描いていきました 　／miko画伯に描いて欲しいお題をお待ちしています！ ・メシヲコエテ 　／料理人・mikoに教えて欲しいレシピをお待ちしています！ bit.ly/2GAWjyv 投稿フォームからラジオに投稿が出来ます！ コーナー名を選び、メッセージ・ラジオネーム・お所を入力して、 どんどん送ってください！　お待ちしています！！ ------------ 本ラジオのメインパーソナリティーである「チーム我等(miko/quim)」、 それぞれ以下個人サークルにて活動中です。 ・miko：miko ・quim：SHIGANAI RECORDS（ shiganai.com/ ） 活動詳細については、上記HPの他 各人のブログ/twitter等にて随時告知しておりますので、チェックしてみてください！ ・みころぐ。(mikoのブログ)（ ameblo.jp/miko-nyu/ ） ・@ mikonyu(mikoのtwitter)（ twitter.com/mikonyu ） ・@ quim(quimのtwitter)（ twitter.com/quim ） --- その他の活動については、以下のとおりです！ -- チーム我等がメインクルーとして活動していた「アルバトロシクス（ albatrosicks.com/ ）」、 これまでリリースしたCDは、イオシスショップ（ iosys.booth.pm/ ）にて頒布しております。ご興味ある方は是非！ ---------- ☆2025年5月IOSYSはいてない.comパワープレイ楽曲 M2. バンド辞めようぜ！ Produced by RoughSkreamZ Vocal by DD"Nakata"Metal, 臨界モスキー党 収録アルバム：RoughSkreamZ / With Skreaming Friendz 2025・4・27 Release https://notebookrecords.net/discographyportal.php?cdno=NBCD-049NBDCD-017

If you know, you know. Episode 087 delivers an hour of relentless, high-BPM hard techno that's not for the faint of heart. Featuring pounding energy from artists like KLOFAMA, Maddix, BASTET, David Temessi, Alex Farell, and NZGÜL, this one hits from start to finish. Find me @ www.DJMIKO.net

W środę w "Onet Rano." gośćmi Mikołaja Kunicy będą: Michał Kobosko, Polska 2050; gen. Leon Komornicki, generał dywizji Wojska Polskiego w stanie spoczynku; Martyna Wyrzykowska, Sexed.pl; Tomasz Organek i Nikola Kołodziejczyk. W części "Onet Rano. Wiem" gościem Dominiki Długosz będzie Marta Iwanowska-Polkowska, psycholożka.

Do drugiej tury wyborów zostało parę dni. Przez całą kampanię mieliśmy do czynienia z różnymi aferami z udziałem obydwu kandydatów. W jaki sposób obydwie strony sceny politycznej tłumaczyły swoich kandydatów? O tym rozmawialiśmy z prof. Mikołajem Cześnikiem z Uniwersytetu SWPS i Fundacji Batorego.

Episode 086 brings together the best of Bass House, Indie Dance, Nu Disco, and UK Garage for a seriously funky ride. Featuring Westend, WhoMadeWho, Shaka Loves You, Charlie Shell, and more—this hour-plus set is a smooth glide through high-energy grooves and soulful throwback vibes. Perfect for the dance floor, the drive, or anywhere you need rhythm. Tap in and turn it up. Free music, always. Subscribe and stay locked in at Basement Beats Radio. Find me @ www.DJMIKO.net

🟧チャンネル登録・高評価、＼ﾊｧﾝ!／よろしくお願いします！ ✅番組時間：42分11秒 ✅出演： ジャーマネ・tsZ・あくとん・蛇草千尋 2005年にスタートして、ついに700回。 みなさんのおたよりだけが頼りなこの番組。 回替わりレギュラー陣がお送りします。 　 ✅コーナー： モックロス2025の感想 🟧投稿フォームはこちら。 https://forms.gle/DkTHQ38qNNWTPpta7 （新） https://ja-mane.com/form/ （旧・画像添付可能） 🟧投稿テーマや締切など、番組情報はジャーマネ.comからどうぞ。 https://ja-mane.com 🟧アリキラ白書 2023と2024、公開中！ https://ja-mane.com/blog/2023/10/26/hakusho2023/ https://ja-mane.com/blog/2025/03/09/hakusho2024/ 🟦CLOSING MUSIC 極東の羊、テレキャスターと踊る by しゃろう https://www.youtube.com/watch?v=qy05MFjNZbE ■2025年5月24日配信 #ラジオ #webラジオ #IOSYS #イオシス

ぬるぽ放送局投稿フォーム https://docs.google.com/forms/d/e/1FAIpQLScwYSAEyRhDCHd-JRk9dLA05JKnGINgvnDhY3Xmkw2lwwDjQw/viewform 2025年5月パワープレイ M2. バンド辞めようぜ！ Produced by RoughSkreamZ Vocal by DD"Nakata"Metal, 臨界モスキー党 収録アルバム：RoughSkreamZ / With Skreaming Friendz 2025・4・27 Release https://notebookrecords.net/discographyportal.php?cdno=NBCD-049 番組時間：82分10秒 出演者：夕野ヨシミ、たくや VOICEVOX:ずんだもん VOICEVOX:四国めたん ---- 2025/5/22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＞ ・この年で、こんなにゲームやってるとは ・子供の時よりやってるよ ・朝までゲームやってても誰も怒ってくれない ・学校に時間取られないから大人は最高 ・国民の義務とは ・お金を使う権利 ・いずれみんな国民になれますから ・今年も半分おわりそうな気配 ・今日は中身ないね ・すってはっくん2時間で1個 ・麻生さんに聞かれちゃう ・今日は新情報ないよ ＜Aパート＞ ・ふつおたです ・正解はチャールズです ・英語ってことは海外ニキだな ・例大祭の話 ・イオシスの場所がわからない ・名華祭の情報をください ・1か所1秒でも3000秒 ・札幌なので全部遠いです ・たぶん受かってます ・最近、地理がわかってきましたので ・茨城ー小牧はスカイマーク飛んでる ・え？丘珠から行けるの？ ・河原に駐車 ・行ったことがあるのに利用したことがない小牧空港 ・新しいアイテムを作ってます ・すってはっくんCDではありません ・藤子不二雄Ⓐ生誕90周年記念　藤子不二雄Ⓐ大全集 ・裏話はないです ・ちくわの音源を買うチャンス ・こっちはなにも知らないのである ・ぼいどだった頃 ・ギョフノリですわ ・ちょっと聞きますか ・あゆさんのﾄﾞｸﾞｼｬｧ‐が好き ・がんばって作ったMV ・謎のチワワ ・フラダンスのお姉さん元気かな ・高橋名人の新アルバムの話 ・そんな高橋名人のswitch2当選しない ・ロストでイベントあるじゃん ・明日じゃん ・40周年だって ・薄いラインでギリギリ入ってる ・嵐と同じCDに入っちゃった ・欲しい方は是非買ってください ・攻殻機動隊の話 ・ぬるぽ放送局は偽の記憶 ・世にも奇妙な物語は35周年 ・一瞬の先週の残り香が ＜Bパート＞ ・はい、今日もバンド辞めましたね ・みつをたです ・拙者鉄アレイは食えぬでござるの巻.nesの方だった ・米は売るほどある　農家のみつを ・キャベツ500円は夢だったのかな？ ・酒飲みが割りたいものは酒 ・そりゃあ鬼も殺されますわ ・ちいかわの何かかな？ ・教皇様の見てたんだ ・桜島はいつも噴火してる ・女の子確定して退場 ・​​男の子でも大丈夫なんですけどね ・ぬるぽ放送局は全肯定 ・めんどくせーのが大臣になったな ・米袋有料化 ・まあまあガチ中華料理 ・ガチは原作重視か ・​​二次創作麻婆豆腐 ・どうなってもよくないだろ！ ・マイクラまた流行ってんな ・軽トラドリフトの世界来た！ ・ぽかぽかは昼のワイド番組 ・肉がわからない ・どの店にも★5レビューする夕野ヨシミ ・家で食べてるものと比べちゃダメ ・また、すすきの爆発してましたね ・前説はテレビで流れない ・はかせみたないな生返事読まれてた ・お笑い芸人がわからない ・忘れてたふつおた ・永野芽郁さん、こんばんわ ・突然の終了残念です ・後任は江頭さんがいいと思います ＜エンディング＞ ・お知らせです ・意外とあった1週間 ・天天天国地獄国がまた来てる ・ビルボードジャパンですよ ・よっ、ビルボード作詞家 ・『藤子不二雄Ⓐ生誕90周年記念　藤子不二雄Ⓐ大全集』に楽曲が収録されます！ 　「一日三食チクワでござる！の巻」 　歌：高橋名人 　デュエット：あゆ(IOSYS) 　作詞：夕野ヨシミ(IOSYS) 　作曲：HUDSON SOFT、ぼいど(IOSYS) ・1日30万回 ・D.watt、北米へ ・セガ社デジタルTCGの金字塔「英傑大戦」 　本日開始の チュウニズム コラボスタンプキャンペーンにてなんと 　イロドリミドリ 明坂芹菜 がカード化 ・10年書かせて頂いたキャラクターが20年遊んでるゲームに参戦 ・入浴剤売るんだ ・ホロライブ×ジョイポリス SWEETY PARTY ・イオシスピークなのでは？ ・そもそも我々はイオシスなのか？ ・よ！ブルアカ作詞家 ・正しくはジョンハイブさんです ・ジョンちゃん派は漁夫の利 ・今日もイオシスとして、ぬるぽやりきったぞ！

 Megan At the Sex Shop: Part 3 Megan's strip club education.Based on posts by p Sullivan 2 22 22, in 4 parts. Listen to the Podcast at Steamy Stories.Megan woke up. The first thing she realized was that her hand was between her legs, her fingers softly rubbing her clit. The second thing she realized was that she was very wet. And the third thing she realized was that she still had dry cum all over her body. The images from yesterday flashed in her mind. José fingers in her ass, the glory hole, all those cocks. She could still remember the taste of all that cum. She wet her lips and moved her tongue around her mouth, reminiscing of when it was full of cock. The memories were turning her on. All those men desiring her, lusting over her. They needed her. They wanted her. She made all those cocks hard with her body, with her wet lips. Megan's nipples hardened and she could feel herself getting more wet. She desperately wanted to keep playing but José and Lauren were very specific that sluts needed to stay horny. Frustrated, Megan pulled her hand away from her cunt. She went about her morning routine of showering, brushing her teeth, doing her nails and makeup.She stood naked in front of her closet and thought about what she wanted to wear. This would be her 4th day at work. The days have been progressively getting more and more wild, and she knew she was addicted. She loved it. She loved the attention, and the lust, and how it made her feel. She knew she had to have more.Megan critically assessed her closet. There was no longer any doubt. This was a stripper's closet. Megan selected a sleeveless, pink lace mini dress. It was the type of dress that strippers wore in between their pole routines when they walk around the club trying to entice men to pay for a private dance. This dress is usually worn with panties, but Lauren was so critical last time. Megan decided that it was better not to risk getting criticized again, so she decided to wear the lace dress with no panties and no bra. Megan rationalized that so many people have already seen her naked, it didn't really matter. And, her regular panties are so small, that it was basically the same as not wearing any, anyways. She paired the dress with a pair of high heel stripper heels.Megan was in the hallway of her apartment building, waiting for the elevator. She was on her way to work. Steve, her next-door neighbor, was leaving at the same time."Hey Megan....holy shit. Damn. What are you wearing?"Megan just smiled. "Do you like it? I just bought it. I have to wear sexy outfits for work.""I love it. You look unbelievable." responded Steve."Thank you.""What kind of work do you do? Like stripper or escort." Steve asked."It was a fair question given how she was dressed" thought Megan to herself."No, I work in the adult toy store, the adult emporium" explained Megan."Yeah. ok. That's cool. But do you also like work hourly. Can I pay you?" asked Steve fumbling with the words."What do you mean. Pay for what?""I mean. The way you are dressed. Aren't you an escort and that story about the adult store is just like a cover story. If you tell me how much you charge? I can totally pay.""You want to have sex with me and pay for it" asked Megan her tone a mix of shock and surprise."Oh, sorry. I don't know how this works. I've never hired an escort before. Do you have like a menu with prices?" asked Steve.Megan felt like she should be furious to be mistaken for a hooker. She wasn't a hooker or a prostitute or a stripper or a whore or whatever other name they go by. She felt like she should be angry and tell Steve to go fuck himself.Instead, she found herself playing along. "I don't have a menu. But what would you like to do, and how much would you pay for me?"Megan couldn't believe it. She was actually discussing a price for herself. She was actually going to put a price on how much each of her holes was worth. She could feel her cunt getting wet, her cheeks flush, her nipples hardening.Steve thought about it, looking Megan up and down, checking out the merchandise. "How do I know what I am paying for. What if your cunt is like really used and loose."Megan felt indignant. "My cunt is not loose. It's the best cunt you've ever seen. It's so tight and always wet. Look. " Megan pulled the front of her dress up, exposing her cunt to Steve. She then used her fingers to spread her cunt lips open, showing Steve how wet and tight she was.Steve stood there for a few moments staring at Megan's cunt."Yeah, you win. Your cunt is really nice" responded Steve, and then after thinking for another second continued. "But, what about your ass. What if I want to fuck you in the ass, and your ass is not nice. ""Oh yeah" responded Megan. "Watch this". Her dress was already around her waist. She turned around, bent at her waist, spread her legs, and then used her arms to spread her ass cheeks, showing her asshole and gaping cunt to Steve. Megan crammed her head back to see Steve's reaction.Steve just stared at her perfect ass and cunt. After a few moments, he recovered. "Ok, fine, they are both amazing, but what about your tits."Megan gave Steve a sexy smile, enjoying the little game. She turned back to face him and lowered the front of her dress, letting her tits spill out. Her dress was now just around her waist. Megan's tits and cunt were completely on display.Steve walked up to Megan and gave each tit a squeeze. Megan just smiled, not making any move to stop him.He then lowered his hand and felt her cunt and her wetness. He played a little with her clit, and then slipped a finger inside her. Megan moaned from the penetration, but stood still, letting Steve do anything he wanted.Steve moved his finger around but kept it insider her."Do you think $100 is too much" asked Steve, while starting to move the finger in and out. Megan's cunt was making wet slushing sounds with every thrust.Megan couldn't answer. She just put her hand against Steve's shoulder to steady herself, afraid that her legs would give out."Maybe $50, or is that too much also? How much do whores charge," asked Steve casually, while continuing a slow and methodical thrusting in and out.Megan was so close. She just needed him to go faster and harder. She needed his fingers deeper. She tried to move her hips to meet his fingers, trying to get him to increase his motion and depth."You're right. $50 is too much. Maybe whores charge $50, but you are not a whore, Megan"The elevator door opened. Thankfully it was empty. After a few seconds, the door closed. They missed their elevator.Steve just continued moving his finger in and out, not letting Megan change speed nor depth, leaving her frustrated."You are a slut, and sluts are cheap," continued Steve.He pushed his finger all the way insider her, and kept it there without moving."I will pay $5 for all your holes. I will use them anyway that I want for as long as I want."Steve finally pulled his finger out. He took out his wallet and took out a $5 dollar bill. He used the bill like a tissue and wiped Megan's cunt with it. He then pushed the wet bill into her mouth."After work, come to my apartment. I'll see you later."Megan stood a little dazed as Steve left through the staircase. Still very horny and frustrated that she was so close. "So, that's what her holes are worth. She sold herself for $5" thought Megan.After a few moments of being in a daze, Megan finally took out the bill from her month. Carefully unfolded it and put it in her purse. She, then re-arranged the dress, putting it back in place, covering her tits and cunt with the lacy material.The rest of her trip was eventful. She arrived in the store. Lauren was there to greet here."Megan. I am so glad to see you. I love this outfit. I see you took my advice about no bra. Great job. Excellent listening skills. "Megan just smiled from the compliment. Happy to have Laurens appreciation.Lauren continued. "Megan, I need your help. You don't know this, but our biggest investor is the same person that owns that strip club down the block. And, he needs more girls working the floor today. I actually already sent José over there to help manage all the extra girls. ""I guess it sounds like he is your pimp today," laughed Lauren at her own joke.Megan wasn't sure she wanted to actually work as a stripper. It was one thing to dress like one, but actually working at a strip club just seemed too much."Can I just work here today?" asked Megan."This is exactly what I am trying to teach you and why we have the probation and the tasks. You can't be afraid of your sexuality. It's not what our brand is about, and I don't think that's who you are, either."Megan just nodded."Have fun. Don't forget. You are representing our brand at the club."Megan agreed, left the store, and walked the short distance down the block to the strip club. The club was nicer, even classier, than Megan imagined. This was her first time inside a strip club.José saw Megan as soon as she walked in."Megan. I am so glad you made it. We are really swamped here. This floor is the green zone. It's open to the public, and upstairs is the blue zone, which is for private members only. For now, just see if anyone wants a lap dance. Lap dances are for one song for $15. I'll let you know when it's your turn to dance on stage. And, if you are good, then you'll go into the blue zone with the V I P patrons."Megan just nodded to everything that José was explaining. "She was just helping. She wasn't a stripper." thought Megan to herself.Megan started walking around the floor like José told her.She walked up to the first person. He seemed like similar age. He had some friends with him. "Excuse me. Would you like a lap dance." asked Megan using her most ditzy sounding voice."I am good. I am just watching that girl on stage. Try my buddies, maybe one of them wants one. "Megan was a bit shocked to be rejected. She turned to his buddies and got the same replies from them."Damn. This is going to be harder than I thought." said Megan to herself.Megan tried a few more people but got rejected. Some people said that they were watching the girl on stage, others said they didn't feel like it, and one guy said that he already got one.Megan walked deeper into the club. She walked up to the next table, and started to repeat her offer and when realized who was sitting in front of her."Hi, would you like a lap; shit, Rachel". Her best friend Rachel and her boyfriend were sitting at the table, equally surprised to see Megan offering a lap dance to them."Meg, you are a stripper," asked Rachel excited and surprised. "When did this happen?""I am not a stripper. I am just helping out. I work at that adult toy store down the block. They were just short staffed today, so they asked me to help out. ""I see. Do your parents know that you are a stripper?" continued Rachel."I am not a stripper.""Ok, ok. I am sorry. I am just playing with you. I'll take that lap dance you were offering, thou."Megan looked around, and saw José watching her. "She had no way out. She had to do it, or she would get in trouble" thought Megan."It has come to this. She was going to give a lap dance to her best friend Rachel."Megan moved closer to Rachel, and straddled her high. Rachel wore a summer dress. So when Megan straddled her thigh, Megan's naked cunt directly touched Rachel's skin.Megan moved herself back and forth, grinding herself against Rachel's thigh. Rachel just watched her, a smile frozen on her face.After a few minutes, Megan changed position. She turned her back to Rachel, and lowered herself into her lap, and started grinding her ass into Rachel's lap.The song ended, and Megan got up, and turned to look at Rachel."Megan, my leg is wet from your cunt. Damn girl. You're like a slut. You are really enjoying this."Megan stood there, humiliated, and incredibly turned on."I want another lap dance. But, next time you need to strip. The lap dances here are in the nude." said Rachel.Megan wasn't sure that was true. She looked around, but didn't see anyone else completely nude. Just the girl on stage was topless and her nipples were covered with pasties. Everyone else seemed to be fully covered.The next song was already starting, Megan didn't have enough time to ask anyone, and José would not like her dithering, either.Megan spread Rachel's feet apart, which caused Rachel's skirt to ride up and expose her pink Victoria Secret panties. Rachel just watched Megan do it, not taking any action to stop her. Megan moved in between Rachel's legs, standing close in front of her and facing her. Megan slowly removed each strap of her dress and let the dress slide off, leaving her naked. Megan then straddled Rachel's hips and started a slow grind against the fully dressed Rachel.As Megan was grinding against her, Rachel slipped her hand to her front. Megan's cunt was now rubbing against Rachel's hand, allowing Rachel to slide her fingers inside Megan. Megan just pressed harder, causing Rachel's fingers to go deeper.Megan was still grinding against Rachel after the song ended. It was only when she heard José voice did she snap out of her horny daze."Megan, there is no nudity on this floor. Come with me. I will take you into the blue zone. It's full nudity there. "José took Megan by the hand, pulling her off Rachel, and started walking through the club, pulling naked Megan behind him.José led her through the club, and then up the stairs. The room was smaller than the club downstairs, and had the same comfortable chairs surrounding a central stage. There were maybe 20 people there, a mix of women and men. Some of the men had semi naked and even naked girls sitting next to them.Without stopping, José led Megan right on stage."Ladies and Gentlemen, I would like to introduce to you our new blue zone star. This is Megan. And she is submissive. So, you will need to tell her what to do." José gave a big wink to the audience, which caused a round of laughter.Megan became aware that there was a naked man that was now standing behind her. She felt his hands on her back, pushing her to bend over. And, then she felt his hands on her inner thighs, spreading her legs wider.José continued talking as if nothing was happening. "This is Megan's first time. Let's say she is a virgin." José paused for an effect. "I don't mean virgin. With a cunt like that, she is not a virgin, let's be honest, folks". This caused another round of laughter."This is Megan's first time performing for us. So, let's make her feel welcome and give her a round of applause." This caused a rumble of applause and whistles

Sebastian Ogórek, szef serwisu Wyborcza.biz, rozmawia z Mikołajem Potockim, członkiem komitetu ESG Krajowej Izby Gospodarczej, który zajmuje się doradztwem w zakresie zrównoważonego rozwoju, w tym analizą śladu węglowego i przeciwdziałaniem greenwashingowi. Co to jest rolnictwo regeneratywne i czym różni się od rolnictwa ekologicznego? Dlaczego rolnictwo regeneratywne nie jest jeszcze rozpowszechnione w Polsce? Na czym polega greenwashing i jak się przed nim uchronić? Więcej podcastów na: https://wyborcza.pl/podcast. Piszcie do nas w każdej sprawie na: listy@wyborcza.pl. Chcesz dowiedzieć się więcej na temat rolnictwa regeneratywnego? Redakcja Wyborcza.biz objęła patronatem Międzynarodowe Forum Rolnictwa Regeneratywnego BIO_REACTION, które ma być przestrzenią wymiany wiedzy teoretycznej i praktycznej. Wydarzenie odbędzie się 12 czerwca 2025 w Pierzchnie w Wielkopolsce. Szczegóły na stronie: https://bioreaction.pl/ Organizatorem forum Bio Reaction jest Fundacja Rozwoju Terra Nostra, która od lat promuje rolnictwo regeneratywne w Polsce.

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！ ✅番組時間：64分48秒 ✅出演： ジャーマネ・tsZ・蛇草千尋 2005年にスタートして、ついに700回。 みなさんのおたよりだけが頼りなこの番組。 回替わりレギュラー陣がお送りします。 　 ✅コーナー： モックロス2025を作ろう 🟧投稿フォームはこちら。 https://forms.gle/DkTHQ38qNNWTPpta7 （新） https://ja-mane.com/form/ （旧・画像添付可能） 🟧投稿テーマや締切など、番組情報はジャーマネ.comからどうぞ。 https://ja-mane.com 🟧アリキラ白書 2023と2024、公開中！ https://ja-mane.com/blog/2023/10/26/hakusho2023/ https://ja-mane.com/blog/2025/03/09/hakusho2024/ 🟦CLOSING MUSIC 極東の羊、テレキャスターと踊る by しゃろう https://www.youtube.com/watch?v=qy05MFjNZbE ■2025年5月17日配信 #ラジオ #webラジオ #IOSYS #イオシス