Podcasts about Mono

A fresh chapter begins at Dublin Arts Council as we welcome Merijn van der Heijden as our new Executive Director. With a distinguished career spanning continents—from her native Netherlands to various leadership roles at Denison University, University of Florida, and 20 years at The Ohio State University—Merijn brings a wealth of experience and a clear vision for Dublin's artistic future.What makes Dublin's art scene special? As Merijn explains, it's our "strong citywide commitment to public art and accessibility" that sets us apart in the Central Ohio region. Our community has created a unique balance between honoring historic works like Field of Corn (or 'Malcolm's Corn' as she affectionately calls it) while embracing innovation and new perspectives. This integration of art into public spaces and natural settings makes creativity part of our daily experience rather than something confined to gallery walls.Looking forward, Merijn envisions Dublin as a creative hub for regional collaboration, with focus on deepening community connections through lifelong learning and embracing technology. Exciting upcoming events include Sundays at Scioto concert series starting September 14th, Chilean artist Alejandro "Mono" González's mural project at Riverside Crossing Park in October, and an exhibition by Japanese potter Masayuki Miyajima from our sister city Mashiko. At the heart of all these initiatives is Merijn's belief that art never exists in isolation; it thrives on engagement, creates spaces for meaningful conversation, and builds empathy and belonging through creativity.    We invite you to join us in this journey by attending events, volunteering, sharing your ideas, and being part of Dublin's vibrant artistic community.

With the end of the Jinshin War, Oama, posthumously known as Temmu Tenno, came to the throne.  And though they would need a new Great Council of State, they continued to build up and bolster the Ritsuryo state.  They were imagining a new Yamato based on continental models of what a state should look like, but also influenced by tradition.  This episode we take a look at that reimagining in broad strokes, asking a few questions--what was Oama's relationship with his brother, and touching on the relationship of Nakatomi no Kamatari and his brother, Nakatomi no Kane.  We also take a look at some of the literary propaganda that also helped to codify this new imaginary--the Nihon Shoki and the Kojiki.  We also touch on other sourcesof information, like the Fudoki and Man'yoshu. For more information, check out our blog:  https://sengokudaimyo.com/podcast/episode-133   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is episode 133: Reimagining Yamato As the bells of Houkouji tolled, Ohoama and his wife, Uno, surveyed the construction on going in the Asuka valley.  Hordes of workers had been called up, and now they were working furiously towards the deadline of the new year.  Where once stood the later Wokamoto palace of Takara Hime, aka Ohoama's mother, Saimei Tennou, now the land was being prepared for a palace on a much grander scale.  And just as the palace was being remade, Ohoama's thoughts went beyond the valley, to the entire archipelago.  His brother, Naka no Oe, had started something profound.  Now here he was, helming the Ship of State, and Ohoama had plans of his own, built upon his brother's ideas.  He would build a new state, ensuring that the reforms that started back in 645 would continue for generations. Greetings everyone and welcome back.  As we dive back in, let's recap where we are. The year is now 673, and the fighting from the previous year—the Jinshin war—is over.  Prince Ohoama and his Yoshino forces were victorious and he is now poised to ascend the throne in the recently built Palace of Kiyomihara, in Asuka.  He will be known to future generations by his posthumous name:  Temmu Tennou. Ohoama would go ahead and continue to centralize the government under the continental model.  That said, he also would pay a not insignificant amount of attention to local tradition as well.  His reign would lead to the establishment of the first permanent capital city: Fujiwara-kyo.  He is also credited with initiating the projects collecting various historical records, which culminated in the Kojiki and the Nihon Shoki, the very chronicles on which this podcast is based – and both of which seem to have been designed specifically to promote the authority of the throne, specifically Ohoama and his descendants. Those descendants—the Temmu dynasty—would rule for almost a century, including four of the eight official female sovereigns (those eight become ten if you count the unofficial Himiko and Okinaga Tarashi-hime, aka Jingu Tennou).  This dynasty would reign from the end of the Asuka period up through to the Nara period, and it would see the evolution of the Yamato state into the kingdom of Nihon—which is to say the kingdom of Japan. The politics of this period were also quite something.  It is during this coming period that we see the rise of the famous Fujiwara family, who would come to dominate the political landscape.  We also see the continued contact with the mainland, with numerous trade goods coming over, many of which would be included in the famous Shousouin storehouse of Toudaiji temple, in Nara. Buddhism would also thrive, with Kokubunji, or provincial temples, being set up in a network around the archipelago.  There was also the building of the famous Daibutsu, or Giant Buddha statue, of Toudaiji. Art would also flourish.  The Man'yoshu would be published at this time—a collection of around 4,500 Japanese poems, or waka.  Meanwhile, the court would also focus on continental styles as well.  From this point on, not only do we have more evidence of what was happening through the written record, but the writing itself changed.  Different Sinitic characters were borrowed solely for their sound to help spell out Japanese words.  These would eventually be simplified, and known as “kana”.  The earliest use of these characters is known as “Man'yo-gana” because so many are traced back to the Man'yoshu itself.  They would eventually be standardized and simplified, becoming the hiragana and katakana we know and use today. But in 673, all of this is still on the horizon. So this is a great time to pause for a bit in our journey through the chronicles and set the stage for this next, incredibly transformative period in the archipelago by going over these larger patterns in some depth, so that, as we start to go through this period we get a better idea of just what was happening, and perhaps why.  That's what we'll do this episode. To start with, let's go back to the relationship between Naka no Oe and Ohoama.  As far as we can tell, these brothers were fairly close to one another.  Not only was Ohoama married to one of Naka no Oe's daughters, Princess Uno, he had actually taken as consort at least four of Naka no Oe's other daughters—all of which were Ohoama's nieces.  In turn, one of Ohoama's own daughters, Princess Touchi, had been married off to Ohotomo, aka the ill-fated Koubun Tennou.  On top of that, Naka no Oe and Ohoama both had taken as consorts daughters of Soga no Akaye, and both Ohotomo and Ohoama had consorts from Nakatomi—or Fujiwara—no Kamatari.  This demonstrates just how interrelated everyone was at court, presumably as a means of strengthening the ties between them.  Of course, as we've seen time and again, those ties were more symbolic than anything else, and certainly did not prevent the occasional use of violence, nor did it protect the fathers of those women from political repercussions when they found themselves on the wrong side. On the other hand, beyond the initial mention of their births, we don't see the two brothers together until Naka no Oe came to the throne.  Why?  Well, to be fair, we don't see much of anyone but the sovereign in the Chronicles unless there is a specific thing they are called out for—like an embassy, presenting something to the throne, etc.  Even Naka no Oe often isn't mentioned directly, even when he was the Crown Prince and supposedly helping run the government.  So that could be it. There are two apparent counter arguments to the idea that Naka no Oe and his brother, Ohoama, were tight.  First is a mention in the Toushi Kaden, the Family History of the Fujiwara Family, about Ohoama thrusting a spear into a board, which rattled Naka no Oe enough that he was apparently wondering if he needed to have his own brother taken out.  Then there is Ohoama's resignation at the time of Naka no Oe's death, presumably because he was warned that a plot was afoot, and that if he accepted Naka no Oe's offer to take the reins of the state in his own two hands then something—we aren't told what—would unfold. I can't rule out the idea that neither of those accounts is quite accurate either, however.  It is possible that the Toushi Kaden account is embellished to heighten Fujiwara no Kamatari's own role as peacemaker between the brothers.  I also have to wonder if the warning to Ohoama around Naka no Oe's death wasn't so much about Naka no Oe, but about his ministers.  After all, they seem to have had no problem supporting the much younger—and likely more malleable—Prince Ohotomo.  So it seems to me entirely possible that there were other threats that Ohoama was concerned with. That brings me to one of those ministers:  Nakatomi no Kane.  We talked about him before and during the war.  He first showed up participating in ritual and speaking on kami matters.  He would later rise to be one of the Great Ministers of State, and was one of the six ministers who had pledged themselves to Prince Ohotomo.  At the end of the Jinshin War, he was put to death and his family was banished.  That said, in period leading up to all of that,  we spent a good amount of time with another Nakatomi: Nakatomi no Kamatari. He was the head of the Nakatomi clan and the Naidaijin, the Interior Minister, a special position placing him on par, or even above, the Ministers of the Left and Right, but which did not have a well defined portfolio noted in the literature.  Interestingly, this position also doesn't seem to have survived Kamatari, at least in the short run.  From the time of Naka no Oe, aka Tenji Tennou, to the time of Ohoama, aka Temmu Tennou, it seems that the office of Naidaijin fell out of favor, possibly due, in part, to Prince Ohotomo being raised to a different post, that of Dajou Daijin, placing him in charge of the Great Council of State. The Naidaijin role wouldn't be revived until 717 for Kamatari's grandson, Fujiwara no Fusasaki (interestingly,  only three years before the completion of the Nihon Shoki). Nakatomi no Kane was, as far as we can tell, the brother to Kamatari.  When Kamatari passed away, Kane seems to have taken on the role as head of the Nakatomi family and he was also made Minister of the Right.  This mirrors, in its way, the relationship between Naka no Oe and Ohoama, and the common system of inheritance that would often go brother to brother.  And yet, while Kamatari was a hero of the Taika era, Nakatomi no Kane was executed for his role in the Jinshin War.  So in the context of the rise of the Fujiwaras to greater prominence later on in Ohoama's reign, it is significant that Kamatari's line would be set apart from the rest of the Nakatomi to the extent of giving it the new Fujiwara name.  Although the Chronicles claim that the “Fujiwara” name was actually granted by Naka no Oe, there is a thought that this was granted posthumously, and may have even been retconned by later members of the family, possibly to distance themselves from Nakatomi no Kane and his role on the losing side of the Jinshin War, and tie themselves clearly to Kamatari and his founding role in Naka no Oe's and Ohoama's new vision, instead.  This all brings me to my next point: the creation of the national histories.  The projects that culminated in what we know today as the Kojiki and the Nihon Shoki are said to have been started under Ohoama's reign, though they wouldn't be finished until much later, well into the 8th century.  A lot of what went into them was work under Ohoama's wife Uno, who succeeded him as Jitou Tennou, as well as her successors.  Prince Toneri, one of Ohoama's sons, is said to have overseen the Nihon Shoki's compilation. Prince Toneri was son of Ohoama and princess Niitabe, one of Naka no Oe's daughters, and while he never sat the throne, himself, one of his sons would eventually do so.  As such, we can see a strong royal hand on the project, even though the actual composition was probably by several teams of Chroniclers—we touched on this briefly back in Episode 131. The Kojiki, on the other hand, is said to have been written by Oho no Yasumaro based on the oral history that had been maintained by Hieda no Are.  We don't know much about Hieda no Are—there are some that believe they may have been a woman, since a passage in a later work, the Seikyuuki, suggests that they were a member of the Sarume no Kimi family, descended from Ame no Uzume no Mikoto, who is said to have danced and helped lure Amaterasu out of the rock cave.  And so they were particularly known for their role as shrine maidens—a particularly female role.  That said, Are received the title of “toneri”, which is often assumed to be male, and there is nothing else that explicitly says they were not. Either way, Hieda no Are is said to have been commanded by the sovereign, Ohoama, to memorize the history of the nation, presumably to then perform it as needed, for the court.  Only later was Oho no Yasumaro asked to write it down in what became known as the Kojiki. Both of these chronicles were attempts to organize the history of the nation and to put together all the stories in a way that would establish a foundation for the new state that was evolving out of ancient Yamato.  A large part of that effort was going to be to justify those who were in power at the time—including both the royal family and the various noble houses at the time, including the powerful Fujiwara. Now, when we talk about how these histories were created to bolster the state, I want to be careful.  It may not have necessarily been the case that the chroniclers were actively and consciously promoting a fictional account.  From what we can tell, the chroniclers drew from a collection of stories, some written down in diaries and court records, works like the Baekje annals and continental histories, and some that were likely just memorized tales that were part of the general culture.   There were a couple of existing histories—we are told, for example, that there was a Teiki and a Kyuji floating around, both attributed to the legendary Shotoku Taishi, and both supposedly including the royal lineage at least to Toyomike-kashikiya-hime, aka Suikou Tennou.  However, the copies that were being passed around were apparently suspect, and we are told that there were inconsistencies.  Which probably means that the way they told the story did not conform to the way that Ohoama and the royal family wanted it told, though it could also refer to the fact that different accounts had slight variations on the stories, many of which had probably started as oral traditions that were only later written down.  It is also likely that there was only so much detail in those ancient texts, but we can't know for sure.  The Sendai Kuji Hongi purports to be the text of the original Kyuuji, or Kyuujiki, but that claim is dubious, at best, though it may have used an older, no longer extant history to crib its own notes from. So there were probably some writings, already, but there was also so much more.  There were stories from various familial records, stories told by various shrines about their kami and their histories, and stories passed down as local history that had never been captured, previously.  All of this was good material for the project of creating an official national history that aimed to tell the whole story. To get an idea of what the Chroniclers of that time might have been going through, imagine that you have some 2,000 random facts about the United States, or any country of your choice, in no particular order—stories of heroes, presidents, wars, etc.  On top of that, only a few of them ever give you any kind reference dates, and when they do, those dates are only in relationship to the presidents in office – the third year of the presidency of Roosevelt, for example - or maybe they reference another event.  In addition, some of the facts have been lost, or they come from history books with a slightly different format.  Or they come from diaries with different perspectives and takes on the same event.  And then, without the aid of the Internet or any other reference material, you are asked to put all of that together into a coherent narrative. In all likelihood you would be able to generally construct many of the broad strokes.  You would leverage what you know to be true and do your best to put things in place, but there is no guarantee that everything would be in the right order.  And in places where there wasn't any clear through line, you may have needed to come up with your best, most plausible explanation and write that down. Also, imagine you had, in the interests of completeness, thrown in some of the more, shall we say, apocryphal stories.  George Washington cutting down a cherry tree, for instance, or the story of Johnny Appleseed, or even the more fantastical stories of Davy Crockett.  Without other reference points, would you know where they went, or how true they actually were? Add to all of that the lack of a referential calendar.  The sexagesimal system helps for units of 60 years, but there was nothing comparable to a western calendar in use at the time.  Instead, everything was based on the number of years in a given reign.  So instead of thinking about it as “did this happen in 584 or 524?” it was more like “Did this happen in the years of the sovereign reigning from X palace or Y palace?” Now that said, there do appear to have been individuals whose job was to memorize the stories and the histories and recite them.  We have, for example, the Kataribe, the guild of storytellers.  It may have been out of this tradition that we get the eventual commission of the previously mentioned Hieda no Are, who was to memorize all of the historical events and recite them back, which I can only imagine would have been a kind of performance for the court, helping to reinforce the narrative.  But still, as Are was putting everything together, what were the assumptions and guidelines they were working under? After all, there were no doubt certain truths, whether factual or not, that were pushed by the court.  Things like the idea of an unbroken line of sovereigns going all the way back to the mythical founding, just like in continental stories.  Or, the idea that worship centered from the beginning around the sun goddess, Amaterasu. There is plenty of evidence that while the early Wa people practiced various forms of sun worship, with traces found in their language as well as stories, cultural traditions, etc., it was not necessarily Amaterasu who was the primary deity of worship.  Back in the Age of the Gods we talked about the creator deities, Izanagi and Izanami, and about the High god of Heaven, Takami Musubi, who seems to at one point been the most prominent central deity, but who had since been eclipsed, if you will, by the likes of Amaterasu. We also see evidence that there were other sun deities.  The language around Sarutahiko no Ohokami suggests that he may have once been worshipped as a sun deity as well.  And there is the early primacy of Mt. Miwa as a place of worship, and the spirit of Ohomononushi.  This is to say nothing of Ohokuninushi, and all of his stories, up in Izumo. Furthermore, it seems telling that Amaterasu is not even central to the rituals conducted in the palace itself, which likely went back to an even earlier period.  If Amaterasu were central, and the ancestral kami of the royal family since its inception, one would expect that Amaterasu would also be central to the rites carried out by her descendants in the royal palace.  And yet most of her worship appears to have continued to be set apart from the palace ritual, and conducted out of Ise shrine (albeit after a certain point ceremonially led by a designated female member of the royal line). Even Ise shrine itself isn't the primary shrine in the Ise area—the Ichi-no-miya, or most important shrine, of Ise is actually said to be Tsubaki shrine, worshipping Saruta Hiko no Ohokami and Ame no Uzume. So how did Amaterasu come to be so central in Ohoama's vision? There are stories that say that worship at Ise Shrine—and worship of Amaterasu—was specifically conducted by Ohoama's wife during the Jinshin campaign.  This is to say Ohoama's wife, primary consort, eventual queen and then queen regnant, Uno, later known as Jitou Tennou.  Remember, Uno had fled with Ohoama and had been on the trail with him at first, but had stayed behind in Ise.  Worship towards Ise seems to have later been counted as foundational to Ohoama and Uno's victory, and many suspect that they themselves may subsequently have encouraged greater worship of Amaterasu and placed her in the central position of sacral authority amongst the various kami. If so, that could explain why their histories focus so much on Amaterasu and her Heavenly descendant, from which the royal line claimed direct lineage.  It might also be around this time that the story of Iwarebiko, aka Jimmu Tennou, and the conquest of Yamato from Himuka may have been introduced: telling how Iwarebiko justifiably took away the land from the descendants of Nigi Hayahi, and then connecting Iwarebiko, in an extremely loose fashion, to Mimaki Iiribiko no Mikoto, aka Sujin Tennou. Another influence on all of this was likely the continental concept that time is a circle, and history repeats itself.  Chroniclers seeking to place events in a narrative context would have likely seen reflections of more recent events and used that to help order their compilation.  And of course, if there were events that seemed to run counter to the truth as known by the court, well, those could be smoothed over.  In this way, co-rulers were probably serialized, inconvenient interim rulers may have been excised altogether, and different dynasties, which may have only had tenuous connections, at best, were written down as direct lineal descendants.  It also seems telling that the Chroniclers may have reduced the role of what appears to be matrilineal succession to a more patriarchal and patrilineal determination of legitimacy.  Similarly, connections could be made for families to ancient ancestors through whom they were able to claim a certain proximity to the royal family.  Likewise, rules for legitimacy could be imposed—or perhaps just assumed—for previous reigns, doing their best to bring them into harmony with the social norms and the cultural imaginaries of the late 7th and early 8th centuries. So that's the general context the Chroniclers were working under. But at this point it's illuminating to take a look at the two histories and how they differ, to see what we can understand about where those differences came from. The work of Hieda no Are, eventually recorded and written down as the Kojiki, seems to have dealt with history that was far enough back that it was likely hard to argue with—it isn't like there was anyone alive who could counter with their own facts.  And the Kojiki reads as a fairly straightforward narrative, relatively speaking. The Nihon Shoki, on the other hand, is a different beast.  While the Kojiki may have captured the official narrative, the Nihon Shoki seems to have been designed to include more—including some of the competing accounts.  Thus you'll get a lot of things like “another source says…” with a different take on the same event.  This is much more prevalent in the Age of the Gods, but still pops up occasionally throughout the rest of the text.  Nonetheless, it is still very much focused on the royal line from Amaterasu down to Naka no Oe and Ohoama.  Even their posthumous names, Tenji and Temmu, specifically reference Ten, also pronounced Ama, at the start of their names, in what appears to be a bid to further connect them to the sun goddess of Heavenly Brightness--Amaterasu. Both of these works have their own character, and while the dates they were presented to the throne—713 for the Kojiki and 720 for the Nihon Shoki—suggest that they were published in succession, there are those that argue that the Kojiki is largely a reaction against the Nihon Shoki. In all likelihood the contents of the Nihon Shoki were known to many people before it was presented.  There were groups of Chroniclers involved, after all -- which meant teams of scribes pouring through sources, seeking out myths and legends, and generally trying to bring everything they could to the table.  And there is no indication that this was done in secret.  So it is quite possible that the writers of the Kojiki had seen some of the early drafts and cribbed from those notes. Some of the ways that the the history differ are in their portrayal of certain accounts.  For example, the Kojiki presents Iwarebiko and the pacification of Yamato and archipelago more generally in terms of that mythical sovereign conversing with the spirits.  And so he converses with, for instance, Ohomononushi, the deity of Mt. Miwa, a spirit whose name might be translated as the Great Lord of the Spirits, or “Mono”.  This idea places the sovereign as an intercessor between the mortal and the spirit world.  It hearkens back to earlier systems of sacral kingship, where power and authority came, at least in part, from supposed power of one's sacred sites and protective spirits. The Kojiki is also written in a much more vernacular style, using kanji and what we know of as man'yogana, the kanji used for their sound, rather than meaning, to provide a syllabary with which to write out Japanese words.  This may have been done for similar reasons to why it was also used in the Man'yoshu itself—because the Kojiki was meant to be recited aloud, not just read for meaning. The Nihon Shoki, in contrast, is clearly attempting to emulate the continental style.  It relies much more heavily on not just the characters but the grammar of Chinese, though not without its own idiosyncrasies.  The Nihon Shoki incorporated classical references that mirrored the references found in the histories of the Tang and earlier dynasties.  I suspect, for instance, that this is one of the main reasons that Naka no Oe and Ohoama are given the posthumous names of “Tenji” and “Temmu”.  Tenji means something like the Wisdom of Heaven while Temmu is more like the Martial Virtue of Heaven.  This immediately brings to mind, for me, the continental concepts of Wen and Wu—Culture and Warefare, or Bunbu in Japanese.  This even mirrors the founding Zhou kings, King Wen and King Wu.  Later, in the Han dynasty, you have Emperor Wu of Han, the grandson of Emperor Wen of Han, and Wu was considered to be one of the greatest emperors of the Han dynasty.  And so I can't help but think that there was a similar attempt at mythmaking going on here, connecting these two reigns with the reigns of famous emperors of the continent.  Of course, “Wu” was a popular name amongst the imperial dynasties from that period onward, with emperors of Jin, Chen, Liang, and others all being given the same name. This all accords with the way that the sovereign in the Nihon Shoki is less of a sacral king, interceding and speaking with the kami, and more along the continental model of an absolute ruler who ruled by divine right and heavenly mandate.  The lands outside of Yamato are subdued and, except for the occasional uprising, stay subdued—or at least that is what the narrative would seemingly have us believe. Now, I would argue that these distinctions are not absolute.  The Kojiki contains plenty of concepts of imperial trappings, and the Nihon Shoki contains plenty of examples of the sovereign playing a more traditional role.  But it is something to consider in the broad strokes of what they are saying, and I would argue that it also speaks to the duality of what was going on in this period.  Clearly the Ritsuryo State was built on the continental model, with an absolute ruler who ruled through a Heavenly mandate.  And yet at the same time, we see Ohoama patronizing the traditional spiritual sites and kami worship, like the emphasis on Amaterasu and Ise shrine.  Besides the Kojiki and the Nihon Shoki, we have one more set of official records that were compiled just as the major histories were beginning to be finished.  These were the Fudoki.  Fudoki were texts about the various provinces, and they include information on the various places, population, soil quality, as well as various local myths and legends attached to such things.  Rather than supporting the royal lineage, the Fudoki were more geared towards supporting the process begun under Karu and Naka no Oe with the Ritsuryo system whereby knowledge of the archipelago was being centralized such that the State could know about its territories.  Still, there are many times that the various Fudoki refer to different sovereigns, often to help situate a given event roughly within the historical narrative. The Fudoki were commissioned in 713.  At least 48 chronicles were said to have been compiled, but only a handful of them remain extant today.  Most are only partial texts, though even those can still contain significant information.  We also have purported text from certain fudoki that were reprinted in later histories.  The Shaku Nihongi seems to have been one such work, expressly commissioned to try and compile various older records that were likely aging and in danger of being lost altogether.  However, there is a concern regarding just how faithful those later transcriptions might have been, meaning that we cannot rely on them, entirely.  Still, they are an invaluable addition to our study of the history of this period. I mention all of this because much of this period seems dedicated to remaking the nation of Yamato into what we know as Japan.  This evolution didn't happen overnight, and it seems clear that it started gradually, but had now come to a head.  There is some consideration, though, that many of the things attributed to earlier reigns—the work done by Shotoku Taishi, for example, or even that of Naka no Oe—may have been embellished in this period.  After all, consider the difference between Ohoama trying to institute something entirely new versus pointing back to a previous sovereign and claiming that he wasn't innovating, he was just following tradition. But there are still unmistakable signs of innovation in the following reigns.  The creation of the first permanent capital city, for one.  There was also the blending of Buddhist and local kami-based traditions.  While Buddhism had been ascendant for a while, now, we see Ohoama seemingly paying equal homage to Amaterasu and the local kami.  Even while instituting new fangled continental ideas, he is also hearkening back to traditions that I can only imagine helped assuage some of the fears of any traditionalists who saw the rapid speed at which the archipelago was adopting at least the trappings of continental imperial culture. Speaking of culture, there was one other work that we should probably mention, and that is the famous Man'yoshu—the collection of 10,000 Leaves.  I mentioned this briefly earlier in the episode, but I do want to discuss it a bit, because as much as we may glean from the official histories, as well as the various fudoki texts, the Man'yoshu provides an invaluable view into the minds of the people of the time, and contains some incredibly useful tidbits of information that, when put together, help give us a better idea of what was happening during this period. The Man'yoshu is a collection of more than 4500 poems attributed to various historical figures, from sovereigns, such as Ohoama and Naka no Oe, to common soldiers.  It is remarkable in that the poems are largely in native Japanese and are not using the Sinitic poetry styles that were popular with scholars of the time. These poems are waka, Japanese verse, which typically follows a pattern of repeating verses of 5-7-5 syllables or morae, ending with two lines of 7-7.  The most simple of these are tanka—one top verse of 5-7-5, and one bottom verse of 7-7.  However, the poems in the collection can vary quite a bit. They are also remarkable in that they are written in what we know as Man'yogana.  That is to say they use Sinitic characters—kanji—but for their sound rather than their meaning in many cases.  This practice allowed for much more nuanced writing, such that the author could be more certain that the correct meaning could be taken away, since Japanese grammar differs greatly from various Chinese languages, and leverages particles and suffixes that are non-existent in Sinitic script.  Often times, when reading something like the Nihon Shoki, one has to infer the Japanese word order, particles, and suffixes from the text as a whole.  This is common with any kanbun—a very Japanese style of Chinese writing that often requires its own study to fully understand. Meanwhile, the Man'yogana allowed someone to more easily sound out the letters in the Man'yoshu.  This must have been important when morae or syllable count was important to the art form.  Furthermore, it gives us tremendous insight into how spoken Japanese may have sounded  back in the 8th century. And of course it is great that we have all of these poems, but almost more important is the other information contained in the collection.  Most poems not only are attributed to a particular author, but they often give a brief introduction to lay out the circumstance in which the poem was composed.  These poems are, in many ways, more straightforward than many later poetic styles, which relied much more heavily on so-called “pillow words”, poetic allusions, or callbacks to previous poems—not that they were completely devoid of such references, especially to other, often continental, works. Some poems are actually paired—a type of call and response.  A man would often be expected to send a poem to a lady with whom he had recently had assignations, and she would often respond.  Through such correspondence, preserved in the poetic record, we can see connections that might not be as clear in the various historical texts. Now, 4500 is a lot of poems and I'll be honest, I'm probably not going to be researching all of them for historical tidbits, but it is nonetheless important to understand.  One should also be careful—while the poems are often attributed to various artists and famous persons, this may sometimes be misleading.  The attribution may have been garbled or forgotten, and recreated. Most of the poems in the Man'yoshu are presented with at least some amount of framing around them.  They are grouped loosely by various themes.  We are then told, for each poem, the composer and the occasion for which it was created.  Sometimes this may be as simple as “when they were out hunting”, but that still gives us some context on which to go by as for why the author was writing the poem in the first place. The poems themselves vary in size.  There are short poems, or tanka, but also longer form chōka poems, with multiple verses.  Some may allude to previous poems, but many of the poems are just about the author's feelings.  Unlike haiku, they were not quite so proscribed in terms of “pillow words” or requisite seasonal descriptions. And yet these poems, just as much as the histories, were important in capturing some part of the cultural zeitgeist from that time.  We can see what was considered popular or important, and it was there for future generations down until today. Ultimately the Kojiki would largely be overshadowed by the more comprehensive and prestigious seeming history in the Nihon Shoki.  The Nihon Shoki would become the official history, inspiring future historical records, such as the Shoku Nihongi, the continuation of the records.  The Man'yoshu, likewise, would be emulated, with future compilations like the Kokinshu. These, in turn, would impact the cultural imaginary of the time.  They would shape people's ideas about the past, about art, and even about the nature of the kami themselves.  During this period it is hard to understate just how much they were setting in place a new system.  It is even difficult to tell how much of that system had actually been instituted by previous sovereigns, even though it's hard to tell how much that actually happened as opposed to simple claims by Ohoama and, later, Uno, to justify what they were doing.  Up to this point, the Ritsuryou State and the various reforms had been an experiment, but under Ohoama we truly see that the new government upgrades would be fully installed.  At the same time, we also see a shake up in the court.  Those who had been loyal to Ohoama during the Jinshin conflict of 672 received various rewards—increased rank and stipend, for one thing.  As famous individuals passed away, they were also granted posthumous rank, which might not seem like much, but it increased the family's prestige and that of the individual's descendants without actually handing out a higher level stipend that would be a drain on the coffers.  All of this also continued to build up the elites' reliance on not just the court, but on the throne itself for their status, wealth, and position.  Thus they had a vested interest in seeing that the project succeeded. And that is the world that we are about to dive into.  Thank you, I know we didn't get into too much of the immediate history, and some of this is spoilers—after all, this took time and in the moment it could have turned out quite differently.  What if Ohoama had gotten sick and died?  What if there had been a rebellion?  What if Silla or Tang had attacked?  While we know what happened from the safety of our vantage point, far in the future, it is important to remember that at the time the people in the court didn't know what would happen next, so please keep that in mind. Next episode, we'll start to get into the actual events of the reign, starting with Ohoama's ascension to the throne at the newly built Kiyomihara palace in Asuka. Until then, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

Book 3 (again)0- 3:15 Bad intros3:20 - 16:00Nietzsche's materialist comedy; section 124 - the infinite;  panic attacks - cognitive models vs. affective experiential; subjectivity; thinking as terror/comfort; what meaningless means; 16:00 - 39:20section 143: advantages of polytheism; vs. monotheism; agonism vs. true/false; section 149 Plato and Pythagoras as failed founders of religions; the conditioning of “the people”; biodiversity; “it wasn't me. god did it through me”; the alleged fragmentation of contemporary society; multiple monotheisms? polytheism and monarchy/monarchies; John is skittish about all transcendence;  different orientations to difference (pluralism v dogmatism); 39:30 - 58:20Rome vs. Judea; imperialism and religion; is science monotheistic?; absolutist responses to COVID; the CDC couldn't be provisional; polytheism as just a moment without a dominant monotheism; experimental science seems to potentially lead toward overman also - despite piety and fealty

Recomendación Musical - Entrevista a Comandante Mono by Radiotelevisión de Veracruz

Recomendación Musical - Comandante Mono by Radiotelevisión de Veracruz

Kraška ohcet, največja etnološka prireditve Slovencev v Italiji, je presegla pričakovanja. Več kot 1200 svatov vseh generacij, oblečenih v narodne noše, je dokaz, kako pomembna je ta prireditev za celotno slovensko narodno skupnost v Furlaniji – Julijski krajini. Ustavimo se v Monoštru, kjer je potekal seminar za učitelje in vzgojitelje v narodnostno mešanem okolju, namenjen krepitvi slovenskega jezika in identitete. Povabimo vas v Koroški muzej v Celovcu, na ogled razstave Hinschaun!Poglejmo, ki pripoveduje o obdobju nacističnega režima na avstrijskem Koroškem. Maja Haderlap, slovenska avtorica v središču jubilejne 40. Vilenice, pa spregovori o svojem najnovejšem romanu Ženske v temi, v katerem razmišlja o vlogi ženske nekoč in danes, odhajanju ter iskanju identitete, smisla življenja in svobode. Foto (USZS): mladoporočenca 28. Kraške ohceti

When was the last time you heard joy described as a public health threat? In today's satirical bulletin, the Centers for Control of Happiness warn of dangerous “joy clusters” linked to Mono Mutante readings—and propose emergency bans on shared laughter in community gardens. Then, in our excerpt from Mono Mutante, we meet Lova Saskatoon, a Canadian farmer whose battle against a GMO giant became a legal precedent for seed sovereignty. Her story—rooted in courage, resilience, and loss—is a reminder that controlling the seed supply is just another form of controlling people. From absurd headlines to hard truths, this episode mixes comedy, conscience, and a deep respect for those who fight to keep our food free.

Pedro I con Rubén García, Visión de Nueva York por Carmen Martín Gaite, La maldición del hombre mono con su autor y las parejas drogadictas.

In today's War of the Worlds–style satire, the Department of Culinary Compliance issues a national security alert after “unpermitted lettuce” is detected in public school lunchrooms. We go live to the scene of a kale salad confiscation, before it can “radicalize the spinach.” Then, it's an excerpt from Mono Mutante—a dirt-splattered, laugh-out-loud eco-satire about food, farming, and the fight for diversity. In this scene from Chapter 20, children take the stage at a farm conference to share staggering facts about monocropping… along with plant names so vivid they could start their own rock band. Expect both groans and giggles, with a few pesticide-free punchlines for good measure.

Lo Que Nos Cuenta El Cuento - El Mono Científico, Robert Louis Stevenson by Radiotelevisión de Veracruz

In dieser Folge sprechen wir mit Jesper Munk, der schon früh als „Retter des Blues“ galt - sich aber nie auf ein Genre festlegen ließ. Vom Blues über Soul und Indie-Pop bis hin zu Projekten wie Public Display of Affection hat er sich immer wieder neu erfunden, auch in Zeiten von Rückzug und Neuanfang. Mit Yesterdaze (2024) trat er erstmals auch als Produzent auf, nun erscheint am 03.10.2025 sein besonderes Live-Album best of … live mit dem Deutschen Filmorchester Babelsberg und den Cassette Heads. Wir sprechen mit ihm über die Unterschiede zwischen Orchester und Band, über die Bedeutung von Nick Caves Gedanken zur Einzigartigkeit menschlicher Kunst, und über den Umgang mit der Zuschreibung, Anfang 20 als „Retter des Blues“ gefeiert worden zu sein. Außerdem erzählt er, was ihn das Produzieren gelehrt hat – und welche Haltung ihn durch alle Phasen seiner Karriere begleitet. Zuletzt gehörte Platten Dennis: Sera Cahoone - Deer Creek Canyon The Delines - Colfax Martin: Adiam - Black Wedding Neue Vinyls aus unseren Regalen Dennis: Modern Nature - Island of Noise/Island of Silence Jesper: Lawrence Goodwin - Soft Eternity Martin: Nathaniel Rateliff - And it's still alright Eine Lieblingsplatte von Jesper Jesper: Blake Mills - Heigh Ho Instagram: Jesper Munk Website: Jesper Munk Unterstützt uns bitte mit einer Sterne-Bewertung sowie gerne auch einem Kommentar dazu bei Apple Podcasts (Link) oder Spotify (Link). Wir freuen uns darüber. Feedback, Wünsche oder Vorschläge zu Gästen dürft ihr uns gerne per Mail schreiben: kontakt@platten-panorama.de. Höre dir die Folge bei Apple, Google, Spotify, podcast.de, Deezer, Podimo, YouTube, Pocket Casts, Castbox oder direkt per RSS-Feed an. Zu jeder besprochenen Platte aus dem Panorama könnt ihr euch nun auch einen Song auf unserer Playlist bei Spotify anhören. Viel Spaß! Verwendet doch gerne diesen Affiliate-Link zum Onlineshop von JPC, wenn ihr eure Vinyl dort kauft. Mit der Nutzung dieses Links unterstützt ihr uns bei der Erstellung unseres Podcasts. Herzlichen Dank!

What happens when your novel gets outed for “tucking impossible optimism into every chapter”? In this launch-week episode for Mono Mutante—a dirt-splattered eco-satire through the monoculture Midwest—we bring you a breaking bulletin from the Bureau for Imaginative Compliance. A compostable thumb drive has been unearthed at the Decorum seed swap, carrying a handwritten confession: the author admits she wrote the book as a Trojan Horse of hope. Officials warn the manuscript could spark “direct action, vegetable planting, or worse—community.” Then, we turn to Mono Mutante itself. In today's excerpt, corporate lobbyists Bruno and Red square off at a plant-based restaurant in St. Louis, where jackfruit masquerades as pork and pesticide-free futures are debated like high-stakes poker. Between the bites of faux barbecue, questions rise: Who really controls our food? Can slow food and land-back movements rewrite the rules? From satirical seeds to serious struggles over pesticides, power, and land, this episode blends comedy, conscience, and the messy taste of resistance.

Diese Folge ist wieder durch Christian von Spielstil.net inspiriert, da er uns wieder ein paar Fragen hat zukommen lassen: Was bringt deine perfekte Mitspielerin oder dein perfekter Mitspieler charakterlich mit? Wie verhält sich dein persönlicher Albtraum am Spieltisch? Hattest du bereits Spielbegegnungen, die du bereust? Oder welche, von denen du heute noch schwärmst? Die Spielmacher 19: Gewinner 00:00:31 Stadt Land Spielt 00:01:36 Fragen der Folge 00:02:24 die perfekte Mitspielende Person 00:25:54 und das genaue Gegenteil 00:32:58 unsere Selbsteinschätzung Die weiteren Teilnehmenden: Analog Rockt Auf den Tisch Brettspielgilde Spielstil Unseren neuen Blog findest du unter brettspielgalaxie.de Wenn dir die Folge gefallen hat, würde ich mich über eine Bewertung auf Apple Podcast, Spotify oder einem Podcatcher deiner Wahl freuen. Das hilft mir ungemein um meinen neuen Podcast bekannter zu machen. Feedback kannst du geben: auf Discord Instagram auf unserem Blog Dominik auf Mastodon @D0ELLNER@brettspiel.space und BlueSky d0ellner.bsky.social André und Mono auf unserem Discord per email an: brettspielgalaxie.podcast@gmail.com per (Sprach-)Nachricht an die +49 151 16 97 66 19 Die Musik ist von Music Unlimited

What happens when meat leaves the dinner table and enters the stock exchange? In this launch-week episode for Mono Mutante—a dirt-splattered eco-satire through the monoculture Midwest—we cut to a breaking bulletin from the Council on Consumable Compliance. The charge? Corporations have launched BeefCoin™—the world's first meat-backed cryptocurrency—and are marketing Freedom Cuts™, beef you can finance like a new pickup. A whistleblower even warns of “synthetic nostalgia,” bottled to make your backyard smell like burgers, long after the cows are gone. From absurd speculation to the politics of appetite, this episode skewers the future of food with wit, worry, and a side of satire. Then, we dive into Chapter 13 of Mono Mutante, where Tilly and Camas share a glass of starlight, a conversation about meat bans, and a strangely tender thought experiment about the last steak on Earth.

What happens when your novel gets dragged before the Council on Narrative Morality for “uplifting satire in zones of regulated despair”? In this launch-week special for Mono Mutante—a dirt-splattered eco-satire through the monoculture Midwest—we interrupt our regularly scheduled program for a War of the Worlds–style bulletin on the dangers of “dangerous inspiration.” First up: a breaking news alert about fiction accused of reducing productivity by making people… hopeful. Then, an excerpt from Mono Mutante's Chapter 11, where Camas and Tilly return to Camas's childhood home—and discover the pink envelope containing a letter from her mom, later included in the book as a short story. From satirical headlines to intimate moments of grief and memory, this episode mixes comedy with conscience—and maybe inspires a little “dangerous” hope of your own.

Esta semana llega al estudio directamente de Miami la comediante Ivelissa Ríos y llega un mono con nuestro expertos en reptiles Avi,  también Leoner Pagán de Bark & Play, Amnerys Gonzaléz de 5&10K Fuerza y Esperanza y el Lcdo. Edwin Barreto que nos da otro punto de vista en el caso de Gabriela.  Grabado desde GW-Cinco Studio como parte de GW5 Network #tunuevatelevisión. Puedes ver toda la programación en www.gwcinco.com. siguenos en instagram @gw_cinco Patreon:   patreon.com/bienabiertas patreon.com/gw5network patreon.com/hablandopop

Rock & Roll Hall of Fame inductees and “British Invasion” pioneers, The Zombies, todayannounce the release of Odessey & Oracle Mono Remastered on September 26th. The album, thefirst of four definitive physical reissues from their catalog, includes the classic songs “Time OfThe Season,” “Care of Cell 44,” and “This Will Be Our Year” and is a regular entry in “BestAlbums of All Time” lists in publications like Rolling Stone, NME, and Mojo Magazine. Therelease, which coincides with The Zombies' documentary, Hung Up On A Dream, marks the firsttime the band's original mono mix, remastered from studio tapes, has appeared on LP since therecord's British issue in 1968, presenting the album as they originally intended it to be heard.Pre-order the album on all formats here.Recorded primarily at London's legendary Abbey Road Studios in 1967, Odessey & Oracle wasself-produced in Mono on a shoestring budget by primary songwriters Rod Argent (keyboards/vocals) and Chris White (bass/vocals). Under last-minute pressure from their record label, thealbum was hastily remixed in the newly emerging Stereo format, which sacrificed key elementsfrom the Mono recording, most notably the beloved horn parts in “This Will Be Our Year”.The band today also share the first track off the album, the mono remastered version of “ThisWill Be Our Year”, with the horn parts restored. Although never released as a single, this deepcut has found a new life thanks to prominent uses in TV and film, including memorable scenes inMad Men, The Marvelous Mrs. Maisel, and Schitt's Creek, and covers by artists like FooFighters, OK Go and Susanna Hoffs. Its positive and uplifting message has been embraced bycouples as a popular wedding song, and become a staple of New Year's playlists. Listen here.The album also includes new liner notes from famed writer, David Fricke. Read an excerptbelow:Odessey and Oracle is very much of and about its time: songs of youth and love – thelucky strike of attraction ("I Want Her She Wants Me"); flickering memories held tight("Brief Candles"); longing that defies the odds ("Maybe After He's Gone") – from pop'shigh season of amour, a crowded nirvana of landmark debuts (Pink Floyd, the Doors, theJimi Hendrix Experience) and definitive accounts of Britain's psychedelic bloom…Thisalbum was also built to stand the test of time, at the 11th hour by a band with everythingto prove. "We were always dissatisfied with the production of our records," Argent said in1971 of the Zombies' Decca work. "We wanted to produce an album before we broke upto satisfy ourselves." The result was a fearlessness that still rings fresh, that inventiondriven by the Zombies' stringent resources and their confidence in the songs. Most of "ARose for Emily" is simply piano and vocal, an Argent-Blunstone duet with streaks ofchoral sigh.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

What happens when your dog gets accused of “carrying genetic traces of historical dissenters”? In this launch-week episode for Mono Mutante—a dirt-splattered eco-satire through the monoculture Midwest—we break in with a bulletin from the Baesamen Institute for Genetic Purity, demanding a DNA test on Pedro. The charge? He's allegedly “up to 12% revolutionary.” The evidence? Tail wags at peace rallies and suspicious eye contact with farmworkers. Then, we dive into Chapter 10, where Camas and Tilly's mountain biking break leads to a wild idea: turning survivalist preppers into allies of the slow food movement. From MAGA victory gardens to “community sufficiency,” it's satire, strategy, and unlikely alliances—served cold with a side of peaches.

MONO-009 by Ben Fawkes

MONO-010 by Ben Fawkes

MONO-011 by Ben Fawkes

MONO-015 by Ben Fawkes

MONO-006 by Ben Fawkes

What happens when your imagination gets flagged for “unsanctioned acts of hope”? In this launch-week episode for Mono Mutante—a dirt-splattered eco-satire through the monoculture Midwest—we break in with a Bureau for Imaginative Compliance bulletin, charging the author with “uplifting satire in zones of regulated despair” and “inciting optimism without a license.” Then, we dive into an excerpt from Mono Mutante, where Camas tests out her festival jokes, Tilly counters with a pesticide-poisoning story, and the line between humor and heartbreak gets deliciously blurry. From absurd regulations to the politics of who gets to tell hopeful stories, this episode blends comedy, conscience, and just the right amount of mischief.

Zveza Slovencev na Madžarskem je gostila letošnjo, 53. mednarodno likovno kolonijo mladih, ki je pet dni potekala v Monoštru. Med ustvarjanjem se je družilo 17 otrok od 5. do 9. razreda iz Porabja, Slovenije, Avstrije in Italije. Kolonija se vsako leto seli med Slovenijo in kraji, kjer živijo zamejski Slovenci. Poleg dopoldanskega ustvarjanja so bili popoldnevi na koloniji namenjeni spoznavanju naravne in kulturne dediščine Porabja in Prekmurja. Tako so udeleženci obiskali Tromejo, slovenski muzej Avgusta Pavla v Monoštru, baročno cerkev ter svetlobni križ v Števanovcih, prosti čas pa so namenili druženju in športnim dejavnostim. Ob zaključku kolonije so v Slovenskem domu v Monoštru pripravili razstavo likovnih in lončarskih izdelkov. Otroci so namreč obiskali dve delavnici: likovno je vodila mlada mentorica Tina Rajnar, lončarsko pa izkušeni lončarski mojster iz Prekmurja Štefan Zelko. Kolonija tako že 53 let povezuje mlade iz različnih držav, ki utrjujejo znanje slovenskega jezika in krepijo čezmejne vezi.

Potatoes, Pedals, and the Great Grocery Crackdown (Books Banned Due to Excessive Potato Worship and Unauthorized Bike Conversions) – Mono Mutante Excerpt CH 1 What happens when your novel gets accused of promoting “an unlicensed faith in root vegetables and other soil-based ideologies”? In this launch-week kickoff for Mono Mutante—a dirt-splattered eco-satire through the monoculture Midwest—we interrupt our regularly scheduled program for a War of the Worlds-style bulletin you won't forget. First up: a breaking news alert about books banned for “excessive potato worship” and suspiciously wholesome eating habits. Then, an excerpt from Mono Mutante—a dirt-splattered, laugh-out-loud road trip through the monoculture Midwest, where Camas and Tilly debate beer, steak, and the politics of food deserts… or as they decide to call them, “food f----d.” From absurd headlines to serious questions about who controls our food supply, this episode serves up equal parts comedy, conscience, and crunchy resistance.

Solénoïde (25.08.2025) - Cette semaine, Solénoïde embarque ses auditeurs pour un nouveau périple sonore au cœur du Japon, archipel des contrastes et des extrêmes. En 55 minutes, la playliste traverse Tokyo, Osaka, Hiroshima et Hokkaidō, mais aussi Londres et Berlin grâce aux artistes expatriés. Au programme : des atmosphères ambiantes et futuristes (Masunoji, Celer), la puissance cinématographique de Mono, la voix hypnotique de Hatis Noit, les percussions organiques de Midori Takada, les textures oniriques de Yoshiaki Ochi, les visions électroniques de Shohei Amimori ou Anoice, sans oublier quelques figures historiques comme le Yellow Magic Orchestra. Entre traditions ancestrales et expérimentations avant-gardistes, cette seconde virée japonaise révèle toute la richesse d'une scène qui mêle instruments ethniques, cordes classiques, marimba, nappes synthétiques et chants envoûtants. Une plongée dans un Japon musical multiple, à la fois intime, cosmique et résolument moderne.

а чого ж?____

Rock & Roll Hall of Fame inductees and “British Invasion” pioneers, The Zombies, todayannounce the release of Odessey & Oracle Mono Remastered on September 26th. The album, thefirst of four definitive physical reissues from their catalog, includes the classic songs “Time OfThe Season,” “Care of Cell 44,” and “This Will Be Our Year” and is a regular entry in “BestAlbums of All Time” lists in publications like Rolling Stone, NME, and Mojo Magazine. Therelease, which coincides with The Zombies' documentary, Hung Up On A Dream, marks the firsttime the band's original mono mix, remastered from studio tapes, has appeared on LP since therecord's British issue in 1968, presenting the album as they originally intended it to be heard.Pre-order the album on all formats here.Recorded primarily at London's legendary Abbey Road Studios in 1967, Odessey & Oracle wasself-produced in Mono on a shoestring budget by primary songwriters Rod Argent (keyboards/vocals) and Chris White (bass/vocals). Under last-minute pressure from their record label, thealbum was hastily remixed in the newly emerging Stereo format, which sacrificed key elementsfrom the Mono recording, most notably the beloved horn parts in “This Will Be Our Year”.The band today also share the first track off the album, the mono remastered version of “ThisWill Be Our Year”, with the horn parts restored. Although never released as a single, this deepcut has found a new life thanks to prominent uses in TV and film, including memorable scenes inMad Men, The Marvelous Mrs. Maisel, and Schitt's Creek, and covers by artists like FooFighters, OK Go and Susanna Hoffs. Its positive and uplifting message has been embraced bycouples as a popular wedding song, and become a staple of New Year's playlists. Listen here.The album also includes new liner notes from famed writer, David Fricke. Read an excerptbelow:Odessey and Oracle is very much of and about its time: songs of youth and love – thelucky strike of attraction ("I Want Her She Wants Me"); flickering memories held tight("Brief Candles"); longing that defies the odds ("Maybe After He's Gone") – from pop'shigh season of amour, a crowded nirvana of landmark debuts (Pink Floyd, the Doors, theJimi Hendrix Experience) and definitive accounts of Britain's psychedelic bloom…Thisalbum was also built to stand the test of time, at the 11th hour by a band with everythingto prove. "We were always dissatisfied with the production of our records," Argent said in1971 of the Zombies' Decca work. "We wanted to produce an album before we broke upto satisfy ourselves." The result was a fearlessness that still rings fresh, that inventiondriven by the Zombies' stringent resources and their confidence in the songs. Most of "ARose for Emily" is simply piano and vocal, an Argent-Blunstone duet with streaks ofchoral sigh.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Episode 94 - Pack your bags, and keep you nunchucks packed, because we are transitioning from Kung Fu to Ninja month. This is a Marco month, so the month wouldn't be complete without an old Japanese film. And this may not be the last. We are digging deep into he origins of the ninja with Shinobi no Mono (1962), a story about ninjas plotting against ninja and other powers that be. We try to break this one down in spite of the ridiculous subtitles in the version we watched. It was quite the journey. Join us for the fun.And stay tuned for part 2 coming soon; Castle of Owls (1963)And let us know your thoughts by emailing us at mracfilmclub@gmail.com

For Sujin, handbags aren't sewn—they're constructed. Trained as an architect, she approaches her brand, Elemood, with the same principles she'd apply to a building: structural integrity, simplicity, and form as function. With no fashion or sewing background, she pioneered designs like the Mono bag—crafted from a single piece of material—and the Expert, made from one repeated pattern, creating sculptural pieces unlike anything in the market.After a decade of success, Sujin nearly walked away from her business—until an Italian brand strategist and Japanese designer Kasumi reignited her vision. Now, their partnership blends Japanese minimalism, Thai craftsmanship, and architectural precision into award-winning designs like the Blossom Series, while navigating a shift from traditional exports to U.S. wholesale.

Hacer click aquí para enviar sus comentarios a este cuento.Juan David Betancur Fernandezelnarradororal@gmail.comEn el corazón de la Sierra de los Ecos, donde los cerros se alzan como guardianes de los secretos del tiempo, vivía una comunidad de animales que caminaban. No volaban, no nadaban, no trepaban más allá de lo necesario. Caminaban. Eran criaturas del suelo, del polvo, de la rutina. El llano era su mundo, y el cielo, apenas una promesa lejana.Entre ellos vivía un mono distinto. No por su especie, sino por su deseo. Se llamaba Turi, y desde joven había sentido que el mundo lo ignoraba. No era fuerte como el jaguar, ni sabio como la tortuga, ni ágil como el venado. Pero tenía algo que pocos tenían: ambición . Quería ser visto como un artista. No por lo que hacía, sino por lo que decía haber hecho.Una mañana, mientras paseaba por la ladera del Cerro del Silencio, Turi encontró un tronco caído. Era viejo, retorcido, con raíces expuestas como dedos de un cadáver vegetal. Nadie lo había tocado en años. Pero Turi lo miró con otros ojos. Su instinto lo llevo a ver algo que posiblemente otros que habían pasado por allí no habían visto. La oportunidad de sobresalir de forma inmediata sin mayor esfuerzo. —No necesito transformarlo —murmuró—. Solo necesito elevarlo.Y así nació su plan. No tallaría, no pintaría, no esculpiría aquel tronco ya que no sabría como hacerlo.  Solo colocaría el tronco en un lugar inaccesible, y dejaría que la distancia hiciera el resto.Durante tres días, Turi empujó el tronco cuesta arriba. Lo hizo en secreto, evitando que otros lo vieran. El camino era arduo: piedras sueltas, espinas, niebla espesa. A veces se detenía a hablar consigo mismo:—Cuando lo vean allá arriba, no verán un tronco. Verán lo que yo les diga que es. Ese es el plan.Finalmente, llegó a la cima. El Cerro del Silencio era un lugar sagrado, donde el viento no hablaba y las aves no cantaban. Allí, colocó el tronco de pie, como si fuera una figura ancestral. Lo rodeó de piedras, lo limpió un poco, y lo dejó.Al regresar al llano, Turi convocó a todos los animales. Se subió a una roca y habló con voz firme:—¡Amigos! Durante años me he dedicado a cultivar un nuevo arte. Lejos de la vista de todos ustedes le he dedicado días enteros a aprender el difícil arte de la escultura. Inicie con barro y y luego con mucho cuidado he aprendido como moldear figuras a partir de la madera y finalmente pase a trabajar con herramientas que yo mismo he creado para extraer imágenes de los bloques de granito que tenemos en lo alto del cerro del silencio . Hoy y después de casi un año de trabajo arduo,  les presento mi obra maestra. Miren hacia el Cerro. ¿Ven esa figura que se alza entre las nubes? ¡Es una estatua! ¡Una creación única! ¡La hice yo!Los animales miraron. Desde tan lejos, solo se veía una silueta oscura, apenas distinguible. Pero el tono del mono era solemne, casi místico y con sus seguridad les transmitía la creencia.  Y así comenzaron los murmullos entre aquellos animales que nunca habían visto una obra de arte. —¡Qué artista! —¡Qué visión! —¡Qué genio! Claramente se ve el esfuerzo del creador. El jaguar asintió. La tortuga cerró los ojos en señal de respeto. El venado dijo que había sentido “una energía especial” que emanaba de aquella figura en lo alto del cerro. Y así, Turi fue celebrado. Los animales comenzaron a sentirse afortunados de tene a Turi viviendo con ellos. Le ofrecieron los frutos más dulces, lo invitaron a danzas nocturnas, y hasta le pidieron que enseñara su “técnica”.Turi  ya convertido en una celebridad entre los animales se dedicaba a hablaba de inspiración, de forma, de trascendencia. Pero aunque Nadie entendía, todos asentían y movían la cabeza para lucir interesantes e

"Change is so universal, it's a universal law. We know that it is nature's way and that it is the way of being human." These words open a heartfelt exploration into one of life's most challenging constants—the inevitability of transformation.The wisdom woven throughout this episode transcends simple platitudes about "embracing change." Instead, Dr. BethAnne acknowledges the genuine grief that accompanies transitions while offering perspectives that help us remain open to life's continuing gifts. This episode explores practical and spiritual approaches to navigating life's inevitable transitions.• Change is accelerating in our modern world due to information overload and global transformation• Sudden endings (like theater productions) require intentional closure through journaling and reflection• Personal vulnerability creates powerful connections and opportunities for growth• When facing unexpected health challenges with loved ones, balance grief with presence• "Mono no aware" - the Japanese concept of sensitivity to life's transience• Embracing change requires faith in life's process and our capacity for resilience• The most difficult changes often lead to our greatest personal evolution• Life itself becomes our partner in transformation, providing unexpected supportWhether you're facing major life transitions or simply feeling the weight of our rapidly changing world, this episode offers both comfort and courage for the journey. Listen now to discover how authenticity, grit, and light can transform your relationship with change and help you find unexpected beauty in life's evolving path.Join us next week for an all-new episode of Your Heart Magic and more psychology, spirituality, storytelling, and heart wisdom.--Your Heart Magic is a space where heart wisdom, spirituality, and psychology meet. Enjoy episodes centered on mental health, spirituality, personal growth, healing, and well-being. Featured as one of the best Heart Energy and Akashic Records Podcasts in 2024 by PlayerFM and Globally Ranked in the top 5% in Listen Notes.Dr. BethAnne Kapansky Wright is a Licensed Psychologist, Spiritual Educator, and Akashic Records Reader. She is the author of Small Pearls Big Wisdom, the Award-Winning Lamentations of the Sea, its sequels, and several books of poetry. A psychologist with a mystic mind, she weaves perspectives from both worlds to offer holistic wisdom.FIND DR. BETHANNE ONLINE:BOOKS- www.bethannekw.com/books FACEBOOK - www.facebook.com/drbethannekw INSTAGRAM - www.instagram.com/dr.bethannekw WEBSITE - www.bethannekw.com CONTACT FORM - www.bethannekw.com/contact

In this episode, we're celebrating our 12th birthday. Join us as we snake draft our way through the biggest pop culture events of the last twelve years. We're reliving everything, from the shocking to the cringeworthy, and the pop culture gems forever etched in our group texts, with equal parts nostalgia and nonsense.Relevant links: Our full show notes are at knoxandjamie.com/620It's our birthday! Celebrate by joining us at knoxandjamie.com/patreon. Use code WORSTMONTH to get 90% off a 30-day Friends with Benefots membership. (valid for new members only)Save the Date and BYOC (Bring Your Own Cake) for our All Skate Birthday-UA on Tues, 8/19 at 9pm EST/8 pm CST/ 7 pm MST/6 pm PST (psst! Join us live to receive a digital swag bag!)Erin's Receipts: I've Got Questions & I've Got Questions Guided Journal | Faith Adjacent 2013 - Things being Iconic before becoming over-cooked : Boston Marathon Bomber Chase2017 - Mishandled: BBC Kid Interruption | Covfefe 2019 - Unlikely Collabs: Jamie's Viral Post 2018 - Coronation: Wondering Years 2023 - Collapse of the Mono-culture: Eras Tour2020 - Covid: All Things Reconsidered Drive-Bys: Ben Platt's Diet Pepsi Green Lights:Jamie: movie- Weapons | book - Let's Make a Scene by Laura WoodKnox: show- Platonic S2 | The Savage, Noble Death of Babs Dionne by Ron Currie, Jr. Hosted on Acast. See acast.com/privacy for more information.

If the Showa era in Japan continues, this year marks the centenary of the Showa period. Let's look back on that era while enjoying nostalgic songs from the 1960s to the 1990s. 'Showa 100' is broadcast on the first Thursday of every month. - 昭和の時代が続いていれば、今年は昭和100年。1960年代～1990年代の懐かしい曲を楽しみながら、その時代を振り返ってみましょう。

(Orig pub date: 2/3/24) On August 17th, 1849, London police officers made a grisly discovery at the home of George and Maria (born Marie de Roux) Manning. Her former beau, Patrick O'Connor, had been buried under the floor. A nationwide hunt for the couple would follow, and after that a trial and executions. The murder case would grip London so fervently that Madame Tussaud would later add wax versions of the couple to her infamous Chamber of Horrors. My guest today is Gavin Whitehead, creator, writer and narrator of The Art of Crime podcast, which is currently in its third season. (Note: At the end of this encore interview, I reconnect with Gavin for a teaser on his fifth season, just recently released, called "Murder by the Book"). More about The Art of Crime here: https://www.artofcrimepodcast.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

¡Este episodio de La Casa es tan real como tu odio por los lunes! Manuel Silva y Natalia Moretti analizan por qué volver al trabajo los lunes se siente peor que regresar de vacaciones, con tips para hacerlo más llevadero. Pero el drama no para ahí: revisan la insólita noticia del mono capturado en San Antonio de los Altos, leyendo la redacción original y preguntándose: ¿Cómo terminó ahí? Un mix de humor y noticias absurdas que solo La Casa te ofrece.

De esta manera, titula Emiliano Bruner, paleo-neurobiólogo, el libro que ha publicado, explica que en la evolución se impone aquel que puede tener más hijos. Bruner analiza también los "desajustes evolutivos" que el ser humana como primate ha tenido a lo largo de su evolución, y más allá para intentar indagar sobre si nuestro propio desarrollo como especie nos ha traído consecuencias negativas, especialmente en el terreno de la salud mental y "cuáles pueden ser las raíces evolutivas del sufrimiento humano".

Ever wondered whether route‑setters should be throwing monos into competition climbs? Kyra and Allison had noticed an increase in the use of monos in competitions recently and so they dig into the great mono debate. Is it a legitimate test of skill or just an injury waiting to happen? Allison pulls from her own mono‑training journey, sharing what worked, what back‑fired, and whether she thinks training monos improved her normal crimping strength. From there, they compare their personal hang‑boarding routine tweaks: Allison has been adding lock-off hangs to her program while Kyra had to do more straight‑arm hangs because of an injury recently. They chat about whether switching up your program is a good idea to keep workouts fresh and muscles "confused" or if its better to only work on the things you're good or bad at. Next they dive into the various safety concerns that arose at recent competitions. Pad stiffness, sketchy moves, and why comp floors sometimes feel like hitting concrete. Kyra pitches her idea of a World Cup circuit that tests different skills at different stops, similar to how F1 or the Tennis circuit tests on different courses/court types. They then debate where “new‑school” setting crosses the line into just plain weird and what the actual job of competition routesetters is. Stick around till the end to hear about: Our new Tier on Patreon: Check out our latest member-only episode about doping in outdoor climbing at patreon.com/circleup Get excited for our upcoming special mini series "The Mentorship Sessions" with guest host Freddie Kolwey from Buddy Check Podcast! First episode featuring Kyra and Freddie will come out August 5th to introduce the series.

Behold our 16th Podrophenia anniversary: Lloyd Price joins Mono and Piley in the studio for chat, tunes - and a preview of new projects and updates on the Agency-V Gary Numan tour.  Plus, a Space or Bass quiz PLAYLIST Alberone – Baxter Drury Broken Glass – Neal Francis Films – Gary Numan Stupid Girl – Agency V Summer Smash – Denim Night Bus – Flying Hats Tea – Stern John The Slitter – Scone Cash Players Man Becomes Monster – Massive Ego Marching Shadows – The Velvet Sundown Pizza Time – Adam Buxton Time Machine – Adult Cinema Sabbra Cadabra – Black Sabbath Swoon  - Peter Murphy Under Control – Adam Freeland Forrest Gump – Digitilism Tear You Apart – She Wants Revenge Bury Me – Actors SHIP FULL OF BOMBS THAMES DELTA INDEPENDENT RADIO If you would like to support the station and are able to do so then please pledge only what you can genuinely afford at www.patreon.com/sfob Please like and subscribe from wherever you stream your music and podcasts.  

La clave del Tron, de Ángel Expósito, nos lleva a ese circo que vivimos este martes en Granada. Con el hijo pequeño de Juana Rivas. Tiene solamente 11 años.El director de 'La Linterna' se pregunta: "¿alguien ha pensado en el honor del hijo pequeño de Juana Rivas? ¿A quién se le ocurre exponer al niño, 11 años, en mitad de la calle durante 100 metros, llorando y muerto de la vergüenza?".Expósito no se mete en el caso en sí, ni en el presunto maltrato del padre, ni en aquel secuestro de la madre. "Es todo demasiado sucio. Y la política se mete, de por medio. Mientras, el niño expuesto. La madre, tapándose la cara. El pequeño, humillado como un mono de feria". 'El Tron' prosigue su discurso indicando que, la asesora, animándole: "Daniel, cariño, grita, dilo. A un chaval de 11 años. Insisto, no me meto en el caso. Solo sé que el niño es víctima de todos y todas también. ¿Alguien ha pensado en su cole, en su autoestima? Hasta los protagonistas de este desastre, se ...

Assemblyman David Tangipa joins Darcy and Darcy for a great conversation that covers a wide range of California issues and topics! For those that don't know him yet, David is the youngest person serving in the California legislature. He was elected to the California State Assembly in 2024 and represents District 8, which includes Calaveras, Fresno, Inyo, Madera, Mariposa, Mono, and Tuolumne counties.  Darcy & Darcy discuss with David his perspective on the business of California's legislature, his first six months in office, some great ideas he has about putting existing infrastructure to work doing double duty, the impact the Groundwater Sustainability Act has had on his constituents, and most importantly, lessons learned.One thing is clear: David is an upcoming California policy leader. The ECPAC is looking forward to hosting a fundraiser for David on July 31st at noon at M & M's Italian Restaurant in Los Banos. If you would like to support David or join us for lunch, please contact Terra at (559) 281-9088 or email her at tbrusseau@centralvalleygroup.com. All are welcome to attend.To learn more about Assemblyman Tangipa and District 8 visit www.ad08.asmrc.org/.Send us a textWe Grow California Podcast is paid for by the Exchange Contractors Federal PAC and Exchange Contractors State PAC and is not authorized by any candidate or candidate committee.

Podcast #748 sides with the underdogs and tracks from The Beakers, The Knee-Hi's, The Roxies, Golden Shitters, Burnt Ones, Davenport, Pizzle, & MONO & World's End Girlfriend.

(Mono Edition) It was supposed to be a regular, fun “walkabout” episode whilst the summer sun still shined on London, but one phone call and shocking explosion later, Paul and Eli are running for the lives at the whims of a mad man! Two Hundred and Twenty Three episodes ago, two evil baddies were defeated and now an angry relative wants to play games with the Cheap Chaps. They've got 90 minutes to solve riddles, race around Crystal Palace Park, diffuse “bombs” and get increasingly more drunk and angry in the process! Along the way, Eli and Paul will tackle dinosaurs, hunt for a gorilla, drink nasty cheap cocktails and get pathetically lost in a maze! Will the day be saved, or will the CheapShow hosts get too tired and drunk to remember the plot? Think Fast. Look Alive. Walk Hard! See pics/videos for this episode on our website: https://www.thecheapshow.co.uk/ep-445-walk-hard-with-a-vengeance SEE US LIVE: Oct 18th @ The Cheerful Earful Podcast Festival 2.30pm, London https://cheerfulearful.podlifeevents.com/festival/cheapshow---live-from-cheerful-earful-podcast-festival-18th-oct-2025-tickets Watch Our 10th Birthday YouTube Live Stream! https://youtube.com/live/Z18i8M3Eqac?feature=share And if you like us, why not support us: www.patreon.com/cheapshow If you want to get involved, email us at thecheapshow@gmail.com For all other information, please visit: www.thecheapshow.co.uk Like, Review, Share, Comment... LOVE US! MERCH Official CheapShow Magazine Shop: www.cheapmag.shop Send Us Stuff: CheapShow PO BOX 1309 Harrow HA1 9QJ

Santi García Cremades y Alberto Aparici aprovechan la historia de un pleito judicial en un pequeño pueblo de Tennessee, en Estados Unidos para hablar de la evolución y la teoría de Darwin.

198. Objetos Malditos: Cuando el Deseo Tiene Precio. La Pata de Mono. (W. W. Jacobs) (LLDLL) VIII ¿Qué precio estás dispuesto a pagar por un deseo? ¿Qué estarías dispuesto a sacrificar por tener lo que más anhelas? Esta noche desvelamos uno de los secretos más inquietantes de la historia del misterio y lo oculto: los objetos malditos. En este episodio especial, exploramos reliquias reales marcadas por la tragedia, la muerte y el miedo. Objetos que no solo han sido acusados de arrastrar desgracia, sino que han dejado tras de sí una estela de muertes, ruinas y fenómenos inexplicables. Desde vitrinas selladas hasta museos silenciosos, estas piezas parecen contener un eco de dolor… o algo peor. Los objetos malditos que conocerás esta noche incluyen: El retrato “The Anguished Man”, pintado con sangre humana, cuyos lamentos aún se escuchan por las noches. El Jarrón de Bassano, que ha cobrado la vida de quienes osaron poseerlo. El Espejo de Myrtle’s Plantation, donde se reflejan almas atrapadas tras una muerte trágica. Mandy, la muñeca del museo de Quesnel, famosa por provocar llantos y caos inexplicables. La Caja Dybbuk, una reliquia judía que desató maldiciones, derrames cerebrales y visiones oscuras. Annabelle, la muñeca poseída más temida del Museo de lo Oculto. El Sillón del Diablo, en Valladolid, que prometía sabiduría a cambio de vidas humanas. La tapa de sarcófago egipcio del British Museum, ligada al hundimiento del Titanic. La pintura “The Hands Resist Him”, la obra maldita de internet, que supuestamente cobra vida. El vestido de novia de Anna Baker, que aún se agita con pena por un amor imposible. Los cuadros de “The Crying Boy”, asociados a incendios que consumieron hogares… menos al niño lloroso. La momia del Museo Británico, relacionada con una cadena de muertes y tragedias. Robert the Doll, el muñeco que aún hoy recibe cartas de disculpas por sus efectos sobrenaturales. El Diamante Hope, una joya azul robada de un templo hindú, que arrastró desgracias a todos sus dueños. La silla de Thomas Busby, maldita por un asesino que juró que traería la muerte a quien se sentara en ella. Las reliquias robadas de Pompeya, cuyos ladrones envían de vuelta con cartas desesperadas los objetos que desataron infortunios. Las Bolas Malditas del Golán, proyectiles romanos que, al ser sustraídos, generaron ruina y muerte. Todos ellos tienen algo en común: el ser espejos de nuestros más oscuros deseos y advertencias para quienes cruzan límites que jamás debieron tocar. Y al final de nuestro recorrido, te invito a cerrar los ojos y escuchar La Pata de Mono, el clásico inmortal de W. W. Jacobs, un cuento que parece simple, pero que esconde una de las moralejas más potentes del género fantástico: cuidado con lo que deseas. Porque los deseos se cumplen… pero a un precio terrible. Una familia común recibe de un veterano del ejército británico una reliquia misteriosa: la momificada pata de un mono, encantada por un faquir. Esta concede tres deseos. Lo que sigue es una lenta y agónica caída en el horror cotidiano. Lo que pidieron... lo obtuvieron. Pero nunca como lo esperaban. Una historia que inspiró a Stephen King para escribir Cementerio de animales, y que ha sido contada una y otra vez en voz baja, como advertencia. ¿Son estos objetos simples supersticiones o puertas a algo más profundo y peligroso? ¿Y si el verdadero terror no reside en ellos… sino en lo que nosotros proyectamos sobre ellos? Esta noche, escucha con atención. Porque en La Llamada de la Luna, l los objetos tienen memoria. HAZTE MECENAS, no dejes que La Biblioteca, cierre Nunca sus Puertas… Sigamos sumando en LLDLL, SUSCRIBETE en IVOOX y comparte. GRATITUD ESPECIAL: Siempre a los MECENAS. Sin ustedes… esto no sería posible. SUSCRIBETE AL CANAL DE TELEGRAM: https://t.me/LaLamadaDeLaLuna PUEDES VER ALGUNOS VIDEOS DE LLDLL: https://www.youtube.com/channel/UCEOtdbbriLqUfBtjs_wtEHw Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

The blistering sun is upon us, but before we bask in the suns glory, lets take a step back, as Cozette & Pete talk about out all the great, and not so great anime that wrapped up last spring. SPOILER ARERT FOR THE SHOWS WE ARE TALKING ABOUT. USE THE TIMESTAMPSSocials/Discord - https://linktr.ee/whatdoyousayanime0:00 - Intro2:40 - Apothecary Diaries S210:00 - Apocalypse Hotel19:43 - Mono29:55 - Food For the Soul36:09 - Zatsu Tabi44:23 - Catch Me at the Ballpark50:34 - Ninkoro57:00 - Kowloon Generic Romance1:02:05 - Rest of Cozette's Shows/Drops 1:12:07 - Rest of Pete's Shows/Drops1:18:16 - Rock is a Ladies Modesty

(Original pub date: 6/16/21) In November of 1912, a young woman named Ella Barham journeyed home, on her horse, to her family farm in Boone County, Arkansas, but never arrived. After her body was discovered, murdered and dismembered, suspicions quickly centered on a neighbor, Odus Davidson, who was rumored to have been in love with Ella, a love never returned. My guest, Nita Gould, has a very personal connection to Ella, one that led to her write the book she joins us to discuss, called "Remembering Ella: A 1912 Murder and Mystery in the Arkansas Ozarks." More information can be found on her website, here: https://www.rememberingella.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of The Birth Trauma Mama Podcast, I'm joined by Ashley for a powerful story of high-risk pregnancy, trauma, and resilience. Ashley walks us through her experience carrying monoamniotic-monochorionic (mono-mono) twins, an extremely rare and high-risk type of twin pregnancy where both babies share a placenta and amniotic sac, significantly increasing the risk of cord entanglement and fetal demise.From a shocking twin diagnosis to navigating weeks of inpatient monitoring, Ashley opens up about the impossible decisions she and her husband faced, the emotional toll of living in constant fear, and the gratitude and grief that coexisted throughout her pregnancy, birth, and NICU journey.This episode shines a light on a lesser-discussed but deeply traumatic form of perinatal trauma: pregnancy trauma. Ashley's story is a reminder of how layered, lonely, and long-lasting that trauma can be, and how community and connection can be a powerful part of healing.What You'll Hear in This Episode: