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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.

I go into my only episode for August 2025 but it's a special one. I discuss my aunt (great) that recently passed away and the ramifications of that. I try to cover a plethora of things that happened this month but fail miserably. This is a very sobering episode with not a lot of laughs but maybe some kind of real advice that might help somebody down the road. I told ya in the description that I will talk about some life lessons occasionally along with the funny skits and film reviews. Here's the link for my current YouTube micro-doc film Frisbee Golf at Raintree Park. It was shot on my Iphone8. Enjoy. Link here https://youtu.be/8E5Ws1DnYnk?si=DJMN5fSXxNJMBaNO Rest easy and in peace Aunt Betty I love and miss you already. God bless you and everything you've done for us your family that will miss you dearly everyday. Also Rest easy Joel Lutz. I will be missed greatly as well. God speed.

Spurs Chat: Discussing all Things Tottenham Hotspur: Hosted by Chris Cowlin: The Daily Tottenham/Spurs Podcast Hosted on Acast. See acast.com/privacy for more information.

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This week's BRUTAL royal reviews! Meghan's "With Love, Meghan" Season 2 gets SAVAGED by critics calling it "staged, fake and dull" with one reviewer comparing it to "watching glue dry"! The Times describes guests as "trapped Z-listers" bleating "badly scripted lines" while eating "sticky doughnuts covered in couch grass"! Meanwhile, Kate debuts STUNNING new blonde hair at Crathie Kirk that's "jaw-dropping" while moving to Forest Lodge for a "fresh start"! King Charles travels with his own BED, TOILET SEAT and "Kleenex Premium Comfort" lavatory paper, plus sells $300 LIMITED EDITION teddy bears! Harry feels "more isolated than ever" as Meghan works sunrise to sunset on her brand! Plus: Princess Diana once turned down JFK Jr.'s magazine cover request, and the Royal Mint releases final Queen Elizabeth coins!

KingsWord International Church is called of God to raise a people of the Word and the Spirit, equipped with a revelation of their Supernatural Identity. Connect with us on Instagram: @kingswordikeja Facebook: @kingswordIkeja TikTok: @kingswordIkeja YouTube: @KingsWordIkeja Audio Streaming Mixlr: kingswordikeja.mixlr.com Giving Details: KingsWord Ministries International (KMI) GTBank Naira - 0009617383 USD - 0009617510 GBP - 0009617503 Euros - 0009617527 First Timers Form & Number bit.ly/eserviceguest 0810-000-0650

08/31/2025 - Chris Randall - God's Preparation: Esther Enters the Palace (Esther 2:1-11) by Faith Community Church of South Boston, VA

This week on Above Average FPL, Adam and Baker unpack a brutal Gameweek 3 filled with blanks, benchings, and bonus-point heartbreak. From Salah's continued struggles to Bruno's last-minute redemption, we explore the tactical trends and FPL implications heading into the international break.

The infamous Prince Andrew BBC Newsnight interview—widely seen as a catastrophic PR disaster—came about through months of behind-the-scenes maneuvering. Emily Maitlis and producer Sam McAlister had been pursuing Andrew's team for an interview for years, sensing that his ties to Jeffrey Epstein would eventually demand answers. McAlister, known for her persistence, managed to gain the trust of Buckingham Palace courtiers and convinced them that a sit-down would provide Andrew with the chance to clear his name and demonstrate transparency. The Prince and his advisors, astonishingly confident in his ability to explain away damning allegations, ultimately agreed, believing this would be the definitive rebuttal to growing scrutiny over his relationship with Epstein and Virginia Giuffre.What followed, of course, was the exact opposite: a masterclass in self-destruction. Andrew infamously claimed he couldn't sweat, insisted a Pizza Express outing proved his innocence, and showed more sympathy for Epstein than for survivors. The decision to grant the interview—conceived as a reputational rescue mission—was the result of staggering arrogance and tone-deafness within the royal circle. Palace aides, who expected a controlled narrative, failed to recognize that Andrew's own words would expose him as evasive, entitled, and profoundly out of touch. Far from salvaging his image, the interview sealed his disgrace, forcing him to withdraw from royal duties and leaving the monarchy scrambling to contain the fallout.to contact me:bobbycapucci@protonmail.comsource:https://www.dailymail.co.uk/news/article-10974711/New-excruciating-details-Andrews-car-crash-Newsnight-interview-revealed.html

The magi arrive at the palace of King Herod, looking for the King of the Jews. Herod welcomes them with false-humility, smiling through his gritted teeth. Something isn’t right.Today's Bible verse is 1 Corinthians 15:50, from the King James Version.Download the Pray.com app for more Christian content including, Daily Prayers, Inspirational Testimonies, and Bedtime Bible Stories.Pray.com is the digital destination for faith. With over 5,000 daily prayers, meditations, bedtime stories, and cinematic stories inspired by the Bible, the Pray.com app has everything you need to keep your focus on the Lord. Make Prayer a priority and download the #1 App for Prayer and Sleep today in the Apple app store or Google Play store.See omnystudio.com/listener for privacy information.

Dan Rolinson and John Townley preview Aston Villa's 2nd home match of the season as bogey side Crystal Palace travel to B6. They also discuss the latest transfer news surrounding Marco Asensio - a deal that is not done yet.

Oliver Glasner's FA Cup-holding, Shield-winning Eagles head to Villa Park aiming to nick another statement result. Palace's structure and quick transitions have travelled well under Glasner, and Jean-Philippe Mateta's form gives bite on the break. Villa search for a first league win, while Palace juggle a midweek European trip yet carry belief and resilience from Wembley. If Palace stay compact and ruthless at set pieces, three points in claret country feel gettable. Up the Eagles.Support this show http://supporter.acast.com/holmesdaleradio. Hosted on Acast. See acast.com/privacy for more information.

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In his new book, Power and the Palace, the former Times royal correspondent Valentine Low uncovers the secretive relationship between the monarchy and government. Speaking to Palace aides, politicians and civil servants, he reveals the private side of Queen Elizabeth II.© Valentine Low 2025 Extracted from “Power and the Palace” by Valentine Low, to be published by Headline Press on September 11 at £25 Available to buy from The Times Bookshop.This podcast was brought to you thanks to the support of readers of The Times and The Sunday Times. Subscribe today: http://thetimes.com/thestoryWritten and read by: Valentine Low.Producer: Euan Dawtrey.Photo: Ian Gavan / Stringer.Get in touch: thestory@thetimes.com Hosted on Acast. See acast.com/privacy for more information.

The infamous Prince Andrew BBC Newsnight interview—widely seen as a catastrophic PR disaster—came about through months of behind-the-scenes maneuvering. Emily Maitlis and producer Sam McAlister had been pursuing Andrew's team for an interview for years, sensing that his ties to Jeffrey Epstein would eventually demand answers. McAlister, known for her persistence, managed to gain the trust of Buckingham Palace courtiers and convinced them that a sit-down would provide Andrew with the chance to clear his name and demonstrate transparency. The Prince and his advisors, astonishingly confident in his ability to explain away damning allegations, ultimately agreed, believing this would be the definitive rebuttal to growing scrutiny over his relationship with Epstein and Virginia Giuffre.What followed, of course, was the exact opposite: a masterclass in self-destruction. Andrew infamously claimed he couldn't sweat, insisted a Pizza Express outing proved his innocence, and showed more sympathy for Epstein than for survivors. The decision to grant the interview—conceived as a reputational rescue mission—was the result of staggering arrogance and tone-deafness within the royal circle. Palace aides, who expected a controlled narrative, failed to recognize that Andrew's own words would expose him as evasive, entitled, and profoundly out of touch. Far from salvaging his image, the interview sealed his disgrace, forcing him to withdraw from royal duties and leaving the monarchy scrambling to contain the fallout.to contact me:bobbycapucci@protonmail.comsource:https://www.dailymail.co.uk/news/article-10974711/New-excruciating-details-Andrews-car-crash-Newsnight-interview-revealed.html

Dan Bardell and AVFC Statto take a look at all the stats ahead of Sunday night's game. Will Villa be Ismaïla Sarr's playground again? Get your Rotterdam 82' t-shirt: https://foundersdesign.co.uk/collections Head to  @1992PL  to watch Dan's new Premier League show with Jonathan Wilson. Sponsored by: Match Bingo (1874.io/matchbingo) ______________ Interested in sponsoring 1874: The Aston Villa Channel? Email us at studio@1874.io Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this episode of the Palace of Pistons Podcast, hosts Mike Anguilano and Aaron Johnson break down where the Detroit Pistons currently stand in the Eastern Conference hierarchy. With the Atlanta Hawks now listed as betting favorites ahead of Detroit, the guys compare both rosters and discuss what it means for the Pistons' outlook this season. Later in the show, they dive into the latest update on Malik Beasley's legal situation and evaluate whether Detroit should consider bringing him back. Tune in for analysis, insight, and everything Pistons. Subscribe to PalaceOfPistons.com.

Author Simon Tolkien (grandson of J.R.R. Tolkien) joins the Rock, Paper, Swords! podcast to talk about his powerful historical novels, his research into the Spanish Civil War, and his work with Amazon's Rings of Power.⁠https://linktr.ee/RockPaperSwordsSupport us on Patreon:⁠⁠ ⁠https://www.patreon.com/RockPaperSwordsPodcast

Arsenal put five past Leeds — but injuries to Saka, Ødegaard, Havertz and White loom large as the Gunners head to Anfield. The lads break down a chaotic Carabao Cup night for Man United, West Ham's collapse, and the new format debate, before diving into the Champions League draw, Nelson's Palace links, and the big transfer question: Kiwior or Hincapié?Part Two looks ahead to Liverpool away:Who fills the void if Ødegaard doesn't start?Martinelli vs Eze: which winger gets the nod?Liverpool's shaky defence and lack of a DMThe set-piece battle: Gabriel vs Van DijkMust-win or too early in the season?Plus: the return of Gabriel Jesus, Hale End talk, and another Who Am I classic.Chaters:00:00 - Intro01:14 - Man Utd vs Grimsby Town (EFL Cup)06:44 - Wolves vs West Ham (EFL Cup)07:59 - The Challenge of Changing Managers?12:53 - EPL Teams Roundup / Arsenal Draw (EFL Cup)21:56 - Arsenal UCL League Stage Draw28:53 - More Arsenal Transfers?39:49 - Pt.2 Who Am I?41:22 - LIVARS Preview: Injuries47:31 - LIVARS Preview: Liverpool this Season?49:45 - LIVARS Preview: Areas to Attack?56:38 - LIVARS Preview: Arsenal Changes?01:02:39 - LIVARS Preview: Set Pieces?01:04:33 - LIVARS Preview: Is this a Must Win Game?01:07:40 - Who Am I Reveal Hosted on Acast. See acast.com/privacy for more information.

The infamous Prince Andrew BBC Newsnight interview—widely seen as a catastrophic PR disaster—came about through months of behind-the-scenes maneuvering. Emily Maitlis and producer Sam McAlister had been pursuing Andrew's team for an interview for years, sensing that his ties to Jeffrey Epstein would eventually demand answers. McAlister, known for her persistence, managed to gain the trust of Buckingham Palace courtiers and convinced them that a sit-down would provide Andrew with the chance to clear his name and demonstrate transparency. The Prince and his advisors, astonishingly confident in his ability to explain away damning allegations, ultimately agreed, believing this would be the definitive rebuttal to growing scrutiny over his relationship with Epstein and Virginia Giuffre.What followed, of course, was the exact opposite: a masterclass in self-destruction. Andrew infamously claimed he couldn't sweat, insisted a Pizza Express outing proved his innocence, and showed more sympathy for Epstein than for survivors. The decision to grant the interview—conceived as a reputational rescue mission—was the result of staggering arrogance and tone-deafness within the royal circle. Palace aides, who expected a controlled narrative, failed to recognize that Andrew's own words would expose him as evasive, entitled, and profoundly out of touch. Far from salvaging his image, the interview sealed his disgrace, forcing him to withdraw from royal duties and leaving the monarchy scrambling to contain the fallout.to contact me:bobbycapucci@protonmail.comsource:https://www.dailymail.co.uk/news/article-10974711/New-excruciating-details-Andrews-car-crash-Newsnight-interview-revealed.htmlBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

When Mary's happy Mary dances

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Eberechi Eze was officially announced as an Arsenal player on Saturday and was then introduced to the Emirates crowd before our 5-0 win over Leeds United. Eze will wear the number 10 shirt at Arsenal this season, and it's safe to say fans are more than excited.The move has truly united a divided Arsenal fan base, but just how good is Eberechi Eze? Adam Keys is joined by Crystal Palace season ticket holder and content creator  @TalkCPFC  to talk about Arsenal's new man, and why Palace fans have such a warm affinity with him.In this video we discuss:- Eberechi Eze's and the reaction of Palace fans- Why Eze is universally loved- His best position and could he be a left winger at Arsenal?- How Arsenal will use Eze- How Glasner used him in his 3-4-2-1 system- Eze's chances created from carrying- Arsenal on transition vs Palace on transition- Can Eze play the Ødegaard role? - What are his weaknesses?- What will Eze bring to Arsenal?You can find more Arsenal Therapy Content here:https://thearsenaltherapypod.com/Twitter: https://twitter.com/arsenaltherapySpotify: https://open.spotify.com/show/7tFYKwDmGpJcAFkAefYMQaApple: https://podcasts.apple.com/gb/podcast/the-arsenal-therapy-podcast/id1545069959 Google: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy80NDRkMmQxNC9wb2RjYXN0L3Jzcw==

This week Nate talks about a possible incident of a time slip. When Charlotte Moberly and Eleanor Jourdain, a principal and her assistant respectively, head to travel around Paris they have an unexpected incident at the Palace of Versailles.

Unai Emery is a genius, who has revolutionised Aston Villa, however the opening 2 games of the season have left fans a little confused. Tactics expert and Villa fan Alex Keble joins Dan Bardell to break down Emery's setup against Newcastle and Brentford and how they can improve ahead of Palace. Get your new Founders t-shirt: https://foundersdesign.co.uk/ ______________ Interested in sponsoring 1874: The Aston Villa Channel? Email us at studio@1874.io Presenters: Dan Bardell and Alex Keble Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today, we'll talk about the Potala Palace, a 1,300-year-old architectural and cultural marvel that has served as the spiritual and political heart of Tibetan Buddhism, housing sacred relics, murals, and scriptures that embody the region's rich heritage and enduring legacy.

No Me Provoquen: Breaking The Palace es el testimonio de la mujer que logró lo impensable: llevar a un artista moreno y popular a un palacio blanco y conservador. En 1990, una funcionaria cultural presenció el fenómeno de Juan Gabriel en un palenque y decidió trasladar esa “locura colectiva” al Palacio de Bellas Artes. Este podcast narra la inédita serie de obstáculos y crisis que enfrentó para producir el legendario primer show de Juanga en el Palacio —un evento que en su momento fue tachado como “un atentado contra la pureza del arte”, pero que con el tiempo se consagró como una de las presentaciones más emblemáticas de la música en México. Escucha esta producción original de Sonoro, con testimonios exclusivos de quienes hicieron posible el baile más sabroso que ha vivido Bellas Artes. Busca No Me Provoquen: Breaking The Palace donde encontraste este episodio.

No Me Provoquen: Breaking The Palace es el testimonio de la mujer que logró lo impensable: llevar a un artista moreno y popular a un palacio blanco y conservador. En 1990, una funcionaria cultural presenció el fenómeno de Juan Gabriel en un palenque y decidió trasladar esa “locura colectiva” al Palacio de Bellas Artes. Este podcast narra la inédita serie de obstáculos y crisis que enfrentó para producir el legendario primer show de Juanga en el Palacio —un evento que en su momento fue tachado como “un atentado contra la pureza del arte”, pero que con el tiempo se consagró como una de las presentaciones más emblemáticas de la música en México. Escucha esta producción original de Sonoro, con testimonios exclusivos de quienes hicieron posible el baile más sabroso que ha vivido Bellas Artes. Busca No Me Provoquen: Breaking The Palace donde encontraste este episodio. Learn more about your ad choices. Visit megaphone.fm/adchoices

No Me Provoquen: Breaking The Palace es el testimonio de la mujer que logró lo impensable: llevar a un artista moreno y popular a un palacio blanco y conservador. En 1990, una funcionaria cultural presenció el fenómeno de Juan Gabriel en un palenque y decidió trasladar esa “locura colectiva” al Palacio de Bellas Artes. Este podcast narra la inédita serie de obstáculos y crisis que enfrentó para producir el legendario primer show de Juanga en el Palacio —un evento que en su momento fue tachado como “un atentado contra la pureza del arte”, pero que con el tiempo se consagró como una de las presentaciones más emblemáticas de la música en México. Escucha esta producción original de Sonoro, con testimonios exclusivos de quienes hicieron posible el baile más sabroso que ha vivido Bellas Artes. Busca No Me Provoquen: Breaking The Palace donde encontraste este episodio.

Hour 1 Jerry Recco and Willie Colon fill in for Boomer and Gio. The Yankees salvaged their Red Sox series finale but need more from Aaron Judge and better hitting against good pitchers, unlike the Red Sox who manufacture runs. Anthony Volpe is getting a deserved break. C-Lo discusses his football coaching debut. The Yankees rely on home runs, as seen in their recent win over the Red Sox. The Mets failed to sweep the Braves due to early missed opportunities. Cal Raleigh set a single-season HR record. The Giants are monitoring Tommy DeVito and are unlikely to trade Jameis Winston, who Willie believes would play over Jaxson Dart. Jerry updates Willie on his groundhog and new bat problem. Hour 2 Jerry and Willie discuss NFL cutdown day, with Willie noting players try to stand out. He believes the Jets still need a better QB despite helping Quinnen Williams, critiquing Fields' NFL struggles compared to his Ohio State days. The Giants must win one of their first two divisional games. C-Lo's update covers Jazz Chisholm Jr.'s two homers helping the Yankees beat the Red Sox, the Mets' loss in Atlanta due to poor hitting with runners in scoring position, Shohei Ohtani's interaction with a heckler, and "The Big Dumper's" record day. Brian Schottenheimer plans to address Micah Parsons' behavior. Tommy Fleetwood won his first PGA Tour Championship, while Daniil Medvedev argued with an umpire after a photographer interrupted play, a reaction Willie understands. The hour concludes with Jerry reflecting on wild live sports moments, including the Malice at the Palace and the World Series earthquake. Hour 3 The hour began with calls about crazy live sports moments, a topic Jerry couldn't believe we missed. Willie recalled Antonio Brown quitting during a game. A squirrel disrupted the Yankees-Red Sox game, where the Yankees later won 7-2 with homers from Trent Grisham and Jazz Chisholm Jr. The Mets lost to the Braves, and Marlins reliever Tyler Phillips slaps himself before games. The final segment continued with calls about live crazy sports moments. Hour 4 The final hour includes more calls about crazy sports moments, with Jerry and Willie recalling some and learning others. C-Lo provides his last update after their boss shares a crazy sports moment and Jerry asks Willie about a cruise fight. C-Lo plays audio of a 2002 Royals coach attack, which Willie connects to learning caution. The Yankees won, but the Mets lost. The Moment of the Day: Jerry's bat problem, which Willie couldn't handle. The show ends with another crazy Jets/Shea Stadium moment. Jerry and Eddie both have Shea Stadium grass.

Jerry asks Willie about players' mindsets as cutdown day approaches. Willie discusses how players strive to stand out and the Jets' need for a better QB. He analyzes Fields' struggles in the NFL vs. Ohio State. The Giants must win one of their first two division games. C-Lo provides an update: Jazz Chisholm Jr. helped the Yankees beat the Red Sox, the Mets lost to the Braves due to poor hitting, Shohei Ohtani interacted with a heckler, and The Big Dumper had a record day. Brian Schottenheimer planned to talk to Micah Parsons about his behavior. Tommy Fleetwood won his first PGA Tour Championship. Daniil Medvedev was upset with an umpire after a photographer interrupted play. Jerry recalls crazy live sports moments like the Malice at the Palace and the World Series earthquake.

No Me Provoquen: Breaking The Palace es el testimonio de la mujer que logró lo impensable: llevar a un artista moreno y popular a un palacio blanco y conservador. En 1990, una funcionaria cultural presenció el fenómeno de Juan Gabriel en un palenque y decidió trasladar esa “locura colectiva” al Palacio de Bellas Artes. Este podcast narra la inédita serie de obstáculos y crisis que enfrentó para producir el legendario primer show de Juanga en el Palacio —un evento que en su momento fue tachado como “un atentado contra la pureza del arte”, pero que con el tiempo se consagró como una de las presentaciones más emblemáticas de la música en México. Escucha esta producción original de Sonoro, con testimonios exclusivos de quienes hicieron posible el baile más sabroso que ha vivido Bellas Artes. Busca No Me Provoquen: Breaking The Palace donde encontraste este episodio. Learn more about your ad choices. Visit megaphone.fm/adchoices

No Me Provoquen: Breaking The Palace es el testimonio de la mujer que logró lo impensable: llevar a un artista moreno y popular a un palacio blanco y conservador. En 1990, una funcionaria cultural presenció el fenómeno de Juan Gabriel en un palenque y decidió trasladar esa “locura colectiva” al Palacio de Bellas Artes. Este podcast narra la inédita serie de obstáculos y crisis que enfrentó para producir el legendario primer show de Juanga en el Palacio —un evento que en su momento fue tachado como “un atentado contra la pureza del arte”, pero que con el tiempo se consagró como una de las presentaciones más emblemáticas de la música en México. Escucha esta producción original de Sonoro, con testimonios exclusivos de quienes hicieron posible el baile más sabroso que ha vivido Bellas Artes. Busca No Me Provoquen: Breaking The Palace donde encontraste este episodio. Learn more about your ad choices. Visit megaphone.fm/adchoices

No Me Provoquen: Breaking The Palace es el testimonio de la mujer que logró lo impensable: llevar a un artista moreno y popular a un palacio blanco y conservador. En 1990, una funcionaria cultural presenció el fenómeno de Juan Gabriel en un palenque y decidió trasladar esa “locura colectiva” al Palacio de Bellas Artes. Este podcast narra la inédita serie de obstáculos y crisis que enfrentó para producir el legendario primer show de Juanga en el Palacio —un evento que en su momento fue tachado como “un atentado contra la pureza del arte”, pero que con el tiempo se consagró como una de las presentaciones más emblemáticas de la música en México. Escucha esta producción original de Sonoro, con testimonios exclusivos de quienes hicieron posible el baile más sabroso que ha vivido Bellas Artes. Busca No Me Provoquen: Breaking The Palace donde encontraste este episodio.

No Me Provoquen: Breaking The Palace es el testimonio de la mujer que logró lo impensable: llevar a un artista moreno y popular a un palacio blanco y conservador. En 1990, una funcionaria cultural presenció el fenómeno de Juan Gabriel en un palenque y decidió trasladar esa “locura colectiva” al Palacio de Bellas Artes. Este podcast narra la inédita serie de obstáculos y crisis que enfrentó para producir el legendario primer show de Juanga en el Palacio —un evento que en su momento fue tachado como “un atentado contra la pureza del arte”, pero que con el tiempo se consagró como una de las presentaciones más emblemáticas de la música en México. Escucha esta producción original de Sonoro, con testimonios exclusivos de quienes hicieron posible el baile más sabroso que ha vivido Bellas Artes. Busca No Me Provoquen: Breaking The Palace donde encontraste este episodio.

No Me Provoquen: Breaking The Palace es el testimonio de la mujer que logró lo impensable: llevar a un artista moreno y popular a un palacio blanco y conservador. En 1990, una funcionaria cultural presenció el fenómeno de Juan Gabriel en un palenque y decidió trasladar esa “locura colectiva” al Palacio de Bellas Artes. Este podcast narra la inédita serie de obstáculos y crisis que enfrentó para producir el legendario primer show de Juanga en el Palacio —un evento que en su momento fue tachado como “un atentado contra la pureza del arte”, pero que con el tiempo se consagró como una de las presentaciones más emblemáticas de la música en México. Escucha esta producción original de Sonoro, con testimonios exclusivos de quienes hicieron posible el baile más sabroso que ha vivido Bellas Artes. Busca No Me Provoquen: Breaking The Palace donde encontraste este episodio. Learn more about your ad choices. Visit megaphone.fm/adchoices

No Me Provoquen: Breaking The Palace es el testimonio de la mujer que logró lo impensable: llevar a un artista moreno y popular a un palacio blanco y conservador. En 1990, una funcionaria cultural presenció el fenómeno de Juan Gabriel en un palenque y decidió trasladar esa “locura colectiva” al Palacio de Bellas Artes. Este podcast narra la inédita serie de obstáculos y crisis que enfrentó para producir el legendario primer show de Juanga en el Palacio —un evento que en su momento fue tachado como “un atentado contra la pureza del arte”, pero que con el tiempo se consagró como una de las presentaciones más emblemáticas de la música en México. Escucha esta producción original de Sonoro, con testimonios exclusivos de quienes hicieron posible el baile más sabroso que ha vivido Bellas Artes. Busca No Me Provoquen: Breaking The Palace donde encontraste este episodio. Learn more about your ad choices. Visit megaphone.fm/adchoices

No Me Provoquen: Breaking The Palace es el testimonio de la mujer que logró lo impensable: llevar a un artista moreno y popular a un palacio blanco y conservador. En 1990, una funcionaria cultural presenció el fenómeno de Juan Gabriel en un palenque y decidió trasladar esa “locura colectiva” al Palacio de Bellas Artes. Este podcast narra la inédita serie de obstáculos y crisis que enfrentó para producir el legendario primer show de Juanga en el Palacio —un evento que en su momento fue tachado como “un atentado contra la pureza del arte”, pero que con el tiempo se consagró como una de las presentaciones más emblemáticas de la música en México. Escucha esta producción original de Sonoro, con testimonios exclusivos de quienes hicieron posible el baile más sabroso que ha vivido Bellas Artes. Busca No Me Provoquen: Breaking The Palace donde encontraste este episodio. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lead Pastor Ben Wallis

No Me Provoquen: Breaking The Palace es el testimonio de la mujer que logró lo impensable: llevar a un artista moreno y popular a un palacio blanco y conservador. En 1990, una funcionaria cultural presenció el fenómeno de Juan Gabriel en un palenque y decidió trasladar esa “locura colectiva” al Palacio de Bellas Artes. Este podcast narra la inédita serie de obstáculos y crisis que enfrentó para producir el legendario primer show de Juanga en el Palacio —un evento que en su momento fue tachado como “un atentado contra la pureza del arte”, pero que con el tiempo se consagró como una de las presentaciones más emblemáticas de la música en México. Escucha esta producción original de Sonoro, con testimonios exclusivos de quienes hicieron posible el baile más sabroso que ha vivido Bellas Artes. Busca No Me Provoquen: Breaking The Palace donde encontraste este episodio. Learn more about your ad choices. Visit megaphone.fm/adchoices

No Me Provoquen: Breaking The Palace es el testimonio de la mujer que logró lo impensable: llevar a un artista moreno y popular a un palacio blanco y conservador. En 1990, una funcionaria cultural presenció el fenómeno de Juan Gabriel en un palenque y decidió trasladar esa “locura colectiva” al Palacio de Bellas Artes. Este podcast narra la inédita serie de obstáculos y crisis que enfrentó para producir el legendario primer show de Juanga en el Palacio —un evento que en su momento fue tachado como “un atentado contra la pureza del arte”, pero que con el tiempo se consagró como una de las presentaciones más emblemáticas de la música en México. Escucha esta producción original de Sonoro, con testimonios exclusivos de quienes hicieron posible el baile más sabroso que ha vivido Bellas Artes. Busca No Me Provoquen: Breaking The Palace donde encontraste este episodio. Learn more about your ad choices. Visit megaphone.fm/adchoices

No Me Provoquen: Breaking The Palace es el testimonio de la mujer que logró lo impensable: llevar a un artista moreno y popular a un palacio blanco y conservador. En 1990, una funcionaria cultural presenció el fenómeno de Juan Gabriel en un palenque y decidió trasladar esa “locura colectiva” al Palacio de Bellas Artes. Este podcast narra la inédita serie de obstáculos y crisis que enfrentó para producir el legendario primer show de Juanga en el Palacio —un evento que en su momento fue tachado como “un atentado contra la pureza del arte”, pero que con el tiempo se consagró como una de las presentaciones más emblemáticas de la música en México. Escucha esta producción original de Sonoro, con testimonios exclusivos de quienes hicieron posible el baile más sabroso que ha vivido Bellas Artes. Busca No Me Provoquen: Breaking The Palace donde encontraste este episodio. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jack Grealish stars at Everton's new stadium & Tottenham beat Man City again. Rick Edwards is joined by former West Ham midfielder Nigel Reo-Coker and The Telegraph's Luke Edwards. Also hear from Grealish and Nuno Espirito Santo after Nottingham Forest's feisty draw at Crystal Palace. Plus the guys chat Arsenal, Man Utd and which manager you would have as your satnav voice.03:25 Alexander Isak update, 06:10 Grealish stars at Everton's new stadium, 13:10 Tottenham beat Manchester City again, 15:55 Feeling sorry for James Trafford, 20:00 Half-time teaser, 23:30 Gyökeres scores as Arsenal beat Leeds, 27:50 Bruno Fernandes misses penalty as Man Utd draw, 32:10 Palace & Forest have feisty draw, 36:10 Which manager would you have as your satnav voice? 40:20 Nigel thinks West Ham will be in a survival battle.5 Live EFL Cup commentaries: Tue 2000 Sheff Wed v Leeds, Wed 2000 Grimsby Town v Man Utd.

The pasture isn't a waiting room—it's a refining furnace. Just like David, tending sheep in silence, you're being shaped—strengthened in humility, patience, and devotion.

Crystal Palace battled hard in a 1-1 draw with Notts Forest, and the Eagles will feel unlucky not to take all three points. Palace dominated possession, created the better chances, and showed more quality throughout. The visitors offered little threat aside from their fortunate goal, while Palace's resilience and attacking intent shone. Selhurst Park backed the team brilliantly, and once again Palace proved they're levels above Notts Forest, whose underhand off-field antics continue to tarnish their name.Support this show http://supporter.acast.com/holmesdaleradio. Hosted on Acast. See acast.com/privacy for more information.

Nottingham Forest drew 1-1 at Crystal Palace in the Premier League on Sunday with Callum Hudson-Odoi on target for Forest. The game was already set to be a massive one with Palace fans set to hold a pre-match protest after Forest were allocated their place in the Europa League for breaching multi club ownership rules. That was before an explosive day for Forest on Thursday when it was reported Nuno could be sacked, which Forest denied, before the manager said his relationship has deteriorated with Evangelos Markinakis. Later in the day it was reported Nuno has had a huge falling out with Edu over the summer. Matt Davies is joined by Paul Morley and former Reds midfielder Lewis McGugan to discuss the game and the latest news in full. #nffc #nottinghamforest

In this solo episode of This Life Ain't For Everybody, Chad takes the mic and rolls through the things he's fired up about right now. From the music spinning on his playlist to the magic of Jack Daniels, Nashville nights to the lights of Caesar's Palace, all the way back to the beauty of Lake Tahoe. This one's a ride through the places, people, and sounds that fuel his life. And then there's Metallica. Chad breaks down what it's like to see one of the greatest bands in the world live. This episode is brought to you by Jack Daniel's Tennessee Whiskey, Caesar's Palace and Entertainment, Travel Nevada, Napa Valley Olive Oil and Oakley Sunglasses