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The fourth and final episode in our series on the Jinshin no Ran: we cover the campaign in Afumi (aka Ōmi - 近江).  Prince Ōama and Prince Ōtomo (aka Kōbun Tennō), have drawn up their forces.  Last episode we covered the fighting in the Nara Basin, around the ancient Yamato capital: Asuka.  This episode focuses on the defense of the Karafu and Fuwa passes and the eventual march to the bridge at Setagawa. This is a name heavy episode, and we'll be noting some of it here: https://sengokudaimyo.com/podcast/episode-132   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is episode 132: The Jinshin no Ran, Part 4: The Afumi Campaign The Afumi soldiers on the western side of the bridge looked across the open expanse of water towards their Yoshino rivals on the eastern side.  If it weren't for the banners and the red tags barely visible on the sleeves of the opposing forces, it would be hard to know which side was which.  Both were equipped in similar ways, and a few of the soldiers could even make out familiar faces on the other side.  That is the nature of civil wars—especially in a conscript society, where the soldiers often had little choice which side they were fighting for.  Not that it necessarily mattered much to them which side came out on top, whatever their commanders might have told them. The bridge across the Seta river was large and wide, and normally quite well traveled.  Now, however, the central boards had been pulled up for a span of about 30 feet or so, leaving a gap spanned by only a single, narrow plank.  That plank was, itself, tied to a rope, which was being held by the Afumi troops.  The soldiers knew that should any of the enemy try to cross, they could pull the plank out from under them and they would fall into the river, their metal armor dragging them down into the dark depths of swirling water below.  Even should they somehow make it across without being peppered by arrows, there would be no reinforcements coming: they would be slaughtered, and the trap would be reset. It seemed like the Afumi forces held all the cards in this battle, and yet they were still tense. Archers could still shoot across the distance. The front rank of troops held wooden shields as a defense, but there were still openings in the formation and the armor, and in the chaos of battle, nobody was truly safe. And so the Afumi forces waited.  Confident, but wary. A commotion on the eastern side of the bridge grabbed the spotlight.  The Yoshino forces had approached, and they were clearly preparing for something.  The Afumi soldiers strained to see what was going on.  Suddenly, the front line of the Yoshino forces parted, and a strange sight confronted the Afumi soldiers.  It took them a moment to fully comprehend what was barreling towards them at full tilt: a soldier that looked almost like two soldiers put together, wearing armor placed over armor, in an attempt to protect from harm.  It must have been heavy, and as he stepped on the beam, it visibly buckled under the weight.  The Afumi archers let loose with their arrows and crossbow bolts, but to no avail.  They simply stuck in the armor, adding to the bizarre and otherworldly appearance of their opponent. The spell was broken on the Afumi side as arrows came cascading in.  The Yoshino forces weren't just sitting idly back, they were making sure they were doing everything they could to keep the Afumi forces distracted.  And for a split second it worked—and a split second was all they needed.  Before the soldiers could gather up their wits about them enough to pull the rope there was a terrifying sound of metal on wood.  The Afumi soldiers pulled the rope, but it came all too easy—the Yoshino soldier had dashed across and cut the rope tied to the plank.  Behind him, the Yoshino forces were now pouring across the bridge.  Soon they would establish a foothold, and behind the front line they would be able to have other soldiers place more planks so that the number of Yoshino soldiers on the Western side of the bridge only continued to increase. Realizing that their trap had been circumvented, the Afumi forces fell back, but their strategic withdrawal soon turned into a full on retreat.  While pockets of soldiers resisted, many were suddenly all too aware that perhaps it was better to live and fight another day, instead.  Despite threats and even attacks from their own commanders, the Afumi forces fled the battlefield, leaving the Yoshino army victorious.  With the Seta bridge now secured, there were no more major obstacles in their way:  They would march to the capital at Ohotsu and finish this war.   Welcome back!  This is Part 4, and so if you haven't already done so, I recommend going back and starting with Part 1.  That said, we'll briefly recap here. Over the past three episodes, we've talked about the causes of the war between Prince Ohotomo and Prince Ohoama as they vied for the throne.  Prince Ohotomo seemingly had the stronger position, as he was actually running the Yamato state from the Afumi capital in Ohotsu.  He had the various ministers and all the official organs of the state on his side.   He was also 23 years old. Ohoama, on the other side, was Ohotomo's paternal uncle.  His own son, Prince Takechi, was 19 years old and helping to lead the army.   Upon learning that the State was gathering forces against him, Ohoama had quickly moved east, gathering forces as he went, and now he stood near Fuwa, modern day Sekigahara, prepared to begin his march on the capital.   This episode we are going to cover the conclusion of the war.  Warning, though, this is going to be a *lot*.  A lot of place names and people names.  Apologies if it is hard to follow.  I'll have a rough map and info on the various players on the podcast blog, so you may want to bring that up if you are having problems following. In Part I of this series we covered the causes leading up to the conflict.  In Part II we covered Ohoama's mad dash to Fuwa, at modern Sekigahara.  Last episode, Part III we covered the fighting in the Nara Basin. This episode we are going to talk about the last two fronts of the war: the defense of the Iga area and Kurafu Pass, and the march from Fuwa to the Afumi capital of Ohotsu. Before we go into the details of the next battles, let's look at what each side of the conflict was doing, what they are concerned about, and where they are on the board.  We'll then go into how the rest of the war played out, and its conclusion and aftermath.     Ohoama's Yoshino forces had largely been drawn from the countries in the east—the very same countries that Ohoama was denying to the Afumi court.  In response, the Afumi court had drawn their forces from where they could.  There were those that they had already called up under the pretense of building Naka no Oe's burial mound, but they had sent others out to raise troops in Yamato and out the western side of Honshu, all the way to Tsukushi—modern Kyushu.  However, not everyone in the Western region of the archipelago was friendly to the Afumi court—especially the regions of Kibi and Tsukushi.  This was significant.  Kibi was an ancient rival of Yamato, and likely could contribute a sizeable force.  Tsukushi, on the other hand, was quite large, and besides the conscripts from among the regular inhabitants, Tsukushi also was in charge of defending the archipelago from invasion—they were the first line of defense.  They had constructed numerous castles and fortifications to defend against a possible invasion, and those castles and fortifications were no doubt manned by troops that had been raised for that purpose.  If they could now be turned inwards, that could be enough to really turn the tide against Ohoama and his Yoshino army. The only problem was that neither Kibi nor Tsukushi were exactly sympathetic to the Afumi court.  The governor of Kibi and Prince Kurikuma, the viceroy of Tsukushi, both had ties to Ohoama, and the ministers suspected them of sympathizing with their Yoshino rivals.  As such the envoys that were sent out were authorized to take whatever drastic steps they felt necessary to secure the troops. So how did that all go down?  Well, last episode we talked about how Hodzumi no Momotari and his crew had been stopped from raising troops in Asuka by Ohotomo no Fukei, whose bluff of pretending to be Prince Takechi and a host of cavalry soldiers caused the conscripted troops to flee, and ended up in the death of Momotari and the capture of his compatriots. In Kibi, things took a turn in Afumi's favor.  When the Afumi government's envoy arrived at the government center in Kibi, he tricked the governor into taking off his sword.  Once he had done so, the envoy drew his own sword and killed the governor.  Without the governor to get in his way, the envoy then went about securing the land and troops for the Afumi court. Prince Kurikuma, the viceroy in Tsukushi, at the Dazaifu, was not quite so easily fooled, however.  Kurikuma knew how the court operated, and was apparently well informed of what was going on.  When the Afumi court's envoy met with Kurikuma, the Prince was flanked by two of his sons, Prince Mino and Prince Takebe, each one armed.  When Prince Kurikuma heard what the Afumi court wanted—for him to send the troops from Tsukushi to help quell Ohoama's rebellion—Kurikuma responded that he needed those troops to hold the border.  After all, the Tang dynasty was still a potential threat, and what good would it do to send the troops from the border regions to fight an internal war, only to then have an invader come in and destroy the state entirely?  No, he reasoned, he would not be sending the troops as the Afumi court requested. We are told that for a moment, the Afumi envoy thought about grabbing his sword and killing Prince Kurikuma, as the Afumi court had suggested, but with both of Kurikuma's sons armed on either side of him, he realized that he didn't have great odds, and so he eventually left, empty handed, but alive. This is significant.  While we don't know exact numbers, it is likely that there were quite a few troops stationed in Kyushu and the islands, all in case of foreign invasion.  By not supplying them to the Afumi court, Prince Kurikuma dealt a huge blow to the Afumi's ability to make war.  Add to that the fact that Ohoama had likewise blocked the court's access to the eastern countries, and that further narrowed the troops that Afumi had access to.  Nonetheless, they still had enough to be dangerous, and it is impossible to say exactly what might happen in a war. So we know where the Afumi and Yoshino forces ostensibly came from, but let's talk about the battlefield.  All of the fighting that we talk about was happening in an area between Naniwa—modern Ohosaka—and Fuwa, modern Sekigahara, northwest from the modern city of Nagoya. There are three main theaters we are talking about.  The first is in the Nara basin, which we talked about extensively in the last episode.  The Nara basin itself was not necessarily of the most strategic importance, militarily, but it was of huge symbolic importance.  After all, that was still the ancient capital, even though the governmental functions had been moved north, to Ohotsu, on the shores of Lake Biwa.  The second is in the Suzuka mountains.  This includes the areas of Iga and Kouka, and it is bordered by the Nara basin on the west, the Mie coastline on the east, and Afumi, the area around lake Biwa, to the north.  This is the same region that Ohoama had to naviagate through on his way from Yoshino to the east, and the mountains and valleys make it so that there are only so many traversable routes through.  For our narrative we are going to be primarily talking about the Kurafu Pass, between Kouka and Iga, at modern Tsuge city.  This pass  was an important route between Kouka, Iga, and Mie.  The road followed the Soma River which eventually flowed into Lake Biwa.  This made it a route out of Afumi, and if the Afumi forces could secure the Kurafu pass and the fields of Tara, just on the other side, they could split Ohoama's forces and cut off any help that he could possibly send to the Nara basin, and possibly even take Ohoama from behind. Finally, let's talk about our third theater:  Afumi itself.  Specifically, we are looking at the southern and eastern sides around Lake Biwa.  Biwa is the largest lake in Japan, and it is almost entirely surrounded by mountains except for where the Seta river flows south, eventually winding its way to Naniwa.  Today, the area of Afumi is largely co-located with modern Shiga Prefecture. Back in 668, after finding themselves on the losing side of the Baekje-Tang war, Naka no Oe, aka Tenji Tennou, had moved the capital to Ohotsu, or Big Port, in Afumi, on the shores of Lake Biwa, likely for the protection it gave.  From Afumi, there were three major routes out of the basin, and a few minor ones.  All of them were through defensible mountain passes, like Karafu Pass, Fuwa Pass, and Suzuka Pass.  Three such passes:  Fuwa, Suzuka, and Arachi would become prominent barriers, or seki, along the ancient roads, and were known as the Sangen, or Three Barriers, protecting the capital region.  Suzuka no seki, at the pass of the same name, was in the south.  To reach it from Afumi, one crossed the Karafu pass, and then turned east through a pass near Mt. Miyama.  At the northern tip of the Suzuka mountains was Fuwa pass, future home of the Fuwa barrier.  The Barrier, or “Seki” would give its name to the area in another form:  Sekigahara.  This was along the Tousandou, the Eastern Mountain road, and even today it is the path through which roads and even the Shinkansen traverse between eastern and western Honshu.  Finally, though less important to our story, was the Arachi pass. Arachi no seki was part of the Hokurikudo, the Northern Land Route, and led to the ancient country of Kochi and the port of Tsuruga, which had a long history as an alternate port, especially for ships sailing from Goguryeo.  Later, Arachi no seki would be replaced in the Sangen ranking by another pass between Afumi and modern Kyoto, which would be known as the Afusaka, or Ohosaka, Pass.  This was the pass that would have been used to get to Yamashiro and, from there, to Naniwa and the Nara Basin. These three passes would come to define the island of Honshu, and became the dividing line between the Kanto region, in the east, and the Kansai region, in the west.  By holding the Suzuka and Fuwa passes, Ohoama effectively denied any travel to the eastern regions.  Sure, Afumi could have tried going through the Arachi pass and into Kochi, but then they would have had to traverse the Japan alps—no small feat, especially without modern conveniences like the trains and busses used today. From Fuwa Pass, where Ohoama and Prince Takechi had set up their headquarters, it was largely a straight shot to the Afumi capital of Ohotsu.  Between Lake Biwa and the Suzuka mountains is a wide, flat plain, divided primarily by the rivers and streams running out from the mountains into the lake.  Immediately west of Fuwa is the area of Maibara.  Following the shore of the lake one traverses through modern Hikone, to Yasu.  Yasu would also have been the location where the road to the Karafu pass broke off into the Suzuka mountains.  Beyond that was the bridge across the Seta River. The Seta river was one of the largest obstacles that would have to be negotiated, and the Afumi forces knew this.  Just as Ohoama would set up at Fuwa pass, a large number of the Afumi forces were set up on the western bank of the Seta river.  If the Yoshino forces could get across, however, it would mean that they had a more or less unimpeded route to the capital at Ohotsu. So now let's talk about what was happening in each of these places. Ohoama had set up at Fuwa—Sekigahara—and had begun to call soldiers to him.  Not only did did this allow him to block the rival Afumi troops from accessing the Eastern countries and possibly raising troops to use against him, but he was also able to maintain a line of communication with ancient Yamato, in the Nara Basin.  In order to keep his communication lines open, and to ensure that the Afumi forces couldn't sneak up behind him, Ohoama split his forces in two.  He knew that Afumi forces were trying to take his stronghold in Yamato, and if successful, from there they could move in to Uda and on to Iga.  thereafter that, they could march up behind him through the Suzuka pass.  Alternatively, the forces in Afumi could come up through Kouka and the Karafu pass, and then try to divide and conquer So the first group of Ohoama's army were to go south, through the Suzuka pass into their mountain namesake.  Once there, Oho no Omi no Honji was to hold Tarano, the Plain of Tara, where the routes to Suzuka, Kafuka, and Iga met.  Tanaka no Omi no Tarumaro went with him, with orders to guard the Kurafu pass, which is to say the road to Kouka.  This first group was headed by Ki no Omi no Abemaro, and also included Miwa no Kimi no Kobito, and Okizome no Muraji no Usagi.  Along with what we are told were tens of thousands of men, this first made their way south from Fuwa  through Mie and Ise and over the Suzuka pass.  Once there, they took up their positions at Karafu and Tarano.  It was a good thing, too, because only a couple of days after they arrived, the enemy struck.   Now as soon as he got there, Oho no Honji had fortified Tarano with some three thousand men, and Tanaka no  Tarumaro was sent to guard the Kurafu pass.  Prior to this, Tarumaro had been the official in charge of the Hot Springs in Ise, but he had joined Ohoama and the Yoshino forces when they first arrived over the Suzuka Pass.  Now he was in charge of a military force, encamped along the road through the Kurafu pass, waiting for the enemy. Unbeknownst to him, a deputy commander of the Afumi forces, Tanabe no Wosumi, was approaching from Mt. Kafuka.  Presumably he'd been sent out from Ohotsu and had followed the road along the Yasu and Soma rivers towards the pass.  Wosumi had  sizeable force with him, but he was not looking for a direct assault.  Even if he would win, he would suffer casualties, especially trying to attack an entrenched enemy in a fortified position.  He needed to be sneaky.  He had no way of knowing that, centuries later, the lands of Iga and Kouka would be known for their sneaky warriors—their legendary ninja—but I digressed.  What Wosumi did was this.  First, he rolled up his banners and muffled the drums.  He even had his men gag themselves—a continental custom where soldiers were given a stick to hold in their mouth, like a horse's bit, to discourage any talking amongst the ranks as they approached.  Presumably, they kept them in until just before attacking, because they also devised a watchword “kane”—transcribed as metal or gold.  Wosumi knew that it would be hard enough to tell who was who in the daytime—after all, it wasn't like these were regimented forces with uniforms.  The soldiers were likely all wearing whatever they had available, and clothing and armor would have been similar across the two armies.  At night, even some kind of mark or flag would hardly be enough to tell who was who in the dark.  As lines broke and melee ensued, it would be easy to get turned around, and find yourself facing a friend.  By saying the watchword you could distinguish friend from foe. Sure enough, this tactic worked.  The Afumi forces broke through the Yoshino fortifications in the middle of the night and swarmed into the encampment.  Men who had been asleep were waking up to chaos.  Tarumaro's Yoshino soldiers were thrown into confusion.  Tarumaro himself, escaped, but just barely.  we are told that he noticed that the enemy kept shouting the word “kane”, and so he started doing it as well. The Afumi forces, assuming he was one of their own, left him alone.  Still, he only escaped with difficulty. His escape was no doubt critical, however.   He presumably would have headed to Tarano to try and warn Oho no Honji, but this may not have been possible, as we are told that on the following day, after the attack at Karafu pass, the Afumi commander Wosumi continued his advance, and came upon the Yoshino encampment at Tarano unexpectedly.  Still, General Honji did not back down.  With a force of hand-picked soldiers, Honji counterattacked against Wosumi and struck him.  We are told that Wosumi made it out—the only one who did—but that he did not try and make another attack.  The Yoshino forces would ultimately hold the pass and the critical juncture of Tarano.  The Afumi forces would not get a second chance. By the way, a quick note here:  I can't help but notice a bit of a trope showing up in these stories:  At Narayama, General Fukei is defeated, and is the only person who makes his escape.  Then Tarumaro is the only person to escape his defeat.  Finally, Wosumi is the only one of his forces to leave the plain of Tara. I am more than a little incredulous that these generals are the only ones who actually survived, and that the rest of the army was slaughtered.  In fact, you may recall that at the battle at Taima, General Fukei told his men not to pursue the fleeing common soldiers.  As I've tried to point out, the common soldiers were not likely as invested in the cause.  In fact, it is just as possible that the common soldiers may have changed sides and joined the other army if they thought it would serve them well.  Or maybe they were escaping and just blending into the countryside.  After all, the elites weren't really spending the time to get to know them, let along record any details about them.  So I suspect that it was more about the fact that the various armies would be broken, and the soldiers flung to the four corners, rather than that they were necessarily slaughtered.  After all, if you had the choice, would you have stayed there? A few days after Wosumi was defeated, the Yoshino general that Ohoama had sent to Iga along with Honji and Tarumaro, Ki no Omi no Abemaro, heard that their ally, Ohotomo no Fukei was in trouble in the Nara Basin.  He'd been defeated by the Afumi general Ohono no Hatayasu at Narayama,  and without reinforcements, the entire Nara Basin could fall, along with the ancient Yamato capital at Asuka. So Abemaro sent Okizome no Muraji no Usagi with more than a thousand cavalry to go assist.  They met Fukei at Sumizaka, and suddenly, things were looking up in the Nara Basin.  For more on how that turned out, check out last episode, where we covered the events in the Nara Basin. Once the events in the Nara Basin settled out, then both the Nara Basin and the Karafu pass would be well and truly in the hands of the Yoshino forces.  But there was no way for those guarding those locations to know that the fighting was over, and they would have to hold their positions until the fighting had definitively stopped.  Which brings us back to Ohoama and the Yoshino troops gathered at Fuwa, where things were about to kick off as well.  The troops at Fuwa, while being led by Ohoama and his 19 year old son, Takechi, were placed under the command of Murakuni no Muraji no Woyori—who, , as things progressed, would be noted as the primary general for the campaign that would lead Yoshino troops from Fuwa, on the offensive towards Ohotsu. The only reason that they seem to have waited before going on the offensive was that every day, more troops were coming in.  So even as the fighting was going on in Nara and at the Karafu pass, the Yoshino army at Fuwa gathered men and made their preparations.  As they did so, the Afumi court Was going to do whatever they could to try and break them, hoping that they could stop the threat posed by Ohoama and his men before they began their march. For the Afumi forces first attempt to break the Yoshino defenses at Fuwa pass, they picked troops to try and make an incursion into the village of Tamakurabe, which appears to have been in the pass itself; it was probably modern Tama district of Sekigahara.  They were repelled, however, by Izumo no Omi no Koma, who drove them off. Later, the Afumi court ordered another force of several tens of thousands of men to attack under the command of Prince Yamabe no Ou, Soga no Omi no Hatayasu, and Kose no Omi no Hito.  Soga no Hatayasu and Kose no Hito were both part of the inner circle of the Afumi court, or so it would seem.  When Prince Ohotomo had taken the reins of the government in a ceremony in the Western Hall of the Palace, he was attended by the ministers of the right and left, as well as Soga no Hatayasu, Kose no Hito, and Ki no Ushi.  They were at the very heart of this whole matter.  Prince Yamabe is a little bit more of a mystery.  We know he was someone of note, and when Prince Ohotsu was brought to his parents, they were apparently traveling under the guise of Prince Yamabe and another prince, Prince Ishikawa.  But we know little else. The three men and their Afumi troops headed out and camped on the bank of the Inukami river, near modern Hikone.  There, however, trouble broke out. The Nihon Shoki does not record exactly what it was, but there must have been some kind of falling out.  Prince Yamabe no Ou was killed by Soga no Hatayasu and Kose no Hito.  We don't know if this was due to some quarrel or what, but either way, it threw the army into a state of disarray and there was no way for them to move forward.  Soga no Hatayasu appears to have taken responsibility for whatever happened, as he headed back from Inukami, presumably back to Ohotsu, where he took his own life by stabbing himself in the throat.  There would be no attack on Fuwa Pass, however. Finally, the Nihon Shoki also recounts the story of another Afumi general, named Hata no Kimi no Yakuni, and his son, Ushi.  Together with others, who remain unnamed, they surrendered themselves to Ohoama and the Yoshino forces, rather than fighting.  It isn't clear if they were deserters, if they had been part of one of the other two attempts to take Fuwa Pass, or if there was something else going on.  Either way, Ohoama was so pleased that he welcomed them in and we are told that Hata no Yakuni was “granted a battle axe and halberd” and appointed a general.  This is probably stock phrasing, but it does seem he was given some measure of trust.  Yakuni's men were then sent north, to Koshi. We aren't quite sure what those forces' ultimate objective was.  It may have been that he was to take the northern pass and make sure that none of the Afumi troops tried to escape and head to the East along that road.  Many of the accounts of this war seem to suggest that he, or at least some part of the forces, were to head north and then come around Lake Biwa the long way.  This would mean that if Ohoama attacked, there would be no easy way to flee.  From Ohotsu they couldn't turn north without running into more troops, and their only escape would seem to be through the Afusaka pass towards the area of modern Kyoto.  And of course, whoever was victorious in the Nara Basin would then be able to control the route to the coast. It is unclear how much Ohoama could have actually known, though, about what was happening across the various distances.  Messages would have meant riders on swift horses carrying them; they couldn't just text each other what was going on. And so, with one attack repelled, another aborted, and a turncoat now on their side, Ohoama's Yoshino forces were finally ready to head out on the offensive themselves.  According to the Nihon Shoki this was on the 7th day of the 7th month—Tanabata, today, but I doubt people were paying much mind to the Weaver and the Cowherd.  Murakuni no Woyori, with the group advancing from Fuwa to Afumi, set out, and met with their first resistance at the Yokugawa river in Okinaga.  As far as I can tell, this is likely the Amano River in modern Maibara, which anyone who takes the Shinkansen between Kanto and Kansai probably recognizes as one of the usual stops.  Once again, we have a situation where, while they would have had banners flying, in the crush of battle it could be quite easy to mistake friend for foe, especially with large numbers of troops who were pulled from vastly different regions.  You had to have some way of knowing quickly who was on your side – that's why the Afumi commander Wosumi had his troops use the password “kane”, for example.  Ohoama's approach was to have his men place a red mark—possibly a ribbon or similar—on their clothing so that one could tell who, at a glance, was on their side.  As a note, later samurai would sometimes attach flags to their shoulder armor, or sode, and these “sode-jirushi” would help identify you even if people didn't recognize your armor.  Ohoama's troops may have used something similar. And so Woyori's Yoshino forces attacked the Afumi defenders, and the Afumi troops were clearly outmatched.  Woyori's men killed the Afumi commander and defeated the opposing forces. But that was just the beginning.  Afumi forces had been stationed all along the route from Fuwa to Ohotsu.  Thus it was that only two days later Woyori and his men made it to Mt. Tokoyama, probably in Hikone, by the Seri river.  There they met more Afumi soldiers, but once again they were triumphant and slew the opposing commander.   Woyori and his men were on a roll. I would point out that these battles aren't given much detail, but we do see how it progressed.  There are names of various individuals and commanders—certainly not much on the common people.  From what we can tell, this was not a rush to Ohotsu, but rather a slow march, probably doing their best to fortify their positions and make sure that nobody was sneaking up on them.  After each battle, it is some days before the next, probably spent spying out ahead and formulating plans. Woyori and his men next fought a battle on the banks of the Yasukawa River, presumably near modern Yasu city.  Here, Aston's translation claims that he suffered a great defeat, but more likely I suspect it means to say that he inflicted a great defeat on the Afumi forces, because if he had been defeated, how would he have pressed on only a few days later.  We are told that  two men, presumably the Afumi commanders, were both taken prisoner. Since we don't have anything more about them in the narrative all we can really do is assume that they must have therefore been on the side of the Afumi forces. By taking Yasu, that would have likely cut off the Afumi forces from any future considerations about using the Kurafu Pass.  The noose around Ohotsu was slowly tightening. Four days after that, on the 17th day of the 7th month, Woyori attacked and repulsed the Kurimoto army—presumably a force loyal to the Afumi court under a general named Kurimoto, or possibly raised from a place called Kurimoto, perhaps over on Awaji.  Either way, it was another victory on Woyori's belt. From there, Woyori and his men arrived at Seta, where they would have to cross the Setagawa—the Seta River. The Seta River is a wide river, and the only one flowing out of Lake Biwa.  It winds its way south and west, eventually becoming the Uji and then the Yodo rivers, which flow all the way to Naniwa—modern Ohosaka.  At the Seta river, there was a major bridge, the only way across, other than to swim.  Prince Ohotomo and his ministers, along with their entire army, were encamped on the west side of the bridge.  Their forces were so numerous that it was said you could not see all the way to the back of them.  Their banners covered the plain, and the dust of their movement caused a cloud to rise into the sky.  Their drums and songs could be heard for miles around.  We are told they even had crossbows, and when they were discharged the arrows fell like rain.  Of course, some of this may have just been more poetic license by the authors of the Nihon Shoki, but you get the picture:  There were a lot of troops on the western side of the river. The bridge itself was defended by General Chison.  We know very little of this general, as he only appears in this one part of the record, but his name implies that he may have been from the continent.  We aren't given a surname, and it is possible he was one of the Baekje refugees, now fighting for the Afumi court.  He led an advance body of specially selected troops, and in the middle of the bridge they had removed planks for about three rods or thirty feet.  Across that span was a single plank, daring anyone to try and cross it.  Of course, if they did, they would be a sitting duck in front of the enemy archers, and the plank was attached by a rope so that it could always be pulled out from under them.  It seemed as if it were impossible to advance. Finally, one of Woyori's soldiers, Ohokida no Kimi no Wakaomi, got up the courage to cross.  We are told that he put on double armor, put down his long spear, and drew his sword.  He then charged suddenly across the plank and cut the rope on the other side before the Afumi troops could pull it back.  In spite of the arrows that were raining down on him, he entered the ranks of the Afumi troops, slashing with his sword as he went.  The Afumi forces were thrown into confusion and some of them tried to leave, but General Chison drew his own sword and began to cut down anyone who tried to flee.  Still, he was unable to check the rout.  Woyori's troops secured the bridge and soon were pouring across it.  They cut down General Chison and advanced into the Afumi army, who broke and ran.  The Afumi sovereign, Ohotomo, aka Koubun Tennou, along with the Ministers of the Left and Right, narrowly escaped with their lives. Woyori and his troops marched to the foot of Awazu hill, and we are told that Hata no Yakuni, the Afumi commander who had earlier defected, and whose men were sent north to Koshi, set a siege to Miwo castle along with Izumo no Koma, who had defended against the attempted seizure of Tamakurabe.  Presumably this is Mio, south of Ohotsu, and it was likely guarding the southern approach to the Afumi capital. The only thing here that gives me pause is that we were earlier told that Yakuni's men, after he defected, were sent to Koshi.  So was Yakuni not with them?  Had he returned?  Or had the troops made it all the way around Lake Biwa already, taking the longer route up and around the lake? Regardless of how it happened, Yakuni and Koma were able to take Miwo castle.  As a reminder, a “castle” at this time would have likely been defined more by its walls, which were probably rammed earth and wood—not the elegantly sloping stone walls and  donjon base that would come to typify castles of the Warring States period. The following day, Woyori and his men continued their pursuit.  At the Awazu marketplace, Woyori ran into the Afumi generals Inukahi no Muraji no Isokimi and Hasama no Atahe no Shihote.  We mentioned Isokimi last episode—he was the Afumi commander attacking the Middle Road in the Nara Basin.  His deputy, Kujira, had been defeated, and it seems Isokimi had retreated back to Afumi and rejoined the main force. He would not be quite so fortunate this time.  Isokimi and Shihote were both slain, and Ohotomo fled once again.  He didn't get very far, hiding at Yamazaki, thought to be near the site of the modern city hall, in Ohotsu. Despite his best efforts, he knew he would be discovered, and he eventually strangled himself, rather than facing the humiliation and punishment that would come with capture. With Ohotomo dead, the other ministers of the Afumi court dispersed and fled.  Woyori and his men, meeting up at Sasanami, hunted down the Ministers of the Left and Right—Soga no Akaye and Nakatomi no Kane—as well as others who had fought with Ohotomo and who were considered criminals. They were all marched back to Fuwa, where, on the 25th day of the 7th month, Ohotomo's head was presented to Ohoama.  The war, it seems, was over. Or at least, the fighting was over.  There was still a lot to be settled.  First off, it would hardly have been practical to wipe out every single person on the losing side.  For one thing, that would have devastated the Court even further, likely creating a huge power vacuum.  In addition, many of the supporters on both sides were not necessarily there out of purely partisan reasons.  I would point out that many of the family names that we see in the record are found on both sides of the conflict.  Inukahi no Isokimi may have fought for Ohotomo, but we also see an Inukahi no Ohotomo fighting on the behalf of Ohoama.  Fumi no Nemaro was a major commander in Ohoama's army, while Fumi no Kusuri had been sent by the Afumi court to raise troops in the East Country.  And Hasama no Shihote was killed with Isokimi at Awazu, while a Hasama no Nemaro was working under the command of General Fukei, in Nara, to guard Tatsuta. There wasn't necessarily a simple divide along family lines.  It is possible that these individuals were all fairly well removed from each other, and from different parts of their respective families, or clans. They are often given different kabane, the family rank system used at this time, though I suspect that may have more to do with later changes, with those on the winning side being promoted over those who supported the Afumi court.  However, it is also the case that Japan has a long history of family members supporting both sides in any major conflict.  That way, no matter who wins, the family itself finds itself on the winning side. But there did have to be some accountability.  This is something that one can point to time and again—if the losing side is not held accountable for their actions, then what is to prevent them from just regrouping and trying again?  And yet that need for justice and punishment must be tempered with some amount of humanity. Ultimately, about one month after the end of the war, eight of the Afumi ministers were found guilty of truly heinous offences and they were condemned to suffer what the Nihon Shoki says was the “Extreme Penalty”.  The Minister of the Right, Nakatomi no Kane, was executed at Tane, in Asai.  Meanwhile the Minister of the Left, Soga no Akaye; along with the Dainagon, or Grand Councillor, Kose no Hito, as well as their children and grandchildren, along with the children of the late Nakatomi no Kane and Soga no Hatayasu, were all sent into banishment.  All others were pardoned. And of course those who had supported Ohoama, and who had come to his aid, were given public favour and reward.  In many cases this likely meant receiving high office and corresponding rank, along with increased stipend payments.  There is a notable shift in the makeup of the court, going forward, and it seems clear that families would want to associate themselves with those who fought on Ohoama's side, rather than Ohotomo's, if they could help it.  That was no doubt a part of works like the various diaries and house records that would have been used to compile the Nihon Shoki, recording the deeds that any house did for the throne. Along with all of the punishments and plaudits that were meted out in the 8th month of 672, there was one more event—something of an outlier.  We are told that Chihisakobe no Muraji no Sabichi, the governor of the province of Wohari, went off into the mountains and committed suicide. Sabichi had originally met Ohoama at the Kuwana district house—the local government office—when he had first arrived from Yoshino.  He had a large number of troops—20,000 by the Nihon Shoki's count—which helped Ohoama to ultimately defeat the Afumi court.  So why he would go off into the mountains and commit suicide was anyone's guess.  The Nihon Shoki suggests that it was possible that his allegiance had changed, and he may have been trying to plot against Ohoama.  Perhaps he had been convinced that Afumi court was going to come out on top, and so had begun some plot.  Or he just had a falling out or became disillusioned for some reason.  Whatever it was, it remains a mystery, even today. With the war concluded, it was time for Ohoama to make his way from the field to the Capital so that he could transition to ruling the State properly.  But Ohoama was not interested, it would seem, in setting himself up in his brother's capital.  Setting up in the Ohotsu capital may have raised a few eyebrows.  It had not been a completely popular move to begin with, and it was also the home of the Afumi court's legitimacy.  To take up the throne there, I can only imagine that it would have further reinforced the idea that Ohoama was the usurper, taking the throne that was meant for his nephew.  Instead, he made the decision to travel to the ancient capital, in Asuka, but he was not in a hurry. They headed out on the 8th day of the 9th month of 672, making it from Fuwa to Kuwana.  Here he likely met up with his wife, Princess Uno, and his ten year old son, Prince Ohotsu.  The following day they headed out, traveling back along the route that they had taken from Yoshino, but at a much more leisurely route.  The royal carriage stayed the night in Suzuka.  From there, it was another day to Abe, likely referring to modern Ahai county, in Iga, near Ueno city.  They then continued on to Nabari.  Finally, on the 12th day,they arrived at the Yamato capital—that is to say Asuka—and Ohoama took up residence for a time at the Shima Palace.  This was only, it seems, to give people time to get the actual palace ready, because three days later, Ohoama moved into the Wokamoto Palace.  And with that, Ohoama began the work of running the state—but there was still plenty to prepare.  For one thing, there were foreign embassies—Kim Ap-sil and others arrived.  It was still going to take a while to get the capital ready for guests, though.  From what we can tell, they were probably building a grand new palace, and it would take some time for it to be prepared.  So the Silla embassy was entertained in Tsukushi, where Prince Kurikuma would have been in charge of hosting them.  They were likely filled on the new developments and provided a ship. Meanwhile, Ohoama made sure that all of the appropriate rewards were given out.  On the 4th day of the 12th month, we are told that all those who had rendered services were given higher cap-ranks, based on what they had done. And as the year 672 closes out—and with it, the first of the two Chronicles for Ohoama, the soon-to-be elevated Temmu Tennou. But there is one final entry, marking the death of Wina no Kimi no Takami in the 12th month of the year.  We know that Wina no Kimi no *Iwasuki* was working for the Afumi court, sent to rally troops in the East, but he fled when they encountered Ohoama's troops at Fuwa Pass.  Takami, on the other hand, we know little about, but I suspect may have been on the side of Ohoama.  It is an odd entry, and, like so many, unexplained.  Perhaps it meant something to the people of the early 8th century, but if so, that meaning is likely lost to us. And so we close the book on the Jinshin no Ran—the Jinshin War, or possibly the Disturbance or even Rebellion, depending on how you feel about it.  This account is one of the most detailed we have of this kind of event, and yet it does not seem that it was entirely unique.  There are plenty of indications that previous sovereigns had to fight their way to the throne, or else had to repel others who would try to take it by force.  This was almost a tradition among the royal house of Yamato.  But now that the matter of succession was well and truly settled, it was time to get on with other things. Who knows what an Afumi court may have done and how they could have changed things.  What we do know is what Ohoama—and his queen, Uno no Himemiko—did.  They built upon, or in some cases possibly even fabricated, the legacy of Naka no Oe.  They would set in stone many of the things that had been put in place, and at the same time make certain changes, as well.  The Yamato state was getting started. And we'll start to dive into that next episode.  Until then, thank you once again for listening and for all of your support. If you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

De Chouer vun der uni.lu organiséiert ee Concert de 6. Juli an der Mäerteskierch zu Diddeleng. An deem Kader kollaboréiert den uni.lu Chouer mam Chouer vun der Universität des Saarlandes. Am Ganze wäerte méi wéi 100 Stëmme zesumme sangen, zesumme mam Orchester Con Nov'arco. Um Programm steet A capella Musek an och zesumme mat Orchester. "Northern Delights" ass de Motto vum Concert, an dofir gëtt et Musek vu Komponisten déi aus dem “Norde” kommen, ënnert anerem vum Karl Jenkins, Ola Gjeilo an Edvard Grieg. Den Entrée ass fräi, an eng Donatioun ass erwënscht. Den Thomas Gareau, den Dirigent a musikaleschen Direkter vum uni.lu Chouer, verréit am Gespréich mam Marie Schockmel méi.

Lyt til Wilhelms rejse med Gud, det har både været oppe og nede. Vi kommer ind på, det med at være nede på bunden med alkohol, snus osv., men også hvordan Gud på et hvis punkt reddede Wilhelm. Sangen der betyder meget for Wilhelm er ‘One Step Away' af Casting Crowns.Bibelteksten der henvises til, er Ordsprogenes bog 3,5-6. Medvirkende: Maysie Keye (afd.-leder for Teens) og Wilhelm Müller.

Vi opruster på Bornholm, på Sjælland, på Fyn og i Jylland. Og statsminister Mette Frederiksen er nu klar med 5 % i NATO-bidrag til soldater, kampfly og krigsskibe. Men hvad med danskernes åndelige oprustning? Har vi brug for en dansk sproglov? Har vi brug for en særlig dansk nationaldag, som de har i Norge? Er åndelig oprustning, kristendom og fællessang nødvendighedens politik midt i en krigstid? Det vender vi dagens P1Debat, direkte fra Folkemødet på Bornholm, fra DR-scenen på Allinge Havn. Med satire, fællessang og debat. Medvirkende: Satiregruppen Magt med Folkemøde Sangen 2025, Jakob Engel-Schmidt, kulturminister, Moderaterne, Morten Messerschmidt, formand Dansk Folkeparti, Louise Kjølsen, psykolog, projektleder Dansk Kvindesamfund, Knud Brix, chefredaktør Ekstra Bladet, Naima Yasin, sekretariatsleder v. SAGA, neutral politisk ungdomsorganisation, Niels Peder Ravn (K) FT-kandidat, medlem af borgerrepræsentationen København og Carolina Magdalene Maier, tidl medlem af Folketinget for Alternativet. Værter: Oliver Breum og Gitte Hansen. Producer: Siw Søby Rasmussen.

Vi opruster på Bornholm, på Sjælland, på Fyn og i Jylland. Og statsminister Mette Frederiksen er nu klar med 5 % i NATO-bidrag til soldater, kampfly og krigsskibe. Men hvad med danskernes åndelige oprustning? Har vi brug for en dansk sproglov? Har vi brug for en særlig dansk nationaldag, som de har i Norge? Er åndelig oprustning, kristendom og fællessang nødvendighedens politik midt i en krigstid? Det vender vi dagens P1Debat, direkte fra Folkemødet på Bornholm, fra DR-scenen på Allinge Havn. Med satire, fællessang og debat. Medvirkende: Satiregruppen Magt med Folkemøde Sangen 2025, Jakob Engel-Schmidt, kulturminister, Moderaterne, Morten Messerschmidt, formand Dansk Folkeparti, Louise Kjølsen, psykolog, projektleder Dansk Kvindesamfund, Knud Brix, chefredaktør Ekstra Bladet, Naima Yasin, sekretariatsleder v. SAGA, neutral politisk ungdomsorganisation, Niels Peder Ravn (K) FT-kandidat, medlem af borgerrepræsentationen København og Carolina Magdalene Maier, tidl medlem af Folketinget for Alternativet. Værter: Oliver Breum og Gitte Hansen. Producer: Siw Søby Rasmussen.

Vi opruster på Bornholm, på Sjælland, på Fyn og i Jylland. Og statsminister Mette Frederiksen er nu klar med 5 % i NATO-bidrag til soldater, kampfly og krigsskibe. Men hvad med danskernes åndelige oprustning? Har vi brug for en dansk sproglov? Har vi brug for en særlig dansk nationaldag, som de har i Norge? Er åndelig oprustning, kristendom og fællessang nødvendighedens politik midt i en krigstid? Det vender vi dagens P1Debat, direkte fra Folkemødet på Bornholm, fra DR-scenen på Allinge Havn. Med satire, fællessang og debat. Medvirkende: Satiregruppen Magt med Folkemøde Sangen 2025, Jakob Engel-Schmidt, kulturminister, Moderaterne, Morten Messerschmidt, formand Dansk Folkeparti, Louise Kjølsen, psykolog, projektleder Dansk Kvindesamfund, Knud Brix, chefredaktør Ekstra Bladet, Naima Yasin, sekretariatsleder v. SAGA, neutral politisk ungdomsorganisation, Niels Peder Ravn (K) FT-kandidat, medlem af borgerrepræsentationen København og Carolina Magdalene Maier, tidl medlem af Folketinget for Alternativet. Værter: Oliver Breum og Gitte Hansen. Producer: Siw Søby Rasmussen.

Sangen ’party 4 u’ af britiske Charli XCX er en sang, der transcenderer tid og rækker ud efter andre værker, der ligefrem går hundrede år tilbage. Efter sangen eksploderede på sociale medier, har den fået over 100 millioner afspilninger på Spotify, og så er den blevet knyttet til et væld af værker, der handler om ulykkelig kærlighed. Alt fra ’The Great Gatsby’, over ’SKAM’, ’GIRLS’, og ’Past Lives’. ’party 4 u’ er vor tids svar på ’The Great Gatsby’ - en stor romantisk gestus, der kollapser inde i øret, en syntetisk bearbejdelse af alt det, der ikke blev. Om alt det man vil gøre, for den man er vild med. Som at holde en stor fest, kun for én person. I denne uges Poptillæg går vi fuldkommen i selvsving over sangen. Vi analyserer teksten, men også følelserne, og hvordan den peger på en masse andre værker, der dyrker den store fortabelse. Panel og anbefalinger: Mads Axelsen, radiovært og PR- og kommunikationsansvarlig på Blagaard Teater, anbefaler Yung Leans nye album ’Jonathan’ Marie Hobitz, podcast og radiovært, anbefaler at spille ’Zelda’ Vært Lucia Odoom, anbefaler Mette Moestrups ’Butterfly Nebula’See omnystudio.com/listener for privacy information.

Vi varmer opp til 17. maifeiring i Folkepodden, med en redaktør for tiden i Trump-land og «premiere» på Sangen om Senja, en countrysang som den kunstige intelligensen har laget.

2. april var det præcis 60 år siden, The Byrds single, 'Mr. Tambourine Man' udkom. En af de mest betydningsfulde sange på 60ernes konstant pulserende rockscene. Sangen - såvel som lyden af The Byrds generelt - var med til at etablere fænomenet folk-rock og senere afledte genrer som bl.a. psykedelisk rock, countryrock og indierock. Johnny Marr fra The Smiths har sagt om kilderne til det, der skulle blive hans distinkte stil: “George Harrison and Roger McGuinn's influence was so all-pervasive. You can't get around it if you were born anywhere between 1963 and the present day.” Sagt på en anden måde var det i Roger McGuinns 12-strengede Rickenbacker, vokalharmonierne og den skarpe vellydende produktion, at The Beatles og Bob Dylan første gang mødtes udenfor deres egne udgivelser og liveoptrædener – så at sige. For Bob Dylans vedkommende var påvirkningen meget konkret. Som mange andre af The Byrds senere hit er 'Mr. Tambourine Man' skrevet af Dylan – som også 'All I Really Want To Do', 'Chimes of Freedom' og 'My Back Pages'. I dette ekstranummer af POV Mediano Music taler Jan Eriksen og journalist Jakob Lambertsen om The Byrds sange og betydning. - "Mr. Tambourine Man" – hvad gør den sang så fantastisk i The Byrds version – og hvordan endte den hos The Byrds? - Hvad var det med The Byrds og Bob Dylan? Hvordan gik det til, at fem unge mænd fra Californien (eller i hvert fald med L.A. som geografisk udgangspunkt) fik noget, der lignede et samarbejde, med den allerede berømte nordøststatsamerikaner? - The Beatles var en anden inspiration. Hvordan ytrede det sig? - Hvilket slags år var 1965 musikalsk? Hvad var The Byrds oppe imod? - Hvor meget var trend og attitude? Hvordan var det miljø, gruppen var en del af? - Hvilke personligheder var de Roger McQuinn, David Crosby, Chris Hillman, Gene Clark og Michael Clarke. Hvor kom de fra? - Hvori bestod modsætningerne, dynamikken ... hvorved adskilte de sig fra f.eks. The Beatles og The Beach Boys? - Efter tre store hits forlod Gene Clark, den ene af forsangerne, gruppen i februar 1966. Hvorfor og hvordan? - Hvilken betydning kan et tiltagende stofmisbrug have haft på musikken og kemien mellem gruppemedlemmerne? - I sommeren 1967 blev David Crosby fyret af de øvrige tilbageværende for at skabe historie med Crosby, Stills, Nash & Young. Han blev kortvarigt erstattet af ... Gene Clark. Hvorefter de var tre tilbage. Roger McGuinn, guitar og sang. Chris Hillman, bas og sang. Michael Clarke, trommer. - The Byrds musikalske udtryk forandrede sig indtil de stoppede i 1973. Hvordan?

An der Komischen Oper Berlin wird altägyptisch gesungen - in Philip Glass' Oper "Echnaton". Wie Liebeslieder in pharaonischer Zeit tatsächlich klangen, ist Thema eines Forschungsprojekts. Außerdem: Wer waren die Täter des NS-Terrorregimes in Tschechien? Von Harald Asel

Julia er strandet. Hun ved ikke, hvad hun drømmer om. Men en dag støder hun på et Facebook-opslag, som genopliver hendes kærlighed til musik, som længe har været gemt væk. Sådan opstår Mumle, og snart kommer hun til at udgive en sang, som sætter hendes navn på alles læber. Ud af venindesladder på Snapchat opstår 'Det Modsatte' som en sang om det, vi bliver nødt til at lære at leve med - alt fra venners kærester til lyden af orgel. Sangen bliver ikke bare et kæmpe hit. Den bliver også Julias vej ind i et helt nyt liv, og lærer hende, hvor meget hun i virkeligheden kan drømme om. Gæst: Julia Kathrine Hansen Vært: Christine Milton Producer, Tilrettelægger og klipper: Robert Haugsted Lyddesigner: Jakob Franck Jensen Redaktør: Kasper Overby

Bli med Oliver, Bea og Maria på å gi review på Dinner restauranten på National og London Pub! Vi tester ut vegetar vårruller, kinesisk mat, brus og toaletter. (Sangen i agenda episoden er AI -generert)

Ungdomskoret Respons med base på Emblem bedehus kommer ut  med ny CD nå i desember. Allerede nå er to av sangene ute på Spotify. Dette er to julesanger, den ene er en gammel salme (Mitt hjerte alltid vanker), den andre er en nyskrevet julesang med tekst og melodi av korets leder Arild Berstad. Sangen heter Jul uten Jesus. Vi tok en prat med Arild Berstad om de nye sangene som er gitt ut denne uka. Du finner sangene blant annet på Spotify.

TikTok er verdens vigtigste sociale medie og vokser i antal brugere år for år, og derfor har det kinesiske sociale medie allerede haft stor betydning for kunst og kultur. Vi ser på, hvordan TikTok har ændret musik-, film- og bogbranchen sammen med Lisbeth Klastrup, der forsker i digitale medier på IT-Universitet. Popstjernen Ed Sheeran har for nylig udtalt, at han er ærgerlig over, at hans stemme fra en genindspilning af Band Aid-støttesinglen 'Do they know it's Christmas?' bliver brugt i et nyt remix af sangen. Sheeran kritiserer sangen for at være for stereotyp, og siger, at hans "opfattelse af fortællingen har ændret sig". Sådan har den danske sanger Karen Mukupa det også med 'Afrika'-sangen, som hun var med til at genindspille i 2010. Den opgave ville hun "helt klart sige nej til", hvis hun blev spurgt igen. Vi undersøger, hvad der har ændret sig i vores blik på Afrika sammen med Stig Jensen, lektor ved Center for Afrikastudier ved Københavns Universitet. Vært: Casper Dyrholm.

Döbler, Katharina www.deutschlandfunkkultur.de, Lesart

Döbler, Katharina www.deutschlandfunkkultur.de, Lesart

Döbler, Katharina www.deutschlandfunkkultur.de, Lesart

Forrige fredag slapp Oddny og Maiie sine første feature noen gang! Sangen heter bittelitt og er en liten perle av en låt. Onsdag før singelslippet tok Astrid en prat med Bartek fra Oddny og Maiie om å være ny i en storby og om å høre på sine egne tekster.Takk til Quang på teknikk!

Den tyske kunstner Butterbro har fodret et AI-værktøj med nogle sangtekster og fået leveret en færdig sang med tekst og melodi lavet af AI. Sangen er kommet på den tyske top 50 hitliste. Forsker i kunstig intelligens og grammyvinder, Anders Øland, giver sin vurdering af hvilken rolle AI kommer til at spille i musikproduktion. Forskning viser, at Irske legepladser skaber dårlig trivsel. Omvendt er danske legepladser og det børnesyn de bliver lavet på en eksportvare til hele verden. Værter: Casper Thrane Dyrholm og Chris Pedersen.

De leschten Donneschden ass e Video viral gaangen, deen op der nordfrisescher Insel Sylt opgeholl gi war. Op deem Video sange warscheinlech däitsch Jonker op Lëtzebuergesch iwwersat "Auslänner raus" an "Däitschland fir déi Däitsch" op d'Melodie vun engem bekannte Partyhit.

Denne sangen er laget ved hjelp av kunstig intelligens. Sangen ble laget i forbindelse med podcastinnspilling på Techday 2024. [Verse]Woke up this morningFeeling the energyStatnett's in full controlWe're buzzing like a busy beeTechday's the stageWhere minds collideWith almost 500 participantsThere's no place to hide[Verse 2]Statnett's the grid operatorKeeping us connectedThey're in charge of the powerNever to be neglectedElhub by their sideMaking moves in the tech gameTogether they're unstoppableIgniting the flame[Chorus]Power surgeWe're breaking through the ceilingStatnett and ElhubGot the energy we're feelingTechday's the place where innovation runs wildElectricity in the airTurning frowns into smiles Hosted on Acast. See acast.com/privacy for more information.

La celebració del 700 anys de l'Hospital de Sitges ha servit també per afegir un nou producte al catàleg de vins del seu celler. Es tracta de l'Ancestral 1324, un vi escumós d'una sola fermentació ideal per aperitius o per abans de l'àpat. És el segon escumós de la gamma de productes del Celler de l'Hospital exclusivament de Malvasia de Sitges, que així ofereixen dues malvasies (dolça i seca), dos blancs (Blanc Subur i Llegat Llopis), jove i amb criança, i ara dos escumosos, també un de fermentació lenta (Monembasia) i aquest, acabat de veremar. Es tractat d'una petita producció, de només 500 ampolles, per continuar difonent una varietat cada cop més apreciada entre els especialistes. Ho hem comentat amb la responsable del Centre d'Interpretació de la Malvasia, Alba Gràcia, i l'enòleg del Celler, Albert de Sangenís. L'entrada L’Ancestral 1324, l’escumós jove de Malvasia de Sitges que entra al catàleg del Celler de l’Hospital ha aparegut primer a Radio Maricel.

Rapfærdighed Afsnit 3: Carl Knast – Hold Din Kæft Der var en hel del vrede inde i Carl Knast, som til sidst bare skulle ud – og det kom den på nummeret 'Hold din kæft'. Sangen er udgangspunktet for dagens afsnit, hvor vi taler om brasiliansk funk, udviklingen i hiphopmiljøet og ikke mindst Carl Knasts overvejelser om at tage taletid i ligestillingsdebatten. Re:Act er et samarbejde mellem Rapolitics, Institut for Menneskerettigheder og Roskilde Festival og er støttet af Tuborg Fondet og Open-Puljen.

Pligten Kalder har netop udsendt EP'en 'Til afståelse'. Under deres seneste turne optrådte Johan Olsen - også kendt fra Magtens Korridorer - Torben Steno, Peter Jessen og Søren Mikkelsen flere steder for udsolgte huse. Orkestret, der egentlig begyndte som en værtshusjoke, har i sit eget rolige tempo opbygget et stort stampublikum. Man kan roligt sige, at intet andet i Danmark lyder som Pligten Kalders kabaretagtige chanson og poppoesi. Torben Steno er kendt for sit journalistiske virke som radio, podcast- og tv-vært, men i denne i POVcast handler det altså om musikken. Steno og Jan Eriksen taler blandt meget andet om Pligten Kalders nye EP – og diverse andre plader i Stenos eget navn. Bl.a. ældresagspop-nummeret ”Kun kommunen kender din krop,” (oprindelig skrevet til Mette Horns teaterforestilling ”Damen med de blå tænder”). Sangen handler om livet som gammel på den sidste station, plejehjemmet, og den haft ret svært ved at trænge igennem lydmuren. ”Man kan skrive og fremføre sange om hvad som helst, men åbenbart ikke om at gå med tung voksenble på et plejehjem,” som Steno siger, og tilføjer: "Nu ved du jo, at dem, der i dag sidder på plejehjemmet, er dem, der var unge, da Jimi Hendrix var på toppen." Men hvorfor har ældresagspoppen trange kår? Det taler Torben og Jan om i POVcasten. Lyt med og hør: - om at sætte ord på det, som 'man' ellers ikke synger om. - inspirationen til Pligtens Kalders dansktophit 'Tre ældre kvinder på en tom bøssebar i november'. - om Torben Stenos ikoniske elastikoptrukne Optigan-orgel, som han frelste fra et kummerligt endeligt i Svendborg, og som nu spiller en særdeles central rolle i Pligten Kalder. - hvilken rolle Sidse Babett Knudsen og for den sags skyld også Amanda Lear spiller i en af Stenos mange sange. - en uforbeholden hyldest til John Mogensen, der med Stenos ord "flyder i hans årer". - Guitaristen Ivan Horns sidste indspilning nogensinde - Pligten Kalder-musicalen ”Emhætte og ulven”, hvor Johan Olsen spiller figuren Emhætte, der besidder en glidende kønsidentitet et ubestemmeligt sted mellem de p.t. kendte 74 køn. - ”Det eneste, der er en stensikker kommerciel succes lige nu. Det er musicals,” som Steno siger. - Steno, om end lidt skeptisk, give et lille indblik i arbejdsprocessen i Pligten Kalder. "Hvad er der så mere?," for nu at citere den ene af to John Mogensen-sange, du kan høre i POVcasten. Ja, der er så bare det at lytte med her:

Pligten Kalder har netop udsendt EP'en 'Til afståelse'. Under deres seneste turne optrådte Johan Olsen - også kendt fra Magtens Korridorer - Torben Steno, Peter Jessen og Søren Mikkelsen flere steder for udsolgte huse. Orkestret, der egentlig begyndte som en værtshusjoke, har i sit eget rolige tempo opbygget et stort stampublikum. Man kan roligt sige, at intet andet i Danmark lyder som Pligten Kalders kabaretagtige chanson og poppoesi. Torben Steno er kendt for sit journalistiske virke som radio, podcast- og tv-vært, men i denne i POVcast handler det altså om musikken. Steno og Jan Eriksen taler blandt meget andet om Pligten Kalders nye EP – og diverse andre plader i Stenos eget navn. Bl.a. ældresagspop-nummeret ”Kun kommunen kender din krop,” (oprindelig skrevet til Mette Horns teaterforestilling ”Damen med de blå tænder”). Sangen handler om livet som gammel på den sidste station, plejehjemmet, og den haft ret svært ved at trænge igennem lydmuren. ”Man kan skrive og fremføre sange om hvad som helst, men åbenbart ikke om at gå med tung voksenble på et plejehjem,” som Steno siger, og tilføjer: "Nu ved du jo, at dem, der i dag sidder på plejehjemmet, er dem, der var unge, da Jimi Hendrix var på toppen." Men hvorfor har ældresagspoppen trange kår? Det taler Torben og Jan om i POVcasten. Lyt med og hør: - om at sætte ord på det, som 'man' ellers ikke synger om. - inspirationen til Pligtens Kalders dansktophit 'Tre ældre kvinder på en tom bøssebar i november'. - om Torben Stenos ikoniske elastikoptrukne Optigan-orgel, som han frelste fra et kummerligt endeligt i Svendborg, og som nu spiller en særdeles central rolle i Pligten Kalder. - hvilken rolle Sidse Babett Knudsen og for den sags skyld også Amanda Lear spiller i en af Stenos mange sange. - en uforbeholden hyldest til John Mogensen, der med Stenos ord "flyder i hans årer". - Guitaristen Ivan Horns sidste indspilning nogensinde - Pligten Kalder-musicalen ”Emhætte og ulven”, hvor Johan Olsen spiller figuren Emhætte, der besidder en glidende kønsidentitet et ubestemmeligt sted mellem de p.t. kendte 74 køn. - ”Det eneste, der er en stensikker kommerciel succes lige nu. Det er musicals,” som Steno siger. - Steno, om end lidt skeptisk, give et lille indblik i arbejdsprocessen i Pligten Kalder. "Hvad er der så mere?," for nu at citere den ene af to John Mogensen-sange, du kan høre i POVcasten. Ja, der er så bare det at lytte med her:

I denne POVcast taler Jan Eriksen med en af de første kvindelige danske kvindelige sangskrivere med succes, Pia Raug. Album som ”Hej lille drøm”, ”Saga”, ”Det” (med Inger Christensens digte) og ”Iskrystaller” satte en gang for alle pioneren på det musikalske danmarkskort. Efter et par årtier som fagpolitiker oplever hun nu et sent comeback. Unge kolleger som bl.a. Tina Dickow og især Kresten Osgood og Signe Høirup Wille-Jørgensen, som Raug har optrådt sammen med, viser deres respekt. Alene i marts har Pia Raug og hendes faste medmusikant og nabo Søren Thuesen syv job. I begyndelsen af marts kørte POVs Jan Eriksen til Omø - med bare 152 indbyggere - sydvest for Sjælland, for at tale med ”Den danske Joni Mitchell”, som hun engang blev kaldt. Om historien og vejen tilbage til scenen og hvad, der blev af den lille drøm. Pia Raugs ”Regnvejrsdag i november” – den med ”Jeg vil male dagen blå” - er for længst folkeeje og optræder i adskillige sangbøger – også Højskolesangbogen. Den kan findes i et hav af versioner på sociale medier. Det skulle vise sig at blive en humørfyldt, meget ærlig og til tider følelsesladet samtale i det gamle husmandssted på Omø. I årevis havde Pia Raug følelsen af at være ude af sync med sin samtid. ”'Hej lille drøm' blev enormt populær, men det har også været den, der kunne skille mig fra mine samtidige musikere. De kunne godt nok brække sig i lårtrykke stråler over den plade. Det har jeg som sanger været ked af. For man drømmer om at have et fællesskab.” I forbindelse med udgivelsen I 2015 af bokssættet "Fugleflugt" lyttede Pia Raug for første gang i årevis til "Hej lille drøm". ”Pludselig kunne jeg forstå, hvad de mente. Men samtidig kunne jeg høre, hvor afsindigt flot akkompagnementet er. Jeg kunne forstå, at det var den, der satte min karriere i gang, og som har gjort at jeg kunne blive ved indtil nu,” siger hun, og tilføjer: ”Jeg har opdaget, at der har været en del mødre som har tvangsstoppet deres børn i lange perioder, flere år, med Pia Raug-sange – i dag møder jeg nogle af dem, hvis mødre har introduceret dem til en anden måde at tænke musik på, som kunne få dem til f.eks. at blive malere, fotografer og hvad ved jeg." Så det handler om anerkendelse og genkendelse. Men det handler også om: - arbejdet og succesen med Raugs musik til Inger Christensens langdigt ”Det”. Og det menneskelige grundvilkår, angst – og poesien som den eneste rigtige medicin. - de tidlige år, hvor hun bl.a. var med til at starte Midtfynsfestivalen. - Joni Mitchell, som hun engang var til bal i den borgerlige sammen med. Betalt af ABBA. Kan man sige. - Raugs arbejde i diverse faglige råd og foreninger, i Danmark og internationalt. - samarbejdet med og begejstringen for diverse musikere og især lydtekniker og producer Flemming Rasmussen, der ubesværet skiftede fra indspilninger med Metallica til Pia Raug. - Forholdet mellem kunst og krig – for 30 år siden og nu. - myten om Achilleus og skildpadden … I slutningen kan du høre den endnu uudgivne sang "Flaget", en sang Pia Raug skrev til sin gode veninde Lisbeth Kirk, der var gift med den nu afdøde EU-parlamentariker Jens-Peter Bonde. Sangen fortjener en bedre indspilning end via Jan Eriksens telefon. Men optagelsen giver en fornemmelse af, hvad det er for en sang. Lyt til POVcasten her:

I denne POVcast taler Jan Eriksen med en af de første kvindelige danske kvindelige sangskrivere med succes, Pia Raug. Album som ”Hej lille drøm”, ”Saga”, ”Det” (med Inger Christensens digte) og ”Iskrystaller” satte en gang for alle pioneren på det musikalske danmarkskort. Efter et par årtier som fagpolitiker oplever hun nu et sent comeback. Unge kolleger som bl.a. Tina Dickow og især Kresten Osgood og Signe Høirup Wille-Jørgensen, som Raug har optrådt sammen med, viser deres respekt. Alene i marts har Pia Raug og hendes faste medmusikant og nabo Søren Thuesen syv job. I begyndelsen af marts kørte POVs Jan Eriksen til Omø - med bare 152 indbyggere - sydvest for Sjælland, for at tale med ”Den danske Joni Mitchell”, som hun engang blev kaldt. Om historien og vejen tilbage til scenen og hvad, der blev af den lille drøm. Pia Raugs ”Regnvejrsdag i november” – den med ”Jeg vil male dagen blå” - er for længst folkeeje og optræder i adskillige sangbøger – også Højskolesangbogen. Den kan findes i et hav af versioner på sociale medier. Det skulle vise sig at blive en humørfyldt, meget ærlig og til tider følelsesladet samtale i det gamle husmandssted på Omø. I årevis havde Pia Raug følelsen af at være ude af sync med sin samtid. ”'Hej lille drøm' blev enormt populær, men det har også været den, der kunne skille mig fra mine samtidige musikere. De kunne godt nok brække sig i lårtrykke stråler over den plade. Det har jeg som sanger været ked af. For man drømmer om at have et fællesskab.” I forbindelse med udgivelsen I 2015 af bokssættet "Fugleflugt" lyttede Pia Raug for første gang i årevis til "Hej lille drøm". ”Pludselig kunne jeg forstå, hvad de mente. Men samtidig kunne jeg høre, hvor afsindigt flot akkompagnementet er. Jeg kunne forstå, at det var den, der satte min karriere i gang, og som har gjort at jeg kunne blive ved indtil nu,” siger hun, og tilføjer: ”Jeg har opdaget, at der har været en del mødre som har tvangsstoppet deres børn i lange perioder, flere år, med Pia Raug-sange – i dag møder jeg nogle af dem, hvis mødre har introduceret dem til en anden måde at tænke musik på, som kunne få dem til f.eks. at blive malere, fotografer og hvad ved jeg." Så det handler om anerkendelse og genkendelse. Men det handler også om: - arbejdet og succesen med Raugs musik til Inger Christensens langdigt ”Det”. Og det menneskelige grundvilkår, angst – og poesien som den eneste rigtige medicin. - de tidlige år, hvor hun bl.a. var med til at starte Midtfynsfestivalen. - Joni Mitchell, som hun engang var til bal i den borgerlige sammen med. Betalt af ABBA. Kan man sige. - Raugs arbejde i diverse faglige råd og foreninger, i Danmark og internationalt. - samarbejdet med og begejstringen for diverse musikere og især lydtekniker og producer Flemming Rasmussen, der ubesværet skiftede fra indspilninger med Metallica til Pia Raug. - Forholdet mellem kunst og krig – for 30 år siden og nu. - myten om Achilleus og skildpadden … I slutningen kan du høre den endnu uudgivne sang "Flaget", en sang Pia Raug skrev til sin gode veninde Lisbeth Kirk, der var gift med den nu afdøde EU-parlamentariker Jens-Peter Bonde. Sangen fortjener en bedre indspilning end via Jan Eriksens telefon. Men optagelsen giver en fornemmelse af, hvad det er for en sang.

Hovedpastor Knut Moholt fortsetter taleserien "Om noen vil følge etter meg..." som utgangspunkt i Jesu ord fra Lukas 9:32-35. Er du en fan av Jesus, eller en etterfølger av Ham?  Jesus snakker om å fornekte seg selv og ta sitt kors opp, Knut taler om å forsake noe i livene våre. Sangen som ble sunget etter talen var Gi rom/ Make room.

Fluent Fiction - Danish: The Wedding Singer: A Love Song to Copenhagen Find the full episode transcript, vocabulary words, and more:fluentfiction.org/the-wedding-singer-a-love-song-to-copenhagen Story Transcript:Da: Lars stod midt i København. Lige ved Hans Christian Andersen-statuen på H. C. Andersen Boulevard. Hans hjerte bankede. Det var bryllupsdag. Han skulle bringe gæsterne i festhumør. Den danske tradition krævede en drikkesang.En: Lars stood in the middle of Copenhagen. Right by the statue of Hans Christian Andersen on H.C. Andersen Boulevard. His heart was pounding. It was his wedding day. He was to bring the guests into a festive mood. Danish tradition called for a drinking song.Da: Lars var en simpel mand. Han elskede sin by. Maven kradsede nervøst. Han var ikke en sanger. Men brylluppet ydmygede ingen gæst. I dag skulle han synge højt og stolt.En: Lars was a simple man. He loved his city. His stomach scratched nervously. He was not a singer. But the wedding did not humiliate any guest. Today he would sing loudly and proudly.Da: Gangen var fyldt med stemmer. Farverige kjoler og habitter bølgede rundt. Årstiden var sensommer, og København glimtede i solen. Rådhusets tårn var et symbol på kærligheden. Lars skulle synge under det.En: The corridor was filled with voices. Colorful dresses and suits waved around. It was late summer, and Copenhagen sparkled in the sun. The town hall tower was a symbol of love. Lars was to sing under it.Da: Alle gæsterne ventede. Lars rejste sig. Han følte det kølige glas i hånden. Han så på brudeparret. Øjeblikket var perfekt. Han åbnede munden.En: All the guests awaited. Lars stood up. He felt the cool glass in his hand. He looked at the bridal couple. The moment was perfect. He opened his mouth.Da: Melodien strømmede ud. Hans stemme fyldte salen. Hans ord beskrev København. Kanalerne, klipklapperne på Strøget, Nyhavn. Sangen indrammede byens skønhed. Gæsterne slog i takt.En: The melody flowed out. His voice filled the hall. His words described Copenhagen. The canals, the cobblestones on Strøget, Nyhavn. The song framed the city's beauty. The guests clapped in time.Da: Lars var ikke længere nervøs. Han genkendte sin by i sangen. Brylluppet omsluttede den, ligesom byen favnede dem. Hans hjerte slog i takt med byen. Han var København, og København var ham.En: Lars was no longer nervous. He recognized his city in the song. The wedding enveloped it, just as the city embraced them. His heart beat in rhythm with the city. He was Copenhagen, and Copenhagen was him.Da: Sangen sluttede. Et øjebliks stilhed. Så fyldtes luftrummet med håndklapsalver. Gæster, brudepar, alle klappede. Lars så rundt. Hans København havde sunget med.En: The song ended. A moment of silence. Then the airspace filled with applause. Guests, the bridal couple, everyone clapped. Lars looked around. His Copenhagen had sung along.Da: Der var ingen bedre sang. Ingen bedre drikkesang. Ingen bedre mand til opgaven end Lars. Han havde været nervøs, men havde æret brylluppet. Han havde æret København. Lars smilte.En: There was no better song. No better drinking song. No better man for the task than Lars. He had been nervous, but had honored the wedding. He had honored Copenhagen. Lars smiled.Da: Dagen gik, og natten kom. Gaden blev mørk, men Lars' erindring om denne dag ville altid være lys. Han havde ikke bare sunget en drikkesang. Han havde skænket dem et stykke af hans hjerte, hans by, hans København. Og det ville altid forblive hos dem.En: The day went by, and night came. The street grew dark, but Lars' memory of this day would always be bright. He hadn't just sung a drinking song. He had given them a piece of his heart, his city, his Copenhagen. And it would always stay with them.Da: Og således sluttede Lars' dag, fyldt med følelser og styrke. Han lukkede øjnene, minderne var hans skat. Han havde været en vital del af brylluppet, og det var han stolt af. Hans rolle var fuldført. Han var ikke længere bare en gæst. Han var deres sanger. Og det vil han altid være. Brylluppet var perfekt, og den centrale konflikt var blevet løst med et strejf af personlig stolthed og glæde.En: And so, Lars' day came to an end, filled with emotions and strength. He closed his eyes, memories being his treasure. He had been a vital part of the wedding, and he was proud of it. His role was fulfilled. He was no longer just a guest. He was their singer. And he always will be. The wedding was perfect, and the central conflict had been resolved with a touch of personal pride and joy.Da: Lars sov godt den nat, drømmende om sin drikkesang under stjernerne. Han vågnede op til en ny dag, klar til at opleve sin by igen, som altid, med et hjerte fuldt af kærlighed til København. Og med visheden om, at han var en del af byens historie. Og det føltes fantastisk.En: Lars slept well that night, dreaming about his drinking song under the stars. He woke up to a new day, ready to experience his city again, as always, with a heart full of love for Copenhagen. And with the knowledge that he was a part of the city's history. And it felt fantastic. Vocabulary Words:Lars: LarsCopenhagen: Københavnstatue: statueHans Christian Andersen: Hans Christian AndersenH.C. Andersen Boulevard: H.C. Andersen Boulevardheart: hjertepounding: bankedewedding: bryllupsdagguests: gæsternefestive: festhumørmood: humørDanish tradition: den danske traditiondrinking song: drikkesangsimple: simpelman: mandcity: bystomach: mavescratched: kradsedenervously: nervøstsinger: sangerhumiliate: ydmygecorridor: gangvoices: stemmercolorful: farverigedresses: kjolersuits: habitterlate summer: sensommersparkled: glimtedesun: solentown hall tower: Rådhusets tårn

Den instrumentale sang 'Anarchy' nåede næsten to dage som nummer et på både de danske og svenske Spotify-hitlister, selvom sangen kommer fra de ukendte kunstnere Lavern, Bonfire, Babynaps, Djbasra og Swedish Wife Maffia. Sangen havde 230.000 afspilninger herhjemme - det er tre gange flere end andenpladsen, hvor popstjernerne Gilli og Kesi lå med en fælles udgivelse. Men måske var det hele for godt til at være sandt, for nu har Spotify fjernet nummeret. Rasmus Rex Pedersen, lektor på Roskilde Universitet med speciale i digitalisering af kulturindustrien, forklarer hvordan det kan ske. Tilbage i 2019 var Israel vært for Eurovision Song Contest på trods af landets årelange konflikt med palæstinensere. Det medførte en del debat, som de danske Melodi Grand Prix-deltagere i hvert fald ikke skulle blandes ind i, hvis det stod til DR. Det viser et dokument, som Kulturen P1 har fået indblik i. I dokumentet, som blev sendt til artisterne forud for deres første møde med pressen, står der bl.a.: "Om Danmarks deltagelse til Eurovision i Tel Aviv, Israel (undgå at gå ind i denne debat)". Men er det DR's rolle at diktere, hvilke debatter artisterne kaster sig ind i og er DR kommet med lign. opfordringer i år? Vi spørger Gustav Lützhøft, ledende redaktionschef i DR Kultur, Børn og Musik. Værter: Chris Pedersen og Jesper Dein.

Es ist Heiligabend, die Familie versammelt sich um den Weihnachtsbaum und der Großvater beginnt, eine ganz besondere Weihnachtsgeschichte zu erzählen. Denn die handelt nicht nur von singenden Engeln, sondern auch von einem Floh.

«Jeg er enda ikke vant til setningen: Min pappa er død.» Årets siste episode og sesongavslutning av Uten Deg. Amalie Lundstad deler sine tanker og følelser rundt det å miste flere i desember. Familiens juletradisjoner som nå er borte og ønske om å skape noe tradisjoner. Tusen takk for at dere har lyttet og åpnet dere opp om deres sorg. Jeg håper at vi snakkes igjen i 2024. Ta vare på hverandre. Sangen du hører i slutten av episoden er laget av SACARIAS (min lillebror som spilte denne sangen i begravelsen) Hosted on Acast. See acast.com/privacy for more information.

Velkommen til Radiodrama.dk julekalender "Skovens Hemmelighed" Frida er en nysgerrig ræv, som i december begiver sig dybt ind i skoven for at udforske dens hemmeligheder, sære væsner og gamle fortællinger. Følg med i din favorit-podcast-app eller på Radiodrama.dk Skuespiller: Kristoffer Helmut Bearbejdelse af manuskript: Morten Aagaard Optagelse: Kia Lundsgaard Produceret af Radiodrama.dk med støtte fra Dats Historien er udviklet via workshops under lyttefestivalen "Lytteoplevelser i O-Town 2023", som er støttet af Odense Kommune /Kulturpuljen. Denne julekalender er et pilotprojekt omkring at udvikle radiodramatik via chatrobotter. Historien er udviklet digitalt, hvor efter dramatiker Morten Aagaard har redigeret og sammesat den endelige fortælling.

I dagens «spire» ved inngangen til adventstida, forsøker pTro-presten Vidar Mæland Bakke å se for seg hvordan det kan ha vært den gangen en mann plutselig stod fram på tempelplassen i Jerusalem, midt under en løvhyttefest, og kalte seg selv for verdens lys.  Vidar er prest og daglig leder i ByMenigheten – Sandnes, en valgmenighet...

Fluide biologique contenant une grande partie des déchets liquides de l'organisme, l'urine présente habituellement une couleur jaune claire chez un individu en bonne santé. Mais, dans certains cas, elle peut prendre une teinte différente qui annonce un potentiel dysfonctionnement du corps.L'urine foncée : déshydratation ou problème rénalLe matin, il est normal de constater que l'urine est plus foncée qu'habituellement. En effet, la période nocturne s'accompagne d'une légère déshydratation, du fait de l'absence de prise de liquide la nuit. L'urine stagne davantage dans la vessie et acquiert cette couleur jaune intense.Mais la teinte foncée peut aussi signifier un état de déshydratation plus sévère, notamment si elle s'accompagne d'une forte odeur témoignant de la concentration du fluide en urée. Dans ce cas, il peut s'agir d'une insuffisance des reins, d'une fièvre ou d'une diarrhée qui provoque la perte de liquide de l'organisme.L'urine rosée : présence de sangEn période de règles ou après un rapport sexuel, il n'est pas forcément inquiétant d'uriner de couleur rose ou rougeâtre, en raison de la présence de petits caillots de sang dans le vagin qui sont libérés aux toilettes. En revanche, une urine qui se teinte constamment de rouge peut indiquer une infection urinaire ou la présence de calculs qui irritent les voies. Certains cancers tels que celui de la vessie et des reins provoquent parfois une hématurie.L'urine brune : médicaments ou sangDu sang présent longtemps dans l'organisme ressort de façon plus foncée, ce qui peut donner à l'urine une teinte brune. Ce symptôme s'observe en cas de prise de certains médicaments, mais aussi en cas d'affection de la vessie ou des reins, si un excès de bilirubine est libéré par les voies urinaires. Les fèves confèrent également une teinte marron à l'urine, sans conséquence.L'urine verte ou bleue : aliments ou infection bactérienneLes asperges sont connues pour donner à l'urine une odeur forte et une couleur particulière, proche du vert. D'autres aliments contenant des colorants peuvent modifier la teinte de l'urine. Mais si la couleur bleutée persiste après l'arrêt de la consommation, il est important de consulter un médecin : les urines vertes peuvent indiquer la présence de colibacilles dans l'organisme, des bactéries dangereuses pour l'homme.L'urine jaune fluo : compléments alimentairesBien que ce symptôme soit surprenant, il n'est généralement pas inquiétant car l'urine jaune fluo est provoquée par la consommation de compléments alimentaires, notamment ceux contenant de la vitamine C.L'urine orange : aliments ou désordre du foieSi la betterave a tendance à rendre l'urine orangée ou rouge, les problèmes hépatiques peuvent aussi se traduire de la sorte. En l'absence de consommation d'aliments suspects et de déshydratation, mieux vaut consulter un médecin si l'urine reste de couleur orange. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Når kjernefamilien går fra 4 til 3. Hva er det verste? Hvordan reagerte de da de fikk vite at pappa hadde kreft? Hvilke tips har de og hvordan løste vi alt det praktiske? Det er noen av spørsmålene mamma, Evy Lundstad og lillebror, Sakarias Lundstad skal svare på i dagens episode. Sakarias synes det er mye vanskeligere å snakke om det her enn han trodde, mamma forteller om hvordan de som par snakket sammen om at han skulle dø og hvordan vi som familie lever videre uten ektemann og pappa. Sangen i intro og outro er laget av Sakarias Lundstad (artistnavn Sacarias) og ble også spilt i begravelsen. Hosted on Acast. See acast.com/privacy for more information.

Har du hørt sangen "Rumpa til Aud"? Den har blitt utrolig populær i Hufferdalen. Sangen er tilgjengelig både på Spotify og her i appen vår, og her får du den spennende historien om hvordan denne sangen ble til. Men ikke avslør det for Aud Barnslig; hun er bare klar over at rumpa hennes har blitt kjendis og at den blir sunget om på radioen, men hun bryr seg ikke så mye om hvordan det har skjedd. Noe som kanskje er like greit? For det er jo som alltid noe magisk som skjer her...

Die amerikanische SF – Autorin Kate Wilhelm (08.06.1928 – 08.03.2018) schrieb eine Fülle von Romanen und Kurzgeschichten. Ihren Durchbruch schaffte sie 1976 mit dem Roman„Where late the sweet birds sang“, mit dem wir uns in diesem Podcast beschäftigen wollen. Dieses Werk gilt als Klassiker der Endzeitliteratur und wurde 1977 mit dem Hugo Gernsback Award ausgezeichnet Marcus Weible, geboren 1968 in München. Nach Abitur und Bundeswehr habe ich Geschichte und Rechtswissenschaften in Erlangen und Würzburg studiert. Ich war 15 Jahre als Rechtsanwalt und juristischer Repetitor bei Kern – Nordbayern tätig. In dieser Zeit bereitete ich bundesweit zahlreiche Studenten und Referendare auf das Erste und Zweite Juristische Staatsexamen vor. Mittlerweile lebe ich in Regensburg und gehe dort dem Anwaltsberuf mit Schwerpunkt im Verwaltungsrecht nach. Neben meinem Hobby Geschichte, sind und waren SF und Fantasy meine große Leidenschaft. Ich bin Mitglied des Münchner Fankreises „Die Phantasten“ und betätige mich auf mehreren Literaturseiten als Autor und Rezensent.” Gabriele Leucht, geboren: 1981 in München, Ausbildung: von den alten Sprachen bis zur Avvocatessa der Juristerei in Rosenheim, Birmingham, Maryland, Neapel, Straßburg und München. Interessen: Kunst, je abstrakter desto lieber, Literatur, besonders Romane und Dramen, Opern-Musik, fürs Herz italienisch, für den Rest auch alles andere, Politik: Grundgesetz-Fanatikerin, Antirassistin u.v.m., Sport: nicht ohne meine Berge. --- Send in a voice message: https://podcasters.spotify.com/pod/show/hoerbahn/message

Stemmen kan i både konkret og billedlig forstand forstås som rumlig. Gennem kunst- og musikhistorien er der mange kunstnere der har anvendt stemmen på vidt forskellige måder. Sangen står ofte i forgrunden som en musikalsk grundstruktur, der gentager lighed, og derved kommer til at antage større betydning. Der er dog også mange eksperimenterende måder stemmen anvendes, der ligger fjernt fra de gældende konventioner for sange. I dette musikalske rum 'Stemmen', lytter vi os igennem en stak vinyler med kunstnere, der bruger stemmen i deres praksis. Produceret af Kristoffer Raasted på The Lakes podcastworkshop "musikalske rum", støttet af Statens Kunstfond og Augustinus Fonden. TRACKLISTE: Meredith Monk - Gotham Blues Marc Matter & Stefan Römer (komposition / produktion) - A playground of possibility (Ed Ruscha) Joan La Barbara - Cathing Laurie Anderson – Big Science Studs Terkel interview med Sibyl Moholy-Nagy Toshi Ichyanagi – Extended voices (for Voices With Moog Synthesizer and Buchla Associates Electronic Modular System) Steve Reich - Come Out Geraldine de María - Radiocast

Endelig er den vante trioen tilbake i studio, og en snakkesalig Patrick får dermed utløp for et oppdemmet behov for prat om spill og motspill. Cupkampen mot Skedsmo vies relativt lite oppmerksomhet, mens turen til Hamar blir gjenstand for lange diskusjoner. Mest snakk blir det naturligvis om det som skjedde ute på matta, men arrangementet på Briskeby var om mulig enda svakere enn Sportsklubbens sportslige leveranse. I kjent stil blir det tid til alt som er galt her i verden, som kunstgress, VAR og Tom Staahle. Lytterne får svar på innsendte spørsmål, før blikket vendes mot det som skal skje på Jessheim og Åråsen de kommende dagene. Podkasten produseres av Mottaket Media og inneholder annonsering.

Juan Casimiro de Sangenís

Simon Nielsen Ørregaard har skrevet en sang om Jehovas Vidner, som han selv har været en del af. Den er produceret i samarbejde med Søren Otto Hansen som kommer fra et andet religiøst miljø, nemlig Apostolsk kirke. Sangen har verdenspremiere i dette afsnit, hvor vi tre tager udgangspunkt i selve teksten og får os en god, tankevækkende og ikke mindst sjov snak om det at have været i en sekt.

Karoline Olsen blev tvangssteriliseret som 18-årig. Hun var stemplet som åndssvag, og ligesom 11.000 andre kvinder i Danmark fra 1934 til 1967 mistede hun retten til at føre sine gener videre og til at se sine børn vokse op.I 2018 lavede vi en podcastserie om pigerne på Sprogø, der inspirerede den aktuelle film 'Ustyrlig'. Karoline er en af de få nulevende kvinder, der blev isoleret på Sprogø i Storebælt. En overlæge ved navn Christian Keller fik i 1923 indrettet den lille ø som anstalt til dem, han kaldte ‘moralsk åndssvage kvinder'. Disse kvinder blev anset for at være seksuelt afvigende, letfærdige og løgnagtige. Karoline var en af disse kvinder - en afviger.Men hvorfor blev Karoline stemplet som åndssvag? Og hvorfor måtte hun ikke få børn? Var hun så meget anderledes end dig og mig?'Karoline, journal 5305' er en podcastdokumentar i tre dele. Gennem avisartikler, journaler, billeder og små lægenotater forsøger vi at give indblik i et stykke Danmarkshistorie fra 20'erne til slut 50'erne, hvor isolation, tvangsindgreb, racehygiejne, mænd i kitler, spædbarnsfjernelse og spændetrøjer var en del af hverdagen på de mange danske anstalter.Idé, optagelse, tilrettelæggelse og produktion: Hanne Budtz-JørgensenTilrettelæggelse og produktion: Anne JeppesenResearch og sparring: Sille Westphal og Kathrine Eggert WadsholtStemmer: Mikkel ReenbergTak til Birgit Kirkebæk, Jesper Vaczky, Stine Grønbæk Jensen og Jacob Knage RasmussenSangen om Sprogø er skrevet og sunget af Louise Støjberg og spillet af bandet ZenobiaLydkunst: Sandra Boss og Jonas OlesenPolitikens podcastredaktør: Nina Kragh

Da Shervin Hajipour ble utropt til Grammy-vinner for sangen «Baraye» i starten av februar, var det mange som ble rørt. «Baraye» er en direkte reaksjon på opprørene i Iran, og nå har den blitt en låt som millioner av mennesker har fått et nært forhold til. Men samtidig som Shervin kan glede seg over den gylne Grammy-statuetten, har den 25 år gamle iraneren en truende sak hengende over seg. Sangen hans kan nemlig sende ham i fengsel. Gjest: Kulturjournalist Munevver Yildiz. Hør episoden i appen NRK Radio

Sponsoreret af Arbejdernes Landsbank, Glostrup Shoppingcenter & StoreDrenge.dk ** Amerikanske David Blitzer kan være på vej ind i Brøndby IF som investor. Men hvem er han og hvilke tanker gør forskellige Brøndby-fans sig om eventuelle udenlandske ejere i klubben? ** Det debatterer Lasse Bauer, Juri Rao og Klaus Byr i denne særudgave af BrøndbyLyd. Nanna Møller Karlsen er vært og har mixet. ** Sangen der spilles i begyndelsen af udsendelsen er Står Her Endnu med BHP. **

Agnete er kommet hjem fra Texas med cowboystøvler på, men Joalane synes ikke, at de lyder cowboy nok. For en gangs skyld spiller bugi ligeså meget musik, som de siger at de vil. Joalane psyker Agnete, og så er de begge begyndt at boksetræne – og boksning, det er jo bare musik og dans med vold

Agnar Mykle regnes blant Norges viktigste forfattere og best husker vi ham kanskje fra romanen "Sangen om den røde rubin" - men visste du at Mykle grunnla landets første moderne dukketeater i 1949? Hør episoden i appen NRK Radio

Årets udgivelse: 2021 nærmer sig sin konklusion, og derfor er det i Kampagnesporet tid til at kåre årets musikalske udgivelse. For Mads Fuglede har listen været lang og valget svært, men alligevel var der i sidste ende en klar vinder - James McMurtrys' album The Horses and the Hounds. Mads guider igennem lyduniverset fra manden der b.la står bange sange som "Choctaw Bingo". For David Trads' vedkommende var valget nemmere og mere lige til, nemlig "Baby Can I Hold You Tonight", med den usandsynlige duo, Tracy Chapman og Luciano Pavarotti. Sangen der afslutter en anden af Davids' kulturanbefalinger, filmen House of Gucci, er ifølge David selv en surf 'n' turf af en sang, hvorimod Mads mere kalder den for en hotdog. Endnu en kæp i Bidens hjul: siden august har den amerikanske præsident Joe Biden mildest talt været i modvind, og hans approval-rating er nede på 42-43%. Nemmere bliver det ikke når han selv gentager mottoet "Let's go Brandon", og den demokratiske guvernør fra West Virginia Joe Manchin, stikker en kæp i hjulet for Build Back Better. David og Mads gør status på året der gik for Joe Biden, og den mindre end ideelle afslutning for den amerikanske præsident. Den eneste ærlige mand mand i Nevada - Harry Reid - er død: den garvede politiske veteran Harry Reid, tidligere senator og tidligere flertalsleder i Senatet er død i en alder af 82 år. Kendt som en mand med der både var ærlig og fyldt med integritet, men også frygtløs og ikke til at bestikke, gør David og Mads status på et liv der blandt andet inspirerede Barack Obama til at stille op som præsident. Episodens titelnumre: "Canola Fields" - James McMurtry "If It Don't Bleed" - James McMurtry "Baby Can I Hold You Tonight" - Tracy Chapman & Luciano Pavarotti Værter: David Trads og Mads Fuglede Producer: Andreas Birch   See omnystudio.com/listener for privacy information.