Podcasts about Shin

On today's episode I once again had the pleasure to speak to Dr. Shin Lin. Shin Lin, PhD, is a world-renowned expert on Tai Chi and a 12th generation heir of Chen Style Tai Chi designated by Grandmaster Chen Zheng-Lei of China's Chen Family Village, where Tai Chi originated.He is a longtime chair of biophysics at Johns Hopkins and professor of biological sciences and biomedical engineering at UCI, where his Laboratory for Mind-Body Signaling and Energy Research applies modern biophysical technologies to study the benefits of Tai Chi/Qigong on mind-body functions and body energy measured as heat, light and electricity. The result of his studies, are used to formulate models to explain the beneficial effects of these practices  on health and healing at the cellular, and molecular levels.You can checkout his research @ Department of Cell Biology Please visit Somatic Primer:You can visit at our website: Somaticprimer.comFor upcoming live courses: Vidyamethod.comOur Online Learning Platform @ Somatic Primer on PatreonPlease consider supporting the show with a monthly donation and don't to forget to like and subscribe.Support the show

In this super Shin'ichi Sakamoto episode, not only do we continue reading #DRCL, but we skip ahead to where he took over writing duties on The Climber! We also discuss Tatsuki Fujimoto 17-26, K-Pop Demon Hunters, and Silent Hill f!!! Send us emails! mangamachinations@gmail.com  Follow us on Social Media! @mangamacpodcast Check out our website! https://mangamachinations.com Support us on Ko-fi! https://ko-fi.com/mangamac  Check out our YouTube channel! https://www.youtube.com/mangamactv Check out our new gaming channel! https://www.youtube.com/@NakayoshiGaming/  Timestamps: Intro - 00:00:00 Chainsaw Man Movie - 00:05:58 Tatsuki Fujimoto 17-26 - 00:08:53 K-Pop Demon Hunters - 00:15:55 Silent Hill f - 00:36:51 Next Episode Preview - 00:51:12 #DRCL 4 - 00:53:34 The Climber 3 - 01:29:43 *SPOILERS* The Climber 2 - 01:45:11 Our Rankings - 02:02:09 Outro - 02:05:08 Song Credits: "Hopscotch" by Louis Adrien "Jiggin the Jig" by Bless & the Professionals "Green Light" by Emily Lewis "Tasty Bites" by ZISO

Golf: Nasa Hataoka, Shin Ji-yai Tied for Lead after Toto Japan Classic 2nd Day

Yawaitar yajin aikin likitoci na neman kassara ɓangaren kiwon lafiya a Najeriya, domin kuwa yanzu haka likitocin da suka kammala karatu sannan suke cikin asibitoci don sanin makamar aiki, sun tsunduma yajin aiki saboda neman a biya su haƙƙoƙinsu kamar dai yadda yake ƙunshe a yarjejeniyar da ke tsakaninsu da hukuma. Shin ko yaya wannan yajin aiki ke shafar sha'anin kiwon lafiya a yankunan da ku ke rayuwa? Wace shawara za ku bai wa ɓangarorin don warware saɓanin da ke tsakaninsu? Wannan shi ne maudu'in da muka baku damar tofa albarkacin bakinku a kai. Latsa alamar sauti domin sauraren shirin...

Ra'ayoyi sun sha bambam a tsakanin al'umma dangane da matakin zaftare kuɗaɗe don tallafa wa Gidauniyar Ceton Ƙasa da gwamnatin Jamhuriyar Nijar ta kafa. Ƙarƙashin wannan gidauniya, kusan kowane rukuni na jama'a, tun daga ƙusoshin gwamnati, zuwa ma'aikata da kamfanoni, na gwamnati da masu zaman kansu, kai har ma da masu zaman kashe wando, ala dole sai kowa ya bayar da nasa tallafin. Shin me za ku ce a game da wannan Gidauniya, da har ake cewa har yanzu ba wanda ke da hurumin gudanar da bincike dangane da kuɗaɗen da ake tarawa a cikinta? Wannan shi ne maudu'in da muka baku damar tofa albarkacin bakinku a kai. Latsa alamar sauti domin sauraren shirin...

Shadesmar is not quite yet everything we were hoping for, but the story makes up for that with some terrific Szeth stuff in this section of chapters. We're all happy to see everyone's favorite Shin back on the scene, though what his relationship with his new sword means is still anyone's guess. 

Today's sermon, by Rev. Joyce Shin, was offered on Sunday, November 2, 2025. The scripture passages this morning were Hebrews 11:1-16 and Hebrews 11:23-12:3. To listen to the full Lord's Day service, search for "Swarthmore Presbyterian Church."

This episode we start to get more into the material culture of the period with court fashion, as we look at the court robes that went along with the updated court ranks.  Granted, we only have a few resources, but from those it does seem like we can construct at least a plausible idea of what the court may have looked like at this time. For more discussion, check out the blogpost:  https://sengokudaimyo.com/podcast/episode-137   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is Episode 137:  Courtly Fashion. In the New Year's ceremony, the court officials lined up in front of the Kiyomihara Palace, arranged by their relative court rank, dressed in their assigned court robes.  The effect was impressive—the rows of officials painting the courtyard like the bands of color in a rainbow, albeit one with only a couple of hues.  The fact that they were all wearing the same style of dress and black, stiffened gauze hats only added to the effect.  The individual officers were all but lost in what was, at least in outward form, a single, homogenous machine of government, just waiting for the command of their monarch to attend to the important matters of state. We are covering the reign of Ohoama no Ohokimi, aka Ama no Nunahara oki no mabito no Sumera no Mikoto, aka Temmu Tennou.  Last episode we went over the changes he had made to the family titles—the kabane—as well as to the courtly rank system.  For the former, he had consolidated the myriad kabane and traditional titles across Yamato into a series of eight—the Yakusa no Kabane.   These were, from highest to lowest: Mabito, Asomi, Sukune, Imiki, Michinoshi, Omi, Muraji, and Inaki.  By the way, you might notice that "Mabito" actually occurs in Ohoama's posthumous name:  Ama no Nunahara oki no mabito, which lends more credence to the idea that that kabane was for those with a special connection to the royal lineage. Besides simplifying and restructuring the kabane, Ohoama also reformed the court rank system.  He divided the Princely ranks into two categories:  Myou, or Bright, and Jou, or Pure.  For the court nobles the categories were:                Shou – Upright                Jiki – Straight                Gon – Diligent                Mu – Earnest                Tsui – Pursue                Shin – Advancement Each category was further divided into four grades (except for the very first princely category, Myou, which was only two).  Each grade was then further divided into large, "dai", or broad, "kou". And this brings us to our topic today. Along with this new rank system, Ohoama's administration also instituted a new set of court sumptuary laws. Some are vague in the record—we can just make assumptions for what is going on based on what we know from later fashion choices.  Others are a little more clear.  We'll take a look at those sumptuary laws, particularly those that were directly associated with the new court rank system, but we'll also look at the clothing styles more generally. To start with, let's talk about what we know about clothing in the archipelago in general.  Unfortunately, fabric doesn't tend to survive very well in the generally acidic soils of the Japanese archipelago.  Cloth tends to break down pretty quickly.  That said, we have fragments here and there and impressions in pottery, so we have some idea that there was some kind of woven fabric from which to make clothing out of. And before I go too far I want to give a shout out to the amazing people at the Kyoto Costume Museum.  They have a tremendous website and I will link to it in the comments.  While there may be some debate over particular interpretations of historical clothing, it is an excellent resource to get a feel for what we know of the fashion of the various periods.  I'll also plug our own website, SengokuDaimyo.com, which has a "Clothing and Accessory" section that, while more geared towards Heian and later periods, may still be of some use in looking up particular terms and getting to know the clothing and outfits. At the farthest reaches of pre-history, we really don't have a lot of information for clothing.  There is evidence of woven goods in the Jomon period, and we have Yayoi burials with bits of cloth here and there, but these are all scraps.  So at best we have some conjecture as to what people were wearing, and possibly some ability to look across the Korean peninsula and see what people had, there. There are scant to no reliable records from early on in Japanese history, and most of those don't really do a great job of describing the clothing.  Even where we do get something, like the Weizhi, one has to wonder given how they tended to crib notes from other entries. There is at least one picture scroll of interest: Portraits of Periodical Offering of Liang, or Liáng -Zhígòngtú.  It is said to have been painted by Xiao Yi in the early 6th century, and while the original no longer exists there is an 11th century copy from the time of the Song Dynasty.  The scroll shows  various ambassadors to the Liang court, including one from Wa.  The Wa ambassador is shown with what appears to be a wide piece of cloth around his hips and legs, tied in front.  His lower legs are covered in what we might call kyahan today: a rather simple wrap around leg from below the knee to the foot.  He has another, blue piece of cloth around his shoulders, almost like a shawl, and it is also tied in front.  Then there is a cloth wrapped and tied around his head. It's hard to know how much of this depiction is accurate and how much the artist was drawing on memory and descriptions from things like the Weizhi or Wei Chronicles, which stated that the Wa people wore wide cloths wrapped around and seamlessly tied As such, it may be more helpful to look at depictions actually from the archipelago: specifically, some of the human-figured haniwa, those clay cylinders and statues that adorned the burial mounds which gave the kofun period its name.  Some of these haniwa are fairly detailed, and we can see ties, collars, and similar features of clothing. These haniwa primarily seem to cluster towards the end of the Kofun period, in the later 6th century, so it is hard to say how much they can be used for earlier periods, though that is exactly what you will typically see for periods where we have little to know evidence.  I'm also not sure how regional certain fashions might have been, and we could very much be suffering from survivorship bias—that is we only know what survived and assume that was everything, or even the majority. Still, it is something. Much of what we see in these figures is some kind of upper garment that has relatively tight sleeves, like a modern shirt or jacket might have, with the front pieces overlapping create a V-shaped neckline.  The garment hem often hangs down to just above the knee, flaring out away from the body, and it's held closed with ties and some kind of belt, possibly leather in some cases, and in others it looks like a tied loop of cloth.  There is evidence of a kind of trouser, with two legs, and we see ties around the knee.  In some cases, they even have small bells hanging from the ties.  Presumably the trousers might have ties up towards the waist, but we cannot see that in the examples we have. We also see individuals who have no evidence of any kind of bifurcated lower garment.  That may indicate an underskirt of some kind, or possibly what's called a "mo"—but it could also be just a simplification for stability, since a haniwa has a cylindrical base anyway.  It is not always obvious when you are looking at a haniwa figure whether it depicts a man or woman: in some cases there are two dots on the chest that seem to make it obvious, but the haniwa do come from different artisans in different regions, so there is a lot of variability. We also see evidence of what seem to be decorative sashes that are worn across the body, though not in all cases.  There are various types of headgear and hairstyles.  Wide-brimmed and domed hats are not uncommon, and we also see combs and elaborate hairstyles depicted.  On some occasions we can even see that they had closed toed shoes.  For accessories, we see haniwa wearing jewelry, including necklaces (worn by both men and women), bracelets, and earrings.  In terms of actual human jewelry, early shell bracelets demonstrate trade routes, and the distinctive magatama, or comma shaped jewel, can be found in the archipelago and on the Korean peninsula, where it is known as "gogok".  Based on lines or even colored pigment on the haniwa, it appears that many of these outfits were actually quite heavily decorated.  Paint on the outfits is sometimes also placed on the face, suggesting that they either painted or tattooed themselves, something mentioned in the Wei Chronicles.  We also have archaeological examples of dyed cloth, so it is interesting that people are often depicted in undyed clothing.  There is one haniwa that I find particularly interesting, because they appear to be wearing more of a round-necked garment, and they have a hat that is reminiscent of the phrygian cap: a conical cap with the top bent forward.  These are traits common to some of the Sogdians and other Persian merchants along the silk road, raising the possibility that it is meant to depict a foreigner, though it is also possible that it was just another local style. If we compare this to the continent, we can see some immediate difference.  In the contemporaneous Sui dynasty, we can see long flowing robes, with large sleeves for men and women.  The shoes often had an upturned placket that appears to have been useful to prevent one from tripping on long, flowing garments.  Many of these outfits were also of the v-neck variety, with two overlapping pieces, though it is often shown held together with a fabric belt that is tied in front.  The hats appear to either be a kind of loose piece of fabric, often described as a turban, wrapped around the head, the ends where it ties together trailing behind, or black lacquered crowns—though there were also some fairly elaborate pieces for the sovereign. As Yamato started to import continental philosophy, governance, and religion, they would also start to pick up on continental fashion.  This seems particularly true as they adopted the continental concept of "cap rank" or "kan-i". Let's go over what we know about this system, from its first mention in the Chronicles up to where we are in Ohoama's reign. As a caveat, there is a lot we don't know about the details of these garments, but we can make some guesses. The first twelve cap-ranks, theoretically established in 603, are somewhat questionable in their historicity, as are so many things related to Shotoku Taishi.  And their names are clearly based on Confucian values:  Virtue, Humanity, Propriety, Faith, Justice, and Wisdom, or Toku, Nin, Rei, Shin, Gi, and Chi.  The five values and then just "Virtue", itself. The existence of this system does seem to be confirmed by the Sui Shu, the Book of Sui, which includes a note in the section on the country of Wa that they used a 12 rank system based on the Confucian values, but those values were given in the traditional Confucian order vice the order given in the Nihon Shoki.   The rank system of the contemporaneous Sui and Tang dynasties was different from these 12 ranks, suggesting that the Yamato system either came from older dynasties—perhaps from works on the Han dynasty or the Northern and Southern Dynasty, periods—or they got it from their neighbors, Baekje, Silla, and Goguryeo.  There does seem to be a common thread, though, that court rank was identifiable in one's clothes. As for the caps themselves, what did they look like?  One would assume that the Yamato court just adopted a continental style cap, and yet, which one? It isn't fully described, and there are a number of types of headwear that we see in the various continental courts. Given that, we aren't entirely sure exactly what it looked like, but we do have a couple of sources that we can look at and use to make some assumptions.  These sources l ead us to the idea of a round, colored cap made of fabric, around the brim that was probably the fabric or image prescribed for that rank.  It is also often depicted with a bulbous top, likely for the wearer's hair, and may have been tied to their top knot.     Our main source for this is the Tenjukoku Mandala Embroidery (Tenjukoku-mandara-shuuchou) at Chuuguuji temple, which was a temple built for the mother of Prince Umayado, aka Shotoku Taishi.    This embroidery was created in 622, so 19 years after the 12 ranks would have been implemented. It depicts individuals in round-necked jackets that appear to have a part straight down the center.  Beneath the jacket one can see a pleated hem, possibly something like a "hirami", a wrapped skirt that is still found in some ceremonial imperial robes.  It strikes me that this could also be the hem of something like the hanpi, which was kind of like a vest with a pleated lower edge.  Below that we see trousers—hakama—with a red colored hem—at least on one figure that we can see.  He also appears to be wearing a kind of slipper-like shoe. As for the women, there are a few that appear to be in the mandala, but it is hard to say for certain as the embroidery has been damaged over the years. That said, from what we can tell, women probably would have worn something similar to the men in terms of the jacket and the pleated under-skirt, but then, instead of hakama, we see a pleated full-length skirt, or mo.  We also don't have a lot of evidence for them wearing hats or anything like that. The round necked jacket is interesting as it appears to be similar to the hou that was common from northern China across the Silk Road, especially amongst foreigners.  This garment  came to displace the traditional robes of the Tang court and would become the basis for much of the court clothing from that period, onwards.  The round necked garment had central panels that overlapped, and small ties or fastenings at either side of the neck to allow for an entirely enclosed neckline.  This was more intricate than just two, straight collars, and so may have taken time to adopt, fully. The next change to the cap-rank system was made in 647, two years into the Taika Reform.  The ranks then were more directly named for the caps, or crowns—kanmuri—and their materials and colors.  The ranks translate to Woven, Embroidered, Purple, Brocade, Blue, Black, and finally "Establish Valor" for the entry level rank. The system gets updated two years later, but only slightly.  We still see a reference to Woven stuff, Embroidery, and Purple, but then the next several ranks change to Flower, Mountain, and Tiger—or possibly Kingfisher.  These were a little more removed from the cap color and material, and may have had something to do with designs that were meant to be embroidered on the cap or on the robes in some way, though that is just speculation based on later Ming and Qing court outfits. Naka no Ohoye then updates it again in 664, but again only a little.  He seems to add back in the "brocade" category, swapping out the "flower", and otherwise just adds extra grades within each category to expand to 26 total rank grades. And that brings us to the reforms of 685, mentioned last episode.  This new system was built around what appear to be moral exhortations—Upright, Straight, Diligent, Earnest, etc.  And that is great and all, but how does that match up with the official robes? What color goes with each rank category?  Fortunately, this time around, the Chronicle lays it out for us pretty clearly. First off we are given the color red for the Princely ranks—not purple as one might have thought.  Specifically, it is "Vermillion Flower", hanezu-iro, which Bentley translates as the color of the "Oriental bush" or salmon.  In the blogpost we'll link to a table of colors that the founder of Sengoku Daimyo, Anthony Bryant, had put together, with some explanation of how to apply it.  I would note that there is often no way to know exactly what a given color was like or what shades were considered an acceptable range.  Everything was hand-dyed, and leaving fabric in the dye a little longer, changing the proportions, or just fading over time could create slightly different variants in the hue, but we think we can get pretty close. From there we have the six "common" ranks for the nobility.  Starting with the first rank, Upright, we have "Dark Purple".  Then we have "Light Purple".  This pattern continues with Dark and Light Green and then Dark and Light Grape or Lilac.  Purple in this case is Murasaki, and green here is specifically Midori, which is more specifically green than the larger category of "Aoi", which covers a spectrum of blue to green.  The grape or lilac is specifically "suou", and based on Bentley's colors it would be a kind of purple or violet. The idea is that the official court outfits for each rank would be the proper color.  And yes, that means if you get promoted in rank, your first paycheck—or rice stipend—is probably going to pay for a new set of official clothes.  Fortunately for the existing court nobles at the time, in the last month of 685, the Queen provided court clothing for 55 Princes and Ministers, so they could all look the part. And the look at court was important.  In fact, several of the edicts from this time focus specifically on who was allowed—or expected—to wear what.  For instance, in the 4th month of 681, they established 92 articles of the law code, and among those were various sumptuary laws—that is to say, laws as to what you could wear.  We are told that they applied to everyone from Princes of the blood down to the common person, and it regulated the wearing of precious metals, pearls, and jewels; the type of fabric one could use, whether purple, brocade, embroidery, or fine silks; and it also regulated woollen carpets, caps, belts, and the colors of various things. And here I'd like to pause and give some brief thought to how this played into the goals of the court, generally, which is to say the goal of creating and establishing this new system of governance in the cultural psyche of the people of the archipelago.  From the continental style palaces, to the temples, and right down to the clothing that people were wearing, this was all orchestrated, consciously or otherwise, to emphasize and even normalize the changes that were being introduced.  When everything around you is conforming to the new rules, it makes it quite easy for others to get on board. The court had surrounded themselves with monumental architecture that was designed along continental models and could best be explained through continental reasoning.  Even if they weren't Confucian or Daoist, those lines of reasoning ran through the various cultural and material changes that they were taking up.  Sure, they put their own stamp on it, but at the same time, when everything is right in front of you, it would become that much harder to deny or push back against it. And when you participated in the important rituals of the state, the clothing itself became a part of the pageantry.  It reinforced the notion that this was something new and different, and yet also emphasized that pushing against it would be going against the majority.  So court uniforms were another arm of the state's propaganda machine, all designed to reinforce the idea that the heavenly sovereign—the Tennou—was the right and just center of political life and deserving of their position.  Getting back to the sumptuary laws and rank based regulations: It is unfortunate that the record in the Nihon Shoki doesn't tell us exactly how things were regulated, only that they were, at least in some cases.  So for anything more we can only make assumptions based on later rules and traditions.  A few things we can see right away, though.  First is the restriction of the color purple.  Much as in Europe and elsewhere in the world, getting a dark purple was something that was not as easy as one might think, and so it tended to be an expensive dye and thus it would be restricted to the upper classes—in this case the princely and ministerial rank, no doubt.  Similarly brocade and fine silks were also expensive items that were likely restricted to people of a particular social station for that reason. The mention of woolen rugs is particularly intriguing.  Bentley translates this as woven mattresses, but I think that woolen rugs makes sense, as we do have examples of woolen "rugs" in Japan in at least the 8th century, stored in the famous Shousouin repository at Toudaiji temple, in Nara.  These are all imported from the continent and are actually made of felt, rather than woven.  As an imported item, out of a material that you could not get in the archipelago, due to a notable lack of sheep, they would have no doubt been expensive. The funny thing is that the carpets in the Shousouin may not have been meant as carpets.  For the most part they are of a similar size and rectangular shape, and one could see how they may have been used as sleeping mattresses or floor coverings.  However, there is some conjecture that they came from the Silk Road and may have been originally meant as felt doors for the tents used by the nomadic steppe peoples.  This is only conjecture, as I do not believe any of these rugs have survived in the lands where they would have been made, but given the size and shape and the modern yurt, it is not hard to see how that may have been the case.  Either way, I tend to trust that this could very well have meant woolen rugs, as Aston and the kanji themselves suggest, though I would understand if there was confusion or if it meant something else as wool was not exactly common in the archipelago at that time or in the centuries following. The last section of the regulations talks about the use of caps and belts.  The caps here were probably of continental origin:  The kanmuri, or official cap of state of the court nobles, or the more relaxed eboshi—though at this time, they were no doubt closely related. In fact, a year later, we have the most specific mention to-date of what people were actually wearing on their heads: there is a mention of men tying up their hair and wearing caps of varnished gauze.  Earlier caps related to the cap rank system are often thought to be something like a simple hemisphere  that was placed upon the head, with a bulbous top where the wearer's hair could be pulled up as in a bun. The kanmuri seems to have evolved from the soft black headcloth that was worn on the continent, which would have tied around the head, leaving two ends hanging down behind.  Hairstyles of the time often meant that men had a small bun or similar gathering of hair towards the back of their head, and tying a cloth around the head gave the effect of a small bump.  This is probably what we see in depictions of the early caps of state.  Sometimes this topknot could be covered with a small crown or other decoration, or wrapped with a cloth, often referred to as a "Tokin" in Japanese.  But over time we see the development of hardened forms to be worn under a hat to provide the appropriate silhouette, whether or not you actually had a topknot (possibly helpful for gentlemen suffering from hair loss).  And then the hat becomes less of a piece of cloth and more just a hat of black, lacquered gauze made on a form, which was much easier to wear.  At this point in the Chronicle, the cap was likely still somewhat malleable, and would made to tie or be pinned to that bun or queue of hair.  This explains the mention of men wearing their hair up.  This pin would become important for several different types of headgear, but ties were also used for those who did not have hair to hold the hat on properly. Two years after the edict on hats, we get another edict on clothing, further suggesting that the court were wearing Tang inspired clothing.  In 685 we see that individuals are given leave to wear their outer robe either open or tied closed. This is a clue that this outer robe might something akin to the round-necked hou that we see in the Tenjukoku Mandala, where the neck seems to close with a small tie or button.  However, we do see some examples, later, of v-necked garments with a tie in the center of the neck, so that may be the reference..  Opening the collar of the formal robes was somewhat akin to loosening a necktie, or unbuttoning the top button of a shirt.  It provided a more relaxed and comfortable feeling.  It could also be a boon in the warm days of summer.  Leaving it closed could create a more formal appearance. The courtiers also had the option of whether or not to wear the "Susotsuki", which Bentley translates as "skirt-band".  I believe this refers to the nai'i, or inner garment.  This would often have a pleated hem—a suso or ran—which would show below the main robe as just a slight hem.  Again, this is something that many would dispense with in the summer, or just when dressing a bit more casually, but it was required at court, as well as making sure that the tassles were tied so that they hung down.  This was the uniform of the court.  We are also told that they would have trousers that could be tied up, which sounds like later sashinuki, though it may have referred to something slightly different.  We are also given some regulations specifically for women, such as the fact that women over 40 years of age were allowed the discretion on whether or not to tie up their hair, as well as whether they would ride horses astride or side-saddle.  Presumably, younger women did not get a choice in the matter.  Female shrine attendants and functionaries were likewise given some leeway with their hairstyles. A year later, in 686, they do seem to have relaxed the hairstyles a bit more: women were allowed to let their hair down to their backs as they had before, so it seems that, for at least a couple of years, women under the age of 40 were expected to wear their hair tied up in one fashion or another. In that same edict, men were then allowed to wear "habakimo".  Aston translates this as "leggings" while Bentley suggests it is a "waist skirt".  There are an example of extant habakimo in the Shousouin, once again, and they appear to be wrappings for the lower leg.  It actually seems very closely related to the "kyahan" depicted all the way back in the 6th century painting of the Wo ambassador to Liang. Even though these edicts give a lot more references to clothing, there is still plenty that is missing.  It isn't like the Chroniclers were giving a red carpet style stitch-by-stitch critique of what was being worn at court.  Fortunately, there is a rather remarkable archaeological discovery from about this time. Takamatsuzuka is a kofun, or ancient burial mound, found in Asuka and dated to the late 7th or early 8th century.  Compared to the keyhole shaped tombs of previous centuries, this tomb is quite simple: a two-tiered circular tomb nestled in the quiet hills.  What makes it remarkable is that the inside of the stone burial chamber was elaborately painted.  There are depictions of the four guardian animals, as well as the sun and the moon, as well as common constellations.  More importantly, though, are the intricate pictures of men and women dressed in elaborate clothing. The burial chamber of Takamatsuzuka is rectangular in shape.  There are images on the four vertical sides as well as on the ceiling.  The chamber is oriented north-south, with genbu, the black tortoise, on the north wall and presumably Suzaku, the vermillion bird, on the south wall—though that had been broken at some point and it is hard to make out exactly what is there. The east and west walls are about three times as long as the north and south walls.  In the center of each is a guardian animal—byakko, the white tiger, on the west wall and seiryuu, the blue—or green—dragon on the east.  All of these images are faded, and since opening of the tomb have faded even more, so while photos can help, it may require a bit more investigation and some extrapolation to understand all of what we are looking at. On the northern side of both the east and west wall we see groups of four women.  We can make out green, yellow, and red or vermillion outer robes with thin fabric belt sashes, or obi, tied loosely and low around the waist.  There is another, lightly colored—possibly white, cream or pink—that is so faded it is hard to make out, and I don't know if that is the original color.  These are v-necked robes, with what appear to be ties at the bottom of the "v".  Around the belt-sash we see a strip of white peaking out from between the two sides of the robe—most likely showing the lining on an edge that has turned back slightly.  The cuffs of the robe are folded back, showing a contrasting color—either the sleeves of an underrobe or a lining of some kind.  Below the outer robe is a white, pleated hem—possibly a hirami or similar, though where we can make it out, it seems to be the same or similar color as the sleeves.  Under all of that, they then have a relatively simple mo, or pleated skirt.  The ones in the foreground are vertically striped in alternating white, green, red, and blue stripes.  There is one that may just be red and blue stripes, but I'm not sure.  In the background we see a dark blue—and possibly a dark green—mo.  At the base of each mo is a pleated fringe that appears to be connected to the bottom of the skirt.  The toe of a shoe seems to peek out from underneath in at least one instance.  They don't have any obvious hair ornaments, and their hair appears to be swept back and tied in such a way that it actually comes back up in the back, slightly.  They appear to be holding fans and something that might be a fly swatter—a pole with what looks like tassels on the end. In comparison, at the southern end of the tomb we have two groups of men.  These are much more damaged and harder to make out clearly.  They have robes of green, yellow, grey, blue, and what looks like dark blue, purple, or even black.  The neckline appears to be a v-necked, but tied closed, similar to what we see on the women.  We also see a contrasting color at the cuff, where it looks like the sleeves have turned back, slightly.  They have belt-sashes similar to the women, made of contrasting fabric to the robe itself.  Below that we see white trousers, or hakama, and shallow, black shoes.  On some of the others it is suggested that maybe they have a kind of woven sandal, but that is hard to make out in the current image.  On their heads are hats or headgear of black, stiffened—probably lacquered—gauze.  They have a bump in the back, which is probably the wearer's hair, and there is evidence of small ties on top and larger ties in the back, hanging down.  Some interpretations also show a couple with chin straps, as well, or at least a black cord that goes down to the chin.  They carry a variety of implements, suggesting they are attendants, with an umbrella, a folding chair, a pouch worn around the neck, a pole or cane of some kind, and a bag with some kind of long thing—possibly a sword or similar. The tomb was originally found by farmers in 1962, but wasn't fully examined until 1970, with an excavation starting in 1972.  The stone at the entryway was broken, probably from graverobbers, who are thought to have looted the tomb in the Kamakura period.  Fortunately, along with the bones of the deceased and a few scattered grave goods that the robbers must have missed, the murals also survived, and somehow they remained largely intact through the centuries.  They have not been entirely safe, and many of the images are damaged or faded, but you can still make out a remarkable amount of detail, which is extremely helpful in determining what clothing might have looked like at this time—assuming it is depicting local individuals. And there is the rub, since we don't know exactly whom the tomb was for.  Furthermore, in style it has been compared with Goguryeo tombs from the peninsula, much as nearby Kitora kofun is.  Kitora had images as well, but just of the guardian animals and the constellations, not of human figures. There are three theories as to who might have been buried at Takamatsuzuka.  One theory is that it was one of Ohoama's sons.  Prince Osakabe is one theory, based on the time of his death and his age.  Others have suggested Prince Takechi.  Based on the teeth of the deceased, they were probably in their 40s to 60s when they passed away. Some scholars believe that it may be a later, Nara period vassal—possibly, Isonokami no Maro.  That would certainly place it later than the Asuka period. The third theory is that it is the tomb of a member of one of the royal families from the Korean peninsula—possibly someone who had taken up refuge in the archipelago as Silla came to dominate the entire peninsula.  This last theory matches with the fact that Takamatsuzuka appears to be similar to tombs found in Goguryeo, though that could just have to do with where the tomb builders were coming from, or what they had learned. That does bring up the question of the figures in the tomb.  Were they contemporary figures, indicating people and dress of the court at the time, or were they meant to depict people from the continent?  Without any other examples, we may never know, but even if was indicative of continental styles, those were the very styles that Yamato was importing, so it may not matter, in the long run.     One other garment that isn't mentioned here is the hire, a scarf that is typically associated with women.  It is unclear if it has any relationship to the sashes we see in the Kofun period, though there is at least one mention of a woman with a hire during one of the campaigns on the Korean peninsula.  Later we see it depicted as a fairly gauzy piece of silk, that is worn somewhat like a shawl.  It is ubiquitous in Sui and Tang paintings of women, indicating a wide-ranging fashion trend.  The hire is a fairly simple piece of clothing, and yet it creates a very distinctive look which we certainly see, later. Finally, I want to take a moment to acknowledge that almost everything we have discussed here has to do with the elites of society—the nobles of the court.  For most people, working the land, we can assume that they were probably not immediately adopting the latest continental fashions, and they probably weren't dressing in silk very much.  Instead, it is likely that they continued to wear some version of the same outfits we see in the haniwa figures of the kofun period.  This goes along with the fact that even as the elite are moving into palaces built to stand well above the ground, we still have evidence of common people building and living in pit dwellings, as they had been for centuries.  This would eventually change, but overall they stuck around for quite some time.  However, farmers and common people are often ignored by various sources—they aren't often written about, they often aren't shown in paintings or statues, and they did often not get specialized burials.  Nonetheless, they were the most populous group in the archipelago, supporting all of the rest. And with that, I think we will stop for now.  Still plenty more to cover this reign.  We are definitely into the more historical period, where we have more faith in the dates—though we should remember that this is also one of the reigns that our sources were specifically designed to prop up, so we can't necessarily take everything without at least a hint of salt and speculation, even if the dates themselves are more likely to be accurate. Until then, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

It's Founder Friday! I am happy to welcome to the show Kenny Kuk, and Hong Shin of Haan Coffee Roasters in Orlando Florida! Haan Coffee has been in operation since 2020 starting first as a roastery and quickly a cafe space to showcase the beautiful coffees and hospitality they are known for. The four friends Suzie Shin, Kenny Kuk, Albert Kang that founded Haan had an affinity for business, coffee, and a desire to serve people and honor their shared Korean culture. Haan Coffee Roasters was born as a project to share these things with the diverse guests in their Orlando, FL community. I have enjoyed their hospitality and coffee several times in recent years and am happy we could sit down with Kenny and Hong to tell the tale. We discuss: The idea that started their coffee journey going from popcorn popper to proper roaster developing the standards for coffee and service how to assemble a winning team leadership with empathy how to curate a coffee menu that is accessible but adventurous communication and working together as an ownership team  The unique Korean culture and architecture that goes into their cafe Why it is critical to know your staff in order to meet their needs Advice to other owners on how to build a people first brand   Related Episodes: 542: Founder Friday! w/ Nori and Tin Burmudez of Corridor Flow, Lomita, CA 391 : Founder Friday! w/ Megan Wilson of Spuds Coffee in Ft. Lauderdale, Florida

In this episode, veteran KBS journalist Bong-Seung Shin shares his experience reporting from North Korea and communicating with journalists on the ground in the country. Shin first traveled to Pyongyang in 2008, crossing the demilitarized zone by air as part of a trip organized by an NGO. He describes the excitement of entering North Korea for the first time, the strict media controls he faced and the challenge of filming under constant supervision. A decade later, in 2018, Shin led KBS coverage of inter-Korean events from Seoul, coordinating live broadcasts with his team stationed in Pyongyang. He explains how they managed to send footage, the professionalism of North Korean media workers and how journalists on both sides found common ground despite political barriers. Reflecting on both trips, Shin discusses what these experiences taught him about inter-Korean relations, the divided culture of the two Koreas and his hope to one day open a KBS bureau in Pyongyang. Bong-Seung Shin is a TV journalist with South Korea's state-owned broadcaster KBS.  About the podcast: The North Korea News Podcast is a weekly podcast hosted by Jacco Zwetsloot exclusively for NK News, covering all things DPRK — from news to extended interviews with leading experts and analysts in the field, along with insight from our very own journalists. NK News subscribers can listen to this and other exclusive episodes from their preferred podcast player by accessing the private podcast feed. For more detailed instructions, please see the step-by-step guide at nknews.org/private-feed.

In this episode of the AACC podcast, host Ray Chang engages in a rich conversation with Helen Lee and Shin Maeng about their collaborative children's book 'Kaylee Prays for the Children of the World.' They discuss the inspiration behind the book, the evolution of its themes, particularly around prayer, and the importance of cultural identity in storytelling. The conversation also touches on the challenges faced by Asian American creatives in the publishing industry and the hope that this book will inspire meaningful conversations between parents and children about prayer and global issues. Join us in the conversation!  A huge thank you to our episode's sponsor Boston University's School of Theology. At Boston University's School of Theology pursue your ministry and public leadership as you become a leader ready to respond to the challenges of today's global religious landscape. Transform yourself, then change the world. Find out more about their programs on BU's School of Theology website at www.bu.edu/sth/.   Linked Resources:https://www.shinmaeng.com/ https://www.helenleebooks.com/ Hosts: Raymond Chang Guests: Helen Lee and Shin Maeng Manager: Gracie Hulse Producers: Daniel Harris & Josh Huver Coordinator: Amber Rhee   Follow us on IG: @aachristcollab

Wataƙila sakamakon matsin lamba daga al'umma, shugaban Najeriya Bola Ahmed Tinubu ya sake bitar afuwar da ya yi wa mutane sama da 170 da ke ɗaure a gidajen yari saboda laifukan aikata kisan kai, fataucin miyagun ƙwayoyi da dai sauransu. Shin me za ku ce dangane da wannan sabon mataki na shugaba Tinubu da ke tabbatar da cewa mafi yawan waɗanda aka yi wa afuwar a farko wannan wata, a yanzu za su ci gaba da kasancewa a gidan yari? Wannan shi ne maudu'in da muka baku damar tofa albarkacin bakinku a kai cikin shirin Ra'ayoyin ku masu sauraro na wannan rana. Latsa alamar sauti domin sauraren shirin....

If you're an injured runner we can help you get back to running pain-free.Click the link to book a free call with ushttps://matthewboydphysio.com/booking/Running Fundamentals Coursehttps://matthewboydphysio.com/running-fundamentals-course/Instagramhttps://www.instagram.com/matthewboydphysio/SummaryIn this episode, Matthew Boyd discusses the common issue of shin pain in runners, often referred to as shin splints or medial tibial stress syndrome. He emphasizes the importance of addressing the root causes of shin pain rather than just treating the symptoms. Boyd outlines three essential strategies for runners: improving running form, strengthening calf muscles, and using running as a form of rehabilitation while monitoring pain levels. The discussion provides valuable insights for runners looking to overcome shin pain and return to pain-free running.TakeawaysShin pain is often misdiagnosed; understanding the terminology is key.Addressing root causes is more effective than symptom management.Improving running form can significantly reduce shin stress.Strong calf muscles are essential for shin pain recovery.Plyometric exercises provide a strong stimulus for bone adaptation.Running should be part of the rehabilitation process.Pain should be classified into green, orange, and red zones.Maintaining a green pain level is crucial for recovery.Avoiding too much running too soon is important for healing.Professional help can assist in overcoming persistent shin pain.

Today's sermon, by Rev. Joyce Shin, was offered on Sunday, October 26, 2025. The scripture passage this morning was Deuteronomy 34:1-12. To listen to the full Lord's Day service, search for "Swarthmore Presbyterian Church."

Pastor Eric continues in Psalm 119; looking at verses 161-168. In this teaching we look at perhaps the most optimistic stanza of the chapter: hope, salvation, praise, joy, and endurance.

Review: Jacob's family; Israel?; Caring for "many souls"; People vs stuff; Loving Caesar; Rachel's treachery; Reading bible with guidance; Melchizedek? Abimelech?; Esau's descendants; Father's blessing; True sons; Doing the will of the father; "Judeo-Christian values"; Listening to Holy Spirit; Knowing Jesus; Pure Religion; No kings in Israel - until Saul; Society of righteousness; Cities (of blood); "leaven"; Men exercising authority; Loving your neighbor; Difference between Esau and Jacob; Honoring what you say and do; Tribal/national values; Jacob giving choice; "logos"; Following Christ's ways; Condemning Jews?; "Religious" quarrels; "Scripture"; Reading without understanding; Two trees; Gen 36:1 Esau is Edom - aleph-dalet+vav-mem; disconnected mem?; Hittites and Hivites; Daughters of Canaan; Human resources; aleph-chet = brother; Weakening the people; Idolators; "Seir"; Changing the way you think; Shin-ayin-yod-resh (70); forgiveness; Simon the leper, Nicodemus; Sanhedrin; Baptism; Real Israel; Listing Esau's offspring; Dukes and kings?; Teaching the ways of Edom; hey+chet-resh-yod Horite; Importance of Hebrew letters; Knowing Holy Spirit; v31 kings; Generation to generation; Cities of unrighteousness; Ways of Edom vs Israel; Mystery Babylon; Power; God is spirit; Pursuing our divine connection; Logos of Christ; Habitations; mem-vav-shin-biet; What deeds are you doing?; Possession?; Owning land; Legal title; Forced sacrifice; Rulers; "No kings"?; But one purse; Passports; Property tax; Golems; Are you a possession?; Jesus - king and high priest, order of Melchizedek; No oppression; Sharing in love; Gift of salvation; Free assemblies; God is the same.

Send us a textAll the links mentioned in this episode  can be found via the following link:https://andrewjbrown.blogspot.com/p/free-religion.htmlAlternatively, you can go directly to the texts of Imaoka Shin'ichirō's Principles of Living by clicking on the following links:Principles of Living (1973)https://docs.google.com/document/d/e/2PACX-1vTgvwLgEa8a258r6GYosYiGzEHL0i-GP5JkDRDylt9cvd86eQtzE6G5Kco8f1AuuhrgLgbydOBYX356/pub#h.amthwuhoshq7Principles of Living (1981)https://docs.google.com/document/d/e/2PACX-1vTgvwLgEa8a258r6GYosYiGzEHL0i-GP5JkDRDylt9cvd86eQtzE6G5Kco8f1AuuhrgLgbydOBYX356/pub#h.cd3b0l40i2ycPlease feel free to post any comments you have about this episode on my blog.Opening Music, "New Heaven", written by Andrew J. Brown and played by Chris Ingham (piano), Paul Higgs (trumpet), Russ Morgan (drums) and Andrew J. Brown (double bass) Thanks for listening. Just a reminder that the texts of all these podcasts are available on my blog. You'll also find there a brief biography, info about my career as a musician, & some photography. Feel free to drop by & say hello. Email: caute.brown[at]gmail.com

Being a Christian and and athlete can be daunting, and in some sports, feel impossible. However, Audrey Shin is living proof that it's not impossible to be a Christian and pursue a relationship with Jesus and be a dedicated, disciplined athlete. Audrey is a Team USA Figure Skater in the partner discipline, and she joins us to talk about her testimony, her sport, and how she's not just an athlete; she's a Christian, too.You can follow Audrey on Instagram at @audreyshin.skater to keep up with her competitions. (Go Team USA!!

My first jobs were in restaurants washing dishes and busing tables.  I would go on to do other jobs in restaurants, including cooking, waiting on tables, hosting on occasion. I think working in restaurants is a great first job because it teaches you to deal with people, and work in collaboration with different functions. So no matter what you do in a restaurant, it is a great experience to prepare for life. While I for sure was ‘cooking,' I wouldn't call myself a “cook.” And definitely wouldn't consider myself being a “chef.” I was just a person following instructions and performing it in a way that was consistent with expectations. I was told how to prepare something, and I followed those instructions. I know that not everyone can accomplish that, but I don't consider it a great mark of distinction. Being able to successfully combine ingredients in a way that is proscribed is another one of those life lessons that can be applied in a lot of areas. Including organizational leadership.Organizations after all  are just assemblies of ingredients. There are proscribed ways of putting these organizational ingredients together. Accountants go in the accounting department. Sales people in sales. Marketers in marketing. Etc. And these people sit in the same areas as each other, and they do the work that is related to their areas. And on it goes. That doesn't take a lot of visionary ability. It typically is the way it goes in all organizations. Now if you think of the ingredients right now in your kitchen, there are the staples that you typically rely on and use. You are comfortable with them and know how to deploy them. There are also those things that are seldom used, and you even forget you have. I'm thinking here of the spices I have that I forgot I have and never get included. There also is the stuff in the shelves and freezer that got buried, or maybe I got to use once. So lots of ingredients with no clear idea of what to do with them. There used to be a show with Chef Alton Brown where he would just go into someone's house and make a meal with what was there. That's talent.On today's episode, we welcome someone who knows about putting things together, something about how leaders use ingredients, and something about food. Dr. James Shin got his PhD from Penn State in Industrial Engineering, writing a dissertation that looks at (in part) simplicity versus complexity in the design process. Part of what he learned is that if we minimize the problems from the start, they can become more manageable, allowing us to make more progress. Rather than go the academic route, he went into industry given his interest in applying knowledge to practical problems. Working in a global organization, he also learned how approaches used by different cultures may work in that particular culture, but may not work as well in other cultures and contexts. Another thing he learned from his global work is that middle management is typically overstressed and underappreciated no matter where in the world they are located. We talk about his new book “The Leader's Soul: 52 Reflections for Unlocking Your Inner Leader.” In it, he looks at his own upbringing in South Korea, moving to the US as part of his PhD completion, his journey through corporate America, and his return to Asia in capacities that included speaking at universities. We also talk about his company Blue Koi, and how the koi fish symbolizes growth. However, as he shares, the best kind of sustainable growth occurs not necessarily through focusing on rapid achievement, but through pacing ourselves in our efforts and life. He also reflects on the importance of nuance, and how he had to break from the black and white thinking that can be more prominent in engineering and how humans need to be factored into design. And there was some conversation about preparing food, and the importance of not just using the right ingredients, but using the ingredients you have in creative ways.Blue Koi: https://www.bluekoiglobal.com/James Shin: https://www.linkedin.com/in/james-j-shin/"The Leader's Soul": https://www.amazon.com/Leaders-Soul-James-Shin/dp/1963701534

On the twenty-third night of our #31DaysToHalloween the Mister joins me in reviewing ONE CUT OF THE DEAD (2017), screenplay and directed by Shin'ichirô Ueda from a play "Ghost in the Box!" by Ryoichi Wada.  We do not want to spoil this so we won't, other than to say, RUN DON'T WALK and check out this film.  The film clocks in at 1 h and 36 m, is unrated R and we caught the film on the Hoopla app, but you can watch the film on AMC+ and to buy/rent on Prime Video. Please note there are SPOILERS in this review.#SupportYourLocalLibrary @hoopladigital #OneCutOfTheDead #Shin'ichirôUeda #RyoichiWada #TakayukiHamatsu #DirectorHigurashi #YuzukiAkiyama #Chinatsu #HarumiShuhama #Nao #KazuakiNagaya #Ko #ManabuHosoi #ManabuHosoda #HiroshiIchihara #Kasahara #Mao #Mao #ShuntarôYamazaki #ShunsukeYamakoshi #Shin'ichirôÔsawa #ShinichiroFurusawa A#ZYoshikoTakehara #YoshikoSasahara #MikiYoshida #MikiYoshino #AyanaGôda #AyanaKurihara #SakinaAsamori #SakiMatsuura #TomokazuYamaguchi #TomokazuTaniguchi #TakuyaFujimura #TakuyaFujimura #SatoshiIwagô #DaigoKurooka #KyôkoTakahashi #MaiAida #ShioriNukumi #Shiori #KoukiTsurunishi #ADTsurunishi #ToshiyukiKuba #ADKuma #YuShiraoka #ADShiraoka #Japanese #FoundFootageHorror #Mockumentary #ZombieHorror #Horror #Drama #Comedy  @hoopladigital @AMCplus  @PrimeVideo ⁠⁠ #31DaysToHalloween #SpookySeason #Day23 #FridayFamilyFilmNight And in #SpookySeason don't forget to use your powers for good - support our friend KT as she raises funds for the good folks at St. Jude's - any little bit helps and is whole heartedly appreciated by the families who rely on St. Jude's @stjudehttps://fundraising.stjude.org/site/TR?px=8932826&fr_id=133399&pg=personalOpening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library

Send us a textAll the links mentioned in this episode  can be found via the following link:https://andrewjbrown.blogspot.com/p/free-religion.htmlAlternatively, you can go directly to the text of Imaoka Shin'ichirō's essay by clicking on the following link:https://docs.google.com/document/d/e/2PACX-1vTgvwLgEa8a258r6GYosYiGzEHL0i-GP5JkDRDylt9cvd86eQtzE6G5Kco8f1AuuhrgLgbydOBYX356/pub#h.qzy656itmbfqPlease feel free to post any comments you have about this episode on my blog.Opening Music, "New Heaven", written by Andrew J. Brown and played by Chris Ingham (piano), Paul Higgs (trumpet), Russ Morgan (drums) and Andrew J. Brown (double bass) Thanks for listening. Just a reminder that the texts of all these podcasts are available on my blog. You'll also find there a brief biography, info about my career as a musician, & some photography. Feel free to drop by & say hello. Email: caute.brown[at]gmail.com

Bonjour à toutes et à tous, et bienvenue dans la 11e année de Anime No Melody, votre podcast dédié aux musiques qui ont marqué (ou pas) l'histoire de l'animation. Aujourd'hui, nous partons à la rencontre des chevaliers de la table ronde et le grand roi Arthur !Bonne écoute à tous !

Shin splints (or medial tibial stress syndrome) are the bane of many a runner, proving hard to find a cause for and hard to treat. Nate is joined by Dr. Doug Adams to demystify this frustrating ailment. Nate & Doug break down the physiology of shin splints and its most common causes. They offer strategies to both prevent and rehab from shin splints, and offer insights on how your footwear might be affecting your shin pain. Dr. Doug Adams is a Physical Therapist who has published and spoken at an international level on all things related to running. Doug has taught thousands of professionals his systematic approach to providing personalized plans for runners through the Certified Running Gait Analyst and Endurance Running Coaching courses. He also designed and created a portable 3D Motion Analysis system called Helix 3D for analyzing and categorizing running form that is used widely throughout the Department of Defense and commercial sectors. You can find him on Instagram at @RunDNASystem and @DougAdamsPT.Get your DOR Merch: https://doctors-of-running.myspreadshop.com/Get 20% off your first order from Skratch with code: DOCTORSOFRUNNING!Chapters0:00 - Intro4:34 - Defining the term "shin splints"7:04 - Can I run through shin splints?12:10 - How do I get to race day healthy if I'm experiencing shin splints?15:24 - What can I do to prevent shin splints?25:56 - How to tell whether it's shin splints or a stress fracture30:30 - What causes shin splints?35:26 - The role of gait retraining48:42 - How to manage training load wisely54:36 - Do shoes cause shin splints? Will better shoes fix it?1:02:56 - Wrap-up

Send us a textSangha member Shin-E Kieran Rhysling gives a brief overview of The Five Remembrances from the Upajjhatthana Sutta. The sutta recommends  that The Five Remembrances of old age, sickness, death, change, and karma be reflected upon often by all. The talk was a short introduction to a longer discussion by the sangha that was not recorded. 

Collecting mokuhanga has never been easier. You no longer need to visit galleries as often; you can purchase prints online from anywhere in the world, all from the comfort of your own home. But you'd be doing yourself a disservice to stop there. Seeing prints in person at galleries is a wonderful experience — it allows you to get up close to the work, to see what your potential investment looks like under the lights, and to speak with the people who work in the galleries and collections, who can help guide you toward the right decision. One such gallery is in Tokyo and New York and has a long history of showcasing wonderful contemporary prints — from mokuhanga and aquatint to lithography and other mediums. The Tolman Collection Tokyo, located in the Shibadaimon district of Minato, Tokyo, has been operating for over 50 years and enjoys a strong reputation both in Japan and around the world. In this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with Allison Tolman of The Tolman Collection Tokyo. We discuss how the gallery began — from the hope and a dream of Allison's parents, Mary and Norman Tolman, who built a life and a    business in a new country, to their friendships with many of the most important printmakers of their time. Allison shares why prints remain so vital today, emphasizing their democratic nature. She also discusses the differences between contemporary printmakers in Japan and those in the West, as well as the unique experiences of selling prints in Tokyo versus at The Tolman Collection in New York. Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known.  The Tolman Collection - Tokyo, New York Machida City of Graphic Arts - is a print gallery located in Machida City, Tokyo, Japan. More info can be found, here.  Kitaoka Fumio (1918-2007) - was a painter who moved onto mokuhanga later in life. Kitaoka was a sōsaku hanga printmaker whose works touched on anti-war themes and Japanese society, emigres and the working class.  Tsukiji Fish Market (1988)  Tadashige Ono (1909-1990) - was a socially conscience printmaker of Post-War Japan. Tadashige's early works were influenced by the west with German Expressionism and later in his career, as his personal politics began to change, Tadashige;'s prints began to focus on an industrial Japan.  House (Hiroshima) (1957) Tōkō Shinoda (1913-2021) - was a calligrapher and painter in Japan. Shinoda saw herself as an artist who combined painting and calligraphy together defying categorization. More information can be found, here from The Royal Ontario Museum, Toronto.  Sound (ca 1990) lithograph on paper 17 5/8" h x 23 3/8" w Clifton Karhu (1927-2007) -  was a mokuhanga printmaker based in Japan. Karhu lived in Japan for most of his life after studying with Tetsuo Yamada and Stanton Macdonald-Wright. HIs themes were of his home city of Kyoto, Japan. More information can be found, here.  Black Robe (1976)  shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945). Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.  Kawamura Sayaka - is a mokuhanga printmaker based in Japan. Her work has an ethereal quality of mystery and fantasy. More information can be found on her Instagram.  Bon Voyage IV (2019) 27.56 " × 27.56 " AP - stands for Artist's Proof. When a printmaker is almost ready to print an edition, they will create a few prints that serve as proofs of the final image before the edition is printed. Gotō Hidehiko (b.1953) - is a mokuhanga printmaker and tool maker based in Japan. He makes and teaches seminars about the construction of the mokuhanga tool, the baren.  Sound Of The Waves (2016) 15" × 12" Zōjōji Daimon - is a Buddhist temple in Minato, Tokyo of the Jōdo-shū (Pure Land) sect of Buddhism David Rockefeller (1915-2017) - was an American economist and investment banker who led Chase Manhattan Corporation as its chairman and CEO. From 2004 until his passing in 2017, he was the oldest living member of the Rockefeller family. The youngest of five sons, he was the child of John D. Rockefeller Jr. and Abby Aldrich Rockefeller, and the grandson of John D. Rockefeller and Laura Spelman Rockefeller.  Hasegawa Yuichi (1945-2025) - was a woodblock printmaker from Aizu in Fukushima Prefecture. He was from a family of lacquerware makers. Hasegawa incorporated lacquer resin and metallic paints into his reduction woodblocks, giving them a distinctive texture and gleam. Deeply influenced by Zen and the natural world, he aimed to capture the power and splendor of nature in his prints.  Night Sky No. 5 (2000) Seiko Kawachi - is a mokuhanga printmaker and painter based in Japan. His work is known for its rich use of color and dynamic energy. A longtime printmaking instructor at Tama Art University, he experienced a turning point in his middle age when he began exploring the influence of Hokusai. Using contemporary materials, his large, powerful prints capture the movement and vitality of the natural world. Object: The Flying: Ki (The Flying: Introduction) (1985) mokuhanga and intaglio, 65" × 36" Tama Art University - located in Tokyo, Japan, is one of the country's leading institutions for art and design education. Founded in 1935, it offers programs in fine arts, design, architecture, and media arts, fostering both traditional and contemporary approaches to creativity. Known for its strong emphasis on experimentation and individual expression, Tama has produced many influential artists, designers, and educators who have shaped Japan's modern art scene. More info, here.  © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)    

In tonight's show we look at Growthpoint's role in the R8bn Cape Winelands Airport development, how long-term incentives are reshaping executive pay in South Africa, why homegrown fashion is turning heads at Paris Fashion Week, and in our SME Corner we speak to Bakers Creationz founder Blessing Sithole about building a thriving business from the oven up. SAfm Market Update - Podcasts and live stream

With six games to go, Ulsan HD have made the drastic decision to part ways with their manager Shin Tae-yong after just 56 days at the helm, with the Horangi currently sat in tenth and staring at a potential Relegation Play-off. This episode takes a look at the news as well as quick glance at the final round before the split in K League 1.   Matthew Binns and Paul Neat return to The K League United Podcast ahead K League 1 Round 33 in what has been a busy international break for the top flight. With the league set to split into two for the final straight, reigning Champions Ulsan HD have split with their summer appointment Shin Tae-yong after on-field results and alleged off-field disharmony.   We take a look at what has been said and what has led to this drastic turn in fortune that sees the reigning Champions, Club World Cup competitors and ACLE participants scrambling for their top flight status and, more importantly, can they avoid it.   Our attention then turns to across the top division looking at the key races still to run and our thoughts on sides we haven't checked in on for a while.   All this and more, on The K League United Podcast.

Today's sermon, by Rev. Joyce Shin, was offered on Sunday, October 12, 2025. The scripture passage this morning was Jeremiah 29:1, 4-7. To listen to the full Lord's Day service, search for "Swarthmore Presbyterian Church."

داستان الهام بخش برای ملت‌هایی که دنبال توسعه می‌گردن، وقتی ایران داشت گذشته رو خرج می‌کرد ولی کره آینده رو می‌ساخت.متن: بهجت بندری، علی بندری با راهنمایی آرش رئیسی‌نژاد | ویدیو و صدا: حمیدرضا فرخ‌سرشتبرای دیدن ویدیوی این اپیزود اگر ایران هستید وی‌پی‌ان بزنید و روی لینک زیر کلیک کنیدیوتیوب بی‌پلاسکانال تلگرام بی‌پلاسمنابع و لینک‌هایی برای کنجکاوی بیشترSouth Korean Development Model by Milan LajčiakThe chaebol and the US military–industrial complex: Cold War geopolitical economy and South Korean industrialization by Jim GlassmanThe democratic transition by Fabrice Murtin and Romain WacziargPopulation Change and Development in KoreaINSTITUTIONS AS THE FUNDAMENTAL CAUSE OF LONG-RUN GROWTH by Daron Acemoglu, Simon Johnson, James RobinsonThe Park Chung Hee Era by by UNG-KOOK KIMKorea's Development Under Park Chung Hee By Hyung-A KimKorea's Rapid Export Expansion in the 1960s: How It Began,JUNGHO YOO*THE KOREAN MIRACLE (1962-1980) REVISITED: MYTHS AND REALITIES IN STRATEGY AND DEVELOPMENT Kwan S. KimLand Reform in Korea, 1950, Shin, Yong-HaThe Economic and Social Modernization of the Republic of Korea: 1945-1975,EDWARD S. MASONTenancy, Land Redistribution, and Economic Growth A Case of Korea, 1920-1960, Jea Hwan Hong, Duol Kimچرا ملت‌ها شکست می‌خورند، دارون عجم اوغلو، جیمز رابینسونراه باریک آزادی، دارون عجم اوغلو، جیمز رابینسونکره بعد از جنگ: اصلاحات ارضی (شروع ازسینگمان ری (Syngman Rhee) اوج در دوره پارک) Hosted on Acast. See acast.com/privacy for more information.

In this study we will take a look at the miracles that Yahweh performed on the Egyptians, when Israel was held in bondage, during this period in Exodus. We will see that those miracles were against the Egyptian deities or gods that they worshipped.The story of Moses is not just the story of the freedom of a group of slaves from Egypt in the second millennium BCE. It is the blueprint of the Plan of Salvation of the world as seen from the structure laid down in the Bible. Moses was the prototype of the Christ or Messiah. More importantly, the nation of Israel saw Moses as a prototype and the Bible record illustrates that point. Moses said: ‘And Yahweh said unto me, they have well spoken that which they have spoken. I will raise them up a Prophet from among their brethren, like unto thee, and will put my words in his mouth; and he shall speak unto them all that I shall command him.' (Deut. 18:17-18,).In this study I finish chapter 8 and begin chapter 9. Chapter 825   and said, go ye, sacrifice to your Elohim in the land = that is, in the land of Goshen, in the place where they were; he was willing to allow them the liberty of sacrificing to their Elohim, which it seems they had before; but then he would not consent they should go out of the land to do it, for Moses requested to go into the wilderness.26    shall we sacrifice = zâbach' ‘zaw-bakh'' ‘zayin-bet-chet' ‘Aleph-Tav'zayin = (mattack) food, cut, nourishBet = (tent floor plan) family, house, inChet = (tent wall) outside, divide, halfAleph = (ox) strength, strong, power, leaderTav = (cross) sign, covenant seal, mark and crossBy adding the ‘Aleph-tav' to the phrase ‘shall we sacrifice' signifies that we are talking about Yahweh/Yahshua Messiah's People, not just anybody, but Yahweh's Elect.abomination of the Egyptians = The sacrifice of these animals sacred to the Egyptians, would be an abominable crime in their eyes.29    Letting = “eth” Aleph = (ox) strength, strong, power, leaderTav = (cross) sign, covenant seal, mark and crossBy placing the “eth” in front of ‘the People' this locks in the fact that it is truly Yahweh/Yahshua Messiah's Elect! There is no mistake that He wants to deliver His people out of bondage!Chapter 9:1-7             Fifth Plague         Pestilence1  Then the Lord said unto Moses = The same day the plague of the flies was removed.go in unto Pharaoh = boldly, without any fear of him or his court. and tell him, thus saith the Lord God of the Hebrews = speak in the name of Yahweh, the Elohim whom the Hebrews worship3              Behold, the hand of the Lord = Which was stronger than Pharaoh's, with which he held the Israelites. 6   Did = ‘‛âśâh' ‘aw-saw'' ‘ayin-shin-hey' ‘Aleph-Tav'Ayin -(eye) watch, know, shade (this letter is basically silent)Shin = (two front teeth) sharp, press, eat, twohey = (man with arms raised) behold, reveal, window, breathAleph = (ox) strength, strong, power, leaderTav = (cross) sign, covenant seal, mark and crossThe Hebrew word ‘aw-saw' means ‘To do or make something. A generic verb with a wide application meaning to do something.' But by adding the ‘eth' to ‘aw-saw' this shows that what Yahweh said in verse 5 came to pass just as He said it would, even right down to the last second.I read from Thomas Horn book “The Gods”Have any questions? Feel free to email me keitner2024@outlook.com

Today's sermon, by Rev. Joyce Shin, was offered on Sunday, October 5, 2025. The scripture passage this morning was 2 Timothy 1:1-14. To listen to the full Lord's Day service, search for "Swarthmore Presbyterian Church."

Today's sermon, by Rev. Joyce Shin, was offered on Sunday, September 28, 2025. The scripture passages this morning were Jeremiah 32:1-3a, 6-15 and Luke 16:19-31. To view the full Lord's Day service, visit our YouTube channel by searching "Swarthmore Presbyterian Church."

Send us a textSangha member Shin-E Kieran Rhysling gives the final talk in the series based on Diane Eshin Rizzetto's book, Deep Hope: Zen Guidance for Staying Steadfast When the World Seems Hopeless. The subject is prajna, the paramita of wisdom or seeing clearly. 

What Moses wrote to the people; Hebrew language; Metaphors; Reading with Holy Spirit; Two trees; Translators' struggle; "Leaven"; Reducing spiritual to physical; "Corban"; Wrestling with a man; Angels?; Jacob's traveling group; "vav+yod+aleph-biet-kof" (dust, vapor, cloud); Agonizing in prayer; Becoming Israel; Gen 33:1; "after" and "hindermost" rank; Jacob's prayer; God's instructions; Rachel; Oldest Hebrew?; God's children; God's trust - dress and keep; "Semite"; Jacob's bondage; aleph-lamad; "Lord" (adonai); Meaning of Hebrew letters?; Acquiring your daily bread; Making new words?; Esau's wealth; The face of God; Accumulation of knowledge; Esau's acceptance; Attribution to God; "Succoth"?; Booths for cattle?; Shalem - the city?; Paying for land; Gifts?; "Frank" marriage; Exchange of value; Why build an altar? (Elelohe-Israel); Gen 27:41 Esau slay Jacob; Character of Israel; Freewill offerings; Forgiveness test; Shin-ayin-yod-resh (Seir) = hairy?; Other translations - shaggy, storm, rain, reason, gate, 100 fold, horrid (8163-8165, root 8175-8181); allowing choice; System of altars; "Porters"?; 2 Pe 1:11 - an entrance to the kingdom; Jesus doing what Jacob was doing; 2 Pe 1:1; Knowing God; 2 Pe 1:5; 4 wives?; Don't tempt the Lord; Altars of charity; "Booths"; If you don't work, you don't eat; Immigration; Cities of blood, One purse; Not to be that way with you - exercising authority; "aleph-lamad aleph-lamad-hey-yod -Israel; Succoth - daughter of booths 2 Ki 17:30; Fertility; Appetites for benefits; Forcing neighbors; Worshipping; Peace.

PICKS with TODD FUHRMAN! Ryder Cup! Dr. Shin is the GOAT! MUCH MORE!!!See omnystudio.com/listener for privacy information.

Hour 1 of The Plank Show with Chris Plank and Blake Gamble recap yesterday's big news: John Mateer's surgery performed by Dr. Steven Shin. They also discuss the recent Sooner Softball commits.

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Sami talks with Don Shin, CEO of CrossComm (https://www.crosscomm.com/), about which direction humanity is heading as the landscape of AI technology continues to shift and evolve. Together they assess the correlation between language and intelligence, the importance of human connection, as well as the growing responsibility we have in managing AI to prevent a potential dystopia. — You can connect with Don on LinkedIn (https://www.linkedin.com/in/donshin1/) or stay up to date with the work his does with CrossComm over on his website (https://www.crosscomm.com/). Your host for this episode has been Sami Birnbaum. Sami can be found through his website (https://samibirnbaum.com) or via LinkedIn (https://www.linkedin.com/in/samibirnbaum/). If you would like to support the show, head over to our GitHub page (https://github.com/sponsors/thoughtbot), or check out our website (https://podcast.thoughtbot.com). Got a question or comment about the show? Why not write to our hosts: hosts@giantrobots.fm This has been a thoughtbot (https://thoughtbot.com/) podcast. Stay up to date by following us on social media - LinkedIn (https://www.linkedin.com/company/150727/) - Mastodon (https://thoughtbot.social/@thoughtbot) - YouTube (https://www.youtube.com/thoughtbotvideo) - Bluesky (https://bsky.app/profile/thoughtbot.com) © 2025 thoughtbot, inc.

Join us for ⁠⁠⁠⁠⁠BookThinkers LIVE 2025⁠⁠⁠⁠⁠! Happening November 9, 2025!⁠⁠⁠⁠⁠https://www.bookthinkers.com/book-thinkers-live-2025In today's episode, we have the pleasure to interview James Shin, author of The Leader's Soul.James is the Founder and CEO of Blue Koi Global Partners and holds a Ph.D. in Industrial Engineering from Penn State. With more than 25 years leading rapid, sustainable growth across global markets, he's known for transforming operations, supply chains, and procurement while developing leaders who can carry the mission forward.In this episode, you'll learn how to define what “good” looks like and lead with a long-term view, how great leaders “take arrows” to protect their teams while building a strong pipeline of future leaders, and simple weekly practices—reading, reflection, travel, time in nature, and with family—that sharpen judgment and resilience.We hope enjoy this incredible conversation with James Shin.To Learn More about James and buy his book visit: The Book:https://a.co/d/gh0uSsLWebsite/Socials:https://www.bluekoiglobal.com/ https://www.linkedin.com/in/james-j-shin/https://www.instagram.com/james.j.shin/Chapters: 1:26 What is true, good leadership?4:38 The effectiveness of reading as a learning method11:06 You can tell a leader by counting the number of arrows in his ass12:59 Fundamental leadership principles14:13 How to grow drastically as a young leader18:00 How traveling helps you understand people20:34 Culture shocks between Corea & The U.S.A22:47 Lessons from slowing down in nature25:50 What James has learned from his family27:55 Finding ways to spend more time with your children29:50 The effect of developing new leaders31:12 The biggest mistake James has made as a leader34:25 Where to connect with James and his work35:13 Final thoughts & advice________________________________________________Join the world's largest non-fiction Book community!https://www.instagram.com/bookthinkers/The purpose of this podcast is to connect you, the listener, with new books, new mentors, and new resources that will help you achieve more and live better. Each and every episode will feature one of the world's top authors so that you know each and every time you tune-in, there is something valuable to learn. If you have any recommendations for guests, please DM them to us on Instagram. (www.instagram.com/bookthinkers)If you enjoyed this show, please consider leaving a review. It takes less than 60-seconds of your time, and really makes a difference when I am trying to land new guests. For more BookThinkers content, check out our Instagram or our website. Thank you for your time!

Subject: Thy Word - Psalm 119 Speaker or Performer: Bro. Adam Armstrong Scripture Passage(s): Psalm 119:161-168 Date of Delivery: September 14, 2025

We review the second film in Hideaki Anno's trilogy of Shin films: Shin Ultraman.  Following the success of 2016's Shin Godzilla, Anno returns yet again as screenwriter but this time with longtime collaborator Shinji Higuchi taking over directing duties in this modern day re-imagining of the popular Ultraman franchise that aims to returns the series to its early roots.  Tune in for the full review! Timestamps: [00:00] Intro + Hunter x Hunter, Return of Ultraman, Lupin Zero, Lupin IIIrd vs. Cat's Eye [37:27] Review - Shin Ultraman [2:36:24] BlueSky Questions

Coworkers Private Purse and Kellys Hairy Shin by Maine's Coast 93.1

CURSED EPISODE WARNING: Jinn Exorcism Tips And Tricks/Possible EVP Captured During This Episode?   Patreon Members, Paid And Free! Join us for Dead Rabbit Radio Movie Night Sept 12th 7pm PST Click here to join the Patreon and I hope to see you there! https://www.patreon.com/DeadRabbitRadio   Patreon (Get ad-free episodes, Patreon Discord Access, and more!) https://www.patreon.com/user?u=18482113 PayPal Donation Link https://tinyurl.com/mrxe36ph MERCH STORE!!! https://tinyurl.com/y8zam4o2 Amazon Wish List https://www.amazon.com/hz/wishlist/ls/28CIOGSFRUXAD?ref_=wl_share Dead Rabbit Radio Archive Episodes https://deadrabbitradio.blogspot.com/2025/07/ episode-archive.html https://archive.ph/UELip Dead Rabbit Radio Recommends Master List https://letterboxd.com/dead_rabbit/list/dead-rabbit-radio-recommends/   Help Promote Dead Rabbit! Dual Flyer https://i.imgur.com/OhuoI2v.jpg "As Above" Flyer https://i.imgur.com/yobMtUp.jpg “Alien Flyer” By TVP VT U https://imgur.com/gallery/aPN1Fnw “QR Code Flyer” by Finn https://imgur.com/a/aYYUMAh   Links: The Haunted 1991 Remastered True HD https://www.youtube.com/watch?v=EyUIM7p_opM Oregon Ghost Conference http://www.oregonghostconference.com/ Port Gamble Ghost Conference https://www.portgamble.com/events-festivals/seasonal-events/ghost-conference/ Jinn Episodes https://deadrabbitradio.blogspot.com/2025/05/jinn-episodes.html Solar Plexus Clown Gliders Episodes https://deadrabbitradio.blogspot.com/2025/09/solar-plexus-clown-glider-episodes.html EP 1346 - The Death Of The Departed (Jinn Falls in Love episode) https://deadrabbitradio.libsyn.com/ep-1346-the-death-of-the-departed EP 975 - The Possession (Demon Falls In Love episode) https://deadrabbitradio.libsyn.com/ep-975-the-possession EP 217 - "It's The Blood Of Satan! It's The Blood Of Satan!" (Michael Taylor Demonic Possession Murder story) https://deadrabbitradio.libsyn.com/ep-217-its-the-blood-of-satan-its-the-blood-of-satan EP 164 - My Haunted Apartment (Haunted Closet Personal Story episode) https://deadrabbitradio.libsyn.com/ep-164-my-haunted-apartment EP 870 - Is Ronald McDonald An Ancient Pagan God? (Ghost Dog In Studio episode) https://deadrabbitradio.libsyn.com/ep-869-is-ronald-mcdonald-an-ancient-pagan-god EP 913 - The Economic Devastation Of A Demonic Infestation (Woman No Energy To Sell Haunted House episode) https://deadrabbitradio.libsyn.com/ep-913-the-economic-devastation-of-a-demonic-infestation How to perform an exorcism, removing the jinn from a person that becomes possessed. https://www.reddit.com/r/islam/comments/2p9rhh/how_to_perform_an_exorcism_removing_the_jinn_from/ Jinn dwelling in humans https://islamqa.info/en/answers/11447/jinn-dwelling-in-humans Simple Guide on Islamic Exorcism – Black Magic and Demonic Possessions (Part -1) https://islamicexorcism.wordpress.com/2009/11/04/simple-guide-for-islamic-exorcism/ Exorcism in Islam https://en.wikipedia.org/wiki/Exorcism_in_Islam   ---------------------------------------------- Logo Art By Ash Black Opening Song: "Atlantis Attacks" Closing Song: "Bella Royale" Music By Simple Rabbitron 3000 created by Eerbud Thanks to Chris K, Founder Of The Golden Rabbit Brigade Dead Rabbit Archivist Some Weirdo On Twitter AKA Jack YouTube Champ: Stewart Meatball Reddit Champ: TheLast747 The Haunted Mic Arm provided by Chyme Chili Forever Fluffle: Cantillions, Samson, Gregory Gilbertson, Jenny The Cat Discord Mods: Mason, Rudie Jazz   http://www.DeadRabbit.com Email: DeadRabbitRadio@gmail.com Twitter: https://twitter.com/DeadRabbitRadio Facebook: www.Facebook.com/DeadRabbitRadio TikTok: https://www.tiktok.com/@deadrabbitradio Dead Rabbit Radio Subreddit: https://www.reddit.com/r/DeadRabbitRadio/ Paranormal News Subreddit: https://www.reddit.com/r/ParanormalNews/ Mailing Address Jason Carpenter PO Box 1363 Hood River, OR 97031 Paranormal, Conspiracy, and True Crime news as it happens! Jason Carpenter breaks the stories they'll be talking about tomorrow, assuming the world doesn't end today. All Contents Of This Podcast Copyright Jason Carpenter 2018 - 2025  

The Gemara in Masechet Menahot (43) cites a verse in the Book of Debarim (10:12) in which Moshe Rabbenu turns to Beneh Yisrael and says, "Ma Hashem Elokecha Sho'el Me'imach" – "What does Hashem your G-d ask of you?" Moshe proceeds to explain that Hashem asks that we fear Him and obey His commands. The Gemara, however, comments that the word "Ma" in this verse may be read as "Me'a" – one hundred. This means that we are required to recite 100 Berachot each day, and this is what Hashem wants from us. It seems from the Gemara that source of this obligation is the word "Ma," which is read as though it is written "Me'a." Some commentators, however, understood the Gemara's inference from this verse differently. The Shiboleh Ha'leket (Rav Sidkiya Ben Abraham Ha'rofeh, Italy, 13 th century) noted that this verse contains 100 letters, and thus the Sages found in this verse an allusion to the requirement of 100 daily blessings. In truth, this verse contains only 99 letters, but since the Gemara reads the word "Ma" as "Me'a," which contains an additional letter (an Alef), the total reaches 100. Others explain that this inference is based on the "Atbash" system, whereby a letter can be substituted with its corresponding letter at the opposite end of the alphabet (e.g. Alef is replaced by Tav; Bet is replaced by Shin, Gimmel is replaced by Resh, etc.). In the system of "Atbash," the letters that form the word "Ma" – Mem and Heh – become Yud and Sadi, which have the combined numerical value of 100, alluding to the 100 daily Berachot. Another allusion to this requirement is found in the verse in Tehillim (128:4), "Hineh Ki Chen Yeborach Gaber Yereh Hashem" ("Behold, this is how a G-d-fearing man shall be blessed"). The word "Ki" in Gematria equals 30, and the word "Chen" equals 70, for a total of 100, such that the phrase "Ki Chen Yeborach Gaber" may be read to mean that a man should recite 100 Berachot. As the Gemara inferred this requirement from a verse in the Torah, we might conclude that this constitutes a Biblical obligation, mandated by the Torah. This is, in fact, the view taken by the Ba'al Halachot Gedolot, in his listing of the 613 Misvot. Rav Shlomo Ibn Gabirol, in his "Azharot" poem which lists the 613 Biblical commands following the view of the Behag (and which we customarily chant on Shabuot), makes reference to this requirement ("U'mi'berachot Tasmid Me'at Ha'nigmarim"). By contrast, the Rambam maintained that this obligation was enacted later, by the Sages. The Sefer Ha'yere'im (Rav Eliezer of Metz, France, 1140-1237) similarly maintained that this requirement was instituted by the Ansheh Kenesset Ha'gedola ("Men of the Great Assembly") at the beginning of the Second Commonwealth. According to this view, the inference from the verse in Debarim is meant as an allusion to a law enacted by the Sages, and is not the actual source of this requirement. A third opinion is that of the Shiboleh Ha'leket and others, who maintained that this obligation was verbally transmitted as a "Halacha Le'Moshe Mi'Sinai" – a law taught to Moshe at Sinai, without having been written in the Torah. At first glance, we might question the view of the Behag and Shiboleh Ha'leket based on the Midrash's comment that it was King David who instituted the recitation of 100 Berachot each day. The Midrash relates that a devastating plague ravaged the nation during the reign of King David, killing 100 people every day. David determined that to end the plague, everyone must recite 100 daily blessings. (David later refers to himself as "Hukam Al" (Shemuel II 23:1), which could be read to mean, "the one who established 'Al,' as the word "Al" in Gematria equals 100, an allusion to the 100 Berachot which David instituted.) Seemingly, if this constitutes a Biblical obligation, or a requirement transmitted orally since the time of Moshe Rabbenu, then there would be no need for David to introduce this law. The answer, it would seem, is that the people were lax in their fulfillment of this obligation, and so David ordered the people to be more scrupulous in this regard and ensure to recite 100 blessings every day. A fascinating theory regarding the origins of this obligation was advanced by Rav Aharon Amarillo (1700-1772), in his work Peneh Aharon. He writes that Moshe Rabbenu instituted the requirement to recite 100 Berachot each day at the time of the construction of the Mishkan. The wooden planks that formed the structure of the Mishkan were inserted into "Adanim" – sockets embedded in the ground. In all, there were one hundred sockets, which together formed the base and foundation of the Mishkan. The word "Me'a," Rav Amarillo writes, is an acrostic representing the words "Me'at Adneh Ha'Mishkan" – "the one hundred sockets of the Mishkan." The 100 daily blessings were instituted to correspond to the 100 sockets of the Mishkan. The question naturally arises, what connection is there between the "Adanim" and Berachot? Why are the 100 daily blessings associated with the sockets that formed the base of the Mishkan? We can perhaps answer this question based a discussion by Rav Yosef Salant (Jerusalem, 1885-1981), in his Be'er Yosef, regarding the symbolism of the "Adanim." He writes that the Mishkan itself represents the Misvot that the Torah commands us to observe, and the sockets represent the foundation of it all, the pillar upon which the entire Torah rests. And that pillar, Rav Salant explains, is Emuna – faith in Hashem. Our faith in Hashem as the Creator who governs and controls everything is the foundation upon which all of Torah is based. If so, then we can perhaps understand the association between the "Adanim" and the Berachot that we recite. Numerous times each day, we are required to take a few moments and recite a Beracha, with Kavana (concentration), reminding ourselves of Hashem's involvement in the world and in our lives. Indeed, the word "Beracha" in Gematria equals 227 – the same Gematria as the word "Zecher" – "remembrance." The purpose of Berachot is to remind us of Hashem's existence and control over the world. And, in fact, the verse from which the Gemara derived this obligation tells us that what Hashem asks is "Le'yir'a Et Hashem Elokecha" – that we "fear" Hashem, meaning, that we live with an awareness of His unlimited power and His greatness. Accordingly, the 100 Berachot we recite each day are truly the ''foundation" of Torah life, as they serve to reinforce our Emuna. For good reason, then, the Berachot we recite are associated with the "Adanim," which comprised the foundation of the Mishkan and thus symbolize faith, the foundation of the entire Torah. A number of sources speak of the great reward which one earns through the proper fulfillment of this obligation – reciting 100 Berachot each day with concentration, and pronouncing each word correctly. (For example, one must ensure that the words "Baruch Ata" do not sound like "Baru Chata," and to recite "Melech Ha'olam," and not "Melecholam," skipping the syllable "Ha-.") The Ba'al Ha'Turim (Rabbenu Yaakob Ben Asher, 1270-1340) writes that those who fulfill this Misva are rewarded with long life. Commenting on the verse, "And you who cling to Hashem your G-d, you are all alive today" (Debarim 4:4), the Ba'al Ha'Turim observes the custom followed in some communities to add a crown in the Torah scroll above the letter Kof in the word "Ha'debekim" ("who are attached") in this verse. This crown, he explains, emphasizes that we attach ourselves to Hashem through the 100 blessings we recite each day – as the letter Kof in Gematria equals 100, and the reward for reciting these Berachot is "Haim Kulechem Hayom" – long life. The Seder Ha'yom (Rav Moshe Ben Machir, Safed, 16 th century) adds that when one recites a Beracha properly, the Beracha ascends to G-d in the heavens, and He takes the Beracha and embeds it into His "crown." Hashem's "crown," as it were, is made from the Berachot which we recite properly with Kavana. Rav Shlomo Zalman Auerbach (Jerusalem, 1910-1995) would advise people experiencing hardship to devote themselves to the meticulous observance of this Misva, and try to recite 100 Berachot each day with proper attention and concentration. The verse from which the Gemara inferred this obligation begins with the letter Vav ("Ve'ata Yisrael") and ends with the letter Chaf ("Nafeshecha"), and these letters have the combined numerical value of 26 – the Gematria of the divine Name of "Havaya." The Hida (Rav Haim Yosef David Azulai, 1724-1806) thus writes that the fulfillment of this Misva saves a person from the dreadful punishments described in the section of the "Kelalot" ("curses") in Parashat Ki-Tabo, a section in which the Name "Havaya" appears 26 times. Moreover, this section contains 98 curses, and also includes a warning about "every ailment and every punishment which is not mentioned in this book" (Debarim 28:61) – adding another two curses, for a total of 100. We protect against these 100 curses through the recitation of 100 Berachot each day. Additionally, the Zohar Hadash teaches that we remain in exile because of our failure to properly observe this requirement to recite 100 Berachot each day. It emerges, then, that our commitment to properly fulfill this obligation helps end our long, bitter exile and bring our final redemption. The Arizal taught that the 100 daily Berachot allow us to harness the power of the 22 letters of the Hebrew alphabet – the letters that Hashem used to create the world. The 100 daily blessings are, according to Kabbalistic teaching, associated with the 22 letters, and we thus benefit from the spiritual force of these letters by properly reciting 100 Berachot every day. The Gemara in Masechet Menahot (43b) tells that Rabbi Hiyya went out of his way to purchase special foods for Shabbat and Yom Tob in order to ensure he would recite 100 Berachot. On Shabbat and Yom Tob, the Amida prayer contains far fewer blessings than the weekday Amida prayer, making it more challenging to reach a total of 100 Berachot. Rabbi Hiyya thus made a point of having additional foods on Shabbat and Yom Tob so he would have more Berachot to recite. The Hida, in his work Mahazik Beracha (290), noted the Gemara's implication that this practice marked a special measure of piety on Rabbi Hiyya's part. The Gemara appears to laud Rabbi Hiyya for his piety – indicating that this was not strictly required. The Hida thus suggests that reciting 100 Berachot each day does not constitute a strict Halachic obligation, but is rather a worthwhile practice to follow. The consensus view among the Poskim, however, is that this is indeed a strict obligation. The Petah Ha'debir (Rav Haim Binyamin Pontremoli, Turkey, d. 1872) explains that Rabbi Hiyya was praised for fulfilling the Misva at the highest standard – going out of his way to buy special delicacies, rather than buying simpler foods. But ensuring to recite 100 blessings is a strict requirement, and not just a measure of piety. Hacham Ovadia Yosef adds that there are ways to reach a total of 100 Berachot without actually reciting Berachot, but Rabbi Hiyya chose not to rely on these leniencies, and instead went out to buy food so he could recite 100 blessings on Shabbat and Yom Tob. Indeed, the Shulhan Aruch explicitly rules that one is required to recite 100 Berachot each day. The Poskim indicate that 100 Berachot is a minimum amount, and not an exact amount. Hacham Ovadia notes that from the explanation mentioned earlier associating the 100 daily Berachot with the 100 sockets beneath the Mishkan, one might conclude that we must recite precisely 100 Berachot, and no more, but this is not the Halacha. One must recite at least 100 Berachot, but certainly may recite more. The Rambam, in Hilchot Tefila, brings a custom that some observed to count the Berachot that one recites over the course of the day. This was the practice of Hacham Ovadia Yosef on Shabbat, when it is more difficult to reach a total of 100 blessings, as he wanted to ensure to fulfill this obligation. It is told that the Brisker Rav (Rav Yitzchak Zev Soloveitchik, 1886-1959) would count the Berachot he recited every day, following this custom mentioned by the Rambam.

Blayne Alexander sits down with Keith Morrison to talk about his episode, "In a Lonely Place,”  about the disappearance of Chris Smith, a California entrepreneur who vanished in June 2010. For months, his family believed he was traveling the world, thanks to a series of convincing emails. But what a sharp-eyed investigator eventually uncovered led to the truth: Chris had been murdered by his business partner, Ed Shin. Blayne and Keith discuss how the case slowly unraveled, and how Keith's sit-down with Shin behind bars got testy. Keith also shares an extra clip from his interview with investigator Joe Dalu, whose instincts led him to a critical discovery. Have a question for Talking Dateline? DM us on social @DatelineNBC or leave a voicemail at (212) 413-5252. Your message might be featured in an upcoming episode. Listen to the full episode In a Lonely Place on Apple: https://apple.co/4mUiPCMListen to the full episode on Spotify: https://open.spotify.com/episode/4iZOGhLs4h6XEJoc4ysSPj?si=8221d39ac645491dListen to the episode “Body of Evidence” Keith mentions as another unusual interview with a killer here on Apple: https://apple.co/4mpEL8ZListen to “Body of Evidence” on Spotify: https://open.spotify.com/episode/6xym79PJkeiO5oMzZ8x8w1?si=0fa4d6d5fabd402e