Podcasts about Suzaku

Ōama, aka Temmu Tennō, ascended the throne in the Kiyomihara Palace--a rennovated version of his mother's Later Okamoto Palace.  Here he ruled with a tremendous amount of authority, continuing the leverage the Ritsuryo system to centralize power in the throne.  We'll look at the layout of the palace, and also talk a little bit about what life was like for the members of the court who were serving Oama, and the state at large. For photos, diagrams, and more, see our blog at: https://sengokudaimyo.com/episode-134 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is episode 134: An Image of the Court at Kiyomihara Maro sat under the eaves of the hall to which he was assigned.  The journey from Mino hadn't been so hard, but he was still far from his family, back home.  He knew as much as they did that serving at the court of the Great Lord was a tremendous opportunity.  He would be at the heart of the court, in the presence of those running the country, and he could learn a lot from them.  After passing his internship, he would have a chance to prove himself.  If he worked hard, he could look forward to continued promotion, with the greater stipend and influence that came with it. Maro had no illusions that he would someday be at the top of the court hierarchy, but perhaps he could make some modest improvements in his station.  His elder brother was expected to inherit their father's position back in Mino, but the court provided a different opportunity.  Maro had always been a quick learner, and had learned to read and write at an early age, devouring whatever knowledge he could get his hands on – and that had helped make him that much more desirable to the court.  Now he was learning the ins and outs of how it worked, mostly by doing odd jobs while observing the various interactions, the politics, and the rhythm of it all.  Life at the Court really was something.  And yet he still felt homesick.  And so here Maro sat, looking out at the full moon in the sky, its light so bright that he barely needed any other illumination.  Maro wondered at the idea that his family might be looking up at the same moon at the very same time.  As that image took hold, he could feel in the experience a poetic verse.  He took out one of the wooden slips used for labels and notes, scraped off the previous writing, and began jotting down his composition. He only got through a couple of lines before he heard his name being called, and since he was on night duty he put down the brush and the wooden slip.  Poetry would have to wait.  With everything put back away, he rushed off to find out what new task awaited him. So here we are, the year is 673 and we are at the start of a new era.  Ohoama, aka Temmu Tennou, had defeated his enemies and was now in the process of taking the reins of power and officially ascending the throne.  In so doing he was moving the capital from Ohotsu, on the shores of Lake Biwa, back to Asuka.  Arriving back, he took up residence in what is called the Shima palace for a few days, presumably as they prepared the Okamoto Palace for him.  At the same time, we are told that a “palace” was erected for Ohoama south of the Okamoto Palace, and this was called the Kiyomihara Palace. I'd like to spend this episode talking about this Kiyomihara Palace, and what life was like there, not just for Ohoama but for his new court.  While we talked about some of the other palaces, this is perhaps one of the better known from the archaeological record, and it is the backdrop for so much that happens.  Ohoama is even known as the Sovereign from Kiyomihara.  So let's talk about what the palace consisted of, and what it was, and a little bit about what life was like there.  In addition to that, we've discussed in previous episodes how Ohoama's ascension to the throne kicked off a whole new era in the evolution of the Yamato state, with numerous innovations and new paradigms in the idea of the ruler and the court and their relationship – so it's worth taking a closer look at the setting where all of that was happening, so we can try and put ourselves in the shoes of those doing the work, and understand their daily grind, as it were. There is unfortunately plenty about the Kiyomihara Palace that we don't know - it isn't like there is a detailed account of the palace in the records - but its ruins are probably the most complete of all those found in Asuka.  This makes sense, given that it would have been built over the earlier palace sites.  In fact, for the most part, the Kiyomihara Palace is just the Later Okamoto Palace, in other words where Takara Hime, aka Saimei Tennou, ruled, but updated and expanded to fit Ohoama's and his court's needs.  Archeological work in Asuka has done some tremendous work to help us understand the Asuka Palace Site.  By studying the various post holes, ditches, and other evidence, along with occasionally discarded items, we have a general idea of the palace's shape, and when we combine this with what we know from other sites—the Naniwa Palace ruins in Ohosaka, the Fujiwara palace ruins in Kashihara, and the Heijo-kyo ruins in Nara, among others—along with an understanding of how palaces were being built on the continent, we are able to piece together what we think was going on.  Of course these interpretations aren't unanimous, and there are parts that scholars will no doubt quibble over—such as the use of the Ebinoko compound, which I'll talk about in a bit—but in general we have a picture of what things probably looked like, at least from a layout perspective, and how the site may have been used. To start, let's go back for a moment to the Toyosaki Palace in Naniwa, the first palace purpose built for the new governmental system being brought over from the continent.  This was the palace of Karu Ohokimi, aka Koutoku Tennou, uncle to Naka no Ohoye.  It was built in the aftermath of the Isshin Incident of 645, an architectural centerpiece of the Taika reforms.  As you may recall, this was a massive undertaking.  This palace was largely rectangular, and consisted of three compounds from south to north, ranging from most to least public. Most people would enter from the south gate, later known as the Suzaku-mon, the gate of the crimson bird of the south, a pattern that would generally hold true for other palaces.  Entering the compound, you would find yourself in the Choshuden, a space holding two pavilions with several rooms where officials could change into or out of their official robes.  The gates to the Choshuden would open at sunrise for the clerks and functionaries would enter.  At the northern end of the Choshuden was the Southern gate of the Chodoin, the main working area of the court.  There were 14 halls, or Chodo, each one dedicated to a different ministry.  The size of these halls varied, likely based on importance or at least the size of their government portfolio. Most of the middle area of the Chodoin was open, but at the northern end was the gate to the Dairi, the inner palace.  This gate was flanked by two octagonal buildings, and it led to an area between the Chodoin and the Dairi where there sat the building that would become the Daigokuden.  This was the main audience chamber for meetings with the sovereign, who would preside and make pronouncements in the early morning hours, at the start of the day. To the north of the Daigokuden was the rest of the Dairi, where the sovereign's personal quarters lay, including the quarters for his consorts and children, maintained by his personal servants.And there were other gates into and out of the Dairi—after all, the palace was so large you didn't want to have to go through the Choushuden and Choudouin just to get to the sovereign's quarters.  Those who lived in the Dairi and those who worked there would be able to have their own entrances and exits. Let's contrast all of this with the Okamoto Palace in Asuka.  More precisely the Later Okamoto Palace.  This was the successor palace to the Itabuki palace, both of which were built for Takara Hime, aka Kougyouku—and by this point Saimei—Tennou.  In fact, Itabuki palace burned down at the end of 654, just as Takara Hime came to the throne a second time.  This palace was, in total, maybe the size of the Chodoin of the Toyosaki Palace, if that.  For one thing, there wasn't as much flat land easily available in the valley, but for another, the builders maybe didn't think they needed quite that much space and that many buildings.  You see, while the Toyosaki palace in Naniwa was likely meant to model the kind of infrastructure necessary for the Tang court, in Chang'an, Yamato was still building up its fledgling bureaucracy.  It wasn't like there were a flood of reports and correspondences coming in from all over the archipelago that had to be handled by an army of clerks.  At least not yet. The Okamoto palace, from what we can tell, was also a rectangle, once again facing south , on the east side of the Asuka river.  This palace did not necessarily have the same kinds of dedicated spaces as the Toyosaki Palace. The main gate that we know of was in the south, leading to a courtyard with another building—possibly the Ohoandono, alternatively the Ohoyasumidono or the Daianden.  This may have been an audience hall for meeting with public officials.  The ground here was covered in gravel, a fairly common thing for palace compounds. Though we don't know exactly what the buildings looked like, we have some idea based on the size and number of post-holes.  We also haven't found any ceramic tiles in or around the ruins so far, which suggests that Okamoto Palace did not have ceramic tile roofs as were common on temple architecture, but instead were likely covered with wooden shingles, like the Itabuki Palace that used to be in relatively the same spot.  From an archeological perspective, any tiled building of this size leaves a lot of indications behind: over the years tiles fall off, break, get buried, etc.  Even if, as was common, the court meticulously dismantled the buildings down and reused as much as they could, we would still expect to see some tiles or tile fragments in the ground where the pillars are found, and yet we find nothing of the sort.  To the east and west of the Ohoandono were long, narrow structures, oriented north to south rather than east to west.  These are thought to have been the offices where government officials could do their work. Moving into the northern section of the palace, the ground was paved with river stones.  There were two large buildings with small wings, running east to west, lengthwise, and situated on the same line as the Ohoandono.  These may have been what have been called the To no Andono, or outer Hall, and the Uchi no Andono, the inner hall, and they would have been used for ceremonies for those of the appropriate rank. The middle hall it seems was modified from its original form.  While it was similar in size and footprint to the hall north of it, the western wing of the southern hall at some point was destroyed—whether on purpose or accidentally—and it was replaced with what appears to have been a pond. On each side of this central area we see more space for buildings, but only some of the post holes have so far been uncovered.  There were other buildings further in the northernmost third of the compound that were likely for the sovereign's private usage, as well as a well, and what may have been a building for some kind of semi-private religious ceremony. This palace, the Okamoto Palace, was essentially what Ohoama started from when he  relocated the capital back to Asuka – but when he ascended to the throne, he did make a few changes.  Most notable was the creation of something called the ebinoko-kuruwa, the Ebinoko enclosure.  This was to the southeast of the main palace, and had a rectangular wall surrounding one large building and two smaller ones.  Interestingly, the buildings would appear to be oriented in a symmetrical shape that would suggest a southern entrance, like the other palace compounds we've been discussing, and yet the gate was to the west, opening to the area between the Ebinoko enclosure and the main palace.  And based on postholes and other evidence, there appear to have been at least four other rectangular buildings stretching out to the south, outside of the walls.  Some have theorized that the large building in the Ebinoko  was an early form of the Daigokuden, a ceremonial hall where Ohoama held court, rather than reusing the facilities of the old Okamoto palace.  Alternately,  perhaps it was actually more like the buildings of the Chodoin in Naniwa, where the different departments of the court actually did business, but here with all of the officials working in one, single building.  A third idea that others have suggested that this was actually Ohoama's private residence—again, somewhat odd given the size and shape and the fact that there were the seemingly larger facilities of the Okamoto palace already right there for the taking. So which is it?  We do have a clue in the record of the 15th day of the 9th month of 672, and the lines following it.  According to the Aston translation of the Nihon shoki: He removed his residence from the Palace of Shima to the Palace of Okamoto. In this year a Palace was erected south of the Palace of Okamoto, and the Emperor removed his residence thither that same winter.  This was called the Palace of Kiyomibara in Asuka. So it does seem like something was built south of Okamoto and that is where Ohoama resided.  It is somewhat uncommon for a sovereign to reuse an old palace like this.  Traditionally, sovereigns had regularly moved to new palaces, seemingly because of the attempts to avoid ritual pollution associated with death.  Of course, it had been a while since Takara hime had passed away, and Naka no Ohoye had moved everything to Ohotsu, but nonetheless, is it possible that the Ebinoko kuruwa was built to, in some way, give Ohoama new quarters? We may never know for sure.  There are plenty of inconsistencies.  For one, if it was meant as a residence, I would expect more buildings for his consorts and others.  There are also some things to note about the account in the Nihon Shoki.  For one thing, although the initial account calls this the Kiyomihara Palace,  the Chronicles also suggest that it wouldn't actually get that name until the 20th day of the 7th month of 686, about 14 years later. That record describes how a new era name was also announced:  the Akamitori, or red bird, era.  I don't want to get too much into it right now, but suffice it to say that a red, three legged crow is often depicted as the symbol of the sun; and the important south gate of the palace, the Suzaku-mon, is named for the vermillion bird of the south, one of the four guardian animals.  When this era name—more commonly read as “Shucho”, today, since era names are commonly red in on'yomi reading rather than kun'yomi—well, when it was declared, we are told that the palace was titled the Palace of Kiyomihara of Asuka. What are we to make of this? Well, today, it is assumed that the Kiyomihara palace refers to the Okamoto Palace starting from the creation of the Ebinoko-kuruwa and its occupation during what is assumed to be Ohoama's rule.  Earlier in the Nihon Shoki we are told that Ohoama was known as the Kiyomihara sovereign, and so even though that name technically wasn't applied to the palace until later, it makes some sense just to assume it applied from the start of Ohoama's renovations. One more thing that I would point out.  While we talked about the original Okamoto Palace and the newly built Ebinoko enclosure, they were arranged as though around a large open area, like a courtyard.  The original palace stood at the north, where one could enter the south gate of the palace, and then the Ebinoko enclosure sat on the east side of the courtyard, with its western gate between the two.  The southern and western sides of the courtyard, on the other hand, followed the snaking flow of the Asuka River. From about 675 to 681, on or about the 17th day of the first month of the year, it's recorded that the court held an annual archery shoot in the court of either the West or South Gate—which would seem to refer to this large area.  This makes sense, as the space is large enough to accommodate plenty of room for the range and for others to watch The archery exhibition   was held here, in the space between the two compounds, like clockwork until 681, when we are just told that it was held in the “Courtyard”, which feels like it is referring to an area inside the main compound of Kiyomihara. There are no more mentions of the tradition after 681, though there is an archery shoot in front of the South Gate on the 5th day of the 5th month of 685, but that was probably done as part of the regular 5/5 celebrations—a holiday today known as Kodomo no Hi, or Children's Day, but more traditionally known as Tango no Sekku, the Iris festival.  Some form of celebration on this date seems to have occurred throughout East Asia up until the modern day. Whether the archery stopped or just became such a standard thing that it was no longer noteworthy in the record, I can't really say.  However, one can possibly imagine what it was like, with all of the courtiers out there watching as the arrows shot down the field.  The occasional twang of bows and the faint whistle as it sped towards its target, hitting the target with a sharp thwack.  Murmurs from the crowd regarding how well—or how poorly—any given person was doing. Beyond the courtyard and what we know of the two compounds—the Kiyomihara palace and the Ebinoko Enclosure—there is plenty still to discover.  There were likely other compounds around the palace, possibly as an extension of the palace.  And then there were the temples: west, across the river, was Kawaradera, and north of the palace and surrounding compounds was Houkouji, or Asukadera.  There is even some evidence on the northwest edge of the compounds, southwest from Asukadera, of an ancient garden surrounding several manmade ponds. And so, the entire valley appears to have been filled with buildings and official spaces , running up against and being constrained by the natural features of the valley itself.  As I mentioned above, there just isn't that much buildable space in the Asuka valley, compared to other places like Naniwa.  And this contributed to one of the other problems that the court would have experienced: according to tradition,  the front of the palace and other buildings were all oriented south, but for this location, this meant that they didn't face the expansive fields of the Nara basin, but instead they faced the mountains themselves.  All in all, there was not much room here to grow, and yet the government and the court had grown, at least by all accounts. Though, how much had the court grown? Maybe not as much as we might expect, despite Ohoama's ambitions.  First of all there had been the purge of the powerful ministers at the head of the Afumi court, but there are some startling omissions in the records from the beginning of Ohoama's reign.  There is no mention of the Daijin, or Great Minister.  There is no Minister of the Right or Minister of the Left.  There is no Inner Minister, and there is no Great Minister of State.  There are mentions of the “kugyou”, or “Ministers of State”, which traditionally includes the Daijin, but there is no mention of the Daijin, suggesting that the “kugyou” of this time may have only referenced the heads of the 8 ministries of the Dajokan, the Council of State.  What does this mean? Many scholars interpret this period as a time of extremely centralized power.  Coming off of his military victory, Ohoama seems to have ridden a wave of support and control.  Combine that with the continued absorption of Tang dynasty propaganda-slash-government theory that saw the sovereign—the emperor—as the central authority, and one can see how Ohoama may have been able to do something that few sovereigns in Japanese history were able to actually do, which is to wield real power.  This may seem odd for a position translated into English most commonly as  “Emperor,” but as we've seen, in glimpses through the way they are depicted in the Chronicles, or through the archaeological record, which shows different loci of power and authority across the archipelago in ancient times, the Ohokimi, later dubbed the Tennou or Sumera no Mikoto, was not necessarily all powerful.  Not only did they have to contend with rivals to the throne, but even various court nobles who made their way into the centers of power.  From figures like Takeuchi no Sukune, to the Ohotomo, the Mononobe, and more recently the Soga—in all of these cases various nobles often held considerable power, though often in tension with one another. Sources of authority also varied.  There were the individual religious centers through which families exercised some ritual authority, while there was also more secular authority in the various court positions.  The Ohokimi certainly were respected, from what we can tell, and had a powerful source of authority going back to at least the holy kami of Mt. Miwa.  They even spread that authority through their kannushi, their priests, which they sent out as an extension of the state.  But they weren't entirely independent, either. But Ohoama seems to have reached a point where he did hold a tremendous amount of authority.  Because there is another telling omission from the chronciles: we don't see any more Soga members.  With the death of Soga no Akaye, the Soga family's influence seems to have disappeared this reign.  We also don't see that much about other prominent families compared to earlier: we see the Mononobe as ambassadors, and we see the Nakatomi are still conducting rituals.  But we don't see any of them rising to the same positions as their forebears.  Instead, we see a lot of focus on the Princely class—those members who claim some descent from a previous sovereign, or even the current sovereign, and how they, themselves, are divided up with their own system of ranks that are outside the civil service ranking system. Speaking of civil service, it does always strike me that the ranking systems of various east Asian courts very much resemble the way that, even today, many modern bureaucracies create wage scales for their civil servants.  In the US the most common such scale is the GS or “General Schedule” pay system.  In that system, positions are associated with a particular grade, between 1 and 15, and federal employees are also referred to in terms of those grades.  Grade typically reflects some level of seniority and pay.  It isn't a one-for-one analogy, of course: the court ranks in Yamato were handed out by the sovereign, or at least through their authority, as were the various court positions, though I doubt that Ohoama was spending much personal time approving promotions for a low level clerk writing down inventories and suchlike—but who knows.  But it does emphasize that this system is built to be a centralized bureaucratic monarchy, based on the continental model, and it now seems to have come into its own.  The court seems to have bought into the idea, and now, intentionally or not, much of their own position in society was directly tied to the autocratic whims of the monarch, or Ohoama himself. Indeed, some of the first records from the year 673 are focused on the court and court system.  The very first thing this entailed:  a banquet on the 7th day of the first month of the new year.  We are told that it was a “drinking party” or “shuen”, and boy does that draw some parallels with modern Japanese companies.  We aren't exactly given the form of this party, but we do have later examples.  There was likely a formal start, with various nobles set out at assigned seats based on their rank.  It was an official event, so officials would have been expected to wear the appropriate clothing, including their caps of rank, letting everyone know exactly who's who, and reinforcing the social hierarchy imposed by the rank system in the first place.  I suspect that it started with ritual and formality.  Later, you would have the after party, where people might more freely mingle and drink and recite poetry.  This was both an official and social occasion, because there really wasn't much of a line drawn between the two.  As a ritual, it displayed Ohoama's power over the state through his ability to host them all.  As a social function it was an important time in the political life of the court, where everyone was together, and you could find your cliques and supporters. Drinking alcohol, while being something that many enjoy for its own sake, was also a kind of religious observance.  Sake was made to be offered to the kami, as well as to be used at parties.  It was made from rice, the staple on which the agricultural success of the archipelago was based, and which held a particularly sacred place in other rituals and ceremonies. And then there was the poetry.  As would be true for much of Japanese history, poetry infused all aspects of life at the court, and being able to compose good poetry was just as important to one's social standing as reading, writing, and other such skills. There were generally two kinds of poetry practiced at the court.  There was the traditional Japanese poetry, or waka, with alternating verses of 5 or 7 syllables—more properly morae, but no need to get into that.  Then there was poetry composed in the Sinitic style.  Known as “Kanshi”, which translates directly as “Han Poetry”, this mimics the poetic forms brought over in literature from the continent.  It required a certain amount of education to be able to compose and was based on the characters, or kanji, used.  Kanshi can generally be divided into at least two categories.  There is the Kotaishi, or the Old Style Poetry, which consists of poetic form used prior to the Tang dynasty.  Then there is Kintaishi, or Modern Style Poetry, which is based on the forms from the Tang dynasty and later.  Kintaishi is usually recognized for adhering to more rules of structure and composition, usually using lines of 5 or 7 characters, while Kotaishi is more fluid and less concerned with specific rules and rhythms. Poetry was also not necessarily a solo activity.  It was common in later eras to arrange poetry competition, where the court would divide itself, much like the bureaucracy, between the Left and the Right.  Each group would compose poetry, often on a set theme, and then  put up the poems they felt were the best against those of the other side and then the entire court would listen and judge.  The only tangible reward, assuming the sovereign was not so moved as to do something extraordinary, was bragging rights.  And yet, that social capital was important among the nobles of the court.  Image was extremely important to individuals, and embarrassment could be a political death sentence.  And so many would work hard at these poems to make sure that they were the best they could be. At this point, though, we are still in the early years of many of these traditions.  The poetry that we have appears to be less formulaic than we see in later eras, when there were so many precedents to which one was expected to adhere.  Poems could be about feeling and were not required to hearken back to previous poems and poetic allusions. By the way, official events like this are also one of the ways that we get compilations of poems, later on.  These events would get transcribed and then later those poems would be referenced, particularly if they were noteworthy or by noteworthy individuals.  This kind of event may have been where a lot of the poems from works like the Man'yoshu and the Kaifusou, the earliest compilations of Waka and Kanshi, respectively.  At some point I”d love to dig into the poetry more in depth, but for the moment, I think it is best to leave it there. Now besides one's skills at poetry there were other skills that the court was interested in.  The court system that they had lifted from the continent was based, at least theoretically, on the idea of a meritocracy.  The monarch, of course, was judged to be worthy to rule through the mandate of Heaven, which often demonstrated itself early in the regime through the Emperor's forces defeating their enemies, much as Ohoama had defeated his rivals in the Afumi court.  However, for the rest of the government, the sovereign needed to make sure that he had qualified individuals.  From an early point in history, people recognized that not everyone born into power and wealth was necessarily the best person to help run things.  If you could only find those of the greatest intellect, discernment, and moral compass, then those are the ones you would want to have running things, right?  And this is fine in theory. However, determining who has those qualifications can be a bit tricky.  We talked about this back in episodes 71 and 72 when we talked about the Han dynasty more generally.  In that case, while the civil service exam was open to any person, the reality was that only those with enough wealth and leisure time could afford to study to take the test.  And so while it did open up opportunities for some, it did not truly apply equally across all classes of people.  And this was likely fine with most of the ruling class at the time, since there were also still theories that there were different classes of people, and it simply reinforced their ideas that those in the lower classes just didn't have the same capabilities that they had.  In the Yamato court early in Ohoama's reign it isn't clear to me exactly how individuals were being chosen for service.  We know that rank was handed out as a reward for service, varying with the individual.  Ohoama handed out rank at the end of 672 to those who had helped him to come to power, and then, on the 29th day of the 2nd month of 673, just two days after he formally ascended the throne, we are told that he conferred cap-rank on those who had performed good service, each according to their situation. Of course, that is about how promotions were rewarded.  But what about how people entered into service in the first place?  How did you get introduced to a job in the bureaucracy in the first place?  Well for that we have Ohoama's pronouncement on the first day of the fifth month.  He addressed the court and set it up as follows: First, anyone who would take a government position would begin their career as an “ohotoneri”.  These were low level functionaries who supported the various bureaus as guards, messengers, and whatever else was needed.  Previously, this all would have fallen under the general term of “toneri”, who were those members of the nobility who had been sent to serve in the royal palace.  Aston translates this as a “chamberlain”, and thus equates oho-toneri—literally “great toneri”—as “high chamberlain”, though I'm not sure if that was actually the distinction or not.  It looks like the term “toneri” itself may pre-date the Ritsuryo system, but now was being more standardized, with expanded categories of “toneri” within the system itself.  Interestingly, there is only one other example I could find of Ohotoneri before the reign of Ohoama and that was in the account of Waketakeru no Ohokimi, aka Yuryaku Tennou, which makes me think that might be an anachronism.  We definitely see “toneri” used since just before that reign and continuously onward, and we see them in regards to not just the royal house, but as the functionaries and servants in various places and for other aristocratic families, but the “ohotoneri” seem to have been specifically connected to the royal family… and thus the state. Ohotoneri, despite being quote-unquote “great” toneri, were at the relative bottom of the hierarchy.  They were the night shift, the guards, the messengers, and the general go-fers.  They were essentially paid interns.  As they did their tasks, they were learning about how the various offices and ministries worked, and they were demonstrating their own aptitude.  Based on how they did, they would then be assigned to various offices as seemed most suitable. There were also offices that were staffed by women.  Though separate and distinct, women also had a role in the palace and thus the maintenance of the court and the state.   They were to be selected for service regardless of their age or even whether they were married or not, but they fell under a separate set of rules from the men, because, well, patriarchy. So that's what happened when people were selected to serve, but who was selected?  The chronicles don't say explicitly until a decree about three years later in the 4th month of 676, when it was decreed that all those from provinces outside of the Home Provinces could enter the service of the sovereign, no matter their family's rank, whether Omi, Muraji, Tomo no Miyatsuko, or Kuni no Miyatsuko.  They would also allow men of quote-unquote “distinguished ability” enter service, even though they were commoners. From that we can surmise that when they are talking about “all” people really they are talking about “all” the nobility—the only people for whom the Nihon Shoki was really intended, if you think about it.  Thus, logically it would seem that prior to this only members of the nobility were allowed to enter government service—but there is even more.  Because before this pronouncement in 676, only people in the Home Provinces were theoretically allowed to enter government service. The Home Provinces, or Kinai, are traditionally the five provinces of Yamato, Kawachi, Izumi, Yamashiro, and Settsu.  At this point, though, Izumi was still a part of Kawachi, so it would have just been the four.  These provinces were likely the first lands to really come under Yamato's direct control, and as such they all held a certain pride of place.  This is also where we assume that the powerful families of Yamato had their strongholds.  Certainly the Soga, the Mononobe, and the Ohotomo all had claim to traditional land in and around this region.  When the court had moved to Ohotsu it would have been the first time in many years that the capital was moved out of the Home Provinces, which was probably a large part of the dissent expressed at the time.  How would you like it if your job up and moved two states away and forced you to relocate with them, likely at your own expense? In 676, though, the court decreed that it would no longer restrict itself to noble families of the Home Provinces, but instead would open up service, and the lucrative stipends that came with it, to members of the nobility in the rest of the archipelago. This seems particularly intriguing given the two swords we have from the time of Waketakeru no Ohokimi, aka Yuryua Tennou, in the 5th century, where elites had served—or at least claimed to serve—at his court.  It is possible that during his day the influence of Yamato was more expansive, and that influence contracted after him. Or it could be that it was a different type of service that they had provided. And then there is the comment in Ohoama's decree that the court would also allow men of “distinguished ability” to also enter service, even if they were commoners.  How very progressive.  This seems clearly designed to suggest the meritocratic system that was the ideal, even if it was only truly observed in the breach. I can't help but think about how this symbolizes the court's expanded control across the archipelago, and the idea that all of the archipelago was truly under their control.  It also meant that they had opened up the candidate pool to a wider audience.  Does that mean that they were growing the size of the government, too?  I also can't help but wonder how the old guard took this—the traditional families from the Home Provinces who suddenly found themselves competing with people from the periphery.  Did they see them as equals, or the equivalent of upstart country bumpkins?  And let's not even get started on anyone who joined government service as a Commoner. On the other hand, I suspect these new functionaries would have owed their position even more directly to the sovereign and the court, and they might not have strong familial ties to the local area.  This is all just theory, but seems to follow with Ohoama's general efforts at centralization and accretion of power and authority to himself whilst further building out the structure that his brother, Naka no Ohoye, had set up.  Along those lines, at the same time that the sovereign opened up membership in the court to those outside of the Kinai region, he also meddled with the incomes of the various Princes and Ministers.  He insisted that those Princes and Ministers who were receiving taxes from fiefs in the West—by which I assume is meant western Honshu, Shikoku, and Kyushu—they should instead get their income from fiefs in the East.  So he was taking away the western fiefs and instead swapping them with eastern fiefs.  Those western taxes could then, presumably, come straight into the government coffers, and the princes and ministers would be connected with land in the east, which I suspect meant they would be expected to invest in those fiefs and encourage them to produce. This feels like it goes along with something from two years earlier, in 675, the third year of Ohoama's reign.  In the second month of that year he abolished the serfs granted to the various Uji back in 664, and he abolished any claims by Princes—Royal or otherwise—as well as Ministers and Temples to any mountains, marshes, islands, bays, woods, plains, and artificial ponds.  It seems clear that he claimed the right of eminent domain to himself and the state.  By extension, all land effectively belonged to Ohoama, and everyone else became, de facto, his tenants.  They paid taxes up to him, and he had the right to grant or take away the land as he saw fit. I can't imagine that went over well with those who had lost their rights to those lands, but either he compensated in them in some other way or his power had grown such that they didn't dare to oppose him.  Certainly not everyone was happy. In 677, Saita no Fubito no Nagura was banished to the island of Izu for apparently scoffing—or otherwise disrespecting—Ohoama.  Well, it says his vehicle, but Aston notes that this is probably just a polite euphemism for the sovereign himself. But that rebuke seems to have been pretty light compared to two years earlier when a man—we aren't even given his name, assuming it was known, hiked up the hill east of the palace, cursed Ohoama, and then cut his own throat.  How it was known that he had been cursing anyone isn't explained—though perhaps he had written it down or otherwise communicated his intentions.  Either way, it was certainly a rebuke. But if it phased Ohoama, we can't tell.  He did give those on duty that night a step in rank, presumably for the trauma they had experienced in dealing with everything. Possibly related—we are told that same month there was a great earthquake.  So was that thought to be the curse being fulfilled?  There is nothing to connect them except that the one immediately follows the other. And yet, Ohoama would continue to rule as he saw fit.  In fact, he would rule roughly 14 years, in total, right up to his death in 686.  A rather substantial reign compared to so many other sovereigns.  And he would continue to make his mark. Next episode we will continue our journey through the reign of Ohoama, aka Temmu Tenno. 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.

Artist Track Album Year Time Ikejirike Life Size Life Size (single) 2019 7:06 Ikejirike Yakudoshi 2022 EP No. 1 2022 6:47 Ikejirike w/Rie a.k.a. Suzaku & Senri Kawaguchi Breaking the Limit Instrumental Summit Vol. 35 Ladies Night 2023 6:24 Ryo Okumoto Free Fall Coming Through 2002 3:54 Ryo Okumoto Godzilla Vs. King Ghidarah Coming Through […]

Artist Track Album Year Time Dezolve w/Masato Honda Vista 10th Anniversary Concert 2025 6:14 Dezolve Disasters 10th Anniversary Concert 2025 5:38 T-Square Plum Night Highway Turn the Page! 2025 5:41 T-Square Ultra Heat! Turn the Page! 2025 5:18 T-Square Front Runner Turn the Page! 2025 4:07 Rie a.k.a. Suzaku w/Kanade Sato, Miku Yonezawa, Rina Hoshino,,Kurumi […]

Artist Track Album Year Time Rie a.k.a. Suzaku w/Senri Kawaguchi, Ikejirike Bermuda Triangle Live at Blue Mood 2025 5:25 Rie a.k.a. Suzaku w/Senri Kawaguchi, Ikejirike Rudra Live at Blue Mood 2025 5:02 Papamichael Lost in the Aegean Project Oracle 2025 5:09 Papamichael Traces of Giants Project Oracle 2025 4:27 Devil's Slingshot Hourglass Clinophobia 2007 4:43 […]

Artist Track Album Year Time Pymlico Don't Do That Core 2025 6:22 Jazz Avengers 8 Steps Live at Forest Blue 10/17/24 2024 4:24 Rie a.k.a. Suzaku w/Senri Kawaguchi, Yoshiko Ikejiri, Takuma Kaneko Atlas Live at Blue Mood 2025 5:37 Papamichael Dreams of Delphi Project Oracle 2025 5:42 Papamichael Pythia Project Oracle 2025 4:50 Joe Satriani […]

On this episode, join Garrett, Ed, Kate, Dennis, and special guest Chika for another wave of Fushigi Yûgi recaps, covering episodes 31-35. There's a big Nuriko spotlight on this one, with both good and bad points. Other topics include truth bombs, Genbu Ghosts, potential Nakago weakness, breaking the fourth wall, love of city pop, Watase-sensei's love of Street Fighter II back in the day, and more library shenanigans. 0:00:00 - Intro & Some Anime News 0:16:35 - The Watchlist 0:38:28 - FY Catch-up with Chika & Garrett 0:44:54 - EP31: Whirlpool of Doubt 1:02:38 - EP32: To Die for the Star of Suzaku 1:18:21 - EP33: Nuriko, Eternal Farewell 1:41:31 - EP34: Guardians of Ice 2:02:53 - EP35: Hell's Mirage 2:29:30 - Voices, Final Thoughts, & Kanpai Thanks to special guest Chika (@chikasupreme) from Shoujo Sundae Podcast (@shoujosundae), winner of the 2024 Signal Awards Listener's Choice in the Recap category. Give their podcast a listen, too! Unfortunately, Fushigi Yûgi is currently out of print, but you can still support the show by donating to our Ko-Fi link below.   Dennis: @ichnob | Ed: @ippennokuinashi | Garrett: @blkriku | Kate: @taikochan Linktr.ee | Ko-Fi | RSS

Une fois n'est pas coutume dans cet épisode nous explorons avec nos invités, Antoine Morand et Gauthier Leonard, l'écosystème Avalanche, une blockchain reconnue pour sa scalabilité, sa rapidité, et sa modularité permettant la création de blockchains personnalisées (Layer 1). Avalanche se positionne comme un Layer 0, offrant un réseau interconnecté de blockchains avec des solutions comme le consensus Avalanche et des outils comme AvaCloud.* Présentation de l'écosystème Avalanche :* Avalanche n'est pas une blockchain unique, mais un réseau incluant plusieurs blockchains interconnectées.* La C-Chain, compatible EVM, est le cœur de l'écosystème DeFi.* Avalanche propose des solutions natives pour la communication inter-chaînes et un SDK (Software Development Kit) pour créer des blockchains optimisées.* Initiatives communautaires :* La DAO Avalanche, soutenue par la Fondation Avalanche, aide à promouvoir l'écosystème via des événements, meetups, et hackathons.* Le récent meetup à Paris a rassemblé des acteurs de l'écosystème pour discuter de projets comme Suzaku et Dexalot.* Applications concrètes :* Avalanche est utilisée pour des projets gaming (e.g., Off The Grid, jeu AAA) et des plateformes de social fi tekles que The Arena.* Les blockchains personnalisées permettent des usages variés (finance institutionnelle, billetterie) tout en répondant aux besoins de souveraineté des données.* Restaking et décentralisation :* Suzaku permet de renforcer la sécurité des blockchains en utilisant des tokens déjà stakés sur Avalanche.* Cette approche favorise la pérennité et l'attraction de nouveaux validateurs pour les Layer 1.* Avalanche 9000 et accessibilité :* La mise à jour Avalanche 9000 a simplifié les exigences pour devenir validateur, rendant la création de Layer 1 plus accessible.Phrase clé : "Avalanche, un Layer 0 pour démocratiser les blockchains personnalisées et les usages Web3 tout en répondant aux besoins de scalabilité et de souveraineté."Liens utiles :* Site officiel d'Avalanche* Profil LinkedIn d'Antoine Morand* Suzaku Protocol (restaking)* Profil LinkedIn de Gauthier Leonard* Off The Grid (jeu AAA utilisant Avalanche)* Decouvrez ici le replay vidéo de l'épisode This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.nftmorning.com

Artist Track Album Year Time Escala feat. Slash Kashmir Escala 2009 3:21 Rie a.k.a. Suzaku Bermuda Triangle Mystery Hunter 2024 5:26 Rie a.k.a. Suzaku 369 -MiRoKu- Live at Blue Mood 2024 6:56 Swing Out Sister Breakout It's Better To Travel 1987 5:38 Swing Out Sister Surrender It's Better To Travel 1987 6:32 Swing Out Sister […]

Artist Track Album Year Time Ikejirike w/Rie a.k.a. Suzaku & Senri Kawaguchi Breaking the Limit Instrumental Summit Vol. 35 Ladies Night 2023 6:24 Rie a.k.a. Suzaku Noah's Ark – Prologue – Noah's Ark 2015 1:18 Rie a.k.a. Suzaku Noah's Ark Noah's Ark 2015 10:03 Rie a.k.a. Suzaku Noah's Ark – Epilogue – Noah's Ark 2015 […]

Artist Track Album Year Time Caldera Sky Islands Sky Islands 1977 5:58 Dezolve Scroll Asterism 2024 4:38 Dezolve Goodnight Aldebaran Asterism 2024 5:57 Senri Kawaguchi w/Ulf Wakenius, Tetsuo Sakurai, Eugene Pao Stratus Billy Cobham Tribute in Hong Kong 2024 9:52 Rie a.k.a. Suzaku w/Senri Kawaguchi, Kanade Sato, Yoshiko Ikejiri, Rina Hoshino Blue Wind Instrumental Summit […]

On this episode, join Diana, Dennis, Kate, Garrett, & Ed for the season 1 finale of Fushigi Yugi, covering episodes 23-26. All of the Suzaku Warriors have finally gathered plus 1 (wait, what...), and the melodrama just gets thicker. Tamahome is back to his old ways for a bit, Miaka has accidentally unlocked Hard Mode for the "summon Suzaku quest," friend zoning and promise rings, twin powers activate, river wall discrepancies, only one person freaking out over polaroid pictures, and of course, resurrecting a Tom Cardy joke from a previous episode. 0:00:00 - Intro & Some Anime Related News 0:22:58 - The Watchlist 1:03:42 - EP23: Shadow of Intrigue 1:27:09 - EP24: Resolution 1:53:19 - EP25: Love and Sorrow 2:22:07 - EP26: Star Festival 2:43:37 - Voices, Final Thoughts, & Kanpai  Unfortunately, Fushigi Yugi is currently out of print, but you can still support the show by donating to our Ko-Fi link below.   Dennis: @ichnob | Diana: @binkxy | Ed: @ippennokuinashi | Garrett: @blkriku | Kate: @taikochan Linktr.ee | Ko-Fi | RSS

So the year 649 was so bad that they went and changed the whole calendar to forget about it!  In 650 a white pheasant is brought to the court, and they sieze on that as a chance to rename the era from Taika to Hakuchi.  That should make things better, right? This episode we talk about this event--their reasoning, as well as what is recorded as having happened.  We also take a look at the completion of the Ajifu no Miya and how it was renamed to the Naniwa no Toyosaki no Nagara no Miya, or the Toyosaki Nagara Palace of Naniwa.  This is thought to be what we know today as the Early Naniwa Palace, and it was a real change, and, in many ways, the physical manifestation of the Taika era reforms. For photos and more, check out https://sengokudaimyo.com/podcast/episode-113 Rough Transcript: Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is Episode 113: The White Pheasant.   The officials of the court stood sentinel at the palace gates, a formidable line of authority draped in flowing, vibrant robes that signified their rank. Each step down the line revealed a cascade of colors, a living tapestry of power and prestige. Only the envoys from distant shores stood apart, their unique uniforms adding an exotic flair to the proceedings, as well as a certain legitimacy as outside witnesses.   The air crackled with anticipation as the crowd waited, their breath held, until four figures emerged, bearing aloft a magnificent litter adorned with intricate decorations that shimmered as they caught the sun's rays.   Upon that litter rested a cage, and within it,a dazzling white pheasant, plucked from the untamed wilds of Anato. Whispers rippled through the throng; some questioned the significance of this fragile creature, while others dared to see it as a divine omen. Was this bird as pure as the tales had promised? The capital had buzzed with rumors ever since its unexpected arrival, and those in the back stretched their necks, desperate for a glimpse of this rare marvel.   The past year had cast a shadow over the Yamato court, leaving the air thick with uncertainty. Yet, this ethereal bird, shimmering with the promise of renewal, seemed to herald a shift—an opportunity for rebirth that everyone craved.  At the very least it was a much needed distraction from everything that had previously occurred.   As the litter glided past, the courtiers bowed deeply in reverence, forming two disciplined lines that followed through the grand gates. Together, they marched into the palace, hearts pounding with hope. They were not just entering a building; they were stepping into a new era, one that, with a whisper of fate, could rise above the struggles of the past.     This episode we kick off the start of a new era—the Hakuchi era, or the era of the White Pheasant.  It followed the Taika era, and it does have a different feel.  It is less about new edicts and more about how things were shaking out and coming together.  And one of the things that was coming together was the Nagara no Toyosaki palace, which is believed to be the same one known to archaeologists as the “Early Naniwa Palace” unearthed in Ohosaka and dated to the mid-7th century.  We'll actually start with a look at this palace, continuing our discussion from last episode, as our sovereign, Karu, aka Koutoku Tennou, seems to have been a bit crazy about all of his palaces, and figuring out just which is which can be an issue in and of itself. We'll also touch on the start of this new era, and look at why and what it meant to come up with a new era name—a new “nengou”—in the middle of a reign like this.  And so we catch ourselves at the start of the year 650, still, technically, in the Taika era.  The year started well enough, with the sovereign celebrating the new year at the Ajifu palace and then coming straight back—the Ajifu palace was apparently yet another new palace and it seems construction had only recently begun.  Now, There is some confusion between the Ajifu palace and the Toyosaki palace.  The Ajifu palace is traditionally thought to have been located on the opposite side o f the Yodo river, in the area of modern Settsu city, on the site of what became the Ajifu Shrine.  Others have suggested that it was actually on the Kanimachi plateau, which is where the Toyosaki palace was.  Notably the “Toyosaki” palace is not located anywhere near the modern area of “Toyosaki” with which it seems to share a name.  From what little information we have, it seems to have been quite the complex.  As to why he would need yet another palace, I could not say.  And yet, later we see that the Ajifu Palace is eventually named the Nagara Toyosaki Palace.  So are they one and the same?  Did they move the Toyosaki Palace?  Or did they build the Toyosaki Palace and then *rebuild* it as the Ajifu Palace—aka the Nagara Toyosaki Palace? At this point the way that the Chronicles talk about it, the Ajifu palace site seems to have been almost purely conceptual, while previous accounts seem to indicate that the Toyosaki Palace was already in use.  That would have made for an interesting New Year's celebration, probably in temporary buildings erected quickly amongst the grass and fields, with some nearby tomb mounds that would need to be leveled or moved to make room, we are later told.  It seems they were still surveying the site, but I guess Karu really was looking for a change.  And so he celebrated the new year at the Ajifu palace, but quickly returned back to wherever the work of the government was actually occurring. As to where that was, well, we talked last episode about all of Karu's meanderings from one palace to the other.  The Nihon Shoki text itself is not exactly clear, as I read it.  It doesn't help that the term for palace, or “miya”, appears to refer to both a complex and a single residence, without a clear distinction given between the two.  And so, though I mentioned it last episode, let's recap what we know about the palaces this reign. So in 645, we are told that Karu decided upon Naniwa and we are told that this is the “Toyosaki” palace.  Then in 646, Karu took up residence in the “detached” palace of Koshiro in Sayabe, Naniwa.  This was likely him repurposing the Miyake, the government offices with the royal granaries.  He was only there for about two months, though, before he returned.  Then, in the third month of 646, he issues an amnesty claiming to have taken up residence in the new palace—but we aren't told which one. In 647, two years into the reign, the government offices at Wogohori are torn down and a palace was built there.  Now this is somewhat confusing because there appear to be two government districts:  Wogohori and Ohogohori.  You'll probably notice how similar these two sound, though it may have been more like “wogopori” and “opogopori”. Back in the day.  Wo-gohori, or the “Small District”, is mentioned once, but mainly just as a place name.  Ohogohori, or the “Big District” has previously shown up as the place with government offices for the envoys from overseas.   Confusing matters, in a later entry, Karu eventually moves out of the palace at Oho-gohori and into the palace that would be known as the Nagara Toyosaki palace.  So was he at Wogohori and then later at Ohogohori?  Or was there some scribal error such that the two got confused? And then in 648 we are told that Karu moved into the Toyosaki palace in Naniwa.  Two years later, in 650, and he is now celebrating New Year's at the Ajifu palace, which may refer to a location on the other side of the Yodo river, but is likely in the spot we now think of as the Nagara Toyosaki Palace.  We then know that in 651 they were still building a palace.  And it isn't until the last day of 651 that Karu would formally move from Ohogori into the Ajifu palace, which we are told was then renamed the Nagara no Toyosaki no Miya---the Nagara Toyosaki Palace. I have several thoughts on all of this.  One, is that there may have been two “Toyosaki” palaces—there was the Toyosaki palace that he first moved into, and then there is the Nagara Toyosaki Palace.  “Nagara” appears to mean something like “Long Handle”, but other than that, I don't know that there is a good translation.  It may refer to the fact that it was meant to last longer, or that it was even larger than the previous palace.  It may even be that the original Toyosaki Palace was just a few of the buildings, and that eventually it grew into the larger Nagara Toyosaki Palace, but if that is the case, what is up with term “Ajifu”?  Was that just one building in the larger palace?  Or are earlier mentions of “Toyosaki” anachronistic, and perhaps it wasn't until the entire thing was complete that they gave it that name?  Many modern accounts appear to conflate the Toyosaki palace with the Nagara no Toyosaki Palace, saying it just took that long to build.  That would imply that the Ajifu palace really was there on the Kamimachi plateau, at the known Naniwa palace site.  Alternatively, “Nagara” could possibly have been a reference to the fact that the Ajifu palace was an extension of the larger Toyosaki complex, possibly built out of the government offices of either Wogohori or Ohogohori. For all that we don't know exactly what was happening here, we have a pretty good idea in the archaeological record about at least one of the palace sites on the Kamimachi plateau.  This site has been identified as the Toyosaki palace of Karu, aka Koutoku Tennou, and it would actually be reused at a later date.  Sure enough, there are remains of at least two palace complexes on the site, with the one from our period known as the “Early Naniwa Palace” site. Based on its size and layout, this Early Naniwa palace was the first of its kind.  Previous palaces in Asuka had not dissimilar designs in terms of the general arrangement, but this clearly made use of the structure of continental style palace complexes, and was likely intended to be a new, permanent capital. The north of the palace complex consisted of a rectangular, walled section 185 meters east to west and 200 meters north to south, making up the “dairi”.  That's almost 10 acres of enclosed space, set aside as the sovereign's personal living quarters. South of that was a smaller area with the front hall, one of the largest for its time.  It was 36 meters east to west and 19 meters north to south.  This would have been the hall called the “Daigokuden” in later palaces, where official rituals would take place.  There was a gate between it and the Dairi, to the north, as well as a gate to the south, flanked by two octagonal buildings, which led to the Chodoin, the main working area of the court complex. This is part of what sets this palace apart from others, and why it likely took a while to build.  It may also explain all the different palace names as there was probably a lot of construction for a long time.  In previous instances, as far as we can tell, the sovereign's palace was both their home and the building where state business was conducted.  Think, perhaps, of the White House, in the US, and then imagine that the White House, the Capitol Building, and the Supreme Court were all part of the same compound, with only the barest of concessions to privacy between them.  In this new layout, the dairi was reserved to the sovereign, there was a small area for the official throne room, and then south of that was the Chodoin, the court hall complex. This was a huge change to how things had operated in the past.  While the main audience hall was still nominally part of the dairi, so the “private” areas of the palace weren't entirely “private”, it was still leaps and bounds more separated than in the previous palaces we've uncovered.  Sure, the idea of lining up buildings from the front gate to the larger buildings towards the back, making people approach successively larger and more impressive buildings, generally seems to have been a thing as far back as the Makimuku Palace near Mt. Miwa, back in the third century, but even then, there is no clearly defined separation between the public and private spaces of the sovereign.  There does seem to have been restrictions on who could enter what parts of the compound, with the sovereign's personal quarters being the most restricted, but now there were walls and gates and guards separating one area from another. The Chodoin itself, the main “business” or “public” area of the court, appears to have been about 262.8 meters north to south and 233.6 meters east to west—a little over 15 acres.  Most of that was open space between the 14 “choudou” halls lined up symmetrically, 7 on either side.  These were the individual buildings where the various government officials were to meet and conduct business, as well as conduct rituals, feasts, etc.  There was a southern gate that provided the entrance to the Chodoin and led to another large area with the Choshuden, the buildings where officials could change into and out of their formal court uniforms, and otherwise prepare for or close out the day.  South of that was the main gate for the entire compound, the Suzaku gate, named for Suzaku, the red bird of the south, one of the four directional guardian spirits. We know the buildings largely from their post holes.  They were made of wood, and it is likely that most of them were thatched.  They may have been painted white, vermillion, and green—classic paints that were based on continental styles and which were said to help prevent the wooden pillars from rotting too quickly.  It is unsurprising that this would have taken years—but it is also possible that they built some quarters for the sovereign and then built out from there.  This also would have been key to a lot of the governmental reforms, providing an actual location for the work that the reforms were directing. Of course, there was a lot of work to be done, and the halls in the palace were limited, so two areas to the east and west of the complex were set aside and appear to have been built up with other government offices, suitable for carrying out the day to day minutiae that was required. There is still a question of whether or not they also instituted the larger grid system city layout around the palace complex.  Currently we have no evidence for that, though perhaps they were considering it, eventually.  Unfortunately, with all of the construction in Osaka over time, I don't know if we could be able to find or discern such a layout if we did find it.  For now, we will stick with what we know:  an absolute unit of a court complex that took them several years to build. Getting back to the Chronicles: Our next entry in the Nihon Shoki, after the New Years celebration, tells us that in the second month, Kusakabe no Muraji no Shikofu, the governor of Anato Province, brought a white pheasant to the court.  The report claimed that it had been caught by Nihe, a relative of Obito, the Kuni no Miyatsuko of Anato, on the 9th day of the first month, on Mt. Wonoyama. For reference, the land of Anato was at the far western end of Honshu, part of the San'yodo, itself a designation for the lands along the Seto Inland Sea coast from Harima, modern Hyogo prefecture, out to Anato, modern Yamaguchi prefecture.  It was on the Honshu side of the Shimonoseki strait, which was the main entrance from the Korean Strait and the Japan Sea to the Seto Inland Sea.  The area would later be known as Nagato, which would eventually be called Choshu, an area which any students of the fall of the Tokugawa shogunate are sure to recognize. We discussed back in Episode 94 how white or albino animals—assuming they weren't normally white—were considered particularly auspicious.  So in 598, the land of Koshi sent a white deer they had found to the court of Kashikiya Hime, which is to say Suiko Tenno.  And so the white pheasant from Anato was clearly seen as an omen—but was it truly auspicious.  Here we see the court investigating this, and how exactly they go about that is somewhat enlightening as to how the court thought in general. First, they made inquiry of the lords of Baekje—I would suspect this referred to those recognized as Baekje nobility residing in the archipelago, rather than sending a correspondence to the peninsula and back.  That they went to someone from Baekje would seem to indicate the importance they placed on Baekje as a conduit for continental learning.  Indeed, the answer they got back—whether from a single, unnamed individual or a group of Baekje nobility—was that White Pheasants were recorded in the 11th year of Yongping, which would be 68 CE to us, during the reign of Ming of the later Han dynasty.  Han Mingdi, aka Emperor Ming of Han was born Liu Yang and also known as Liu Zhang, reigned from 57 to 75 CE.  Ming and his son, Emperor Zhang oversaw a period of particular prosperity for the Eastern Han dynasty.  On the other hand, there was an attempt to curse Emperor Ming in 67 CE, which ended with the death of the ambitious Prince Jing of Guanglin.  Then, in 70, Prince Ying of Chu was also convicted of using magic to try and secure blessings while he fomented revolution against the emperor, and he was exiled, where he committed suicide.  So I don't know if this marks the pheasant as particularly auspicious or not. Asking the Buddhist priests, who frequently studied not just Buddhist canon, but other continental texts, they mostly drew a blank—at least on the specifics of a white pheasant.  They did recommend that a general amnesty would not be amiss, as it would bring joy to the people.  I guess if you aren't sure about the nature of an omen you can certainly do something to help it out. And while they weren't specifically sure about a white pheasant in Buddhist scripture, a couple of priests did have suggestions. The Priest Doutou recounted a story from Goguryeo, when the court there wished to build a new Buddhist temple, but could not divine a suitable and auspicious site.  When someone witnessed a white deer, they chose that spot for the temple, which was then called the Temple of the Park of the White Deer.  According to Doutou, this temple established Buddhism in Goguryeo. Furthermore, he recounted, when a white sparrow was seen on the farmstead of another temple, or when a dead crow with three legs had been brought back from the Tang dynasty, the people had proclaimed both of these to be good omens.  So given all of that, Priest Doutou concluded, a white pheasant must be especially auspicious. The Priest Bin agreed.  Bin, you may recall, had been heavily relied upon for his knowledge in setting up the new governmental structure, which would seem to indicate that he was quite well-versed in continental ideas, and he had even traveled there himself.  He provided the court several different reasons that a white pheasant might appear. First, it might appear when a ruler extended his influence to all four quarters. Second, it might appear when the sovereign's sacrifices are appropriate, and when his banquets and clothing are in due measure. Third, it might appear when the sovereign cultivates frugality. Finally, it might appear when the sovereign was humane. He didn't provide any specific examples of how he arrived as his conclusions—at least nothing was recorded—and so he may have been relying on his own expertise.  However, he did recount one tale in particular.  It was a story from the time of Emperor Cheng Wang of the Zhou dynasty.  Cheng Wang is said to have reigned in the 11th century BCE, from 1042 to 1021, and so take that how you will.  Important to us is not what happened so much as what the Yamato court believed had happened—what was the historical truth that they were workin with at the time? According to Bin, during Cheng Wang's reign, the Yuehshang family brought a white pheasant to the court.  Apparently it had been three years without any exceptional storms or rains, and neither the rivers nor seas had flooded.  Apparently the old men found this an extremely long time to go without some kind of disaster, indicating that the pheasant was clearly an auspicious omen in deed. Priest Bin also mentioned other accounts, but the Chroniclers omitted them from the record. Whatever they were, the court had heard enough.  The White Pheasant was declared auspicious, and a new era was declared:  the Hakuchi, or White Pheasant, era.  They let the white pheasant loose in the royal garden, presumably with clipped wings or otherwise kept from flying off, and then preparations were made  immediately to officially inaugurate the new era 6 days later, on the 15th day of the 2nd month of 650. Before we get into that, though, I want to pause and take a look at something here:  The authority of precedent.  Time, as conceived of in the continental model, was cyclical.  There was the cycle of day and night.  The cycle of the year and the repeating seasons.  Likewise the planets and heavens all had their own cyclical periods.  In addition, there was the idea that the Yin and Yang forces in the universe likewise cycled through predictable patterns—the sexagenary cycle, or cycle of 60 years, being an example of a longer term cycle.  And then there was the Buddhist cycle or death and rebirth, at least as long as one remained tied to this mortal plane of existence. If time is cyclical, then one can look to the past to predict the present.   Stories of the past were seen as holding authority over similar events in the present.  Understanding these historical stories and being able to pull from them provided its own kind of power and authority.  Rather than attempting to reason from first principles, precedent was often a more convincing argument. Being able to read and write and recall all of these stories gave scholars the ability to influence events.  Of course, who had time to do all that other than people like Buddhist priests or the doctors of the court? This is also one of the reasons that people would have had to write down histories and, eventually, to keep diaries and accounts of what happened.  Those accounts would, over time, become essential records to invoke for moments like this—and even a record like the Nihon Shoki or the Kojiki would have similar significance.  In many ways, it is propaganda, but not just in how it describes the past as the Chroniclers wished it to be, but it set the precedent for succeeding eras to look back on.  While we may challenge that view, today, for many from the 8th century onward the events described in the Nihon Shoki were considered the gospel truth in more ways than one. Of course, all that aside, we've had plenty of auspicious events before, but why, now, would they be enough to trigger a new era?  Why not just note them and move on? Well, to start with, let's face it, nobody is likely to name 649 as the greatest year ever, any time soon, and certainly not the Yamato court.  The Crown Prince, Naka no Oe, had been tricked into thinking that his co-conspirator, Soga no Kurayamada no Ishikawa no Maro, was a traitor.  To be fair, Maro had been more than complicit in the murderous takedown of his own relatives to set up the current government, and history has time and again suggested that those who put someone on the throne can just as easily take them off it.  That's why they are often either brought deeper into the inner circle, or removed—either physically or more euphemistically.  In this case, though, it seems that fears of Naka no Oe and others were unjustified, and they sent the royal troops after an innocent man; or at least a man as innocent as any of the other elites at that time.  After all, the wealth of the elites came from the rice fields that they owned—or that were at least designated for their stipends—and they certainly weren't working those fields themselves, so make of that what you will. All of that had led to the death of Maro, his family, and the rest of his household.  That, in turn, led to the death of his daughter, Miyatsuko Hime, who was married to Naka no Oe himself.  When they finally did realize what had happened, the best justice they could figure out was to send the scandal-mongering Soga no Musa out to Tsukushi in a form of luxurious banishment.  Demotion by promotion, as he was made the Viceroy of Tsukushi, the top man of the court at the edge of the archipelago. To say that the year 649 had been a bust is an understatement.  Don't get me wrong, it was a far cry from the worst year that the archipelago had ever experienced—or would in the future, for that matter.  But that was scant comfort to the folks living in it. And so it was with some relief, I suspect, that the court welcomed news from the far flung land of Anato, because they really needed a distraction. With that in mind, let us move on to the events of the 15th day of the 2nd month of the year 650, describing how they inaugurated the new era.  Now, if the Chronicles are to be believed, this is not the first time they inaugurated a new era—we are told that year 645 was considered the first year of Taika, or Great Change.  But, assuming that did happen, and that it wasn't just named after the fact, the era would have started at the same time as a new reign.  Previously, from everything we can tell, dates were based regnal years.  Things are recorded as happening in the X year of Y sovereign.  Some of the oldest accounts seem to even note it more as X year of the sovereign who reigned from the Y palace, as the palace was likely more distinct a feature than the names and titles that they used, and the posthumous names, like “Koutoku Tennou” were not actually used until the end of the 7th or early 8th century. It is possible that Hakuchi is actually the first true nengo—or era name—and the first one that appears in the middle of a reign—though even here some say that the instantiation of “Hakuchi” is anachronistic. Personally, I see no harm in taking it at face value, at least for now, while acknowledging that everything in the Nihon Shoki is suspect.  Still, we are approaching a time when the events being written down may have still been in the living memory of people alive at that time.  720 is only 70 years away, and the project started even before then, so unless there are obvious discrepancies or supernatural events, we can probably assume that the Chronicles at this point are largely truthful, if possibly embellished. And so it is we are told of what happened.  To begin with, the court lined the ministers of the left and right and all of the functionaries in four lines outside the “purple” gate, as they would during a New Year's reception, like the one they had just had at the Ajifu palace.  The “Purple” gate was probably a reference to the southern gate The fact that the courtiers lined up at the south gate in the same way that they would have during a New Year's reception would seem to indicate that this was seen as the start of a new year.  It was no longer a Taika year—starting on that day it was now the first year of Hakuchi.  The month and day would not change, however, so it was still the 15th day of the 2nd month.  That means that technically the first year of Hakuchi would only have ten and a half months in the year—maybe eleven and a half, if there was an extranumerary month.  Likewise, the last year of Taika would only have one and a half months.  And if you are thinking that must make Japanese dates really tricky around the start or end of year, you don't know the half of it.  Sometimes events will get placed in the wrong “era” because they happened a few months before or after the change, and people forget that when they are translating to and from western dates.  It also means era names can't just give you the years of the era, but really need to give you the month and date it starts and ends.  Fortunately, most people are quite understanding about the occasional mistake.  But anyway, I digress. The courtiers were lined up as though for new years, and then they watched as Ahata no Omi no Ihimushi and three others bore a litter with the pheasant on it and went ahead through the gates.  The others followed in rank order—with the Ministers of the Left and Right leading the various functionaries.  The Baekje prince Pungjang and his uncle, Sesyeong Chyungseung, whom we mentioned back in Episodes 105 and 107, as well as Mochi, the physician to the King of Goguryeo, a scholar attached to the court of Silla, along with other important persons all advanced as well into the Central court of the palace. The pheasants litter was taken up by Mikuni no Kimi no Maro, Wina no Kimi no Takami, Miwa no Kimi no Mikaho, and Ki no Omi no Maro, who brought it to the front of the hall.  There, the ministers of the left and right then took the front of the litter, while the Prince of Ise, Mikuni no Kimi no Maro, and Kura no Omi no Woguso took hold of the rear.  Together, they placed it in front of the throne.  The sovereign, Kura, and the Crown Prince, Naka no Oe, examined the pheasant together. The Crown Prince then backed away, and the new Minister of the Left, Kose no Omi, presented a congratulatory address. He gave thanks to the sovereign and claimed that the pheasant was a sign that the sovereign would rule for one thousand autumns and ten thousand years across the Great Eight Islands—the Ohoyashima—of the archipelago and the four quarters of the earth.  Effectively, this is a long-winded version of “Banzai”, the congratulatory wish of ten thousand years of life for an emperor. Karu responded to this address by quoting auspicious times that white animals had been omens of good rule.  He then gave credit to the ministers and functionaries, and urged them to continue to provide good service.  Then he declared a general amnesty, forgiving various offenses, and noted that the era name would change to “Hakuchi”. Karu then directed presents to be handed out to the Ministers, the Daibu, the officials of lower rank, all the way down to the clerks.  Each received gifts commensurate with their rank.  Finally, Kusakabe no Muraji no Shikofu, the governor of Anato, was commended, and granted the rank of Daisen along with what we are told were a goodly number of presents.  In addition, the commuted taxes and corvees of Anato were remitted for three years, meaning that Anato would be allowed to keep all of the rice and product for themselves—something that was likely quite significant, though it is unclear whether this means that it was felt down at the level of basic workers or it just meant that the governor was able to keep what he taxed from the people for himself. And with that, we enter a new era.  Forget the unfortunate bloodshed and regrettable decisions of the previous year, this was a new start.  And that is often how these eras were seen.  Whether it was a new reign or things were just going so poorly that the court felt there needed to be a new start, future nengo would often follow a similar pattern.   And there was no set time for how long an era would last.  In fact, here's a little trivia for you:  The shortest nengo in Japanese history was “Ryakunin”, and it lasted just under two and a half months from late 1238 to the start of 1239.  It really shows how important it was to come up with a good name of these eras, as “ryakunin”, which seems to mean something like “humane period”, could also be written with characters meaning “abbreviated person”.  So they decided to abbreviate the era, instead, changing the era name again. This first year of the new era of Hakuchi continued relatively normally.  In the fourth month there were envoys from Silla—another source, according to the Nihon Shoki, claimed that Goguryeo, Baekje, and Silla sent envoys every year from this reign onward.  Then, in the tenth month, we see more work being done on the palace—presumably the Ajifu palace.  We are told that presents were given out in respect to tombs that had been demolished to make room for the new construction, as well as for the people who had been moved off their land.  Then Aratawi no Atahe no Hirafu was sent to place the boundary posts, no doubt marking out the outer extremities of the new palace precincts. In addition, that month work began—no doubt at the court's direction—on a giant tapestry, or mandala, with a sixteen foot tall Buddha image, attendant Boddhisatvas, and figures of all eight classes of beings according to the Buddhist cosmology.  That includes Heavenly beings, such as Devas; dragons; demonic Yaksha, Gandharva, and Asura; the bird-like Garuda and Kimnara; and the snake-like Mahoraga.  All told, there were some 46 figures.  It doesn't seem to say where it was to be installed, though it may have been made for the new palace complex. Also in that year we are told that the court ordered Aya no Yamaguchi no Atahe no Ohoguchi to carve one thousand images of Buddha—but once again, we aren't told where they resided.  We do know that the 16 foot tall embroidered Buddha was completed in the 3rd month of 651: it had taken them approximately five months.  The day after they were completed, the Dowager Queen, Takara no Himemiko, aka the former sovereign, Kougyoku Tennou, who had stepped down in 645, invited ten Buddhist teachers and prepared a feast and entertainment, likely to bless and show off the completed images. At the end of 651, the palace itself was finally complete.  We are told that over 2100 priests were invited to the Ajifu palace to read the Issaikyo on  the last day of the year.  The Issaikyo is the entirety of the Buddhsit canon, and so this was probably done in the abbreviated tendoku style, with priests just reading the chapter headings and flipping through the sutras, though with 2100 it is possible they just each red a different portion, all at the same time.  As it grew dark, the palace courtyard was kept bright with 2700 lights while we are told that the Antaku and Dosoku sutras were read.  Aston notes that these “sutras” of Antaku and Dosoku don't appear to reference any actual sutras that we know of, and posits that they may simply be rituals for home safety and the like.  Given what we know about the fate of so many of these old wooden palaces, it makes sense. After the sutras were read, the sovereign, Karu, formally moved from his residence in Ohogohori into the new palace, which was called Naniwa no Nagara no Toyosaki no Miya.  As I noted at the beginning, it is unclear if this was the Ohogohori or Wogohori, and it is even somewhat murky as to whether or not it was considered a palace.  Not to mention that after the New Year's ceremonies were completed, the royal chariot—which would have been carrying the sovereign—went back to Ohogohori.  I guess things weren't quite ready yet.  He would return on the 9th day of the third month, and even then we don't see a note that the palace was completed until the 9th month of 652.. There is a lot here where we see things that appear to be scheduled so that they can occur on auspicious days, even if everything else isn't quite ready.  So, for example, reading the sutras and formally “moving” into the palace on the last day of the year so that one could host the New Year's celebration there the next day.  That seems like something that was done purely for ceremonial purposes.  You may recall that in 650 they did the same thing. There are a few more references to the palace.  On the 15th of the 4th month of 652, the Buddhist ascetic E'on was invited into the Dairi to explain the Muryouju Sutra, also known as the Sukhavati Vyuha sutra.  E'on was made a lecturer, and there were said to be 1,000 ascetics in the audience, listening to his teachings.  That apparently went on for five days, being discontinued on the 20th day.  And the power of the sutras, and E'on's teachings, is shown in the weather, because the Chronicles claim that large rains began to fall in a monsoon that lasted for nine days.  This wasn't a gentle “water your crops” kind of rain.  This was more like a “demolish your buildings and destroy your fields” kind of rain.  There must have been massive flooding as men, horses, and cattle were caught up in the water and drowned. Given the way this is written, I'm not entirely certain of the takeaway.  Were the sutras that powerful that they brought rain, and E'on didn't understand his own strength?  Or was it a punishment for stopping E'on from continuing his lecture?  Or was it the rains that caused the lectures to stop, perhaps making it untennable for people to sit out in the courtyard and listen as the rains came down?  My rational brain suspects the latter, but I'm not sure how it was read by the people of the 8th century. On the last day of 652, priests and nuns from around the country were invited to the dairi, to the interior of the palace, and entertained and given a feast.  Alms were given and lights kindled to celebrate the new year. But that's the last entry I really see for the palace, as such.  There was plenty more happening through the era, and we'll touch on that.  We start to see Silla and Tang dynasty getting chummy, and we also see some of the reforms still working their way across the land.  We also have Yamato's own expeditions out to the Great Tang dynasty.  But we'll save that for the next episode, as we continue to dive into the Hakuchi era. And so, until next time, thank you for listening and for all of your support. If you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website, SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

Artist Track Album Year Time Rie a.k.a. Suzaku Area 51 Mystery Hunter 2024 4:27 Rie a.k.a. Suzaku w/Rina Hoshino Memento Instrumental Summit Vol. 38 Ladies Night 2024 5:03 Rie a.k.a. Suzaku / Yuka Tsutsumi Serval Instrumental Summit Vol. 40 Ladies Night 2024 11:54 Juna Serita Unfair Live at Blues Alley Japan 2024 2024 7:24 Juna […]

On this episode, join Dennis, Ed, Karen, and returning guest Chika Supreme for our third Fushigi Yugi episode! We're halfway through season 1/red boxset, and while Miaka hasn't found another Suzaku warrior yet, we do meet our first Seiryuu one. Other talking points include fun translation for the dub, easily broken promises, sexy sax AND sexy harpsichord, plus some Law & Order: SVU. In addition, we have a content warning. Some of the episodes we cover discuss the topic of attempted suicide. Since this epsiode is being released during National Suicide Prevention Month in the US, know that you are not alone. There are people out there who will talk and listen to you. So please use the Lifeline resources provided to you, such as dialing 988 or visiting 988lifeline.org. 0:00:00 - Intro & Some Anime News 0:07:31 - The Watchlist 0:19:46 - EP10: Looking for Yui 0:38:44 - EP11: Priestess of Seiryuu 1:08:24 - EP12: Only You 1:31:37 - EP13: For the Sake of Love 2:03:20 - Voices, Final Thoughts, & Kanpai Thanks to special guest Chika (@chikasupreme) of the Shoujo Sundae podcast (@shoujosundae) for once again joining us!  Unfortunately, Fushigi Yugi is currently out of print, but you can still support the show by donating to our Ko-Fi link below.   Dennis: @ichnob | Ed: @ippennokuinashi | Karen: @RyaCosplay  Linktr.ee | Ko-Fi | RSS

On this episode, it's the start of a new podcast miniseries covering the first half of Fushigi Yugi. Joining hosts Dennis, Kate, Garrett, Ed, and Karen is first time guest Chika Supreme from the Shoujo Sundae podcast! Though we only talk about the first four episodes, it's one of our longest podcasts to date, so fair warning. Beside's Chika's anime origins, we also discuss literally getting lost in a book, Miaka's directional hearing, which Disney character is Tamahome, operating hours of a national library, and how many gangs want to capture Miaka. 0:00:00 - Intro & Meeting Chika Supreme 0:15:54 - The Watchlist 0:33:13 - Some Anime News 0:50:07 - Production Notes & Our Fushigi Yugi Origins 1:05:49 - EP01: The Girl of Legend 1:43:38 - EP02: The Priestess of Suzaku 2:16:33 - EP03: The Seven Stars of Suzaku 2:46:44 - EP04: Missing Love 3:26:34 - Voices, Final Thoughts, & Kanpai Thanks to special guest Chika (@chikasupreme) of the Shoujo Sundae podcast (@shoujosundae) for joining us for the first time!  Unfortunately, Fushigi Yugi is currently out of print, but you can still support the show by donating to our Ko-Fi link below.   Dennis: @ichnob | Ed: @ippennokuinashi | Garrett: @blkriku | Karen: @RyaCosplay | Kate: @taikochan Linktr.ee | Ko-Fi | RSS

Video version:https://www.youtube.com/watch?v=efTFTjmhW1A&t=12sCould the answer to the apparent paradox between the beauty and the pain of this reality be down to the mistaken assumption that there is only one “God”? Could the inherent knowledge of the difference between right and wrong that most human beings have, be indicative of our true nature as “divine sparks? And might this world NOT be the creation of the original generative force, but a place set up to generate pain and fear by a lesser “God” of malevolent intent? Might the assumption that these “Gods” are one and the same be where so many are going wrong?*To connect about anything, e-mail markdevlin2022@protonmail.comTo download a pdf of the Suzaku article on afterlife exit:https://www.mediafire.com/file/6po39e7obt0przt/EXIT-FINAL-SUZAKU-REVIEW-FOR-Oct-14-2023-Update.pdf/fileNATURAL HEALTH SOLUTIONS - MASTER PEACEwww.deepdetox.co.ukNATURAL HEALTH SOLUTIONS - NANO SOMAhttps://www.nano-soma.uk/?sca_ref=5675441.2PYd3fzgGpNATURAL HEALTH SOLUTIONS - ROOThttps://therootbrands.com/markdevlinINCOGNITO PRIVACY TECH:https://privacytech.store?ref=17Become one of my Patreon supporters and get access to exclusive content here:https://www.patreon.com/user?u=113137448To support my output through Buy Me A Coffee:https://buymeacoffee.com/markdevlinTo support me via Paypal donation, find me at paypal.com under the e-mail address markdevlinuk@gmail.comFor details of all my upcoming events:www.djmarkdevlin.com/events/My Linktree, the one-stop shop for all my on-line platforms:https://linktr.ee/markdevlin

Believe it or not, there are people trying to make HR a better human experience, through the use of technology and HCD principles. My guest Megan DeVille has a job she describes as "obscure", but one that can provide immense benefits to organisations, employers and employees. We also get to geek out about anime and pop culture, and why good anime music will never die. Footnotes: - Suzaku 7 website: info and performances: https://suzaku7.weebly.com/ -Suzaku 7 on Facebook: https://www.facebook.com/TheSuzaku7/

Artist Track Album Year Time Rie a.k.a. Suzaku w/Rina Hoshino Memento Instrumental Summit Vol. 38 Ladies Night 2024 5:03 Muses Scramble to Space Muses 2022 4:51 Muses Jet Stream Goddess of VIctory 2023 7:08 Jazz Avengers Chase Myself 8 Steps 2024 4:16 Jazz Avengers Sphere 8 Steps 2024 5:07 Ami Nakazono Life On and On […]

International METAL Women's Day! First, we focused on Japan, where women continue to dominate the metal/rock scene, including: D_DRIVE, LI-SA-X, ASTERISM, NEMOPHILA, SAISEIGA, HADES, HANABIE, and RIE A.K.A. SUZAKU. After that, we continued our celebration with more badass metal women from other parts of the world!Playlist: D_Drive - Thumbs UpD_Drive - Begin AgainD_Drive - M16Li-sa-x - Dragon Ball Z theme (R.I.P. Akira Toriyama)Li-sa-x, featuring Paul Gilbert - SkullifiedLi-sa-x - Pale Pink MonsterEast of Eden, featuring Yuki (D_Drive) - EvolveNemophila - EnigmaMary's Blood - Rolling StartSaki - GerminansSaki Yamashita - FightCyntia - Chilly NightsHades - Bring It On!Saiseiga - InsideZettai Club - Aoihonoo (Blue Flame)Hanabie - Pardon Me I Have To Go NowBridear - IgniteFate Gear - MegabulletsAsterism, featuring Bootsy collins - BlazeAsterism - Full Throttle (Instrumentalization of C.O.B.'s "Needled 24/7")Asterism - Shooting StarRie a.k.a. Suzaku, featuring Dia (Viruscarlet) - Dreaming EyesMuses (JPN), featuring Rie a.k.a. Suzaku - FeministLee Aaron - Head Above WaterMarta Gabriel - Metal QueenCrystal Viper - Metal NationHysterica - Girls Made of Heavy MetalBurning Witches - Battle Hymn (Manowar cover)Arch Enemy - Kill With Power (Manowar cover)Nita Strauss, featuring Alissa White-Gluz - The Wolf You FeedNita Strauss, featuring Dorothy - VictoriousOrianthi - Fire TogetherLita Ford - Only Women Bleed (Alice Cooper cover)The Runaways - BlackmailThe Runaways - Born To Be BadLeather - We Take Back ControlLeather Angel - Under Your SpellJaded Heart - Empty HeartMiyako - Battery (piano instrumental cover of Metallica)Kobra and the Lotus - Specimen

Welcome to another bonus episode, where we take a break from the main narrative and discuss some of the modern locations where this happened.  In this case, I'm talking about a trip I took around the Nara Basin, specifically focusing on the area of Asuka, where the Asuka Period gets its name. We will have some photos of the places and things I mention this episode up on the podcast website: https://sengokudaimyo.com/podcast/episode-nara-part2 Rough Transcript   Welcome to Sengoku Daimyo's Chronicles of Japan!  My name is Joshua and this is Traveling Through the Nara Basin, Part II This episode, I'd like to pause in our narrative to take you on a journey through the modern landscape of Asuka.  This is a continuation from episode I did last year covering travels around the southeastern edge of the Nara Basin, from Tenri down to Miwa.  I'm going to skip over some of the sites in Kashihara—we may save that for a discussion of the Fujiwara palace that was there—and head straight to Asuka. Standing at the southern end of Asuka, at the site of the ruins of the Itabuki palace, looking north, with the hills at your back the view is rather bucolic.  Between the hills on either side of the valley, one can see rice fields spreading out.  Along the western edge, the narrow  Asuka-gawa winds along the base of the hills on its way north, joining with the Yamato river in the heart of the Nara Plain, far from view.  Along the eastern hills are various houses, heading out to a cluster around the current precincts of Asukadera. It is a far cry from the ancient capital it once was.  The large mansions and palaces that once filled the landscape are gone, their traces often lying beneath the rice paddies.  Amongst the hills, ancient tumuli still look down over the valley below, some with their contents ripped open—whether by man or nature—for all to see.  At the end of the Asuka period, the capital would move—first just a short hop away to the plains of Kashihara, to the north, but eventually up to Heijo-kyo, in modern Nara city.  A century later the capital would move north, settling in Heian-kyo, aka modern Kyoto city. Asuka, in turn, remained largely untouched by the urbanization that would take place in many of the large cities.  As the capital moved farther away—to Kashihara, then Nara, then Kyoto—Asuka was left behind.  The temples and buildings succumbed to time, and no great settlement sprung up in its place.  There were castles built on strategic hills by local lords, but much of the land remained rural Asuka would never be quite the same, a fact that would be of some relief to archaeologists and students of history in later centuries.  The lack of urbanization meant that traces of those ancient times—at least those underneath the layers of soil overturned by farming—do remain. Asuka is believed to have been a stronghold for the powerful Soga clan.  By rising through the ranks, marrying into the royal family, and supporting the winning side in various succession crises—not to mention their ties to the exotic Buddhist religion—they were able to make themselves into the most powerful family in Yamato, second only to the sovereign, and their stronghold of Asuka became the site of the palace building for at least four sovereigns.  It was also the home to some of the first permanent Buddhist temples, so it is the stage for much of what plays out in the late 6th to 7th centuries. For anyone planning a visit, the first thing you should know is that Asuka is still quite rural.  There are a few train lines that you can take nearby—the Kintetsu line Asuka station is probably the closest for most things, but since I was also visiting the Fujiwara palace ruins I rode into Kaguyama station on the JR line early in the morning. And so I entered Asuka from the north, passing by Kaguyama, one of the three sacred mountains of Kashihara.  Near Ikatsuchi, I followed a small road that cut across rice paddies just north of the presumed site of Kashikiya Hime's Oharida palace.  This is the palace she moved to in the latter part of her reign, giving over the site of Toyoura, to the southwest, for a nunnery. Making my way through the open rice paddies, I reached a small neighborhood on the other side.  The buildings were a mix of new and old, but nothing quite as old as what I was looking for.  I continued on, making my way to the Asuka Historical Museum.  This is an excellent museum for anyone interested in the area, with examinations of various temple ruins, kofun, and more.  Outside, there are numerous copies of the various stone figures that dot the landscape here in Asuka, such as the Saruishi, or Monkey stones. These stones are a bit enigmatic.  There is no clear relationship between the origin of most of the stones and any particular event that I could see in the Nihon Shoki or elsewhere.  The saruishi were discovered by farmers in their fields in 1702, near Umeyama kofun, and eventually moved to their current location at the site of Kibi Hime's tomb, outside of the giant keyhole shaped tomb for Amekunioshi, aka Kinmei Tennou.   They are called “monkey” stones, or Saru-ishi, because people thought they resembled monkeys, but in truth they are probably just carvings meant to represent people.  Scholars believe that they probably date back to the latter half of the 7th century, and may have been carved by immigrant Baekje artisans, based on their similarity to statues found on the Korean peninsula, but this is all conjecture.  The originals are viewable from behind a fence, but at the Asuka Historical Museum you can get up close and personal to them and really see the details—at least what hasn't eroded away. There is also the Kameishi, or turtle stone, which you can go see, but which also has a replica at the museum.  There are stories about this giant stone, carved to look like a turtle, but its exact purpose is unknown. There are also reconstructions of various kofun stone chambers, so you can see what is inside some of the large mounds, as well as stone fountains and water works, demonstrating not just the skill of the artisans of that era, but also their ability to harness the flow of water back in that time. Inside, much of the information in the museum is in Japanese, but there are English descriptions of artifacts and some contextualization, but if you don't read Japanese and are interested in what they have to say about the palace and temple ruins then a translation app is your friend.  In fact, it is generally recommended for any travel where you may be in need of translation, these days. Inside the museum, they go over the layouts of some of the later palaces, especially the Okamoto, Itabuki, and Kiyomihara palace sites, for which at least the inner court area is fairly well defined.  They also take a look at temple structures and the various continental influences, as well as a reconstruction of a water clock described by the Nihon Shoki during the reign of the sovereign known as Saimei Tennou—rest assured we will talk more about that at a later date. They also have a good look at the inside of the Kitora tomb's burial chamber, recreated for you.  The Kitora kofun and the Takamatsuzuka kofun are two of the most famous kofun in the area, but not necessarily for who was buried there.  Both of them have been opened, and inside it wasn't just grave goods, but they found painted chambers.  In the Kitora kofun we find the directional guardian animals.  These are four mythical beasts that represented North, South, East, and West, and they were Genbu, the Black Turtle of the North; Suzaku, the Red Bird of the South; Seiryuu, the Blue—or Green—Dragon of the East; and Byakkou, the White Tiger of the West.  In this case, since the tomb was opened from the south, only three of the paintings were visible, and the east and west walls were not in great shape, but it was still legible.  They are doing their best to preserve these paintings, and the museum only has copies, but it still helps to understand the time period.  The burial probably took place in the 7th or 8th century, and has been suggested that it was a high ranking noble or royal prince—or possibly even a high ranking person from the continent. Takamatsuzuka, on the other hand, has even more detailed murals from the late 7th or early 8th century.  The murals include the directional animals, but also pictures of courtiers dressed in the continental fashion.  The murals resemble those found in Goguryeo, and again, there are still many questions about just who was buried there.  Both the Kitora and Takamatsuzuka kofun are round kofun, and not especially large or prominent compared to some of the giant keyhole shaped kofun or previous eras, but the decoration and grave goods suggest people of status in both cases.  Also, since Takamatsuzuka gives us some of our only clothing evidence from this period, and it holds similarities to what we know of Nara and later Heian era clothing, it is often used as a key reference point when looking at the clothing and culture of this time.  The Takamatsuzuka kofun is only a short distance from the Asuka train station, but I did not visit this trip as I had been there many years prior, and I do recommend it if you get the chance.  Kitora kofun is a little more out of the way, but still doable, especially if you have more than a day to wander around the area. In addition to the tombs, the museum has a large exhibit on Asuka era temples, including a section of wooden wall from a building at nearby Yamadadera.  This section was found in 1980—apparently it had collapsed onto the ground and been covered up, as much of the wood was still preserved.  The section is dated to be even older than the oldest extant buildings of Houryuuji, and it gives a great example of the construction techniques of the time.  Since they didn't have glass windows, we see them using vertical wooden bars.  You can still see this on old style buildings and galleries, where a pole with a square cross-section will be tilted like a diamond and placed in the windows, creating a series of wooden bars that let in light, but still act as a barrier to entry.  This only really works on external walls, unless you have another kind of shutter to put over them, but it is effective.  We also have other items from the temple, including the head of a bronze Buddha statue. From what we can tell, this was another Soga family temple.  It is mentioned in the “Joguuki”, the biography of Shotoku Taishi, as well as in the Nihon Shoki. It is also a short walk from the museum, and an easy visit.  Warning, though, there isn't a lot to see on the site.  The outline of the temple and the various buildings is visible, and you can see how they lined up and get a sense of the approach, but it is fairly sparse.  There is a modern temple on the site—Yamadaji, or, read another way, Yamadadera.  It is not nearly as grand as the original, and is more like a rural, neighborhood temple.  During the Asuka period, Yamadadera likely attracted attention from far and wide as one of the chief temples of the capital. Speaking of temples, I next turned back down the road and headed towards Asukadera.  On the way isare the  Ishigami site an theand Mizuochi sites, next to the Asuka district    Exhibition Room of Archaeological Cultural Assets.  The Ishigami site is a section of the stone pathways near an ancient guesthouse.  Nearby is the Mizuochi site, which has been speculated to be the site of the water clock I mentioned earlier.  There was a moat for catching and holding water, as well as various pipes for getting the water up to the clock.  The clock itself contained several different buckets at different levels, so that a hole poked in the top bucket drained into the one below and then the one below that.  The idea was that the water would flow at a fairly constant rate, and that could be used to tell the time.  At the bottom was a float with an image of an official who held a ruler.  The ruler would rise with the float and thus indicate the time.  This was a great innovation as it would work even when the sun was not out, but it would need to be reset each day at a specific time to ensure that it was accurate. As for the nearby Exhibition Room—it is free, and so worth a look around.  Much of what is there is the same as the Asuka Historical Museum, but there are a few differences.  It is only a single room, so an easy in and out, and you can grab a bite or something to drink before you head on, so worth the stop if you are passing by, but if you are short on time you could easily give it a miss, as well. Continuing up the valley, to the south, I next stopped at Asukadera.  I approached from the west, though the parking lot and main entrance is to the east.  At the western edge there was a memorial for the Soga family members—more on that as we get back to the episodes.  You can also see where the gates and walls used to be, though now the temple itself is much reduced.  You no longer have the original footprint of the temple—when the capital moved to Heijo-kyo, the temple formally moved as well.  It was rebuilt in Heijo-kyo as Gankouji, but it wasn't like they could just move all the buildings—though that was sometimes done.  Over time things were dilapidated or destroyed by fire, and Asukadera itself shrank.  They did find and preserve the giant Buddha statue believed to have been installed in the reign of Kashikiya Hime, though the statue had been repaired extensively, such that only parts of the statue are thought to be original.  You can come into the worship hall for a fee and the monks there will tell you the history of that and other images at the temple—in Japanese, of course—and you are allowed to take pictures. While the temple is reduced, it is still an incredible experience to stand there and imagine what it once was.  In addition, you can look up the valley and picture the ancient palaces that once stood there as well. And that was my next stop.  I headed up the roads towards the ancient palace sites.  I noticed that there was some work going on near the Itabuki Palace site, and so I headed over that way.  This means I did skip the Nara Prefectural Complex of Man'yo Culture, which looks to have some excellent depictions of life during Asuka and Nara periods, focusing on the period of the Man'yoshu, the book of ten thousand leaves, our earliest collection of Japanese language poetry written with “man'yogana”—sinitic characters used primarily for their sound to represent the Japanese language of that era.  This is only one of many reasons that I will be returning to Asuka on a future visit. Still, I only had so much time in the day, and so I wandered over the old palace sites.  There was an excavation underway, and I admit I still need to look into if there was a site report for the work—this was in November of 2022.  I don't know if there were any major changes in our understanding at the time, but always great to see people in the field doing the work that helps us map and understand the past.  While Tthere is a small rest area there, but you should be aware that after excavation, the site has largely been covered back up.  There is a small display on the eastern side of the valley where you can see some post holes, but largely you have to use your imagination to see the palace and where it was.  I still just like to be there and experience the site and get an idea for even just the topography of the place, which I really believe puts things in perspective. From the Asuka palace site, I headed up the road and a little bit into the hills to see Ishibutai kofun.  This is a famous kofun and is extremely impressive in its presentation, despite the fact that it has no grave goods and we don't really know who was buried there.  You see, though it was apparently a square shaped kofun, all of that dirt has been removed—likely by erosion or other factors—but that means that the stone chamber inside has been exposed.  With that you can see the enormous stones that people moved into place to create the burial chamber.  This was not a simple matter of making a brick enclosure, but rather it was massive boulders that were found and placed in such a way that I'm sure the builders of the pyramids or Stonehenge would have appreciated.  As it was open to the elements, anything that was inside was either stolen or rotted away, but it is still impressive to see the construction.  It is thought that this may have been the tomb of none other than Soga no Umako, that powerful Oho-omi that lead the Soga family to greatness, and some have suggested that with the Soga's downfall, that could explain why the earth was removed from the tomb in the first place, to disgrace him and his family. From Ishibutai, I headed west, taking the road between Tachibana dera and the ruins of Kawara dera.  We don't know exactly when they were founded, but it was likely in the 7th century.  Tachibana dera claims to have been founded by Shotoku Taishi, and is said to have been built on the site of his birthplace.  What we know is that it was mentioned in the Nihon Shoki by about 680, and it appears to have been a nunnery.  To the north is the site of Kawara dera, and you can see the ruins in the field around the current temple of Gufukuji, which was established there after Kawara dera itself had fallen to ruin.  Kawara dera and Tachibana dera may have been built as a pair of temples, and rooftiles have been found at each site that appear to be of a similar age. However, neither temple has any of the original buildings left.  There are some ancient stone statues, however: a stone with two people carved into it, facing away from each other, and, nearby, the Kameishi, or turtle stone, which some claim marked a boundary point between the two temples.  That isn't to say that the current temples don't have anything worth seeing, and if I had more time I would have definitely looked into it, but I had my sights set a bit farther afield, because continuing down the road will take you to several notable kofun. First off is the kofun of Temmu and his wife Jitou—I'll stick with the regnal names for now, as they haven't really come up in our story, but we'll definitely have a lot to talk about when we get there.  This is an octagonal kofun, likely representing Buddhist influence and the importance of the number “eight” at the same time that kofun themselves were starting to fall out of fashion.  The shape isn't easy to make out, given that it is overgrown with trees and other vegetation, and you aren't allowed on the kofun itself.  Still, it is something to visit it and give some thought to history. Next along the path, following a trail that cuts along the hillside, is the Demon's Cutting Board and the Demon's Toilet.  Yeah, you heard that right.  These are two large stones, one up on the hill, and one a little farther down.  A local story tells of an oni—a demon or ogre—that would catch passersby and eat them.  The oni would chop them up on their cutting board, the Oni no Manaita, and would then relieve himself in the toilet, the Oni no Setchin.  In reality, they appear to be two parts of a stone chamber for a kofun that was likely on top of the hill, but which was dug up or the top eroded away and then the top portion, the “Setchin” stone, fell down, possibly due to some kind of local event—a landslide or earthquake, or something similar.  Needless to say, there is nothing left of the grave other than these two giant stones, with any goods having long been taken. Continuing on along the path past that is the giant keyhole shaped kofun designated as that of Kinmei Tennou, aka Ame Kunioshi Hiraki Hiro Niwa.  The tomb is large, and impressive, and a good example of the kind of royal tomb that was the norm up to that point.  Perhaps more intriguing is something I mentioned, earlier, because there are satellite kofun nearby.  Satellite kofun are often assumed to be people related to the main kofun in some way—it could be family members, consorts, or even special courtiers who served them well.  In this case, the tomb has been identified as that of Kibi Hime, and, unrelated to that as far as we can tell, it has become the home of the saruishi, the monkey stones I mentioned earlier.  They are behind a barrier, so you can't get too close, but it is neat to see them there, bearing silent witness to an age long past. At that point, the sun was setting behind the mountains.  I followed the road back to the Asuka train station and from there headed on to my next destination.  I left nearby Takamatsuzuka, which, as I said, I had seen on a previous trip, as well as many other sights.  After all, just to the west is Katsuraki, and to the north is Kashihara, which is not only home to Temmu's Fujiwara capital, but also to the three sacred mountains and numerous other kofun dotting the landscape.  Farther north still and you can visit Houryuuji Temple, and the nearby Chuuguuji temple, both of which have treasures from the Asuka and Nara periods, including the oldest extant wooden buildings in the world.  I highly recommend it. There is also more to explore.  There are old castle ruins—mostly just earthworks—and other temples and buildings from ages to come after the Asuka period.  While it was never exactly built up, that doesn't mean that Asuka remained completely untouched throughout the centuries. I'll put up some photos on the podcast webpage so that you can see things for yourself, and I hope that one day you all get a chance to visit Asuka.  It truly is a beautiful place, nestled amongst the hills and looking out into the Nara Basin.  There is a feeling as if, despite the roads and modern vehicles, time still moves a bit slower there.  And though the ancient buildings that once marked the capital of Yamato are no longer there, the traces and their presence can still be felt. Next episode we'll get back into the narrative.  I want to dive a little deeper into what was going on over on the continent before we start to unravel everything happening in Yamato, as the Tang dynasty had come to power, and it was just beginning a period that would come to be known as its golden age.  Until then, thank you for listening and for all of your support. If you like what we are doing, 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 Tweet at us at @SengokuPodcast, or 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 her 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.

❌本集朱雀咖喱沒有業配，食用前請詳閱公開說明書❌ 如果你喜歡這集，你會更喜歡牛寶送的免費朱雀咖哩!! 活動資訊請至 REALFAKE 官方 IG 頁面查詢，事不宜遲趕快參加

❌本集朱雀咖喱沒有業配，食用前請詳閱公開說明書❌ 如果你喜歡這集，你會更喜歡牛寶送的免費朱雀咖哩!! 活動資訊請至 REALFAKE 官方 IG 頁面查詢，事不宜遲趕快參加

Artist Track Album Year Time Bill Evans The Alternative Man The Alternative Man 1985 5:33 Derek Sherinan & Simon Phillips Aurora Australis Sherinian / Phillips Live 2023 11:21 Rie a.k.a. Suzaku w/Senri Kawaguchi, Kanade Sato, Yoshiko Ikejiri, Rina Hoshino Urban Highway Instrumental Summit Vol. 37 Ladies Night 2023 4:45 Rie a.k.a. Suzaku w/Senri Kawaguchi, Kanade […]

durée : 00:44:59 - Les Nuits de France Culture - par : Albane Penaranda - En 2014, alors que sortait en France son long métrage "Still the Water", Laure Adler recevait Naomi Kawase dans "Hors-champs". Lauréate précoce de la Caméra d'or du Festival de Cannes de 1997 pour Suzaku, et récompensée par le Grand Prix en 2007 pour La forêt de Mogari, Naomi Kawase est l'une des très rares réalisatrices de renommée internationale du continent asiatique. Tous genres et continents confondus, elle est aussi considérée comme l'un des cinéastes importants de son temps. La famille, la communauté, l'absence, le deuil, la nature, sont des thèmes centraux du cinéma de Naomi Kawase, dans ses fictions comme dans ses documentaires. En 2016, quelques temps après la sortie des Délices de Tokyo, elle confiait dans Télérama à Frédéric Strauss : "Je suis attachée aux choses spirituelles, aux émotions, et, en tant que cinéaste, j'essaie de trouver comment les exprimer d'une manière concrète. Ma façon de faire des films tourne autour d'un rapport entre le tangible et l'intangible. Entre le visible et l'invisible, qui peuvent dialoguer". "Je suis japonaise et j'utilise donc des éléments de ma propre culture. Mais je me considère d'abord comme une citoyenne du monde, je travaille avec des idées japonaises tout en recherchant une signification universelle". En 2014, alors que sortait en France son long métrage Still the Water, Laure Adler recevait Naomi Kawase dans "Hors-champs". La réalisatrice expliquait sa relation et son travail avec les acteurs non professionnels de son film La forêt de Mogari (2007) : "Je ne veux surtout pas qu'ils jouent. Je déclenche la scène c'est tout. [...] En général je tourne toujours dans l'ordre chronologique. Donc à ce moment-là les acteurs s'approprient le temps qui passe et réagissent en fonction de ce qui s'est passé auparavant. Ils enchaînent les scènes dans leur continuité." Retrouvez l'ensemble de la Nuit : "1960 et après, Nouvelle Vague et multiples visages du cinéma au Japon" Par Laure Adler Réalisation Didier Lagarde Hors champs - Naomi Kawase 1ère diffusion : 22/10/2014 Indexation web : Sandrine England, Documentation Sonore de Radio France

Artist Track Album Year Time Al Di Meola Sequencer (remix) Sequencer – Special 12′ Mixes 1983 6:24 Rie a.k.a. Suzaku w/Yoshihiro Naruse, Yoshiyori Imai, Marie Fukai Fightman Instrumental Summit Vol. 36 2023 5:09 Masato Honda Band with Jun Kajiwara Natsu no Shinkirou Live at Kiwa, August 2020 2020 8:56 Miku Yonezawa Merry-Go-Round In The Sky […]

Artist Track Album Year Time Ikejirike w/Rie a.k.a. Suzaku & Senri Kawaguchi Breaking the Limit Instrumental Summit Vol. 35 Ladies Night 2023 6:24 Jazz Avengers Raise Your Flag The Jazz Avengers 2023 4:39 Dimension 1.2.3 Boogie 33 2022 4:28 Naoya Matsuoka Banda Grande Moon Drive Searching For Venus 1994 4:28 T-Square From Tanjavur Live in […]

Whoever loses, we all win -Senior leaders of the Caldari and Gallente militia showdown on the eve of the Uprising patch -The boring stuff out of the way: Which new ships do the militias have their eyes on to have … Continue reading →

Broad-band spectral analysis of LMXB 2S 0921-63 with Suzaku by Prince Sharma et al. on Monday 26 September We present the broad-band spectral analysis of the low-mass X-ray binary 2S 0921-63 by using the Suzaku archival data covering the orbital phase between 0.31 and 1.16 during four close observations. It is the first time that a broad-band spectral analysis of 2S 0921-63 has been done up to 25 keV. The 0.5-10 keV XIS count rate varied between $sim$ 1 and $sim$ 5 counts s$^{-1}$ during the observations. A partial X-ray eclipse and broad post-eclipse intensity dip were observed during the observations. The X-ray emission hardened marginally during the intensity dip. We have modelled the source spectra by simultaneously fitting the XIS and HXD-PIN spectra for each of the four observations. The broad-band spectra of the source can be described by a model comprising a very hot blackbody having temperature, $kT_{rm BB} approx$ 1.66 - 2.13 keV, a high-energy cutoff power law, and an Fe emission line at $E_{rm line} sim$ 6.7 keV. A second model, accounting for the Comptonization of the thermal emission from accretion disc along with an Fe emission line, describes the broad-band spectra of 2S 0921-63 equally well. arXiv: http://arxiv.org/abs/http://arxiv.org/abs/2209.00282v2

Episódio do anime comentado hoje: 18.Próximos episódios a serem comentados: 19 a 21, a luta de Yusuke contra Suzaku.

Confirmation of dust scattering echo around MAXI J1421-613 by Swift observation by Kumiko K. Nobukawa et al. on Sunday 18 September MAXI J1421-613 is an X-ray burster discovered by Monitor of All-sky X-ray Image (MAXI) on 9 January 2014 and is considered to be a low-mass X-ray binary. A previous study analyzing follow-up observation data obtained by Suzaku on 31 January to 3 February 2014 reported that an annular emission of ~3'-9' radius was found around the transient source. The most plausible origin of the annular emission is a dust scattering echo by the outburst of MAXI J1421-613. In this paper, we confirm the annular emission by analyzing the data of the Swift follow-up observation which was conducted by the photon counting mode on 18 January 2014. In a radial profile, we found an annular emission at ~2'.5-4'.5. Its spectrum was well explained by an absorbed power law, and the photon index was higher than that of MAXI J1421-613 itself by delta Gamma~2. The flux and radius of the annular emission observed by Swift are explained by dust scattering of the same outburst as is responsible for the annular emission observed by Suzaku. Assuming that the dust layer causing the annular emission found by Swift is located at the same position as the CO cloud in front of MAXI J1421-613, the distance to the transient source was estimated to be ~3 kpc, which is consistent with the value estimated by the previous study of Suzaku. arXiv: http://arxiv.org/abs/http://arxiv.org/abs/2209.07755v1

No episódio de hoje, a dublagem brasileira está tão maluca quanto os desenhistas!Episódios do anime comentados hoje: 16 e 17.Episódio do anime a ser comentado no próximo: 18 a 21, as lutas de Hiei com Seiryu e de Yusuke contra Suzaku.

Join us as we chat about how motherhood is like being a teenage girl sometimes, while eating Suzaku of course!

En Música de Contrabando revista diaria de música en Onda Regional de Murcia (vamos de 23,05 a 01,00h)Bono anuncia para el 1 de noviembre la publicación de sus memorias: Surrender. 40 songs, one story. El libro consta de cuarenta capítulos y cada uno de ellos lleva por título el de una canción de U2. Damien Jurado estrena "day of the robot", redondo nuevo adelanto de Reggae film star, su nuevo disco. Noise Box rompen su silencio con Nueva Ciencia mostrando su lado más electrónico; una inquietante pieza progresiva que refleja el impacto que tiene en nosotros vivir en la era de la post-verdad.'Un Esclavo, Un Siervo' es el segundo adelanto del próximo álbum de Betacam. Califato ¾ imaginan unos Romeo y Julieta de rave jonda en su nuevo EP. Hoy -Día de las Letras Galegas- llega "A Quincena do Apóstol" de Boyanka Kostova, canción en la que el duo vuelve a unir música contemporánea y electrónica con folklore .Mediapunta presenta "Mañaneo", último adelanto de su disco debut.Olvídate de Mí es el segundo adelanto del séptimo disco, EX, de Lidia Damunt, que verá la luz el próximo 10 de junio de la mano de La Castanya y ha contado con la participación de Sergio Pérez García en la producción. Perros Románticos , nuevo adelanto de Carlos Vudú, que toma su titulo de la novela de Roberto Bolaño. Aldous Harding te sumerge en un mundo de fantasía animada en el vídeo de "tick tock", otro de los grandes momentos de Warm chris, su último disco. “Campaña electoral”, una de las canciones del último disco “Dramas del primer mundo”, de Capitán Sunrise. En la canción colaboraron La La Love You. Nuevo pop innovador y contemporáneo, así define Pablo Romo sus comienzos en el mundo de la música. No thinky just be cute es un viaje entre el sonido más actual y la huída del ser humano. Kelly Lee Owens estrena "one", hilo conductor de Inner song, su disco anterior, y LP8, su nuevo disco. White Bats presentan Pannic Attack Es el segundo single que avanza el álbum ”Suzaku” y suena a himno desde el primer momento. Mare Carrier estrena “Little”, su segundo y último single previo al lanzamiento del que será su nuevo LP titulado “Who The Fuck Is Mare Carrier?”. Jordana B., el grupo liderado por María Solá, da en la diana con su nuevo single “Club de Fans” en el que pasan de su pop ochentero a uno más gamberro cercano al garage. Death Cab for Cutie se reinventan con ‘Roman Candles'. Firmado, Carlota, descubre sus preocupaciones y sus obsesiones en su oscuro nuevo tema. "Malos Tiempos" viene acompañado de un videoclip que fue grabado en Casa de Campo de Madrid. La naturaleza adquiere un papel importante en el vídeo ya que cobra un doble sentido. Después de escuchar la canción que da al nombre al disco, el músico estadounidense Ty Segall ha estrenado un nuevo tema que lleva el nombre de Saturday Pt. 2 y que incluye la colaboración de su colega Mikal Cronin en el saxofón. Hablamos con Ismael Serrano, que viene con su gira "Seremos" a presentar un espectáculo que es a la vez concierto y representación teatral. Porque fuimos, seremos.

Discusiones legales en Texas, llama a teléfonos con Alexa y se completa el primer viaje en barco mercantil autónomoPuedes apoyar la realización de este programa con una suscripción. Más información por acáNoticias:-Los grupos comerciales de la industria tecnológica NetChoice y la Asociación de la Industria de Comunicaciones Computacionales apelaron a la Suprema Corte de los Estados Unidos para suspender la ley tejana HB 20. -Apple anunció un sistema de Entrega Delegada de Apple Podcasts, el cual permite a los creadores distribuir sus podcasts de paga directamente a Apple Podcasts desde proveedores de alojamiento de terceros. -En Alemania, investigadores de seguridad de la Universidad Técnica de Darmstadt demostraron una forma de ejecutar malware usando el transmisor Bluetooth de un iPhone-Si tienes un dispositivo Alexa y vives en México, ya podrás usarlo para hablar a números telefónicos usando comandos de voz.-El barco mercantil Suzaku ha logrado completar el primer trayecto comercial autónomo del mundo. Discusión: Viajes de vehículos autónomos See acast.com/privacy for privacy and opt-out information. Become a member at https://plus.acast.com/s/noticias-de-tecnologia-express.

En Música de Contrabando revista diaria de música en Onda Regional de Murcia (vamos de 23,05 a 01,00h) Rolling Blackouts Coastal Fever bajan el tempo pero no la intensidad en "dive deep", nuevo adelanto de Endless rooms, su nuevo disco que se publica virtualmente este viernes.Con una mezcla de rumba aflamencá, punk y poesía, la cantautora Morti Jaeo se hace un hueco en el panorama musical. Morti Jaleo presenta el estreno de su primer disco “Algarabía”. Después de un impasse a causa de la pandemia, Pájara Rey estrenan "La primavera ya no vale nada".El pop luminoso de David Otero se une a Franvvi (Fran-Ayoho) en Mar de cristal. Chair estrenan "SURPRISE", dulce nuevo single pop. Cariño presenta Año de Mierda, último adelanto de su disco, disponible este viernes.Jordana B., el grupo liderado por María Solá, da en la diana con su nuevo single “Club de Fans” en el que pasan de su pop ochentero a uno más gamberro cercano al garage.“Razorblades & Honey” fue una canción que nuestro querido Duglas T Stewart y Anton Newcombe (THE BRIAN JONESTOWN MASSACRE) compusieron una noche veraniega en Berlín, y que acabó viendo la luz en esa maravilla que es “BMX Bandits Forever”. Una canción que hacía gala de una psicodelia pop oscura y misteriosa, con el gancho melódico marca de tan talentosos compositores. “Un Cabrón Con Suerte” es otro flechazo que lanza Cupido para recordar aquel amor con el que merecería la pena volver a empezar. White Bats presentan Pannic AttackEs el segundo single que avanza el álbum ”Suzaku” y suena a himno desde el primer momento. En la agenda del finde reseñamos actuaciones de Second, Fito y Fitipaldis, Morgan, Melendi, Kuarembó, Mez-K, Solo Carmen, Murcia Metal Fest, Morphium, Los Rebujitos, Tu Otra Bonita, Sarajevo 84, Los Giros.De la mano de Grabaciones Vistabella, nace el ciclo Primavera en Ítaca, que tendrá lugar durante los sábados del mes de mayo; el primero es este sábado, con Marcelo Criminal y, por primera vez en Murcia, Pablo Prisma, que viene con todo su arsenal de melodías líquidas y cuentos para todas las edades.. Nos lo presentan Manuel y Nacho, de Grabaciones Vistabella ( Evve, Caries, Pedro Q, Guille Solano)

Pues nuestro primer programa de este 2022 va dirigido a la noticia de la temporada y a chafardear de otros temas como la PSVR2 y meternos un mucho con algunas pelis que hemos visto recientemente. Esta vez estamos recogidos en familia, con Blue, Uninvited, Siedod y Suzaku. Esperamos que os interese y nos vemos prontico. Un saludo.

Support us on PATREON for the monthly Q&A Show, a weekly Post Show, an ad free experience and more! ►► https://www.patreon.com/naninoanime Thank you Advanced for sponsoring today's video! Use code "naninoanime" to save 10% on Advanced Focus or Energy the drink we drink daily and help support the podcast! ►► https://advanced.gg/?ref=naninoanime In this episode of the Nani no Anime Podcast RuffSenpai & SeeOhKnee get together and talk and rank over 100 Anime Husbandos in a Tier List! Check out the Nani no Anime YouTube Channel ► https://www.youtube.com/naninoanime Check out SeeOhKnee on YouTube Channel ► https://www.youtube.com/seeohknee Check out RuffSenpai on YouTube Channel ► https://www.youtube.com/RuffSenpai Timestamps 00:00 - Intro 05:45 - Anos 09:30 - Tatsuya 12:45 - Light Yagami 14:20 - L 16:00 - Sir Zech Lucifer 17:50 - Voli 21:50 - Ainz 26:25 - Itachi 30:55 - Sasuke 33:40 - Kakashi 34:35 - Ichigo 35:30 - Kiske Urhaha 38:30 - Grim Jow 39:45 - Zoro 42:40 - Luffy 46:05 - ACE 48:20 - Killua 49:50 - Kurapika 53:15 - Hitsoka 55:25 - Leoreo 57:05 - Levi 59:05 - Eren 01:01:55 - Mikey 01:03:55 - Draken 01:06:35 - Edward Elric 01:08:20 - Mustang 01:09:20 - Sebastian 01:12:50 - Laxus 01:14:55 - Grey 01:15:30 - Bakugo 01:19:50 - Almight 01:21:15 - Hawks 01:23:20 - Rin 01:24:40 - Ruyji 01:24:45 - Kenshin 01:27:45 - Lord Sesshomaru 01:30:00 - Inuyasha 01:32:35 - Ken Kaneki 01:35:10 - Juzo 01:37:15 - Gintoki 01:39:00 - Shinya Kogame 01:41:55 - Speedwagon 01:42:25 - Dio 01:43:20 - Jotoro 01:47:55 - Joske 01:50:10 - Giorno 01:53:50 - Tanjiro 01:54:50 - Rengoku 01:55:50 - Saitama 01:57:10 - Genos 01:57:30 - Metal Bat 01:57:55 - Yuno 01:58:45 - Yami 02:00:00 - Julius 02:01:40 - Lelouch Vi Britannia 02:03:10 - Suzaku 02:05:15 - Kaiba 02:05:45 - Yami Yugi 02:07:15 - Gojo 02:11:00 - Sukuna 02:12:10 - Karma Akabane 02:13:20 - Kuro Sensei 02:16:10 - Ban 02:18:25 - Meliodas 02:20:05 - Toru Oikawa 02:20:55 - Howl 02:22:05 - Bell Crenel 02:24:00 - Loga 02:25:00 - Senku 02:27:55 - Tsukasa 02:29:50 - Shinra 02:33:00 - Joker 02:33:40 - Kirito 02:34:55 - Klein 02:38:05 - Tamaki 02:39:10 - Honey Senpai 02:40:10 - Sinbad 02:42:35 - Judar 02:43:05 - Aladdin 02:43:45 - Naofumi 02:44:55 - Motoyasu 02:45:25 - Spike 02:46:45 - Jet Black 02:47:10 - Kanami 02:48:10 - Zero 02:49:00 - Soul 02:50:00 - Death the Kid 02:52:10 - Shizou 02:53:55 - Izaya 02:55:00 - Gilgamesh 02:57:45 - Lancer 02:58:10 - Kurokiba Ryo 02:59:15 - Soma 03:00:30 - Tatsumi 03:01:20 - Bulat 03:02:20 - Tuxedo mask 03:03:35 - Allen Walker 03:04:25 - Yu Kanda 03:05:30 - Kaze no Stigma 03:06:10 - Vash the Stampede 03:06:50 - Alucard 03:08:05 - Thorfinn 03:10:05 - Diablo 03:10:50 - Kyoya 03:11:35 - Kagame 03:12:20 - Daiki

We've all had shows that had a profound impact on us, especially in this space of nerd culture. Be it a video game franchise, a phenomenal comic book run, or an amazing comic book movie.... This week my guest Jordan and I talk about our shared experience on the Code Geass franchise and how it had a profound impact on how we saw the world around us, and the realm of politics. Code Geass is often sited as a show steeped in betrayal, something both Jordan and I have experienced in our lives, and how we overcame it, that made us connect with Lelouch. We also get into various debates regarding characters motivations in the show, as well how Code Geass way of tackling current world issues is still relevant. Hope you enjoy this, fellow nerds!

It's finally here, no thanks to Suzaku... Links: https://linktr.ee/moblack  Rag's Twitter: https://twitter.com/kranasAngel  Code Geass is not very good. In this episode we use that as an excuse to argue for the liberation of Palestine. Stay with us, it's a lot. But it works, we promise :)   【 Special Thanks 】 RebelPanda - Audio editing (https://twitter.com/RebelPanda_) Serena - Sensitivity Reading (https://twitter.com/elevenverses) Amr Ammourazz - Sensitivity Reading (https://twitter.com/ammourazz)   【 The Infamous Code Geass Threads 】 (If you're not following me, you may have to wait a day before seeing these) Where it all began : https://twitter.com/__MoBlack/status/1365906661089673220  Good Noble Trope (GONE GENOCIDAL): https://twitter.com/__MoBlack/status/1376725925505732609  Season 1 finale : https://twitter.com/__MoBlack/status/1380383397483282433 Season 2 finale : https://twitter.com/__MoBlack/status/1402825076525916165    【 Bibliography and Resources 】 https://decolonizepalestine.com/  https://visualizingpalestine.org/  https://theanarchistlibrary.org/library/shusui-kotoku-imperialism  https://www.wsws.org/en/articles/2009/09/gaza-s14.html  https://www.nytimes.com/2021/06/17/world/middleeast/gaza-israel-airstrike-tunnel.html (NYT is an ass source on Palestine in terms of framing but they did all the research and reporting) http://pmli.it/articoli/2015/20151015_scuderiletussupporttheislamicstate.html  https://drive.google.com/file/d/1JdzFzf6sUf_y2noADotWmYY7DZTZxq1E/view?usp=sharing  https://pbs.twimg.com/media/EPdevsBWsAI_v1L.jpg:large  https://www.theguardian.com/books/2011/jun/05/arundhati-roy-keep-destabilised-danger Arundhati Roy describes herself as a “Maoist sympathizer” (as opposed to either a Maoist or an anti-communist) https://www.aljazeera.com/news/2021/6/6/israeli-police-arrest-sheikh-jarrah-activist-muna-al-kurd  https://abc7chicago.com/cook-county-health-nurses-cch/10856261/ (The Cook County Nurses won, btw) https://www.facinghistory.org/confronting-apartheid/chapter-3/steve-biko-calls-black-consciousness  https://bdsmovement.net/ https://palestine.dsausa.org/ If you're in the US, consider joining DSA and connecting with the Palestine Solidarity Working Group

The Scream Queen Jamie Lee Curtis stops by to talk about her new pod "Good Friends" We talk about her pod and her love of the World of Warcraft. FOR THE HORDE!!!Operations manager for Mechacon Omega drops by to talk about the Final Mechacon coming up this Weekend July 23rd thru the 25th at the Hyatt Regency in Downtown New Orleans. Download the App to find out about all the events and safety protocols at the event.Megan and Dreux of Suzaku 7 talk about their new album premier at Mechacon Omega this Friday July 23rd at 7pm. Finally, Paranormal Investigators Kendall & Vera Whelpton drop in to talk about their new Documentary "The Sleepless Unrest : The Real Conjuring House" They stayed in the Haunted House that the movie the Conjuring was based on for TWO weeks! Not only did it talk to them....it followed them home.All that and more on The Week in Geek with D Squared. Sunday nights at 7pm on WRNO.com and the Free iHeart Radio App. Make sure you Click the SUBSCRIBE button so you never miss a new episode. Follow us on Twitter @TWIGradio and The Week in Geek on InstagramThe Week in Geek 7/18/21

Naomi Kawase es una directora japonesa que desde su primer largometraje en 1997, Suzaku, ha hecho del festival de Cannes su casa. Cámara de Oro con el mencionado a Gran Premio del Jurado en 2007, The Mourning Forest, y el más reciente premio en el mismo festival, Ecumémico del Jurado, lo obtuvo en 2017 con Radiance. Un cine íntimo, bello, contemplativo que encuentra al sitoismo y la veneración de los Kamis un aliado en su forma de mostrar la Naturaleza y lo pequeño de lo humanos dentro de ella. Dirige y Produce: Juan Carlos Lemus. Comentarios: Liliana Zapata, Sofía Bari y Juan Carlos Lemus. Pre y Pos: Juan Carlos Lemus. Edición: Juan Carlos Lemus. TW: @CineConAcento Hablar nos da sed. Compranos una cervecita en: https://www.buymeacoffee.com/CineConAcento

Leave friendship behind and become the cold, callous, and cunning podcast listener you were always destined to be! Ignis and pmc talk over some Front Mission, 13 Sentinels, and Young Justice before digging into eps. 16 and 17 of Code Geass R2. Many important topics are covered, including: what food is Lelouch giving to C.C., good cop Gino, bad cop Bradley, Suzaku stepping on Lelouch, and giving Suzaku the bomb while absolutely worrying about it. Ep. 16 discussion: 21:53 Ep. 17 discussion: 1:00:30 Thanks to @fretzl for the intro/outro music Thanks to @JJostar23 for the art Tweet us @MechinationsPod or write to us MechinationsPod@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/mechinations/support

Did you do it? Did you listen to the podcast? SMASHING! Ignis and pmc return to cover eps. 14-15 of Code Geass R2 after opening up with some video game talk. You might think they're looping at times, but we promise a fresh new set of takes on Lelouch being a twerp avoiding responsibility, Suzaku being an obsessed goober, and taking our shots which will be 100% correct. Ep. 14 Discussion: 35:06 Ep. 15 Discussion: 1:28:22 Thanks to @fretzl for the intro/outro music Thanks to @JJostar23 for our banner/pfp Write to us @MechinationsPod or MechinationsPod@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/mechinations/support

We review the second half of Code Geass: Lelouch of the Rebellion (Code Geass: Hangyaku no Lelouch) season one, featuring our very first guest: Under The Bun! Our good friend Aaron joins us as we discuss Lelouch and Suzaku, the evolution of the Geass power, and how Nina just keeps getting worse and worse. Under The Bun is another video game channel contributing to the oversaturation of bullshit on Youtube. Birthed as a collaboration between two creators: Nidstang (Aaron) and Juan Snow (Dennis), Under The Bun as a channel focuses on reviews, discussion, and analysis type videos, with occasional gameplay videos and guides as well. Nidstang (Aaron) is known for not shying away from niche or unpopular opinions, and for discussing classic, retro, and indie games - especially games in the “boomer shooter” genre, with an emphasis on gameplay analysis. Youtube: Under The Bun https://www.youtube.com/channel/UC4YkaaIikxwbp8GZwnYVVfw Facebook: @UnderTheBunYT https://www.facebook.com/UnderTheBunYT/ Twitter: @UTB_Nidstang https://www.twitter.com/UTB_Nidstang

If you follow the Rainbow 6 Siege community on twitter then you've probably heard of Jacob "Suzaku" Faberman. While Suzaku may be most well-known for his hilarious twitter content, there's far more to him and the insight he has on every facet of our scene. Candid, outspoken, and always funny, Suzaku's perspective is vastly different than the perspectives of all the guests before him. Whether it be from his close personal friendships with numerous professional players to his brief run in Challenger League on the infamous Adventure Force team, Suzaku spends many hours humorously dissecting our community while giving his thoughts on where we've been and where we're headed.

Covers volumes 10–17 of Haruka: Beyond the Stream of Time by Tohko Mizuno.We’re back to discuss the second half of Haruka, a manga series based on one of the earliest otome game franchises. Suddenly, the story remembers it’s a romance, and all eight of the guardians realize they're vying for the priestess Akane’s heart. And she starts to see all of them as the sexy menfolk they are. (Except Yasuaki, who is still the best. But he's a golem (or is he a homunculus?), so we get it.) Shojo & Tell host Ashley and her boytoy Asher discuss Yorihisa and Akane’s relationship and the representation of the Demon Clan and gush about their favorite characters. Thanks to the two people who listen to this episode! You know who you are.REFERENCESThe Haruka: Beyond the Stream of Time manga is out of print (published in English by Viz Media's Shojo Beat line), and the games were never brought over for English audiences. You can watch the anime legally on Tubi, though. (Watch at least the opening theme song! It's really dope.)Haruka is essentially an inferior Fushigi YugiHaruka is mainly an otome game franchise.  Read Anime Feminist's article that's a beginner's guide to otome games.Ashley watched the Haruka anime back in the day because Tenma and Yorihisa shared voice actors with Van and Allen from The Vision of EscaflowneSometimes you get the animation quality of Fruits Basket  remake, but most of the time in shojo anime, you.... just don't...For some reason Yu-Gi-Oh! came up a lotOni v Yokai v shikigamiYorihisa's brother looks like Dark from DNAngelHomunculus v golemRead The Golem and the JinniAsher will not be the guest for the eventual Takane & Hana episodesOutro song: "The Streatham Hill Gods" by DanosongsCONTACT USAsher on Archive of Our Own: dasheryShojo & Tell on Twitter, Tumblr, and InstagramAshley on Twitter: @AshMcD00The next episode will be about Paradise Kiss  by Ai Yazawa.

Hiei shows off his skills against Seiryu! Suzaku sends his Makai Insect-infested zombies after Keiko and Botan! Yusuke has to overcome seven different Suzakus - and it might cost him his life!Want to learn more about the show or just chat with us? Write to us at bandsgetjumped@gmail.com, tweet us @bandsgetjumped on twitter, or find us on reddit at r/getjumped/ Support the show (https://www.patreon.com/BlakeAndSpencerGetJumped)

Hey all! Thank's for continuing to stick with me for 46 episodes now (wild stuff my guy). This week is pretty simple, game updates, retrospective, and one of my classic little rants. Hope you enjoy this episode, have a good Friday, and a great weekend.   THIS WEEK: QUICK NEWS: U.I. Goku is wild in Dragon Ball FighterZ Dragon Ball Xenoverse 2 DLC 11 Announced (Yes...The Won't Let It Die)   YU YU RETROSPECTIVE Episode 19- Suzaku, Leader Of The Saint Beast   MAIN TOPIC Challenging The Modern Yu Yu Hakusho Fandom   MUSIC Whims Of Fate from Person 5 OST Rivers In A Dessert from Persona 5 OST Beneath The Mask Smash Bros. Remix from Super Smash Bros. Ultimate Axe To Grind from Persona 5 Scramble OST   As always, thanks for all the love and support.

The boys sit down to deliver some of their major takeaways on season 1 as well as discuss comments from listeners. Stephen Hero discusses Code Geass in the context of Romantic literature and especially the Count of Monte Cristo, pmc breaks down the data on why Suzaku is the central villain of the season, and Ignis engages in a gambit where he discusses Lelouch as compared with Xanatos from Gargoyles. Start of Discussion Timecode- 36:30 --- Support this podcast: https://anchor.fm/mechinations/support

On this week's apparently spooky episode of Mechinations, Ignis and pmc run a haunted meme dungeon and torture Stephen Hero with the knowledge of forbidden memes like the boys and sexy dugtrio. Stephen Hero responds in kind by telling us how he's enjoying Moby Dick. Start of Discussion Timecode- 31:06 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/mechinations/support

Welcome to King Arthur's Court! It's located on the Island of the Gods, you know, the one from that episode of Pokemon? Ignis reveals deep Arthurian lore, pmc continues to channel various types of big energy including Heero Yuy, and Stephen just wants Suzaku to shut up and buy some soup. Start of Discussion Timecode- 23:50 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/mechinations/support

Niran Dasika spoke with David Moyle after winning his Australian Jazz Bell Award as Young Jazz Artist of the Year.  Suzaku is his latest album which was recorded with his Japanese Quartet in Japan. He […] http://media.rawvoice.com/joy_bentnotes/p/joy.org.au/bentnotes/wp-content/uploads/sites/107/2019/10/Niran-Dasika-29092019.mp3 Podcast: Play in new window | Download (Duration: 11:51 — 16.3MB) | Embed Subscribe or Follow Us: Apple Podcasts | Android | Email | Google Podcasts | Spotify | RSS The post and the winner is: Young Artist of the Year – Niran Dasika appeared first on Bent Notes.

The boys make a few more stops on their Drag Suzaku Always tour, reveling in the teen drama but also dunking on Suzaku constantly. God, why is Suzaku still doing his thing? At least the show confirms Suzaku is a worse pilot than Kallen. Start of Discussion Timecode- 22:19 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/mechinations/support

We present our next installation of the Family Unit Podcast with Suzaku founder, Wyatt. The Swiss selector serves up a session of his trademark swingy grooves and tripped out textures. Classy as always.

We present our next installation of the Family Unit Podcast with Suzaku founder, Wyatt. The Swiss selector serves up a session of his trademark swingy grooves and tripped out textures. Classy as always.

On this week's episode, our hosts Nick, Matt, and Su mourn the loss of a mainstay of this show: thematic emptiness. Oh, also Genkai kicks the bucket. Will we roll away from our tried-and-true trivializing of our tournamental travails, like the oft-mentioned orb? When it's the 13th episode of a podcast, you know that all bets are off! Tune in to this week's episode to find out.   Follow and interact with us on our social media pages: Twitter: https://twitter.com/RITNcast Tumblr: https://ritnpod.tumblr.com/     P.S. This week's episode is a bit louder due to a bit of a difference in editing, so if you typically turn up your audio to listen to us, take a moment to readjust for best results.

On this week's episode, our hosts Matt, Su, and Nick approach the off-ramp at Maze Castle and discuss the back half of the Four Saint Beasts arc. Did you know that Hiei is actually a well written tsundere? Have you ever wondered what the villainous Suzaku would have on his DeviantArt page? Tune in for answers to questions like these and more!   Follow and interact with us on our social media pages: Twitter: https://twitter.com/RITNcast Tumblr: https://ritnpod.tumblr.com/

We here at the Yu Yu HakuShow are supportive of all happy, healthy relationships, espeically Suzaku and his bird wife Murugu.... This week, we discuss episodes 19-21, where Yusuke faces the beast leader Suzaku, and his waifu Murugu, Botan and Keiko fight The Walking Dead (Sans Negan), and the rest of the group is up against a fierce fight with the Plot! A bloody battle is sure to ensue, but who will ulimately leave the victor and escape alive! (It's a Shonen anime, you know that answer already!)

Our in studio guests this week are Dreux Blalock and Megan Geeck of Suzaku 7 here to talk about the New Orleans Geek Music scene, how their band got started, and their special event on August 9th at Southport Hall with Gigi Edgely.Top Nerd News covers the Disney Fox merger, the MCU, Star Wars IX updates, and more.Skungy is out this week so we don't have a video game pick. We continue our discussion of Top Nerd News and cover the wrap up of Season 1 of the Overwatch League.This Week in Geek History and Celebrity Birthdays closes out the show.

Covers all three volumes of QQ Sweeper by Kyousuke Motomi Spring is finally here! So Ashley and Laura prepare to start spring cleaning by first reading QQ Sweeper. Which is legit about sweeping. Like, with a broom. A plain old broom. Sure, it's also about exorcisms and supernatural stuff and punching giant centipedes, but mostly, it's about sweeping. And it is SO GOOD. Ashley and Laura get to the heart of what a Cinderella story even is, why this series has a sequel called Queen's Quality, the power of cleaning in real life and in metaphor, and take a quiz on how to properly clean your kitchen. (Sorry. Only your kitchen will be spotless. Kyutaro is very disappointed.) LINKS QQ Sweeper is available from Viz Media's Shojo Beat line The sequel, Queen's Quality, is also available from Shojo Beat (currently running series) It's advised that you have already read Motomi's Dengeki Daisy as well, as there are some crossover characters Laura runs this great blog, Heart of Manga If you want to delve further into what makes a Cinderella story The Four Gods (Genbu, Byakko, Suzaku, Seiryuu) Cleaning quiz! Learn how to clean your kitchen Ender's Game and Hive Queens Outro song: “Like Swimming” by Broke For Free, a really awesome electronic music producer your should support! SOCIAL Follow Laura on Twitter @Ellesensei Follow Heart of Manga on Facebook Follow Shojo & Tell on Twitter @shojoandtell Follow Shojo & Tell on Instagram @shojoandtell Follow Ashley on Twitter @AshMcD00 Comments, questions, concerns? Want to give us your speculations on why QQ Sweeper stopped after three volumes and has a sequel? Have suggestions for the show? Email shojoandtell [at] gmail.com or simply leave a comment on the episode page.

Welcome to The Subtitled Podcast, a biweekly anime podcast hosted by Giancarlo Navas with a rotating panel of members from around the anime community. In this episode Giancarlo is joined by Zeria (@_Zeria_) and Lachlan (@PedanticRomantic) joined the show in discussions that involve:• Violet Evergarden's aesthetic • Why Zeria doesn't like Hibike Euphonium as much as Lachlan and I do• Zeria tells us why the world in Love Live is a true utopia and a best girl discussion unfolds• Giancarlo, Lachlan and Zeria lament Suzaku from Code Geass• Zeria and Lachlan trash Psycho Pass season two while Giancarlo meekly defends it• And OTP discussion… and so much more_ _ _ _ _Zeria's referenced Violet Evergarden videohttps://www.youtube.com/watch?v=bOn0XugZfu8

Welcome to The Subtitled Podcast, a biweekly anime podcast hosted by Giancarlo Navas with a rotating panel of members from around the anime community. In this episode Giancarlo is joined by Zeria (@_Zeria_) and Lachlan (@PedanticRomantic) joined the show in discussions that involve:• Violet Evergarden's aesthetic • Why Zeria doesn't like Hibike Euphonium as much as Lachlan and I do• Zeria tells us why the world in Love Live is a true utopia and a best girl discussion unfolds• Giancarlo, Lachlan and Zeria lament Suzaku from Code Geass• Zeria and Lachlan trash Psycho Pass season two while Giancarlo meekly defends it• And OTP discussion… and so much more_ _ _ _ _Zeria's referenced Violet Evergarden videohttps://www.youtube.com/watch?v=bOn0XugZfu8

Le 12 février va être lancé depuis le centre spatial de Tanegashima l'un des télescopes spatiaux les plus attendus du moment : ASTRO-H. Le télescope de près de 3 tonnes, emporté par un lanceur H-IIA, est le sixième télescope à rayons X construit par l'Institute of Space and Astronautical Science (ISAS) de l'agence spatiale japonaise JAXA (le précédent était le télescope Suzaku). Mais cette fois-ci il a été conçu dans une très large collaboration, avec le concours de 70 institutions au Japon, en Europe (notamment l'ESA et en France le CEA), aux Etats-Unis avec le Goddard Space Flight Center de la NASA et au Canada.

Under the dual specters of Lemmy's death and the Odinson's computer issues, El Goro and SonOfOdin welcome in 2016 with new music from Japanese guitar virtuoso Rie a.k.a. Suzaku and progressive sludgemasters Baroness. In the indie segment, they talk about Denver's Bloodstrike, and Rammstein's third album enters Metal Valhalla. New Releases: Rie a.k.a. Suzaku : Noah's Ark (2015) Rie a.k.a. Suzaku is a female Japanese solo heavy metal guitarist, influenced by Swedish melodic death metal and German speed metal. Her albums feature guest vocalists who sing over her compositions. Get this album: Amazon.com • CD Universe • iTunes • Spotify Baroness : Purple (2015) After a 2012 bus crash splintered the band, both physically and in the lineup, Baroness have refined their progressive sludge tendencies into more complex directions. Get this album: Amazon.com • CD Universe • iTunes • Spotify Local/Indie Band: Bloodstrike : In Death We Rot (2015) Comprised of experienced musicians from the Denver, Colorado metal scene, Bloodstrike are a female-fronted death metal act heavily inspired by the 1990s death metal scene. Get this album: Bandcamp     Info: Website • Facebook Heavy Metal Valhalla: Rammstein : Mutter (2001) Boasting a consistent linup since 1994, Rammstein is an industrial metal band, and the most recognized of the German Neue Deutsche Härte movement. The band's live shows are infamous for their pyrotechnic displays and on-stage antics. Get this album: Amazon.com • CD Universe • iTunes • Spotify

On this episode we talk about the films of Japanese filmmaker Naomi Kawase. In particular we look at four of her her short personal documentaries Embracing (1992); Katatsumori (1994); See Heaven (1995); and Sky, Wind, Fire, Water, Earth (2001). And we also look at her feature films Suzaku (1997) and Shara (2003). This episode features Brian Risselada and Josh Ryan.      

Galaxy clusters are optimal laboratories to test cosmology as well as models for physical processes acting on smaller scales. X–ray observations of the hot gas filling their dark matter potential well, i.e. the intra–cluster medium (ICM), still provides one of the best ways to investigate the intrinsic properties of clusters. Methods based on X–ray observations of the ICM are commonly used to estimate the total mass, assuming that the gas traces the underlying potential well and satisfies spherical symmetry, and thermal motions dominate the total pressure support. However, non–thermal motions are likely to establish in the ICM, hence, contribute to the total pressure and have to be taken into account in the mass estimate. In this thesis I study the ICM thermo–dynamical structure by combining hydrodynamical simulations and synthetic X–ray observations of galaxy clusters. The main goal is to study their gas velocity field and the implications due to non–thermal motions: first, by analysing directly the velocity patterns in simulated clusters and, secondly, by reconstructing the internal ICM structure from mock X–ray spectra. To this aim, I developed and applied an X–ray photon simulator to obtain synthetic X–ray spectra from the gas component in hydrodynamical simulations of galaxy clusters. The main findings of this work are as follows. (i) Ordered, rotational patterns in the gas velocity field in cluster cores can establish during the mass assembly process, but are found to be transient phenomena, easily destroyed by passages of gas–rich subhaloes. This suggests that in smoothly growing haloes the phenomenon is in general of minor effect. Nonetheless, major mergers or highly disturbed systems can indeed develop significant ordered motions and rotation, which contribute up to 20% to the total mass. (ii) It is indeed possible to reconstruct the thermal structure of the ICM in clusters from X–ray spectral analysis, by recovering the emission measure (EM) distribution of the gas as a function of temperature. This is possible with current X–ray telescopes (e.g. Suzaku) via multi–temperature fitting of X– ray spectra. (iii) High–precision X–ray spectrometers, such as ATHENA, will allow us to measure velocity amplitudes of ICM non–thermal motions, from the velocity broadening of heavy–ion (e.g. iron) emission lines. In this work, these achievements are obtained by applying the virtual X–ray simulator to generate ATHENA synthetic spectra of simulated clusters. The non–thermal velocity of the ICM in the central region is used to further characterise the cluster and the level of deviation from the expected self–similarity. By excluding the clusters with the highest non–thermal velocity dispersion, the scatter of the LX −T relation for the sample is significantly reduced, which will allow for a more precise comparison between observations and simulations.

In the pre-interview mini-episode, Charlie, Dylan, and John discuss the wrap up of our voice actor interview series. Then, we interview Tara Platt (Temari from Naruto, Tokiko from Buso Renkin, Tron Bonne from Marvel vs Capcom 3) and Yuri Lowenthal (Sasuke from Naruto, Suzaku from Code Geass, Ben Tennyson from Ben 10) about their work in games and animation, their book about voice acting, Feng Shui, living abroad, and their interest in being guests at MTAC.

Saga of Manannan, Part 3 and end of the Irish Mythological Cycle This is the third and final part in the Saga of Manannan which contains two stories. The first, the Tale of Laogaire, tells of a visit of a great warrior to the Realm of the Undying who given the chance refuses to return to Erin. The second tale, the Tale of Tadg and the Three Duns or Castles tells the tale of the voyage of Tadg amongst Manannan's Islands and his encounter with the three great Halls in the Many-Coloured Land. This is also the last episode in the Irish Mythological Cycle and the tale of Tadg rounds off the tale by returning our vision back to Four Islands in the Otherworld, perhaps the very same islands from which the Tuatha De Danaan came from to settle the land of Erin. Full Shownotes, with sources and credits, can be found on our main Website at http://celticmythpodshow.com/irish29 Show Summary: Running Order: Intro 0:41 News & Views 1:22 Story 3:11 Listener Feedback - Ancestral Celt 34:01 Promo - Genesis Avalon 36:40 We hope you enjoy it! Gary & Ruthie x x x Released: 25 July 2009, 42m We love to get your feedback, please email garyandruth@celticmythpodshow.com, or call us on Speakpipe   News & Views We talk about an Irish Fest taking place in Milwaukee, Wisconsin in the USA. You can find details about this festival at irishfest.com. We also take about a Welsh Festival taking place in Pennsylvania in September and you can find out more details on the Pennsylvania attractions site. We also mention that we attended the Anderida Gorsedd Conference a couple of weeks back and will be trying to bring you a Special Report in a future show. We tell you our plans to round off the Irish Mythological Cycle with a Summary show and ask for feedback from you that we can include in this show as well as introduce the Welsh Mythology section of our tales with an Introductory Show before the stories begin.   There and Back Again: Part 3 of the Saga of Manannan Names Used in this Story Listed in order of appearance Loch na n-Ean Connacht Crimthan Cass Laegaire Fiachna Betach Sidhe Eochaid the Dumb Sal Goll Dalbh Magh Mell Deorgreine Connachta Manannan Erin Tadg Cian Oliol Airnelach Eoghan Cathmann Munster Tabarn Fresen Beire do Bhunadas Liban Conchubar Abratrudh Curragh Inislocha Rudrach Dergcroche Bodb Cesair Partholon Nemed Fir Bolg Tuatha De Danaan Inis Daleb Inis Ercandra Conn Connla Cliodna Gebann Treon Ciabhan Boynne Croidhe Essu Children of Danu    Listener Feedback Ancestral Celt We play some audio feedback from Ancestral Celt, one of our earliest listeners and dearest friends.   Promo - Genesis Avalon "Genesis Avalon" is a full-cast, fantasy maxi-series serial drama. Like a lot of kids who grew up in the 1990s, I grew up with shows like X-Men, Batman: The Animated Series, Superman, Justice League, and Spider-man. As a child of the 90's though, I also grew up with a totally different form of the superhero in the form of anime. From the boys of Gundam, to the seven warriors of Suzaku in Fushigi Yuugi, to even (dare I say it) Sailor Moon, I had been able to see two different kinds of heroes. The kinds with capes and gadgets (Or alien powers), and the kind whose mystical powers governed their duties and how they fight.   So I decided I would take the mythology I loved the most and apply it to a superhero. Thus came Genesis Avalon.   I hope you enjoy it as much as I have enjoyed writing and directing it. And my cast is made of platinum, you are all amazing. Kathryn Pryde  Creator, writer and director, "Genesis Avalon"    Sources used in this Episode http://www.sacred-texts.com/neu/celt/gafm/gafm24.htm http://www.sacred-texts.com/neu/celt/gafm/gafm25.htm And, of course, the Awen - inspiration and imagination!   Special Thanks For incidental music: AKA Jules, Isagoround, Grieve from Intrusion EP, Backlight from Wherever It Takes Place. See the Contributor page for details. Anne Roos, My True Love's Hair from Hasten to the Wedding. See the Contributor page for details. Evan, Rever... Peut-etre... Part 3 from Rever... Peut-etre.. See the Contributor page for details. Cyril Pereira, The Revenge of Glory, Le Cercle Maudit from The Revenge of Glory. See the Contributor page for details. Ant Neely, Every Boy Needs a Hero from Not Fit for Human Consumption. See the Contributor page for details. Keltoria, After the Storm from Shadows & Stone. See the Contributor page for details. Bilou le Skankerfou, La valse du oni from Demo musique de films 2007-2008. See the Contributor page for details. Brokenkites, Circadia, Metempsychosis from Dynamics EP. See the Contributor page for details. Calvin Culy, Tears for the Lost from This Heart EP. See the Contributor page for details. Bertycox, Brain Washing (Instr) from Brain Washing. See the Contributor page for details. Diane Arkenstone The Secret Garden. See the Contributor page for details. Kim Robertson, Angels in Disguise, All or None . See the Contributor page for details. Jigger Time Ticks Away. See the Contributor page for details.   For our Theme Music The Skylark and Haghole, the brilliant Culann's Hounds. See their Contributor page for details.   Extra Special Thanks for Unrestricted Access to Wonderful Music (in Alphabetic order) Anne Roos Extra Special thanks go for permission to use any of her masterful music to Anne Roos. You can find out more about Anne on her website or on her Contributor page. Caera Extra Special thanks go for permission to any of her evocative harping and Gaelic singing to Caera. You can find out more about Caera on her website or on her Contributor Page. Celia Extra Special Thanks go for permission to use any of her wonderful music to Celia Farran. You can find out more about Celia on her website or on her Contributor Page. Damh the Bard Extra Special thanks go to Damh the Bard for his permission to use any of his music on the Show. You can find out more about Damh (Dave) on his website or on his Contributor page. The Dolmen Extra Special thanks also go to The Dolmen, for their permission to use any of their fantastic Celtic Folk/Rock music on the Show. You can find out more about The Dolmen on their website or on our Contributor page. Keltoria Extra Special thanks go for permission to use any of their inspired music to Keltoria. You can find out more about Keltoria on their website or on their Contributor page. Kevin Skinner Extra Special thanks go for permission to use any of his superb music to Kevin Skinner. You can find out more about Kevin on his website or on his Contributor page. Phil Thornton Extra Special Thanks go for permission to use any of his astounding ambient music to the Sonic Sorcerer himself, Phil Thornton. You can find out more about Phil on his website or on his Contributor Page. S.J. Tucker Extra Special thanks go to Sooj for her permission to use any of her superb music. You can find out more about Sooj on her website or on her Contributor page. Spiral Dance Extra Special thanks go for permission to use Adrienne and the band to use any of their music in the show. You can find out more about Spiral Dance on their website or on their Contributor page. Get EXTRA content in the Celtic Myth Podshow App for iOS, Android & Windows Contact Us: You can leave us a message by using the Speakpipe Email us at: garyandruth@celticmythpodshow.com. Facebook fan-page http://www.facebook.com/CelticMythPodshow, Twitter (@CelticMythShow) or Snapchat (@garyandruth), Pinterest (celticmythshow) or Instagram (celticmythshow)   Help Spread the Word: Please also consider leaving us a rating, a review and subscribing in iTunes or 'Liking' our Facebook page at http://www.facebook.com/CelticMythPodshow as it helps let people discover our show - thank you :) If you've enjoyed the show, would you mind sharing it on Twitter please? Click here to post a tweet! Ways to subscribe to the Celtic Myth Podshow: Click here to subscribe via iTunes Click here to subscribe via RSS Click here to subscribe via Stitcher   Save

Podcast manga review of Code Geass: Lelouch of the Rebellion volume 1. Manga by Majiko! Original Story by Ichirou Ohkouchi and Goro Taniguchi. Character Designs by Clamp. Translated by Satsuki Yamashita. Originally published in Japan by Kadokawa Shoten. Published in US by Bandai Entertainment, $9.99, Rated 13+. In the year 2010, war broke out between Japan and the Holy Empire of Britannia. Within a month, Japan had been defeated and absorbed into the Empire. In fact, it is not even recognized as a country anymore. It has been renamed Area 11, and its inhabitants are now called 11s. The Britannians move into nice settlements while the 11s are herded into crappy ghettoes. While we haven't mentioned the word genocide yet,the Britannians seem on the brink of committing such an act. Even as the Empire is tightening its grip, some 11s are trying to fight back, even though they are labeled as terrorists. Ironically enough, even some Brittanians have taken up arms against their own country because of its treatment of Japan. Lelouch Lamperouge, a Britannian, has sworn to bring down the Empire, even though he is the secret heir to its throne. Suzaku, his childhood friend, and also an 11, has joined the Imperial military to bring about a change from within. Both their lives will be changed by the arrival of a mysterious girl with the power to grant Lelouch's wish. My Grade: A