Podcasts about Teru

TERUです。彼はストリートボーラーです。 ballaholicによるTERUの密着映像 BALL-STREET-LIFE-HANDLE https://www.instagram.com/reel/CDirL8thEwV/ https://www.instagram.com/reel/CIIoyuDAYvS/ ▼TSCのゲームはこちらで見れます▼ ⁠https://playgroundgames.jp/⁠ ※1ヶ月無料トライアル ✏️ JIZO・BigMo・VIBESへの質問、お悩み相談、ポッドキャストで話して欲しい事の提案、は ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠こちら⁠⁠⁠⁠⁠⁠から！⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

25. janvārī atzīmēsim 80 gadus kopš Āuvices nometnes atbrīvošanas. Šīs svinības notiek ar moto – nekad vairs. Taču realitāte ir tāda, ka gūstekņi un spīdzināšana joprojām ir realitāte mūsdienās – Krievijā tiek spīdzināti Ukrainas karagūstekņi, no vairāk nekā gadu ilga "Hamās" gūsta atgriežas Izraēlas iedzīvotāji. Tāpēc droši vien ne viens vien sev uzdod jautājumu – kā izturēt, ja kas tāds notiktu ar mani. Un kas notiek ar tiem, kas atgriežas mājās? Par to ar ievērojamo Izraēlas psihiatru profesoru Ejalu Fručteru (Eyal Fruchter), kurš specializējas pēctraumatiskā stresa traucējumu (PTSD) ārstēšanā un pašnāvību novēršanā, un Izraēlas bruņotajos spēkos saniedzis pulkveža pakāpi, sarunājās LTV korespondente Ilze Nagla.

Please join us for four episodes of Saki Episode of Side A (yes it's really called that) in an effort to make ash understand- and maybe even appreciate- an anime that they do not like. But this isn't just any four episodes of Saki: This is the Toki arc, where the stakes raise and more than just making it to finals is on the line, where the very life of girl-beloved and illness-stricken Toki Onjouji is in peril! Will she be able to stop Teru's weird tornado arm? Will the actual protagonist of this anime do anything? And most importantly, will it be marvelous~? Watch along on your favorite legal website, and let's find out together! Support the show:  https://ko-fi.com/ivyfoxart Follow the show on Tumblr:  https://soul-mates-podcast.tumblr.com/ Follow the show on YouTube:  https://www.youtube.com/@Soul-Mates-Podcast Listen to Together We'll Shine: An Utena Rewatch Podcast:  https://togetherweshine.podbean.com Art by Ryegarden:  https://www.instagram.com/ryegarden Music by Sueños Electrónicos:  https://suenoselectronicos.bandcamp.com/ Follow and support ash:  https://ko-fi.com/asherlark

1000 kroků proti depresi, 1000 mužů za den jako novej rekord. Satelit ve vlaku a jen 2 drinky v letadle. Dej si WAKE UP SHOW!

Tradici oslav narozenin umění zahájil v roce 1963 francouzský umělec Robert Filiou – jako připomínku dne, kdy neznámý pravěký umělec hodil suchou houbu do nádoby s vodou. K oslavám se připojuje řada institucí, včetně Českého rozhlasu, či přátel umění, a letos poprvé i Muzeum umění Olomouc. Ladislav Železný, Alexandr Jeništa a Jakub Frank přibližují lokální akustické dárky, které se během 17. ledna spojí v jeden globální celek.

Tradici oslav narozenin umění zahájil v roce 1963 francouzský umělec Robert Filiou – jako připomínku dne, kdy neznámý pravěký umělec hodil suchou houbu do nádoby s vodou. K oslavám se připojuje řada institucí, včetně Českého rozhlasu, či přátel umění, a letos poprvé i Muzeum umění Olomouc. Ladislav Železný, Alexandr Jeništa a Jakub Frank přibližují lokální akustické dárky, které se během 17. ledna spojí v jeden globální celek.Všechny díly podcastu ArtCafé můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Vltava připravuje adaptaci Čapkova románu Krakatit. Není ale sama, kdo právě tímto dílem hodlá uctít odkaz tohoto meziválečného autora. U příležitosti 135. výročí Čapkových narozenin má dnes ve Vršovickém divadle MANA premiéru stejnojmenná inscenace, jejíž scénář napsala dramaturgyně Věra Mašková. Všechny díly podcastu Mozaika můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Vltava připravuje adaptaci Čapkova románu Krakatit. Není ale sama, kdo právě tímto dílem hodlá uctít odkaz tohoto meziválečného autora. U příležitosti 135. výročí Čapkových narozenin má dnes ve Vršovickém divadle MANA premiéru stejnojmenná inscenace, jejíž scénář napsala dramaturgyně Věra Mašková.

Turpinās "Prozas lasījumi 2024", kuri šogad iesākās ar igauņu rakstnieka Pētera Sautera autorvakaru. Viņa romāns „Neliec mani mierā” šovasar iznāca Latvijas Rakstnieku savienības izdotajā sērijā „Jaunā klasika. Baltijas Asamblejas laureātu darbi”, tulkojusi Maima Grīnberga. Autors Rīgā bija ieradies starp radošajiem darbiem Norvēģijā un Grieķijā. Tikšanās ar igauņu rakstnieku un tulkotāju Pēteru Sauteru novembra pievakarē notika Raiņa un Aspazijas mājā, tikšanās ritēja jautrā un draudzīgā noskaņā. Vakaru vadīja Latvijas Rakstnieku savienības priekšsēdētājs Arno Jundze, uzsverot, ka Sautera romāns ir kas tāds, ko latviešu lasītājs nav lasījis, un iesāka ar citātu no grāmatas priekšvārda, ko rakstījusi Mārja Kangro. Rakstniekam ir arī aktiera izglītība, par to viņa komentārs ir tāds, ka rakstot kaut kas no lomu spēlēm esot.  Meklējot informāciju par rakstnieku, Arno Jundze norāda, ka iznirst dzīves apraksts un skandāli, kas saistās ar viņu. Par skandāliem Pēters Sauters komentē un viņa sacīto pārstāsta tulkotāja Daila Ozola. Latviešu lasītājs Pēteru Sauteru iepazinis, lasot „Bērnu grāmatu”, ko "Liels un mazs" izdeva 2007.gadā, arī stāstus „Vēdergraizes” un „Bandīts un biktstēvs”. Romāns „Neliec mani mierā” Igaunijā izdots 2013.gadā, latviešu izdevums 2024. gadā. Iegriezies Rīgā no rakstnieku rezidences Norvēģijā, Pēters Sauters tālāk devās uz Samosu Grieķijā, lai divus mēnešus veltītu laiku  tulkošanai.

Ep. 142 - Teru Kagami ft. Seudo YouthTeru is the frontman of the Japanese hardcore punk band Kagami, whom I had the pleasure of talking to with the help of our friends in Seudo Youth.We discuss the current Japanese hardcore punk scene, how he learned to speak English, culture shocks from California, the formation of Kagami, and more.

FENNELは、eスポーツシーンのみにとどまらない取り組みを推進しています。

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EEMELO LO YE KI A MAA GBADURA?

EEMELO LO YE KI A MAA GBADURA?

We find an allusion to the Misva of Shofar in Parashat Nisavim, where the Torah warns, "Pen Yesh Bachem Shoresh Poreh Rosh Ve'la'ana" – "Lest there is among you a root of evil of rebellion" (Debarim 29:17). The first letters of the phrase, "Shoresh Poreh Rosh Ve'la'ana" are "Shin," "Peh," "Resh" and "Vav" – the letters of the word "Shofar." This allusion is very significant, as it expresses the unique power and impact of the Shofar blowing – namely, its ability to eliminate the "root" of evil within us. Before Adam's sin in Gan Eden, evil was separate from good; the human being was pure and good, and evil existed outside of him. But as a result of Adam's partaking from the forbidden tree, evil became ingrained within him, and since then, the good and evil inside us struggle with one another. The Shofar blowing, however, has the power to subdue the force of evil inside of us, so we can once again become perfectly good and pure. It eliminates the "Shoresh Poreh Rosh Ve'lana'a" – the "root of evil and rebellion" from which sin grows. This power of the Shofar sound is expressed in the number of sounds that we blow. The primary obligation of Shofar blowing requires blowing thirty sounds, which we do before Musaf. We blow additional sounds during Musaf, but the primary obligation is fulfilled through the first thirty sounds. The reason for the thirty sounds is because the Torah mentions three times the obligation to sound a "Teru'a," and the Sages inferred from the text that every Teru'a must be preceded and followed by a Teki'a. Therefore, in principle, we should blow nine Shofar sounds – blowing three times a series of Teki'a, Teru'a, and another Teki'a. However, the Talmud records three different opinions as to what the Torah means by the word "Teru'a." One view maintains that this refers to what we call a Teru'a – a series of very short sounds – whereas another opinion is that it means a Shebarim – three medium-sized sounds. According to the third view, the Biblical term Teru'a refers to a combination of a Shebarim and Teru'a ("Shebarim-Teru'a"). In order to satisfy all three opinions, we blow all three Teru'a sounds. It thus emerges that we blow thirty sounds: three sets of Teki'a-Shebarim-Teru'a-Teki'a (3X4=12); three sets of Teki'a-Shebarim-Teki'a (3X3=9); and three sets of Teki'a- Teru'a-Teki'a (3X3=9) – for a total of 30 (12+9+9). The Gemara establishes that the Teru'a sound – however it is defined – must be at least the length of nine "Trumitin" – brief sounds. Moreover, the Teki'a must be the same length as the Teru'a. As such, when we blow thirty Shofar sounds, we blow 270 Trumitin (30X9). This number is the Gematria (numerical value) of the word "Ra" – "evil." By blowing these 270 sounds, we subdue the forces of "Ra" within us so our innate goodness can prevail. Of course, our primary intention when we hear the Shofar is to fulfill the Torah obligation to hear the Shofar on Rosh Hashanah. However, we should be aware of the fact that there are many profound ideas and powers associated with this previous Misva, and that it gives us the spiritual strength that we need to subjugate our evil inclination and allow the goodness within us to shine.

It is customary to blow one hundred and one Shofar sounds on each of the two days of Rosh Hashanah. We blow thirty Shofar sounds before the Musaf service, and then, according to our community's custom, thirty sounds are blown during the silent Amida prayer of Musaf. Another thirty sounds are blown during the Hazan's repetition of the Amida, and then, during the Kaddish Titkabal following Musaf, we sound another ten Shofar blasts, bringing the total to one hundred. It is then customary to sound a long "Teru'a Gedola," for a total of one hundred and one. Why do we blow so many Shofar sounds, beyond that which the Torah strictly requires? The Gemara raises this question in Masechet Rosh Hashanah (16), and it answers that the additional Shofar sounds serve to "confound the Satan." Rashi (Rabbi Shlomo Ben Yishak, France, 1040-1105) explains that when the Satan sees the Jewish people's great love for Misvot, to the point where we blow additional Shofar sounds on Rosh Hashanah, he is silenced. His ability to prosecute against us as we stand judgment before God is severely hampered by our display of love and zeal toward the Misvot. Tosefot (commentaries by the French and German schools of Medieval Talmudists) explain differently, noting that the Satan is also the "Mal'ach Ha'mavet" (angel of death). Based on a comment in the Talmud Yerushalmi, Tosefot write that the angel of death will one day be eliminated, as indicated in the verse (Yeshayahu 25:8), "Bila Ha'mavet La'nesah" ("He shall eliminate death for eternity"). We are also told (Yeshayahu 27:13) that on that day, a great Shofar will be sounded. Thus, when we sound the Shofar after having already fulfilled the Misva of Shofar blowing on Rosh Hashanah, the Satan begins worrying that perhaps this is the Shofar blast that heralds the time of the final redemption, when he will be eliminated. This fear that Satan experiences hinders his ability to prosecute against us in the Heavenly Tribunal. The Abudarham (Rabbi David Abudarham, 14th century, Spain) cites a Midrash that offers a different explanation of the one hundred Shofar sounds, namely, that it brings to mind the event of Akedat Yishak (the binding of Yishak upon the altar). The Midrash relates that when Sara heard that her son was bound upon the altar prepared to be slaughtered as a sacrifice, she wailed one hundred times. By sounding one hundred Shofar blasts, we bring to mind Sara's anguish at the time of the Akeda, hoping that in this merit God will atone for our sins and grant us a favorable sentence. Others explain that the one hundred sounds are reminiscent of the one hundred wailings cried by the mother of the Canaanite general Sisera. The general's mother wept bitterly one hundred times as she waited in vain for her son to return from his battle against Beneh Yisrael, during which he had been killed. We commemorate her weeping by sounding the Shofar one hundred times on Rosh Hashanah. (At first glance, it seems difficult to understand why Sisera's mother's weeping should assume significance on Rosh Hashanah, though this is a subject for a separate discussion.) We find in Halachic literature some discussion concerning the propriety of the one hundred and first sound that we blow, the "Teru'a Gedola" sounded after the one hundred sounds. The Re'avya (Rabbi Eliezer Ben Yoel Halevi, Germany, 1140-1225), in Siman 541, mentions this custom and expresses his strong disapproval (listen to audio recording for precise citation). He notes that generally speaking, making sounds with an instrument is forbidden on Shabbat and Yom Tob, and sounding the Shofar on Rosh Hashanah is permitted only for the purpose of fulfilling the Halachic obligation. Therefore, once the required Shofar sounds have been blown, it is forbidden to blow the Shofar on Rosh Hashanah any further. A number of works cite the Rosh Yosef as going so far as to claim that blowing a one hundred and first sound constitutes "Hilul Yom Tob" – a desecration of the holiday. It is clear, however, that these authorities who disapprove of this practice were unaware of the writings of the Geonim, which explicitly record the observance of this custom in the two main Yeshivot of Babylonia, and explain that this, too, serves to confound the Satan. A number of Geonim (specifically Rav Amram Gaon and Rav Hai Gaon) addressed the question of whether the custom was for the one hundred and first sound to be blown publicly or only privately by certain individuals, but, in any event, such a custom most certainly existed. In light of this account, it seems very difficult to reject this custom and consider it a "desecration" of Yom Tob. Accordingly, Hacham Ovadia Yosef, in his work Hazon Ovadia (Laws of Shofar), codifies this practice, and writes that the one hundred and first sound of the Shofar is blown in order to confound the Satan. One must ensure, however, not to sound the Shofar after having blown or heard the customary one hundred and one sounds. Of course, if one did not hear all the sounds he may and should certainly blow the sounds he missed, and it is of course permissible to blow the Shofar on behalf of somebody who did not hear the Shofar blowing. One may not, however, blow the Shofar needlessly once he has blown or heard the one hundred and one sounds. Summary: The accepted custom is to blow one hundred Shofar sounds on Rosh Hashanah, plus an additional "Teru'a Gedola" after these hundred sounds. One may not blow the Shofar unnecessarily once he has heard or blown the one hundred and one sounds.

There is a Misvat Aseh (affirmative command) from the Torah to hear the sounding of the Shofar on Rosh Hashanah. In order to fulfill this Misva, one must pay close attention to the sounds of the Shofar. Unfortunately, it often happens that people's minds wander during the Shofar blowing, and they do not concentrate on the sounds. The best way to prevent distraction is to follow along the Shofar blowing with one's finger inside the Mahzor, pointing to each sound of the Shofar (Teki'a, Shebarim, Teru'a, etc.) as it is blown. This practice is mentioned in the work Yesod Ve'shoresh Ha'aboda, and it is a worthwhile practice to follow. The minimum required length of a Teki'a is the length of nine Teru'a sounds. The Gemara says that a Teru'a must consist of at least nine "Turmutin," or quick breaths, and so a Teki'a must be at least the time it takes to blow nine "Turmutin." However, this applies only to the Teki'ot sounded before and after the Teru'a. The Teki'ot blown before and after the Shebarim-Teru'a sound must at least the length of a Shebarim-Teru'a. Each sound of the Shebarim is the length of three Teru'ot, and thus the entire Shebarim must be at least the minimum length of the Teru'a – nine short Teru'a sounds (3 * 3). It emerges, then, that the Shebarim-Teru'a must be double the minimum length of a Teru'a, and the Teki'ot sounded before and after the Shebarim-Teru'a must also be this length. There is a difference among different Jewish communities regarding the precise nature of the Teru'a sound. Ashkenazim, Yemenites, and Syrian Jews have different traditions regarding how the Teru'a should sound. (Listen to the audio recording to hear the different sounds.) These customs are all based on tradition, and each community should therefore follow its time-honored custom. There is also a debate among the Halachic authorities as to whether the Shebarim-Teru'a should be sounded all in a single breath, or in two breaths (one breath for the Shebarim, and another for the Teru'a). The common practice is to satisfy both opinions, by blowing the Shebarim-Teru'a in a single breath during the first set of Shofar blasts (the Teki'ot Di'myushab) and in two separate breaths during the second set of Shofar blasts (the Teki'ot De'me'umad). The one who sounds the Shofar must be aware of all these issues. He must know the minimum length of the Teki'a sound – which depends on whether it is associated with a Shebarim, Teru'a, or a Shebarim-Teru'a – as well as the precise nature of the Teru'a sound according to his community's custom. Additionally, he must remember to sound the Shebarim-Teru'a in a single breath during the first series of Shofar blasts, and in two breaths during the second series.

Věra Šťovíčková-Heroldová (1930 až 2015) byla v 60. letech nepřehlédnutelnou osobností rozhlasové žurnalistiky. Zpravodajka v Africe se vrátila do Československa na jaře 1968 a za mikrofonem prožila i bouřlivý týden po 21. srpnu. A pak už toho moc v rozhlasu nezažila.Všechny díly podcastu Portréty můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Dans le 17ème épisode de notre podcast, nous évoquons Tsuyu (梅雨) qui signifie littéralement « pluie de prunes » car c'est la période de la cueillette des ume au Japon. Nous parlons des activités liées à cette saison comme la confection de l'umeshu, et vous racontons la légende du Teru teru Bōzu. Enfin, nous abordons la floraison des iris et le rituel de purification Nagoshi no Harae qui vient marquer le milieu de l'année.Pour accéder à l'article et les références : https://www.maisondumochi.fr/magazine/le-podcast-tsukimi-episode-17-juin-la-saison-des-pluies-lumeshu-et-le-rituel-de-purification-du-milieu-dannee/Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

NJE INU OLORUN DUN BI

NJE INU OLORUN DUN BI

Par Latviešu romāna dzimšanu 19. gadsimta otrajā pusē liecina divi romāni. Sāksim ar Māteru Jura romānu „Sadzīves viļņi”, kurā muižas dzīves atspoguļojums savijies ar autora vērojumiem darba gaitās. Iepazīstam arī Māteru Jura temperamentīgo un apsviedīgo dabu. Pirmie latviešu romāni – Māteru Jura „Sadzīves viļņi” un brāļu Kaudzīšu „Mērnieku laiki” -  klajā nāca 1879. gadā. Katra romāna izpētei veltīsim savu raidījumu , šoreiz kopā ar literatūrzinātnieci Māru Gruduli izzinām, cik nozīmīgs laikmeta kultūrvēstures dokuments bija Māteru Jura romāns „Sadzīves viļņi”, par ko autors rakstīja un kāpēc par šo romānu zinām mazāk, nekā par Kaudzīšu „Mērnieku laikiem”. Raidījuma gaitā uzzināsit arī to, cik nešpetnas un aizrautīgas dabas bijis romāna autors Juris Māters jeb Māteru Juris. Raidījumu papildinās fragmenti no radioiestudējuma „Sadzīves viļņos”, ieraksts tapis 1991. gadā,  dramatizējuma autors Arnolds Auziņš, režisors Andrejs Migla. Savukārt 1994. gadā apgādā „Zinātne” sērijā „Romāns – pagātnes liecinieks” atkārtoti iznāca Māteru Jura „Sadzīves viļņi”, priekšvārda un komentāru autore literatūrzinātniece Biruta Gudriķe, arī tas svarīgs izziņas avots raidījuma tapšanā. „Sadzīves viļņi” nav vienīgais Māteru Jura romāns, viņam ir daži mēģinājumi īsprozā  un romāns „Patriotisms un mīlestība” (1881), kur aprakstītas viņa attiecības ar laikabiedriem, darbs negūst atsaucību latviešu lasītāju vidū un to vērtē daudz zemāk arī mākslinieciskā līmenī nekā „Sadzīves viļņus”. Tomēr latviešu literatūras vēstures un kultūrvēstures kontekstā Jura Mātera vārds ir svarīgs. Plašāk par projektu šeit:

Rachael and Ruth review Shy, the popular battle shonen about Teru, a teenage superhero whose greatest enemy is her overwhelming shyness. Also discussion of X-Men 97, She-Ra and Harley Quinn. Contains chortles, tangents and Danny DeVito impressions.

You'll often see ghostly-looking dolls strung up in windows in Japan on rainy days. What do they mean and why are they a little creepy? [This description contains Amazon affiliate links. If you click on a link and make a purchase, I may receive a commission at no additional cost to you.] Uncanny Japan is author Thersa Matsuura. Check out her books including The Book of Japanese Folklore by clicking on the Amazon link.  If you'd like to help support the podcast and have a bedtime story read to you monthly, please visit Patreon. Discord: https://discord.gg/XdMZTzmyUb Patreon: https://www.patreon.com/thersamatsuura Website: https://www.uncannyjapan.com/ YouTube: https://www.youtube.com/@UncannyJapan Bluesky: https://bsky.app/profile/uncannyjapan.bsky.social Mastodon: https://famichiki.jp/@UncannyJapan Twitter: https://twitter.com/UncannyJapan Facebook: https://www.facebook.com/uncannyjapan/ Instagram: https://www.instagram.com/uncannyjapan/ Books on Amazon: https://www.amazon.com/Thersa-Matsuura/e/B002CWZ73Y/ref=sr_ntt_srch_lnk_1?qid=1500180689&sr=8-1 Buy Me a Coffee (one-time contribution): https://buymeacoffee.com/uncannyjapan Credits Intro music by Julyan Ray Matsuura Rain by Okami (龗)

Como vimos en la emisión anterior, la Festividad de las Trompetas es la primera de las festividades de otoño, y su cumplimiento todavía está en el futuro. Es el siguiente evento en el plan de salvación de Dios que ocurrirá con las profecías del final de los tiempos que vemos en el Apocalipsis. Los festivales del Señor tienen como objetivo el recordarnos la autoridad de Dios en nuestras vidas, y el poder revivir las experiencias y enseñanzas del pueblo de Israel con el objetivo de combatir nuestra tendencia a salirnos del camino del Señor. En este estudio veremos el doble propósito de Yom Teruáh, que nos recuerda y nos revela la misión de Cristo y Su plan de salvación para la humanidad.Puede encontrar el artículo de esta emisión en el siguiente link:http://lasagradapalabra.org/la-festividad-de-las-trompetas-yom-teruah-parte-2Que Dios los bendiga.

Na vlnách regionálních stanic Českého rozhlasu si nenechte ujít jeden z nejromantičtějších pořadů, který budeme vysílat. Soutěžní pořad Zlatá láska se od září rozjíždí v pravidelném víkendovém rytmu a je o párech, které spolu žijí v manželském svazku 50 a více let. Který příběh vás chytí za srdce?Všechny díly podcastu Dobré odpoledne z Českých Budějovic můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Turów vyrábí přibližně 7 procent polské energie a zaměstnává tisíce lidí. Pro obyvatele na české straně hranice však přináší výhradně negativa – ztrátu vody, ničení krajiny i znehodnocování nemovitostí obyvatel v bezprostřední blízkosti. Jak se lidem v česko-polském pohraničí žije a jak se dívají na jeho budoucnost, se na místo vydaly zmapovat česká a polská redakce EURACTIV. Celou reportáž si můžete také přečíst zde: https://euractiv.cz/section/klima-a-zivotni-prostredi/news/reportaz-z-turowa-jak-se-zije-na-okraji-uhelneho-krateru/ - Všechny podcasty najdete také na: euractiv.cz/tag/evropa-zblizka/ - Vaše poznámky, pochvaly či kritiku k podcastu nám můžete zasílat na zichova@euractiv.cz. Nezapomeňte Evropu zblízka také ohodnotit v podcastových aplikacích. Děkujeme! - Financování: euractiv.cz/komunikacni-partnerstvi-inzerce/

暑い。。。。。 今週は嬉しいお便り、そして各々好きな漫画をオススメし合いました。 お便り here ! 暑い / バチェラー5 / お便り フリースタイルティーチャー / TERU vs 輪入道 / MCバトルの再生回数 耳の異常 / 鈴木愛理のアイドル A子さんの恋人 / 付き合ってあげてもいいかな / 正反対な君と僕 / 呪術廻戦23巻 akameganeさんのpodcast / tacさんのドキュメンタリー

Teru-teru bozu dolls, Studio Ghibli's latest movie "How Do You Live?", ridiculous Dr recommendations(!) and word of the day.

JO. Je to tak. Řekli jsme to a stojíme si za tím. www.fajnradio.czSee omnystudio.com/listener for privacy information.

OK. Lekce dobrých mravů každé ráno s panem Václavem a panem Danielem. Check it. www.fajnradio.cz See omnystudio.com/listener for privacy information.

 Dans cet épisode, nous évoquons Tsuyu (梅雨) qui signifie littéralement « pluie de prunes » car c'est la période de la cueillette des ume au Japon. Nous parlons des activités liées à cette saison comme la confection de l'umeshu, et vous racontons la légende du Teru teru Bōzu. Enfin, nous abordons la floraison des iris et le rituel de purification Nagoshi no Harae qui vient marquer le milieu de l'année.    Pour toutes les références, nous vous invitons à consulter notre article dédié :  https://www.maisondumochi.fr/magazine/le-podcast-tsukimi-episode-17-juin-la-saison-des-pluies-lumeshu-et-le-rituel-de-purification-du-milieu-dannee/ 

Kam až sahají čínská chapadla v Česku? Spolupracuje čínský státní rozhlas s českými rádii Hey a Color? A znamená to tedy, že tato rádia u nás šíří čínskou propagandu? Odpovídá Ivana Karásková, analytička se specializací na Čínu z Fakulty sociálních věd Univerzity Karlovy.Všechny díly podcastu Vinohradská 12 můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

ARA WA LE WO ARA RE SAN; OLORUN LE MUN RERE JADE KURO NINU RUDU-RUDU AYE RE

The two friends brace themselves for the final volumes of Death Note and James compares Near's/Ohba's comments on the Kira worshippers to that of the most avid of Trump supporters, albeit such riot scenes are all too common in the real world. Skip synopsis @ 4:31 Email: WeAppreciateManga@Gmail.com 097: Death Note vol. 10 ⁓ Story by Tsugumi Ohba Art by Takeshi Obata Translation by Tetsuichiro Miyaki Lettering by Gia Cam Luc After Near and Mogi escape an attack from Kira worshippers, he suspects that the new L, Light Yagami, is Kira and lies about Mogi so to stir distrust amongst Light's team. Light permits his task force to see Near, Aizawa does so and picks up Mogi, in return they share clues and Aizawa and Mogi begin to suspect Light. Mogi, Mello and Matt, spy on Misa in order to determine if she has a Death Note. Light knows he is under suspicion. And has given Misa's Death Note to one of his supporters, Teru Mikami. Light is wary that with Teru being the hand of Kira his ideologies in time will start to differ from his own. Through coincidence, Teru has replaced the Kira spokesperson Demegawa with Light's university acquaintance. The news reporter Kiyomi Takada. Light contacts Takada whilst maintaining the guise that he is investigating Takada as part of the Kira investigation. In truth Light is using Takada so to pass messages on to Mikami. Fun Facts: In the supplementary volume 13 of Death Note, Tsugumi Ohba states that Matt, who accompanies Mello late in the story, is one of the orphans from Wammy's house. Which means he would have been in the line of succession as L's heir. Teru Mikami's design is originally based on Taro Kagami, the main protagonist of the one-shot pilot Death Note. Near's design is based on an early sketch of L. L was to have no bags under his eyes and have white hair. Near and Mello's design was originally switched. As Obata wanted Near to be more feminine and Mello to have the iconic pyjama look. It was Ohba who had the final say on the designs. During the events of the Near and Mello arc, Mello is age 20 and Near is age 18.   For those wondering why cellphones look unusual, the manga finished its original run nearly a year before the release of the apple iphone. What we see in the manga is Obata's idea on what a cellphone would have looked like from a 2006 perspective. Most likely if Obata knew what future smartphones would have looked like he would not have drawn so many buttons.   The creators, Ohba and Obata never met in person whilst making Death Note, merely using their editor to pass information, you could say their editor was the Kiyomi Takada Death Note's production.   Death Note as a series tends to be more like an espionage thriller. As characters are never in contact or near those they are in allegiance with, but at the same time those characters also compromise the existence of the other. Multiple times in the story, Light has been compromised by Misa, Mello, and Takada. Fortunately for Light he met Misa before she was captured and Light was able to meet Takada without giving himself away. Mello is an interesting outlier, as Light tries to prevent Mello meeting Near, since Mello knows about the fake 13-day rule. Facebook Instagram Twitter Official Website   Email

Poslechněte si rozhovor s Teru Menclovou, fotografkou na volné noze a milovnicí hor, Skandinávie a Islandu. Bavili jsme se o treku kolem Mt. Blanc, Dolomitech, sociálních sítích a bezpečnosti v horách, Islandu, focení, průvodcování a všem možném dalším, co nám v průběhu pohodové konverzace přišlo na mysl. Za mě to byl jeden z těch rozhovorů, kdy vyhrazená hodinka utekla jako nic a i po nahrávání jsme měli ještě spoustu témat k probrání. Tak třeba někdy společně dáme druhý díl. Odkazy k epizodě: @terumenclova na Instagramu Fotografický web terumenclova.com Teru Menclová na Facebooku Blog Teru's Guide to the Universe Barefoot boty CRAVE Sleva 10% na naBOSo s kupónem 10TravelBible Podcast – Pavel Svoboda: O focení, cestě napříč Asií i Jižní Amerikou a o životě profesionálního cestovatele Podcast – Marek Rybář: Cesta kolem světa ke splněným snům Článek – Vychytávky pro fotografy (nejen) na cestách  

NJE INU OLORUN DUN BI

The Torah commands blowing a "Teru'a" sound on Rosh Hashanah ("Yom Teru'a Yiheyeh Lakhem" – Bamidbar 29:1), and the Gemara explains that this refers to a weeping sound. The Gemara reaches this conclusion on the basis of Targum Onkelos (the ancient Aramaic translation of the Torah), which translates the word "Teru'a" as "Yebaba." This word is derived from the root "Y.B.B.," and the Gemara determines the meaning of this word from a verse in the Book of Shoftim (5:28). The context of that verse is Beneh Yisrael's victory over the Canaanite army led by the general Sisera, who fled the battlefield and sought refuge in the home of a woman named Yael. As Sisera slept, Yael killed him, sealing Beneh Yisrael's victory. The verse describes Sisera's mother waiting by the window and crying – "Va'teyabeb" – as she realized that her beloved son was not returning home. This proves that the word "Teru'a," which is translated as "Yebaba," refers to a crying sound. The Gemara explains that there are different kinds of weeping, which accounts for the different sounds which we blow with the Shofar (the sounds known as "Shebarim," "Teru'a," and "Shebarim-Teru'a"). At first glance, it seems peculiar that Sisera's mother's cries form the basis of our understanding of the word "Teru'a." Why would specifically her weeping serve as the model of the sound of the Shofar? What connection is there between Sisera's mother and Shofar blowing? The verses there in Shoftim tell that Sisera's mother and her servants tried finding comfort by suggesting reasons why her son was not returning home. Perhaps he was busy celebrating, or collecting the spoils of war. Not wanting to confront the painful reality that her son had been killed, Sisera's mother tried in vain to comfort herself by imaginary tales. People similarly use their creativity to avoid the painful reality that they have acted wrongly. It is exceedingly difficult to admit wrongdoing. In marriage, for example, when a couple has an argument, rarely does one spouse later say to the other, "I realize that I was wrong, I apologize." Admitting error, guilt and wrongdoing is very uncomfortable. And so to avoid this discomfort, we come up with excuses. We think of creative reasons for why we did what we did in an attempt to exonerate ourselves and thereby save ourselves from painful feelings of guilt and embarrassment. This is one explanation for the connection between Sisera's mother's weeping and Rosh Hashanah. Just as Sisera's mother cried when she stopped making "excuses," when she confronted the painful reality that her son was not returning home, Rosh Hashanah is the time for us to stop making excuses for our behavior, and to confront the painful reality that we need to improve. In the Book of Yirmiyahu (2:35), G-d tells Beneh Yisrael, "Hineni Nishpat Otach Al Omrech Lo Hatati" – that He would be punishing them for saying, "I did not sin." This is a truly remarkable verse. G-d does not punish us for sinning; as flawed human beings, we are prone to make mistakes, and He does not expect perfection. He punishes us not for our mistakes, but for denying our mistakes. It is all but inevitable that we will commit sins, but we are expected to hold ourselves accountable, to admit our wrongdoing, to humbly acknowledge guilt, and to resolve to try harder. This concept is taught to us by King Shlomo, in Mishleh (28:13), where he writes, "U'modeh Ve'ozeb Yeruham" – "…but he who confesses and abandons [his wrongdoing] will be given mercy." We are not asked to be perfect; we are asked only to admit our imperfections and try to be better. I saw an example of this principle during a cab ride to the airport. The driver was pulled over for speeding. When the cop asked him why he was driving so fast, he said, "Look, officer, it's not my fault, I have a passenger who is late for a flight, I am just trying to do my job…" The policeman looked at him and said, "Hey, just tell me the truth." The driver looked down and said, "Ok. I was driving too fast. I was wrong. I am sorry." The cop politely asked him not to speed again, and let him go without issuing a ticket. I thought to myself that this is precisely what Hashem wants of us. He is not looking to punish us for our sins. Rather, He wants us to stop making excuses, to take ownership of our mistakes, to be honest with ourselves, to admit that we do things wrong and that we need to try to be better. This is what the cry of the Shofar is saying to us: to stop making excuses, and to honestly take stock of our actions in order to improve.

Yom Teru'ah means Day of Soundings. It is literally a day appointed by YAH for His children to make a great noise. But not just any sound, we are to rehearse the sounds we will hear when Yeshua returns to the earth to gather His bride and establish his Millennial Reign. It's a day of shouting and blasting our trumpets and shofars and so much more. In this video, G. Steven Simons answers the question: Yom Teru'ah, what does it mean?

Yom Teru'ah means Day of Soundings. It is literally a day appointed by YAH for His children to make a great noise. But not just any sound, we are to rehearse the sounds we will hear when Yeshua returns to the earth to gather His bride and establish his Millennial Reign. It's a day of shouting and blasting our trumpets and shofars and so much more. In this video, G. Steven Simons answers the question: Yom Teru'ah, what does it mean?

We find an allusion to the Misva of Shofar in Parashat Nisavim, where the Torah warns, "Pen Yesh Bachem Shoresh Poreh Rosh Ve'la'ana" – "Lest there is among you a root of evil of rebellion" (Debarim 29:17). The first letters of the phrase, "Shoresh Poreh Rosh Ve'la'ana" are "Shin," "Peh," "Resh" and "Vav" – the letters of the word "Shofar."This allusion is very significant, as it expresses the unique power and impact of the Shofar blowing – namely, its ability to eliminate the "root" of evil within us. Before Adam's sin in Gan Eden, evil was separate from good; the human being was pure and good, and evil existed outside of him. But as a result of Adam's partaking from the forbidden tree, evil became ingrained within him, and since then, the good and evil inside us struggle with one another. The Shofar blowing, however, has the power to subdue the force of evil inside of us, so we can once again become perfectly good and pure. It eliminates the "Shoresh Poreh Rosh Ve'lana'a" – the "root of evil and rebellion" from which sin grows. This power of the Shofar sound is expressed in the number of sounds that we blow. The primary obligation of Shofar blowing requires blowing thirty sounds, which we do before Musaf. We blow additional sounds during Musaf, but the primary obligation is fulfilled through the first thirty sounds. The reason for the thirty sounds is because the Torah mentions three times the obligation to sound a "Teru'a," and the Sages inferred from the text that every Teru'a must be preceded and followed by a Teki'a. Therefore, in principle, we should blow nine Shofar sounds – blowing three times a series of Teki'a, Teru'a, and another Teki'a. However, the Talmud records three different opinions as to what the Torah means by the word "Teru'a." One view maintains that this refers to what we call a Teru'a – a series of very short sounds – whereas another opinion is that it means a Shebarim – three medium-sized sounds. According to the third view, the Biblical term Teru'a refers to a combination of a Shebarim and Teru'a ("Shebarim-Teru'a"). In order to satisfy all three opinions, we blow all three Teru'a sounds. It thus emerges that we blow thirty sounds: three sets of Teki'a-Shebarim-Teru'a-Teki'a (3X4=12); three sets of Teki'a-Shebarim-Teki'a (3X3=9); and three sets of Teki'a- Teru'a-Teki'a (3X3=9) – for a total of 30 (12+9+9).The Gemara establishes that the Teru'a sound – however it is defined – must be at least the length of nine "Trumitin" – brief sounds. Moreover, the Teki'a must be the same length as the Teru'a. As such, when we blow thirty Shofar sounds, we blow 270 Trumitin (30X9). This number is the Gematria (numerical value) of the word "Ra" – "evil." By blowing these 270 sounds, we subdue the forces of "Ra" within us so our innate goodness can prevail.Of course, our primary intention when we hear the Shofar is to fulfill the Torah obligation to hear the Shofar on Rosh Hashanah. However, we should be aware of the fact that there are many profound ideas and powers associated with this previous Misva, and that it gives us the spiritual strength that we need to subjugate our evil inclination and allow the goodness within us to shine.

Výletní doporučení pro vás i vaše děti tento týden připravila cestovatelka Martina Bulánková z webu Akční rodiče. Jen nedaleko Mladé Boleslavi se můžete projít kráterem vyhaslé sopky. Speciální místo naleznete mezi vrchy Baba a Dědek. Kromě skalních zákoutí si tu lze vychutnat výhledy do okolí, včetně Ještědu nebo Krkonoš. Okružní turistická trasa vede zejména lesem a má jen tři kilometry. Na výšlap se tedy můžete vydat i s malými dětmi.

The Sound Chaser Progressive Rock Podcast is on the air. On the show this time, we have a mix of progressive rock from many times and places, some tunes from styles related to prog, a new song from Australian band Aragon, and The Symphonic Zone. All that, plus news of tours and releases on Sound Chaser. Playlist1. Steeleye Span - One Night as I Lay on My Bed, from Hark! The Village Wait2. All India Radio - It's Happy Time, from Film Musik3. Brand X - TMIU-ATGA, from Is There Anything About?4. Fleesh - The Garden, from The Next Hemisphere5. Barre Phillips - Mountainscape I, from Mountainscapes6. Terry Riley - A Spark from the Infinite (Part Two), from No Man's Land7. Boris SG - Mix Drive 3 (Part 2), from Mix Drive 38. Steve Howe - Doors of Sleep, from Beginnings9. The Nice - Flower King of Flies, from The Thoughts of Emerlist Davjack10. Quatermass - Punting [cd bonus track], from QuatermassTHE SYMPHONIC ZONE11. Teru's Symphonia - Mother to Mother, from Clockworked Earth12. Rael - Momo (y los Hombres Grises), from Máscaras Urbanas13. Neil Ardley - Rainbow 6, from Kaleidoscope of Rainbows14. Anyone's Daughter - La La, from In Blau15. Synopsis - Prelude, from Gamme16. Triumvirat - The March to the Eternal City, from Spartacus17. Aragon - The Calm before the Storm, from https://aragon3.bandcamp.com/track/the-calm-before-the-storm 18. Magenta - Sloth, from Live at the Point 200719. Yes - Awaken, from Live at MontreuxLEAVING THE SYMPHONIC ZONE20. Marillion - Alone Again in the Lap of Luxury, from Brave21. Marillion - Paper Lies, from Brave22. Marillion - Brave, from Brave23. Marillion - The Great Escape, from Brave24. George Winston - Fanning the Flames, from Gulf Coast Blues & Impressions 225. Jane Siberry - The Water is Wide, from Hush26. Black Sabbath - Children of the Sea, from Live Evil27. Brainticket - The Subspace Between, from Alchemic Universe28. The Firm - Free to Live, from Mean Business29. Triana - Vuelta a la Sombra y a la Luz, from Sombra y Luz30. Pat Metheny - Pretty Scattered, from 80/8131. von Zamla - Harujänta, from Zamlaranamma32. Styx - Lady, from Styx II

Jūs neticēsiet Roberta pēdējās twitter aptaujas zemi lauzošajiem rezultātiem! Epizodē parunājām par esošiem un bijušiem festivāliem, turpinājām iegūt ienaidniekus Airbaltic un paskaidrojām kāpēc Džordžam Bušam būtu jābūt nākošajam Latvijas prezidentam. Tava Yoni un Tavs Lingum arī būs pateicīgi par šo epizodi!! Cover art - https://www.instagram.com/rottwang/ Audio apstrāde - Gatis Gavars Executive palīgs - Valts Anškens Seko mums šeit - https://www.instagram.com/eitanazija/ Pievienojies Facebook grupai - https://www.facebook.com/groups/2705724416375418 Kļūsti par Patronu - https://www.patreon.com/eitanazija

Broadcast originally aired Monday, April 18, at 9:30 am, on 1700AM WRCRThe life and artistic legacy of the late Sidney Simon (1917–1997). On the occasion of an exhibition of Simon's works at the Blue Hill Art and Cultural Center (Pearl River, NY), two of Simon's children, Teru Simon and Mark Simon, joined Clare Sheridan to share memories of their father, his art, his life and their own recollections of growing up in Rockland County.About the artists: Sidney Simon was an American painter, sculptor, muralist, art school cofounder (Skowhegan), and American Official War Artist. One of his sculptures, the Four Seasons Fountain Sculpture, is located at One Worldwide Plaza in New York City. A small maquette of this monument will be on display, along with other works by Simon, through Fall 2022 at the Blue Hill Art and Cultural Center.Teru Simon is an artist working in the mediums of ceramics sculpture, pottery, painting, and prints. She attended Bennington College and received her undergraduate degree from UWW at Skidmore College and her masters in fine arts through Vermont Studio Center and Johnson State College. She spent more than thirty years teaching art to all ages in public and private schools and colleges and retired from teaching in 2011.Mark Simon is a graduate of Brandeis University and the Yale School of Architecture. He worked in several architecture offices before being hired by Charles Moore, his former teacher and dean at Yale. They collaborated on a number of homes, and in 1978 Simon was named a partner at Moore Grover Harper, which eventually became Centerbrook Architects. Mark is a pioneer in the practice of “green” architecture, beginning with his design in 1973 of an Earth House that was built into a hillside and decades later continues to take advantage of the clean heating and cooling energy of terra firma. Today Mark's practice ranges from private houses and highly crafted furniture to commercial, institutional, academic, and religious projects. His innovative design has been noted by Time Magazine and the New York Times, among others, and he is the recipient of 112 architectural awards, including the prestigious American Institute of Architects Architecture Firm Award received by Centerbrook received in 1998.Learn more about Sidney Simon here: https://www.sidneysimon.comLearn more about the Blue Hill Art and Cultural Center here: http://www.bluehillartandculturalcenter.com***Crossroads of Rockland History, a program of the Historical Society of Rockland County, airs on the third Monday of each month at 9:30 am, right after the Will and Jeff morning show, on WRCR Radio 1700 AM and www.WRCR.com. Join host Clare Sheridan as we explore, celebrate, and learn about our local history, with different topics and guest speakers every month. If you want to listen to the broadcast, and you aren't local, simply download the TuneIn Radio App on your smartphone or tablet and search for WRCR.  After the show, the broadcast will be available for streaming anytime on all major podcast platforms. We are pleased to announce that many of our archived podcasts are also available on all major podcast platforms (Apple Podcasts; Stitcher, Google Alexa, etc.).The Historical Society of Rockland County is a nonprofit educational institution and principal repository for original documents and artifacts relating to Rockland County. Its headquarters are a four-acre site featuring a history museum and the 1832 Jacob Blauvelt House in New City, New York.www.RocklandHistory.org

335 tracklist: 1. Gardna - Every Time That I Land (RMX) 2. Watch The Ride - READY4DEM0 3. Malik Hendricks - Power 4. Teru da Funk Jester - Interlufe 5. 1773 - He Did That Live 6. Fullblast - N!ggas Win, Suckas Lose 7. Pinder - Get The Money 8. Starfire - Make The Most Of It 9. Cory Zealous - showmeurways 10. Mal Devisa - Ten Takes Lovers 11. Gbsix - Afro Blue ( Erykah Badu Cover ) 12. Sade - Is It A Crime (Robyn N. Steelen) 13. Jade Relics - Start Over 14. Cici Lara - Complicated with You 15. Hollie Cook - Full Moon Baby 16. Mali-l ft Ms Ray - Heaven Scent 17. Yugedesiral - Class A Beat-Tape 18. Teru da Funk Jester - 2 Belike 19. Reverse Cosmosis - Grit 20. Bacao Rhythm and Steel Band - Juicy Fruit 21. K & Jj - You Bring Me Up (DJ Yamsha Tainted RMX) 22. Pearl de Luna - Cadillac Cruisin' 23. Kadhja Bonet - Dear Gina 24. Soular System - Stage Five II WWW.MAGGYSROOFTOPAERIAL.COM

We enter a large arena. The moles are climbing over each other to get to the best seats. The best seats were the ones furthest from the playing area. I'm beginning to wonder about this game.

La mayoría de los cristianos probablemente nunca han estudiado el Festival de las Trompetas, quizás porque lo hayan considerado como un festejo judío sin ninguna aplicación para los creyentes de nuestros días. Sin embargo, les mostraremos en esta emisión que, como cristianos, necesitamos entender el significado de esta festividad. De acuerdo a muchos estudiosos de la Biblia, las Siete Festividades del Señor (Levíticos 23) son una profecía de eventos futuros, parte de los cuales ya han sido cumplidos y parte que aún están por cumplirse.Puede encontrar un artículo de esta emisión en el siguiente link:La Festividad de las Trompetas – Yom Teruáh (Rosh Hashanah)Que Dios los bendiga!

Are you wanting a better education for your child? Listen in to find out the difference around the world and what we can learn from these. As a person who has been exposed to different education cultures as a child, I was excited to speak to Teru of her experience as a mother educating three children in a variety of cultures. Listen in to learn the differences and how we can improve in the US.  What we talked about: Her experience raising children in Shanghai, HongKong, Tokyo, and California How we can improve our schools in the US Equitable funding of schools, giving access to quality education regardless of socio-economic background Recruiting and retaining teachers by creating a serious career path Her discoveries visiting schools across the US Her perspective on the Japanese approach to raising independent children early on Her personal approach to raising multilingual children Things to Remember “Our teachers should not be made martyrs.” – Teru Clavel “An equitable funding model is giving everybody access to quality education regardless of their socio-economic background.” – Teru Clavel Click here for Show Notes and more from Jeanne-Marie, Your Parenting Mentor.

This week, we're excited to talk with Teru Clavel – author of “World Class: One Mother's Journey Halfway Around the Globe In Search of the Best Education for Her Children”. Teru shares her family's 10 year journey through public schools across Asia and the United States and what she discovered along the way. She also […]