#ben goto

[anamon-book]

世界の廃墟物語－失われた栄華の跡を求めて　五島勉 光文社文庫 カバー・本文イラスト＝レオ・澤鬼

[pon4ra-arts]

Omniverse Mass Effect Pt. 2

[therealgchu]

10 characters / 10 fandoms / 10 tags

tagged by @fangbangerghoul, so much fun! tagging @sailor-kaiju, @atonalginger, @a-cosmic-elf, @samcoesclub

Vash the Stampede / Trigun

2. Faramir / LotR (though, specifically book faramir, but i do love david wenham)

3. Basira / The Magnus Archives (art by Feifei Wang)

4. Jester / The Mighty Nein (Critical Role, i mean, who isn't in love with laura bailey?)

5. Susan Ivanova / Babylon 5

6. Ben Wyatt / Parks & Recreation

7. Guster Burton / Psych

8. Hiccup Haddock / How to Train Your Dragon

9. Goto Kiichi / Patlabor

10. Kusanagi Motoko / Ghost in the Shell

[lunarsilkscreen]

Interpretation doesn't care about your Intent

"Something something Facts and Feelings" - Ben Shapiro

Here's the fact; interpretation doesn't care about what you mean. The facts might be "Well I said this this and this, and meant this." Or in the case of some comedians and rap artists.: "It's KFABE" or "I'm playing g a character! They shouldn't take me seriously."

Except when a core part of your audience *believes* in that character or what you're saying.

My goto example: Tyler Durden's *MASSIVE* fan base, despite him being the villain of the movie "Fight Club". The same thing with the Joker, but in the Batman, it's a little bit different, where in fight club you're supposed to take issue with Tyler Durden's childish behavior (No matter how on point his early rhetoric is) Joker , especially his more recent iterations; is a character who doesn't believe he has another choice. Or he's really just an anti-hero doing "what needs to be done" the same as Batman. (Who is in fact a criminal, doing what he believes needs to be done.)

When people believe that facade you've created, when they're rooting for the literal interpretation of what you're saying sarcastically, or maybe they interpret the wrong parts as sarcasm: it's your job as an "entertainer" or in some cases "Journalists" to ask:

What *fake-news* are you unintentionally causing?

Because the facts are; rational people believe the "fringe" and "extremist" interpretation that you Believe nobody in their right mind would.

Just like how some people see Trump as a popular-culutural referencing shit poster just having verbal *coup de tats* and others believed he was leading a literal *coup* on January 6th.

And the entire time, people were being snobs about it, "he's literally a facisist Hitler loving psychopath" there were more level-headed people saying; "No, there's people who believe what he is saying as if that facade was a real thing".

People took his "shit talking" as "fact". As if the character wasn't just a character anymore, but something more. And still more level headed people *admitted* that *that* interpretation was the one they believed more than anything.

A good politician doesn't correct his image when the results are in their favor, but God damn did the media eat it right up and completely drop the ball on that.

And that's where it falls flat with these "I love talking about my feelings for facts" groups; they don't see the massive groups of people who believe the *character* over the *facts*. After all, if they did anything about it; it might hurt their bottom line.

Who cares if the substantiation of the currency you earn goes with it.

Because when you point this out, when you get a little bit critical, they instead take a heavy handed and defensive approach. They too seem to be stuck in a "scarcity mindset" where any false move, any negative view from critical sources, could end their career in a single day.

And the question is; in this new day and age where you could several hundred thousand views for starting a Tik Tok, is that really career ending? Or are you letting the old ways of doing make you afraid of being a good journalist?

Now I get the whole "don't buy stuff from my sponsors" approach as a sort of reverse-psychological advertising, and tongue and cheek jokes..I do.

But at a certain level, at a certain level of audience trust, the question is; how much of your audience believes in the "I wanna be a gangster" shtick and how much believes that's "just an act"?

Do the facts, care, about your feelings?

So when we're being critical of each other; how much is it play-ground b.s., and how much of it isn't? I've heard that phrase a lot "it's just locker room talk" or "it's just schoolyard roughhousing" like you actually understand that's your own intent.

What about the bystanders who are telling you: "This is starting to look like a war."

[angelbabydoll28]

i goto ben i bush my teef n got on pajamas & hab water & my medesin all redy 4 bed goonite! :D

[musicamundi]

毎月第2木曜日にWhite Space Labで開催されているOUTSIDERに 果実 @dj_kajitsu が出演します。 レギュラー陣の真摯に音に向き合う姿勢、個性が光るサポート&ゲストDJのブッキングが毎回興味深��平日終電までのパーティなので、ぜひ気軽に遊びに来てください。 ----- 骨太で穏やかな、音と人の空間。 グルーヴ感たっぷりのダンスミュージックとコミュニケーションが堪能できます。 既存の枠組みに捉われず、クラブやDJに興味のある方から思いっきり音を楽しみたい方まで、どなたでも自分らしく過ごして頂けます。 きっと新たな出会いや発見があるはず。 気軽に扉を開けてみてください。 🕖2023.3.9(THU)19:00-23:30 OUTSIDER @ White Space Lab Fee: 1,000JPY Guest DJ: 果実 (MUSICA MUNDI) Support DJ: Sonosuke Santo (Mix Machine) / Masahiro (yogi) Residents DJ: Ogaway / Goto / Negami / Nobuharu Morimoto Residents DJs: Ogaway DJ/ビデオ・クリエイター。 アイルランド・ダブリンとトルコ・イスタンブールを拠点に、世界の音楽を発信するラジオ「room radio」のレジデントとして活動。 YouTubeチャンネル「OTOTABI with Ogaway」では、自身のテクノ・ハウス系ヴァイナル・コレクションのレビューや海外アーティストのインタビューを行っている。 Goto Outsiderのオーガナイザー。 90年代後半よりTechno DJとして活動し、現在でもMinimal TechnoからDeep Houseまで物理的に操作できるVinylでのDJプレイにこだわる。 ロングミックスで新たなグルーヴを構築しアグレッシブでファンキーなDJプレイでフロアを沸かせる。 Negami 16歳からDJやトラックメイクを始め、現在に至るまで都内を中心にアンダーグラウンドな活動をしている。近年ではスローテクノパーティー「Yellow」のクルーとしても活動しており、コンピレーションアルバムへも参加している。 またヴァイナルのコレクターでもあり、ディスコ、ハウス、テクノ、ミニマルハウスを中心としたマニアックなコレクションに裏付けられたセンスと繊細なDJスキルによる確かなグルーヴで人々を魅了している。 Nobuharu Morimoto 東京を拠点に活動するDJ/プロデューサー。 Drumcode、100% PureやSuaraなどの有名レーベルでもおなじみのRamon Tapiaが運営するレーベルSay What? Recordsからリリースした楽曲Shinonomeは、早くもドイツの大御所DJであるPeter CornelyことKarottoにサポートされている。また、Ben Sims、Ken Ishii、Mark Broomなどの世界中の大御所DJ/アーティスト達がリリースし名を連ねるレーベルBlumoog Musicより2枚のEP、ウクライナの人気テクノレーベルOxytech Planetからも2枚のEPをリリースしている。 そのほかにも海外のレーベルから立て続けに楽曲をリリースし続け、その楽曲群は Laurent Garnier, Luca Agnelli, Marco Carola等の世界トップクラスのDJ/アーティスト達にもサポートされている。また、DJや楽曲制作の活動以外に、YouTubeにてテクノ・ハウス系ミュージックの情報を発信している 。 Venue: White Space Lab 〒150-0044 東京都渋谷区円山町2-20 農場協会ビル101 Noujou Kyoukai Building 101 2-20, Maruyama-cho, Shibuya-ku, Tokyo, 150-0044, Japan Tel: 03-6416-3973 #techno #electricmusic #housemusic #deephouse #bassmusic #undergroundmusic #dj #allenandheath #turntable #vinyl #record #CDJ #humberger #nightclub #nightout #shibuya #Tokyo ・・・ #Repost @dj_kajitsu with @use.repost (White Space Lab) https://www.instagram.com/p/CpXNK9CPS0M/?igshid=NGJjMDIxMWI=

[chanoyu-to-wa]

Nampō Roku, Book 7 (38c):  Three Kaki-ire from Shibayama Fugen’s  Tokushu Shahon [特殊写本]¹, Part 1.

〽 Kaki-ire [書入]:

    [Whether to place the fukuro-dana] 8-sun or 1-shaku 2-sun [from the corner of the ro] depends on the size of the kama².  As for 4-me and 1-shaku 2-sun, and also 7-me and 8-sun, knowing which [to use] reveals [the host's] understanding³.

    As for the way to place the fukuro-dana in the 4.5-mat room, [within] the roughly 3-shaku 1-sun 5-bu square that is half of the tatami, it should be placed in the exact center [of this half-mat]⁴.  However, for the sake of freedom -- because this will depend on the size of the kama -- 4-me and 8-sun, or 7-me and 2-, 6-sun [this is a mistake:  it should be 7-me and 1-shaku 2-sun] are also acceptable ways to orient [the fukuro-dana]⁵.

    Up until the time when Jōō fixed the orientation of the fukuro-dana, the [original] kane from the [ji-ita of the] daisu were said to be superimposed onto the tatami; but this did not always seem appropriate -- depending on how [the tana] was going to be placed⁶.  Also, up until this time, the size of the ro, too, had not yet been decided upon⁷.  Later, after discussing this matter with Sōeki, the dimensions of the ro were fixed⁸.  

    As for the way that the fukuro-dana is arranged [on the utensil mat], [as well as] the chū-ō no takushi [中央ノ卓子], Seirō-dana [城樓棚], Hora-dana [洞棚], and the others:  we must learn it by heart that all of these [tana] should always be centered [on the half-mat] -- so that, even after the passage of many years, this [way of doing things] will always remain the same⁹.

    [Ri]kyū arranged a mizusashi in his 4.5-mat room without a tana when he was going to serve tea; and Jōō also felt that this was an acceptable way of doing things¹⁰.  In this case [the half mat] between the ro [and the far end of the utensil mat] should be divided  by five kane, both lengthwise and widthwise, and [everything] should be arranged very carefully in accordance with these kane¹¹.  However, after discussing this question with Rikyū, Jōō established the rule that, as a matter of course, before the temae has begun, neither the chaire nor the chawan should be arranged [on the mat] in front of the fukuro-dana¹².

_________________________

◎ About this tokushu shahon [特殊写本], Shibayama Fugen wrote:

kono bun ōki ni sankō ni ben nari. tsutanashi onajiku Nambō Roku no ha hon ni shite kaku made buntei wo koto ni suru ha nani-goto zo, osoraku ha Jitsuzan no te ni kakigae-shi naran. shikaraba tokushu shahon wa Nambō Sōkei no gencho ni chikai naru-beshi

[此ノ文大ニ参考ニ便ナリ。伹シ同ジク南坊録ノ写本ニシテ斯クマデ文躰ヲ異ニスルハ何事ゾ、恐ラクハ実山ノ手ニ書キ替ヘシナラン。然ラバ特殊写本ハ南坊宗啓ノ原著ニ近キナルベシ].

    “This text is a very important reference.  Though it is a crudely made copy of the Nampō Roku, what could be the reason for such a different style of writing?  Clearly [this text] was not reworked by Jitsuzan -- but, if that is the case, this tokushu shahon might just be closer to the original work composed by Nambō Sōkei.”

    Without being able to peruse the entire document, it is difficult to say when, much less by what sort of person, it may have been created (though, from what little Shibayama has shown us, it does seem to postdate the Shū-un-an documents by many decades, if not centuries; and the language of the kaki-ire -- which are uniformly subdivided into sentences according to the conventions of modern Japanese punctuation -- suggests that it was more likely a product of the nineteenth century, rather than of Sōkei’s time).  Nevertheless, the text of these three kaki-ire, even if it is to a certain extent repetitive, will surely be helpful to anyone who has an interest in penetrating the deeper meaning of this entry, and the machi-shū approach to chanoyu that it reveals*.

    The first kaki-ire discusses the way to arrange the fukuro-dana (and other movable tana) on the utensil mat; the second deals with the special case of the display of an hitotsu-mono [一ツ物]; and the last discusses the way the teachings of kane-wari apply not only to the tana, but to the toko, and to the room as well†.

    Given the length of the kaki-ire, and the battery of footnotes that are necessary to explain them, it became obvious that I would have to divide this material into two posts.  The first of the kaki-ire is considered here; and the other two will be discussed in the next post. ___________ *The author’s purpose seems to be summarizing the material presented in the Nampō Roku, interpreting it through the then-accepted teachings regarding the arrangement of the fukuro-dana (and other varieties of tana).  His analysis seems to be informed by the fact that, in the 4.5-mat room, Rikyū placed the mizusashi in the exact center of the mat when there was no tana., which is then accepted to mean that the mizusashi should always rest on the center-most of the five horizontal kane (the kane that are perpendicular to the heri).

†In Book Six there is this poem by Rikyū:

toko ha toko, zaseki ha zaseki, tana ha tana       ni chō ichi han ni han ichi chō

[床ハ床、座席ハ座席、棚ハ棚       二調一半二半一調].

    “The toko is the toko, the room is the room, the tana is the tana:  two [are] even, one [is] odd; two [are] odd, one [is] even.”

    This means that kane-wari is applied to these three places, which are independent from each other.  The “yin” or “yang” character of the za is related to the total of these three values.

¹Tokushu shahon [特殊写本] means a special manuscript copy (i.e., not a published work, but a hand-copied, privately annotated “version,” to which access was probably limited to the person who made the copy) of the Nampō Roku.  Thus, from what little we are able to see, the creator of this manuscript appears to have given precedence to a practical interpretation of the text (focused on the way the teachings it contains could be put into practice in his own chanoyu), rather than reproducing the exact wording of the original.  This suggests that the person responsible was not one of the Enkaku-ji scholars, but more likely an ordinary chajin from Kyōto, Ōsaka, or even Edo, who managed to borrow one of the manuscript that were circulating within the tea community, and made a quick copy for his own personal reference.

    Copies of other seminal texts that were being passed around during the Edo period are likewise replete with numerous kaki-ire that were often modified later -- sometimes by pasting a small piece of paper over an erroneous comment, in order to write something that was closer to the popular consensus.

²Hassun to isshaku ni-sun ha, kama no dai-shō ni yoru-koto nari　[八寸ト一尺二寸ハ、釜ノ大小ニヨルコトナリ].

    Hassun to isshaku ni-sun [八寸と一尺二寸] refer to the two usual distances between the ro and the front of the fukuro-dana -- the original conventions that were established by Jōō himself.

    It is said that the reason for the 8-sun  was so that the distance between the kama (in the ro) and the mizusashi (arranged in its compartment on the ji-ita of the fukuro-dana) would be essentially the same as between these two utensils when they were arranged on the daisu.  This also explains why the shaku-tate and futaoki were originally placed on the ro-dan (as shown in the sketch under footnote 7, below).

³Yon-me ni te isshaku ni-sun ni mo, nana-me ni te hassun ni mo, sore ha kokoro shidai nari　[四目ニテ一尺二寸ニモ、七目ニテ八寸ニモ、ソレハ心次第ナリ].

    Yon-me...isshaku ni-sun [四目...一尺二寸] is referring to the arrangement on the kyōma-datami where a fukuro-dana* was centered between the heri, and placed 1-shaku 2-sun from the ro.

    Nana-me...hassun [七目...八寸] is referring to the case, on an inakama-datami, where the fukuro-dana is placed to that it touches the heri on the side of the mat toward the ro, while being 8-sun away from it†.

    These are two of the possible ways to orient the fukuro-dana on the utensil mat (in keeping with the system espoused here‡).  The other two are discussed below, in footnote 5.

     It would appear that, by the time this was written, two sizes of fukuro-dana were already in use:  a larger version for use in the kyōma**, and Jōō’s original, which was now apparently relegated exclusively to the inakama yojō-han††.

    Kokoro shidai [心次第] literally means it is up to (one) to decide; the decision to act (in a certain way) is based on (one’s) understanding‡‡. ___________ *This requires a fukuro-dana of the modern dimensions -- where the ji-ita measures 2-shaku 5-sun 5-bu by 1-shaku 3-sun.

†This arrangement is based on a fukuro-dana of the sort used by Jōō and Rikyū, which measures 2-shaku 4-sun by 1-shaku 3-sun.

‡Where, in the inakama setting, the fukuro-dana is placed so it touches the heri on the side of the mat that adjoins the ro (rather than resting that side on top of the heri as Jōō had done).

    Jōō had placed the tana on top of the heri so that the mizusashi would be in the same place as it would have been had it been arranged on the daisu.  Placing the tana so that it simply touches the heri has no apparent meaning at all, but simply indicates a historical misunderstanding of what “ippai” [一杯] (“fully” -- literally, a drinking cup filled to the brim) was intended to mean in Jōō’s and Rikyū’s instructions.  Given that this way of understanding the orientation first appeared in Imai Sōkyū’s explanation of the way to position the fukuro-dana in the inakama, it sees that he was probably the one responsible for the confusion.

**Some sources ascribe this version to Rikyū (as was common during the Edo period when the size of virtually anything was shown to not match the original example).

††Which sort of room was already almost unknown -- outside of Edo (where the lack of space brought about the creation of even smaller tatami than those used in the countryside surrounding Kyōto and Ōsaka).

‡‡Kokoro [心] here should be understood to mean (one’s) mind, with shidai [次第] meaning “in accordance with,” or “depending on” (one’s mind).

⁴Yojō-han fukuro-dana no oki-kata, oyoso san-shaku issun go-bu shi-hō, tatami han-bun no mannaka ni oki nari　[四畳半袋棚ノ置方、凡ソ三尺一寸五分四方、畳半分ノ真中ニ置ナリ].

    Oyoso [凡そ] means approximately, roughly, around:  even the size of the kyōma-datami* was becoming more flexible during the Edo period, as suggested by this comment.

    Tatami han-bun no mannaka ni oki [畳半分の真中に置き] means that the (larger version of the) fukuro-dana was supposed to be placed in the very center of its half of the utensil mat, as shown below.

    When centered on the half-mat, there will be 9-sun 2.5-bu in front and on the far side of the tana, and 2-sun (which is approximately 4-me†) on both sides between the tana and the heri.

    Centering the fundamental objects placed out on the utensil mat (whether a tana-mono, or simply the mizusashi‡) is a Sen family teaching. __________ *As has been mentioned many times before, the kyōma-datami measured 6-shaku 3-sun by 3-shaku 1-sun 5-bu, at least since the original daisu was imported from Korea in the early fifteenth century -- since the width of the tatami was fixed to accommodate the ji-ita of that daisu (which measures 2-shaku 9-sun 5-bu by 1-shaku 4-sun).

†As has been explained elsewhere in this blog, the distance between the me on the omote [表] (the woven rice-straw panel that faces the tatami) differs from region to region (and often from maker to maker as well), with there usually being between 60 and 61 me between the heri on a kyōma-datami.  Thus, the range is generally somewhere between 4.8-bu (1.45 cm) and 4.9-bu (1.48 cm) -- so 2-sun would actually be a little more than 4-me.

    That said, it should be kept in mind that both Jōō and Rikyū said that everything displayed on the mat (including things like tana-mono) should always be aligned to match a me on the side toward the guests.  Thus, this is another example where the Sen family’s teachings directly contradict those of their supposed progenitor and guardian kami.

‡Given the concern over things being too far from the host’s seat, this practice has always seemed curious, since centering the mizusashi on the half-mat means it will be so far from the ro that dripping water is almost unavoidable.

⁵Shikaredomo jiyū no tame, kana no dai-shō ni ōjite yon-me hassun, nana-me ni- roku-sun to oki-koto ari　[然共自由ノ為、釜ノ大小ニ応ジテ四目八寸、七目二六寸ト置コトアリ].

    Shikaredomo jiyū no tame [然れども自由のため] means something like “however, for the sake of freedom....”

    Kama no dai-sho ni ojite [釜の大小に応じて] means “as a consequence of the size of the kama....”

    Nana-me ni- roku-sun [七目二六寸] appears to be an orthographic mistake*.  Presumably it should have been nana-me isshaku ni-sun [七目一尺二寸].

    This sentence is simply reversing the measurements that were suggested above in footnote 3, since (in accordance with the text of the Enkaku-ji manuscript) placing the fukuro-dana 8-sun from the corner of the ro was the usual arrangement, in both the inakama and in the kyōma; while moving it backwards so it was 1-shaku 2-sun from the ro was done when the utensils that the host was planning to use during the gathering made that increase in the space available in front of the tana necessary.  These variations are shown below.

    This version of the text is a curious mixture of the early teachings, combined with subsequent variations introduced by Imai Sōkyū (placing the ji-ita adjacent to the heri, rather than resting upon it as Jōō had done), and later, by the Sen family (the insistence on centering the tana on the utensil mat). __________ *As Shibayama commented, this manuscript of the Nampō Roku was “crudely written.”

    The word that he used, tsutanashi [伹し] (which would usually be written tsutanai [拙い] today), means inept, awkward, ill-chosen, incompetent, bungling, error-ridden.  This suggests that the manuscript contained many instances where words were blotted out and changed, as well as other sorts of mistakes (such as here).  The tokushu shahon was clearly copied from some other source, though without much care being taken (suggesting a document copied hurriedly by someone, for personal reference only -- books of this sort can still be found in the old book shops in Kyōto from time to time, though their accuracy always has to be questioned until verified by cross-referencing with the Enkaku-ji manuscript).

⁶Jōō kono fukuro-dana ni te okarare-shi jibun made ha, tatami ni daisu no kane wo utsusu to iu-koto mo anagachi naku-shite mi-ai no yoki-yō ni okarare-shi-koto nari　[紹鷗此ノ袋棚ニテ被置シ時分迄ハ、畳ニ臺子ノカネヲウツスト云フコトモアナガチナクシテ見合ノヨキ様ニ被置シコトナリ].

    Okarare-shi jibun made [置かられし時分まで] means “up until the time when the placement (of the fukuro-dana) was decided....”

    Tatami ni daisu no kane wo utsusu [畳に臺子のカネを映す] means “the kane of the daisu were reflected (or superimposed) onto the tatami.”

    In other words, this is arguing that the kane-wari of the ji-ita of the daisu was simply applied to the mat in front of the daisu.  This, however, is not entirely correct, at least in so far as gokushin theory is concerned.  The ji-ita of the large daisu measures 2-shaku 9-sun 5-bu across, meaning it exactly fit between the heri (it touched the heri of the kyōma-datami on both sides).  But the temae-za , which was an extension of the shiki-shi [敷き紙], reached roughly to the middle of the heri on both sides.  So, at least according to Rikyū, there was, from an early date, an understanding that the kane of the daisu were not simply projected onto the mat*.

    Anagachi naku-shite mi-ai no yoki-yō ni [強ちなくして見合のよきように] means “not necessarily appear to be good;” “not necessarily appear to be balanced.”

    This might be referring to the earlier arrangement, where Jōō lifted the ji-ita of the fukuro-dana up onto the heri, in order to keep the mizusashi aligned with its original kane (which were projected from the ji-ita of the daisu); or it may be referring to the version of this arrangement that was being championed by Imai Sōkyū, which had the ji-ita placed so that it abutted the heri on the side closest to the ro (in which case the mizusashi would have lost its association with its original kane that had been defined by the daisu)†. __________ *This appears to have been a consequence of the shiki-shi [敷き紙] -- or, more specifically, a consequence of the folds of the shiki-shi (each of the eight panels of the shiki-shi measures 5-sun by 6-sun, with each of the folds being 3-bu wide:  thus, the shiki-shi measures 2-shaku 9-bu by 1-shaku 2-sun 3-bu).

    It is unclear where the shiki-shi came from (though it apparently was used with the daisu before the daisu was brought to Japan, from Korea, around the start of the fifteenth century), but measurements of things like the meibutsu naka maru-bon [中丸盆] (which is exactly 1-shaku 2-sun 3-bu in diameter -- which is an extremely odd measurement, if one tries to argue that it was selected by Nōami independent of any knowledge of the shiki-shi) were apparently decided based on this mysterious object.  Indeed, the folds of the shiki-shi appear to have been the actual (and, frankly, rather obvious) origin of the five yang-kane.  (In which case, it might be better to say that the kane of the daisu were projected onto it from the shiki-shi., though with the space consumed by the folds of the shiki-shi removed)

    Later, it is true that Rikyū moved away from this way of thinking about the temae-za:  once the widths of the folds are removed, the temae-za did, indeed, shrink to the space between the heri (so, at this point, it might be possible to argue that the kane of the daisu were now being superimposed onto the mat in front of it).  As the Sen family only had an inkling of Rikyū's teachings from the 5 years after Rikyū was ordered to take Shōan’s mother as his second wife (to manage his Kyōto household -- and act as Hideyoshi’s resident spy), their knowledge was naturally limited to hearsay based on the things that he was saying during that time.

†In other words, the author of the kaki-ire might be saying either that (in the first instance) the fukuro-dana was not aligned with the kane; or (in the case of the second possibility), the mizusashi was misaligned.

⁷Ro mo kono toki made ha, kō-kyō sadamarazu　[炉モ此ノ時迄ハ、廣狭定ラズ].

    Ro mo kono toki made ha, kō-kyō sadamarazu [炉もこの時までは、広狭定まらず] means “up until this time, the size of the ro had also not been fixed (or defined)*.” __________ *Evidence from the kaiki of the period suggests that originally the ro measured 1-shaku 8-sun square.  However, this is not to say it looked like the “dai-ro” [大炉] that is used by certain schools today.  While the ro-buchi did indeed measure 1-shaku 8-sun, the mouth of the ro-dan (into which the kama was lowered) measured 1-shaku square.  The original arrangement is shown below (Jōō’s 4.5-mat room had the guests seated on the host’s left).

    The reason for this was that, when Jōō first began to use the ro, he moved into this setting directly from the chanoyu of the daisu.  Originally, the hishaku was never rested on the futaoki (or on the mouth of the kama).  Every time it was used, it was immediately returned to the shaku-tate.  Thus, when Jōō began to use the ro, he quite naturally retained this convention -- so, both the shaku-tate and the futaoki were placed on the ro-dan, allowing the host to return the hishaku to the shaku-tate, and place the lid on the futaoki which retained its former proximity to the kama.

    When the decision was made to place these things on the mat (the ro-dan is made of mud-plaster, so it could possibly cause damage to anything made of bronze that was placed on it), the surplus was eliminated, reducing the ro to the size of the ji-ita of the daisu.

⁸Ato ni Sōeki ni dangō no ue, ro no sun-pō mo kiwamerare-shi nari　[後ニ宗易ニ談合ノ上、炉ノ寸法モ被極シナリ].

    Sōeki ni dangō no ue, ro no sun-pō mo kiwamerare-shi [宗易に談合の上、炉の寸法も極められし] means “(Jōō), after consulting with Sōeki, determined the dimensions of the ro*.” ___________ *There is nothing in the historical records to suggest that this defining the dimensions of the ro was delayed until 1554 (after Rikyū had returned from the continent).  On the contrary, Jōō seems to have come up with this by himself, probably as a way to give the guests more room (at the beginning of his middle period, the meal was still rather elaborate, so such a very large ro would take up too much space, making it difficult for the host to serve the guests properly).

    This sentence is derived from Kanamori Sōwa’s history of chanoyu in Japan, wherein the transmuting of Rikyū from a man into a tea-god began.

⁹Fukuro-dana oki-kata, chū-ō no takushi, Seirō-dana, Hora-dana nado mo subete shi-hō mannaka to oboeru ni chigawazu, hitachi ha naki-koto nari　[後ニ宗易ニ談合ノ上、炉ノ寸法モ被極シナリ、袋棚置方、中央ノ卓子、城樓棚、洞棚抔モ凡テ四方真中ト覚ルニ不違、ヒタチハナキコトナリ].

   Chū-ō no takushi, Seirō-dana, Hora-dana nado [中央の卓子、城樓棚、洞棚など]:  these are the oki-dana [置き棚] (stands that can be moved, as opposed to those that are built-in) that are mentioned in Book Three*.

   Subete shi-hō mannaka to oboeru ni chigawazu [総て四方真ん中と覚えるに違わず] means that "we should commit to memory the fact that all of these things should be centered (on the half mat), without any deviation (from this rule).”

   Though this agrees with the Sen family’s teachings at this time, it differs from what we have been told before (where the orientation of these various tana was supposed to be determined by the part of the fukuro-dana from which they were derived).  In other words, since they represented the half of the fukuro-dana where the mizusashi was located, and the shelf (the naka-dana [中棚]) above, they were originally placed off center, so that the mizusashi would occupy the same place as when it was arranged on the fukuro-dana.

   The meaning of hitachi ha naki-koto nari [ひたちはなきことなり] is very obscure†.  Perhaps it is something like hitachi ha naki-koto nari [経過はなきことなり] -- using a rare, albeit historical, reading for the compound that is usually pronounced keika [経過] -- and so giving the meaning “changing this (orientation) as the years go by is imprudent.” ___________ *These three tana are shown below (as represented in Edo period block-printed texts):  Shino Shōha’s Chū-ō-joku [中央卓] on the left, Tennōji-ya Sōkyū’s Seirō-dana [城樓棚] in the middle, and Imai Sōkyū’s Hora-dana [洞棚] on the right.

◦ Chū-ō-joku [中央卓]:  cf. the post entitled Nampō Roku, Book 3 (11):  the Chū-ō-joku [中央卓].

https://chanoyu-to-wa.tumblr.com/post/185938650731/namp%C5%8D-roku-book-3-11-the-ch%C5%AB-%C5%8D-joku-%E4%B8%AD%E5%A4%AE%E5%8D%93

    The chū-ō-joku usually had only two legs (though occasionally a third leg was added to the far side).  This tana was originally made as a rest for a nobleman’s lacquered cap of estate, some varieties of which had rather heavy dependent tails or wings in back (necessitating the third leg).  The chū-ō-joku was originally “adapted” by Shino Shōha, who arranged incense utensils on it during the shoza (of his incense gatherings), replacing them with tea utensils during the naka-dachi, so that tea could be served to everyone in the goza (before the participants took their leave).

◦ Seirō-dana [城樓棚]:  cf., Nampō Roku, Book 3 (4,5):   Concerning the Seirō-dana [城樓棚]; and the Modification of the Naka-dana [中棚] of the Fukuro-dana and the Seirō-dana by Practitioners of Incense.

https://chanoyu-to-wa.tumblr.com/post/185616469930/namp%C5%8D-roku-book-3-4-5-concerning-the

    The Seirō-dana was derived from the fukuro-dana by Tennōji-ya Sōkyū, who basically eliminated the katte-side of that tana (the kō-dana and ji-fukuro not really being used much in chanoyu).  Originally this tana was oriented on the utensil mat so that the mizusashi would occupy the same place (on the mat) as it had done when arranged on the fukuro-dana.

◦ Hora-dana [洞棚]:  cf., Nampō Roku, Book 3 (8):   Concerning the Hora-dana [洞棚].

https://chanoyu-to-wa.tumblr.com/post/185777964865/namp%C5%8D-roku-book-3-8-concerning-the-hora-dana

    The Hora-dana was created by Imai Sōkyū, based on the kyū-dai daisu [及第臺子] -- with the bamboo peg (which can be seen in the drawing) nailed into one side taking the place of a shaku-tate.  Since the Hora-dana basically captures the seat of the mizusashi from the daisu, it was also oriented so as to maintain the mizusashi in its original place.

†It might also just be another case of a miswritten word appearing in the text.  But regardless, the meaning of the sentence would have to be something like what I have translated, given the context.

¹⁰Kyū yojō-han ni tana nashi ni mizusashi okite, cha wo taterare-shi ni, Jōō mo mottomo to dō-shin ari-shi nari　[休四畳半ニ棚ナシニ水指置テ、茶ヲ立ラレシニ、紹鷗モ尤ト同心アリシナリ].

    Kyū yojō-han ni tana nashi ni mizusashi okite, cha wo taterare-shi [休四畳半に棚なしに水指置きて、茶を立られし] means “Rikyū, in a 4.5-mat room where there was no tana, placed the mizusashi (on the utensil mat), and in this way served tea.”

    It seems that the first time he did this was when receiving Jōō in his 4.5-mat room shortly after the two had been introduced:  on that occasion, the young Rikyū performed the first hakobi-temae [運び手前] -- since he had lost all of his good tea utensils (they had been purchased by Jōō), he apparently felt it was not appropriate to display anything but the kakemono and the chabana, and the kama in the ro.  After Jōō entered and took his seat, Rikyū brought out everything needed for the service of tea from the katte, served tea, and then took everything away at the end.  The “go-chisō”  [ご馳走] (special feature or focal point of the gathering), rather than being one of the utensils, were Rikyū's physical actions performed in the service of his guest.

    Jōō mo mottomo to dō-shin ari-shi nari [紹鷗も尤もと同心ありしなり] means that Jōō also agreed with what Rikyū had done.

    According to his densho, Rikyū explained that, when the mizusashi is placed out by itself on the utensil mat -- that is, without a tana -- it should be centered on the half-mat.  It appears that this was the precedent for the Sen family’s insistence that everything that was placed on the utensil mat should be centered.

¹¹Shikaraba ro yori ue, han-jō tate-yoko tomo ni itsutsu kane ni kokoro-ete shikaru-beki to te kane wo kuwashiki ateraruru　[然ラバ炉ヨリ上、半畳タテヨコ共ニ五ツカネニ心得テ可然トテカネヲ委敷アテラルヽ].

    Shikaraba [然らば] means if so; in that case.

    Ro yori ue [炉より上] is referring to the direction toward the far end of the utensil mat.  In other words, the half of the utensil mat that extends in that direction.

    Han-jō tate-yoko tomo ni itsutsu kane ni kokoro-ete shikaru-beki [半畳縦横共に五つカネに心得て然るべき]:  tate [縦] means lengthwise, yoko [横] means widthwise; tomo ni [共に] means both (that is, 5 kane are distributed across the half-mat both lengthwise and widthwise).

    In other words, the half mat is divided by five kane that are distributed not only across its width (as we have usually been doing), but also by 5-kane lengthwise (with the 5-bu yū-yo [有餘] at the far end excluded from this division*), as shown above.

    Kane wo kuwashii aterareru [カネを委しい当られる]:  kuwashii [委しい] means carefully, paying minute attention to detail; aterareru [当られる] means to be applied to something, to be put on, to be pressed against†.

    In other words, the kane have to be visualized carefully, with the utensils then distributed across the mat with exactitude, so that they correspond to the kane. __________ *Which -- since no mention of this point has been made -- may or may not have been known by the author of this kaki-ire.

†This probably refers to the kane being pressed onto the surfice of the mat,  but it could also refer to the utensils being associated with those kane.

¹²Kore Jōō, Rikyū sōdan ni te no teiken no aru-koto mochiron naredomo, temae-naki i-zen, chaire・chawan ni te mo, fukuro-dana mae ni oki-awase-suru to iu-koto ha nakare-shi-koto nari　[是レ紹鷗、利休相談ニテノ定見ノアルコト勿論ナレドモ、手前ナキ以前、茶入��茶碗ニテモ、袋棚ノ前ニ置合スルト云フコトハナカリシコトナリ].

    Kore Jōō, Rikyū sōdan ni te [これ紹鷗、利休相談にて] means “Jōō, in consultation with Rikyū....”  Possibly giving Rikyū a more authoritative role than would have actually been the case during Jōō's lifetime*.

    Teiken no aru-koto mochiron naredomo [定見のあること勿論なれども]:  teiken [定見] means a fixed or definite opinion; mochiron [勿論] means self-evident, as a matter of course; and naredomo [なれども] means but, however (in other words, the rule thus established applies to what follows).

   Temae-naki i-zen, chaire・chawan ni te mo, fukuro-dana mae ni oki-awase-suru to iu-koto ha nakare-shi-koto nari [手前なき以前、茶入・茶碗にても、袋棚の前に置合すると云うことは無かりしことなり]:  temae-naki i-zen [手前なき以前] means before the temae has begun†; chaire・chawan...fukuro-dana mae ni oki-awase-suru [茶入・茶碗...袋棚の前に置合する] means to arrange the chaire and/or chawan (on the mat) in front of the fukuro-dana; nakari-shi koto [無かりしこと] means something (koto [こと]) that should not exist (nakari-suru [[無かりする]).

   In other words, this is saying that Jōō and Rikyū decided, after discussing this, that before the temae actually begins, arranging the chaire and/or chawan on the mat in front of the fukuro-dana is something that is better not done‡. __________ *Rikyū had learned kane-wari from Kitamuki Dōchin.  And, indeed, this seems to have been his main attractiveness to Jōō (the element that determined to have more than a strictly professional relationship with the young man).

    Dōchin seems to have been disinclined to answer Jōō’s questions about kane-wari, though Jōō had apparently persisted in his inquiries for a long time.  And, after Rikyū’s family lost their money, Rikyū was forced to sell his tea utensils.  So, as a final act of kindness (Rikyū’s lessons stopped as soon as he was no longer able to pay for them, of course), Dōchin introduced Rikyū to Jōō (ostensibly because, as the leading dealer in antiques, Jōō would be prepared to give Rikyū a good price for the things).  But the unspoken part of the deal was that, since Rikyū had already studied with Dōchin for a number of years, he possessed enough knowledge to assuage Jōō’s curiosity.  Nothing that we know indicates that Jōō had a true desire to understand kane-wari deeply (otherwise he would have become Dōchin’s student).  He only wanted to know enough so that his own arrangements would not look wrong to people who had received the orthodox teachings (which is why Jōō, though called the greatest master of the age, does not seem to have ever given lessons, but preferred to keep himself in the background with his collection of meibutsu utensils -- the possession of which implied, to his contemporaries, that he was equally well informed about their correct usage:  Jōō allowed his utensils to be used by people who had been taught about such things, and then took note of what was done, adding that to his store of information; but until Rikyū provided him with a basic introduction to kane-wari, an understanding of the reason behind what was being done had eluded him).

    After Jōō had learned what he needed, he showed his thanks to Rikyū by financing a utensil-collecting mission to Korea (which Rikyū extended to a sojourn of around 10 years):  as the financier, Jōō would have received a percentage of the profits when the utensils were later sold in Japan; but this trip allowed Rikyū to reestablish his family’s fortunes (indeed, if we ignore this -- as do the Japanese biographies of Rikyū -- no explanation can be found for how he became one of the three great masters of Sakai, given the utter impecunity of his situation when we last saw him in his youth...a situation that quite suddenly seems to have dissipated in 1554, when Rikyū once again begins to host chanoyu gatherings).  And upon his return, Rikyū informed Jōō of the ideas and practices to which he had been exposed on the continent, so that their chanoyu began to evolve in a massive way in the year or so between his return and Jōō’s death (at the end of 1555).

†More literally, in the time before the temae has come into being....

‡The whole purpose of the tana is to give the host somewhere to place the utensils -- and, in this, it takes the daisu as its example.  If one wishes to display something on the mat, then why does one need the tana?

    If we consider things in this way, it becomes clear that the whole hitotsu-mono [一ツ物] episode (that figures so importantly in the Enkaku-ji manuscript’s version of this entry) is something added by the machi-shū because, if Rikyū had wanted to protect his Shiri-bukura from the danger of being lowered from the kō-dana to the mat, then there would have been no reason for him to use the fukuro-dana in the first place (since making the other utensils easily available to the utensil mat could have been accomplished simply by placing them in the dōko -- which was always a feature of Rikyū’s tearooms).

[myramglina]

Porter Robinson - Cheerleader from Hugh Mulhern on Vimeo.

PRODUCTION Production Company: Riff Raff Director: Hugh Mulhern EP/Producer: Precious Mahaga EP: Natalie Arnett Director's Representation: Hands Executive Producer: Porter Robinson Executive Producer: Slush Management (Aaron Greene, Neal O'Connor, Amar Pathak, Samuel Luria, Valerie Maybaum, Ryan Glatt) Creative Director: Pablo Jones Soler

BTS/DIGITAL Paul Mauer

SERVICE COMPANY Solent Film MD: Alex Momchev Solent Film MP: Magdalena Staneva Solent Film Service Producer: Tihomira Temelkova Assistant Producer: Elena Doroshenko Production Manager: Mitko Milushev Production Coordinator: Teodora Naydenova Production Assistants: Eva Taneva, Simona Atanasova, Serafima Deyanova, Dimitar Borisov

CASTING DIRECTOR Veselina Georgieva

AD'S 1st AD: Antony Tanev 2nd AD: Margarita Aneva 3rd AD: Damyan Tanev

CAMERA DOP: Nikita Popkov 1st AC: Vladislav Mateev 2nd AC A camera: Ivaylo Yovchev 2nd AC B camera: Luciano Ivanov Video Control: Borislav Stoyanov Drone Operator: Nikolay Georgiev - Tanera Data Manager: Delyan Kaloyanov

LIGHTING Gaffer: Alexander Trenev Electricians: Vasil Vasilev, Georgi Tsanev, Dimitar Yanev, Boris Vasilev Dimmer Board Operator: Philip Georgiev

GRIP Key Grip: Tsvetan Kostov Grips: Albert Nikolinski, Dimitar Dimitrov, Yulian Gotchev, Mihail Gotsov, Emil Ivelinov Head Technician: Borislav Tanev Crane Technician: Stanimir Vatsov

SOUND Playback: Kostadin Separevski

ART Production Designer: Elena Isolini Production Designer Assistant: Theresa Bates Art Directors: Momchil Tasev, Aleksandar Yanev Construction Manager: Minko Krustev Props Master: Ada Paunova On-Set Dressers: Nedelcho Hazarbasanov, Yavor Milanov Set Dressers: Kostadin Dervenski, Evtim Evtimov

LOCATION Location Manager: Anita Miletieva Assistants: Elena Karadusheva, Lidiya Aleksandrova

STUNTS Stunt Coordinator: Ivan Vodenicharov Stunt Dept. Coordinator: Aneta Ivanova Stunts: Marina Yordanova, Desislava Slavova, Tea Markova, Mariela Kostadinova, Ventsislav Hristov

CHOREOGRAPHY Kosta Karakashyan

SFX Supervisor: Nikolay Fartunkov Senior Technician: Ivan Kazakov Technicians: Vladimir Mitov, Blagoslav Zhenkov

HAIR/MAKE-UP Hair Cut & Color: Miyuki Goto Artist's Hair & Make-up Artist: Yesol Choi Artist's Hair & Make-up Artist Assistant: Gohun Kim Head of Make Up: Gergana Batanova Head of Hair: Veselka Tsekina Hair Stylists: Bilyana Borisova, Gergana Ivanova, Nataliya Kamenova, Gratziela Dimitrova

COSTUME Artist's Stylist: Luca Wowczyna Luca's Assistant: Elliott Lane Assistant Stylists: Maria Petrova, Teodora Marinova, Nadya Dobrikova, Yoana Kusheva, Emiliyan Bonev Tailor: Marieta Duncheva Mask Design: Audrey Mai

ORGANIZATION Set Manager: Georgi Asenov PAs: Lyubomir Tabakov, Ivaylo Tabakov, Vulcho Monkov

STOP MOTION: THE JUNKS Stop Motion Supervisor: Zlatin Radev Animator: Boris Wolf Assistant Animator / Puppet Doctor: Diliana Valcheva Rigger / Assistant Animator: Teodor Ralev Set Dressers: Alex Suninski, Marin Nalbantov

EDITING: TRIM EDITING Editor: Joseph Taylor Edit Assistant: Anders Mills Producer: Noreen Khan

POST PRODUCTION VFX Supervisor: Vasil Galabov VFX: The Mill EP: Saskia Delius Producer: Sam Ashby 2D Lead: Ben Gallagher 2D Assists: Henry Claud N’guetta, Jane Williams, Muhaddissa Hasham Associate Producer: Rushikesh Shelar Production Coordinator: Karishma Verma Compositor Supervisor: Nanda P V Compositor Lead: Ragesh Ramachandran Rotoscoping Supervisor: Kunal Bendke Prep Lead: Jalander Madishetty GABHA Studios: Dafydd Upsdell, Daniel Morris Grade: Andrew Francis Add’l Post Production: Andrzej, Nina Muro, Nick Lane CGI: Alex (chippy) Futtersak, Dom Harwood VFX Artists: David Ochoa

TRANSPORT Coordinator: Vladimir Mashinata Blagoev Prod Vans: Svetoslav Yordanov, Ivo Radkov, Iliya Iliev, Georgi Evstatiev

CATERING Cherry Craft & Catering Manager: Mariela Manolova Cherry Craft & Catering: Petya Kovacheva, Ivan Nalbatski, Borislav Parvanov

SUNWEAVER CREATIVE Shawn Chapman: Producer - Creative Jacqueline Adorni: Producer Garrett Robles: 3D / Previs Lauren Sperling: Project Coordinator Matthew Hunt: Production Assistant

WARDROBE / COSTUME: VENIA Christine Ko: Key Costumer Keeter Ly: Key Costumer

WARDROBE / COSTUME: SUNWEAVER Cybal Hall: Costume Supervisor Annabelle Gerke: Key Costumer Christopher Hall: Costumer (Silkscreening) Daniel Rose: Lead Wig Designer Kieran Smith: Wig Stylist Samantha Michael: Wig Stylist

ART DEPARTMENT Kigarumi Sensei Taiki Nishikawa: Key Artist Paul Nishikawa: Artist

Creative Character Engineering Andrew Clement: Lead Artist Lesley Becerra: Head of Production Brad Palmer: Sr. Project Manager Cory Fisher: 3D print/fabrication Alex Dill: Fabrication Mike Ross: Fabrication

Special Thanks - Venia

[daveg65]

277 - iPhone 15 Pro Max Camera at U2 - With Kelly Guimont, Jeff Gamet, and Ben Roethig

The latest In Touch With iOS with Dave he is joined by guest Kelly Guimonr, Jeff Gamet, and Ben Roethig. Dave was able to goto the U2 concert at the Sphere Las Vegas and gives his review of the amazing tech at the show and how the iPhone 15 Pro Max camera photo quality is. Report says that those using CarPlay tend to listen to AM/FM radio instead. Many updates to iOS including older versions with the latest 17.1 now out. Apple is raising prices on 3 services including Apple TV+ News+ alongwith the Apple One bundle. Kelly brings us a great Qi charging stand as well Jeff does the unboxing. Plus much more. 

The show notes are at InTouchwithiOS.com


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Apple Announces October Event for Macs: 'Scary Fast' and add Ben he  wrote and article on this. https://roethigtech.blogspot.com/2023/10/apple-announced-its-scary-fast-event.html

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Older iOS version updates.

Apple releases iOS 16.7.2 and iOS 15.8 security updates to patch old hardware

About the security content of iOS 15.8 and iPadOS 15.8 

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Beta this week.iOS 17.2 Beta 1 was released. 

Apple Seeds First Betas of iOS 17.2 and iPadOS 17.2 to Developers

Everything New in iOS 17.2 Beta 1: Journal App, Translate Action, iMessage Sticker Reactions and More

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iOS 17.1 was released to all. 

iOS 17.1 Features: What's New in iOS 17.1 

About the security content of iOS 17.1 and iPadOS 17.1

Apple Releases iOS 17.1 and iPadOS 17.1 With AirDrop Over Internet, Music Favorites Options and More 

Apple Brings Enhance Dialogue to Original HomePod and HomePod mini With 17.1 Update 

Apple Releases tvOS 17.1

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Everything You Can Do With the Double Tap Gesture on Apple Watch

Apple is raising the prices on all its services. Apple TV+, Arcade, and News+ subscription price increases from today are you going to still pay the increased price? Upset With Apple's Price Increases? Here's How to Cancel Your Apple TV+ or Apple One Subscription 

Apple TV+: $6.99 per month → $9.99 per month

Apple Arcade: $4.99 per month → $6.99 per month

Apple News+: $9.99 per month → $12.99 per month

Prices for the Apple One bundles that include these services are also increasing as a result:

Individual: $16.95 per month → $19.95 per month

Family: $22.95 per month → $25.95 per month

Premier: $32.95 per month → $37.95 per month

CarPlay is a great way to listen and navigate. With all the media thats available out there People with CarPlay are mostly just listening to AM/FM radio We discuss this further. 

Dave attended the U2 concert at the Sphere Las Vegas. He used his iPhone 15 Pro Max and reviews the show and experience using the camera. 

Link to photo examples: https://flic.kr/s/aHBqjB19Ye

Kelly has an amazing item pick https://amzn.to/3tGPN2Y 

MURCIA 2 in 1 Magnetic Wireless Charger, Folding Dual Fast Magnetic Wireless Charging Station Stand

Announcements

Macstock 7 2023 Digital Pass is now available. Relive the conference as you can Purchase a virtual pass to see the talks that many of our regular guests and contributors did including Dave, Brittany, Chuck, and Jeff. https://macstockconferenceandexpo.com 

Our Host

Dave Ginsburg is an IT professional supporting Mac, iOS and Windows users and shares his wealth of knowledge of iPhone, iPad, Apple Watch, Apple TV and related technologies. Visit the YouTube channel https://youtube.com/intouchwithios follow him on Mastadon @daveg65, 

Twitter @daveg65.and the show @intouchwithios

  Our Regular Contributors

Jeff Gamet is a podcaster, technology blogger, artist, and author. Previously, he was The Mac Observer’s managing editor, and Smile’s TextExpander Evangelist. You can find him on Mastadon @jgamet as well as Twitter and Instagram as @jgamet  His YouTube channel https://youtube.com/jgamet

Ben Roethig Former Associate Editor of GeekBeat.TV and host of the Tech Hangout and Deconstruct with Patrice  Mac user since the mid 90s. Tech support specialist. Twitter @benroethig  Website: https://roethigtech.blogspot.com

About our Guest

Kelly Guimont is a podcaster and friend of the Rebel Alliance. She appears on The Incomparable network as well as hosts I Want My M(CU) TV. you can find her on Mastodon and Instagram @verso

Here is our latest Episode!

[harepare]

sabah sabah gerdi amk benim ona yaptigimi arkadasi senaya yapmis gotos cokta umrumdaydin ayda yilda bi goruyorum onda da kendi isteklerin icin manipule etmeye calisiyon olmayinca benim sinir problemim var diye sikko sikko bagirip cagiriyon seni annen kabullenememis ben kahrini cekemem defol hadsiz kopek daha da yuzune bakmam

[365lasochraide]

You tell everyone you're Catholic but you seem to pay no respect to our tradition and choose to live as a proud sinner instead. What was that about encouraging people to "leave the closet" when it's "safe"? Is that what you think our lord and savior Jesus Christ died for?

Jesus Christ it had ben awhile since I last ran inot some body like this. Very well then, if yuo are so ignorant of yuor own religion asto be lectured by teh semi iliterate culchie so be it.

Narow minded peple such as yuroself are the main problem with Catholicism, becuase even when those in Church comit horrible acts such as the killing, assault and extorsion of inocents, it is throgh people like yuo that they thrive and continue to be suported. It is throgh people such as yourself that any body who is not a white Catholic hetrossexal man fels unsafe to seek Jesus, no actualy to EXIST in the Western wold at all. It is be cause of peopel such as yosefl that those who shold love and wellcome all as Jesus preeched inted are more consed wth atacking, with closing the doors of the house of God to thsoe who need him.

God said, 'Thou shalt not murder', yet the men in Churhc backed by people such as yursoefl have departed on crusades to murder in the nam of God, and have broht misery and blodshed to this country and many others acros the globe, and have vancished entire cultres and systems of belief and science and comit genoside.

God said, 'Thou shalt not commit adultery', yet devault Catholics hurt their wives every day, asasulting and murderring them because they belive women to be inferior. They proritise their pleasure and hurt others, women and men and children, in order to achive it. But it is okay in their eyes because at lest they are still in a hertosexual marriage in a monogamy they do not even honour, with a woman they do not see as a human being.

God said, 'Thou shalt not steal', yet the men in charge of Churces sit on thrones of gold and close there doors to those who ned their help. They contribute to the inequalty in a wodl were that does not exist with out taking avantage of others. Greed is a sin and yet it is what yuo find most among Catolics.

God said, 'Thou shalt not bear false witness', yet any Catholic is willing to bend the truth to fit their naratives. They rebrand stories of vilocne and colalism to put them selves as unjustised heros, they prefer to acuse children of being sinful or familys of being liars than to admit and atone for their crimes against htem when a priest is said to have molesed a child, they prefer to make scape goats out of thsoe they shold protet than take responsibly. Peple like yuo are hipocrits.

And lastly God siad, 'Love thy neighbour as yourself', and look at what you do. The peolpe you call sinners want to prastise their love and the freewil God gave us and you prech violense and opersion. Betwen an LGBT person who lives jusly and peple such as yourself who goto church to juge and to pretend they are rithous, to find justification for your hate, I do not think the one to be punish by he Lord will be the LGBT one. It will be you who think you are so free of sin that you are the one to cast the stone, when not even Jesus Christ did. Let me remind you of thsi pasage in John 8:

This they said testing Him, that they might have cause to accuse Him. But Jesus stooped down and with His finger wrote on the ground, as though He heard them not. So when they continued asking Him, He lifted Himself up and said unto them, “He that is without sin among you, let him first cast a stone at her.” And again He stooped down and wrote on the ground. And they who heard it, being convicted by their own conscience, went out one by one, beginning with the eldest even unto the last, and Jesus was left alone with the woman standing in the midst.

Go be convite by your own concence. God have mercy on yuro soul.

[anamon-book]

東京ローズの悲劇　五島勉 光潮社 装幀＝小林孝男 「太平洋戦争－謎の対米放送のヒロイン」

[quiredaragoff]

La gente recurre a lo oculto cuando las cosas se ponen difíciles.

La gente recurre a lo oculto cuando las cosas se ponen difíciles.

Después de la tercera Guerra del Medio Oriente en 1973, cuando los suministros de energía de Japón se vieron amenazados por el embargo de petróleo de los proveedores de la OPEP, un autor llamado Ben Goto (1929-2020) alcanzó la fama de la noche a la mañana con su publicación de 1973 de las “Grandes profecías de Nostradamus”. Ese libro vendió 2,5 millones de copias, y con varias secuelas que…

[utagoe]

Ryoga: New Beginning Lyrics

Kanji, romaji and English translation for New Beginning by Ryoga

(kanji source)

歩いて来た旅路 続いていくよ未来 その真ん中に

両足で立ち 風向き 星空 耳澄ました

君の価値 分かる人の価値 何処よりも高い 旅の先 人差し指についた傷と痛み それでも翳し続け 得る 光

i tell you in your heart いつでも 君ならやれるさ

thanks for everything 今 行こう brand new day 背中に託すのは勇気さ thanks for everything ほら 誘う brand new sun you keep on going going go you keep on going going go

new beginning new beginning new beginning new beginning

築いてきた形 裸の自分の位置 絡まる気持ち ゼロに戻して リセットボタンを押してみるよ

君を抱きしめたその人は聞いた 「やるか？」「やるさ」君は応えた 重ねて重ねた 花の可能性 瓦礫に咲いて 「h-llo「yeah～」」

i tell you in your heart いつでも 君を信じてるよ

thanks for everything 今 行こう brand new day 背中に光るのは笑顔さ thanks for everything ほら 誘う brand new sun you keep on going going go you keep on going going go

わかってるよどこにいても 地球の上さ 心に突き立てた flag 大きく掲げるよ

thanks for everything 今 行こう brand new day 背中に託すのは掌 thanks for everything ほら 誘う brand new sun you keep on going going go you keep on going going go

new beginning new beginning new beginning new beginning

Romaji

aruitekita tabiji tsuzuiteikuyo mirai sono mannaka ni

ryouashi de tachi kazemuki hoshizora mimi sumashita

kimi no kachi wakaru hito no kachi doko yori mo takai tabi no saki hitosashiyubi ni tsuita kizu to itami soredemo kazashi tsuzuke eru hikari

i tell you in your heart itsudemo kimi nara yareru sa

thanks for everything ima ikou brand new day senaka ni takusu no wa yuuki sa thanks for everything hora sasou brand new sun you keep on going going go you keep on going going go

new beginning new beginning new beginning new beginning

kizuitekita katachi hadaka no jibun no ichi karamaru kimochi zero ni modoshite risetto botan wo oshite miruyo

kimi wo dakishimeta sono hito wa kiita "yaruka?" "yaru sa" kimi wa kotaeta kasanete kasaneta hana no kanousei gareki ni saite "h-ello 'yeah~'"

i tell you in your heart itsudemo kimi wo shinteruyo

thanks for everything ima ikou brand new day senaka ni hikaru no wa egao sa thanks for everything hora sasou brand new sun you keep on going going go you keep on going going go

wakatteruyo doko ni itemo chikyuu no ue sa kokoro ni tsukitateta flag ookiku kakageruyo

thanks for everything ima ikou brand new day senaka ni takusu no wa tenohira thanks for everything hora sasou brand new sun you keep on going going go you keep on going going go

new beginning new beginning new beginning new beginning

English

I've walked this journey The future will go on In that middle

I stood on both legs And listened carefully to the wind direction and the starry sky

The value of people who know your value Ahead of a journey higher than anywhere else My index finger is covered in wounds and pain But even so, I continue to hold it up and obtain light

i tell you in your heart always I know you can do it

thanks for everything Now Let's go brand new day What's on your back is courage thanks for everything Look An inviting brand new sun you keep on going going go you keep on going going go

new beginning new beginning new beginning new beginning

I've built a shape The place of my naked self I try to turn back to zero My entwined feelings And press the reset button

That person who embraced you asked "Will you do it?" "I'll do it" You answered The possibilities of piled up flowers Bloom on rubble "h-llo 'yeah~'"

i tell you in your heart always I believe in you

thanks for everything Now Let's go brand new day What's shines on your back is a smile thanks for everything Look An inviting brand new sun you keep on going going go you keep on going going go

Wherever I am, I know I'm on top of the Earth I'll greatly hoist the flag That was pierced in my heart

thanks for everything Now Let's go brand new day What's on your back is a hand thanks for everything Look An inviting brand new sun you keep on going going go you keep on going going go

new beginning new beginning new beginning new beginning

[fighterxaos]

Second Season Announced For B: The Beginning Anime

Netflix recently announced at the Annecy International Festival of Animated Film that a second season of the B: The Beginning anime series will be available in the near future.

For those who are unaware, the series is a Netflix original series, which premiered on the service worldwide on March 2 with the first season consisting of 12 episodes.

Netflix provided a description for the series.

In a…

[busdriver-55]

Nerdy AU

Looking For Raid by @p0lkadotdotdot: Kyl0R3n is a Cyborg tank. Lightbeam is a Monk healer. Almost every night they chat together, raid together and occasionally hit the battlegrounds of the internationally popularMMO Star Republic. Ben Solo is an architect. Rey Jackson is a structural engineer. Both work together at New Order Construction and can be seen frequently at each others throats.If only they knew... "Anyone could be anyone behind a screen and keyboard..."

Play To Win by Enterprisingly: Ben Solo – aka KyloRen – is a professional gamer, playing the first-person-shooter StarKiller for the internationally ranked eSports team, The First Order. He’s made a name for himself as a ruthless competitor with a ferocious temper and top-notch skills that can’tbe beat. That is, until a mystery player named ReyOfLight begins thoroughly trouncing him whenever they cross paths.What follows is the unlikely story of a rivalry that turns into a friendship that turns into … something else entirely, all while the eSports community watches with bated breath and popcorn in hand.

enemies-to-lovers by @the-reylo-void: Six months ago, the popular space opera Lost Galaxy did the unthinkable: it made the controversial enemy-soldier ship MattKira canon. That would be bad enough on its own, but then anti blogger Rey finds a MattKira fanfiction reblogged onto her dashboard. Her solution? Start hate-reading it and posting a running commentary on just how bad it is. One problem. The fic is actually pretty good. And then the author, KyloRen, sends her a message...

Talk to You Later by @soloredeemed: Ben and Rey are both on tumblr, they like the same fandom, and one of them stumbles upon and likes the other's post. Ben (KyloRen) is pretty well known in the Space Wars fandom, and Rey (JustRey) never expected him to reply when she sent him a dm. The two slowly become friends... (and then some). But KyloRen is, well, not who he says he is.

And I wish that you were here by @meadowhayle: Just when Rey is about to see her online boyfriend Kylo for the first time, her car breaks down in the middle of a snowed in forest. Forced to look for help she ends up at Ben Solo's cabin, who seems to be more than meets the eye.

if you're ready comic get it by violethoure666: When a chain store opens across the street from Rey's comic book store, she decides to goto war with the loathsome new owner, little realizing he's the same guy she's been internet crushing on forever. Modern You've Got Mail AU with way more comic books and tumblr instead of email.

Inked by @kylosspaceprincess: Rey Jackson is a comic book artist who works for Kyber Publishing. She spends her time sketching out comics in pencil and then sending them off to someone who will color and ink them. Kylo Ren is that someone. The two have never met, although they simply despise each other. Rey hates how Kylo sometimes colors the drawings opposite to how she imagines them, and Kylo hates how messy her sketches are and how he has to decipher which lines are meant to be there.

Skywalker Comics by msmerlin: When Rey shows up to work one rainy night during monsoon season she never expected tofind out Luke sold Skywalker Comics and that her new boss was more than she bargainedfor.