#but its form is influenced by previous generations of hosts

[buggbuzz]

i think they were specifically surprised to learn you aren't into speculative biology, like inventing your own alien creatures!

OHHHHHHHH

i didnt know that was what it was called actually! but i am into it, i'm just usually too lazy to follow through. i've been working on and off on this concept for an insectoid alien species where i challenge myself to give them anatomy as insect-like as possible while still being vaguely humanoid, AND making their physiology arguably reasonable. like "could this actually evolve" and "would this system actually function" and "what selective pessures could possibly push an insectoid species to evolve this way."

i really wanna incorporate a tracheal respiratory system and an open circulatory system (mostly referenced from grasshoppers since thats the example i had in school) which is really hard considering theyre EXTREMELY inefficient for an animal as big as a human and shaped like a human!! also, i imagine breathing through your sides makes it hard to wear clothes, especially space suits. oh, and should it convergently evolve an adaptive immune system like mammals have, since they would have a much higher need for a better immune system than an insect does? and how do i circumvent whatever pressures insects to die so fast and stay so small anyways?

very very fun stuff, even if it usually stays in my files and text message rants. but maybe when i work on it again i'll post it, since apparently people are actually interested in that.

[nil-nothing-nada]

Stardew Valley Green: Mr Qi and the Universe's Will

At the age of 19, Mr. Qi was unexpectedly selected to be the heir to the universe's will, a monumental decision that would alter the course of his life forever. This prestigious title came with immense responsibilities and powers, thrusting him into an extraordinary journey filled with challenges, mysteries, and revelations about the very fabric of existence itself. As he embraced his new role, Mr. Qi found himself navigating realms beyond his imagination, each experience shaping him into the influential figure he was destined to become.

Below, the nature of the universe's will is explained in detail.

The universe's will exists as a profound spiritual energy, seeking out individuals it deems worthy of its extraordinary power. This enigmatic force has traversed the ages, shifting from one person to another over countless eons. However, it can inhabit only a single person at a time, channeling its immense capabilities through them. This bond remains unbroken until the individual’s life comes to an end, at which point the energy seamlessly transitions to a new host. Each new bearer carries the weight of the universe’s desires, tasked with wielding this power for reasons beyond their understanding, echoing the eternal cycle of life and death that governs existence itself.

Those who have inherited the universe's will hold a unique position; while they cannot definitively choose who will become its next vessel, they do possess the ability to exert a degree of influence over the selection process. By identifying a candidate with potential—someone who demonstrates remarkable talent or innate qualities—they can engage them in a rigorous and focused training regimen. This training is tailored to extremely specific standards, designed to cultivate the skills, mindset, and attributes deemed essential for the role. Through this meticulous process, the likelihood that the universe will recognize and select this individual as its next heir is significantly enhanced, setting them on a path toward their cosmic destiny.

The universe's will typically selects individuals between the ages of 18 and 20, perceiving this age group as the healthiest and most capable hosts for its essence. When the will chooses to possess someone, it facilitates a profound exchange of knowledge and experience, transferring the vast store of insights from all previous vessels into the consciousness of the new host. This infusion endows the individual with a comprehensive understanding of the will's unique abilities, responsibilities, and expectations. As a result of inheriting this monumental wealth of information, the vessels often exhibit a maturity and depth of understanding that belies their young age. They can draw upon experiences and knowledge that span the ages, making them appear wise and seasoned beyond their years.

Moreover, the will significantly enhances the memory capacity of the current host, allowing them to retain and process an even greater volume of information. This heightened ability is crucial, as it ensures that when the time comes for the universe's will to transfer, their accrued knowledge and insights can be seamlessly passed on to the next chosen individual, preserving the continuity and wisdom of the universe's will across generations.

Those chosen to become vessels for the universe's will will experience a profound and rapid transformation, reshaping their bodies into a form intricately designed to fulfill the will's objectives. Initially, their skin will take on a captivating shimmering hue, an iridescent blue reminiscent of moonlit waters, reflecting light in various shades depending on the angle. This transformation symbolizes their new connection to the cosmos.

As part of this metamorphosis, their blood will change to a thick, slimy pitch black, a stark contrast to their radiant exterior, signifying the deep and mysterious energies coursing through them. They will develop formidable physical features, including elongated claws capable of rending flesh and sharp, serrated teeth that evoke the predatory nature of sharks. Their tongues will elongate, splitting into two serpentine ends, enhancing their sensory perception and their ability to articulate the arcane truths of the universe.

Crucially, these vessels will attain incredible regenerative capabilities, enabling them to heal from almost any injury at an astonishing rate. This regeneration ensures their longevity, thwarting any premature demise. Their bodies will also grant them a remarkable immunity to radiation and all forms of poison, though they may endure temporary side effects such as nausea or disorientation. Despite their near-indestructibility, vessels will remain acutely aware of all pain, experiencing it on a normal level. This feature is a safeguard against recklessness, as it reminds them of their past humanity and encourages restraint in the face of danger.

Additionally, the transformation will bestow upon the vessel enhanced physical abilities—strength, speed, and agility—allowing them to defend themselves with unmatched prowess. However, overexerting these newfound capabilities can lead to an undertow of pain, emphasizing the balance between their extraordinary power and the limits of their transformed bodies.

The eyes of a transformed vessel possess an extraordinary quality, resembling ethereal windows that offer a glimpse into the vast and unfathomable depths of the universe. When one gazes into a vessel's eyes, they are often overcome by a profound sense of cosmic dread. This reaction stems from the sheer intensity of the vision, as most individuals are unprepared to confront the raw and unfiltered reality of deep space. The swirling galaxies, distant stars, and dark voids seem to pulse with an enigmatic energy, evoking feelings of insignificance and existential anxiety. It’s as if the eyes of the vessel hold the weight of countless cosmic secrets, drawing the viewer into an abyss where the boundaries of time and space collapse, leaving them in an unsettling state of awe and trepidation.

Geiger counters and a variety of advanced sensors designed for detecting hazardous materials will be triggered in the vicinity of a vessel. These devices mistakenly identify the vessel’s presence as the element polonium, which is incredibly radioactive. Despite this, vessels are not actually harmful in any way and pose no threat to those nearby. This unusual detection phenomenon is believed to stem from a unique magic aura surrounding the vessel, a byproduct of the universe's will. This aura can become particularly intense, especially when the vessel experiences or projects strong negative emotions, causing nearby devices to malfunction or short out. Though it may be largely unpredictable, a vessel has the potential to learn how to harness and control this potent aura, allowing them to manipulate machines according to their will.

[ms-scarletwings]

Every Dredge Aberration (2024), Part 9

Ruptured Vessel

Encyclopedia #155

Aberrant form of giant amphipod

Description:

Willing host, or sacrificial receptacle?

Comment: I'm going to go with the latter; although, the bigger question may be to what this creature served to hatch. Whatever the answer, it apparently fetches a nice price to the traveling merchant, relative to cargo space it takes.

How to catch: This crustacean is one of a couple of trickier finds in the Stellar Basin. Deeper than deep, they are only able to be angled up from the hadal zone. Pursuing amphipods generally will require an advanced upgrade along to the abyssal-suited rod line, as well as story progression through the way of operating the generator at the abandoned research outpost. Be wary of those limited windows of safety its pulse will provide. Thankfully, amphipod presence is not determined by night or day.

Perished Loosejaw

Encyclopedia #121

Aberrant form of Loosejaw

Description:

A few ragged scraps of skin hang like cobwebs from its fins. Its exposed muscles are riddled with small white worms.

Comment: Why the fish markets will accept one of these at the price they do is beyond the scope of my own comprehension. A shudder rolls through my body to consider the fishmonger scraping this morsel’s bones for the tainted scraps he seeks.

How to catch: Haul up from the inky depths of the abyssal zone. Circling the Stellar basin should reveal the glowing “stoplights” of their shoals before long.

Calcified Snailfish

Encyclopedia #157

Aberrant form of Snailfish

Description:

Waiting in dormancy for its moment to arrive.

Comment: Even at the bottom of the world, this vessel found no respite from the hook to hide its transformation from the light. Appearing as a fossil, but functioning as a calcium chrysalis. Few could truly appreciate the metamorphosis taking place within- just as the caterpillar that is unmade and rebuilt for a new purpose, its fate belongs to a new cycle.

How to catch: Sailfish are a bottommost inhabitant of the hadal zone, only hooked from the treacherous core of the Stellar basin. Narrative progression is the pathway to accessing these few harvesting spots. Ensure it is safe to do so before fishing for this.

Seizing Snailfish

Encyclopedia #158

Aberrant form of snailfish

Description:

Fingers of flesh hold teeth on their tips, a grasping grip that feels through the dark depths.

Comment: It may be a further leap of logic to guess that this is the matured form where the previous aberration is the pupa, but it is a tempting consideration. At least, it is a superior form to the merchant’s appraisal.

How to catch: ^^^

Consumed Grouper

Encyclopedia #159

Aberrant form of coral grouper

Description:

Once dazzling skin now bleached and eroded. It barely resists, relieved at a final end.

Comment: Another reminder that the Deep’s influence is partial and without compassion. It knows nothing of worthiness, and less of mercy. There are simply those it gifts, and from those it takes. Without rhyme. Without reason.

How to catch: Haul by sunlight, only in the shallow waters about the Basin’s reefs.

[sophieinwonderland]

Hi, some clarification on this (https://www.tumblr.com/sophieinwonderland/733990987453612033/its-weird-being-schizophrenic-and-plural-with) real quick!

I am personally aware of all of that, although I do agree that it's a major issue that it's not talked about more--I was mostly trying to sort of. I guess explain how I felt out of place in both communities, especially since I know for a fact that my symptoms that overlap with CDDs come from schizophrenia. My symptoms where there's overlap always fade and return in tandem with my schizophrenia cycling in severity, and the only piece of CDDs that could be constant for us is our plurality. There's more stuff that points to schizophrenia + c-PTSD with no CDD, but I'd prefer to keep that stuff personal.

(note from an hour later: whoops, accidentally went on a little bit of a tangent, sorry bout that lmao. tl;dr: our experiences with plurality are distinctly disordered because of our schizophrenia, but we don't have much of a place in disordered communities because "disordered" is considered to exclusively mean "has a CDD" even in inclusive spaces, and we don't have much of a place in non-disordered communities either because... we aren't really non-disordered)

Honestly, I think our biggest gripe is just that... there's very little room made for plurality that is distinctly disordered in some fashion, but whose disorderliness isn't caused by a CDD. Our plurality is linked inexorably to our schizophrenia, and several aspects are directly caused by it; multiple of our previous hosts have either been influenced by or directly formed as a result of delusions, and worsening schizophrenia symptoms are directly tied to instability and loss of (at least some) control until they ease up.

And yet, because "disordered" plurality versus "non-disordered" plurality is just treated as CDD system versus non-CDD system, the only way we can ever get the disordered aspects of our plurality recognized is if we just... blatantly lie and say we have a CDD when we don't, and only talk about the symptoms that, honestly, affect our plurality the least but are most associated with CDDs, while ignoring the symptoms that aren't generally considered part of CDDs that affect our plurality the most--or, at best, ignoring that there's a meaningful connection between them and our plurality. If we tell the truth and say we don't have a CDD, it's automatically assumed by everyone that our plurality is non-disordered, with absolutely zero consideration or even blatant denial of any alternative. Hell, we've had people saying that we don't actually have schizophrenia, we "just have a CDD with some psychotic symptoms"--meanwhile we've been through that whole gambit already, and denying our schizophrenia in favor of other things that make other people happy and let them be able to not question their preconceived notions led to our schizophrenia getting significantly worse.

It all leads to a very isolating and alienating experience where we aren't really able to find true community with anyone. Where we either have to lie and say we have a CDD in order to get any form of recognition or support of disordered experiences, or we have to... lie and say we're non-disordered, act like we don't have any disordered experiences, because even in inclusive plural communities, "disordered" pretty much always means "CDD", and talking about having disordered experiences without CDDs just seems to make people think you're just in denial, or that those experiences are actually disconnected from your plurality, or that your disordered experiences are actually really mild and not that disabling or distressing in ways that affect your functioning and that's why you aren't "officially" considered to have a CDD, or, or, or. We aren't really able or allowed to self-determine or be honest about our actual experiences in most spaces; if we want any form of community, we either have to lie or let other people choose what we are for us. All in all, it's... pretty frustrating to deal with, and it makes it very weird when trying to engage in the plural community as a whole.

Thank you for clarifying. Sorry for misunderstanding your earlier point.

And yeah, I agree that it's important to differentiate "disordered" systems from CDD systems, because the former is a much broader spectrum that extends beyond just CDDs, and it sucks to not have that recognized on either side or be able to find a community that respects that.

[dustedmagazine]

James Brandon Lewis/Red Lily Quartet — For Mahalia, with Love (Tao Forms)

Photo by Henri Selmer

For Mahalia, With Love by James Brandon Lewis / Red Lily Quintet

James Brandon Lewis reconvenes the Red Lily Quintet—with Kurt Knuffke on cornet, Chris Hoffman on cello, William Parker on bass, and Chad Taylor on drums—for a set inspired by songs associated with Mahalia Jackson, the towering figure in gospel music in the previous century. The group develops the brief melodies of these traditional devotional tunes into vehicles for improvisation and exploration, creating a joyful noise that celebrates Jackson and also recalls the exploration of themes associated with the Black church by Charles Mingus, Albert Ayler and Roland Kirk.

In some cases, such as “Swing Low” and “Wade in the Water,” the source material is readily apparent while in others it is less so. The set begins appropriately and gently with Lewis’s adaptation of one of Jackson’s signature songs, “His Eye Is on the Sparrow,” which provided the name for a radio show that she hosted in the 1950s and with which she wowed the 1958 Newport Jazz Festival. Lewis’s phrasing well captures Jackson’s meditation on a tune that, like the rest of those here, is beautiful in its simplicity rather than showy.

The quintet was rock-solid on its first outing, Jesup Wagon (2021), and is even more together this time around. Parker is, predictably, outstanding here, delving deep into the music whether soloing, as on “Go Down Moses” and the first minute of “Elijah Rock,” or providing bedrock support throughout. Hoffman’s cello often blends with Parker’s bass, somewhat like the dynamic between the two bassists in some of Coltrane’s bands. Knuffke once more serves as the perfect foil for Lewis as they alternately trade leads and blend their voices. His solo on “Deep River” well exemplifies his approach, building on the foundation established by Lewis before him, he ranges from flutters to searching cries consistent with the funereal theme of the song. Taylor, along with Parker, holds everything together, being equally effective in delivering frantic rolls, as on “Were You There,” and hand percussion, as on “Calvary,” and there are numerous satisfying moments when he and Parker lock in, such as the last couple minutes of “Elijah Rock”

Lewis’s ever-deepening mastery of the tenor is naturally on full display here. His playing, like this recording, delves into the history of jazz without ever sounding formulaic with a tone that is simultaneously ancient and cutting-edge. Here, his horn transforms into the voice of the great gospel singer, channeling as well the voices that she was influenced by and that influenced her.

Those who purchase the CD or vinyl versions can hear Lewis’s playing in a different context on a live recording of his composition for sax and strings with the Lutoslawski Quartet. Titled These Are Soulful Days, the piece interweaves themes from the spirituals and thus serves as a companion to the Red Lily Quartet recording. This fresh context for Lewis’s vision unfolds through the tranquil and plaintive “Prologue – Humility” and four movements to “Epilogue – Resilience.” The movements interweave more and less recognizable phrases from the gospel songs, particularly the dramatic eruption of “Wade in the Water” in Movement III, while “Epilogue” gets fairly noisy and atonal. An encore concludes the set in the form of a lyrical solo sax performance of “Take Me to the Water.”

For Mahalia, with Love, like Jesup Wagon and Lewis’s “Molecular” releases, is fairly high-concept, but the music is spunky and easy to enjoy, with plenty of groove and intensity. The bare nature of the source melodies is well-suited to jazz exploration (as successive generations of musicians have discovered). Lewis is still too young to be considered a jazz elder statesman (and national treasure), but he is steadily building a body of work and a perspective commensurate with that status.

Jim Marks

[reborrowing]

Changeling Loredump

The changeling concept I'm using w Val is from an old faery worldbuilding project deal I had, obviously based on the classic changeling. The biggest diversion is that they can take the place of any mortal creature, not just humans (but folk usually go for mammals).

Essentially, fay souls are immortal, fay bodies are less so. They're sturdier than mortals' and age much slower, but still vulnerable to being killed. Some species have a way to revitalize themself - sylphs literally just reform, many plantkin can bud and inhabit the offshoot. Beastkin and elves...don't have this skill. Either they get healed or their soul gets thrown into the queue for eventual reincarnation.

Changeling dolls (along with some bargaining, naturally) offer a way to get around the wait and potentially hold onto memories of the previous life by soaking up a random mortal creature's life force.

A changeling doll is initially a blank slate construct, a barely-animate clay doll. Without soaking up a mortal counterpart, even if a soul is added, the doll is zombielike, barely functional, and makes other fay uncomfortable to be around. It becomes a (n immature) changeling when it's brought over to the mortal realm to take the place of a newborn mortal and the dollmaker can anchor its glamour/appearance to match its host species.

The mortal creature it replaces is brought to Faery in return and must remain there until the changeling reaches maturity, which is dependent on the mortal's species. (If the mortal dies in Faery, that's also fine. from the changeling's perspective.) Similarly, the changeling must remain in the mortal realm. If the changeling crosses before reaching maturity, the soul is released and the doll reverts back to its clay form. If the mortal crosses back over, the soul remains in the doll but the glamour fails.

Over time, the doll and its glamour merge into a single entity. The form of the changeling will be based off of the initial glamour, some features of the soul's last incarnation, as well as influence from their "adoptive" family's features. Internally, the fay soul competes with the host species' natural instincts and tendency for personality. These two will also merge, though one side will dominate their identity.

Upon reaching maturity, the changeling will feel some compulsion to return to Faery. If they've retained their fay nature/memories it'll be a straightforward need to return home. Otherwise, it may manifest as a homesickness for a place they don't know, a need to "escape" something unknown, wanderlust, etc. Most sponsors will send someone to fetch their changeling if the changeling doesn't show up when expected.

It is necessary for the changeling to return to Faery, as they will continue to generate magic that doesn't easily discharge in the mortal realm. Most changelings will begin to set off wild spells that eventually attract the attention of another magical being. Very, very rarely an unaware changeling will be able to hone their magic or have their wild magic restricted to beneficial effects and just come off as charming or especially lucky. A changeling that retained their memories is likely to control their magic but unlikely to want to stay in the mortal realm longer than necessary.

Once home, they're natural shapeshifters and tend to be aligned to the element of life, which is wholly irrelevant without a whole extra worldbuilding post. Beastkin and non-human changelings are indistinguishable from one another. True elves typically have stronger magic (but no natural shapeshifting).

-

Dollmakers typically specialize in a certain species or family of species. This allows them to refine their glamour process, gain better control balancing between doll and target appearance, as well as tailoring the glamour to a given species' sensory requirements—human-based changelings might smell obviously different than their stolen counterpart but humans don't typically recognize each other by smell so it doesn't matter, but a sudden drift in eye color is going to be noticed.

There's no "best" species to build a changeling doll around, though certain scenarios will prefer certain species. A changeling can't return to faery until they're mature by the standards of their host species. A changeling is likely to forget their past life if they're exchanged with a member of a highly social or highly intelligent species, especially those with slow maturation rates. Different species are held to different stereotypes and standards in Faery, which can also play a role in what gets chosen. The changeling will appear as a variety of beastkin that matches its host species (or an elf, if human).

So, if you're trying to upkeep your dead and beautiful elven prince's aesthetic reputation, you might prefer a human host at the expense of beloved prince's memories. Primates in general are popular if you're looking to hide someone for a decade or so. Cats, foxes, and deer are also popular choices for status-based reincarnations. Wolves and big cats are great if you're trying to make a warrior. Bears are an excellent candidate for warriors and past life memories, assuming you're capable of stealing a bear cub. Rodents are popular if you want your soul back and reincarnated tomorrow. Reptiles are tricky, but if you really need that soul's past life memories for some reason, exchange with a snake. Maybe you're inflicting revenge, in which case you might make your changeling a sloth. Maybe your late aunt had a rabbit fursona. literally whatever.

-

For Val specifically, they were supposed to be a mousekin but were "rescued" by a passing borrower who was like uh? that's a baby while the glamour was still settling. The magic, as much as it has any sentience, can recognize there's a discrepancy but not solve it and just fills in a lot of blanks based on the elf soul.

From the Faeries' perspective, Sir Dryden disappears for a couple decades for no apparent reason, but the sponsor mostly just didn't want his memories returned to the autumn court, so Oh Well.

[michaeldoak]

Beat Baron: Ruling the Rhythms of the NFT Scene

Though many platforms and projects are entering the sphere of NFTs at the moment, few have had the same sort of influence as Bermuda Unicorn. Described as the NFT market kick-starter, Bermuda Unicorn firmly occupies one of the leading positions in the field of art combined with digital technologies with a focus on collecting communities. One of its most engaging collections is the Tribal Tech Maestro Collection which hosts the hypnotizing NFT called Beat Baron.

Beat Baron: A Closer Look

According to the description, Beat Baron is one of the NFTs from the Tribal Tech Maestro Collection, which represents the idea of the beat and style. The character that is portrayed in the discussed NFT reflects the combination of tribal motifs with actual components of the digital world. Looking at the image one can see that the person depicted on it has yellowish skin, a striking hairstyle, and a rather serious and self-assured look. Headphones that the character is wearing are bright red, indicating that the character is somehow related to music, which continues with the NFT’s theme of rhythms and beats. Specifically, the staff made of wood, as well as the neck tattoo, would perfectly fit the concept of tribes thus reflecting Beat Baron as the ideal embodiment of the collection.

The Tribal Tech Maestro Collection

The collection called Tribal Tech Maestro Collection on Bermuda Unicorn perfectly combines cultural design elements and modern technological discoveries. The same narrative seen in Beat Baron is depicted about how conventional forms of media can be brought back to life through new-age technology present in each piece of the collection. It helps to attract the viewer, focusing on different types of art to indicate that the NFT market is diverse and can be interesting for people of different profiles.

Bermuda Unicorn: Leading the NFT Marketplace

That is why Bermuda Unicorn is considered to be a leading platform for NFT collection and creation. This platform is famous for its convenient functional and rather effective security system and the choice of offers. With it being an online platform dealing with digital art, avatars, and virtual real estate, Bermuda Unicorn is an all-in-one platform where clients can engage in buying and selling of NFTs.

Another advantage that could be a making factor for Bermuda Unicorn is 3D microblogging and virtual worlds incorporation. This innovative concept will enable the users to interact with their digital assets in a new and, exciting manner and, thus, form a rich and diverse community. The dedication the platform has for being unique puts it in a position where it is always a pioneer of the NFT reformation as it adds new features and improvements to the use of the platform.

Analyzing Beat Baron on Bermuda Unicorn

The link in particular shows the URL of Beat Baron on Bermuda Unicorn (Beat Baron) which can help decode this NFT. When visitors come to the page, they are also provided with additional knowledge about the painting: history, previous owners, and today’s price. The organization of the NFTs on the platform is also non-selective and gives enough information to buyers to make the right decisions.

For trademark value, Beat Baron is quite distinctive not only in terms of aesthetics but also in terms of the logo representing the company’s theme of battle between traditional and innovative elements. The headphones’ light emitting from the character’s head as well as the symbolism of the tribal features opposed to each other give the story of the harmony between the old and new generations in today’s fast-paced world of technology.

The Future of NFTs on Bermuda Unicorn

Due to such factors, Bermuda Unicorn will not only grow along with the current and future development of the NFT market but will also take an active part in molding its basic tendencies. Hence, the modus operandi that entails embracing change and a diverse population, along with other features, sets this platform in a favorable position for both the creators and collectors. Bermuda Unicorn is a platform that holds the best of the best when it comes to independent artists and their music; one such outstanding piece is Beat Baron and the Tribal Tech Maestro Collection which will definitely provoke a rather deeper level of thinking among users.

To sum it up, Beat Baron is not only a memorable digital art piece, but also one of the examples of the door that was opened by the NFTs. It is a piece of Bermuda Unicorn’s Tribal Tech Maestro Collection that encourages the viewers to immerse themselves in the diverse fabrics of culture and technology which characterize the contemporary world. Be it for the first time that you are participating in NFT or you are an art collector, Bermuda Unicorn is an entry point to the possibilities of digital art.

[arjunrajsingh]

Experience Homestays near Aurobindo Ashram-True Pondicherry

 Pondicherry boasts an architectural feature blending French colonialism with spiritual and coastal charm-a steadfast mark in the minds of many who have been here. Right in the middle of this quaint town lies the Aurobindo Ashram, where people visit for peace, meditation, and growth in life. A homestay near Aurobindo Ashram would thus be perfect for those who aim to stay nearer to serenity and have a personal, cozy touch.

 Why Choose Homestay?

A homestay near Aurobindo Ashram gives an opportunity to view Pondicherry as nobody else can. Unlike the hotel, homestays are a place of personal interaction with hosts, insight into the culture of the place, and home-prepared food. Most travelers find this special touch much more pleasing, keeping them connected to the place they visit much closer, and the warmth and hospitality remind them of their own home.

Advantages of Staying near Aurobindo Ashram

The Aurobindo Ashram is the beehive of peace and quiet, offering much space for meditation, yoga, and other spiritual activities. Homestays close to the Ashram would provide that peaceful atmosphere with all the comforts of being in a cozy home. Most of the homestays are within walking distance from the Ashram; thus, you will take part in all its daily activities or simply visit it for quiet moments.

What to Expect from a Homestay near Aurobindo Ashram

Homestays near Aurobindo Ashram take different forms and paths-diversify amenities, but generally include a homey and cozy atmosphere. The rooms are usually nice and clean, adequately maintained with the minimum requirements like AC, Wi-Fi access, and private bathrooms. Some of the homestays also offer additional services such as vegetarian home-cooked meals to boast about with pride, guided tours through the Ashram, and bicycles for regional exploration.

Most of them go out of the way to make one feel welcome by telling stories about history, culture, and some of the most hidden gems relating to Pondicherry.

Exploring the Neighbourhood

A homestay near Aurobindo Ashram will keep you in the heart of White Town, the historic French Quarter of Pondicherry. It is an area full of quaint streets, colonial buildings, and proximity to main attractions such as the Promenade Beach and the Goubert Market. You can easily explore the town on foot or by bicycle from here, taking in the rather unique blend of French and Tamil influences that Pondicherry is so well known for. BOOKING YOUR HOMESTAY

For finding better homestays near Aurobindo Ashram, one may prefer a search on websites like Airbnb, Booking.com, or local sites offering homestays. You see different options here, having various reviews of the previous guests that keep visiting them, and you can choose according to your budget and taste. Advanced booking is highly recommended since in peak seasons, or if some special events take place in the Ashram.

Conclusion

What better way to know Pondicherry than to live in a homestay near Aurobindo Ashram? Spiritual, cultural interest, or just enjoying a laid-back holiday-the homestays extend hospitality with all comforts kept near the heartbeat of this cool town. Soak in the local culture, the hospitality of your host, and make your stay in Pondicherry memorable.

[ear-worthy]

How To Know What’s Real Podcast: Exposing Misinformation, Deepfakes, Illusions & Conspiracies

Two generations ago, print magazines existed as a primary form of communication, cultural exchange, and social commentary. The advent of the digital age has issued a terminal notice to print magazines with only limited methods for recovery.

 The Atlantic is an American magazine that has an exceptionally long and storied history. It was founded in 1857 in Boston as The Atlantic Monthly, a literary and cultural magazine that published leading writers' commentary on education, the abolition of slavery, and other major political issues of that time. Its founders included Francis H. Underwood and prominent writers Ralph Waldo Emerson, Oliver Wendell Holmes Sr., Henry Wadsworth Longfellow, Harriet Beecher Stowe, and John Greenleaf Whittier. James Russell Lowell was its first editor.

On July 28, 2017, The Atlantic announced that billionaire investor and philanthropist Laurene Powell Jobs (the widow of former Apple Inc. chairman and CEO Steve Jobs) had acquired majority ownership through her Emerson Collective organization, with a staff member of Emerson Collective, Peter Lattman, being immediately named as vice chairman of The Atlantic. David G. Bradley and Atlantic Media retained a minority share position in this sale. In December 2020, former Wired editor-in-chief Nicholas Thompson was named CEO of The Atlantic.

Like many legacy print companies -- New York Times, Conde Nast --  The Atlantic has developed a podcast strategy. Its signature podcast -- Radio Atlantic --"road tests the big ideas that both drive the news and shape our culture. Through conversations—and sometimes sharp debates—with the most insightful thinkers and writers on topics of the day, Radio Atlantic complicates overly simplistic views. It will cut through the noise with clarifying, personal narratives. It will, hopefully, help listeners make up their own mind about certain ideas."

Radio Atlantic says: "The national conversation right now can be chaotic, reckless, and stuck. Radio Atlantic aims to bring some order to our thinking—and encourage listeners to be purposeful about how they unstick their mind."

 The Atlantic's How to Know Series podcast continues the framework built by Radio Atlantic with this smart, probing, and often prescriptive podcast. Started in late 2021, this podcast offers listeners a different focus for every season. The podcast began in 2021 with a series called How To Build A Happy Life.

  In this season, How to Know What’s Real co-hosts Megan Garber and Andrea Valdez explore the proliferation of misinformation and the rise of deepfakes and even illusions, hoping to understand what’s real and what’s not. Now that the internet, social media, and AI are integrated into much of our lives, it’s easy to lose our grip on reality.

 What is “real life,” now that the internet and AI are integrated into so much that we do? In the new season of The Atlantic’s How To series, the podcast explores the web’s effects on our brains and how narrative, repetition, and even a focus on replaying memories can muddy our ability to separate fact from fiction.

How do we come to believe the things we do? Why do conspiracy theories flourish? And how can we train our brains to recognize misinformation online?

In the May 13th episode, the podcast focuses on how social media has made it easier to build more parasocial relationships with celebrities and influencers. What impact are those connections having on our relationships IRL? And how do they shift our understanding and expectations of intimacy and trust?

Florida State University assistant professor Arienne Ferchaud defines parasocial relationships and discusses how new technologies are changing the role of entertainment in our lives.

Check out How to Know What’s Real. The previous seasons on time, happiness, and expectations are worthwhile, informative, and thoughtful listens.

[metaphysicalpistolsoraclemine]

With the NAA invasion history and the war with competing off planet species writing code into the planetary Morphogenetic Field to modify human DNA, and to genetically manipulate the original divine human core manifestation body, the 12 Tree Grid, extradimensional entities used the Fibonaccisequence and created AI energetic wave spirals of which to hijack, siphon and steal energy from the planetary body and humanity. These artificially generated Fibonacci Spiralss are inorganic, vampiric and created through Alien Machinery and AI technology. This is how the Metatronic Reversal fields were created, as well as the Adverse Sephiroth or Artificial Tree of Life that is represented in Kabbalah teachings, made popular by Black Magicians such as Aleister Crowley. The Metatronic code is based on two spheres of Bi-Wave Influences of the Vesica Pisces instead of the eternal life three spheres, or Trinity Wave.

In mathematics, the Fibonacci numbers or Fibonacci sequence are the numbers in the following integer sequence: 1,1,2,3,5,8,13,21,34,55,89,144...

If we sum the squares of any series of Fibonacci numbers, they will equal the last Fibonacci number used in the series times the next Fibonacci number. This property results in the Fibonacci spiral, based on the following progression and properties of the Fibonacci series.The Fibonacci spiral gets closer and closer to a Golden Spiral as it increases in size because of the ratio of each number in the Fibonacci series to the one before it converges on Phi, 1.618, as the series progresses. Beginning with Zero, then 1, it then moves on to the next number, as such : 0+1=1, 1+1=2, 2+1=3, 3+2=5, 5+3=8 and so forth.

When we apply this mathematical formula to quantify or measure the movement of energy or Consciousness within time or space, the Fibonacci Spiral loses its connection going back to the Zero point or Source, instead the sequence uses the previous number to add into itself to get to the next higher number of the sequence. The Fibonacci Spiral illustrates the math used to perpetuate the war over energy, therefore the consciousness suppression on the earth, as when the sequence grows in number or size, it is due to the consumption of the previous values in order to grow itself larger.The larger it gets, the more it progressively moves out and away from the Krystal Spiral of the original core manifestation body or divine template body, as it expands. (See Consumptive Modeling). Therefore the Fibonacci Spiral is a model of Metatronic Reversal in the consciousness fields that ultimately attach like a parasite to a living host, collecting waste products, such as accumulating toxic Miasma fields which form into the Qlippoth or Adverse Sephiroth, in the Phantom Matrix to infect the Universal Tree of Life. 

The Fibonacci spiral sequence emerges from a point of attachment, which is a parasitic in action, to attach itself to a living form, consuming everything in its path, to which it progressively loses contact when it continually expands itself. It grows and expands its consciousness through the consumption and eventual annihilation of that which it had attached itself to and had existed previously. This is what quantifies the actions of a Fallen race or species, such as the Black Suns Regressive or Belial groups.

The artificial core manifestation template is built on Base 10 Math, and is an intentional distortion of the 12 Tree Grid manifestation template or Kathara Grid that is built on base 12 math. This distortion to the natural order compromised the integrity of the Universal Tree of Life core manifestation template, which is the basis of all energy to matter manifestation.

Essentially, the Thothian Luciferian agenda was to utterly destroy all organic creation code, matrices and artifacts that included Base 12 Math and replace it with their own versions of Base 10 Math.

The patriarchal slant and use of the Artificial Tree of Life to project virtual realities distorted the original Base 12 Code into the base 10 code (eliminating the 12D Ray), which caused a reality split between the artificial and organic layers throughout the dimensional timelines. There were sections of the dimensional matrices that remained organic, and others that split into Artificial Timelines and were absorbed into the phantom matrices.

[loggedbylily]

written and edited by lily hayashi. made in relation to 'small girl, big thoughts' podcast, hosted by lily hayashi.

link to related podcast episode here

I feel like we’re in this era of normalisation of overconsumption; with the rapid rise in popularity of fast fashion, brand partnerships and influencers as a method of advertising, haul culture and microtrends. I think consumerism is a very complex, multi-part issue that can’t be ‘fixed’ with one simple solution. As humans, we consume and create waste. There is no way to avoid consuming; we consume media, physical objects, nutrients and knowledge on a daily basis. In my opinion, consumption is not necessarily a negative behaviour, rather an unavoidable human behaviour, however, overconsumption is a larger issue, and we can try to avoid it or minimise it. We just don’t want to. 

So much of the structure of society is built on consumerism. It’s how we make money, how we feed our bodies, how we clothe ourselves. Mindful consumption is possible, but in a world where trends are moving faster than they’ve ever moved before, and fashion is being designed and produced so quickly and at a mass rate (According to Business of Apps ‘SHEIN Revenue and Usage Statistics 2024’, on an average day, SHEIN adds a shocking 2,000 new items to its online store) it’s really hard to be mindful of what you’re consuming, whether it be media or physical objects. As individuals, we do have to hold ourselves accountable for our actions and the waste we produce, but it’s also important to remember that these massive corporations are deliberately teaching us to feed into consumerism because it’s literally how they’re making money and what keeps them in business. A company’s primary intention is to make money, and most corporations will do anything to achieve these sales. Even if the clothing they sell ends up in landfill days later, they’re still making the money from the sale, and most of the time, what occurs to their product after that sale isn’t a worry of theirs.

I really wanted to discuss ‘haul culture’ as a big factor in the recent rise in consumerism. According to Statistia, the number of views on TikTok videos in April 2022 with the hashtag #sheinhaul was a total of 4,800,000,000 (Statista, 2022), followed by videos with the hashtag #amazonhaul, which reached a total of 968,000,000 views. Whilst these videos may vary in terms of just how many items are being purchased and shared, they all contribute to this growing culture of ‘hauls’ as opposed to just buying singular items. Cambridge Dictionary defines the verb ‘haul’ (in the context of purchasing) as “all the things someone buys on an occasion when they go shopping”. Whilst there isn’t an exact number of items that qualify for a purchase to be a haul, the word itself in noun form is defined as “to pull or drag something heavy slowly and with great difficulty”, and the verb in the context to stealing is defined as “a usually large amount of something that has been stolen or is illegal”. Although the context of the use of haul on social media is different to the two previous additional definitions, and that a haul nowadays usually links to a purchase rather than theft, it can be summarised that the word ‘haul’ refers to a large quantity of objects in most of its contexts. I’ve noticed that there’s this expectation on social media to showcase moreness; instead of showing just one Dior lip oil, why not showcase your whole collection of Dior makeup? Instead of purchasing just one serum, why not fill up your whole bathroom cabinet with assorted skincare items? Even if the multiple items aren’t necessarily the focal point of the video, you’ll often see them in the background. The influencer isn’t ‘accidentally’ showcasing their collection of expensive products; they’re doing it because owning lots of objects is a sign of wealth and now considered an aspiration. I’ve found that almost every product review video is a haul, and in general, there’s just a huge growth in usage of the word and showcasing of them on social media. The frustrating thing is, if we normalise purchasing large quantities of things we do not need, it means buying singular objects is viewed as boring.

Haul culture is also very rooted in privilege. To be able to afford a large quantity of products, you need to have some kind of financial stability. The normalisation of bulk purchasing means that those who may not have the money to make these kinds of purchases feel insecure or embarrassed, when in reality, these hauls are actually not a good thing at all. Companies like SHEIN offer very cheap-priced (and very low quality) clothing, which has made hauls more accessible to those without a large disposable income. THIS IS NOT A GOOD THING! The whole issue with overconsumption is the more you consume, the more waste you produce. Normalising consuming such large quantities of products means subconsciously we’re normalising producing such large quantities of waste. And this haul culture has sparked the massive rise in fast fashion (According to Business of Apps ‘SHEIN Revenue and Usage Statistics 2024’, SHEIN generated $22.7 billion in 2022, a 44% increase on the $15.7 billion it made in 2021) which provides a sort of wear-once-throw-out culture to clothing that just keeps getting progressively worse.

This wear-once culture seen in ultra-fast fashion creates an endless cycle of overconsumption and microtrends. Good On You’s explanation of a ‘microtrend’ is “Micro trends take what you know about trends and accelerate the process: these trends rise to popularity quicker and then leave the trend cycle faster.” (Zhou, 2022). Due to just how quickly trends are moving these days (hence the title microtrends), fast fashion allows individuals to participate in this trend without spending a large amount of money, and due to the lack of quality of these products, it reduces the permanence of this trend, which then makes these microtrends move even faster. It’s a toxic cycle that feeds on overconsumption and haul culture, which in turn, feeds the cycle. 

Overconsumption has also created a culture of consumer self-validation. As humans, we don’t want to do anything wrong, or to be perceived as doing something wrong. We try to validate our actions, both for ourselves and for others. Due to this inbuilt victim complex we all suffer from, we try to validate our purchasing habits in a world that promotes and villainizes consumerism. I’ve heard the sentence “I’ve been wanting this for so long!” or “I’ve been obsessed with this for ages!” used to validate hauls and large, unnecessary purchases so many times in these haul videos. Often, it’s a lie. Did you really want that pair of earrings, or was it just because two weeks ago they became a massive trend? I think it’s actually so much better to be honest about your purchasing habits. We’ve all purchased something because of a trend; it’s okay to participate in trends, that’s literally what they’re fed off. I think it’s just important to do so mindfully. Often, it takes me a little longer to ‘like’ a fashion trend enough to participate in it, and sometimes by the time I do join in, the trend has passed. But I find this little pocket of time gives me a moment to think about whether I actually like this trend; would I wear this again? Is it going to go out of style immediately? Is the product good quality and representative of my personal style? I feel like if people admitted, even just to themselves, that they purchased something because it was popular or trendy, we would become more mindful of our purchasing habits. By validating every purchase, we begin to lose track of what we actually like, and the impacts our actions have.

How can we teach ourselves how to consume mindfully without reinforcing haul culture, microtrends, fast fashion, and feeling guilty?

Take your time. In a world where it’s normalised to want something immediately (and I’m definitely a victim of this), wait a little and properly think over your decision. I struggle with being impatient, but recently, I’ve realised how much more I truly love my purchases when I’ve been thinking about them and building up excitement for them for a longer period of time. Also, it allows you to be mindful; you can consider whether you actually need this or just want it (and also, wanting something is not a bad thing. It’s just good to be mindful of how many of your wants you act upon) and whether it’s reflective of you as a person. 

Trust the thrift gods. Kind of in relation to above, I’ve been trying to build the habit of waiting and letting myself think before making a purchase, and I’ve definitely been rewarded by the thrift gods for my patience these past few times! I purchased the perfect pair of square-toe Mary Janes from a local op-shop the other day for $12; I’d been looking at similar pairs online for months, and I knew they would work with my wardrobe and become a very cute, classic staple.

Remind yourself that consumerism is fuelled by haul culture. Why would a brand only try to sell you one item when it could sell you ten? Remember that those buy-two-get-one 20% off, $20 for two, spend $70 for free shipping deals are just a sneaky attempt to get you to spend more money, and in turn, consume you more. They trick you into thinking you’re missing out on a great deal if you don’t act quickly; you’re not. I’ve been a victim of these kinds of deals before and trust me, when I buy a clothing item for its price rather than its style, I end up wearing it so much less, just because I only really bought it because it was cheap! Same goes for sales; if something you’ve been wanting for a while goes on sale, amazing! But whenever you think of buying something on sale, consider whether you’d buy it full price. Are you getting that top because it’s cute or because it’s $10?

You are not a criminal for consuming. It’s human nature. But try to do so mindfully; you’ll actually feel better as a result of it, and if more people take baby steps to try to avoid overconsumption, that gross, speedy cycle will calm down. In the end, there’s never any harm in slowing down.

[madhukumarc]

How do you leverage PR for startup growth?

PR (Public Relations) can be a powerful strategy for startup growth, as it helps to build brand awareness, credibility, and trust among potential customers and investors.

In this highly competitive digital age, having a solid PR strategy is crucial for startups to stand out from the crowd and attract attention.

Here are the top 8 effective tips to leverage PR for startup growth.

Leverage PR for Startup Growth:

1. Define Target Audience:

Before diving into PR activities, it's important to clearly define your target audience. Understand their needs, interests, and pain points.

This will help you create compelling stories and messages that resonate with them.

2. Craft a Compelling Story:

Every successful startup has a unique story behind its inception. Identify what makes your startup special and craft a compelling narrative around it.

Focus on the problem you're solving, the solution you offer, and the impact you're making in the industry.

“Every brand has a unique story and core message. The secret lies in distilling this message into its simplest form and presenting it repetitively to your audience” – Level343

3. Build Relationships with Journalists:

Media coverage can significantly boost your startup's visibility. Start by identifying journalists and influencers who cover topics relevant to your industry.

Engage with them on social media, attend industry events, and reach out with personalized pitches that align with their interests.

4. Develop a Press Kit:

A well-designed press kit is essential for any startup looking to leverage PR.

Include key information about your company, such as your mission, team members, product or service details, and previous media coverage.

Make it easily accessible on your website for journalists to download.

5. Pitch Compelling Stories:

To grab the attention of journalists, your pitches need to be compelling and newsworthy.

Highlight the unique aspects of your startup and how they relate to current trends or industry challenges.

Be concise and clear, and personalize your pitch for each journalist or publication.

6. Leverage Thought Leadership Opportunities:

Establishing yourself as a thought leader in your industry can enhance your startup's credibility and attract attention from potential customers and investors.

Contribute guest articles to industry publications, speak at conferences, or host webinars to share your expertise.

“A surprising number of startups found some of their early customers by old-school networking and community building. This includes participating both in offline and online communities, and sometimes creating your own community” – Lenny’s Newsletter

7. Engage with Influencers:

Influencers can help amplify your startup's message and reach a wider audience.

Identify key influencers in your industry and seek collaboration opportunities such as guest blogging or social media partnerships.

Ensure that their values align with yours for authentic engagement.

8. Monitor and Measure Results:

It's important to track the effectiveness of your PR efforts.

Monitor media mentions, website traffic, social media engagement, and conversion rates to gauge the impact of your PR campaigns.

Adjust your strategy based on the data you collect.

“It's also worth noting that successful digital PR campaigns will often result in a surge in online traffic, primarily if your campaign generates lots of media coverage or goes viral on social media” – SEOTesting

Remember that building a strong PR strategy takes time and consistent effort. It's not just about one-off media coverage but creating a long-term brand presence.

By leveraging PR effectively, startups can accelerate their growth and establish themselves as industry leaders.

Here's related information that you may also find helpful – 10 Startup Metrics Every Business Owner Must Know

[klassbook0]

The Graceful Art of Ballet: Exploring Ballet Classes in Singapore

Ballet, often regarded as the epitome of grace and elegance in the world of dance, has captivated the hearts of people across the globe for centuries. In Singapore, this art form is not only celebrated but also has a thriving community of dedicated ballet enthusiasts. Ballet classes in Singapore offer individuals the opportunity to dive into this enchanting world, whether they are beginners with no prior experience or seasoned dancers looking to refine their skills.

One of the remarkable aspects of ballet is its universal appeal. People of all ages are drawn to its beauty, discipline, and the sense of accomplishment that comes with mastering its techniques. In Singapore, there are numerous options for both children and adults who wish to embark on a ballet journey.

For young aspiring dancers, Ballet classes in Singapore are an excellent way to instill discipline, self-confidence, and a strong work ethic from a young age. Singapore offers a variety of ballet schools and academies that provide specialized training for children, often starting as early as three years old. These classes focus on building a strong foundation in ballet techniques while nurturing the creativity and imagination of the young dancers. With dedicated and patient instructors, children are guided through the basics of posture, balance, and footwork, gradually progressing to more complex movements and routines.

While ballet is often perceived as a childhood pursuit, it is far from being limited to the young. In Singapore, adult ballet classes are becoming increasingly popular. Many adults are finding solace and a sense of fulfillment in the world of ballet, which offers them not only physical benefits but also a space for self-expression and stress relief. Adult ballet classes cater to all levels, from absolute beginners to those with prior experience, ensuring that everyone can find a class that suits their abilities and goals.

For those who are more serious about pursuing ballet as a career, Singapore has a thriving dance scene with professional ballet companies and performance opportunities. These companies often host auditions and offer specialized training for talented dancers, providing them with a platform to showcase their skills and pursue a career in ballet.

The ballet community in Singapore is not limited to traditional forms of ballet. Contemporary ballet, which combines classical ballet techniques with modern and contemporary dance styles, has gained popularity in recent years. Many ballet schools and academies offer contemporary ballet classes, providing dancers with the opportunity to explore a more expressive and fluid style of dance.

What sets Singapore apart in the world of ballet is its cultural diversity. With its multicultural population, Singapore's ballet scene reflects a rich tapestry of traditions and influences. This diversity is celebrated in the ballet community, where dancers of various backgrounds come together to create a unique blend of artistry and expression.

In addition to its cultural diversity, Singapore's ballet classes also emphasize the importance of inclusivity. Dancers of all abilities and backgrounds are encouraged to join, ensuring that ballet is accessible to everyone, regardless of their physical condition or previous experience. This commitment to inclusivity has made ballet in Singapore a more welcoming and diverse art form.

ballet classes in Singapore offer a wide range of opportunities for individuals of all ages and abilities to explore the captivating world of ballet. Whether you are a young child looking to take your first plié or an adult seeking the grace and discipline of ballet, Singapore provides a supportive and vibrant community where you can nurture your passion for dance. With its diverse and inclusive approach to ballet, Singapore ensures that this beautiful art form continues to enchant and inspire generations to come.

For More Info:-

preschoolers-8100 Second language - 40

[michaelnguyendotme]

In this series of "Extreme Ads Makeover", I will be tearing down ads of Chanel and have them completely remodeled to have better targeting and ROI. Check out a previous case study of "Extreme Ads Makeover" for Chase Bank. About Chanel Revenue: In 2021, Chanel generated €15.6 billion in estimated total revenue, up over 50% from 2020. Growth: Over the past 5 years, Chanel's revenues have grown at an estimated compound annual rate of 13%. Profits: As a privately held company, Chanel does not disclose detailed financials. Industry estimates put Chanel's operating profits at €3-4 billion annually. Customers: Chanel serves an elite luxury customer base including over 100 million high net worth individuals worldwide. In the US alone, there are over 16 million people who can afford high-end luxury brands like Chanel. Stores: Chanel operates over 200 boutiques globally with a heavy presence in fashion centers like Paris, New York, London, and Singapore. Flagship stores can generate over $100 million per year. Market Share: In luxury fashion, Chanel holds around 4% global market share behind LVMH, Estée Lauder, and Kering. Among luxury leather goods specifically, Chanel leads with 24% share. Iconic Products: Chanel's classic women's suits, No. 5 perfume, leather handbags, and Little Black Dress resonate globally as iconic luxury items. So in summary, Chanel is one of the world's most prestigious and profitable luxury fashion houses with annual revenues exceeding €15 billion globally driven by their iconic branding and elite customer base. About Chanel's marketing agency Chanel's global media agency is Omnicom Media Group. Chanel chose Omnicom after a competitive pitch and was impressed by their strategic approach and understanding of the brand. Omnicom's agency, PHD, took over the account from WPP's GroupM. Chanel had worked with WPP for 21 years. Emmanuelle Walle has been the head of global PR and influence at Chanel fragrance and beauty since 2019. Chanel's digital marketing strategy is one of the most robust in its category. Additionally, Chanel has worked with global celebrities like Keira Knightley, Nicole Kidman, and Kristen Stewart as brand ambassadors. About Michael Nguyen - CEO of Produce Results Agency, aka the "Extreme Ads Makeover" Host Since 1999, Produce Results Agency has helped clients double assets from $5ooM to $1B and generated 4000% ROI for a regional bank turning their $66K marketing budget to $2.8M in revenue. In this post, I will perform an ad audit on Chanel ads, analyze what's missing from the ads, come up with new ads, and eventually validate those new ads by running paid traffic on my own dime to see how new ads perform. I am using Meta Ads in this case study but the same principle applies to other mediums such as Google, Youtube, Programmatic Ads, and short forms. Table of Content 1. Ads Audit 2. Gaps Analysis 3. Ads Makeover 4. Validate New Ads 5. Insights/Takeaways 6. Next Steps Ads Audit Promoted Product: Chanel watch Landing page: https://www.chanel.com/us/watches/premiere-edition-originale Facebook Ads:  Ad Set #1 (link) Ad Set #2 (link) Analysis What I like: Obviously, the quality of the creatives: the featured model Lily-Rose Depp, and the close-up shot of the Chanel watch are just magnificent. I like how Chanel team used vivid words to describe the watch: "interlaced with leather", and "echoes" (auditory word) which activates the auditory sense besides the visual. Message-Creative matched: Model Lily-Rose Depp wears the watch and the close-up photo of the watch to highlight. Room for improvements: While the control ad is pretty decent, I'd love to see more angles such as prestige, FOMO, the ability to wear "history" on your wrist, etc. There are a lot more angles yet to be shown, displayed, activated, and demonstrated from just one control ad. Having one control ad can put your campaign into the following risks:

Lack of A/B Testing Limited Insights: With only one ad, you won't be able to perform A/B tests, which are essential for determining what aspects of the ad are working and what aren't. Targeting Limitations Missed Opportunities for Segmentation: Different ad sets can target different customer segments. A single ad may not be as effective across all segments, missing out on some potentially lucrative opportunities. Reduced Personalization: Multiple ad sets allow you to customize messages based on user behavior, geography, or other demographics. A single ad will be less personalized and potentially less effective (more on this below when I do an ad makeover) Creativity and Message Fatigue Ad Fatigue: Over time, the same ad is likely to become less effective as users get tired of seeing it. Multiple ad sets can help mitigate this effect. Limited Creative Testing: Having multiple ads allows for testing different creative elements like headlines, images, and call-to-actions. A single ad limits this flexibility. Risk Management Higher Risk: If your one ad doesn't perform well, you don't have other ad sets to fall back on. This all-or-nothing approach can be riskier. Budget Allocation: With multiple ad sets, you can allocate more budget to higher-performing ads. A single ad does not offer this flexibility. Optimization Challenges Limited Learning: If your single ad isn't performing well, it's harder to pinpoint what exactly is going wrong. Multiple ad sets can provide you with more data, making it easier to optimize. Inability to Leverage Platform Algorithms: Many advertising platforms use machine learning algorithms to automatically allocate budget to the best-performing ads in a campaign. With just one ad, you can't take advantage of this feature. Data and Analytics Limited Data for Analytics: Having only one ad will provide you less data, reducing the reliability and validity of your performance metrics. Attention: If you had multiple product lines and currently ran paid ads, there's a 97% chance that you had less than 3 ads based on my experiences of remodeling ads from Chase Bank, Amazon, Starbucks, Nike, Lexus, Home Depot, and Chanel. Maybe you are perfectly okay with one control ad and burn your ad budget without ROI. But if you would like to have a second-opinion ads critique so that you can see the gaps and areas where you can extract MORE juice out of your ads, click on the link below to have me critique your ads. Gaps Analysis The Landing Page (see link ) Audience avatar: Based on the landing page, I can draw some conclusions about the target audience: Demography: Gender: Primarily female. The watch is described with feminine attributes and is worn like a piece of jewelry. Age: Adult women, likely in the age range of mid-20s to 60s. The reference to timeless style, classic CHANEL handbags, and the history of the brand suggests an appeal to a mature audience, while the inclusion of Lily-Rose Depp, a younger model, indicates an attempt to appeal to younger generations as well. Income Level: High. CHANEL is a luxury brand, and the detailed descriptions of the watch's design and materials suggest a high price point. Geography: Global, with a particular emphasis on regions that value luxury fashion. The mention of Gabrielle Chanel’s apartment at 31 Rue Cambon in Paris indicates a connection to European luxury and fashion. 2. Avatar (Psychographics): Fashion-forward: The target audience values high fashion and is likely to be aware of fashion trends and iconic brands. Appreciates Heritage: The mention of the watch being a reissue of the first CHANEL watch and references to Gabrielle Chanel suggest an audience that values brand heritage and history. Values Luxury: Descriptions like "golden hands," "onyx cabochon," and "interlaced with leather" indicate a preference for luxury materials and craftsmanship. Seeks Exclusivity:

The term "ÉDITION ORIGINALE" suggests a limited or special edition, appealing to those who seek unique and exclusive products. Elegant & Sophisticated: The watch's design, inspired by the N°5 fragrance bottle and classic CHANEL handbags, targets an audience that appreciates elegance and sophistication. Bold & Audacious: The watch embodies a "spirit of freedom and audacity," suggesting an audience that is confident and bold in their fashion choices. Appreciates Art & Culture: The involvement of directors Inez & Vinoodh and the setting in Gabrielle Chanel’s Parisian apartment indicates an appeal to those who value art, culture, and cinematic storytelling. In other words, the target audience for CHANEL's "PREMIÈRE ÉDITION ORIGINALE" watch is affluent, sophisticated women, ranging from mid-20s to 60s, who have a global awareness and a penchant for luxury and exclusivity. These women value the heritage and history of iconic brands, are fashion-forward, and appreciate elegance and craftsmanship. With a bold and audacious spirit, they resonate with the watch's embodiment of freedom, its connection to CHANEL's legacy, and its association with art and culture, as highlighted by its cinematic storytelling and ties to Parisian luxury. Ads Makeover Here's the disease that most marketing agencies and businesses running paid ads: "They think they've tested 20 ads but they really just tested 2 ads 10 different times." Here are possibilities for ads makeover: Headline Options "Rediscover Timeless Elegance with CHANEL's PREMIÈRE ÉDITION ORIGINALE" "A Timepiece That Echoes CHANEL's Legacy: The PREMIÈRE ÉDITION ORIGINALE" "Wear History on Your Wrist: CHANEL's Iconic PREMIÈRE Reissued" "From Paris with Audacity: CHANEL's PREMIÈRE ÉDITION ORIGINALE Watch" "CHANEL's Craftsmanship Meets Timeless Design: The PREMIÈRE ÉDITION ORIGINALE" "Experience the Spirit of Freedom: CHANEL's PREMIÈRE ÉDITION ORIGINALE" "Missed Out on CHANEL's First Watch? Don't Let History Repeat Itself!" "Still Wearing That Old Thing? Time for a Real Watch Upgrade!" "If You Don't Know CHANEL's Legacy, You're Missing Out Big Time!" "Curious About CHANEL's Timeless Elegance? Wait No More!" "Ever Wondered Why CHANEL Stands Out? Discover the Secret!" "Ready for a Timepiece That'll Leave Others in Awe?" Body Copy Options "A reissue of CHANEL's first-ever watch, the PREMIÈRE ÉDITION ORIGINALE is more than just a timepiece—it's a statement. Inspired by the iconic N°5 fragrance bottle and interlaced with leather reminiscent of classic CHANEL handbags, this watch is a testament to audacity and freedom. Dive into Gabrielle Chanel’s world with a film featuring Lily-Rose Depp, and let the golden hands on a black-lacquer dial remind you of timeless elegance. [DISCOVER]" Models Applied: Relationships (Your customer, The advertiser), Imagery (Visual), Emotions (Feelings: joy, anticipation), Time (Past, Present), Capability (Is, Does), Proof (Credibility: Powerful Associations), Numbers (Dates), Language Devices (Metaphor), Locations (City, Historical). "CHANEL's PREMIÈRE ÉDITION ORIGINALE is not just a watch, but a journey through time. With lines evoking the N°5 fragrance and a bracelet echoing classic CHANEL handbags, it's a piece of jewelry that tells a story. Witness Lily-Rose Depp in Gabrielle Chanel’s Parisian apartment and embrace a spirit of audacity unique to CHANEL. [DISCOVER]" Models Applied: Relationships (Your customer, The advertiser), Imagery (Visual), Emotions (Feelings: joy, anticipation), Time (Past, Present), Capability (Is, Does), Proof (Credibility: Powerful Associations), Numbers (Dates), Language Devices (Metaphor), Locations (City, Historical). "Step into a world where time meets elegance. The PREMIÈRE ÉDITION ORIGINALE, inspired by CHANEL's rich heritage, is a masterpiece that intertwines the past with the present. From its design reminiscent of the N°5 bottle to its bracelet that mirrors CHANEL handbags, every detail speaks of luxury.

Join Lily-Rose Depp in a cinematic experience and embrace CHANEL's audacious spirit. [DISCOVER]" Models Applied: Relationships (Your customer, The advertiser), Imagery (Visual), Emotions (Feelings: joy, anticipation), Time (Past, Present), Capability (Is, Does), Proof (Credibility: Powerful Associations), Numbers (Dates), Language Devices (Metaphor), Locations (City, Historical). "CHANEL's legacy is reborn with the PREMIÈRE ÉDITION ORIGINALE. A watch that's more than just a timekeeper, it's a piece of history. With design cues from the N°5 fragrance and a bracelet that's a nod to classic CHANEL handbags, it's luxury redefined. Experience it through a film with Lily-Rose Depp and let CHANEL's spirit of freedom inspire you. [DISCOVER]" Models Applied: Relationships (Your customer, The advertiser), Imagery (Visual), Emotions (Feelings: joy, anticipation), Time (Past, Present), Capability (Is, Does), Proof (Credibility: Powerful Associations), Numbers (Dates), Language Devices (Metaphor), Locations (City, Historical). "Evoke the spirit of Paris and CHANEL's timeless elegance with the PREMIÈRE ÉDITION ORIGINALE. Inspired by the N°5 fragrance and adorned with a bracelet reminiscent of CHANEL handbags, this watch is a tribute to audacity. Dive into a cinematic journey with Lily-Rose Depp and let every tick remind you of CHANEL's legacy. [DISCOVER]" Models Applied: Relationships (Your customer, The advertiser), Imagery (Visual), Emotions (Feelings: joy, anticipation), Time (Past, Present), Capability (Is, Does), Proof (Credibility: Powerful Associations), Numbers (Dates), Language Devices (Metaphor), Locations (City, Historical). "The PREMIÈRE ÉDITION ORIGINALE is where CHANEL's heritage meets modern luxury. Drawing inspiration from the iconic N°5 fragrance and classic CHANEL handbags, this watch is a testament to timeless elegance. Join Lily-Rose Depp in a film that captures the essence of Gabrielle Chanel’s Paris and let yourself be captivated by CHANEL's audacious spirit. [DISCOVER]" Models Applied: Relationships (Your customer, The advertiser), Imagery (Visual), Emotions (Feelings: joy, anticipation), Time (Past, Present), Capability (Is, Does), Proof (Credibility: Powerful Associations), Numbers (Dates), Language Devices (Metaphor), Locations (City, Historical). "If you didn't snag CHANEL's first-ever watch, here's your shot at redemption. The PREMIÈRE ÉDITION ORIGINALE ain't just a watch—it's a statement. But here's the kicker: if you don't grab it now, you're setting yourself up for another defeat. Don't be that person who missed out twice. It's a tragic tale you don't wanna be part of. [DISCOVER]" Models Applied: Emotions (anger, envy, defiance, disgust), Types of Statement (condition), Future (warning), Language Devices (slang, tragedy), Shame (defeat). "Still rockin' that outdated watch? Time to level up with CHANEL's PREMIÈRE ÉDITION ORIGINALE. But if you think this is just another watch drop, think again. Miss out, and you're looking at a world of regret. Don't let envy eat you up when you see others flaunting it. It's a tragedy waiting to happen. [DISCOVER]" Models Applied: Emotions (anger, envy, defiance, disgust), Types of Statement (condition), Future (warning), Language Devices (slang, tragedy), Shame (defeat). "If you ain't part of the CHANEL legacy yet, you're doing it wrong. The PREMIÈRE ÉDITION ORIGINALE is here, and if you don't get on board, you're setting yourself up for a major letdown. Don't be the one watching from the sidelines. It's a tragic look, trust us. [DISCOVER]" Models Applied: Emotions (anger, envy, defiance, disgust), Types of Statement (condition), Future (warning), Language Devices (slang, tragedy), Shame (defeat). "Ever wondered why some watches just stand out? Why does CHANEL's PREMIÈRE ÉDITION ORIGINALE make such a buzz? Because it's not just a watch, it's a promise of timeless elegance. But here's the real kicker: miss out, and you're just setting yourself up for a world of "what ifs".

Don't be that tragic tale. [DISCOVER]" Models Applied: Emotions (anticipation, sadness, surprise), Types of Statement (question), Future (promise/prediction), Language Devices (slang, tragedy), Shame (Stupidity, Vulnerability). "What makes CHANEL's PREMIÈRE ÉDITION ORIGINALE the talk of the town? Why are folks always so shook when they see it? Because it's more than just a watch—it's a prediction of the future of fashion. But here's a heads up: if you don't get in on this, you're just setting yourself up for a major facepalm moment. Don't play yourself. [DISCOVER]" Models Applied: Emotions (anticipation, sadness, surprise), Types of Statement (question), Future (promise/prediction), Language Devices (slang, tragedy), Shame (Stupidity, Vulnerability). "Why does CHANEL's PREMIÈRE ÉDITION ORIGINALE get all the love? Why does it leave everyone else in the dust? Because it's not just a promise—it's the future. But here's the tea: if you're not part of this journey, you're just exposing your own fashion blind spots. Don't be that tragic story. [DISCOVER]" Models Applied: Emotions (anticipation, sadness, surprise), Types of Statement (question), Future (promise/prediction), Language Devices (slang, tragedy), Shame (Stupidity, Vulnerability). Validate New Ads This is where the rubber meets the road as I am going to validate ad concepts from the previous step by running paid traffic to see which ad concepts would resonate most with the customers. Here's how I set the adset on Facebook Budget: $10 Lifetime Product/Service: Watch Targeted audience: Women from 30 - 60 Target with interest in Chanel Placement: News Feed Optimization: Optimized for Traffic Here are all the 12 ads being launched. Fast-forwarding 24 hours to let the ads run. Here's the results Campaign Numbers: Ad budget: $13.37 Total Impressions: 1,537 Total Reach: 1,351 Total Clicks: 48 Cost Per Click (CPC): $0.28 CTR (all): 3.12% Ad results Summary Reach and Impressions: 'Headline 9' has the highest reach with 351 and the highest impressions with 382. 'Headline 10' has the lowest reach with 31, and 'Headline 3' has the lowest impressions with 52. Amount Spent: 'Headline 9' had the highest amount spent at $3.28. 'Headline 6' had the least amount spent at $0.40. CPM (Cost per 1,000 Impressions): 'Headline 3' has the highest CPM at $11.15, indicating it's the most expensive ad per 1000 impressions. 'Headline 6' has the lowest CPM at $6.35. Link Clicks and CTR (Click-Through Rate): 'Headline 9' has the highest number of link clicks at 13. 'Headline 3' stands out with a whopping CTR of 9.62%, making it the most effective ad in terms of engagement. 'Headline 4' has the lowest link clicks at 3 and a CTR of 1.28%. CPC (Cost per Link Click): 'Headline 4' has the highest CPC at $0.68. 'Headline 3' has the lowest CPC at $0.12, making it the most cost-effective ad in terms of link clicks. Ad Performance: 'Headline 3', despite having a lower reach and impressions, stands out with the highest CTR and the lowest CPC, indicating that it's the most effective ad in terms of engagement and cost-effectiveness. 'Headline 5' and 'Headline 6' have the lowest and second-lowest amount spent, respectively, but their CTRs are above average, indicating good performance for their cost. In conclusion, while 'Headline 9' reached the most people, 'Headline 3' was the most effective in terms of engagement and cost-effectiveness for link clicks. It's essential to consider both reach and engagement metrics when evaluating the performance of ads. Analytics:   Winning Ads:  If the goal were to get maximum reach and impressions, 'Headline 9' would be the top performer. Headline: "If You Don't Know CHANEL's Legacy, You're Missing Out Big Time!" Ad body: "If you ain't part of the CHANEL legacy yet, you're doing it w

rong. The PREMIÈRE ÉDITION ORIGINALE is here, and if you don't get on board, you're setting yourself up for a major letdown. Don't be the one watching from the sidelines. It's a tragic look, trust us." Models Applied: Emotions (anger, envy, defiance, disgust), Types of Statement (condition), Future (warning), Language Devices (slang, tragedy), Shame (defeat). Total Impressions: 382  Total Reach: 351  Clicks: 13 CPC: $0.25 CTR: 3.4% If the objective were to get clicks at the lowest cost, 'Headline 3' would stand out. Headline: "CHANEL's Craftsmanship Meets Timeless Design: The PREMIÈRE ÉDITION ORIGINALE" Ad Body: "Step into a world where time meets elegance. The PREMIÈRE ÉDITION ORIGINALE, inspired by CHANEL's rich heritage, is a masterpiece that intertwines the past with the present. From its design reminiscent of the N°5 bottle to its bracelet that mirrors CHANEL handbags, every detail speaks of luxury. Join Lily-Rose Depp in a cinematic experience and embrace CHANEL's audacious spirit." Models Applied: Relationships (Your customer, The advertiser), Imagery (Visual), Emotions (Feelings: joy, anticipation), Time (Past, Present), Capability (Is, Does), Proof (Credibility: Powerful Associations), Numbers (Dates), Language Devices (Metaphor), Locations (City, Historical). Total Impressions: 52 Total Reach: 52 Clicks: 5 CPC: $0.12 CTR: 9.62% Takeaways/Insights So in this thorough case study, I extensively analyze, examine, and audit Chanel's ads relating to the watch, then come up with new ad ideas based on 17 analysis "lenses", and finally validate ad ideas by running them through paid FB traffic to determine the winning ad. Ad #9 using Emotions (anger, envy, defiance, disgust) and Shame (defeat) commands the highest impression, reach, and clicks but with a high CPC. It appears when users saw & heard a message using a different tone (defeat, anger) vs. joy & anticipation, the ad could probably catch their attention. Marketing 101 says the first thing is that you need to capture the attention of users. Without attention, all other marketing objectives become useless. Ad #9 achieves the goal of attracting attention and spreading the message. What I would recommend is to modify the landing page accordingly to match the tone of the landing page with the message to increase the overall CTR. For a complex product like the Chanel watch, being different and standing-out works. Having only one control ad can seriously underperform your entire campaign because of the lack of A/B Testing, targeting limitations, ad fatigue, risk management, and optimization challenges. Having multiple analysis "lenses" is the foundation to come up with ad ideas addressing customers' needs, wants, objections, pains, and frustrations. Without additional analysis "lenses", you are more likely to get "stuck" with boring and mediocre "features & benefits" angle. Ideas & creatives are the name of the game. I'd recommend Chanel create more ad angles for each of their products. The path of "Extreme Ads Makeover" doesn't stop and should be continuously evolving with the market. What-If Revenue Impact Analysis What If Chanel went ahead and doubled down on ad #3 with the lowest CPC,  what would be the revenue impact? Let's make some assumptions: The conversion rate is 1% (given the normal conversion rate of 2%) Chanel watch: $5950 Double down on ad #3 by increasing the number of clicks to 10,000 clicks (Cost = 100,000 clicks x $0.25 = $25,000) Let's calculate the potential revenues At 0.01% conversion rate, 100,000 x 0.01% = 10 merchants signed up Revenue = 10 x $5950 = $59,500 ROI = 138%  ($59,500- $2,500) / $2,500) At 0.05% conversion rate, 100,000 x 0.01% = 50 merchants signed up Revenue = 50 x $5950 = $297,500 ROI = 1090%  ($297,500- $25000) / $25000) At 0.1% conversion rate, 100,000 x 0.1% = 100 merchants signe

d up Revenue = 100 x $5950 = $595,000 ROI = 2,280%  ($595,000- $25000) / $25000) Next Step Double down on the winning ad and amp up the budget on it because I've done the homework for you, all you need is to increase the ad budget. I share with you the 17 proprietary models I used to create ad ideas. While those 17 models appear easy for me because I've used them to generate thousands of ad ideas, for you, generating ideas may not come easily. That's why I want to introduce the... "Second Opinion" Package If you are a 7-figure business owner and already run paid ads and need someone to critique your ads for a potential makeover, go ahead and order my "Second Opinion" package.   https://michaelnguyen.me/extreme-ads-makeover-chanel/?feed_id=334&_unique_id=64fbba8f761c8

[chanoyu-to-wa]

Nampō Roku, Book 7 (69b):  the “Genpon” [原本] Account of Rikyū’s Stay at Hakozaki.

69) While staying at Hakozaki, chakai were [hosted] in various places¹.  During the meals, shōro [松露] were brought out².  These [shōro] are a famous product of the pine-barrens in that region³.

    An elderly local told [Ri]kyū that although mushrooms are generally poisonous, there are no toxins in shōro⁴.  That being the case, regardless of whether they are large or small, [the shōro] should be scored lightly with a blade, after which they should be eaten⁵.  [But] because they can spoil spontaneously, those that have gone bad should be separated [from the ones that will be served]:  this is what was taught⁶.  Those are the facts -- this was all of [Ri]kyū’s story, as best I can remember it⁷.

    As for that old one, in the Port of Hakata, he was [reputed to be] the foremost chef, and was called Kaminoya Jitōgo [神ノ野治藤五]; and it was related that he also prepared tea [i.e., practiced chanoyu]⁸.

    In that [same] Hakata, [beside] the Sode-no-minato [袖ノ湊], in the place known as Ginsen [吟泉] -- it is a famous place -- lived many extremely wealthy people⁹.  There were also numerous people who [practiced] suki [数奇]¹⁰.  [Ri]kyū declared, “all of them, every single one, are [my] disciples¹¹!”  Many of [these] people [are known to] go up to Sakai, to inquire into [Rikyū’s chanoyu]¹² -- including five or six individuals known [personally] to this monk¹³.

    At the end of [Ri]kyū's diary, dividing [them] province by province, [he] was also want to record [the names] of the suki-sha [数奇者]:  [in] Yamashiro [山城], Yamato [大和], Ōmi [近江], Sesshū [攝州], Kashū [河州], [and] Senshū [泉州]¹⁴.  [But as for the remainder of the country,] other than [in the area around] Chikuzen, chajin [and] suki-no-hito [数奇ノ人] are rare¹⁵.

    Especially in the countryside, they obediently follow [Ri]kyū’s style [of chanoyu]¹⁶.  Because this is certainly true, verily the [people practicing the] chanoyu of the capital should be deeply ashamed [because they have abandoned Rikyū’s path]¹⁷.  This is, of course, the result of their pride [-- believing that they are “better” than the people of the countryside] -- or so it is commonly said.

__________________________

◎ The three entries, as found in the Enkaku-ji manuscript of the Nampō Roku, appear to be independent comments, if we look at them grammatically -- even though they are all discussing things connected with Rikyū’s time at Hakozaki (as part of Hideyoshi’s entourage)*.  Indeed, as mentioned in the previous post, they appear to be either entries from a diary that Rikyū kept to document his stay in Hakozaki/Hakata (which is otherwise unknown†), or a collection of spurious entries contrived to appear to be diary entries (perhaps in imitation of the Sōtan nikki [宗湛日記] of Kamiya Sōtan [神谷宗湛; 1553～1635]).  The purpose of this narrative (in its present unified form), however, is nothing less than to reinforce the supremacy of the Sen family throughout the entire nation‡.

    While certain minor changes were made in order to meld the three original entries together into a single narrative, other modifications found in the genpon text appear to have been introduced in order to whet the curiosity of people living outside the traditional enclave of Kyōto-Ōsaka-Nara**, in the hopes of seducing them into making the purchase.

    Nevertheless, some of these modifications -- changes in the way the details of this entry were understood -- are first found in the toku-shu shahon.  They, thus, seem to have arisen within the inner sanctum of the Enkaku-ji itself (though, since most of the Enkaku-ji scholars left us no records of their thoughts, we have no way of telling how widespread the influence of the Sen family had actually permeated into that institution).

    As for the connection with the Sen family that is hinted at in this entry, though the argument usually made is that the Nambō-ryū [南坊流] (Nambō School of chanoyu) was founded by Tachibana Jitsuzan himself, Jitsuzan, though originally a disciple of Sōtan, broke with his former teacher after he became aware of the Shū-un-an collection of documents (because these documents revealed that Sōtan had apparently changed things†† to the point where Rikyū’s chanoyu could no longer be found in the teachings that were being promulgated by the Sen family).  As a result, the argument that the Nambō-ryū was an affiliate of Omotesenke (or at least fell within that school’s “umbrella,” or sphere of influence) could not have been made before the second or third decade of the eighteenth century (perhaps the Sen family’s first tentative feelers were extended to the Enkaku-ji in the wake of Jitsuzan's death, in 1708),  Nevertheless, it is plausible, because many of the scholars would have already been affiliated with the Sen family prior to their admission into the scholarly circle in the Enkaku-ji.

    In recognition of this history‡‡, I decided to use the genpon version (as the final stage of this evolution) as the basis for this translation, with Shibayama’s textual variants discussed in the footnotes. ___________ *As I mentioned in the last post, there are strong parallels between these three (or four -- if we consider the core part of entry 66 to be part of the series, before it was fleshed out in the interests of supporting the Sen family’s way of staging the no-gake) entries and portions of Kamiya Sōtan’s diary of his experiences during his trip to Kyōto and Ōsaka (to meet with Hideyoshi in the run-up to the Kyūshū campaign of 1586~7).  Indeed, the argument appears to be that since Kamiya Sōtan (as the ultimate champion of the Hakata style of chanoyu) made the effort to document his experiences in the capital, then Rikyū (as the proponent of the orthodox style) was taking up the gauntlet by producing a “travel diary” of his own, so as not to be outdone.  Though the fact that, other than these three or four entries -- that are written in a late seventeenth century vernacular -- the document itself is wholly unknown outside of Book Seven of the Nampō Roku itself, it is not difficult to arrive at the conclusion that this material, in its present form, is spurious (even if the details that are preserved here are, to a certain extent, accurate).

†That said, it is entirely possible that some sort of diary (perhaps originally consisting of a record of chakai that Rikyū hosted while in the area, annotated with kaki-ire preserving certain other relevant details) was found among Rikyū’s papers -- with these fragments having been removed by Nambō Sōkei from the bundle of wastepaper when Rikyū emptied his archive in preparation for his removal to Mozuno.

‡While chiding the practitioners in the capital to abandon their heresies, and get back in line behind the Sen family.

**Because of the bakufu’s edict that all official interactions between the daimyō (and others, such as the leading members of the merchant and financial sectors) and representatives of the government were supposed to include chanoyu, interest in tea began to spread beyond the confines of the capital, Sakai, and Hakata, and into the countryside -- all the more so among the citizens of Edo.  Since the people of Kyōto were infamous for the way that they looked down on everyone who had been born anywhere else, anything that appeared to be calling them out was bound to win favor with citizens in the rest of the country -- especially those in Edo.

††This would have seemed to be the case because, by Jitsuzan’s time, the fiction of a relationship between Rikyū and Shōan and Sōtan had officially been elevated into the realm of fact.  Thus, rather than understanding that Sōtan was simply following the machi-shū tradition into which he had been initiated (as followers of Imai Sōkyū), Jitsuzan concluded that Sōtan had deliberately decided to deviate from Rikyū’s teachings for some unknown reason -- an accusation to which Sōtan was incapable of making an answer (since he had personally changed nothing).

‡‡The approach taken in Shibayama Fugen’s material seems to locate it midway between what we find in Tanaka Senshō’s “genpon” and the original (which ends on a distinctly antagonistic, anti-Sen family, note) that is found in the Enkaku-ji manuscript.

¹Hakozaki tōryū no uchi, tokoro-dokoro ni chakai arite　[箱崎逗留ノ内、所〻ニ茶會アリテ].

    The first phrase basically parallels the Enkaku-ji text, albeit with the last word changed from ma [間] (during the time when something occurred) to uchi [内] (occurring within a certain interval).  There is no impact on the English meaning, however.

    The second phrase is completely different.  Whereas the Enkaku-ji manuscript described the round of chakai as incessant, not allowing Hideyoshi time to work or rest, tokoro-dokoro ni chakai arite [所々に茶會ありて] simply means that there were tea gatherings “here and there,” or, as I wrote in the translation, “in various places.”  Nothing about this version suggests the great number of chakai, nor the clamoring for Hideyoshi’s attention that were important details of the original narrative.

    Here, Shibayama Fugen’s toku-shu shahon version has:  Hakozaki tōryū no ma, tabi-tabi Hakata no chajin nado mo shitai atsumari, nichi-nichi denka no go-yō tsutomeraruru hima ni mo, sukima-naku chakai ari [箱崎逗留ノ間、度〻博多ノ茶人等シタヒ集フ、日〻殿下ノ御用勤メラルヽ隙ニモ、透間ナク茶會アリ].  This is almost identical to the complete text of what we found in entry 67. 

    The only difference is that the character repetition symbol [〻] has been misinterpreted as the particle ni [ニ] in this version*.

    Hima-hima [隙々] is simply a more emphatic reference to (Hideyoshi’s) free time, while hima ni [隙に] would mean during (Hideyoshi’s) free time.  Once again, there would be no real difference in the English translation occasioned by this. ___________ *This kind of thing is not uncommon in transcripts of classical documents, and can be considered an artifact resulting from the handwriting itself -- especially in cases, such as this, where either interpretation makes sense.

²Ryōri ni shōro wo dasu　[料理ニ松露ヲ出ス].

    This brief sentence is the same in all three versions of the text.

³Kore ka no matsu-bara no meibutsu nari　[コレカノ松原ノ名物也].

     The genpon text adds kore [これ] (“this” or “these,” indicating the shōro) to the beginning of the sentence, but otherwise the several versions are the same.

⁴Tokoro no toshiyori, Kyū [h]e oshie-keru ha, subete kinoko doku ari-domo, shōro doku-nashi　[所ノ老者、休ヘヲシヘケルハ、総テ茸ハ毒アレドモ、松露ニ毒ナシ].

    Here the old man is referred to as toshiyori [老者] (“the/an elderly one”), apparently the popular term at the end of the eighteenth century, rather than rōjin [老人] (“old man,” “old person”), which is found in the other versions.

    Kyū [h]e oshie-keru [休へ教��けるは] means (the old man) told or taught* Rikyū....

    Subete kinoko doku ari-domo [総て茸は毒あれども] means “although mushrooms are generally poisonous....”

    Shōro doku-nashi [松露に毒なし] means “there is no poison in shōro.”

    This abbreviates the original somewhat -- which, replicated in Shibayama’s text, is:  tokoro no rōjin, Kyū ni oshie-mōshikeru ha, subete kusabera-no-rui doku ari, shōro doku-nashi [所ノ老人休ニ教ヘ申ケルハ、スベテ草ベラノ類毒アリ、松露ハ毒ナシ].

    Here the discussion is focused on mushrooms, rather than plants in general, as in the original. ___________ *The language in the original is more deferential.

⁵Sare-domo, dai-shō tomo ni sukoshi-zutsu katana-me wo irete tabe-subeshi　[サレドモ、大小共ニ少ヅヽ刀目ヲ入レテ食スベシ].

    Again, this sentence is basically the same as what we see in the other versions.  However, rather than saying that the shōro should be boiled in broth before being served (i.e., as a part of the ni-mono [煮物]), here it only says that they need to be scored lightly with a blade before being eaten -- which suggests that the editor possibly did not understand what shōro were*, or how they were traditionally served. ___________ *Shōro are indigenous to Kyūshū.  They are not found on Honshū, so would have been unknown to the chajin of Kyōto, Ōsaka, Nara -- or Edo (and to the editor who prepared this version of the Nampō Roku for sale in those areas).

⁶Shizen ni ha doku aru-koto ari, kore doku-ke komoru-yue nari to kyōji　[自然ニハ毒アル事アリ、コレ毒氣コモルユヘ也ト教シ].

    Again, the original has been shortened -- in a way that suggests the editor did not really understand what he was saying.

    Shizen ni ha doku aru-koto ari [自然には毒あることあり] means that (the shōro) can naturally become toxic....

    Kore doku-ke komoru-yue nari [これ毒氣篭るゆえなり] means (so) those that have become contaminated must be separated (from the others that are fit to eat)....

    To kyōji [と教示] means so (it should) be taught.

    Here Shibayama’s text has:  shizen ni doku ni ataru ha, doku-ke komorite no koto nari to iu-iu [自然ニ毒ニ當ルハ、毒氣籠モリテノコトナリト云〻], which is the same as what is found in the Enkaku-ji manuscript.

⁷Sa mo aru-beki-koto nari to, Kyū no monogatari omoiidzuru-mama shoki nari　[サモアルベキ事也ト、休ノ物語思出ルマヽ書記也].

    Sa mo arubeki-koto nari [左も有るべきことなり] means “that is the way it should be (understood).”  The other versions have sa mo arubeshi [左も有るべし] which means “that is what (you) should do” -- in other words, you should be careful, and make sure the shōro you offer to your guests are sound before you prepare and serve them.  This subtle difference implies that the editor is simply repeating without any real understanding.

    Kyū no monogatari omoiidzuru-mama shoki nari [休の物語思い出づるまま書記なり] means that “this was Rikyū’s story, as (I*) recollect it” -- a sort of disclaimer, so that anyone who got sick from eating shōro would not be inclined to retaliate against the publisher.  

    Shibamaya’s toku-shu shahon has sa mo aru-beshi [左モアルベシ], and nothing more.  Which is the same as what is found in the Enkaku-ji manuscript. __________ *The authorship of this modified text is being ascribed to (or blamed on) Nambō Sōkei.

⁸Kono toshiyori ha, Hakata no tsu ni te, dai-ichi no hōchō-nin nari, Kaminoya Jitōgo to iu-hito ni te, cha wo tateshi to katarare-keru　[此老者ハ、博多ノ津ニテ、第一ノ庖丁人也、神ノ野治藤五ト云人ニテ、茶ヲモ立シト被語ケル].

    Aside from differences over the old man’s name*, the other details of the story -- that he was the most renowned chef living in Hakata, and that he practiced chanoyu, remain the same across the different versions. __________ *The Enkaku-ji manuscript gives his name as Kamichi Tōgo [神治藤五], which Tanaka Senshō rejects outright.  That said, while he finds the family name cited in the genpon text, Kaminoya [神ノ野], to be reasonable, he nevertheless considers the personal name Jitōgo [治藤五] odd -- if not outlandish.  Of course, the man was probably not Japanese, and so not bound by Japanese sensibilities regarding what constituted a good personal name.

    Shibayama, meanwhile, has “神野治藤五,” which could be pronounced either Kamiya Jitōgo or Kaminoya Jitōgo.

⁹Ka no Hakata Ginsen no Sode-no-minato to iu-tokoro ha nasho ni te, fūki-no-hito ōku　[カノ博多吟泉ノ袖ノ湊ト云フ所ハ名所ニテ、富貴ノ人多ク].

    Hakata Ginsen [博多吟泉] appears to refer to a section of the Hakata colony*:  several rivers flowed through the walled city-state, with the important central areas consisting more of a series of islands of various sizes (though not as extreme as Venice) than as a unified landmass.  I have not found any historical references to this name -- but its appearance in the names of several high-end residential complexes (within Fukuoka City) suggests that it has a history in the area, as this text suggests.

    Aside from this addition (which is also found in Shibayama's version of the sentence), this sentence basically repeats the other information that is found in the Enkaku-ji manuscript. ___________ *Perhaps either to the artificially created island, or the peninsula from which it was separated when the anchorage was excavated in the twelfth century.

¹⁰Suki-no-hito mo ōshi　[数奇ノ人モ多シ].

    While this focuses our attention on the practitioners of suki (which, by the late eighteenth century, referred to practitioners of chanoyu exclusively*), Shibayama’s version also mentions the ka-jin [歌人] and fūryū-jin [風流人] that were enumerated in the Enkaku-ji manuscript (this omission would be in keeping with the continuing separation of the arts that continued to the end of the Edo period and beyond -- since people involved other arts, and those who did not devote themselves exclusively to one pursuit -- and one pursuit alone -- were considered unworthy of consideration). __________ *Specifically, those who were devoted to the use of the small room as the focus of their gatherings.

¹¹Kyū no mōsare, mina-mina mon-tei nari　[休ノ被申、皆〻門第ナリ].

    Kyū no mōsare [休の申され] means Rikyū declared....

    Mina-mina mon-tei nari [皆々門第なり] means “...all of them, every single one*, are (my) disciples.” __________ *Mina-mina is highly emphatic language.  Such a declaration, even if it were true (which it surely would not have been -- since, at the time, most of the residents of Hakata who were involved with chanoyu practiced their own “Hakata-style” -- as, indeed, was the case everywhere prior to the Edo period and its emphasis on conformity to the officially-sanctioned system), would have been grossly out of character for Rikyū.

    The Hakata-style, though it still exists even today, lost out primarily because it was never organized under a single authority figure (as, indeed, was the case even during Rikyū’s lifetime), the way the Sen family’s system was.  The modern schools were a product of the Edo period (and a direct consequence of the Tokugawa bakufu‘s attempt to organize and control every aspect of society); and nothing comparable ever existed prior to that time.

    The Enkaku-ji and toku-shu shahon versions have Kyū no montei to nari [休ノ門弟トナリ], which means “(among whom) were Rikyū’s disciples.”  The implication being that only a certain fraction had some connection with Rikyū.

¹²Sakai ni agarite tazune-kuri-shi hito ōshi　[堺ニ上リテ尋來リシ人多シ].

    This is similar to what is found in the other versions of the text -- though they begin with the words sono-nochi [其後], meaning “afterward,” or “later on*.” ___________ *This would suggest that these people became acquainted with Rikyū only during his visit to the area and, taken by his way of practice, later decided to make the journey to Sakai to learn more.

    Without the words sono-nochi, there is a suggestion that these people had long recognized the uniqueness of Rikyū’s style of chanoyu, and so had been in the habit of making the trip from Hakata to Sakai for years prior to his own visit to the area (meaning that Rikyū's chanoyu would have been significantly more widespread in the area than was actually the case).  Nevertheless, since there was regular commercial intercourse between Sakai and Hakata even before they were absorbed into the Japanese nation, making this kind of trip on a whim (as it were -- since there would be no financial advantage to doing so) would not have been difficult to arrange, or inconvenient.

    Kamiya Sōtan had met Rikyū during his trip to Kyōto and Ōsaka the year before, and had been entertained by him on several occasions.  But there is no indication that this had any impact on his personal way of practicing chanoyu -- which, as already stated, had such a strong impact on Hideyoshi.

¹³Kono-bō zonji no kata mo itsu-, mutari ari　[コノ坊存知ノ方モ五、六人アリ].

    Kono-bō zonji no kata mo [この坊存知の方も] means “among the people known (personally) to this monk also (were people of this kind -- in other words, people who made the trip to Sakai to study with Rikyū).”

    Itsu-, mutari ari [五、六人あり]:  itsutari [五人] means five people, mutari [六人] means six people.

    This version of the sentence is also found in Shibayama’s toku-shu shahon.

    In contrast, the Enkaku-ji manuscript only says kono-bō mo shiruhito ni naritaru-mama ari [コノ坊モシル人ニ成タルマヽアリ], meaning that “I* also knew people who did that.”

    The inclusion of a specific number in the two latter versions of this text was probably intended to make the statement seem more creditable -- that this text was recording an actual, factual episode. __________ *The speaker, who actually identifies himself with the sobriquet kono-bō [此坊], is supposed to be Nambō Sōkei.

¹⁴Kyū no nikki no owari ni, kuni-kuni wo wakete suki-sha wo shirusaretaru mo, Yamashiro, Yamato, Ōmi, Sesshū, Kashū, Senshū　[休ノ日記ノ終ニ、國〻ヲ分テ数奇者ヲシルサレタルモ、山城、大和、近江、攝州、河州、泉州].

    Again, this is basically the same as what is found in the other versions.  The only difference is that they add the words ha kakubetsu [ハ各別 = は格別] to the end of the list, which means “especially,” or “in particular” (in other words, that suki-sha -- affiliated with Rikyū -- were to be found especially in the aforementioned places).

¹⁵Sono-hoka ni ha Chikuzen hodo chajin suki-no-hito ōki ha nashi　[其外ニハ筑前ホド茶人数奇ノ人多キハナシ].

    Sono-hoka ni ha [その外には] means besides (Chikuzen), except for (Chikuzen).

    Chikuzen hodo [筑前ほど] means (our consideration is) limited to Chikuzen.

    Chajin suki-no-hito [茶人数奇の人] would seem to be intent on contrasting chajin (who would probably be professional practitioners)* with suki-sha (who would, then, be amateurs concentrating on the chanoyu of the small room)†.

    Ōi ha nashi [多いはなし] means there are not many (such people except in Chikuzen).

    Shibayama’s text has sono-hoka ni Chikuzen hodo chajin ōki ha nashi [其外ニ筑前博多ホド茶人多キハナキナリ] -- this version (as well as the Enkaku-ji text, which it mirrors) is missing the word suki-no-hito [数奇の人] -- so the aforementioned question was not being considered in these versions. __________ *These would be either teachers, or people who were sufficiently qualified that they could be teachers, if they so chose.  They would have mastered all of the levels, from the basics to the tea of the shoin and daisu, and have the menjō [免状] (or their equivalent -- menjō only appeared during the nineteenth century) to prove it.

†Suki-sha, during this period (the eighteenth century) would seem to refer to people who focused their practice on the tea of the wabi small room -- meaning that they were (at least in theory) not especially interested in obtaining expensive utensils, or concerned with the name of the craftsman or the object’s denrai [傳來] (history of transmission) -- or even with obtaining certification to document their own achievements in the study of chanoyu.

    That, in the modern day, such people actually are concerned with such things should be reprehensible.  This does not mean that one should go to the opposite extreme, that the utensils are worthless garbage; but that one should use a set of objects that are visually pleasing, easy to use so that one may prepare a good bowl of tea, and which are appropriate to the season and circumstances -- without any concern over their intrinsic value.

¹⁶Koto ni inaka su-nao ni Kyū no fū wo ukete　[コトニ田舎スナホニ休ノ風ヲ受テ].

    Koto ni inaka [殊に田舎] means especially in the countryside.

    Su-nao ni [素直に] means to obediently (receive or accept a teaching).

    Kyū no fū wo ukete [休の風を受けて] means Rikyū’s style is being followed.

    In other words, while the Enkaku-ji version refers to the widespread influence of Rikyū’s teachings, the inclusion of the word inaka [田舎] (countryside) here -- which restricts this argument to something done by the people in the countryside* -- is telling.

    Shibayama’s version of this sentence (which agrees with what we find here, in the genpon edition) is:  koto ni inaka su-nao ni Kyū no fū wo ukete [殊ニイナカスナホニ休ノ風ヲ承ケテ].  The difference between them is that in the toku-shu shahon we find the verb ukeru [承ける] (to inherit [something like a teaching] from), while in the other uses the verb is ukeru [受ける] (to receive [a teaching] from).  However, as with many other homophones in Japanese, the meaning is identical in the spoken language (with subtleties of nuance developed only as a consequence of which kanji is actually written). __________ *People in the countryside are studying and practicing chanoyu under several of what their contemporaries in the capital would consider severe impediments:  they have limited access to a teacher; and, for that reason, that person’s teachings might be seriously “out-of-date” (this was as much a problem in the Edo period as it is today -- it is also the issue that has had the biggest negative impact on modern-day chanoyu, resulting in the discouraged loss of many students due to the nonsense of changing the rules for a given temae sometimes from year to year).

    Also, the utensils available in the countryside would likely be nothing special (and potentially include many fakes).

    As a result, the chanoyu practiced in the countryside became a sort of running joke to the cultured chajin of the capital.

    Nevertheless, this is arguing that all such things aside, the practice of the people in the countryside was much more pure, much more attuned to Rikyū and his teachings (as promulgated by the Sen family) than were the corrupt chajin of the capital -- where everyone was inclined to rush off to the most fashionable teacher, adopting the latest fashions in the interest of being up-to-date.

¹⁷Mono-goto shin-jitsu naru-yue, naka-naka to chanoyu mo hazukashiki-koto ōshi　[モノゴト眞實ナルユエ、中〻都茶湯モハヅカシキ事多シ].

    This sentence is the same in all of the versions.  However, in light of the inclusion of the word inaka [田舎] in the previous sentence, the biggest reason that the chajin of the capital should be embarrassed is because they have abandoned Rikyū’s Way (meaning the way that the Sen family chose to do things), replacing his teachings with their own opinions that are designed to amaze and impress their contemporaries.  To the Sen family, this was the gravest of heresies.

¹⁸Meiyo no koto nari to zo, tsune-zune mōsare-shi nari　[名譽ノ事也トゾ、常〻被申シ也].

    Meiyo no koto nari to zo [名誉のこと] would mean it is well known that (they are) prideful and arrogant.

    Tsune-zune mōsare-shi nari [常々申されしなり] means this is what is commonly said (about this matter).

    This sentence, which is wholly missing from the Enkaku-ji manuscript, was quite logically included in Shibayama’s toku-shu shahon version of the text -- since it applies to the modified argument made in the preceding sentence.

[ixcap]

jasjeijsks here's edd and tom's design. i even included ringo's bcuz why not?

Tom Radcliff

he's like some sort of bounty hunter/assassin? anyway, he hunts

leaning onto the shorter side, but don't let his size fool you. he can outmatch you in a fight

this tom is more reserved and quiet than your average tom

he does talk, but only if he deems it neccesary

has a crossbow that he lovingly named susan

tom has a lot of weapons hidden somewhere on him, which caused the others to wonder where he puts them

he's a very skilled archer and a swordsman

tom is demisexual

he's the second oldest by 27

he probs have tons of scars from his previous battles

his pronouns are he/they/it

tom doesn't like tord much for... some reason

before he became who he is today, tom was used as a vessel in a cult convention when he was only nine years old, where a powerful demon from the underworld is summoned to carry its soul

but it kind of didn't work out well

after that, tom has to cope with the fact that he has a powerful ass demon that had fused his soul living within him, which maybe makes him a half-demon i guess?

he transforms into his full form strictly if he's experiencing a strong emotion

all those years of containing the demon provided him the knowledge to control his powers

tom can speak to his host and it annoys him that it always talks about how it can someday influence him

he met matt first when he saw him admiring the jewelry in a store

funny thing is that tom was paid by matt's dad to find his son who ran away

and so a fight began and tord was searching for matt until he found him battling against a short man who's obviously winning

tom compromised a deal after a lot of whining from matt that once he's done with whatever he wants to do, they have to go back to the castle

however, he has to come with them

matt was not happy about that

but he didn't want his ass kicked by a short ass guy

tom is good at playing the guitar and the flute

he hates physical contact (no he doesn't he's touch starved)

more info coming soon

Edd Gardner

edd is a researcher studying magic beasts and their origins

he received ringo from his grandmother who used to be a beast researcher

edd and ringo are inseparable

he is the oldest and the tallest of the group, only about five months older than tom

he's not familiar with combat, but he is decent with a dagger

he can use earth and healing magic :D

edd is a very resourceful guy. he has bandages, food, you name it

generally, he is friendly, however, edd is short-tempered

his intelligence is higher than your average edd, although he's actually a dumbass

not the athletic type :/

his parents are famous beast researchers at the magic beast institution where they often worked and edd is inspired to be just like them

he has a big brother named levin

despite his calm and mature nature, he tends to be a prankster

edd is happy that he finally has a pranking buddy in the group

he is bisexual

his pronouns are he/him

edd is like the mom friend of the group, keeping everyone in place

though not athletic, he is strong. very, very strong

edd can intimidate anyone with a cold-stone glare

he wasn't bothered by how he has a vampire prince and a demon as friends, but once they met he'd thought he felt obligated to bow

so he did and the first thing matt did was laugh

edd was embarrassed honestly

tord is the only person he could confide his trust to

not like he doesn't trust matt and tom, but sometimes, he wasn't sure

a huge animal lover

more info coming soon

Ringo

sweet cat 💓❤💕🥺

but fierce

she's a very large cat and is a magic beast

she used to be a small normal kitten—until she suddenly grew like 7 feet

ringo can expand her body to any size she wants

edd uses that ability to sometimes get a ride

she loves her best friend so much that she will do anything to help him

her claws are sharper than a dagger, so don't piss her off

weirdly enough, she and tord had this strange connection where they simply stare at each other for hours

she can sense auras

ringo is wary about tom's aura, partially because he carries a demon's soul in him.

she and edd's bond is so strong that ringo could speak to him via mental link

more info coming soon