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2023年1月29日

舜2/4 NEiN@博多ロゴスさん「1週間間違えたんで、今日は中学校の時からの友達の呑み(*´﹃ `*)✨ 35年くらいの付き合い… 数字にするとすげえな笑 https://t.co/O4Yijhvr1t」https://twitter.com/shun_thefuzzbox/status/1619260324783460353

SUGIZOさん「[INFO] 2/17(金)「WINTER EXTRAVAGANZA IN SEARCH OF KYOKA」に出演‼ #SUGIZO と渡邊荀之助（宝生流能楽師）、Neo Japanesque（和洋楽器混成バンド）、中村香耶（ダンサー）がジャンルを超えてコラボ！ 1/30(月)までのお申込みとなりますのでお見逃しなく！ ▼詳細はこちら https://t.co/0obv3o5Y5L」https://twitter.com/SUGIZOofficial/status/1619261623771725825

SUGIZOさん「[INFO] 2023/4/7(金)、4/8(土)に、#SHAG at BLUE NOTE TOKYO 2023の開催が決定致しました‼ いま最もドープで刺激に満ちた2020年代のジャズロックを、是非その目と耳で感じてください！ ▼詳細はこちら https://t.co/TnyjJlsEdr #SUGIZO #KenKen #別所和洋 #松浦千昇 #類家心平 #よしうらけんじ https://t.co/v7w0UKP7Kj」https://twitter.com/SUGIZOofficial/status/1619261960629125120

seekさん「Psycho le Cemuの作詞作業と MIMIZUQのワンマンツア��のベースの練習と 2/12水槽のたゆたうの選曲と 事務作業を並行している 行き詰まったらチャンネル変えて他のこと。 あっというまの土曜日。」https://twitter.com/seek_bonshisya/status/1619263174649470976

Hydeさん「こちらの商品は通信販売となります。VAMPROSE STOREでお買い求めください。」https://twitter.com/HydeOfficial_/status/1619265237294923776

Hydeさん「文太兄ありがとー！プレゼントもありがとう⭐️」https://twitter.com/HydeOfficial_/status/1619265392173797376

YOSHiPONさん「TEARS OF THE REBEL&Gimme Some Truth@池袋手刀ありがとう！ FOOD、DJ masaru君もカッコイイライブとイカした選曲最高でした✨ ヨシポン祭りって言われて照れ臭かったけど愛を感じてますよKOJI君 笑 GSTもライブ、物販と感謝です！ 両方メンバーに観られるって変な緊張感が、、 センちゃんも諸々感謝↓ https://t.co/M4JzWinwoI」https://twitter.com/YOSHIP0NxxxTOR/status/1619265923067834368

Ryuichi Kawamuraさん「明日は気をつけていらしてください🫶🏻 ブログ更新しました！ https://t.co/3iMNmkzLbV」https://twitter.com/RyuichiKawamur2/status/1619278147769491458

キリ(luin)🥁さん「O-WESTへyosugala主催に行ってきました🌊めちゃ良かった〜曲増えて楽しい◎ まといちゃん綺麗だし可愛いし歌かっこいいのです✨ 名前覚えてくれてて嬉しすぎる😭ありがとう更に好き…！という気持ちです。 マグネットヘアプロおすすめしたら手に書いてた(油性)大丈夫だろうか笑 #汐見まとい #yosugala https://t.co/JryWZqGV9Q」https://twitter.com/kiri_drums/status/1619278177309966337

SUGIZOさん「From Tokyo with Love 0127. TLRS有明アリーナ公演、無事(でもないけど😅)完走！会場で参戦してくれたみんな、映画館に足を運んでくれたみんな、そしてWOWOWで参加してくれたみんな、本当にありがとう！心から感謝！今後更に磨きをかけて飛翔していくよ。明日明後日のガーデンシアターで会おう！SGZ https://t.co/asueV8sDiE」https://twitter.com/SUGIZOofficial/status/1619279732641792002

森 翼mori tsubasa/MIMIZUQさん「ビール飲んでる。トイレ探してる。 https://t.co/29eStJh4gb」https://twitter.com/mori_tsubasa/status/1619281257669730309

プロフェッショナ��仕事の流儀さん「★緊急告知★ 視聴者のみなさまから大変多くのご要望を頂いていた #YOSHIKIスペシャル の再放送が決定！！ 2/4(土）午後3時05分～ 現在ライブツアー中の #THELASTROCKSTARS の舞台裏にも密着した番組です。 ぜひご覧ください！ #YOSHIKI #プロフェッショナル https://t.co/tE8teqfcvU」https://twitter.com/nhk_proff/status/1619274085460238336

横山企画室さん「H.U.Gでの横山曲が動き出しました＾＾b M5-4 https://t.co/jWX5QdYC5b #HUG #創作日誌」https://twitter.com/yokodile01/status/1619292530113409024

Naoko Yamazaki 山崎直子さん「#RemembranceDay of those who devoted their lives in space programs. 事故に���った宇宙飛行士達の追悼の季節。7年前に寄稿した #あすへの話題 と、同じく7年前に #ISS で開花した百日草(c)NASA。 #SUGIZO さんのギターにもシリアやイラクの子供達が描いた花の絵が。色々気が引き締まる季節です。 https://t.co/GWKauQfEbT」https://twitter.com/Astro_Naoko/status/1619274183913144326

seekさん「LIPHLICHさんから素敵なお誘い頂きました。 久我さん 新井先輩 たけぽん コバヤン と久しぶりに逢えます。 楽しみ。 LIPHLICH presents 2 MAN SHOW「LIPHLICH × MIMIZUQ」 5月20日(土) EDGE Ikebukuro OPEN 17:30 / START 18:00 前売 ¥5,000 入場時ドリンク代別 チケット https://t.co/tbp4nESF5K https://t.co/kqJMb8dEAQ」https://twitter.com/seek_bonshisya/status/1619293814660952066

魚住 英里奈(独唱)さん「1月 https://t.co/QeEIvtMruF」https://twitter.com/erina_chas/status/1619294797872918529

中島卓偉さん「明日までー！！！！ 頼むー！！！！ ＃中島卓偉」https://twitter.com/takuinakajima/status/1619297695470084096

Ivy darknessさん「明日僕お疲れ様でした」https://twitter.com/IVY_DOPE_SHOW/status/1619298614022668290

春川 眞 - Sana Harukawaさん「最後になりますが今回の企画から運営まで奔走されたKAIKIさん、K助さんに感謝を。 出演者が多く本当に大変なイベントではありましたが、貴重な経験をさせていただきました。 8/13には博多logosでSoleil復活ということで再度WITH SEXY、覇叉羅の予定が決まっています。ぜひまた皆様ご来場ください。 https://t.co/25do2N4NGe」https://twitter.com/SanaHarukawa/status/1619214754475810816

niguさん「そういばソラ君って何処行ったん？ 廃人バンドのローディーだったじゃん。 呼べば来るかな。（笑）」https://twitter.com/nigu_chang/status/1619302251394387968

横山企画室さん「会場チケット（メール予約） live-st@livestation.co.jp 配信チケットhttps://t.co/azbVhnyw8i」https://twitter.com/yokodile01/status/1619304801732530178

KINGRYOさん「間に合った🦁✨ 明日の柏パルーザでKING NEW ALBUM 【CRY OUT TO HEAVEN】を先行発売します。 特典にポストカードをと思いつき何とか間に合いました！ 喜んでいただければ幸いです✨ よろしくお願いします🦁 https://t.co/pTC8hw33nP」https://twitter.com/kingryoworld/status/1619307611693936641

Rorschach.inc(ロールシャッハドットインク)officialさん「【超重大発表解禁】 世界が僕らを受け入れないなら悪でいい。 "Villan"解禁🔪 🐰🐰🐰🐰🐰 2023.1.28 coming soon... official site https://t.co/GsolxZsqPL Youtube https://t.co/FaBMzJfSqB #ロールシャッハドットインク #rorschachinc #拡散希望 #重大発表 https://t.co/wp3QTOX8Op」https://twitter.com/Rorschachinc/status/1619305082956447744

ジョー横溝チャンネルさん「まもなく始まります！ https://t.co/FSoHzuWIYD https://t.co/dPTSUFgZv9」https://twitter.com/JoeYokomizo_Ch/status/1619312001532166145

Hydeさん「#YOSHIKI #HYDE #SUGIZO #MIYAVI #THELASTROCKSTARS #明日は東京ガーデンシアター @YoshikiOfficial @SUGIZOofficial @MIYAVI_OFFICIAL @LAST_ROCKSTARS https://t.co/DEFyKeexua」https://twitter.com/HydeOfficial_/status/1619312893438332929

Always with you～to おはる ♡～さん「運営より おはるさん応援イベントAlways with you ~ to おはる♡~ 無事に3日間終えることができました。 立ち上げから3年、いつ開催できるか分からない状況になり、やきもきした日々を過ごしてまいりましたが、 その日々も今となっては懐かしく良い思い出になったかのように感じます。」https://twitter.com/oharuevent/status/1619312992205815808

Always with you～to おはる ♡～さん「当初、開催予定していた高崎フリーズの閉店や出演者のスケジュールが合わず出場辞退、企画倒れしたプロジェクトなど全てがうまくいったわけではありません。 それでも、おはるさんが元気に喜んでいる姿を見ると最終的にはイベントは大成功に終わったのではないかと思えました。」https://twitter.com/oharuevent/status/1619313142361882625

Always with you～to おはる ♡～さん「急で無理なお願いや細かいルールなどに協力して頂いた出演者様、ナルシススタッフ、関係者の皆様 開催できるかも分からないイベントを信じて待っていてくれた皆様 会場に来場してくれた皆様、配信を視聴してくれた皆様、ずっと応援してくれた皆様」https://twitter.com/oharuevent/status/1619313267226320898

Always with you～to おはる ♡～さん「皆様のおかげで、おはるさんは笑顔になれました。 全ての人達に感謝いたします。」https://twitter.com/oharuevent/status/1619313351313723393

Always with you～to おはる ♡～さん「このアカウントが動くことはもうないと思いますが 削除してしまうにはあまりにもたくさんの想いが詰まっていますので このままにしておきたいとおもいます。 本当にありがとうございました。」https://twitter.com/oharuevent/status/1619313435967365120

Always with you～to おはる ♡～さん「おはるさん！いつまでも元気で！ みんなの母でいてください。 まだまだ思い出作っていきましょう。 運営一同 https://t.co/UhgIGAhTK8」https://twitter.com/oharuevent/status/1619313555450507264

ヴィジュアル博士のる@監修オムニバスCD2種発売中さん「【ソノヒグラシ/KNOW麺】 昨年始動したばかりの若手バンドによる3ヶ月連続配信シングル第3弾。 若者やV系リスナーには馴染みのあるテーマを歌詞に選び、今時の骨太メロディアスなV-ROCKを放つ彼ら。今回の歌詞のテーマはタイトル通り。誰しも人生一度は歌詞のようにお金に困ったこと、ありますよね？ https://t.co/AHZHgM8HKn」https://twitter.com/vr_noru/status/1619315998125096960

nao 首振りDollsさん「やっぱりブランキーが好き！！！！ たまらん！！！！ たまんねぇぇぇぇえええ！！！！ って観たり聴いたりするたびに思います。 そういうバンドに出会えるってのは幸せな事ですね。 ただ、ライブを生で観たかった。 そんなバンドにこの先出会えるだろうか。 いや、そんなバンドに自分がなるんだ。」https://twitter.com/kubihuri_nao/status/1619317865894805510

kazuさん「幻覚 vs BALZAC『 幻覚308・ダークイズムアレルギー 』へ。 最高でした！ https://t.co/uohUlCYrfI」https://twitter.com/sckkazu/status/1619319846902308865

千歳@アマミツゝキ/ヘルブロス/マクラカ壊死さん「マクラカ中野お疲れ様でした！ 無事に楽しく1月のマクラカ月間終わりました✌️ 来月はバレンタインワンマン！ ギブミーブラックダイアモンド🍫 https://t.co/6s6l1pOkIa」https://twitter.com/chitose_chitoru/status/1619320066683830273

森 翼mori tsubasa/MIMIZUQさん「muuji festival！ POLYCATとTHE TOYSとGREASY CAFEとぱしゃり。 #POLYCAT #thetoys #GREASYcafe https://t.co/HeKWcyTrF0」https://twitter.com/mori_tsubasa/status/1619324583454322694

Köziさん「https://t.co/cFWeicwHzN」https://twitter.com/Kzi_official/status/1619329097540452353

Ivy darknessさん「1月のマクラカは終わりました 2/14=二万電圧ワンマン 2/24=巣鴨獅子王スリーマン 2月は二本だけだけど濃厚な日にしましょ 脳味噌を差し出しましょうの日 https://t.co/Ab0ImMPf64」https://twitter.com/IVY_DOPE_SHOW/status/1619329968970031105

ジョニーダイアモンド首振りDollsさん「今日はノットエーリハでした 素晴らしい選曲ばかりです それにしてもめちゃくちゃ猫背ですね」https://twitter.com/Tracisixteen/status/1619332552699047938

タイザーさん「明後日のMUNIMUNIワンマンに向け12時間眠りました、マックス元気です🔥 1/30 池袋手刀 【出】MUNIMUNI 【時】19:14/19:44 【チ】¥3500/¥4500 https://t.co/NvGTCJmPrB https://t.co/nDesvLRVtz」https://twitter.com/taizodiac/status/1619332961069056000

Ivy darknessさん「十分後ぐらいに過去チェキ販売いたしますしコタツに入ってますしお風呂にも入りたいと思います。 https://t.co/xWLrfQFaew」https://twitter.com/IVY_DOPE_SHOW/status/1619337745213845505

ヴィジュアル博士のる@監修オムニバスCD2種発売中さん「オムニバスCD「NO VISUAL, NO LIFE vol.3(仮称)」について、関係者の皆様にDMをお送りいたしました。 お手隙の際にご確認くださいますよう、よろしくお願い申し上げます。 #NOVISUALNOLIFE」https://twitter.com/vr_noru/status/1619338624314793985

Deshabillz2023年4月29日(土) 名古屋 MUSIC FARMさん「押忍！明日チケ発ですが会員登録をしておいて頂くとスムーズですので宜しくお願いします！ 詐欺じゃないし、個人情報抜かれないから安心しろ 押忍！当たり前す笑 めんどくさくてわりーな 押忍！宜しくお願いします #拡散お願いす #4月29日名古屋ミュージックファーム #Deshabillz https://t.co/OpsqjskxTi」https://twitter.com/Deshabillz2022/status/1619341461207805952

lucy+peter=esolagoto / 中村真悟さん「籠もってました。 今修練している楽曲達、 兎に角引っ掛けが多く苦戦を強いられていますが、笑 ようやく少し掴んできました😉😉😉 https://t.co/rayZvmPbLE」https://twitter.com/lucy_peter/status/1619343283481870338

森 翼mori tsubasa/MIMIZUQさん「タイFESお疲れ様モイ！iPhoneからキャス配信中 - https://t.co/Tbofluj0Gv」https://twitter.com/mori_tsubasa/status/1619345770108551169

UNCLOCK LOVER 頼田陵介さん「帰宅してリクエストの曲を少しやっかいそうなのから触ってる😅 早いのもま、なんとか弾けそう🙋‍♀️ 明日も朝からバタバタやから明後日くらいにUPかな😊 楽しみにしちょってくれぃ✌️✨」https://twitter.com/yorita_ryosuke/status/1619348338876481536

舜2/4 NEiN@博多ロゴスさん「僕この写真好き(*´﹃ `*) リーヤさん好き(*´﹃ `*)✨ お兄ちゃんっていうかお父さん笑 覇叉羅はほんとに好き(*´﹃ `*) 一回やめたけど https://t.co/Hz3FdFfUea」https://twitter.com/shun_thefuzzbox/status/1619348692435374080

seekさん「さっきお風呂に入ってて 以前見た夢の中で作詞してたものがうまくまとまりそうやったので取り掛かる。 そんな中、翼くんのタイフェスおつかれさまツイキャスを見ている。 なんかキラキラしている。 並行しながら歌詞書いている。 内容の風景が暗すぎる。 ギャップがありすぎて頭おかしくなりそう。」https://twitter.com/seek_bonshisya/status/1619348990130282498

舜2/4 NEiN@博多ロゴスさん「どこぞの茶番バンドとは大違いだな(*´﹃ `*)」https://twitter.com/shun_thefuzzbox/status/1619349102273392642

MIYAVIさん「🕺🕺🕺🕺=💥🌍🤘🏻💙」https://twitter.com/MIYAVI_OFFICIAL/status/1619351987593826306

MIYAVIさん「@HydeOfficial_ @YoshikiOfficial @SUGIZOofficial @LAST_ROCKSTARS And,,,, happy birthday!!!!!!!!! Wish you another rocking year with love and happiness. Let’s rock the world 🤘🏻Love.」https://twitter.com/MIYAVI_OFFICIAL/status/1619352231597477891

[chanoyu-to-wa]

Nampō Roku, Book 3 (18.25):  the Ō-ita [大板], Part 1.

18.25) the ō-ita [大板], two sketches for the shoza.

[The writing reads:  (to the right of the upper sketch) ō-ita (大板)¹; isshaku san-sun shi-hō (一尺三寸四方)², mata isshaku san-sun ni  isshaku ni mo ・ isshaku issun ni mo (又一尺三寸ニ 一尺ニモ ・ 一尺一寸ニモ)³; gyaku-gatte (逆勝手)⁴; (to the right of the lower sketch) isshaku san-sun go-bu ni shite mo kurushikarazu yo, Sōkyū kakete mōshi-soro aida, [Ri]kyū [h]e tazune mōshi-kereba, migi-za tatami no me hitotsu aru-beki ga, sono kokoro-e naku  ni-me ni oki-tara ba, ōi ni higa-goto naru-beshi to iu-iu [一尺三寸五分ニシテモ不苦由、宗及被申シ間、休ヘ尋申ケレハ、右座疊ノ目一ツアルヘキカ、其心得ナク 二目ニ置タラハ、大ニヒカコトナルヘシト云〻)⁵; onaji (同)⁶, jun-gatte (順勝手)⁷; (to the left of the lower sketch) kan・habōki (カハン ・ 羽帚)⁸; tadashi kan ha onaji shiki ha mazui, oku-sore ba, hana-kami shiki nari (但クハンハ同敷ハ不好、置候ヘハ、鼻紙敷也)⁹.

_________________________

◎ This, and the following, pair of installments constitute another “mini-densho” (shown, intact, below) probably also written by Jōō.  Which is to say that the sketches were drawn by him, and in the specific order in which they appear in Book Three of the Nampō Roku.  The kaki-ire [書入] were, of course, added by other hands, and not necessarily those intent on representing Jōō’s authentic teachings, with regard to this shiki-ita.

    Both Shibayama Fugen and Tanaka Senshō deal with all four sketches (two on each page) as a unit, but the length of the footnotes and commentary preclude my following their format here.  Tanaka, in particular, limits his own comments to a rather brief summary at the end of this section, leaving the kaki-ire to stand without any attempt at interpretation or explanation at all.

¹Ō-ita [大板].

    According to Rikyū's account, the ō-ita was created by Jōō, as a temporary base for the small bronze kimen-buro (this furo is usually around 8-sun in diameter) when it was taken off of the small shin-daisu for the sumi-temae.  At that point in time, the daisu, decorated with the rest of the kaigu (and the temmoku and chaire on the ten-ita), was displayed in the tokonoma during the shoza, while the furo was placed (in this case, on the ō-ita) on the utensil mat, where the host performed the sumi-temae.  This helped to prevent damage to the daisu caused by charcoal dust and sparks.  The daisu was moved to the utensil mat during the naka-dachi, and the furo (with the now-boiling kama) was lifted up onto it at this time*.

    The ō-ita was originally placed on the left side of the utensil mat (irrespective of the actual orientation of the tearoom), since that was the side of the mat that the furo would occupy when restored to the daisu during the naka-dachi.  (The sumi-temae was performed much as if the daisu were actually present on the utensil mat.)

    Later, as Jōō's inclination toward wabi deepened, he put the daisu and the rest of the kaigu away, and left the small furo on the ō-ita for the duration of the chakai -- with the mizusashi placed directly on the mat at its side.

    The size of the ō-ita was derived from that of the small daisu.  The 1-shaku 3-sun square represented the space occupied by the small furo on that daisu.  The original ō-ita, however, seems to have been made from the ten-ita of an old large daisu -- since this kind of daisu would have been much more common†.

    In Rikyū's densho he wrote that the ō-ita should be placed 5-me (2-sun 5-bu) from the heri, and either 9-me (= 4-sun 5-bu) or 11-me (= 5-sun 5-bu) from the far end of the mat‡; and, according to his kaiki, it seems that the ō-ita was being placed on the side of the utensil mat closest to the guests’ by the 1580s**. __________ *This idea basically imitated the Shino family's practice:  the Shino-dana [志野棚] (which was basically a fukuro-dana that had a pair of hinged doors enclosing the ji-fukuro:  the doors had a locking mechanism that kept the guests from looking at the host’s collection of kyara incense that was stored in the ji-fukuro) and other incense implements were arranged on the utensil mat during the shoza.  Afterward, during the naka-dachi, the tana was lifted into the tokonoma, and a daisu, kaigu, and furo (with charcoal and a boiling kama already arranged in it) were brought out from the katte and placed on the utensil mat.

†Though there are certain indications that the inakama setting had already been used on the continent, the small shin-daisu only appeared (in Japan) when Jōō began to use a 4.5-mat inakama as his tearoom.  Consequently, there were no ten-ita from “old and damaged” daisu of this sort that could be recycled as shiki-ita.

    Since the ten-ita of both sizes of daisu have rounded edges, it would be impossible to cut an ō-ita measuring 1-shaku 3-sun square (with the perfectly perpendicular edges seen on all shiki-ita) from the ten-ita of a small daisu.  The other sizes mentioned -- 1-shaku 3-sun by 1-shaku or 1-shaku 1-sun -- could have been cut from the ten-ita of a small daisu, and it seems likely that there would have been a number of these available by the early Edo period (since the preference had briefly shifted back to the kyōma 4.5-mat room during Hideyoshi’s lifetime -- though when the capital was removed to Tōkyō, the inakama room returned to favor as a consequence of the lack of space in the cramped quarters of that city).  These smaller versions of the ō-ita were made by machi-shū chajin years after Jōō's death.

    With the advent of the inakama setting, the kyōma fell out of fashion with many of the machi-shū chajin of Sakai and (to a lesser extent) Hakata, hence the ready availability of ten-ita from old daisu that had been originally made for use in that setting.

‡In the Nambō-ate no densho [南坊宛の傳書], this entry (which is the first to be discussed in the document) reads ō-ita no koto, hidari no waki tatami no me go-me, saki kyū me ・ jū-ichi me, dai-jō to tsune-no-datami to nari [大板之事、左のわき疊の目五目、先九目 ・ 十一目、大疊と常の疊と也].  This means “concerning the ō-ita:  on the left side, 5-me; and in front [of the ita], 9-me ・ 11-me -- [depending on] whether it is a large mat or an ordinary-sized mat.”  These arrangements are shown below, drawn to the same scale (with the kyōma tatami shown on the left, and the inakama -- the “ordinary tatami” -- on the right):  in both sketches, the katte is assumed to be on the host's left.

    When Rikyū wrote the  he was still operating fully within the limitations imposed by Jōō’s teachings.  Thus, though Rikyū does not cite a source for this teaching, it is most likely that this represented the way that Jōō arranged the ō-ita on the utensil mat.

    At this point in time, the inakama tatami was still commonly used (for the 4.5-mat room), which is why Rikyū refers to it as the “ordinary mat;” and, under the influence of Nobunaga, the orientation where the katte is located on the host's left was coming to be preferred.  (This densho, which is the earliest of Rikyū's writings to survive, was apparently the second such to be addressed to Nambō Sōkei, and Rikyū appears intent on guiding Sōkei in the most socially acceptable -- and least dangerous -- way of doing things possible.)

**Since the furo cannot be located underneath the tsuri-dana (which, in his room, was a Shū-un-an dana, meaning a tsuri-dana attached to the wall on the left side of the utensil mat), the only possibility was if the ō-ita was placed on the right side of the mat, near that heri.

²Isshaku san-sun shi-hō [一尺三寸四方].

    This, as mentioned above was the size of the original ō-ita that was made by Jōō.  While made as a base for the small bronze kimen-buro, and derived from the size of the small shin-daisu, the actual ō-ita seems to have been cut from the ten-ita of an old large daisu.

³Mata isshaku san-sun ni  isshaku ni mo ・ isshaku issun ni mo [又一尺三寸ニ 一尺ニモ ・ 一尺一寸ニモ].

    These smaller ō-ita, as mentioned above, could have been cut from the ten-ita of an old small shin-daisu (which would have been available for this purpose in the early Edo period, as a result of the return to the kyōma 4.5-mat room, and the preponderance of wabi-no-chanoyu, which made all daisu superfluous*).

    Ita of these sizes were made by the machi-shū, and had nothing to do with either Jōō or Rikyū. ___________ *The daisu ultimately made a return in the Edo period, under the theory that receiving guests of different social ranks demanded different forms of chanoyu service.

⁴Gyaku-gatte [逆勝手].

    Gyaku-gatte [逆勝手] is usually translated (and presently understood to mean) “reversed” katte -- that is, the katte is found on the opposite of the room from that seen in the original orientation.  As used in the present entry, this arrangement is shown below (note that the katte is located on the right side of the utensil mat).

    However, the kanji that is read gyaku [逆] actually has a more sinister meaning -- to disobey, to rebel -- and this sense of the word likely stands in the background of the question of why what was originally the hon-gatte [本勝手] (the arrangement where the katte is located on the host's right, with the guests seated on his left -- as seen in the Dōjin-sai [同仁齋] and other classical shoin-style tearooms) suddenly became the “reverse” (or “traitorous”) setting.  The idea seems to have arisen with Nobunaga, because arranging the room with the guests seated on the host's left means that the guests will be unable to see what the host is doing*.  From this arose the bad feelings that persist over what was the original way to arrange the room in which chanoyu was to be performed‡.

    It might strike the modern reader as rather odd that the “reversed” position is reviewed first, while the jun-gatte [順勝手]** is considered second.  But this was likely because Tachibana Jitsuzan simply copied the sketches in the order that they were found in the original document -- which, in the source documents, appear to consistently present the material in its proper historical sequence -- with the terms “gyaku-gatte” and “jun-gatte” added later, to reflect the Edo period norms that were descended from Hideyoshi's edicts. __________ *Most of the early chajin (including Jōō and Rikyū, and their principal disciples -- both Japanese and Korean) were, at least nominally, affiliated with the Ikkō-shū [一向宗] -- the dangerous religious movement that held that all men, regardless of their social position or birth, were completely equal after a single repetition of the nen-butsu [念佛] (the incantation “namu Amida-butsu” [南無阿彌陀佛]).  This is the source of the so called “democracy in the tearoom” of which many writers have made note.

    It appears that the social revolution that brought down the Koryeo dynasty in Korea was championed by followers of this sect, hence the unease with which Nobunaga, and then Hideyoshi, viewed its adherents.  It was also because of this that, while interacting with these people was increasingly necessary (since their ranks included the leaders of the machi-shū of Sakai and Hakata, whose cooperation was absolutely necessary for the success of their respective plans), neither Nobunaga, nor Hideyoshi, ever completely trusted their tea masters.  (Rikyū's being invited to take a second wife -- a trusted woman out of Hideyoshi's own harem, who then acted as Hideyoshi's spy in the deepest recesses of Rikyū's home -- once he became a member of Hideyoshi's household, clearly shows how far Hideyoshi was prepared to trust this “most trusted” adviser.)

‡The original orientation, with the daisu on the right, and the chief guest on his left, was derived from the arrangement of the altar in the temples where chanoyu arose:  the Buddha is seated in the middle, with the image of Yakushi nyorai [藥師如来] (the “Buddha” of Healing -- who was the patron of both the tea plant, and the practice of preparing and serving tea) seated on his left hand.  The daisu was set up in front of the statue of Yakushi, and the bowl of tea was placed out on the host's left, where an assistant received it and carried it directly forward, so it could be placed at the foot of the Buddha.  In no temple arrangement was this ever reversed; and it was based on this precedent that the original shoin where tea would be served were laid out.

**Jun-gatte [順勝手]:  jun [順] is the literal opposite of gyaku [逆], and means to obey, to submit to, to go along with, and so forth.  In other words, this orientation -- with the katte on the left, and the guests seated on the host's right, was a physical manifestation of the chajin’s submission to Nobunaga's, and then Hideyoshi's, will.

⁵Isshaku san-sun go-bu ni shite mo kurushikarazu yo, Sōkyū kakete mōshi-soro aida, [Ri]kyū [h]e tazune mōshi-kereba, migi-za tatami no me hitotsu aru-beki ga, sono kokoro-e naku ni-me ni oki-tara ba, ōi ni higa-goto naru-beshi to iu-iu [一尺三寸五分ニシテモ不苦由、宗及被申シ間、休ヘ尋申ケレハ、右座疊ノ目一ツアルヘキカ、其心得ナク二目ニ置タラハ、大ニヒカコトナルヘシト云〻].

    This statement is not entirely lucid (and the several versions differ from one another in terms of both wording and punctuation, resulting in no good consensus as to what the actual text should be)*.

    Translating it as the text is given in the Enkaku-ji version of Book Three of the Nampō Roku, the meaning is “on a certain occasion, Sōkyū volunteered that there would be no difficulty if the ō-ita measures 1-shaku 3-sun 5-bu [square†].  When [I‡] placed this matter before [Ri]kyū, he speculated that this would mean either that, on the right-seat of the mat, there would have to be but a single me -- something unsupported by the authority of any of the [associated] practices**; or, if 2-me, this would result in a gross violation [of the rules††], so it has been said.” ___________ *In fact, since it deviates from Rikyū’s own words regarding how the ō-ita should be oriented on the utensil mat (the original text was quoted above under footnote 1, sub-note “‡”), this kaki-ire may well be spurious -- since it offers oblique support for the machi-shū way of doing things.

†This is a guess.  For all we know, Sōkyū could have been referring to another rectangular board, like the two alternative versions mentioned to the right of the upper sketch.  All that we can be sure of is that this board measured 1-shaku 3-sun 5-bu from side to side.

‡Probably Nambō Sōkei is the intended speaker.

    Since the original sketches were probably drawn by Jōō himself, there is little reason why Sōkei would have interpolated comments such as this -- since they were irrelevant to the classical way of doing things.  Since placing the ō-ita 2-me from the heri was the machi-shū way of arranging it on the utensil mat -- based on the argument that the “seat of the furo” on the kyōma tatami extends 1-shaku 4-sun from the heri, thus the ō-ita (which measures 1-shaku 3-sun from side to side) should be placed 1-sun (= 2-me) from the heri, so that the other side does not extend beyond 1-shaku 4-sun from the heri.  (In an inakama room, the ō-ita would be placed against the heri, since in that setting the seat of the furo extends only 1-shaku 3-sun from the heri.)  This machi-shū argument is elaborated upon in Book Six of the Nampō Roku.

    The point of all this was to reinforce the idea that Sōkei was the author of this collection of Rikyū’s teachings.  In fact, the material in Book Three originated primarily with Jōō (and the fact that Rikyū apparently discarded this densho when he relocated his Sakai household to Mozuno -- this was how it came into Sōkei’s hands -- suggests that he had long since left Jōō’s teachings behind).

**The “practices” associated with the ō-ita to which reference is being made here are, according to Shibayama Fugen, that the ita is placed immediately adjacent to the heri when arranged on an inakama tatami, and 2-me from the heri when it is placed out on a kyōma tatami.  The argument suggests that it may be one of these, or it may be the other, but not otherwise.

    Note that this deviates from Rikyū’s own explanation regarding how the ō-ita should be oriented on a utensil mat of either size.

††If placed 2-me from the heri, the ō-ita will extend 5-bu beyond the edge of the “seat of the furo” -- which, according to this argument, is a gross violation of propriety.  Rikyū, in other words, does not seem very impressed with Sōkyū’s pronouncement (which he apparently offered to his interlocutors without incitement).

    That the ō-ita, when arranged as Rikyū said, extends 1-sun 5-bu beyond this supposed limit suggests that this statement had nothing to do with him.  (In fact, Rikyū’s ō-ita extends beyond the middle of the mat to the same degree that the ko-ita [小板] falls short of the middle -- 3-me in both cases.)

⁶Onaji [同].

    “The same.”  The second sketch also depicts the ō-ita.

⁷Jun-gatte [順勝手].

    In the present context, this refers to a room that is oriented so that the katte is located on the host’s left, and the guests are on his right, when he is seated on the utensil mat.

    The term jun-gatte seems to have first appeared in the Edo period.

⁸Kan ・ habōki [カハン ・ 羽帚].

    The lower sketch shows the kan [鐶]* arranged together with the habōki on the ō-ita.

    The idea (in both this sketch, and the one above) is that the charcoal utensils should be placed on the side of the ō-ita away from the guests’ seats. ___________ *K’wan [カワン] -- or possibly kwan [カヮン] (with the rendering changed when it was copied) -- was an archaic phonetic rendering.  The kanji is rather complicated, and the clarity of the phonetic representation of the name makes it unnecessary to recall the kanji.

⁹Tadashi kan ha onaji-shiki ha mazui, oku-sore ba, hana-gami shiki nari [但クハンハ同敷ハ不好、置候ヘハ、鼻紙敷也].

    “However, if one dislikes placing out the kan [directly on the ō-ita] in this way, when [one] is going to put them down, they may be placed with [a piece of] hana-gami underneath.”

    The word hana-gami [鼻紙] -- nose[-wiping] paper -- refers to what we call kaishi [懷紙] today.  Rikyū’s kaishi was the size of what is sold as women’s kaishi, though made from much thinner paper (more like tissue-paper); and, when used as suggested here, one piece would have probably been cut into a (doubled) square.

    Originally the rule was that only bronze kan could be displayed on the ō-ita, never kan made of iron.  Whether the host’s unease over placing the kan directly on the ō-ita stems from the lapse of this rule*, or whether this is simply apprehension that even bronze kan might damage the ō-ita†, is not clear from the context.

    Tanaka Senshō, however, provides us with an interesting insight, arguing that the piece of paper here is analogous to that placed under the shin-nakatsugi (when it is displayed, without a shifuku, on the fukuro-dana):  namely, that the paper allows the kan to contact the kane even when, by themselves, they are too small to do so.  According to this way of looking at the matter, the determining factor is the size of the kan (rather than any question about what they are made of), and whether or not the host wishes the kan to contact the kane‡. ___________ *In other words, unease with placing iron kan directly on the ō-ita -- iron kan being much more likely to damage the lacquer than polished bronze.

†Though this does not really accord with Edo period sensibilities.  Great concern over damaging something like a shiki-ita would be more appropriate in the early days -- when these boards were made from the ten-ita of antique daisu (and so were handled as if they were relics of a bye-gone day).  In the Edo period, shiki-ita were being mass-produced (to keep up with the burgeoning demand caused by a rather sudden increase in the number of people practicing chanoyu), using previously unused wood (though generally still wood that was rather old, so it would be dried out to the point that it would not easily warp).

‡Because the ō-ita was created for the inakama setting, and because it is less than half of the width of the mat, it is divided by three yang-kane (the seven-kane system does not recognize yin-kane in any case).  Naturally depending on their size, the kan would possibly sit between the left-most of the three kane and the left edge of the ita (according to the way this sketch is oriented).  By placing the pair of kan (stacked one on top of the other) on top of a piece of paper (Rikyū‘s kaishi, when folded in half as is usual, measure 2-sun 9-bu by 4-sun 8-bu, and one supposes that the surplus length would be cut away, leaving a 2-sun 9-bu square), the paper will overlap the kane slightly to the right of the kan, thereby associating the kan with the kane -- if that is what the host wishes.

==============================================

◎ As mentioned above, both of these sketches show the ō-ita arranged for the shoza.

I. The first arrangement -- in a room with the gyaku-gatte [逆勝手] orientation.

    The first sketch is confusing, since it shows the gyaku-gatte [���勝手] arrangement*.  In this case, the guests are seated on the left, while the katte is on the right.  Below is a drawing of a gyaku-gatte yojō-han tearoom.

    The utensil mat in such a room is shown in greater detail below.  (Note that the left sketch shows a kyōma tatami, while that on the right is of an inakama tatami.)  In either case, the ō-ita employs the same system of kane, which is derived from the original inakama setting for which this ita was created.

    The next pair of sketches show the same arrangement in a jun-gatte [順勝手] setting -- a room where the katte is on the left, and the guests sit on the host’s right side.

    And, finally, the same arrangement in a jun-gatte room where the ō-ita has been placed on the right side of the utensil mat.  It is this kind of arrangement that was being used by Rikyū during the 1580s.

    Note that, irrespective of where the ō-ita is positioned on the utensil mat, the kōgō and habōki are always found on the side of the board closest to the katte, according to this document. ___________ *Interestingly, in Rikyū’s Nambō-ate no densho [南坊宛の傳書], his sketch for the ō-ita is identical to the one shown here -- perhaps reflecting the fact that it was for this setting (where the katte is on the host’s right) that Jōō originally created the ō-ita.

——————————————–———-—————————————————

II. The second arrangement -- in a room that has a jun-gatte [順勝手] orientation.

    The second sketch shows the jun-gatte [順勝手] arrangement -- where the katte is on the left, and the guests seated on the right side of the utensil mat.  Below is a sketch of a jun-gatte yojō-han.

    The utensil mat depicted above is shown below in greater detail.  Once again, a kyōma tatami has been drawn on the left, while the right sketch shows an inakama mat.

    Here the same arrangement is shown in a gyaku-gatte room (a room where the katte is on the right).

    And, in a jun-gatte room, where the ō-ita has been placed on the right side of the utensil mat.

    Once again, and irrespective of the orientation of the room or the location of the ō-ita on the utensil mat, the kan and habōki are always located on the side of the ō-ita closest to the katte.  This is the rule that the reader was expected to deduce from these illustrations.

[boydbill]

Onde assistir Palmeiras x Santos AO VIVO pelo Campeonato Paulista

Palmeiras santos ao vivo hoje - Palmeiras x Santos: veja como assistir ao jogo AO VIVO

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Como palmeiras santos ao vivo hoje ao jogo palmmeiras Palmeiras x Santos online?

Campeonato Paulista: como assistir Palmeiras x Santos online

Leia também. Esportes Onde assistir ao jogo do Flamengo? Palmeiras santos ao vivo hoje Palmeiras criou mais e o Santos sempre respondeu com perigo no primeiro tempo. O Santos respondeu aos 13min com Ketlen escapando pela direita e cruzando para Cristiane na cara do gol, mas a atacante chegou um instante atrasada.

Palmeiras x Santos: veja como assistir ao jogo AO VIVO

O Palmeiras voltou à carga e quase chegou ao gol aos 30min. Bia Zaneratto desarmou Fê Palermo e palmeiras santos ao vivo hoje livre, porém Michelle cresceu na frente da camisa 10 e salvou o Santos. Aos 37min, mais uma vez Michelle parou Bia Zaneratto. As Sereias ainda tiveram uma chance clara no fim do primeiro tempo, com Amanda pela esquerda. Ela recebeu de Ketlen, cortou a zaga e teve o gol inteiro à frente, mas acabou palmelras pela linha de fundo, tirando tinta do poste.

O Palmeiras voltou em cima para o segundo tempo e santoz primeiros três minutos amassou o rival. Weverton faz bela defesa e espalma a bola. Peres consegue o corte. Braga e K. Scarpa cobra escanteio e Viña cabeceia joje palmeiras santos ao vivo hoje. Scarpa perde a bola e L. Braga recebe a bola. Ele solta em Pirani, que bate no gol, mas isola a bola. Dicas Гєteis domina e bate com força para o gol do Palmeiras.

Mais um erro defensivo da zaga do Santos. Aos 7 minutos, Scarpa faz boa jogada pela ponta direita e deixa L. Peres na saudade. Pirani toca para K. Jorge, que chega batendo de canhota. Weverton faz a defesa. Marinho recebe passe na ponta direita, arma o chute e dispara. A bola sobe vai para fora. Ele pedala, vai para palmeiras santos ao vivo hoje linha de fundo e cruza.

Wo chega batendo e Weverton faz a defesa. Viña antecipa e faz o corte. Falta sanfos ataque do Willian, em Kaiky. Santos de listrado! O Santos também definiu seus 11 titulares!

[tigersplaygrnd]

Kaiki Deishuu Rubber Keychain - Monogatari - Bakemonogatari - crane game prize Bakemonogatari Deishu Kaiki - Available in my store: https://tigersplayground.com/etc/2012-kaiki-deishuu-rubber-keychain-monogatari-bakemonogatari.html

[stephpockets]

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[kxronue]

The Crimson Pendant.

//Or, in other words, most of my headcanons regarding Kuronue’s pendant and the reasons why it was “something important” to him, important enough to him to put his life on the line to try to retrieve it. Some I had posted years ago, some others I kept forgetting to do it (I’m the worst mun, considering I’ve been running this blog for over 4 years now and I’ve also had this muse for 5 or so, ha). It’s going to be a long post, kids, you’ve been warned.

For the new readers/followers/visitors, it’s worth noting that my Kuronue did not exactly die in the bamboo trap. His body was dragged out of it nearly lifeless by orders of the owner of the fortress we see in the second movie (Honoo no kizuna/Poltergeist Report) and put in a dungeon where his health was restored via black magic, his youki sealed by the same means, and spent years locked away, suffering different sorts of torture at the hands of this man and his subordinates. Clarifying this because it’s related to the main subject of this post.

First things first: He got it from Kurama. The “full” story you can find here.

Neither of them knew exactly just what kind of powers or abiilities it held or if it even had any.

Kuronue was the one who chose to wear it despite Kurama strongly advising against it several times for obvious reasons. The bat had (still does) a strong liking for the little shiny object and the glowing red stone on it. The fact that it was a “rare” only added to all of this, too.

Aware that Kurama isn’t exactly the kind of person who believes in things such as luck, Kuronue started referring to the pendant as his “lucky charm”, just to tease the fox a little, cause they had always been little shits to each other since the beginning, and neither seemed too keen on the idea of changing their ways on that matter, not so much at least, even if there now was actual respect between them.

“Perhaps it IS a lucky charm...” Kuronue once mused out loud, time -years- after he’d first started referring to that piece of jewelry as such, holding the blood-red pendant by its chain, examining it for a moment in the dim lights of the room both, him and Kurama, were resting in after a particularly big and successful heist. They were still far from being as infamous as they would later become, yet they had been gaining more and more power, wealth and respect (mixed with fear from other youkai most of times) among other things for a long time. Of course they both knew it was due to their hard work and skills combined, yet, Kurama never said anything against such musings -not outside their usual back and forth friendly shit giving at least- from then on.

Unknowingly, the more Kuronue wore the pendant, the more it fed not only from his energy but also from his soul, taking a small part of it’s essence and storing it within more exactly, something that didn’t cause any pain or discomfort to the bat, hence why Kuronue ignored what was going on.

Neither of them were aware of any of that until several years later, when they found out some information on the pendant through some acquaintances they made along the way. These youkai specialized on buying and selling all sorts of artifacts, rare magic ones among them, and as such, they had a vast knowledge on the matter. One of them showed great interest in Kuro’s pendant and even offered a big amount of golden coins for it despite it’s current state at the time -light scratches on it’s surface, mostly, all of which had come from his daily activities, of course-, an offer that Kuronue turned down on the spot. The other youkai didn’t push the subject any further as soon as he learned the bat had been wearing it for a while now and proceeded to reveal what he knew about it, which was basically how it works (same I’ll explain in the following bullet points).

What started as a shocking truth soon became something completely different. While it certainly had some big downsides (as they both would learn the hardest way several years later), having “part” of one’s soul in an artifact like this crimson pendant wasn’t as bad as it could seem at first since this item was made mainly for healing purposes. Putting it short, it was a healing aid for it’s owner and a greatly reliable one as it worked directly with the owner’s energy. While not exactly a substitute for traditional healing techniques, Kuronue appreciated that greatly regardless as he’d sometimes come home with a wound or two (or three...) after a job; the artifact making it easier for his body to recover in a shorter period of time than it normally would.

It was also mentioned to the thieves that, once the owner dies, the energy and essence within die as well, leaving an empty “vessel” that not always can be used again by someone else.

The pendant can also be used to store determined amounts of youki and hide them within so they can’t be easily sensed by others thanks to a spell in it (being the owner himself and youkai with high magic skills and knowledge on this piece and the specific spell on it the exceptions to the rule). The spell can be broken if one wants to either turn the pendant useless or be able to use it for themselves, but it’s difficult to do such thing given the “rare” origins of this item and, hence, the lack of information about it.

With that said, it’s easy to understand why no one showed any real interest in it during the time Kuronue was kept prisoner after the bamboo trap incident and how he was able to keep it with him all the time regardless of some of his captors knowing of it’s existence. Much to the bat’s fortune, they all dismissed it as “a useless trinket” as well as “some sort of emotional comfort” (the latter being not entirely wrong) and thus decided it was best to let him keep it for a while, that way he’d have something to cling to so he didn’t end up giving up and letting himself die -they wouldn’t let him die just yet anyway-, which essentially translated into more time for them to "have some more fun” with him and as a way to make sure Kuronue always had a reminder of better days and a little hope of ever making it out of there. Then again, it’s impossible to break a spirit if there’s no spirit to break.

Talking about the imprisonment time, the pendant played a key role in his escape. As some of you know, Kuronue’s youki was almost completely sealed all the time he was captive, leaving him only pretty much the amount necessary to live. The small extra amounts of youki his body managed to re-gain/regenerate sometimes, he stored them within the pendant, hiding them from everyone around, waiting for the moment when he’d finally build up a decent amount of energy and for a chance -the only he’d ever have perhaps- to try and fight his way out.

In the movie, it was never mentioned if the pendant Kaiki (the youkai that impersonated Kuronue) was the real one or a fake one so, in my headcanons, it’s safe to say Kaiki’s was a fake one while the real Kuronue had the real pendant with him all the time.

With all of this I’ve mentioned so far, it’s easy to see why Kuronue refused to leave his pendant behind while trying to escape the fortress that, to this day, represents Kurama and Kuronue’s last heist together. Had he left it behind, his fate would’ve changed drastically, excruciating relentless pain and a consequent death being the biggest possibility of all if the pendant was destroyed for, basically, part of his soul would’ve been crushed, most likely causing the rest of it to eventually shatter along with it, causing in the end (and I’ll quote SH1 here) a fate worse than death, as there would literally be nothing left from him. No soul, no spiritual remains, no nothing to go to an afterlife/heaven-hell/whatever you want to call it after leaving this plane -keep in mind that, in the yyh universe, there is an afterlife-.

If you asked Kuronue if he still thinks of his pendant as a “lucky charm”, he’ll right away tell you that he does, without a doubt. However, it wasn’t always like that as there was a time he experienced mixed feelings towards it (by now you should have a good idea as to why).

[bonniellowe]

Jogo Santos x Goiás será às 16 horas - Federação Goiana de Futebol

Hora do jogo do santos hoje - Que horas acaba o jogo do Santos hoje? - ISTOÉ Independente

Confira, abaixo, a agenda de jogos e saiba como assisti-los. Caso vença, a diferença cai para sete pontos faltando três rodadas. Corinthians e Inter de Limeira abrem a série eliminatória do Campeonato Paulista. Governo antecipa desconfinamento. BCE mantém taxas e ritmo elevado de compras de dívida no 3. Adam Levine mostra boa forma durante treino no Hawaii. Reino Unido vai doar milhões de doses de vacinas excedentes.

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Memorial das Conquistas do Santos Futebol Clube

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Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics the number of visitors, bounce rate, traffic satnos, etc. Jorginho, Saulo e Felipe Vizeu Técnico: Guto Ferreira. Sants GOL Danilo Boza, Kaiky, Hora do jogo do santos hoje, Moraes, Vinícius Balieiro, Ivonei, Kevin Malthus, Hora do jogo do santos hoje, Copete e Marcos Leonardo.

[t4i30xa-thesequil]

Here’s a comp of all the shit dreams I’ve had since the beginning of the year.

1/30/17 I was at school again. Again, as in this wasn't back in time, I graduated and had to go again. During my time this day, I had heard from a girl that she liked me and was being uncharacteristicly flirtatious. After lunch happened, they refused that I was there, citing an attendance sheet, despite the fact that I was there. I was furious. I hated this place so much, and was so close to entirely giving up, if I hadn't already. I left the building, and for whatever reason my dad was waiting for me. When I got into the car, my cousin was there. We went to Burger King, and there we had to have a car with identification as to our religon. We were branded as atheist, with little devil horns on the car, even though as I'm an atheist, my dad is a christian. We saw some christians there, but I saw the Amazing Atheist, branded with False Prophit.  When we pulled up, my dad was gone from the car and my cousing started my order. The casheer started insulting us, and I called her a bitch and told her to do her job. My cousin got my order wrong. When we pulled up and got my meal, my dad was out near the street with a camera. We got him back into the car and the dream ends. (Note from 7 months later: What the fuck???)

1/31/17 For the first part, it's very vague and forgotten. I do, however, remember browsing 4chan and it seemed to be covered in the CGs for a new H-Game. NSFW CGs. It seemed to be a KS thing. This wasn't in the dream but I imagine whoever made a full sequel VN would get C&D'd to hell and back. Part 2. I was in a very large game store with 2 friends, one of whom being k1ngz, and the other of whom I forget. We were there with my father and I had told them if they wanted something I might get it for them since I didn't have anything particular in mind, and the one I forget got a $50 pair of headphones, to which I said no. Looking around for a while, not finding anything, someone walked by with 2 chihuahuas. One was calm, but the other one tried to attack me, and had to be pried away by the owner. Eventually, I ended up looking at a bunch of Kingdom Hearts games.

5/28-29/17 This was almost a compilation of dreams. First was me playing some kinda multiplayer lego game and being kinda pissed at what some people were doing. I don't quite remember but we were building and floating above some sort of sea. I remember some weird guy there who kept building the same structure again and again, it was some sort of place you'd see casually but I don't remember. Next is the most vague part, where I'm looking at 8 playlists Youtube has generated for me, but I decide I don't like it and X out the playlist until I get a music one. I realize some of the music is Metroid music, a game I've never played, and in fact quite a lot of it. Then was me watching some One Piece movie despite me not having even finished the first arc. I remember that at some point, Kaiki Deshuu showed up and got really fuckin' cut up, like real bad. He was taken aboard a pirate ship where Luffy saved him by destroying the entire thing and catching a very convinient boat to safety with Kaiki. This transitioned to a scene in a road. From the right side, roundabout could be heard. A car drives up. It's the Griffin family. This goes to a part where I believe I am in the Griffin house, in the perspective of Peter. I later realize that it isn't, because what the fuck this house design couldn't even exist. It was a weird setup where you had to move the stairs, which were very frail but somehow didn't show it by stepping on them, down, or moving around the hollow stairs to get to a tent flap that led to the bathroom. At this point I thought "Wait, is this MY house?" Which was even more insane because my house only has a single floor and my bathroom obviously doesn't have a tent flap. Suddenly, I'm in the perspective of Dory from Finding Nemo, who goes in and it isn't a bathroom, its some sort of TV room, where I see a scene of her and a Minion. Finally, I'm doing some sort of investigation of this dude who looks like Mimzy from South Park and is wearing a red track suit. I forget what we talked about but it probably had to do with the fact that he saw kids in the place's arms falling off and was supressing laughter. Like, they weren't even that shocked or bummed, they were kinda like "Aw man, really liked those arms, this sucks dude."   What the fuck.

7/28/17

I don't remember this one well at all. Basically, via playing some kind of game I met Fither. He decided for some reason to take me onto a podcast, which was actually a podcast that already existed by different people. For whatever reason, my room had a huge box in it. I got in this box to do the podcast. I think it was for the mic I was using to pick me up well. In this podcast we tell a story about how, somehow, Fither, the other guy, and I ended up at a muddy lake, with me holding a bow which I played music on. Like, a bow and arrow bow. This is when the other guy in the podcast mentioned that this led into the next podcast wherein the speak about how a certain Pokemon song was written. I was not on the next podcast, despite the dream implying I had a great deal to do with that. I remember one of my last thoughts being something like "Man, Fither must really hate K1ngz to invite ME rather than him."

[togreeceandbeyond]

May 27

 Our breakfast with our British friends Steve and Sophia actually lasted until lunch time. We talked about a lot of things. He's a chemical engineer who works in the dairy industry outside London. His parent company is actually located in Charlotte North Carolina. It's a venture capitalist company that buys up businesses all over the world. Sophia sells used wedding gowns on the internet. We had a nice long chat and they went to rent a four wheel vehicle for a trip around the island. We cooled our jets for a while and went downtown for coffee and a pastry in lieu of lunch. It's great to have a walkable city, but you are dodging automobiles, trucks, mopeds and four wheel motorcycles so it's safer to be riding than walking. We made it down and back without incident but there were some close calls. It was our last night on the island so we wanted to have some traditional Greek food for dinner. We found a little hole-in-the-wall place off the main drag and had a wonderful Gyro again. I love having a whole meal you can eat with one hand along with a good Greek beer. We trudged back up the hill to our hotel room to finish packing for our trip to the mainland. The one night we wanted to have some rest was the noisiest  night of any hotel we have been in. Apparently there is what they call a hen party at the hotel and they were cackling most of the evening, well past midnight. We did get some sleep until someone was scraping their patio table on the marble at 5:30 in the morning, probably having a smoke although I would think that would wait until daylight. Oh well, once in two weeks is not bad. 

May 28

We had another great breakfast with our British friends and got packed up to leave. For just staying in a local bed and breakfast, it was an emotional goodbye because we had met the daughter who ran the place, the mother who cooked cleaned, baked cetera and the handyman, driver and whatever he needed to do who were like a family. We felt very blessed to have met them and will continue to stay in touch via Facebook, our blog and whatever we can do. They have all been invited to Tulsa for a visit.  We got a ride down to the port to wait for the Kaiki boats (a small ferry boat that runs from island to mainland on irregular schedule) but none ever came. There are two ways off the island to the other port, 1 buy water taxi for 23 euros for two people or the Kaiki boats which are for five Euros for two people. Guess what we were waiting for, but we had to take a water taxi after all because who knew when the Kaiki boats would start running on Sunday morning. We had a good drive to Athens with no problems and had found a hotel near the Acropolis on Orbitz and near our friend Kostis Protopapas’ Mother. 

May 29

We paid more for the hotel for three days then we had paid for all of the hotels in the last week. It was near the Acropolis but Orbitz screwed up the reservation. We selected and reserved a room with breakfast, but Orbitz sent a reservation that didn't include breakfast. We didn't find out until this morning when we were told our breakfast could cost 25 Euros per person. That's insane for breakfast buffet so we complained to the desk captain about that and the fact we had been given an inferior room on top of all that. He agreed to comp breakfast for this morning and move us to a room with a queen bed instead of two twin beds. He would not comp the breakfast  for the next 2 days even though we showed him that we had paid more for our rooms then we could reserve a same room today for less money with breakfast. He was very nice but he's only doing his job working with the paperwork that Orbitz sent to him. I have and will continue to complain to Orbitz and bad mouth them as much as I can in every way I can and send the same email over and over again until I get an adequate response. We decided to go ahead and enjoy the day albeit a little bit late. We got the Acropolis early as suggested by the guide books to beat the crowds. It was one km from the hotel to the entrance but one plus kilometers straight up in a roundabout way to get to the Acropolis. It's awesome and you can't describe it and even pictures can’t do it justice. We thought it was plenty crowded early in the morning but when we started down it was a solid wall of people walking up to the Acropolis from all the tour buses that had dropped people off. For once the tour guide books were right. We had a chance to get freshened up before we met Kostis’ mother for lunch at one of her favorite restaurants. I stuck with a traditional souvlaki, french fries, pita bread, raw onions and tzatziki. Elizabeth tried a meatball dish with rice and tomato sauce but the meatball was actually a role of beef. We took our time watching the people and talking about things in general. She's an archaeologist who has studied in Germany for 2 years from 1961 to 1962 at Tuebingen University. She was there when the wall went up.  After lunch, we had coffee at one of her other favorite places. A rooftop cafe with a “bird's eye” view of the Acropolis. What a lovely day to spend the afternoon with a new friend. We had a big lunch so we just chilled for the rest of the afternoon and grabbed some snacks from the little store next to the hotel to go with our bottle of wine. Tomorrow we hit some of the places we bought a group ticket for and then head for the airport on the 31st to catch our flight to Madrid on June 1. I will still try to post something about the 30th before we leave Greece

[www-islandofsodor]

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[thyele]

2023年1月12日

【貴族】Shinpei Mörishigeさん「Rest in peace,David Bowie. ボウイの命日か…もう7年。 去年は、俺が聴いてたあたりだとdepeche modeのフレッチや、PILのキースや、アシュラのシュルツェやマヌエルゲッチングも旅立った…。 最近聴いてるストーンズのチャーリーもか。こんな世界は想像つかなかったです。元気は大切な財産ですね。 https://t.co/IU9TfTOI9H」https://twitter.com/KIZOKU_0927/status/1613093070526087173

SUGIZOさん「[INFO] 本日、オンラインサロン「#THEONENESSWILL」がオープン致しました‼ ただいま初月無料にて、#SUGIZO と共に、手を取り合い、学び合い、日常の中でいいことを行い、少しずつ世界を変えていく仲間を募集中です‼ ▼詳細はこちらをご覧ください。 https://t.co/dl07EGQ31o @THEONENESSWILL」https://twitter.com/SUGIZOofficial/status/1613098433791004672

Hydeさん「[STAFF] HYDERoomのSTAFF DIARYにてJINさんによる"黑ミサ 2022 in Furano"のスペシャルレポートを3部作で公開！今日は1部を公開しました。 会員の方は是非チェックして下さい！ https://t.co/f990BBZyYC #HYDE #HYDERoom #黑ミサ2022 #JIN」https://twitter.com/HydeOfficial_/status/1613098518348189696

Ryuichi Kawamuraさん「音源投票スタート！！ ブログ更新しました！ https://t.co/KlCkKp0e2G」https://twitter.com/RyuichiKawamur2/status/1613099556648128513

タイザーさん「https://t.co/qyVBmBgRcr」https://twitter.com/taizodiac/status/1613110587839635457

seekさん「MIMIZUQリハーサル初め。 15日柏PALOOZAにて行われる 新企画「SINGER'S喫茶CAT'S EYE」 今日はゲストのYOSSY×YOSSYさん、CUTTさん、生熊耕治さん、田澤孝介さんの曲を中心に。 それぞれの楽曲を森の動物色に彩ります。 お楽しみにー。 https://t.co/uJIFCe3jek」https://twitter.com/seek_bonshisya/status/1613113388070236160

横須賀歌麻呂さん「『YARIMAN HUNTER』まだまだやるよ！ 週末は福岡と大阪で上映します！ 小倉名画座 1/13(金) 12:30 18:00 21:30 1/14(土) 12:30 大阪ロフトプラスワンWEST 1/15(日) 12:00 13日初回上映後の舞台挨拶には首振りDollsが登場！ 詳細は公式サイトにて↓ https://t.co/V6gIlwzLp9 https://t.co/XPzuHyWE3V」https://twitter.com/yokosukautamaro/status/1613080042854322176

幻覚さん「. 幻覚 ライヴDVD『始動。』 予約特典付き受付が迫っております！！ ご予約はお早めに。 WeROCK STORES! ※予約期間：～23年1月15日 ストアサイト　 https://t.co/Ib8AgAGT8z」https://twitter.com/genkakuoffical/status/1613114664304660481

takuto_さん「リハーサルでした。退出時cinema staffの機材搬入手伝いました。みんな元気にしてますかね。名古屋でworld's end girlfriendとの2マン懐かしくも楽しい思い出。そう言えばあの時会場にSHIGEMORIの方が来てくれてRUBY STONE takutoモデル頂いて。それ以来ずっとめいんの歪みです。 https://t.co/TS8YTmuzaO」https://twitter.com/takuto_/status/1613114700153384961

高橋 浩一郎(Kaiki)さん「俺の考え方、間違えてもいい、ドラムがとまりそうになってもいいよ、このメンバーが集まるからいいんだよ、それだけでいいよ、おはるさんイベント今やれる事を全力で 福岡も名古屋もね https://t.co/8boktNd0nl」https://twitter.com/STakahashi0823/status/1613117476149276677

Prime Video（プライムビデオ）さん「◤◢◤◢◤超 特 報◢◤◢◤◢ "待望の1曲”が追加配信決定！ ◤◢◤◢◤◢◤◢◤◢◤◢◤◢ 1月18日(水) 00:00 『L'Arc〜en〜Ciel 30th L'Anniversary』に“あの曲”を追加したスペシャルエディションが登場！ さぁ、どの曲が降臨する？ 続報をお楽しみに🌈 #プライムビデオにラルク降臨 https://t.co/EHmli7uE8v」https://twitter.com/PrimeVideo_JP/status/1613113521994170368

Tomoiさん「名古屋へ帰省中のあれこれ 港の写真は左が自分です 先輩とシーバスを狙ったんですが 釣れたのはサクラマス？？？ 20cmくらいでした。 前回はエイを引っ掛けたので 獲物以外の魚ばかり釣れてます https://t.co/UOYCmOnkEl」https://twitter.com/C4Tomoi/status/1613122388669136897

PALOOZAさん「1/15 日　（前売り残り僅か） MIMIZUQ presents SINGER’S 喫茶CAT’S EYE 出演：HOST : MIMIZUQ ゲストシンガー：生熊耕治 CUTT 田澤孝介 YOSSY x YOSSY 全席自由席 前売り予約受付中 https://t.co/Iq7D6MibcF 配信視聴券￥3,000 ■購入ページURL https://t.co/Vul2R5Q05x https://t.co/6xGgKwdN9R」https://twitter.com/palooza_com/status/1613136015929270277

THE ONENESS WILL SALONさん「【#THEONENESSWILL からお知らせ】 本日1月11日、サロンがオープンしました。 SUGIZOと一緒に日常の中でいいことを行い 少しずつ世界を変えていく仲間を募集中です。 https://t.co/BTobKUgJS5 ただいま初月無料となっております。 入会者はSUGIZOからのスペシャルメッセージ動画もご覧いただけます。」https://twitter.com/THEONENESSWILL/status/1613026798786449409

luin officialさん「【luin】 2023/2/3(金)池袋手刀 『The MOUNTAIN BOOK 2023』 出演: 稲山梢 IOLITE-ｱｲｵﾗｲﾄ- luin 枯レタ井戸ノ底。 (O.A) Siyng（Vo.山本伸彦、Support AGt.青木淳平） DJ 永山銀 open 17:45/start 18:15 前売 ¥3,500(D代別)/当日¥4,000(D代別) 前売御予約受付中↓ https://t.co/LZ4zykhzVE https://t.co/IuwNpOUYHq」https://twitter.com/luin_official/status/1613143597104365568

luin officialさん「new!!【luin】 2/11(土祝) 吉祥寺CRESCENDO 『YOU KNOW ME? Night! 2023』 -Line Up- luin WeaJ HADES grace period AIR KISS Marilyn Marathon and more..!? イヴェント詳細、チケット発売等は後日！ https://t.co/xADpSJks0f」https://twitter.com/luin_official/status/1613143710514176001

清春さん「【Live】 清春『30TH DEBUT DAY』 2/09 (木) LIQUIDROOM プレイガイド先行受付スタート ◼︎e+ 1/11(水)12:00 ~ 1/22(日)23:59 https://t.co/8SfkJbZiIq… ◼︎ローチケ 1/11(水) 12:00 ~ 1/18(水) 23:59 https://t.co/wn4VQm499q… #清春 #30thdebutday https://t.co/jbHwNb6MAS」https://twitter.com/ki_spring/status/1613144294810091523

ヴィジュアル博士のる@監修オムニバスCD2種発売中さん「【ever free/KNOCK OUT MONKEY】 ロックバンド、KOMがhide with Spread Beaverの往年の名曲をカバー。メンバー全員がhide氏をリスペクトしているだけあって、原曲に忠実かつ敬意を残しつつもはっちゃけるところははっちゃけるアグレッシブなアレンジになっている。 数多くあるhideカバーの中でも抜群。 https://t.co/x3GdHk0FNO」https://twitter.com/vr_noru/status/1613144872609009664

ヴィジュアル博士のる@監修オムニバスCD2種発売中さん「新バンド「CHAQLA」解禁です。 Vo.ANNIE A Gt.のあか　 Gt.kai Ba.鷹乃助 Dr.Bikky (敬称略) 2/22 日本国内にて第零回CHAQLA.単独公演の開催も決定。 https://t.co/P1YfOgHJQa https://t.co/jzbZ6kLkL1」https://twitter.com/vr_noru/status/1613145364810600458

ANGM RECORDSさん「西日暮里でイベントやります！！ 2023/2/3(Fri) ANGM RECORDS presents TGIF -Acoustic party- 西日暮里スクランブル 1F くらやみざか Fallsheeps_mini 松永祐太朗(naboo) メレ start 20:00 charge free 投げ銭制 https://t.co/rzjNY67wLb」https://twitter.com/ANGMREC/status/1613143699457986560

恐さん「血は 最高の装飾品であり 最高の化粧」https://twitter.com/bpmkyo/status/1613146705482100736

YOUさん「【開催決定】 YOU KNOW ME? Night! 2023 at Kichijoji Crescendo 2023年2月11日 -Line Up- luin WeaJ HADES grace period AIR KISS Marilyn Marathon and more..!? イヴェント詳細、チケット発売等は後日！ https://t.co/xnHxpdTCih」https://twitter.com/YOU_official/status/1613143705778786305

キリ(luin) 1/20池袋手刀単独公演さん「YOUさんのお誕生日イベントにluin参加いたします〜🎂豪華対バン…！ 初めてのKichijoji Crescendoです◎ 土曜日祝日✨ 2月は2/3(金)池袋手刀『The MOUNTAIN BOOK 2023』と併せて、どうぞよろしくお願いします🙆‍♀️」https://twitter.com/kiri_drums/status/1613148064226897920

すすすさん「吉開学17歳(無職)が吉開学37歳(無職)になったってことか、、、、、、」https://twitter.com/suuuuuu_m/status/1613094458970746880

ヴィジュアル博士のる@監修オムニバスCD2種発売中さん「ダメあたしこういうのに弱いのwww >RT」https://twitter.com/vr_noru/status/1613151562326761473

Jさん「あと2日!!!!今年初の放送!!みんなと盛り上がれるのマジ楽しみ。🔥🔥🔥🔥😉」https://twitter.com/J_wumf/status/1613153631569874944

ヴィジュアル博士のる@監修オムニバスCD2種発売中さん「ちょっと実験、すぐ消す https://t.co/FfVb4IJLNC」https://twitter.com/vr_noru/status/1613158619570405383

luin officialさん「【luin】 2023.1.20㈮release 2nd full album『syy』(※シーと読みます) ◎全曲トレーラー公開💿🎧 https://t.co/Skt0JOPsG7 収録曲: 1. enigma 2. 哀しみ道化師 3. catastrophe 4. Rascal 5. paraiso 6. 斑 7. break the apocalypse 8. Black Swan 9. dirt 10. ヤンデレラ 11. doppler (¥3000) https://t.co/ExwbY8sPMe」https://twitter.com/luin_official/status/1613158862848393216

luin officialさん「【luin】 2023/1/20(金)池袋手刀 https://t.co/URUu86RRE4 2nd full album『syy』release💿 luin単独公演『十三月、王莽が時』 open 19:00/start 19:30 前売 3,400円+1d/当日 3,900円+1d 前売御予約受付中↓↓ https://t.co/QbMcAgYoYQ https://t.co/o6FV35aovl」https://twitter.com/luin_official/status/1613158871304122371

UNCLOCK LOVER 頼田陵介さん「懐かしい写真が送られてきたw 17の時、メンバー募集で出会った仲間と今もちゃんと繋がってるとはね〜 縁って不思議だわ😊 左俺、右ミズカ✌️ にしてもどーゆー顔してんだ？笑 https://t.co/7slPgPBoAp」https://twitter.com/yorita_ryosuke/status/1613159311945138177

niguさん「発売日はまだちょい先だから焦らずに♥」https://twitter.com/nigu_chang/status/1613160524287705088

ヴィジュアル博士のる@監修オムニバスCD2種発売中さん「このリンクからだとアップに限度がある？全然読めないな」https://twitter.com/vr_noru/status/1613162165447581696

ヴィジュアル博士のる@監修オムニバスCD2種発売中さん「誰か極限までアップにする方法知ってる？これ」https://twitter.com/vr_noru/status/1613163203676221444

lucy〜中村真悟@1/20luin単独公演さん「luinﾈｵｱﾙﾊﾞﾑ 全曲ﾄﾚｰﾗｰ公開！(ΦωΦ) 是非ﾁｪｯｸしてくださいまし！！！」https://twitter.com/lucy_peter/status/1613166063050690563

luin officialさん「【luin】 ◎new album『syy』1/20 release💿 trailer🎧→https://t.co/Skt0JOPsG7 Live ・1/20(金)池袋手刀◎レコ初ワンマン https://t.co/yuU6LOwcwz ・2/3(金)池袋手刀 https://t.co/LZ4zykhzVE ・2/11(土祝) 吉祥寺CRESCENDO ・3/3(金)池袋手刀 https://t.co/1Rv4RJsYid https://t.co/3MdkD3z2mI」https://twitter.com/luin_official/status/1613166968412196864

luin officialさん「『doppler』MV https://t.co/WQ6pAPeRNm 配信→→https://t.co/NN3pabeviu https://t.co/MitxHmcpCf」https://twitter.com/luin_official/status/1613167021654708232

ヴィジュアル博士のる@監修オムニバスCD2種発売中さん「ダメだ、PCでGoogle driveのアプリが開けない。何でだ。PCに疎いおじさんは今日はもう店じまいだ」https://twitter.com/vr_noru/status/1613169203921702914

Shintaroさん「Next Gig 1/13 MUNIMUNI at Neo Tokyo Chop Dome https://t.co/3KkDHWaiRP 1/15 MUNIMUNI at 名古屋MUSIC FARM https://t.co/CL4wEreEeb 🌅🌅🌅🌅🎍🌅🌅 https://t.co/QGwGJu4DEj」https://twitter.com/Shintaro_iod/status/1613169609968091138

🐈浜崎容子🐈（アーバンギャルド）さん「本日のアーバンギャルドは13日のダウトさんとのツーマンライブのリハでした！🔥安心してください🔪死にません！ なんというか"咲いて"ほしいです🙌✨声出せないからリアクション期待してます💖 疲れ切った兵士たちのお写真を… 前売り明日の18時まで！ https://t.co/RU75DzKpJK https://t.co/t5lMdTTUKp」https://twitter.com/macaron_gall/status/1613169944098918401

SOPHIA_OFFICIALさん「🌻グッズ情報🌻 大阪城ホール公演から販売した BLACKボディのTシャツのEC販売が決定しました🙌 ⏰販売開始 あす1/12(木)18:00～ ※無くなり次第終了となりますので予めご了承ください 一部グッズの再販売もございます❗️ お買い逃がしのないよう、ご利用くださいませ🌻 #SOPHIA #SOPHIA大阪城ホール https://t.co/6bXDc3XJOG」https://twitter.com/SOPHIA_OFFICIAL/status/1613172132502208512

Always with you～to おはる ♡～さん「出演アーティスト紹介⑯ 20日出演 血糊と包帯 Vo.みざりおーる Gt.ユキ(LuLu/Anatomy) Gt.MANAMIX Ba.准(ex.UnsraW/ex.Ms.LIAR) Dr.ハクヤ(NightingeiL/Rysrh) 2016年活動開始... あの時代の意思と音楽を継承し活動中... 血糊と包帯(公式)Twitter https://t.co/vBIMdCGTL2 https://t.co/MfVVeJ3E2c」https://twitter.com/oharuevent/status/1613173034428534784

INORAN_OFFICIALさん「要チェックっ🤣🤘🤘🤘」https://twitter.com/INORAN_OFFICIAL/status/1613176197948792839

YOSHiPON※luin1/20池袋手刀単独公演さん「【 luin 】 1/20(fri)池袋手刀 単独公演！！ 2nd full album 『syy』release 最高なニューアルバムの楽曲達と 最新であり、集大成的なライブ 是非とも体感してほしいです！！！ 前売御予約受付中↓ https://t.co/RVbO6t8MfP 『syy』トレーラー↓ https://t.co/Eppynd32ac pic by toyo @maruto71 https://t.co/kkvW1eghiR」https://twitter.com/YOSHIP0NxxxTOR/status/1613170368180817920

eisukeさん「今年も超楽しみなイベント！🤘 祝い倒そうぜ🤘」https://twitter.com/eisuke_gp/status/1613192719396143104

eisukeさん「新年grace period1発目！ 乞うご期待😊」https://twitter.com/eisuke_gp/status/1613192930138935296

lucy〜中村真悟@1/20luin単独公演さん「仮歌おじさん初(ぞ)め。 https://t.co/DmUmD7jQJD」https://twitter.com/lucy_peter/status/1613196606161170432