#yoichi okamoto

[davidhudson]

Lyndon B. Johnson, August 27, 1908 – January 22, 1973.

Confronting Senator Richard Russell, the leader of the filibuster against the civil-rights bill. 1963 photo by Yoichi Okamoto.

[martinstieger-blog]

BILD MACHT POLITIK. Yoichi Okamoto. Ikone der Nachkriegsfotografie - große Sonderausstellung im Prunksaal der Österreichischen Nationalbibliothek

23. November 2023 – 3. März 2024 Europa 1945. Berühmte Fotograf*innen halten in eindrucksvollen Bildern fest, wie Europa aus einem durch das nationalsozialistische Regime entfachten Weltkrieg neu ersteht. Einer von ihnen war der amerikanische Fotograf Yoichi Okamoto (1915–1985), der im Frühjahr 1945 als Militärfotograf nach Europa kam und in Österreich zum persönlichen Fotografen des…

[lascitasdelashoras]

Yoichi R. Okamoto

[itsloriel]

1960, Neuer Markt, im Hintergrund der Donnerbrunnen Urheber: © Yoichi R. (Yoichi Robert) Okamoto

Nostalgia Vienna

[miku-meeku]

I think this is the first time I see you get turned on by a non blonde

JIAOQIU IS NOT THE FIRST NON BLONDIE I LIKED FFS

OH SHIT I SUDDENLY REMEMBERED ONE OF MY CHILDHOOD CRUSHES, TEITO FROM 07 GHOST

and this other mf, i thought they looked cute despite kidself me being confused of their gender

...im not gonna mention another character i like in 07 ghost cuz they're a blondie...(voiced by one of my fav seiyuus, daisuke kishio kyaa)

why did this turn into 07 ghost yapping...OH YEAH HIKARU AND KAORU FROM OURAN ARE NOT BLONDIES!!!!!!!!!!

no one mentions tamaki shut the fuc-

i dont know why i suddenly remembered a repressed childhood crush i had just because my kidself didnt wanna admit the bad guy was hot because he was bad

...which suddenly made me remember i recently had a crush on this mf from this crazy ass anime...(from like...december i think?)

blud was way cuter as keyaru instead of keyaruga smh, give me back my bb boi keyaru with his cute whimp- what who said that-

....doesnt keyaru look like yoichi in a way-

if anyone brings up mikaela, im going to kill mys-

SPEAKING OF YOICHI, I LOVE HIS VA, NOBUHIKO OKAMOTO, IM SUCH A BIG FAN OF NOBUHIKO OKAMOTO'S VOICE

HERES MY OTHER FAV CHARS THAT HE VOICES

I LOVE NOBUHIKO OKAMOTO SO MUCH BRO, HES ONE OF MY FAV SEIYUUS OUT THERE, I LOVE HIS VOICE SO MUCH WHENEVER HE VOICES UNHINGED CHARACTERS OR THE SOFTEST CHARACTERS EVER- idc if bakugo is blonde stfu

i should probably shut the fuck up now

uhhhh after these cute pics i have of my male vtuber oshis kyaa~

ok thats all bye

[onetwofeb]

Ernie Kniepert by Yoichi R. Okamoto, 1954

[contandocosas]

Domingo 24 de diciembre - Viena

Me levanto pensando en que tengo que ir a visitar ese lugar que vi anoche en Atlas Obscura, la biblioteca nacional de Austria o algo así que es hermosa y vi fotos hermosas en google maps. Así que desayuno un café instantáneo que abro por primera vez luego de perder el que había comprado antes. Pongo a lavar ropa también siguiendo las instrucciones de Christine y al rato salgo. Chrstine me ofreció ir a pasar la Navidad con sus padres así que tengo que volver para ir con ella tipo a las 14:30, me propongo volver a las 14. Viajo casi solo en el tren, al fondo de todo mirando todo. Lo lindo de viajar es que todo es nuevo, desde un paseo en tren hasta un cartel en la calle en un idioma que no conocés. Obviamente eso es un embole para alguien que lo ve como rutina, por eso para mí viajar en el Sarmiento o ver un cartel en Buenos Aires no es lo mismo. Supongo que el secreto para seguir sorprendiéndose y entusiasmándose es todo el tiempo buscar experiencias nuevas. Así que el contexto determinará tu felicidad, incluso cuando los demás a tu alrededor estén mal. Capaz no es la forma más feliz de verlo pero yo noto que estando en Viena los demás están medio depres y yo soy un boludo contento pero es porque el transporte público me encanta cuando funciona bien. Es una belleza ver las estaciones, los trenes pasando, las vias, la catenaria, la cantidad enorme que hay de conexiones y de niveles a veces. Eso es lo bello en Europa para mí, la infraestructura y la cotidianeidad. Obviamente también ciertos edificios y ciertos fenotipos ayudan a romantizar todo. Me bajo en la estación que está más cerca de la biblioteca y empiezo a flashear con todos los edificios antiguos que hay en esa zona, pasan caballos en carros paseando turistas. Me pierdo entre esos edificios y me cuesta encontrar la entrada a la biblioteca. Entro a un lugar y me dicen que no es ahí. Finalmente la encuentro luego de caminar un rato. Compro mi entrada de 10 euros y paso a una escalera blanca primero que no sorprende mucho y luego escaneo la entrada y entro a la biblioteca. La biblioteca está increíble, realmente es un espectáculo desde que entrás. Los techos tienen pinturas como si fuera la capilla sixtina, es similar a una iglesia pero llena de libros. Veo columnas blancas con dorado, llena de decoraciones. Adentro hay exhibiciones de libros antiguos y también una exposición de fotografías de un japonés que se llama Yoichi Okamoto, que le sacó fotos a un presidente yankee, también hay fotos de la segunda guerra mundial y casualmente otras de Venecia en los años 50. Me pongo a grabar con la camarita pocket para hacer otro walktrough, y luego de hacer eso me pongo a observar para todos lados y cada lugar que miro es impactante, tanto las torres de libros con sus bibliotecas y la escalera de madera al lado para tomar los libros como también las decoraciones, una escultura en el medio y a los costados, una especie de globo terráqueo. Realmente impacta todo, se ve similar a la biblioteca del Trinity College en Dublin. Luego de pasear un rato me decido a sacar fotos con la Nikon, también observo a la gente y pienso que debería sacar un par de retratos. Realmente no es por sonar objetificante pero hay algo estéticamente agradable en ver a la europeas y asiáticas elegantemente vestidas con sacos largos mirando para arriba rodeadas de una arquitectura tan increíble. Obviamente no quiero parecer un creepy y sacarles fotos al azar pero intento retener esas imágenes para cuando tenga que trabajar en alguna sesión. Es realmente un entorno muy propicio para sacar retratos, a eso me refiero. Y la iluminación también acompaña muy bien. Es medio inspirador leer la historia de Yoichi Okamoto para mí así que intento sacar alguna que otra foto sin que se den cuenta, de todas maneras intento no ser invasivo. Cuando salgo de ahí me pongo a caminar por la zona y termino pensando fotos para hacer con gente.

[koshigurajumy]

by Yoichi Okamoto

[nebris]

The Doomed Mouse Utopia That Inspired the ‘Rats of NIMH’

Dr. John Bumpass Calhoun spent the ’60s and ’70s playing god to thousands of rodents.

On July 9th, 1968, eight white mice were placed into a strange box at the National Institute of Health in Bethesda,  Maryland. Maybe “box” isn’t the right word for it; the space was more like a room, known as Universe 25, about the size of a small storage unit. The mice themselves were bright and healthy, hand-picked from the institute’s breeding stock. They were given the run of the place, which had everything they might need: food, water, climate control, hundreds of nesting boxes to choose from, and a lush floor of shredded paper and ground corn cob.

 This is a far cry from a wild mouse’s life—no cats, no traps, no long winters. It’s even better than your average lab mouse’s, which is constantly interrupted by white-coated humans with scalpels or syringes. The residents of Universe 25 were mostly left alone, save for one man who would peer at them from above, and his team of similarly interested assistants. They must have thought they were the luckiest mice in the world. They couldn’t have known the truth: that within a few years, they and their descendants would all be dead.

 The man who played mouse-God and came up with this doomed universe was named John Bumpass Calhoun. As Edmund Ramsden and Jon Adams detail in a paper, “  Escaping the Laboratory: The Rodent Experiments of John B. Calhoun & Their Cultural Influence,” Calhoun spent his childhood traipsing around  Tennessee, chasing toads, collecting turtles, and banding birds. These adventures eventually led him to a doctorate in biology, and then a job in  Baltimore, where he was tasked with studying the habits of Norway rats, one of the city’s chief pests.

 In 1947, to keep a close eye on his charges, Calhoun constructed a quarter-acre “rat city” behind his house, and filled it with breeding pairs. He expected to be able to house 5,000 rats there, but over the two years he observed the city, the population never exceeded 150. At that point, the rats became too stressed to reproduce. They started acting weirdly, rolling dirt into balls rather than digging normal tunnels. They hissed and fought.

 This fascinated Calhoun—if the rats had everything they needed, what was keeping them from overrunning his little city, just as they had all of Baltimore?

 Intrigued, Calhoun built another, slightly bigger rat metropolis—this time in a barn, with ramps connecting several different rooms. Then he built another and another, hopping between patrons that supported his research, and framing his work in terms of population: How many individuals could a rodent city hold without losing its collective mind? By 1954, he was working under the auspices of the National Institute of Mental Health, which gave him whole rooms to build his rodentopias. Some of these featured rats, while others focused on mice instead. Like a rodent real estate developer, he incorporated ever-better amenities: climbable walls, food hoppers that could serve two dozen customers at once, lodging he described as “walk-up one-room apartments.”  Video records of his experiments show Calhoun with a pleased smile and a pipe in his mouth, color-coded mice scurrying over his boots.

 Still, at a certain point, each of these paradises collapsed. “There could be no escape from the behavioral consequences of rising population density,” Calhoun wrote  in an early paper. Even Universe 25—the biggest, best mousetopia of all, built after a quarter century of research—failed to break this pattern. In late October, the first litter of mouse pups was born. After that, the population doubled every two months—20 mice, then 40, then 80. The babies grew up and had babies of their own. Families became dynasties, carving out and holding down the best in-cage real estate. By August of 1969, the population numbered 620.

Calhoun inside Universe 25, his biggest, baddest mouse utopia. Photo: Yoichi R. Okamoto/Public Domain  .  

Then, as always, things took a turn. Such rapid growth put too much pressure on the mouse way of life. As new generations reached adulthood, many couldn’t find mates, or places in the social order—the mouse equivalent of a spouse and a job. Spinster females retreated to high-up nesting boxes, where they lived alone, far from the family neighborhoods. Washed-up males gathered in the center of the Universe, near the food, where they fretted, languished, and attacked each other. Meanwhile, overextended mouse moms and dads began moving nests constantly to avoid their unsavory neighbors. They also took their stress out on their babies, kicking them out of the nest too early, or even losing them during moves.

 Population growth slowed way down again. Most of the adolescent mice retreated even further from societal expectations, spending all their time eating, drinking, sleeping and grooming, and refusing to fight or to even attempt to mate. (These individuals were forever changed—when Calhoun’s colleague attempted to transplant some of them to more normal situations, they didn’t remember how to do anything.) In May of 1970, just under 2 years into the study, the last baby was born, and the population entered a swan dive of perpetual senescence. It’s unclear exactly when the last resident of Universe 25 perished, but it was probably sometime in 1973.

 Paradise couldn’t even last half a decade.

 In 1973, Calhoun  published his Universe 25 research as “Death Squared: The Explosive Growth and Demise of a Mouse Population.” It is, to put it lightly, an intense academic reading experience. He quotes liberally from the Book of Revelation, italicizing certain words for emphasis (e.g. “to kill with the  sword and with  famine and with  pestilence and by  wild beasts”). He gave his claimed discoveries catchy names—the mice who forgot how to mate were “the beautiful ones”’ rats who crowded around water bottles were “social drinkers”; the overall societal breakdown was the “behavioral sink.” In other words, it was exactly the kind of diction you’d expect from someone who spent his entire life perfecting the art of the mouse dystopia.

 Most frightening are the parallels he draws between rodent and human society. “I shall largely speak of mice,” he begins, “but my thoughts are on man.” Both species, he explains, are vulnerable to two types of death—that of the spirit and that of the body. Even though he had removed physical threats, doing so had forced the residents of Universe 25 into a spiritually unhealthy situation, full of crowding, overstimulation, and contact with various mouse strangers. To a society experiencing the rapid growth of cities—and reacting, in various ways,  quite poorly—this story seemed familiar. Senators brought it up in meetings. It showed up in science fiction and comic books. Even Tom Wolfe, never lost for description, used Calhounian terms to describe  New York City, calling all of Gotham a “behavioral sink.”

 Convinced that he had found a real problem, Calhoun quickly began using his mouse models to try and fix it. If mice and humans weren’t afforded enough physical space, he thought, perhaps they could make up for it with  conceptual space—creativity, artistry, and the type of community not built around social hierarchies. His later Universes were designed to be spiritually as well as physically utopic, with rodent interactions carefully controlled to maximize happiness (he was particularly fascinated by some early rats who had created an innovative form of tunneling, where they rolled dirt into balls). He extrapolated this, too, to human concerns, becoming an early supporter of environmental design and H.G. Wells’s hypothetical “World Brain,” an international information network that was a clear precursor to the internet.

 But the public held on hard to his earlier work—as Ramsden and Adams put it, “everyone want[ed] to hear the diagnosis, no one want[ed] to hear the cure.” Gradually, Calhoun lost attention, standing, and funding. In 1986, he was forced to retire from the National Institute of Mental Health. Nine years later, he died.

 But there was one person who paid attention to his more optimistic experiments, a writer named Robert C. O’Brien. In the late ’60s, O’Brien allegedly  visited Calhoun’s lab, met the man trying to build a true and creative rodent paradise, and took note of the Frisbee on the door, the scientists’ own attempt “to help when things got too stressful,” as Calhoun put it. Soon after, O’Brien wrote  Ms. Frisby and the Rats of NIMH—a story about rats who, having escaped from a lab full of blundering humans, attempt to build their  own utopia. Next time, maybe we should put the rats in charge.

https://getpocket.com/explore/item/the-doomed-mouse-utopia-that-inspired-the-rats-of-nimh?

[jerseystylephotography]

Yoichi R. Okamoto (July 5, 1915 – April 24, 1985)

Second official presidential photographer.

[todaysdocument]

Wedding of Lynda Bird Johnson and Captain Charles Robb, 12/9/1967

Okamoto, Yoichi R. (Yoichi Robert), 1915-1985, Photographer. Series: Johnson White House Photographs, 11/22/1963 - 1/20/1969. Collection: White House Photo Office Collection, 11/22/1963 - 1/20/1969 (Holdings of @lbjlibrary)

Eldest daughter of Lyndon and Lady Bird Johnson, Lynda Bird Johnson married U.S. Marine Corps Captain Charles “Chuck” Robb in the East Room of the White House 50 years ago on December 9, 1967. 

[yama-bato]

Yoichi R. Okamoto

http://blog.livedoor.jp/talbot2011/archives/53846880.html

[goryhorroor]

anime | voice actors | nobuhiko okamoto

[forg-king-o]

WTF the versatility of Nobuhiko Okamoto Lfasidhfj[ioasdijfnajksdfnoakdfs 

[prettylittlespirit]

hOW