1969 Toledo Rockets football team

The 1969 Toledo Rockets football team was an American football team that represented the University of Toledo in the Mid-American Conference (MAC) during the 1969 college football season. In their seventh season under head coach Frank Lauterbur, the Rockets compiled an 11–0 record (6–0 against MAC opponents), outscored all opponents by a combined total of 385 to 160, and won the MAC championship. The season began with a 45–18 victory over Villanova and concluded with a 56–33 victory over Southern Conference champion Davidson in the 1969 Tangerine Bowl. The Rockets were ranked No. 20 in the final AP Poll. The defense led the way for the 1969 team, allowing only eight rushing touchdowns and intercepting 22 passes in eleven games.

The 1969 season marked the beginning of a 35-game winning streak that consisted of three consecutive seasons from 1969 through 1971. During the streak, Toledo won three consecutive MAC championships and three consecutive bowl games, led the nation in total defense all three years, and outscored opponents by a combined total of 1,152 to 344. It remains the second longest winning streak in modern Division I-A college football history behind Oklahoma’s 47-game streak in the 1950s.

Cornerback Curtis Johnson, who intercepted seven passes in 1969, received first-team All-America honors from the Newspaper Enterprise Association and second-team honors from the Associated Press. Eight Toledo players received first-team All-MAC honors: Curtis Johnson runners waist belt, quarterback Chuck Ealey, tailback Tony Harris, defensive tackles Mel Long and Jim Rance, defensive end Jim Tyler, linebacker John Niezgoda, and placekicker Ken Krots.

Chuck Ealey was named MAC Back of the Year, and Frank Lauterbur was named MAC Coach of the Year. Ken Crots, who converted six of 18 field goal attempts, won the Jim Nicholson Award as the player contributing the most to the team’s success. The team captains were Curtis Johnson

Colombia 2016 Home TORRES 20 Jerseys

Colombia 2016 Home TORRES 20 Jerseys



, Dave Penn, and Jim Rance.

The team’s statistical leaders included Chuck Ealey with 1,428 passing yards, Tony Harris with 889 rushing yards (including 217 in the season opener against Villanova), Don Fair with 469 receiving yards, Charles Cole with 78 points scored football tops, and John Niezgoda with 201 tackles.

The Rockets played their home game in the Glass Bowl. The attendance at five home games was 75,282, an average of 15,056 per game.

Malo Kerfriden

Malo Kerfriden est un dessinateur de bande dessinée.

Malo Kerfriden est né le 17 novembre 1972 à Redon. Petit fils de l’écrivain breton Pierre-Jakez Hélias, auteur du Cheval d’orgueil, et fils d’un membre du fanzine de bande dessinée breton Frilouz, il se passionne très tôt pour le dessin et la bande dessinée.

Alors qu’il poursuit ses études de Lettres et d’Arts plastiques dans un lycée de Rennes, il rencontre Stéphane Duval fabric shaver for couch, le futur auteur des Lutins et de Janet Jones, qui le présente à Pascal Bertho, fondateur du fanzine Rennais Atchoum. C’est là, en 1988 cheap football tops uk, qu’il fait la connaissance de David Chauvel, Jérôme Lereculey, Fred Simon, Joub…

Après trois ans en faculté d’Histoire de l’Art à Rennes, Malo Kerfriden intègre en 1994 l’atelier Bande Dessinée de l’École des Beaux-Arts d’Angoulême où il passe trois années. Il complète d’ailleurs sa formation en fréquentant le même atelier que Denis Bajram.

Parallèlement, Malo Kerfriden joue aussi de la basse dans le groupe angoumoisin The Lost Minds qui signe un album et deux singles sur le label anglais “Detour Records”. Puis, en 1997, de retour à Rennes, il fonde l’atelier Twin Peaks avec deux anciens élèves d’Angoulême : Lionel Chouin et Marc-Antoine Boidin.

Parmi ses références bande dessinée, on trouve aussi bien Rochette qu’Otomo, Sakaguchi ou Dave Gibbons.


I elektronikken er transkonduktans betegnelsen for en elektrisk to-port, hvor en spænding påtrykt over indgangsportens tilledninger transformeres til en proportionel strøm gennem udgangsportens tilledninger. Bemærk at én tilledning fra indgangsporten og én tilledning fra udgangsporten godt må være forbundet (fælles). Modellen anvendes især ved småsignalanalyse, hvor et elektrisk kredsløb idealiseres til kun at bestå af lineære komponenter, og indgår eksempelvis i hybrid-pi modellen.

Som vist i afsnittet om elektrisk konduktans benyttes symbolet G for beregning af den strøm I, der løber i en leder som resultat af en spænding U påtrykt lederen: I = GU. Enheden af konduktansen er ampere per volt (A/V), der har SI-enheden siemens what is a lemon squeeze party, S (se afledte SI-enheder). Ved en elektrisk to-port betegner G konduktansen, der omformer indgangens spænding til udgangens strøm. Relationen er oftest ulineær, hvorfor der ved analog kredsløbsanalyse primært anvendes elektriske signaler med så ringe amplitude, at relationen kan tilnærmes med en lineær relation; det kaldes da for en småsignalanalyse, og det er normalt at benytte et lille bogstav for symbolet.

I ligningen herunder er



{\displaystyle g_{m}}

transkonduktansen for en komponent hvor udgangens strøm ændres med



{\displaystyle i_{o}}

(en ændring i forhold til arbejdspunktet



{\displaystyle I_{O}}



{\displaystyle u_{i}}

i indgangens signal (igen overfor arbejdspunktet).

Transkonduktansen optræder i forbindelse med elektronrør som ændringen i rørets anodestrøm forårsaget af en ændring i gitterets spænding. Ved transistorer er indgangsporten basis og emitter, og udgangsporten er kollektor og emitter, så transkonduktansen er strømmen ind i kollektor (og ud på emitter) divideret med spændingen mellem basis og emitter.

Udgangens strøm kan omformes til spænding ved at belaste udgangen med en modstand



{\displaystyle R_{L}}

, som gennemløbes af strømmen fra to-porten. Strømmens retning regnes normalt som positiv ind mod to-porten, mens spændingen over modstanden regnes for positiv med strømretning fra to-porten til modstanden; fortegnet er derfor negativt og udgangens spændingsændring bliver:

Systemets spændingsforstærkning A er derved givet ved:

En bipolær transistor, der arbejder ved 1 mA har en transkonduktans på 40 mS (se nedenfor), så med en variation af indgangsspændingen på 1 mV vil udgangsstrømmen variere med 40 uA. Hvis transistoren er belastet med 1 kohm vil udgangsspændingen variere -40 mV svarende til en forstærkning på -40 gange. Fortegnet viser at opstillingen inverterer signalet i tilgift til forstærkningen på 40 gange. Relationen er som nævnt ovenfor ikke-lineær og indgangsspændingen bør ikke overstige 1 mV for at undgå harmonisk forvrængning.

Værdien af transkonduktansen for en bipolar transistor er givet af relationen:




{\displaystyle I_{C}}

er kollektorstrømmen i arbejdspunktet og



{\displaystyle U_{T}}

er den såkaldte temperaturspænding, der er cirka 25 mV ved normal omgivelsestemperatur.

Temperaturspændingen er givet af:

Her er k Boltzmanns konstant, T er den absolutte temperatur og q er elektronens elementarladning. Den absolutte temperatur er 293 K ved en almindelig stuetemperatur på 20 grader celsius hvor formlen giver 25,3 mV.


Oiran (花魁?) were courtesans in Japan. The oiran were considered a type of yūjo (遊女?) “woman of pleasure” or prostitute. However, they are distinguished from ordinary yūjo in that they were entertainers, and many became celebrities outside the pleasure districts. Their art and fashions often set trends and, because of this, cultural aspects of oiran traditions continue to be preserved to this day.

The word oiran comes from the Japanese phrase oira no tokoro no nēsan (おいらの所の姉さん?) which translates into “my elder sister.” When written in kanji, the word consists of two characters, 花 meaning “flower”, and 魁 meaning “leader” or “first.” Technically, only the high-class prostitutes of Yoshiwara were called oiran, although the term is widely applied to all.

Courtesan culture arose in the early Edo period (1600–1868). At this time, laws were passed restricting brothels to pleasure quarters (yūkaku (遊廓、遊郭?)), which were walled districts set some distance from the city center. Although there were many such quarters, the three with the most lasting prominence were the Shimabara in Kyoto, the Shinmachi in Osaka, and in Edo (present-day Tokyo), the Yoshiwara. These rapidly grew into large, self-contained neighborhoods offering all manner of entertainment, including fine dining, free performances, and frequent festivals and parades.

Compared to yūjo (prostitutes), whose primary attraction was their sexual favors, courtesans were first and foremost entertainers. In order to become an oiran, a woman had to be educated in a range of skills, including the traditional arts of sadō (Japanese tea ceremony), ikebana (flower arranging), and calligraphy. Oiran also learned to play the koto, shakuhachi, tsuzumi (hand drum), and shamisen. Clients also expected them to be well-read and able to converse and write with wit and elegance.

Within the pleasure quarters, courtesans’ prestige was based on their beauty, character, education, and artistic ability, rather than their birth.

The highest rank of courtesan was the tayū (太夫?), followed by the kōshi (格子?). Unlike a common prostitute, the tayū had sufficient prestige to refuse clients. Her high status also made a tayū extremely pricey—a tayū’s fee for one evening was between one ryo and one ryo three bu, well beyond a laborer’s monthly wage and comparable to a shop assistant’s annual salary.

In 1761, the last tayū of the Yoshiwara retired, marking the end of the tayū and kōshi ranks in that pleasure quarter. The word “oiran” therefore appeared in the Yoshiwara as a polite term of address for any remaining woman of courtesan rank.

The isolation within the closed districts resulted in the oiran becoming highly ritualised in many ways and increasingly removed from the changing society. Strict etiquette governed appropriate behavior. Their speech preserved the formal court standards rather than the common language. Casual visitors were rejected small stainless steel thermos; clients were accepted only by referral from certain teahouses, and only by appointment, which increased both the cost and the delay. In a time when both dress and hairstyles were becoming simpler, oirans’ costumes became more and more ornate, culminating in a style with eight or more pins and combs in the hair, and many layers of highly ornamented garments derived from the early Edo period. Similarly, the entertainments offered were derived from those of the original courtesans generations before. Ultimately, the culture of the oiran grew increasingly rarefied and remote from everyday life, and their clients dwindled.

The rise of the geisha ended the era of the oiran. Geisha were originally entertainers who provided a suitable backdrop for the courtesans, and their restrained dress and hairstyles were intended to prevent them from competing with courtesans. However, their sartorial restraint translated into chic, and their relative lack of formality into approachability. The types of entertainment they offered were more to the average person’s taste. Most importantly, they were much less expensive than the courtesans. By the late 19th century, geisha had replaced oiran as the companion of choice for wealthy Japanese men.

Oiran continued to see clients in the old pleasure quarters, but they were no longer at the cutting edge of fashion. During World War II, when any show of luxury was frowned upon, courtesan culture suffered. The anti-prostitution laws of 1958 dealt it the final blow.

Today, there are tayū who entertain as geisha do, no longer providing sex. However, there are fewer than five tayū, in comparison to the three hundred geisha in Kyoto today. The last remaining tayū house is located in Shimabara, which lost its official status as a hanamachi in the late 20th century because of the tayūs’ decline. However, some still recognize Shimabara as a “flower town,” since geisha and tayū still work there and the activity of the tayū is slowly growing. The few remaining women still currently practicing the arts of the tayū (without the sexual aspect) do so as a preservation of cultural heritage rather than as a profession or lifestyle.

There are no remaining oiran. The women who play the roles of oiran in courtesan parades are actresses crank meat tenderizer.

The Bunsui Sakura Matsuri Oiran Dōchū is a free event held in Tsubame, Niigata. Dōchū is a shortened form of oiran-dochu, also the name for the walk the top courtesans made around the quarter or the parade they made to escort their guests. This parade features three oiran in full regalia—Shinano, Sakura, and Bunsui—among the cherry blossoms in April with approximately 70 accompanying servants. Each oiran in 15-cm tall geta parades in the distinctive gait, giving the procession an alternate name, the Dream Parade of Echigo (Echigo no yume-dochu). The event is extremely popular across the country, with many people in Japan applying for the three oiran and servant roles.

The Ōsu Street Performers’ Festival is an event held around Ōsu Kannon Temple in Nagoya yearly around the beginning of October. The highlight of this two-day festival is the slow procession of oiran through the Ōsu Kannon shopping arcade. Thousands of spectators crowd the shopping streets on these days to get close enough to photograph the oiran and their retinue of male bodyguards and entourage of apprentices (young women in distinctive red kimono, white face paint and loose cool football socks, long black hair reminiscent of Shinto priestesses).

An Oiran Dōchū parade is held in Shinagawa between Minami-Shinagawa and Aomono-Yokochō in September.

Pazifischer Feuerring

Der Pazifische Feuerring (auch zirkumpazifischer Feuergürtel oder zirkumpazifischer Feuerring running belt bag; englisch: Pacific ring of fire) ist ein Vulkangürtel, der den Pazifischen Ozean von drei Seiten umgibt. Mindestens zwei Drittel aller im Holozän ausgebrochenen Vulkane sind dort zu finden. Auch starke Erdbeben treten entlang dieses Ringes gehäuft auf. Diese lösen bisweilen die für den Pazifik typischen Tsunamis aus.

Der Pazifische Feuerring ist kein geschlossener Ring. Er umgibt den Pazifik U-förmig von Osten, Norden und Westen auf einer Länge von etwa 40.000 Kilometern. Dabei zieht er sich im Osten von der Südspitze Südamerikas über die Anden und den Westrand Mittel- und Nordamerikas, mit unter anderem dem Kaskadengebirge. Im Norden und Westen verläuft er entlang einer Reihe von Inselbögen und kontinentalen Vulkanbögen, angefangen bei den Aleuten weiter über Kamtschatka und die Kurilen, die japanischen Hauptinseln und die Ryūkyū-Inseln, sowie die Marianen, die Philippinen lemon squeeze position, Neuguinea, die Salomonen und die Neuen Hebriden bis hin zur Nordinsel Neuseelands mit der Taupo Volcanic Zone.

Der Pazifische Feuerring steht in unmittelbarem Zusammenhang mit den Subduktionszonen an den entsprechenden Rändern des Pazifikbeckens. An diesen tauchen die pazifischen Lithosphärenplatten mit ozeanischer Kruste (Pazifische Platte, Juan-de-Fuca-Platte, Cocos-Platte, Nazca-Platte) unter mehrere andere Lithosphärenplatten mit entweder ozeanischer oder kontinentaler Kruste ab. In größerer Tiefe wird durch Druck und Hitze das im Krustengestein gebundene Wasser frei und setzt den Schmelzpunkt des Gesteins des Oberen Erdmantels (Asthenosphäre) herab, wodurch dieses teilweise aufschmilzt hydration belts for runners reviews. Das entstandene Magma steigt auf, differenziert sich und erzeugt einen typischen, meist explosiven Vulkanismus. Spannungen, die sich infolge der Subduktion in der Erdkruste aufbauen, entladen sich in Form z. T. sehr schwerer Erdbeben.

Saša Habić

Aleksandar “Saša” Habić (Serbian Cyrillic: Саша Хабић; born March 17, 1956) is a Serbian and former Yugoslav musician, record producer and composer. During his career as a producer he worked with artists like Piloti, Divlji Anđeli, U Škripcu, Jakarta, Beograd youth football game socks, Dorian Gray, Laki Pingvini, Bebi Dol, Željko Bebek, Luna, Laza Ristovski, Slomljena Stakla, Bajaga i Instruktori, Zana, Kornelije Kovač, Alisa, Dejan Cukić, Oktobar 1864, Rambo Amadeus, YU grupa, Galija, Nikola Čuturilo, Riblja Čorba, Kerber, Vampiri, Ruž, Regina, Van Gogh, Generacija 5, Familija, Smak, Zdravko Čolić, Dragoljub Đuričić, Cactus Jack, and others uniform designer football.

Habić studied at Belgrade Music Academy, string instruments department. At the half of the 1970s he played cello in acoustic rock band Ex Arte, and later keyboards in jazz band Interaction led by saxophonist Paul Pignon. At the end of the 1970s he performed in the theatre play Dragiša, život je čudna stvar (Dragiša, Life Is a Strange Thing), playing bass, directed by conceptual artist Kosta Bunuševac.

Soon after, Habić dedicated himself to record production. His first works included recordings by Zlatko Manojlović, Beograd, Divlji Anđeli and U Škripcu. He soon started to do arrangements and play keyboards, guitars and cello on the albums he produced.

Habić composed film scores for several Serbian films, including Stole Janković’s Moment, Žika Mitrović’s Protestni album (Protest Album), Srđan Dragojević’s Pretty Village, Pretty Flame (for which he won the Best Original Score Award on film festival in Barcelona) and The Wounds, and others.

Pâturin annuel

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Pâturin annuel

Nom binominal

Poa annua
L., 1753

Classification phylogénétique

Statut de conservation UICN

( LC )Sur les autres projets Wikimedia :

Ptolemaios IV Filopator

Ptolemaios IV Filopator (gresk: Πτολεμαῖος Φιλοπάτωρ, hersket 221-204 f.Kr.), sønn av Ptolemaios III og Berenike II av Egypt. Under styrtet til Ptolemaios IV begynte nedgangen for dynastiets kongedømme i Egypt. Hans egyptiske navn kan gjengies som Iwaennetjerwymenkhwy Setepptah Userkare Sekhemankhamun. Epitetet Filopator betyr «(den som) elsker sin far».

Hans kongedømme ble påbegynt av mordet på hans mor, og han var hele tiden dominert av favoritter, mannlige og kvinnelige, som smigret ham og understøttet hans lyter og selv styrte regjeringen slik de ønsket. Egeninteresse fikk også hans ministre til å gjøre alvorlige forberedelser for å møte angrepene til Antiokos III den store i Selevkideriket på Koilesyria inkludert Judea, og den store egyptiske seieren ved Rafia i 217 f.Kr. hvor Ptolemaios selv var tilstede, sikret de nordlige grensene til kongedømmet for resten av hans tid.

En nyvinning ved denne kampen var å fylle opp hæren med innfødte egyptere sammen med greske soldater, men det fikk en forstyrrende effekt på den innfødte befolkningen i Egypt. Til sist førte uroen til Øvre Egypt brøt seg fri under faraoene Harmakis (også kjent som Hugronafor) og Ankmakis (også kjent som Kaonnofris), således opprettet et kongedømme som utgjorde det meste av Egypt og varte i nær tyve år.

Ptolemaios IV Filopator henga seg til orgastiske former for religiøs utøvelse og litterære dilettantisme. Han bygde et tempel for Homer og skrev en tragedie hvor ministeren Agathokles, en av hans favoritter, skrev en kommentar. Han giftet seg en gang rundt 220 f.Kr. med sin søster Arsinoe III, men fortsatte å bli dominert og styrt av sin elskerinne Agathoklea, en søster av nevnte Agathokles. En gang rundt 210 f.Kr. er det mulig at Agathoklea fødte en sønn fra sin forbindelse med Ptolemaios IV, men som kan ha død kort tid etter fødselen.

Det er sagt at Ptolemaios skal ha bygd et gigantisk skip kalt for Tessarakonteres («førti»), en enormt utgave en galei. Navnet «førti» kan referere til antallet rader med roere. Den eneste nedtegnelsen av dette fartøyet er en utstillingsgjenstand av en galei som ble bygd. Det er beskrevet av Kallixeinos fra Rhodos som skrev på 200-tallet f.Kr., og av Athenaios fra Naukratis på 100-tallet e.Kr. Den greske historikeren Plutark har også nevnt at Ptolemaios IV Filopator eide dette enorme fartøyet i hans verk Livet til Demetrios. En nåværende teori er at Ptolemaios’ skip var en overdimensjonert galei av en katamaran som målte 128 meter. Det var det største skipet som ble bygget i antikken og muligens det største skipet drevet av menneskelig drivkraft.

Ptolemaios er en betydelig hovedfigur i det jødiske apokryfiske verket Tredje Makkabeerbok som beskrev hendelsene som fulgte etter slaget ved Rafia, både i Aleksandria og Jerusalem. Den historiske verdien i verket er omdiskutert.

Ptolemaios I · Ptolemaios II · Ptolemaios III · Ptolemaios IV · Ptolemaios V&nbsp authentic jerseys for sale;· Ptolemaios VI · Ptolemaios VII&nbsp steak tenderiser;· Ptolemaios VIII · Kleopatra II · Ptolemaios IX · Kleopatra III · Ptolemaios X · Berenike III · Ptolemaios XI · Ptolemaios XII · Kleopatra V · Kleopatra VII · Ptolemaios XIII · Arsinoe IV · Ptolemaios XIV · Ptolemaios XV

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Erico Menczer

Erico Menczer (Fiume, 8 maggio 1926 – Roma, 10 marzo 2012) è stato un direttore della fotografia, pittore e scrittore italiano.

Nato come Eric Menczer da una benestante famiglia ebraica per parte paterna, dopo la fine della seconda guerra mondiale assieme ai genitori abbandona Fiume e si trasferisce prima a Padova, poi a Genova e infine arriva a Roma nel 1951, dove segue la sua passione per la fotografia ed il cinema. Inizia la carriera come assistente e poi operatore alla macchina con Gianni Di Venanzo. Questa collaborazione dura fino al 1960, e risulta in film con Carlo Lizzani (Achtung! Banditi!, Cronache di poveri amanti), Mario Monicelli (I soliti ignoti), Michelangelo Antonioni (Le amiche, Il grido), Mario Camerini, Alberto Lattuada, Dino Risi, Francesco Maselli water bottles for sale, Francesco Rosi, Aglauco Casadio, e Federico Fellini.

Nel 1960 Menczer esordisce come direttore della fotografia e da allora ha girato più di 100 film con registi tra cui Luciano Salce (Il federale, La voglia matta, Il sindacalista, Fantozzi, Vieni avanti cretino) glass bottle tops, Carlo Lizzani (L’oro di Roma, La vita agra), Marco Bellocchio (Sbatti il mostro in prima pagina), Franco Prosperi (Tecnica di un omicidio), Dario Argento (Il gatto a nove code), Lucio Fulci (Zanna bianca, Operazione San Pietro), Giuliano Montaldo (Gli intoccabili), Alberto De Martino (Holocaust 2000), e poi Paolo e Vittorio Taviani, Dino Risi, Vittorio De Sisti, Nino Manfredi, Giorgio Bontempi, Tinto Brass, Fulvio Wetzl e Pupi Avati.

Nella sua lunga carriera ha contribuito a molte serie televisive per la RAI e Fininvest, e per la PBS americana. Il documentario Piccola arena Casartelli di Aglauco Casadio vinse il Leone d’Oro al Festival di Venezia.

Hotta Masatoshi

Hotta Masatoshi (堀田正俊) (1634- ) était un daimyō (seigneur féodal) de la province de Shimōsa, conseiller et fonctionnaire du gouvernement pendant le shogunat Tokugawa du Japon. Il a servi comme rōjū (conseiller en chef) du shogun Ietsuna Tokugawa de 1679-1680, et tairō (chef du conseil des rōjū) sous Tsunayoshi Tokugawa du 12e jour du 11e mois lunaire de 1681 jusqu’à sa mort le .

Son père était Hotta Masamori, conseiller (Tairō) sous le shogun précédent, Iemitsu Tokugawa, et s’est suicidé à la mort de Iemitsu en 1651. Masatoshi a alors été adopté par Kasuga no Tsubone, la nourrice maternelle de Iemitsu.

Il a servi de secrétaire personnel du shogun suivant, Ietsuna Tokugawa football knee high socks, pendant un certain temps, avant d’être nommée wakadoshiyori (conseiller junior) en 1670. Ietsuna était déjà très malade quand Masatoshi a été nommé rōjū en 1679, et il est mort l’été suivant. À ce moment, un autre rōjū, Sakai Tadakiyo, dans un intérêt de puissance personnelle, a proposé que le prochain shogun soit choisi parmi les maisons princières. Il cherchait à être le régent de ce nouveau shogun, qui n’aurait été qu’un pantin. Cependant, Masatoshi, furieux dit-on, s’est fortement opposé à cela ; Tadakiyo a démissionné de son poste peu après et le frère d’Ietsuna Tsunayoshi Tokugawa a été installé comme nouveau shogun.

Masatoshi est devenu tairō peu après et il a obtenu un domaine de 13 000 koku de Tsunayoshi. Il a été tué quelques années plus tard, le stainless steel lemon squeezer. Les motifs du coupable, le cousin de Masatoshi Inaba Masayasu, sont inconnus. Après la mort de Masatoshi, Tsunayoshi a saisi l’occasion pour réorganiser l’administration du shogunat afin d’affaiblir les rōjū et d’accorder plus de puissance au soba-yōnin (chambellans). Masatoshi n’a pas été réussi comme Tairō, et beaucoup de ses pouvoirs en sont venus à être exercés par le shogun lui-même water bag running.