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*“Yesterday, I Went to Mars ♡”*Makoto Hoshino, CEO of Makoto Co., Ltd. and Galactic Hitchhikers, shares his journey of pursuing heart-moving experiences and embracing the unknown. In 2017, he summited Everest and all Seven Summits and completed the 250km Gobi Desert Ultramarathon. His future goal: to stand atop Olympus Mons on Mars by 2049. Through this podcast, Makoto reflects on his life’s adventures, celebrating family, global friendships, and the joy of trusting intuition and living freely. Join him as he explores the excitement of breaking free from conventions
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This episode takes the arrival of AI as a starting point for thinking about how new technologies get interpreted differently depending on where you're standing — and uses the printing press as the central analogy: one machine that looked like a problem to manuscript copyists, an opportunity to publishers, and a threat to ecclesiastical authority all at once.It also introduces the concept of the "automaton" — not the science-fiction robot, but something quieter: a loop where AI systems are already writing code, generating new AI, and evaluating the results, with human direction reduced to a single instruction at the start. A factory analogy helps clarify the shift: where humans once designed the robots, the robots are beginning to write the blueprints themselves.There's a grounded, personal dimension too — a small business already using AI for product descriptions, inquiry replies, and daily sales reports, and the question of what happens when those tools start passing work to each other rather than waiting for a person in between.The episode closes not with a verdict on whether AI is good or bad, but with a reframe: the more useful question isn't how to tell progress from threat, but which side of the shift you're choosing to stand on.A quiet look at a moment where the debate over AI's meaning may matter less than the decision, made now or by default, of where you position yourself within it.
This episode looks at a quote attributed to Coco Chanel — "I only drink champagne on two occasions: when I am in love, and when I am not" — and what makes it so quietly effective.It touches on how the line works: she's simply saying she drinks champagne all the time, but by dividing it into two occasions and leaving a small gap, it becomes something you remember. The structure does the work.There's also a reflection on language itself — how the same thought, said differently, can reveal something about the person saying it. Chanel's line uses simple words, and that's part of why it lands.From there, it turns toward the idea of finding your own lines — not memorizing other people's, but distilling something you've actually lived through into a phrase that's yours. Work, travel, parenthood, getting older — the suggestion is that these are worth trying to capture.A quiet look at the difference between repeating what's memorable and making something memorable of your own.
This episode reflects on a remark made by an eye doctor during a routine visit — not about correcting a problem, but about something quieter: that a young person should be able to see the world as clearly as possible, so that beautiful things look the way they deserve to.It touches on the difference between vision that functions and vision that notices — the individual leaves on a distant tree, the layered colors in an evening sky, the brushwork in a painting, city lights without smeared edges. Things that rarely come up when the only measure is whether you're getting by.There's also a brief, honest acknowledgment that seeing the world too clearly has its costs — that sharpness brings difficult things into focus too, not just beautiful ones. But the answer offered is that having seen so much beauty is what gives you something to hold onto when you encounter the hard parts.A quiet reflection on what it means to help someone see well — and how eighteen years in a single trade can still offer a new way of thinking about why the work matters.
This episode looks at the phrase "two life sentences" — what it actually means legally, and why a system designed for one lifetime would hand down more than one.It traces the logic back to a real case: a 21-year-old student in the United States who got into the wrong car in 2019, believing it was her Uber. The driver had modified the vehicle so she couldn't get out. She was abducted and killed. The sentence that followed — life for murder, life for kidnapping, five years for weapons charges — is what first raised the question.There's a clear explanation of how the American system works: sentences are issued crime by crime, and sometimes stacked sequentially rather than served simultaneously. The point isn't to serve multiple lifetimes — it's that if one conviction is ever overturned on appeal, the others remain. Not one lock on the door, but two or three.The episode also contrasts this with how Japan and most European countries approach the same situation: all crimes are weighed together and collapsed into a single final sentence. One system counts up individual acts and responsibilities; the other arrives at a total.A quiet look at how a phrase that sounds like legal exaggeration turns out to be something more deliberate — a structural design, built crime by crime, to keep each door locked on its own.
This episode begins with walking into Nolan's Odyssey almost completely unprepared — no prior reading of the myth, no particular expectations — and finding that what lingered afterward wasn't the monsters or the battles, but something harder to name.It's a reflection on what Odysseus actually represents as a figure: not the strongest hero, not the most fearless, but someone who has simply been through an extraordinary amount — war, loss, deception, capture, wrong decisions — and each time found a way to the next thing. The image that stays is of someone who could be dropped into any unfamiliar world, without money or a plan, and still manage to absorb the situation and ask what comes next.There's a distinction drawn between that kind of resilience and ordinary knowledge — the idea that it doesn't come from reading, but from decades of failure, embarrassment, fear, and the layered accumulation of actual experience. A mountain climber, a doctor who has faced thousands of lives, a craftsman fifty years into one technique — people whose depth of lived experience puts them on a different level entirely.The episode introduces a quiet, personal concept: "master old men" — not defined by fame or status or followers, but by an extraordinary range of things survived and absorbed. And with that comes a genuine curiosity about what it would be like to find them and ask: what was the hardest decision, what scene has stayed with you, what do you understand now that you couldn't have understood young.A slow reflection on what it might mean to be fully seasoned by life — and a small, honest hope to become that kind of person someday.
This episode looks at Wallace Stevens — twentieth-century American poet, Pulitzer Prize winner, and lifelong vice president of an insurance company — and what his story quietly unsettles about the way we tend to think about work and calling.It touches on a familiar narrative: find what you truly want to do, then leave everything else behind. Stevens never made that move. Neither did Chekhov, who called medicine his lawful wife and literature his mistress. Neither did William Carlos Williams, making house calls and poems from inside the same life.There's a moment where the episode turns closer to home — an eyewear shop, sourcing frames, building something, and alongside that: travel, photography, writing, kids, space.The question isn't whether to quit one thing for another. It's whether the categories themselves — main occupation, real passion, the thing on your nameplate — need to be kept so cleanly apart. A separate world, it turns out, has a way of changing how you see the main one.A quiet look at lives that refused the either/or, and a reminder that having one life doesn't mean there's only one thing you're allowed to be doing with it.
This episode looks at what strength actually means — starting from a conversation with a second-grade son, and moving into something much harder to define than winning fights or running fast.It explores the idea that flexibility might be the strongest quality of all. The person who can say "I was wrong," or who steps back when stepping back is right, even when they could win — that kind of person, the episode suggests, is often more genuinely strong than someone who never yields.There's a distinction drawn between endurance and avoidance: being able to let small things pass isn't the same as being unresponsive. It's closer to protecting your own inner state — choosing not to let words that don't really matter take up space inside you.The episode also touches on where real confidence comes from, and why confidence built entirely on comparison tends to shake when someone more skilled comes along. What lasts, the episode suggests, is something quieter — an understanding of yourself that accumulates through small acts: doing something difficult, failing and trying again, being kind.A gentle reflection on the difference between looking strong and being strong, and on what it might mean to be soft, but not easily broken.
This episode looks at a question raised by something encountered in a newsletter: now that AI can translate almost anything, is there still a reason to learn English?It touches on the genuine convenience of AI translation — foreign news, academic papers, supplier emails — and the real, undeniable good of removing barriers that once made whole categories of information unreachable.But it also sits with a different kind of wall. The moments that matter in business and travel often aren't formal meetings or written exchanges — they're dinners, trade show aisles, offhand comments on the way somewhere. There's a small but real difference between laughing at a joke in the moment and reaching for a translation app first.The shift the episode lands on is this: AI doesn't make English unnecessary — it means you no longer have to aim for perfect English. Let the tools handle the research and the careful writing. But looking someone in the eye and saying "let's meet again" in your own words still feels like something worth doing yourself.A quiet reflection on what fluency might mean now, and why the kind of English that matters going forward might be less about vocabulary and grammar, and more about just keeping the conversation going.
*“Yesterday, I Went to Mars ♡”*Makoto Hoshino, CEO of Makoto Co., Ltd. and Galactic Hitchhikers, shares his journey of pursuing heart-moving experiences and embracing the unknown. In 2017, he summited Everest and all Seven Summits and completed the 250km Gobi Desert Ultramarathon. His future goal: to stand atop Olympus Mons on Mars by 2049. Through this podcast, Makoto reflects on his life’s adventures, celebrating family, global friendships, and the joy of trusting intuition and living freely. Join him as he explores the excitement of breaking free from conventions
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