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Last time we spoke about the battle of Malacca strait. In the intense Battle of the Malacca Strait, Japanese forces undertook a desperate evacuation amidst relentless attacks by the Allies. After suffering heavy casualties from previous confrontations, the Japanese regrouped and attempted to maintain their defensive positions. However, under the pressure of determined Allied assaults and strategic maneuvers, they faced increasingly fierce resistance. As the Allies advanced, they successfully overwhelmed Japanese defenses, leading to significant losses for the opposing forces. The battle transformed into a pivotal moment in the Pacific War as Japanese resistance crumbled, ultimately shifting the tide toward Allied victory. This clash not only showcased the harsh realities of war but also underscored the relentless determination of both sides as they fought for dominance in the region, marking a crucial step towards the conclusion of the conflict. This episode is the Breakthrough on Okinawa Welcome to the Pacific War Podcast Week by Week, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about world war two? Kings and Generals have an assortment of episodes on world war two and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel you can find a few videos all the way from the Opium Wars of the 1800's until the end of the Pacific War in 1945.  As of mid-May, General Buckner's forces had made steady, albeit slow, progress against the determined Japanese defenders on the Shuri defensive line. On May 16, the offensive continued. Colonel Schneider's 22nd Marines and Colonel Whaling's 29th Marines launched yet another unsuccessful assault on Sugar Loaf Hill, while Colonel Snedeker's 7th Marines exhausted their strength in a failed attempt to seize Wana Ridge. To the east, Colonel Coolidge's 305th Regiment advanced 200 yards closer to Shuri. Colonel Hamilton's 307th Regiment nearly captured Flattop and Chocolate Drop Hill but was ultimately pushed back. Colonel Dill's 382nd Regiment successfully cleared Dick Hill but came under intense fire from Oboe Hill. Meanwhile, Colonel May's 383rd Regiment made only minor gains on the southeastern slopes of Conical Hill and Love Hill, even as tanks broke through toward Yonabaru for the first time. The following day, the 383rd Regiment maintained pressure on Conical and Love Hills, prompting General Bradley to commit part of Colonel Halloran's 381st Regiment to the attack. To the west, the 382nd Regiment staged a hard-fought advance of 200 yards but was unable to capture Oboe Hill.  Slowly the 77th Division forces between Flattop and Route 5 were reducing enemy positions bearing on the area in front of the 307th Infantry. By 17 May this progress began to show in the advances of the foot troops around Chocolate Drop. Covered by company heavy weapons out on both flanks, infantrymen worked around both sides of the hill to the huge caves on the reverse slope. Inside were 4 antitank guns, 1 field piece, 4 machine guns, 4 heavy mortars, and a American 60-mm. mortars. By nightfall the caves had been partially sealed off. During the night an enemy force launched a counterattack against the American positions around the hill but was repulsed with the loss of twenty-five Japanese killed. On the 17th another bitter struggle raged on Flattop. The struggle swayed back and forth across the narrow crest of the hill. Company K, the assaulting unit, had been reduced to fourteen infantrymen by the end of the day; finally it was forced back off the top. Tanks tried to go through the road cut between Flattop and Dick Hill, but two of them were disabled by mines, leaving the cut blocked. The road cut was later blown along its entire length by seven tons of bangalore torpedoes to remove the mines. Company E continued to push toward Ishimmi Ridge, where they faced a series of heavy Japanese counterattacks. Coolidge's 3rd Battalion and the rest of Hamilton's 2nd Battalion dug in just a few hundred yards north of Shuri and Ishimmi in the highway valley. Meanwhile, Coolidge's 1st Battalion was halted by heavy fire from 110 Meter Hill and the extensive fortress houses in Shuri's suburbs. The intense fighting had nearly depleted the 22nd Regiment, prompting General Amamiya to direct the 32nd Regiment to take over the defense of Shuri along a line extending from Ishimmi to Oboe. Meanwhile, on Wana, the 7th Marines launched a renewed attack but were once again repelled. However, the 5th Marines succeeded in advancing to Hill 55. Further west, the bulk of the 29th Marines attacked toward Half Moon Hill, successfully reaching its forward slopes but later having to withdraw to more defensive positions overnight. Whaling's 2nd Battalion also mounted relentless assaults on Sugar Loaf, each time suffering heavy losses in repelled attacks. As dusk fell, Japanese planes targeted American shipping, successfully damaging the destroyer Douglas H. Fox. On May 18, tanks played a crucial role in a successful assault on Sugar Loaf, executing a double envelopment while securing the top of the hill. The 2nd Battalion then advanced to Horseshoe Hill, while the remainder of the 29th Marines managed to secure the forward slopes of Half Moon.After a night of sporadic bombardment from enemy artillery and mortars, 3/7 again attempted to gain a foothold on Wana Ridge. During the morning supporting weapons concentrated their fire on the forward slopes and crest of the objective and at noon Company I, followed by a platoon of Company L, jumped off and fought its way to the ridge. The assault troops' gains "were measured in yards won, lost, and then won again." Finally, mounting casualties inflicted by enemy grenade and mortar fire forced Lieutenant Colonel Hurst to pull back his forward elements and consolidate his lines on positions held the previous night. On the right flank of the division front the isolated platoon from Company E of 2/5 was unsuccessful in exploiting its hold on the western slopes of Hill 55. The men were driven to cover by intense enemy fire, and tanks again had to be called upon to supply ammunition and rations to the outpost. During the morning operations the 5th Marines laid protective fire with tanks and assault guns along Wana Ridge to support 3/7's advance. At noon, under cover of this fire, Company F sent one rifle platoon and an attached platoon of engineers into Wana village to use flame throwers and demolitions against the enemy firing positions in the ruins. Numbers of grenade dischargers, machine guns, and rifles were found in Wana and the tombs behind it and destroyed. Further advance into the draw was not feasible until the 7th Marines could occupy the high ground on the eastern end of the ridge and furnish direct supporting fire to troops advancing in the draw below. At 1700 the troops were ordered to return to their lines for the night. n the center, General Bruce pressed his attack deeper into the Shuri defenses, with Coolidge's 3rd Battalion gaining 150 yards along the Ginowan-Shuri highway and Hamilton's 2nd Battalion advancing up to 300 yards toward Ishimmi, although attacks against 110 Meter Hill and Flattop failed to gain ground. On the morning of 18 May, orders were given to stay at all costs. Lieutenant Bell said firmly, "We stay." The men resigned themselves to a last-ditch stand. Their grenades exhausted and their machine guns and mortars destroyed, the remaining men salvaged every clip of ammunition from the bandoleers of the dead. Spare workable rifles were loaded and bayonets laid alongside. Enemy pressure increased steadily during the day. Some Americans were shot at close range as they darted from hole to hole to escape grenades. At one time eight knee mortars were pounding the ridge, firing in pairs. Friendly artillery could to some extent keep off the charging Japanese but seemed unable to ferret out the enemy mortars, which were well protected. The moans of wounded men, many of whom were in pitiful condition from lack of water and of medical aid, added to the strain. All canteens had been emptied the previous night. Nevertheless, battle discipline remained excellent. The worst problem concerned the replacements, who were courageous but inexperienced. Thrust suddenly into a desperate situation, some of them failed at crucial moments. One man saw two Japanese attacking a sergeant thirty feet away, but his finger froze on the trigger. Another shouted wildly for a comrade to shoot some Japanese while his own rifle lay in his hands. Another saw an enemy soldier a few yards from his hole, pulled the trigger, and discovered that he had forgotten to reload. By the end of the ordeal, however, the replacements who survived were battle-hardened veterans. During the afternoon the 307th attempted to reinforce the small group. Elements of Company C tried to cross the open ground north of Ishimmi Ridge. Only the commander and five men reached Company E. The men scrambled safely into foxholes, but the commander, shot through the head while racing toward the command post, fell dead on the parapet of the command post foxhole. Spirits rose considerably when word came later in the afternoon that a litter-bearing unit of eighty men would try to get through in the evening. Enemy fire slackened after dark, and the first of the litter bearers arrived at about 2200. They immediately started back carrying casualties. Walking wounded accompanied them. The litter bearers moved swiftly and managed to avoid being seen in the light of flares. Through splendid discipline and good luck eighteen men were carried out in two and a half hours, and others walked out. The litter teams had brought some water and ammunition and the troops drank for the first time since the day before. The second sleepless night on the ridge passed. The 382nd Regiment continued to face heavy resistance from Oboe Hill but managed to secure the road cut between Flattop and Dick Hill. Meanwhile, Halloran's 3rd Battalion could only push about 400 yards south due to the relentless mortar and small-arms fire coming from Hogback Ridge. At sea, a low-flying kamikaze aircraft struck LST-808 off Iejima, resulting in the deaths of 17 men. The following day, while the 382nd and 383rd Regiments focused on neutralizing the cave positions and gun emplacements in the uneven terrain between Conical and Dick Hills, Halloran's 3rd Battalion launched an attack to the south and west toward Sugar Hill but made little progress due to the heavy defensive fire. In the center, the 307th Regiment systematically worked to eliminate enemy firing positions on the high ground in front of them, employing every available weapon for the task. Colonel Smith's rehabilitated 306th Regiment began moving up to replace the battered 305th, with its 3rd Battalion relieving Coolidge's 3rd Battalion and portions of Hamilton's 2nd Battalion along the low ground bordering the highway to Shuri, including the isolated men at Ishimmi Ridge.  On 19 May the enemy seemed to intensify his efforts to recapture Ishimmi Ridge. The besieged troops wondered whether his supply of men and ammunition was inexhaustible. The Japanese launched several attacks which were repulsed with great difficulty. Only the support of artillery and mortars, together with self-propelled mounts firing with precision on both flanks of Ishimmi Ridge, prevented the enemy from making an attack in strength which would have overrun the American positions. One enemy attack of platoon strength was dispersed by mortar and machine-gun fire and by a four-battalion time-on-target artillery concentration. Japanese mortar fire continued to fall on Ishimmi, however, and took its toll during the day. A message arrived during the morning that Company E would be relieved that evening. By noon the radio had become so weak that further communication with the company was impossible. The day wore slowly on. By 2100 there was still no sign of the relief. Shortly afterward, however, rifle fire intensified to the rear, a sign of activity there. At 2200 Company L, 3d Battalion, 306th Infantry, arrived. The relief was carried out in pitch darkness; each member of Company E left as soon as a replacement reached his position. As the haggard survivors were about to descend the ridge at 0300, a bursting shell hit two of the newcomers; one of them had to be evacuated on a poncho. Carrying its own wounded, Company E followed a white tape to the rear and arrived safely. Of the 204 officers and men of the reinforced company that had made the night attack on Ishimmi, 156 had been killed or wounded. There were 28 privates, 1 noncommissioned officer, and 2 officers left of the original 129 members of Company E. The platoon sent in relief by Company C had gone out with 58 effectives and returned with 13. Of the 17 men in the heavy weapons section only 4 came back. Company E had spearheaded a several-hundred-yard advance toward Shuri, however, and with the help of supporting weapons had killed hundreds of Japanese around Ishimmi. The 7th Marines launched one last unsuccessful assault on Wana Ridge before being relieved by Colonel Mason's rested 1st Marines. Meanwhile, after repelling a strong night counterattack, the exhausted 29th Marines were also relieved by Colonel Shapley's reserve 4th Marines, which made additional advances alongside the 22nd Marines, now under Colonel Harold Roberts. Four new regiments had been committed over the past few days to revitalize the offensive. On May 20, Shapley's assault battalions gained more ground on Horseshoe Hill but were still unable to reach the crest of Half Moon, though they successfully repelled another strong night counterattack. To the east, Mason's 2nd Battalion advanced rapidly to the base of 110 Meter Hill and captured part of Wana Ridge, while his 3rd Battalion secured a firm hold on the northern slope. Concurrently, the 5th Marines attacked southwest along the Naha-Shuri Road and successfully captured the high ground. Meanwhile, in coordination with the 1st Marines, Coolidge's 1st Battalion and Smith's 3rd Battalion made a slow, grinding advance of about 150 yards, positioning themselves within 200 yards of the outskirts of Shuri in the highway valley. At the same time, the 382nd Regiment expanded its hold on the reverse slope of Dick Hill but remained unable to penetrate Oboe Hill. The 307th Regiment consolidated and expanded its positions around Chocolate Drop, finally seizing Flattop. Reducing the tiny hill continued to be ticklish work because enemy positions to the south still overlooked the area. The fighting was still so confused that three wounded Americans lay south of Chocolate Drop for two days before relief arrived. By that time two had died and the third was so delirious that he thought he was still fighting Japanese and had to be forcibly subdued. By 20 May the caves were completely sealed off. The enemy made a final attempt to retake Chocolate Drop, attacking in company strength, but was repelled with the loss of half his force. On the same day the 3d Battalion, using tanks, flame throwers, and demolition teams, finally secured the crest of Flattop. The final American attack started with a saturation shower of grenades. A chain of men extending from the base of Flattop passed hand grenades to the troops lined up along the crest, who threw the missiles as fast as they could pull out the pins. Having seized the advantage, the infantry moved down the reverse slope blasting caves with satchel charges and flame throwers. Tanks along the road cut accounted for many of the Japanese. BY 1545 Flattop had fallen. More than 250 enemy bodies lay on the crest and reverse slope of the hill. Further east, Halloran's 3rd Battalion made a slow but steady advance down the eastern slopes of Hogback, reaching the foot of Sugar Hill despite constant grenade duels with an enemy fighting desperately to hold every inch of ground. Additionally, the 1st and 2nd Battalions of the 383rd Regiment fought their way to jump-off positions within 300 yards of Love Hill, destroying enemy strongpoints that had obstructed their advance for a week. Meanwhile, back at sea, Japanese aircraft managed to damage two destroyers and three transports. The following day, the 383rd again attacked Love Hill but was ultimately forced to withdraw from its base due to fierce defensive fire. Despite this setback, May's 2nd Battalion successfully supported the 381st Regiment in clearing Hogback and pushing to the top of Sugar Hill. To the west, the 382nd advanced quickly against moderate opposition toward Oboe Hill and Hen Hill, encountering retreating enemy units moving toward the high ground at Shuri. Concurrently, the 307th pushed 350 yards south of Flattop before being halted by enemy forces at the Three Sisters, while the 306th completed the relief of the 305th, with its 3rd Battalion advancing 200 yards unopposed to the eastern slopes of 110 Meter Hill. Meanwhile, the 1st Marines continued their assault along Wana Ridge, making only limited gains at the Draw, where the 5th Marines held out and aggressively patrolled forward. The 4th Marines began their push toward the Asato River, achieving a costly advance of about 200 yards on Horseshoe. By nightfall, heavy rains began to fall, significantly impeding efforts to resupply assault troops and replenish forward ammunition dumps. Amidst this torrential downpour on May 22, Shapley's 1st and 3rd Battalions slogged through the "gooey slick mud" to reach the bank of the rain-swollen river. This prompted the Japanese to evacuate Naha and establish new defensive positions on the Kokuba Hills. To the east, the continuous rain flooded Wana Draw with mud and water, transforming it into a makeshift lake. For the next few days, General Del Valle's Marines were forced to attack without support, leading to aggressive patrolling rather than organized assaults. The prospects of success for the infantry alone, slogging through the mud without the support of other arms, were not encouraging. Tanks bogged down, helplessly mired. Amphibian tractors were unable to negotiate the morass, and front-line units, which had depended on these vehicles for carrying supplies forward in bad weather, now had to resort to hand carrying of supplies and of the wounded. These were back breaking tasks and were performed over areas swept by enemy fire. Mortar and artillery smoke was used as far as possible to give concealment for all movement. Litter cases were carried back through knee-deep mud. Living conditions of front-line troops were indescribably bad. Foxholes dug into the clay slopes caved in from the constant soaking, and, even when the sides held, the holes had to be bailed out repeatedly. Clothes and equipment and the men's bodies were wet for days. The bodies of Japanese killed at night lay outside the foxholes, decomposing under swarms of flies. Sanitation measures broke down. The troops were often hungry. Sleep was almost impossible. The strain began to take a mounting toll of men. Under these conditions the Marine attack against Wana Ridge was soon at a standstill. The action degenerated into what was called in official reports "aggressive patrolling." Despite inactivity, enemy mortar and artillery fire continued to play against the American front lines, especially at dusk and at night. In the center, Bruce's 77th Division faced similar challenges, with the 306th Regiment stalled and the 307th Regiment again unsuccessfully attacking the Three Sisters. There, Company A became isolated at the base of the forward slope of Jane Hill, nearly cut off by intense enemy mortar and machine-gun fire. For the following week, the 382nd Regiment struggled to make headway on Hen and Oboe Hills, where fierce hand-to-hand combat erupted. Similarly, all attempts by the 383rd Regiment to breach the defenses of Love Hill on the western side of Conical failed, as the 381st was also unable to make any progress against Cutaway. General Hodge had also moved General Arnold's rehabilitated 7th Division to assembly areas just north of Conical Hill to spearhead the advance toward Yonabaru and the high ground south of the village. Strengthened by 1,691 replacements and 546 men returned to duty from hospitals since it left the lines on 9 May, the 7th Division moved up to forward assembly areas just north of Conical Hill and prepared to make the dash through the corridor. At 1900 on 21 May the 184th Infantry, chosen by General Arnold to lead the way, was in place at Gaja Ridge, at the northern base of Conical. The initial move of the envelopment was to be made in the dead of the night and in stealth. General Buckner felt that "if the 7th can swing round, running the gauntlet, it may be the kill." As part of this operation, the 2nd Battalion of the 184th Regiment moved out from Gaja Ridge during the night, swiftly and silently passing through Yonabaru in the early morning hours to capture Spruce Hill and Chestnut Hill in a surprise attack. Colonel Green's 3rd Battalion then followed the 2nd Battalion through Yonabaru, but their assault on Juniper and Bamboo Hills was unsuccessful as the surprised defenders regrouped. The following day, Green's two battalions continued to push toward these initial objectives, ultimately securing a solid line that stretched from the coastline across the southern slopes of Chestnut, and then over to Juniper and Bamboo by day's end. This success allowed Colonel Finn's 32nd Regiment to pass through Yonabaru and advance westward along the Naha-Yonabaru valley to assault the enemy's western hill defenses focused around Oak Hill.On the west coast, after a successful night reconnaissance of the Asato River, the 4th Marines rapidly crossed the river under cover of smoke, beginning their advance toward a low ridge 500 yards south of the Asato. However, as previously noted, the torrential rain had turned every draw and gully into a sticky morass of knee- and thigh-deep mud in the center. The steep slopes of the hills and ridges, treacherous under the best of conditions, became virtually unassailable. Consequently, full-scale coordinated attacks had to be canceled, and only localized gains could be achieved. Despite the breakthrough in the center, the Japanese command remained concerned about the threat posed to the flanks of the Shuri bastion by American advances along both coasts. While they believed the Naha breakthrough could be contained, every available soldier was deployed to establish a defensive line stretching from the southwest slopes of Conical Hill through Yonawa to the road junction village of Chan, aiming to eliminate Arnold's spearhead that had penetrated into the Naha-Yonabaru valley. General Ushijima feared that his forces were being gradually encircled in the Shuri fortress, where they would become “easy prey” to overwhelming American firepower. In light of this situation, Ushijima began planning a withdrawal to the Chinen Peninsula or the southernmost part of the island, the Kiyamu Peninsula. This decision was met with resistance from General Fujioka, who expressed concern that thousands of severely wounded men would have to be abandoned during the retreat.  Although the holding of the heights surrounding the city had been the keystone of the Japanese preferred plan, several factors now militated against its retention. There were an estimated 50000 surviving officers and men to be crammed into a final defense zone less than a mile in diameter. Once these troops were surrounded, the Japanese believed that they would be rendered ineffectual and become "easy prey" to overwhelming American fire superiority. In addition, Japanese long-range artillery pieces, many of which were still intact, could not be effectively utilized within the limited space that would be available. The best chance of prolonging the battle for Okinawa seemed to rest in defending the Kiyamu Peninsula region which was dominated by the Yaeju Dake-Yuza Dake Escarpment. Natural and artificial caves, sufficient to accommodate the whole of the surviving army, abounded in the area. The 24th Division, which had organized the terrain, had left a considerable amount of ammunition and weapons there when it moved north to the Shuri lines. The principal roads in southern Okinawa led directly to the proposed position, thus facilitating the movement of large bodies of men in the shortest possible time. These roads also gave American tanks an excellent route of advance, but only to the outposts of the defensive zone where cliffs, hills, and precipitous ridges barred the way. To add weight to his argument, General Amamiya indicated that his 24th Transport Regiment had preserved enough trucks to move the Shuri munitions reserve to the new position within five nights if weather conditions permitted. General Ushijima, after considering the respective positions of his staff and commanders, decided to order the move to Kiyamu.  Although General Suzuki preferred the Chinen Peninsula, which his brigade had fortified, most officials supported a move to the Kiyamu Peninsula, where Amamiya's 24th Division had previously established defenses in the natural and artificial caves of the Yaeju Dake-Yuza Dake Escarpment. Thus, transportation of wounded personnel and munitions reserves to the south commenced at midnight on May 23, with the bulk of the 32nd Army scheduled to begin their withdrawal six days later.  On the night of 25 May, the remnants of the 62d Division were to pull out of the Shuri line and move through Tsukasan to counterattack the Americans. The relatively strong 22d Independent Infantry Battalion, which had been in reserve throughout most of the fighting in April and May, was directed to hold the Shuri front in place of the division. The orders to General Fujioka were "to annihilate the enemy rushing from the Yonabaru area." Failing this, the division was at least to stop the American advance long enough to allow the main body of the Thirty-second Army to retire. In order to gain time to organize the new positions, the holding force left on the Shuri front was to fight on until 31 May. Withdrawing units were to leave behind strong rearguards which would defend a line along the Kokuba Gawa to the hills north of Tsukasan and Chan and then south through Karadera to the east coast until the night of 2 June. Then a second line centered on Tomusu, approximately 2,000 yards farther south, would be held until the night of 4 June. By that time the Thirty-second Army would be firmly set up within its Itoman-Yunagusuku-Gushichan outpost zone. Admiral Ota's naval force was directed to hold the west flank of the withdrawal corridor and begin its own retreat when ordered by 32nd Army. During the night, Admiral Ugaki initiated his seventh mass Kikisui attack, launching 165 kamikaze aircraft that inflicted only light damage on landing craft. On May 24, while engineers constructed a bridge over the Asato River to facilitate vehicle movement, the 4th Marines suffered heavy casualties as they attempted to advance through the muddy, flooded valley and low clay hills. Simultaneously, Shepherd's Reconnaissance Company crossed the lower Asato and roamed the streets of northwestern Naha without encountering any resistance. To the east, Dill's 1st Battalion faced a brutal counterattack that inflicted significant casualties and nearly drove the Americans from Oboe Hill. Following Ushijima's directives, the 32nd and 184th Regiments began to encounter increasing resistance as they sought to expand their control over the valley and the high ground to the south. This culminated in a series of aggressive nighttime counterattacks that ultimately slowed and halted the western advance of the 7th Division. During the night, Japanese forces conducted heavy raids on American airfields at Kadena, Yontan, and Iejima. However, these attacks were merely a diversion for Operation Gi-Gou, a suicide raid against Kadena and Yontan. In this operation, twelve Ki-21 heavy bombers, carrying Giretsu Kuteitai special airborne assault troops, aimed to crash land on the airfields to deploy commandos tasked with destroying aircraft stationed there.  After the start of B-29 attacks on Tokyo from bases in the Mariana Islands, the 1st Raiding Brigade of the Teishin Shudan was ordered to form a commando unit for a "special operations" mission to attack and destroy the bombers on the Aslito Airfield on Saipan. Captain Okuyama Michiro, commander of the brigade's engineering company and trained in sabotage and demolition was selected as mission leader. He selected an additional 126 men from his own team, the 4th Company of the 1st Raiding Regiment, to form the first Giretsu Airborne Unit. It was initially organized with a command section and five platoons and one independent squad, based at the Imperial Japanese Army's air academy at Saitama. The group unit also included eight intelligence officers and two radio men from the Nakano School. Giretsu operations were to be undertaken at night, beginning with air strikes by bombers. After this, commando units would be inserted onto the target airfield by crash landing their transports. The fact that there was no provision for extraction of the strike force, along with the rejection of surrender in Japanese military doctrine at the time, meant that the Giretsu ground operations were effectively suicide attacks. Though the Saipan attack was eventually cancelled, the 6th Air Army ultimately requested the deployment of the Giretsu Special Forces to neutralize the Okinawa airfields. The 6th Air Army accordingly began preparations for the attack in early May. Led by Captain Okuyama, the raid force moved from Nishitsukuba to Kumamoto as it continued to prepare for the assault, codenamed Operation Gi-Gou. Aircraft for the raid came from the 3rd Independent Air Unit based in the vicinity of Hamamatsu. The raid force consisted of 120 commandos broken up into a headquarters section and five flights, each containing twenty men. They were to be transported by twelve Mitsubishi Ki-21s stripped of their guns and with additional forward and rear exits added to assist raiders with exiting. The timing of the raid was also meant to coincide with the withdrawal of the 32nd Army from the Shuri Line in southern Okinawa. Of the twelve bombers dispatched, four encountered engine trouble and returned to base, while three were intercepted by American night fighters en route to Okinawa. The remaining five Ki-21 bombers approached Yontan Airfield at low altitude and engaged Marine anti-aircraft gunners from the 1st Provisional Anti-aircraft Artillery Group. As a result, four of the bombers were shot down or crash-landed; however, a small number of Giretsu commandos survived this wave and commenced their mission to attack aircraft on the airfield. The fifth bomber, however, successfully evaded anti-aircraft fire and belly-landed approximately 100 meters from the control tower. About 10 commandos disembarked and attacked aircraft and air personnel with grenades. In the ensuing chaos, the Japanese commandos killed two Americans, wounded 18, destroyed nine aircraft, damaged 29 more, and set a fuel dump ablaze, destroying 70,000 gallons of aviation gasoline. After twelve hours of mayhem, however, American troops hunted down the commandos and exterminated them to a man. Despite this partial success, the Japanese operation occurred against a backdrop of heavy losses, with American fighters and anti-aircraft fire claiming a total of 150 Japanese planes on May 24. During the course of three days, Ugaki committed a total of 387 Navy planes and 174 Army planes to his kamikaze attacks, which continued through May 25. These attacks successfully sank the destroyer Bates, one transport, and one landing craft, while further damaging two destroyers, one destroyer minesweeper, one minesweeper, one transport, and one Liberty ship. On the same day, Admiral Rawlings' Task Force 57 launched its final strikes in the Okinawa area before retiring late on May 25, having completed the Royal Navy's Iceberg mission. On land, while Shepherd's Reconnaissance Company occupied the deserted ruins of Naha, the 4th Marines fought to seize Machisi Ridge and continued pushing into the eastern outskirts of Naha. However, across the remainder of the 10th Army front, assault units struggled to make progress due to the havoc wreaked by the rain and the stiffened Japanese resistance. That night, in accordance with the withdrawal plan, the 62nd Division began moving its remaining 3,000 men to counter the advance of the 7th Division, hoping to delay the American advance long enough for the main body of the 32nd Army to retreat. The arrival of additional forces on the Ozato-Mura front had little significant impact, primarily serving to strengthen the covering and holding force. On May 26, the 184th Regiment successfully cleared the Hemlock-Locust Hill Escarpment. Meanwhile, the 32nd Regiment was brought nearly to a standstill in front of the Japanese defensive line across the Yonabaru valley. Looking west, Del Valle's Marines observed large numbers of enemy troops withdrawing from Shuri and were able to pinpoint their location for naval guns, artillery, and aircraft to bombard. However, despite penetrating the Shuri defensive line on both flanks, the day yielded minimal progress. At sea, further kamikaze attacks caused damage to one destroyer, one destroyer minesweeper, and a subchaser. In total, Ugaki's raids over the past three days resulted in the deaths of 103 sailors.  Believing the fast carriers' continued value off Okinawa had become dubious, back on May 18 Mitscher had requested that TF 58 be relieved from its Okinawa station. Spruance regretfully declined. A week later an increasingly weary Mitscher reported: “For two and a half months [Task Force 58] operated daily in a 60nm square area East of Okinawa, less than 350nm from Kyushu. This was necessitated by the restricted area available and the necessity for being able to cover [the] Amami Gunto airfields, intercept air raids before they could reach Okinawa, and still furnish air support to ground forces. There was no other location from which all these things could be done.” Reflecting on the months of unrelenting stress, tedium, and fatigue, TG 58.1's screen commander, Captain Tom Hederman, signaled Rear Admiral J.J. Jocko Clark: “See Hebrews 13, verse 8.” Consulting his Bible aboard Hornet, Clark read: “Jesus Christ the same yesterday, and today, and forever.” Amused, Clark forwarded the verse to his entire Task Group, adding, “No disrespect intended.” Clark then signaled Mitscher, “What the hell are we doing out here, anyway?” Mitscher's response: “We are a highspeed stationary target for the Japanese air force.” Indeed, TF 58 had already suffered over 2,000 Iceberg fatalities. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. The brutal Battle of Okinawa was reaching a critical point as General Buckner's forces pressed against fierce Japanese defenses. Struggles unfolded over Sugar Loaf Hill and Wana Ridge, with Marines suffering heavy casualties but slowly gaining ground. By late May, the dire situation prompted Japanese commanders to plan a retreat to more defensible positions as American forces closed in. Despite challenging conditions, the Allies pushed forward, marking a decisive breakthrough in the Pacific War.

#759 Show Notes: https://wetflyswing.com/759  Presented by: San Juan Rodworks, Fish The Fly, FishHound Expeditions, Mountain Waters Resort Sponsors: https://wetflyswing.com/sponsors    In this episode, we sit down with Jerry Kustich—bamboo rod builder, author, and one of the pioneers of Great Lakes steelhead fly fishing. From his off-the-grid cabin days in Idaho to building rods with legends like Tom Morgan at Winston and starting Sweetgrass Rods, Jerry takes us on a soulful journey through decades of fly fishing evolution. You'll hear about his early fishing adventures, the rise of the Great Lakes fishery, his passion for writing, and the powerful stories behind the rods, rivers, and people that shaped his life. If you love stories that go deeper than just catching fish, this one's for you. Show Notes: https://wetflyswing.com/759 

Upbeat vinyl obscurities fromThe Zimbo Trio, Crystal Ball,Katfish, Bamboo, James Cotton, Diane Maxwell, Brinsley Schwarz, These Vizitors,Friday Brown, The Poppees,New Zealand Trading CoEssra MohawkAnd more!As broadcast live via 5130kc sw05-17-2025

The drummer and percussionist Billy Martin, whose name many Time Sensitive listeners may recognize—he created the Time Sensitive theme song—defies any boxed-in or limiting definitions of his work. Best known as a member of the band Medeski Martin & Wood (MMW), he's spent the past three-plus decades making experimental, boundary-pushing, and uncategorizable instrumental jazz-funk-groove music, shaping sounds that feel as expansive as they are definitive and distinctive. Across all his artistic output, Martin continually, meditatively searches for harmony. He is also a composer, a teacher, a visual artist, and a builder and craftsman. His expansive creative practice comes most alive at his home in Englewood, New Jersey, where he has cultivated a bamboo garden, crafted his own Japanese-style teahouse, and constructed a music studio. Martin is someone for whom rhythm is not just something heard, but also seen and felt.On the episode, he talks about his MMW journey at length, his concept of “rhythmic harmony,” and why he views sound creation as a sacred act.Special thanks to our Season 11 presenting sponsor, Van Cleef & Arpels.Show notes:Billy Martin[7:31] Medeski Martin & Wood[7:31] John Medeski[7:31] Chris Wood[7:31] “Not Not Jazz” (2024)[10:12] Iggy Pop's “Avenue B” (1999)[10:12] Don Was[11:27] “The Lover” (1995)[11:27] “Friday Afternoon in the Universe” (1995)[11:27] “Old Angel Midnight” (1973) by Jack Kerouac[13:44] Ra-Kalam Bob Moses[13:44] John Scofield[13:44] David Baker[15:57] “Shuck It Up” (1993)[15:57] “It's a Jungle in Here” (1993)[18:12] “Latin Shuffle” (1998)[18:12] “Combustication” (1998)[18:12] Frankie Malabe[18:12] Art Blakey[33:25] Thelonious Monk[33:58] “Life on Drums” (2011)[38:32] John Bonham[38:32] Charlie Watts[38:32] Stewart Copeland[38:32] Elvin Jones[38:32] Max Roach[38:32] Danny Richmond[38:32] Charles Mingus[38:32] Jack DeJohnette[38:32] Joe Morello[38:32] Roy Haynes[38:32] Stan Getz[38:32] Airto Moreira[38:32] Naná Vasconcelos[38:32] Babatunde Olatunji[39:58] Gus Johnson[39:58] “Whatever Happened to Gus” (1998)[39:58] Steve Cannon[40:54] “Chubb Sub” (1995)[40:54] ”Uncle Chubb” (1992)[46:41] “Shack-man” (1996)[47:06] “Drumming Birds” (2004)[54:48] “Bamboo Rainsticks” (1999)[54:48] Amulet Records[1:00:23] Creative Music Studio

Hip Hop from Westside Gunn feat Doechii, MIKE, Dangerous Creatures. Classic Bristol Street Soul from Smith & Mighty feat Tammy Payne. A track from the latest SAULT album. New music from Ebi Soda. Jazz from Tristan Banks. A track from drummer Salin's quality album. A forthcoming track from Domu and dancefloor beats from Calm Stiege. Jungle from Dub Phizix and the Kjell remix of The Bamboos version of Amen Brother. Deep beats from Werkha. Plus plenty more music treats.

May 7, 2025 ~ Paul W Smith broadcasts live from Bamboo in Downtown Ann Arbor.

May 7, 2025 ~ Chef Joseph Van Wagner, Executive Chef, Managing Partner Echelon Kitchen joins Paul live from Bamboo in Ann Arbor for the Pure Michigan Tour.

Also available on YouTube: youtu.be/l8ANgFlZK0YIt started with a sock. A turtle sock. That led to a Shopify store, a wholesale boom, and—accidentally—an agency. In this episode, Lucy Jeffrey shares how she turned Bare Kind from a seasonal side hustle into one of Faire's fastest-growing brands. She walks us through surviving seasonality, scaling through B2B, ditching paid ads, and launching a service business that helps other brands win on Faire. A story about survival, strategy, and what happens when your Q4 makes or breaks you.Topics Discussed:Growing a DTC sock brand from scratchWhy Faire became a game changerTurning content into a client acquisition machineBalancing two businesses and one marriageWhy sustainability isn't selling anymore—and what isTurning off Meta ads (and doing better without them)Sponsors:Zipify – Build high-converting sales funnelsCleverific – Smart order editing for ShopifyAddress Validator – Reduce delivery address errors & costsLinks:Bare KindCandid FoundersCandid Founders YouTubeFaire on Shopify HelpFaire Shopify AppLucy on LinkedIn

Set in Trinidad—the epicentre of Carnival—this story follows young Nikoli as he discovers the hidden history behind the bamboo instruments that once saved a people's sound. When colonial rule banned African drumming, the people turned to the land. What they created wasn't just music—it was defiance, survival, and celebration in one.Through Nikoli's eyes and his grandfather's wisdom, you'll hear the rich history of the Tamboo Bamboo tradition: how it rose from oppression, evolved into steelpan, and now lives on in modern Carnival culture.This is more than a history—it's a heartbeat.

SaaStr 801: AI, M&A, and the Future of SaaS: Lessons from Marc Benioff, Chair, CEO & Co-Founder of Salesforce Join us for as SaaStr CEO and Founder Jason Lemkin sits down for a conversation with Mark Benioff, the CEO, Chair and Co-Founder of Salesforce. Together, we delve into the practical applications of AI in the B2B space. With 40 billion under Salesforce's belt, this discussion sheds light on how AI is transforming enterprise software. Learn about Salesforce's major acquisitions like Tableau and Slack, the evolution of their product offerings, and how they seamlessly integrate AI with business intelligence and analytics. Mark also shares insights on the strategic direction of Salesforce, the significance of data management, and the role of AI assistants in revolutionizing customer service and product development. Tune in for a glimpse into the future of enterprise software and the impactful initiatives driven by Salesforce. -----------------  Hey everybody. SaaStr Annual is almost here. It's May 13th to the 15th, right here in the SF Bay, the heart of the AI Revolution, and you've gotta be part of it in B2B and be it SaaStr 2025. We'll have an incredible line above speakers, the best in SaaS and AI. From HubSpot and Perplexity from Anthropic, to OpenAI, from Snowflake to Cursor, to Google Coud, to Box to IBM and more. We'll have AI matchmaking for founders and investors for the first time,  and we'll have over 1,000+ C-level executives at our VIP summits. It's gonna be great. So we'll see you there. If you want to come in person, use my code Jason20 before tickets sell out.  And we'll see anyone that can't make it in person on our live streams. It'll be all over my Twitter and LinkedIn and everywhere. May 13th to the 15th 2025. It's gonna rock. --------------------------------------------------------------------------------------------  Hey, are you tired of listening to hours and hours of sales calls? Recording is yesterday's game, folks. Yesterday's game attention.com unleashes an army of AI sales agents that auto update your CRM build custom sales decks. Spot cross-sale signals and score calls even before the coffee cold. Teams like Bamboo, HR, and scale AI already automate their sales and rev ops using customer conversations. Step into the future at attention.com/saastr. ------------------------------------------------------------------------------------------- Do you know what would make your customer service helpdesk dramatically better? Dumping it and switching to Intercom.  But, youʼre not quite ready to make that change. We get it!   Thatʼs why Fin, the worldʼs leading AI customer service agent, is now available on every helpdesk.   Fin can instantly resolve up to 80% of your tickets,  Which makes your customers happier. And you can get off the customer service rep hiring treadmill.   Fin by Intercom. Named the #1 AI Agent in G2ʼs Winter Report.      Learn more at : inter.com/saastr   --------------------------------------------------------------------------------------------

Join Tracey, Blake and Craig as they get stuck into another hot news week, starting with the fact that bitcoin supply on exchanges has just hit a 6-year low — what does that mean for price pressure, and is a supply shock on the cards?Meanwhile, the SUI token is pumping hard… and yes, somehow Pokémon might have something to do with it.Plus, Monero's on the move after a $333 million Bitcoin laundering case hits the radar.Let's unpack what's really going on in the crypto world today — no fluff, just the facts you need.Let's go

I'm joined by Mike Archer for this weeks episode and we discuss his initial start to fishing, a passion for music, his time guiding, aggressive tundra trout, bamboo and his journey to rod building, the benefits of knowing how to fix a rod, bamboo building's low barrier to entry, silk lines, the upcoming Sandy Clave, the "drudgery" of tapping ferrules, and so much more.

durée : 00:04:20 - La main verte - par : Alain Baraton - Ce matin Alain Baraton nous propose des livres : "Botanique olfactive" de G. Giorgi collection Nez, "Les racines du littoral" de T. Rautureau et V. Mure aux éditions Artfolage et "Les insectes" en bande dessinée de Cazenove, Vodarzac et Cosby aux Bamboo éditions.

In this episode of The Birth Lounge Podcast, HeHe chats about the  benefits and logistics of donor milk with Kelly Cox, founder of Share the Drop, an innovative app connecting donors to recipients. Kelly discusses the need for and benefits of donor milk, particularly for those facing various breastfeeding challenges and the stringent criteria of formal milk banks. The discussion emphasizes the importance of community support and informed decision-making in ensuring the health and wellbeing of infants. They also touch on safety measures, the history and evolution of milk donation, and the cultural and health implications of lactation support. This episode serves as both an informational resource and a testament to the power of community-driven support systems in maternal and infant health. 01:01 The Benefits and Challenges of Breastfeeding 02:03 Introducing Donor Milk 02:13 Challenges in Donating Breast Milk 03:33 Meet Kelly Cox and Share the Drop 07:44 Kelly's Journey to Founding Share the Drop 21:00 The Importance of Community Support 23:02 Ensuring Safety in Donor Milk Sharing 29:05 How to Use the Share the Drop App 29:42 Creating and Managing Your Profile 30:07 Subscription Fees and Waivers 30:25 Traveling and App Activity 31:53 Mother's Day Gift Ideas 33:53 Legal and Liability Concerns 34:59 Importance of Feeding Plans 38:27 Community Support and Resources 39:57 Healthcare Providers' Perspectives 49:23 Historical and Cultural Context of Wet Nursing 54:40 Conclusion and Contact Information   Guest Bio: Kelly Cox is a registered prenatal yoga teacher, a birth doula, former mental health therapist, and breast cancer survivor; all of which led her to understand the stress and anxiety felt when caregivers are unable to produce enough, or any, breast milk.   Brought to you by: Cozy Earth, Use code HEHE at checkout to save 40% off your purchase!  Cozy Earth has the softest, coziest pajamas on earth! I love their bedding, pajamas (I have three pair), socks, towels, and loungewear! I am a die-hard Cozy Earth fan and will absolutely be packing my CE pajamas in my birth bag and living in them during postpartum! Try their Bamboo sheets risk free with their 100 night trial! Use code HEHE at checkout to save 40% off your purchase!    INSTAGRAM: Connect with HeHe on IG  Connect with HeHe on YouTube   Connect with Share the Drop on IG    BIRTH EDUCATION: Join The Birth Lounge here for judgment-free childbirth education that prepares you for an informed birth and how to confidently navigate hospital policy to have a trauma-free labor experience!   Download The Birth Lounge App for birth & postpartum prep delivered straight to your phone! LINKS MENTIONED: www.sharethedrop.com   Human Milk Banking Association of North America:  https://www.hmbana.org Last chance to apply for the Business Accelerator for Doulas! 

Jenna is joined by Virginia Head Coach and Biola University alum and All American, Joanna Hardin! They talk about the rise of Virginia Softball, reaching 200 career wins and nearly a decade with the Hoos, developing through hard times, how her playing days and coaching at multiple levels shaped her, when the small things become the big things, why faith is a beautiful thing, the unique history on campus in Charlottesville, the ACC, Jenna's visit to UVA, and more. 00:00:00-00:05:42 Intro/Covering Our Bases 00:05:42-00:46:17 Interview 00:46:17-00:47:32 Bring It Home/Outro IG: @bleavinsoftball X: @BleavInSoftball

Discover how the furniture industry is being transformed from wasteful and disposable to modular, circular, and tech-powered. In this episode of the Conscious Design Podcast, Ewelina Pankowska, founder of Zucchini and Reforest Design, shares how her team is using AI, robotics, blockchain, and circular manufacturing systems to help eliminate global furniture waste.Ewelina dives into the power of bamboo and hemp wood, the growing crisis of fast furniture, and how her company is building customizable, high-quality furniture that can be easily repaired, upgraded, and even turned into biochar at the end of its lifecycle.

Still recovering from your Easter chocolate coma? Good — because it's time to feed your brain instead.

⭐The Shanghai Story (1954) - Film Noir Behind the Bamboo Curtain ⭐

The week in markets on the Crypto Curious...Bond yields are spiking, tariffs are making a comeback, and the U.S. economy is throwing out mixed signals. What's really going on beneath the headlines?And in the crypto world, the Mantra token takes a brutal nosedive—dropping over 90%. Is it panic, a rug pull, or just brutal market forces at play?Let's break it all down—this is the episode you don't want to miss.TIMESTAMPS1:50 "Bond! Global tariff bonds!"6:11 Biggest token collapse since Luna crisis10:52 Short, sharp news bites****You can sign up for our Equity Mates Crypto Newsletter here****If you're enjoying these episodes please subscribe to our podcast on your preferred platform, leave a review, or share this episode with a friend or family member.If you want to start investing in Bitcoin, Ethereum, Gold & Silver, you can download the Bamboo app here. Use the code CURIOUS for $10 in BTC when you sign up.Follow the Crypto Curious Instagram here.Join the Crypto Curious Facebook Group here.*****In the spirit of reconciliation, Equity Mates Media and the hosts of Crypto Curious acknowledge the Traditional Custodians of the country throughout Australia and their connections to land, sea, and community. We pay our respects to their elders past and present and extend that respect to all Aboriginal and Torres Strait Islander people today.*****Crypto Curious is a product of Equity Mates Media.This podcast is intended for educational and entertainment purposes. Any advice is general advice only and has not taken into account your personal financial circumstances, needs, or objectives.Before acting on general advice, you should consider if it is relevant to your needs and read the relevant Product Disclosure Statement. And if you are unsure, please speak to a financial professional.Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.

Dave Dozer and Olivia Elia share a workspace, ideas and their passion for cane, but the finished products possess their respective fingerprints. Distinction in this timeless trade comes naturally when you are passionate about the craft and embrace the fact that each rod requires about 100 hours of work. In this episode of Fin And Fire With Jeff Mishler Dave and Olivia share their stories and offer insight into the Bamboo Rod making process.  

For more information and to stay up to date with Pastor Jamie Crawford, Breakthrough Ministries and Epicenter Church please visit our website's breakthroughevangelism.com or epicenterchurchok.com 

MIA AND LIV COME TO THE MIC AND TALK ABOUT SOME FUN SESSIONS OVER THE YEARS. COME FIND US ON FET AND LOYALFANS!MISTRESSMIAREY AND MADAME_LIV3

Travis Prentice is looking for momentum trends “stock by stock,” which the trade war has made more difficult. He tries not to pay attention to the short-term headlines, more interested in the “medium-term” trend. “Be more a bamboo than an oak,” he advises. He sees opportunities in international mining companies and U.S. insurers.======== Schwab Network ========Empowering every investor and trader, every market day.Subscribe to the Market Minute newsletter - https://schwabnetwork.com/subscribeDownload the iOS app - https://apps.apple.com/us/app/schwab-network/id1460719185Download the Amazon Fire Tv App - https://www.amazon.com/TD-Ameritrade-Network/dp/B07KRD76C7Watch on Sling - https://watch.sling.com/1/asset/191928615bd8d47686f94682aefaa007/watchWatch on Vizio - https://www.vizio.com/en/watchfreeplus-exploreWatch on DistroTV - https://www.distro.tv/live/schwab-network/Follow us on X – / schwabnetwork Follow us on Facebook – / schwabnetwork Follow us on LinkedIn - / schwab-network About Schwab Network - https://schwabnetwork.com/about

Today, we're going to talk about the top foods for hair growth. Number 4 is the most important!1. Bamboo shoots are high in trace minerals, potassium, and silica—essential for building hair protein. Silica makes hair strong and elastic and also prevents breakage and brittleness. Silica supports skin, joint, and bone health as well!2. Wild-caught salmon is an excellent source of protein and is loaded with nutrition. It's also one of the best sources of omega-3 fatty acids. Wild-caught salmon is a potent source of vitamin D3, which can improve nearly every problem with hair loss. Vitamin D controls the hair follicle and can activate dormant hair follicle stem cells.3. Egg yolks are loaded with biotin, vital for keratin production. They also contain all of the fat-soluble nutrients that are essential for hair growth and hair health. Egg yolks are a rich source of cholesterol, a precursor for the hormones necessary for hair growth. Cholesterol increases hair shine and luster and strengthens the hair shaft. Egg yolks contain vitamin D and sulfur, which supports a healthy scalp.4. Grass-fed liver contains concentrated amounts of almost every nutrient. It's high in iron, vital for oxygen transport to the scalp. One of the most common causes of hair shedding is iron deficiency. An iron deficiency can be caused by low iron or a copper deficiency. Copper is vital for the proper function of iron, and beef liver is loaded with it! It also contains zinc, which is essential in the appropriate ratio to copper. Zinc is necessary in the formation of hair and protein synthesis. Beef liver also contains folate and vitamin B12, which can reduce graying. The nutrients in beef liver are bioavailable, so your body can easily absorb them. Beef liver contains the active, bioavailable form of vitamin A and biotin. It's best to get biotin from a food source rather than a supplement.

In this empowering episode, we're talking directly to the dads and partners! If you've ever wondered “What can I actually do during labor?” — this one's for you. We're breaking down exactly how you can be a confident, calm, and supportive presence in the birth room. From hands-on comfort techniques to powerful advocacy tips, you'll leave this episode knowing how to show up for your partner like a pro. Plus, we're sharing go-to resources that will help guide you every step of the way. Let's turn nervous energy into confident action — because you play a crucial role in this birth story!   BIRTH EDUCATION: Get the free class to help you avoid a c-section and reduce your risk of tearing!    Join The Birth Lounge here for judgment-free childbirth education that prepares you for an informed birth and how to confidently navigate hospital policy to have a trauma-free labor experience!   Download The Birth Lounge App for birth & postpartum prep delivered straight to your phone!   Brought to you by: Cozy Earth, Use code HEHE at checkout to save 40% off your purchase!  Cozy Earth has the softest, coziest pajamas on earth! I love their bedding, pajamas (I have three pair), socks, towels, and loungewear! I am a die-hard Cozy Earth fan and will absolutely be packing my CE pajamas in my birth bag and living in them during postpartum! Try their Bamboo sheets risk free with their 100 night trial! Use code HEHE at checkout to save 40% off your purchase!  INSTAGRAM: Connect with HeHe on IG: https://www.instagram.com/tranquilitybyhehe/   LINKS MENTIONED: Dad Daze Course    

Markets are red across the board — and yes, crypto felt it too.But in the middle of the chaos, Bitcoin's getting a surprising nod from BlackRock's CEO… could it really challenge the US dollar?And Binance? They're under fire again — this time for questionable token listings and dumping stablecoins.We're unpacking all of it — the bloodbath, the bold claims, and the backlash — right here on Crypto Curious.TIMESTAMPS1:58 Trump's Liberation Day slaps the world!5:35 Trace asks ...6:51 Blackrock's Larry Fink calls it9:44 Binance called out by its own users13:55 Short, sharp news bites****You can sign up for our Equity Mates Crypto Newsletter here****If you're enjoying these episodes please subscribe to our podcast on your preferred platform, leave a review, or share this episode with a friend or family member.If you want to start investing in Bitcoin, Ethereum, Gold & Silver, you can download the Bamboo app here. Use the code CURIOUS for $10 in BTC when you sign up.Follow the Crypto Curious Instagram here.Join the Crypto Curious Facebook Group here.*****In the spirit of reconciliation, Equity Mates Media and the hosts of Crypto Curious acknowledge the Traditional Custodians of the country throughout Australia and their connections to land, sea, and community. We pay our respects to their elders past and present and extend that respect to all Aboriginal and Torres Strait Islander people today.*****Crypto Curious is a product of Equity Mates Media.This podcast is intended for educational and entertainment purposes. Any advice is general advice only and has not taken into account your personal financial circumstances, needs, or objectives.Before acting on general advice, you should consider if it is relevant to your needs and read the relevant Product Disclosure Statement. And if you are unsure, please speak to a financial professional.Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.

More bathroom ghosts/A fierce spirit is looking for victims   Patreon (Get ad-free episodes, Patreon Discord Access, and more!) https://www.patreon.com/user?u=18482113 PayPal Donation Link https://tinyurl.com/mrxe36ph MERCH STORE!!! https://tinyurl.com/y8zam4o2 Amazon Wish List https://www.amazon.com/hz/wishlist/ls/28CIOGSFRUXAD?ref_=wl_share Help Promote Dead Rabbit! Dual Flyer https://i.imgur.com/OhuoI2v.jpg "As Above" Flyer https://i.imgur.com/yobMtUp.jpg “Alien Flyer” By TVP VT U https://imgur.com/gallery/aPN1Fnw “QR Code Flyer” by Finn https://imgur.com/a/aYYUMAh Links: EP 1427 - Boost Your Paranormal Powers In Four EASY Steps! (Oregon Ghost Conference 2025 Bathroom Ghosts Odd Emotions-Nostalgia, Liminality, Deja Vu, Synchronicity episode) https://deadrabbitradio.libsyn.com/ep-1427-boost-your-paranormal-powers-in-four-easy-steps EP 1425 - The Singapore Soul Sucker https://deadrabbitradio.libsyn.com/ep-1425-the-singapore-soul-sucker Dead Rabbit Radio Recommends: The Lady of the Lake https://www.imdb.com/title/tt27202828/?ref_=fn_all_ttl_2 Stay at the Most Haunted Hotel in Colorado https://nightlyspirits.com/stanley-hotel-ghost-stories/#:~:text=UNDERGROUND%20CAVES,those%20mysterious%20tunnels%20once%20led. Kuntilanak https://en.wikipedia.org/wiki/Kuntilanak Pontianak https://en.wikipedia.org/wiki/Pontianak Bamboo cannon https://en.wikipedia.org/wiki/Bamboo_cannon Pontianak Sultanate https://en.wikipedia.org/wiki/Pontianak_Sultanate Syarif Abdurrahman Alkadrie https://en.wikipedia.org/wiki/Syarif_Abdurrahman_Alkadrie Pontianak Harum Sundal Malam https://en.wikipedia.org/wiki/Pontianak_Harum_Sundal_Malam THE TRADITION OF CARBITE CANON AS A POTENTIAL TOURISM DESTINATION BASED ON HISTORY OF THE CITY OF PONTIANAK WEST KALIMANTAN https://jurnal.icjambi.id/index.php/ijes/article/view/179   ------------------------------------------------ Logo Art By Ash Black Opening Song: "Atlantis Attacks" Closing Song: "Bella Royale" Music By Simple Rabbitron 3000 created by Eerbud Thanks to Chris K, Founder Of The Golden Rabbit Brigade Dead Rabbit Archivist Some Weirdo On Twitter AKA Jack YouTube Champ Stewart Meatball Reddit Champ: TheLast747 The Haunted Mic Arm provided by Chyme Chili Forever Fluffle: Cantillions, Samson, Gregory Gilbertson, Jenny the Cat Discord Mods: Mason http://www.DeadRabbit.com Email: DeadRabbitRadio@gmail.com Twitter: https://twitter.com/DeadRabbitRadio Facebook: www.Facebook.com/DeadRabbitRadio TikTok: https://www.tiktok.com/@deadrabbitradio Dead Rabbit Radio Subreddit: https://www.reddit.com/r/DeadRabbitRadio/ Paranormal News Subreddit: https://www.reddit.com/r/ParanormalNews/ Mailing Address Jason Carpenter PO Box 1363 Hood River, OR 97031 Paranormal, Conspiracy, and True Crime news as it happens! Jason Carpenter breaks the stories they'll be talking about tomorrow, assuming the world doesn't end today. All Contents Of This Podcast Copyright Jason Carpenter 2018 - 2025  

Ready to discover the many benefits of bamboo for your feet? Sustainable, anti-bacterial bamboo socks from BulkSockery offer comfort, eco-friendliness, and bulk savings. Visit https://bulksockery.com/ for details. BLUE TREE TECHNOLOGY LLC City: Bear Address: 153 Rickey Blvd Website: https://www.bulksockery.com/

American sustainable sock connoisseurs, BulkSockery, are offering up to 60% savings on their bamboo bulk bundles. Eco-conscious shopping that actually saves you money! Discover high-quality, environmentally-friendly socks at amazing prices with BulkSockery at https://bulksockery.com BLUE TREE TECHNOLOGY LLC City: Bear Address: 153 Rickey Blvd Website: https://www.bulksockery.com/

In this episode of the Grace & Grit podcast, I'm excited to share my conversation with Angi McClure, a neuro-based Movement Therapist and creator of Bamboo Bodies™. Together, we explore a fresh perspective on aging that combines ancient practices with modern brain science. In our discussion, we cover: How to train your brain for better aging outcomes The fascinating relationship between seasonal changes and our body's natural rhythms Practical ways to shift from resisting to embracing the aging process If you're looking for alternative approaches to aging well or want to feel more connected to your body during midlife, this conversation offers both inspiration and practical strategies you can implement right away. You can listen here: https://graceandgrit.com/podcast-378 MENTIONED IN THIS EPISODE Foot Massage Video:  https://body401k.myflodesk.com/foot-sensory-video Upcoming Foot Workshop: https://www.bamboobodies.com/events/training-event-feet2025 *** ⬇️ Tools to rock your second act. ✅ Start Here: https://graceandgrit.com/start-here/ ✅ Listen to the Podcast: https://graceandgrit.com/podcast ✅ Weekly Bit of Grace & Grit: https://graceandgrit.com/rumbleandrise ✅ ️Leave a Podcast Review: https://graceandgrit.com/podcastreview ✅ Rumble & Rise with Courtney: https://graceandgrit.com/readytorumble ✅ Subscribe on YouTube: https://graceandgrit.com/youtube-subscribe ✅ Visit us online: https://graceandgrit.com  

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A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on APEX Express join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere at the Magic Theatre. She speaks with Ethnotech's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the Aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.”     Our Guests discussed: April 2-20, 2025 Magic Theatre The Boiling, a tale of american nihilism tickets, wheelchair accessible Joan Osato SFFILM Cedar Road Iyagi Grant Applications:  sffilm.org/artist-development Ethnohtec May 22 Ethnohtec https://sfpl.org/events/2025/05/22/panel-strong-bamboo-3-part-1 Strong Like Bamboo SF Library Koret Auditorium Free https://sfpl.org/events/2025/05/25/performance-strong-bamboo-3-part-2   Coming Up Next Transcript   Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Ayame Keane-Lee: [00:00:34] Tonight on APEX Express join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere of the boiling at the Magic Theatre. She speaks with Eth-Noh-Tec's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.” So join us on APEX Express as we join some creative conversations.   Miko Lee: [00:01:17] Tonight on Apex Express, we have the collaborators behind Magic Theater and Campo Santo's, world Premier of the boiling: a tale of American nihilism. Welcome playwright Sunhui Chang and video artist Joan Osato.    Joan Osato: [00:01:30] Thank you for having us on, Miko.    Miko Lee: [00:01:33] Yes. First I'm gonna start for each of you with a personal question, which is an adaptation from the amazing Chinaka Hodges. And my question for each of you, and let's start with Joan first, is who are your people and what legacy do you carry with you?    Joan Osato: [00:01:49] I consider myself a child of immigrants in this country. My lineage Japanese, Japanese American by way of Hawai'i a lot of my lineage is carried by that diaspora, but also by my history at Youth Speaks for a couple of decades. And so I consider that my family also and Camp Santo.    Miko Lee: [00:02:12] Yay. Love that. And then Joan, what legacy do you carry with you?   Joan Osato: [00:02:17] A legacy of resilience and I know how to farm. I like to think of myself as a gardener and a great farmer. so that's the legacy I carry with me.    Miko Lee: [00:02:29] Thank you so much, Joan. Sunhui, what about you? Who are your people and what legacy do you carry with you?    Sunhui Chang: [00:02:36] Well, I'm part of the diaspora, the Korean American diaspora that happened in the seventies. My family immigrated to the island of Guam in 1976, as part of developing the island of Guam. As, you know, the Korean diaspora at that time in the seventies, we were kind of shipped around the world a little bit, for our labor. There's a huge Korean population of workers that also went to West Germany and other places, Guam is not as well known, but it was definitely part of that. So in 76, our family landed on the island of Guam.    Miko Lee: [00:03:11] Wow, that's so interesting. And then what about what legacy you carry with you?    Sunhui Chang: [00:03:16] I think my legacy I have to say is that definitely of the immigrant working class, you know, as with a Korean diaspora, there's some things of, like the East Coast Koreans, as you may know, have a different history of being much more educated whereas kind of the west coast and the Korean diaspora during the seventies towards islands like Guam, we were much more working class. So that is my legacy. I have working class roots that, I never seem to be able to get away from and I don't want to.   Joan Osato: [00:03:47] Shoot. That's the same for me too, my working class roots.   Miko Lee: [00:03:51] So it sounds like you two have some commonalities there and that seem to have flowed over into the creation of this play. Sunhui can you talk about an overview of this brand New World premier, the boiling.    Sunhui Chang: [00:04:05] Simply put, it's a story of a tracker and a tracer, a government team that was formed to track and trace down carriers of the virus called the Boiling. and it actually. starts out as a chase, but what we really dig into is more about, identity, home, what it means to be, what is home and what it means to be, at home, and also, about redemption, you know, through our lives, you know? So it's multi-layered, so it's hard to kind of explain in a log line. but it's a chase story that kind of delves into the characters.    Miko Lee: [00:04:40] And I understand this was inspired by a real news story. Can you tell us about that real news story?    Sunhui Chang: [00:04:46] Oh, yeah. the genesis of this we have to kind of go back to the beginning of the pandemic back to December, 2019. I had just finished a gallery installation in San Francisco and then at the end of that I flew back to Seattle. Now at that period of time, there was this talk that there's this virus that's in China. That might affect us, we're not quite certain, but it could be something that could lead to a global pandemic, but we didn't quite know at that time. But then when I landed in Seattle, March 17th, 2020 was the date that Governor j Insley shut down the state of Washington. So that is a big take 'cause, As you know, we all hunkered down at that point. And then in one of the hunkering down is of course, I was watching the news and one of the news story, happened to come across where they were talking about a Econo Lodge motel that the state of Washington had purchased to turn into a quarantine motel, a voluntary quarantine motel where people who, felt that they were infected could check themselves in, to be evaluated. So the story goes that two people had actually checked into this motel totally voluntarily, but one of them the morning after. And this is captured, with a surveillance video. We actually see this one person walking out of their room at the motel. We see them walk across the street to a gas station with a market. Now the surveillance actually then switches over to the gas station surveillance, which shows him walking to the gas mart, walking inside, making a purchase, and then actually walking out. And then we see another footage of the surveillance that's going from the outside surveillance of the store. We actually see him, walk towards the bus stop, get on a bus. And then just the bus leaves and that is it. And the news story ends with that. They had no idea where this person drifted off to. and for me it just, it had this weird, eerie fascination that just grabbed me. and remember at that time, Seattle was such a hotbed for Covid. It was where the nursing home happened, where so many of the elderly had passed on, and we didn't even wanna secondhand touch a surface, so there was a real heightened sense of alarm that was happening. So seeing this story of this potential infected person just drifting off. And then what made it eerie was that I wanted to see what followed up. So for days after I kept watching the news, what is the follow up? What happened? It was never brought on again. Never. Another mention I. and for me that actually made it even more eerie. So it really sat with me, to the point where I had to actually just write down the first words of my, the first line of my story, the boiling. And the first line was, “Carrier X stepped out of the tightness of his room and breathed deeply the soft drizzle of the Pacific Northwest to cool his body from the growing fever.” So those were the first words that I wrote. and then it was just kind of off to the races 'cause the way I write Miko is that I'm very much organic. I kind of set a story and then I become a vessel of the story. I don't come to the story with agendas or anything of that nature. After the first sentence, it just kind of took a life of its own. So that's it.    Miko Lee: [00:08:18] That is amazing. I did not hear that story. and the real news story. That is wild. That would've sat with me too. Joan, had you heard of that story before being brought onto this project?    Joan Osato: [00:08:29] Well, when we did a reading during the pandemic. I did hear parts of that story, but I think it's also a story that a lot of us can relate to, because like here in the Bay Area, of course, we also experienced severe lockdown. Whereas in other parts of the country, I think that the type of lockdown, although being, you know, trying to be really safe for people also induces this sense of isolation and paranoia. And so wanting to get information about who's getting affected and like, where's it happening? I think that was all like kind of a mini obsession of like. Everyone who experienced the pandemic, you know what I mean?    Miko Lee: [00:09:10] How do you think that pandemic has had an impact on theater and on audiences?    Joan Osato: [00:09:16] Well on the most basic levels, you know, like what theaters are grappling with, just in terms of coming out of and recovering from pandemic, I think everybody understands that, you know, theater in general is struggling because of the changes that happened in terms of, Perhaps what people place importance on the isolation that we went through, the kind of, paranoia about being in groups of people and in space and in community together. And so, that affects, you know, theaters and you can, you can see that since the pandemic some have closed. But I also think that, the effects are also that, groups like The Magic or Campo Santo during the Pandemic, we never stopped working and we just figured out innovative ways to, you know, support artists, do radio plays, do, amalgamations of like filming. And so a lot of us became like very, very adept at different types of media that are theatrically based, like Sunhui's play, but that we had to carry out, like online or, you know, through other types of media.    Sunhui Chang: [00:10:30] I just wanted to add on that is that, the pandemic, you know, there there was definitely things that really affected us as humans in such a negative way, but what I also found admiring was, with Joan and Camp Santo and the artists and trying to find creative ways of, still letting, having an outlet. it really was that the story of the boiling would not have taken place if artists such as Joan and Camp Santo. If they didn't, if they weren't able to pivot and make these kind of online transitions at the moment, such as doing readings and such, cause that's how the story was first brought about. So, in many ways it was hard. But also I do appreciate these artists who have been able to kind of keep going and didn't shut down and kept letting the creative creativity somehow flow. I so appreciated that.    Joan Osato: [00:11:20] Yeah, it was definitely a beautiful thing. And then, you know, Miko, throughout the pandemic, you know, we would have like online viewings of our archives or we would sit with audience members, who were joining us and basically hang out for like three, four hours online. So trying to create the space not only to kind of generate support for artists who are. Completely outta work, but also to, just connect us even though we were. You know, obviously under these conditions where we couldn't see each other in person and it wouldn't have been advisable for us to even try to gather, you know, because, I consider us, you know, in-inside of our community extremely vulnerable. So, you know, just grappling with that tension, was really hard.    Miko Lee: [00:12:09] Yeah. And I kind of hear both of you saying that in those really tough times, there was this push to get more creative, to find more ways of reaching people and, and to look at ways that we can, um, innovate given that, and I'm wondering, given our current political climate where things are changing every hour now. I mean, the first Trump administration, it was kind of every week and now it feels like every hour a new kind of devastating thing is happening. I'm wondering how you both think theater can be used as a tool for social change.    Sunhui Chang: [00:12:41] For me Theater and, and really the arts, what I do love about it, is this really, and I kind of touch upon it with the story and such, and it really hit me during, COVID, during the pandemic, is that it's really for me, what it does is listening.  I know as artists, we love telling our story. We love telling what we see, our interpretations and things like that. but I think what I have really come about with the arts is the fact that I like the other side of it is the listening part, for me with my collaborators, that I have to listen. You know, it's not about just me talking, but just listening. So for me, the theater aspect of it and the art aspect of it is that I hope that, as we go through these tough times, what it really has us doing is listening to each other more. One of the things that I really feel in that way and appreciative of listening is the fact that without listeners, there's no storytelling. Listening is really the foundation of our humanity. You know, I mean, just talking really gets us nowhere. What really makes us move forward collectively is listening.   Joan Osato: [00:13:50] Mm, Sunhui heard that. Yes, I heard that. [laughs] As far as theater and kind of responding to the moment. I think, you know, the type of theater that we embody is always speaking to politics is always speaking to, you know, the culture of the moment and especially it's speaking, because a lot of Campo and the Magic's work is like based inside of, theater companies that live, work, breathe, are about by and for the communities, like in the Bay Area right. So there's just no way of separating the kind of politics from what happens like inside of these plays. For the boiling in particular though, I think there's a lot of stuff that, that people can think about and here inside the play that will resonate with them. One, we're, we're talking about a hypothetical, but it's not really a hypothetical situation about a pandemic, a very, harmful, very urgent, current conditions. You know, when there's no CDC to have, get your information from when there's no public health that's functioning in this country, we can, we can see what happened during the last pandemic and just make that comparison and draw those comparisons, you know, what would happen in the next one. Right. also that, you know, to me and Sunhui, you can totally. speak to this, but to me, Carrier X, the person that represents is this kind of violence and nihilism that exists inside of the, you know, the current, you know, psyche or administration right at this moment. this real like. It's definitely violent to the point of not caring whether people live or die and so I, you know, I think that's very striking about the play and it happening right now as premiering it right now, because I think people can draw a lot of parallels between. Like this personality, this complete disorder that seems to be going on, like not only in American politic, but amongst the large population in America itself. You know what I mean? That kind of disregard.    Miko Lee: [00:16:18] Joan, that is so interesting. I wonder if you both can talk a little bit more about Patient X as this kind of figure of narcissism and selfishness that we're seeing that's happening in our broader politics right now.   Sunhui Chang: [00:16:31] Yeah, Carrier X, he does, you know, he does kind of represent this nihilism of American nihilism, which to me it's really historical and cultural. we could go all the way back to the nihilism of manifest destiny, feeling like we have something to do that it was even, maybe. God's order, you know, a higher order that was given to us. And we have to take on this task and finish the task at no matter what cost, right? By any means necessary in a way. and that nihilism for me, I. historical, but when I see it currently that happens now, is that I see nihilism in the fact that people want to cut off Medicaid, Medicare, these social programs that are not just help people actually are crucial and it's really, it's a survival. So for me, when I see that kind of disregard, yes, it's not this overt violent nihilism, but I do find it to be so nihilistic in the damage that it does to all of us, you know? And I do find That this nihilistic violence, there's two flip side to it. The people who are directly affected, and harmed by it, but also the people who carry it are out, who carry out these acts of nihilism they do get damaged as well. So for me, so yeah, the nihilism, it's taken on a different life, but. It's a part of America and it seems to continuously carry forward through our days.    Miko Lee: [00:18:00] And Sunhui with the intentional characters, the lead being Korean American adoptee, and, the detective being a black woman, and then carrier X being white. Share with me a little bit about the racial element and your intention behind making those characters of those, ethnic backgrounds.    Sunhui Chang: [00:18:20] You know, there was no intention, as I said, I just write very organically. So there was never this thought of, oh, here's the three characters. One's gonna be a Korean adoptee, one's gonna be a black homicide detective, and another's gonna be a white carrier. It was never that I. It's hard for me to explain the process, but those were the characters that just kind of naturally came out. for me, it just felt fitting to it. So, I don't have agendas as I write, as I said, so there was none of that. It was just for me, as a vessel of the story, as a story was coming out, it was just. Oh yeah, this character is this, this character is that, and this one is this. so no intention. But, once those things came alive, then the story kind of, evolves around what's, organically happening. So yeah, there wasn't intent, but at the end of it all, of course, I go, oh, I see what has come about and how the story is so, In hindsight now going, oh yeah, I did this. for me, it feels right in the, in the fact that for me, this is America Miko. To me, I, I don't write with an Asian American kind of pen, or, or a brown person pen for me, I actually first and foremost say I'm an American. There's no way around it. and it's simply put too, is that. I am an American. so for me, these characters are just. Natural. And when I know about me being American and knowing about American history, these characters just naturally fit in, you know?    Miko Lee: [00:19:50] Yep. Thank you so much. I've read that you talk about new Americana theater. Mm-hmm. And also Joan, you were talking about how during the pandemic, you know, everybody's learning new techniques, new ways of storytelling, just because everybody was forced to with the lockdown. Sunhui, can you talk more about what you believe New America Theater is all about?    Sunhui Chang: [00:20:12] For me, the reason why I kind of see it as new Americana theater, first off, 'cause it's, it's American, the stories that come out of me is very American. you know, and I recognize it. And for me, I, it is, this is part of the American fabric, so that's why it's called Americana. And for me, I say it's new. 'cause what's new is the perspective that it's coming out from. perspective, which brings on different characters, a different storyline, you know, different message. So yeah, that's, that's it for me when I refer to it as New America in the theater. It's just that, that it's, it's an American tale that now we've been able to incorporate new voices into.   Miko Lee: [00:20:54] I noticed there's a really large list of collaborators. Of course the two of you, but then there's a lot of other people as well. Can you talk about that creative process, how you all were able to work together, how you made decisions about, oh, this is the part we're gonna use film, this is the part we're gonna use, movement.   Sunhui Chang: [00:21:11] Like I said, it's very much organic. Our third major collaborator is Ellen Sebastian Chang. she is the director of the show, and when me, Joan and her, we first started delving into it, we did. It was just sitting down and talking a lot. Going through the scripts, the different skill sets that we bring in. And really it was through the dialogue miko and of us talking with each other, but also listening to each other. and that was a big part is that as we started listening to ourselves, we came out with this direction.    Miko Lee: [00:21:47] And what would you both like the audience to walk away with after seeing the boiling?   Joan Osato: [00:21:52] I think, you know, as Sunhui talked about this, ritual of deep listening and so, the play doesn't guide anyone towards some natural conclusion that they should have about, you know, it's, it's not saying you, you must believe this, it's really leaving it up to the viewer, the listener, to draw their own conclusions. And, I think that, that people who come to this will be incredibly moved. I think that they will see a lot of parallels with what we're going through now and what we've gone through. And examine there is a kind of shameful history that we all need to grapple with, whether we own it or not. You know, Sunhui had talked about manifest destiny and that being like one of the founding, you know, kind kinds of principles that this country is founded upon. And there are many, many others That I think the play touches on which give pause and, and give the people who are engaging with this, room to think and reexamine their own actions in the world and how they approach it.   Sunhui Chang: [00:23:02] I'll just mention as an aside, you know, some of the things that we're looking at is. Our disconnect from the natural world and how that has impacted the natural world. Right.  I think Joan is spot on in, in that about, yeah, first and foremost, I do find this so important once again to say about listening. I do. I, that is the big thing that I would love is that for us to, if we really wanna truly have dialogues, and especially with people who we disagree with, and there is a lot of disagreement in this world right now. and for me, yeah, to, Get us back to a place where we could really listen to each other and not be in such a place where all we wanted to do is kind of say what we have to say. It's almost this thing of, oh, you know, the other has to listen, the other has to listen. And I really would like it that it becomes kind of more inward that we all say, Hey, it is time for me to listen. And then of course just the fact that when, as we listen to each other, what I do find and what I hope that others find as well, is that we're much more connected and we have so many things that tie us together than separate.   Miko Lee: [00:24:19] Well, thank both of you so much for joining us on Apex Express. Is there anything else you wanna add?   Sunhui Chang: [00:24:24] Just one thing, Miko, one of the elements of this play, is this natural world with birding and I would love to just, one of the big inspiration is that it's just a quote from Emily Dickinson and the quote is, “hope is the thing with feathers.” For me, I would love for people to kind of sit with that and think about that and what that means for us as human beings in relationship to the natural world, you know, and the importance of that.   Miko Lee: [00:24:52] Oh, that's such a beautiful visual image. Thank you so much for sharing that. I appreciate both of you for sharing your time with me.    Joan Osato: [00:24:59] Thank you, Miko.    Sunhui Chang: [00:25:00] Thank you Miko    Miko Lee: [00:25:01] The Boiling is a brand new play, and it's a story of a Korean American adoptee Brian, who's a virologist from the Midwest, and a former homicide Detective v, a black woman who lives in the Pacific Northwest, and they're partnered to do this trace and track from north to south. They're following David, a white nihilistic carrier of a feverish virus called the Boiling. This world Premier Show opens to the magic theater and runs from April 2nd through April 20th. You can get more information about this show, including links to buy tickets at our show notes on kpfa.org/programs/apexexpress.   Ayame Keane-Lee: [00:25:42] Next we'll listen to an excerpt from The Camp, the first opera on the Japanese American Concentration camps during World War II. The camp premiered from February 22nd to March 2nd, 2025 at the JACCC Aratani Theater in Los Angeles. Composed by Daniel Kessner, who combines modern classical with Japanese instruments, A libretto by Lionelle Hamanaka, directed by Diana Wyenn, with Associate Director John Miyasaki, 11 singers and a 22 piece orchestra conducted by Steve Hofer. The incidents in The Camp Opera were drawn from different camps where over 126,000 Japanese Americans were imprisoned to see the many Japanese American groups that supported this project, including JANM, DENSHO and Raf Shimpo see the camp opera.com and if you know a place where The Camp can be performed near you, please contact the campopera.com/support.    MUSIC   Miko Lee: [00:27:53] Welcome to Apex Express. I'm so glad to have Eth-Noh-Tec once again, we get Robert Kikuchi-Yngojo and Nancy Wang.   Nancy Wang: [00:28:03] Yay. Yes. Hi. Hello. So glad to be here with you Miko.   Miko Lee: [00:28:07] We have been friends and colleagues for, it feels like a hundred billion years. The times that we're in are so complicated right now. But I just wanna first start with the question I often ask people, which is for each of you to tell me who are your people and what legacy do you carry with you?   Nancy Wang: [00:28:27] Well, I am Chinese American, and I am fifth generation on my mother's side. And. So we go all the way back to 1850 when our family first came on a junk boat and started the fishing industry in the Monterey Bay area.    Robert Kikuchi-Yngojo: [00:28:45] And I am, half Japanese, half Filipino, born in San Francisco, raised in Concord, California, and living in the Bay Area for all my life.   Miko Lee: [00:28:50] And what legacy do you carry with you?    Robert Kikuchi-Yngojo: [00:28:58] Well, I guess the identity I have as an Asian American, Japanese, and Filipino, um, I embrace all of that. The legacy is, as an artist, a performer. I've dedicated my life to creating works that reflect an Asian American consciousness, social, political, cultural. Both traditional works as well as new modern stories and music as well.    Nancy Wang: [00:29:25] And I was also a psychotherapist, so my work in the arts, whether it's dance, which I started out being a dancer and then a playwright, and then storytelling. I always weave in the healing aspect of what we all need to do in our communities. And so I use my art to also bring solace and bring celebration and bring, Depth and and the breadth of who we are as Asian Americans, as human beings, as part of this world, this country, then this city, so that we can celebrate who we are together.   Miko Lee: [00:30:04] Thank you for that. I hear you talking about activism, Asian American history, who we are and healing. I'm wondering if you could give me an update about what you're working on right now.   Nancy Wang: [00:30:14] Well, we have several things in the pipeline. I, for one, just finished writing and has now published Red Altar, which is the story of my ancestors. Three generations are followed in this book, about how they established the fishing industry in the Monterey Bay area. All the ways they had to reinvent themselves as laws were passed against them. The people try to get rid of them. And it's really a story of courage and determination and persistence, ingenuity and obviously success. Because I'm here. So I'm gonna be doing some more readings and that can be found on our webpage. Right. And Robert,    Robert Kikuchi-Yngojo: [00:30:55] I am focusing on archiving our work and after working with Nancy and creating Eth-Noh-Tec for the last 43 plus years, we have developed over 200 stories, and we put them on stage. We've written them, some of them are now being written as a compendium of stories. These are Neo-traditional folk tales and myths from Asia. And, people don't know much of this, but I am also an artist, so I'm creating illustrations that depict these stories. That's one project.   Nancy Wang: [00:31:23] Yeah, that's our next book. but what we're really excited about is our second Strong Like Bamboo, stories of resilience in the era of Asian American hate, but it's really broadened beyond Asian American because this year on May 22nd, will be a gathering of Latino and Asian artists and musicians, storytellers, and activists to just sit around and really share our stories, share our music, share our concerns, and to build bridges with each other because it, we will need to increase, our coalitions during this era. It's gotten worse, so we really need to come together.   Robert Kikuchi-Yngojo: [00:32:08] and we titled it strong like bamboo because of the Asian anecdote about, you know, one bamboo can snap, but together binding many bamboo together we're much stronger. So it's a call out to the community to bring all of our constituents and broaden that so that we are strong, as people of color.    Nancy Wang: [00:32:25] And of course we're gonna have food, which always brings us all together. But also bamboo can bend. Without breaking, so that's on a Thursday, May 22nd. But on May 25th, I have curated four other storytellers to tell their stories of their racist experiences and how they came through it to a healing place.    Robert Kikuchi-Yngojo: [00:32:48] There's a gathering of Asian American storytellers, both from the Chicago area and also from the west coast.    Nancy Wang: [00:32:53] And there'll be a panel so they can ask questions and we can have discussions. But after that, the people in the audience will have the opportunity to break up into small groups of three in which they get to share their own stories, their own concerns, and that's really the whole thing is about inspiring people to come through what they're going through and coming out, on the other side with some hope and healing. Because when we share our stories, we lift that particular burden of, say our story about our racist experience. We lifted off our own shoulders and we get to share it. With someone who's listening with compassion and we don't feel alone anymore. It's really a powerful, powerful way to find community connection, relation, and strength.   Robert Kikuchi-Yngojo: [00:33:45] And we'll have also in both of those events, resources in earlier years, I was an Asian American songwriter and did a lot of songs of not just identity, but of unity. I'm also gonna be singing a theme song called Bamboo, which is part of the title and also, a work by Chris Jim, famous of the Chris and Joe Asian American Duet from years ago. the one song we're still here, though it was written 30, 40 years ago. It's still pertinent to what's going on now, especially declaring that America is a multiracial, multiethnic, texture of society.   Nancy Wang: [00:34:20] and, in 2026 we're gonna bring on, African-American and Euro-American, storytellers also, so that we really have a multicultural representation of all who we are and how we still will need to come together. I hope things will be better by 2026, but who knows?    Miko Lee: [00:34:39] Thank you so much for sharing about how storytelling can really be a tool for social change. Is there anything else you wanna share with our audience?   Nancy Wang: [00:34:47] Yeah. please come to our strong like Bamboo on May 22nd and 25th is gonna be at the San Francisco Public Library Main Library, both are free to the public May 22nd the Thursday at May 22nd, it's gonna be in Hispanic room,    Robert Kikuchi-Yngojo: [00:35:05] and what time?   Nancy Wang: [00:35:06] Six to seven-thirty. And on Sunday it'll be in the presentations, the performances in the panel will be in the Koret auditorium, and then small groups will convene in the Hispanic room, which is right next door, and it's got elevators. So no problem, in getting there. Plus Bart and the bus is, it's easy to get there. And so that's what we wanted so that people could feel welcome.    Robert Kikuchi-Yngojo: [00:35:35] And that second show on Sunday Strong like Bamboo will feature our guest artist storytellers, professional storytellers. One of them being a local Eleanor Clement Glass who's half African American and Filipino, talking about her experiences. And then also, two guest artists from Chicago, one of them being Lillian Ji, who is a Japanese American hapa. Then third is, Archie Jun, who is a Thai American gay comedian storyteller who is a total riot. we are really wanting to blend many of our communities together to hear this talent Yes. And to deal with the topics.    Nancy Wang: [00:36:10] So we would love for the LGBTQ plus community to come out as well and support him and feel proud because all of the stories will, will really showcase our strength and our ability to deal with these things and come out the other side. So we are hoping that in the process of telling our pain, but coming out, on the other side, that it will be an inspiration for everyone to keep going during this difficult, very difficult time.    Miko Lee: [00:36:41] Thank you so much for joining me today.    Nancy Wang: [00:36:44] You're welcome. Thank you   Ayame Keane-Lee: [00:36:46] You are listening to 94.1 KPFA and 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno, and online worldwide at kpfa.org.   Miko Lee: [00:37:05] Welcome Jiehae Park to Apex Express. I am so excited to talk to you about the world premier of the aves opening at Berkeley Repertory Theater, May 2nd through June 8th. Welcome to Apex Express.    Jiehae Park: [00:37:19] Hi, Miko. It's so nice to be here. Thanks for having me.    Miko Lee: [00:37:22] I wanna just first start with a personal question, which is, who are your people and what legacy do you carry with you?   Jiehae Park: [00:37:31] Hmm. I love the phrasing of that question. I was born in Korea and I came to the states when I was three years old with my parents who came to go to graduate school. And my father's family fled the north during the war. And my mother's family had always been in the south. And I definitely think that who they are and where they came from is a big part of who I am and the questions that I think of. And in a lot of ways, not just, racially and culturally, but also in terms of their interests. They're both scientists. This play deals, I hope thoughtfully with questions of identity and consciousness, that I've always been interested in.    Miko Lee: [00:38:18] And what legacy do you feel like you carry with you from them?   Jiehae Park: [00:38:22] Hmm. I mean, I write a lot about immigrants. This play isn't specifically about that, but in a lot of my previous work, I, I have. have written a lot about immigrants and I feel like my parents, you know, they came to this country when they were in their twenties. They didn't speak the language. They came from a generation of folks and at that time in the country where they were really, they had to be a certain way to survive. And I think that, intensity of work ethic, and the things that you also have to give up in order to get to where you think you wanna be, that question is, is part of their legacy to me. It's a, it's a gift and also something that, like a lot of other immigrants, I think I'm always sort of turning over in my mind and, and trying to look at from other angles.    Miko Lee: [00:39:12] Thank you for sharing. I'm wondering if you can talk to us about, first this title of your, world Premier, the aves. Where did this title come from? What is it about?    Jiehae Park: [00:39:23] So the title is the Latin word for Birds. And, the play there's a mystery that sort of unspools early on. So without, without giving too much away we see this old couple on a bench, on a park bench, and they have clearly been together for a long time and they are having a conversation that seems like a very ordinary conversation. And over the course of the first scene, we soon learn that they are discussing, doing something that will have ramifications throughout the rest of the play. And the aves is a word that I loved because of the association with birds. There, there are birds that make an appearance in this play, in both pedestrian and unexpected ways, in mysterious ways, and hopefully humorous ways. and then the connotation also of Ave Maria and this, this feeling of the sacred, which also infuses the play, which has a lot of humor, but also when I was writing it, I was thinking a lot about nature and the passage of time and this feeling of awe that I get when engage with nature. And I think that word also has those connotations for me.    Miko Lee: [00:40:46] And that sounds like a mystery that people need to come to find out more about. Can you tell us what inspired this work?    Jiehae Park: [00:40:54] I used to live on the northside of Central Park in Harlem, and I had this tiny, tiny little window that looked out, onto the north side of the park. And every day I would sit down to write and through my tiny window, I would see the same man sitting on this bench every day. And as the seasons changed and the leaves changed and the light changed, but still every morning there was the consistency of seeing the same person. And I think I I was thinking a lot about the passage of time and of nature shifting And I think subconsciously I was thinking about getting older myself. This was a time before I had children, but I was starting to become aware of my parents aging and generationally My peers, also our parents were aging and, and starting to have, you know, the complications and the beautiful things that can come with that. So I think all of that was a big soup in my subconscious. and I sat down and I wrote the first scene very quickly and then. I didn't know exactly what the rest of the play was gonna be, but I knew structurally that the first scene would be this old couple and that the second scene would be, a slightly different configuration of, of bodies. But that was hard to be so mysterious, um, and that the nex scene would be a different specific configuration of body. So I was thinking about the age of the bodies that you're watching and the story evolved from that. And I guess I should say that the play is set in a moment sort of best after now. So it's not the present, but it's not the distant future. It's certainly not like hard sci-fi by any means, but I think it uses some tools of speculative fiction. To ask questions that hopefully are illuminating about ourselves now.    Miko Lee: [00:42:59] Interesting. Did you ever talk with the man in the park that inspired this piece?   Jiehae Park: [00:43:05] You know, it's so funny. After the first couple of weeks of watching him, I realized he lived in my building and I hadn't noticed him before.    Miko Lee: [00:43:18] Wow. That's amazing.    Jiehae Park: [00:43:20] And I think that that's also something that. I had been thinking a lot about at the time this question of presence and attention, especially in New York, which is a city that is so loud. I mean, I love, I love New York and there's so many things that I love about New York, but it is such a loud city and it is hard to hear yourself think and, and the quality of attention in any. I was gonna say in any city, but in like any moment in our extremely chaotic world, I mean, especially now, that sort of quiet present quality of attention that I think is so beautiful and so rare, and I associate with, I'm not religious, but, but when I was a kid, I was, and this, this quality of, of sacred space, I think I was, I was really curious about that. And at the time, I think I had also that year gone on a silent meditation retreat. so trying to bring that quality of attention to my ordinary life as a urban citizen, I think was also part of the experience of writing the play. But yeah, he lived in my building and I hadn't noticed him before. And so this question of what do we notice and what do we need to shift in ourselves to notice what's in front of us and has been in front of us.    Miko Lee: [00:44:44] I am hearing you talk about a sense of presence and, and time passing. I'm wondering if that is what you want the audience to walk away with or are there other things that you're interested in provoking with this piece?    Jiehae Park: [00:44:57] As an audience member, when I go to any play, I always hope to leave a little bit different than how I entered and. That shift can be really subtle. In fact, for me as an audience member, sometimes it feels more profound when it is subtle. So on, on like at like a really baseline level. We've been having a lot of conversations with the design team about how to create this. Quality of space that feels different from the mundane so that when we enter the space of the theater, so for our body chemistry changes and that we are being asked by the play to lean in and pay attention perhaps in a way that we're not asked to pay attention, in, in the world outside of that room. And to be able to request that of an audience and share that with an audience. Together, I think is such a beautiful thing. And, and one of my favorite things about any collective experience when, when it all feels like we're breathing together. And my hope is that that's something that we can create, at a, like a biochemical level in our bodies, on a sort of more. Intellectual, emotional, philosophical level. I think there are questions that the play is asking about, what makes us, us and memory and the ability of a person and a relationship to change over a long period of time. And over the course of events that. May require forgiveness. those were certainly things that I was thinking about while I was writing it. So there's also that, that more character relational level of questioning that, that I think, will resonate with people, in different ways depending on where they are in their lives. And then I think especially because, you know, there's a lot of conversation about sandwich generation now, like folks, I. Who have dealt with aging themselves or aging parents and, the complexities and possibilities that can create. I think that there's another layer of the play that stirs up some of those questions as well.   Miko Lee: [00:47:04] Speaking of complexities and possibilities, I understand that you studied music and that you're also an actor and then you also write for Marvel's Runaways. Can you share a little bit about how these different elements impact you as a writer, as a creator?    Jiehae Park: [00:47:20] Yeah, so I started as an actor, which I think a lot of people do, mostly because it's the most accessible thing. Like you can audition for a play. You can't sort of audition to write a play. you can just write a play. But that, I think, came later for me. I don't really perform a ton anymore, although I did love it. and then the shift to television happened eight or so years ago. There's a big movement of playwrights moving into television, during peak tv. And they're very different. there is some shared similarity in storytelling instincts and craft. but the mediums are just really different, so I feel like I get very different things from, from all of them. I feel like I learned being a performer for a long time. As an artist, it's just getting to bump up against people who you think are fascinating and learn from them what you like and what you don't like, and who you wanna be and who you don't wanna be. and from tv I think I learned, To not be so precious. It takes a really long time for me to write a play. and I used to think, oh, I have to go into the woods and like be silent for a month and then like a play will emerge. And like sometimes it happens and it, that feels like a blessing when it does. But in TV, because there's so much money at stake and so much time pressure that you know, when something's due, it's just due and you turn it in. And if it's not perfect, you just deal with it and you make it as good as you can. And I think that there's a certain amount of shedding of perfectionism, which has been really healthy for me. but I do. Love the theater for the ability to spend a long period of time contemplating something and, and making it with a group of people who feel inspiring and we're all moving towards the same thing. and I think there's a little bit more space or a lot more space in the theater for things that may feel. mysterious or more open. whereas in television especially these days with the sort of decline of peak TV, there's an expectation of propulsion. Like overt propulsion, if that makes sense. That is not a criticism like, you know, I also love TV. but it is, it's like the pace of it is different and the ask of it is different than the ask of a play and and the baseline thing of just, you're not in the same room with the people experiencing it that is so special in theatre.    Miko Lee: [00:49:45] How do you go about shifting that mindset for that kind of speed of TV that you're describing versus the kind of longer meditative state of creating theater?    Jiehae Park: [00:49:55] Yeah, I mean, I think there's hopefully a two-way exchange. Because I also think that bringing some of those qualities of thoughtfulness and deliberation to the world of TV within the container, within the boundaries of it, can be incredibly useful. And ultimately a lot of the things that delight people, delight people regardless of the format. So that, like, that feeling of inevitable but surprising, like that's something that is of tremendous value in all mediums, right? I think for me personally, when I write a play. I try to make a space in my life that is a little more still. and I have a toddler now, so that's challenging. But in a way, working in television has been really helpful for that because, you know, I don't have five hours in the middle of the day to, you know, be with myself and listen to the trees. I maybe have like 30 minutes, but to try to drop into that as. quickly and without angst, without like working myself up about it. 'cause that's a waste of time. That's been a useful lesson to learn. Whereas working in television can feel a lot less lonely also than playwriting because in a writer's room, most shows in the states are written in the writer's room, there are few exceptions, and you're with a group of people. And so there's a sort of energetic exchange happening there that in a play only happens much, much later when you're in rehearsal and ideally in production. there's a sort of joyful energy and exchange that can happen in a writer's room, both when you're breaking the story and then ultimately when you're in production. And there's like many, many more people involved. And there's the crew and the cast and you know, all of the technical departments and producers. I feel like you mentioned, Code switching earlier. And, humans are so adaptable and I think we automatically sort of shift our brain chemistry and our body chemistry in response to the environment around us. sometimes very consciously, sometimes unconsciously, sometimes both. so I think a certain amount of that is just, okay, these are the given circumstances. And then, you become who you need to be in that space.   Miko Lee: [00:51:54] Thank you for sharing. Okay. I have one last TV question, which is that given that everybody's in this writing room together and you're, there's kind of a speed that's attached to it, do you feel like things get thrown out more quickly and with less kind of emotion attached to it than in theater?    Jiehae Park: [00:52:10] It's possible. I think it depends on the person. So I just worked on season four of the morning show last year. And there is a real need on that show because it deals with the news to be absorbing what's happening in the world and shifting the story based on that. And so that there has to be a sort of lightness around that. So in that kind of environment, absolutely. but I've also been in other rooms where someone got really attached to an idea, and maybe it was clear that that idea wasn't gonna work out, but there was, there was still like something, in it that wanted to be held onto and, and it may be hung on for a long time. And that process. Also could have happened, like that exact parallel process could have happened in a play. And actually in neither of the situation, is that necessarily a bad thing? Like is there something about that idea that maybe is not the idea itself, like the emotional core underneath it or the deep, deep idea underneath it that is useful? That even if the manifestation of the thing doesn't continue, if the manifestation gets thrown out, but like the real thing that was underneath it was important gets folded in in some unexpected way. I don't think it's a bad thing either way. It just is the peculiarities of any particular process.   Miko Lee: [00:53:22] And it sounds like it's about the people too, right?    Jiehae Park: [00:53:25] Yes, definitely. Absolutely. Yeah, yeah. Yeah. And I've certainly been in that book where I'm like, oh, I really think it's like this. It's gotta be this, it's gotta be this. And then, you know, two years later, I look at the draft, I'm like, oh, no, no, no. It, it is definitely not that. Like let me take that entire thing out. and it just was in that particular moment, I wasn't ready for whatever reason to let go of that idea. And that's okay. I am now, and then it moves on.    Miko Lee: [00:53:48] We're circling back to the beginning of the conversation about the aves, which is about presence and being in that moment. And where you are in that moment might be, no, this isn't right. And then years later you say, oh yeah, that wasn't right. Or that was right.   Jiehae Park: [00:54:03] Yeah, exactly, exactly. To listen to yourself is a, you know, I, I am, I've been doing this for a long time now and, that is still something that I feel like I always have to learn, that I think just is a human.   Miko Lee: [00:54:15] Yes. The perennial lesson of Yes, intuition. I'm wondering if you could tell our audience why they should go see the aves.    Jiehae Park: [00:54:24] My hope is that if you are curious about a certain kind of experience and attention in the theater, that you'll accept our invitation to this play, which is an unusual play. I don't think that everyone should see this play, just like, I don't think everyone should see any particular work of art, but if the things that we've been discussing, if the sort of vibe that you're getting from this conversation resonates with you, then the experience of seeing this play with a group of people who are also curious about that kind of experience may be something. That is enjoyable for you and would probably therefore also be enjoyable for that audience to be together with you and for the play to be together with you in that space.    Miko Lee: [00:55:17] Thank you so much for spending time chatting with us. Folks can see the aves at Berkeley rep May 2nd through June 8th. Thank you so much, Jiehae.   Ayame Keane-Lee: [00:55:26] For you Asian American film makers out there: SFFILM announced a new annual filmmaking grant in partnership with Cedar Road. The SFFILM Cedar Road Iyagi Grant is dedicated to fostering bold, original feature film projects that amplify Asian and Asian American perspectives on screen. In Korean, iyagi means “story”—a word that embodies the heart of this grant's mission: to champion storytelling as a powerful bridge connecting people across cultures and perspectives. A link to the grant application will be available in our show notes.    Miko Lee: [00:55:58] Please check out our website, kpfa.org to find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important.    APEX Express is created by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tangloao, Cheryl Truong and Ayame Keane-Lee.  The post APEX Express – 4. 3.25 – Coming Up Next appeared first on KPFA.

This episode of our favourite podcast features the one and only Kie Kie, a content creator, actress, and comedian. Over two hours, they discuss what it takes to grow and build a solid career as a content creator, the falsehood around "femininity," and some hilarious advice. Remember to use #ISWIS or #ISWISPodcast to share your thoughts while listening to the podcast on Twitter! Rate the show 5 stars on whatever app you listen to and leave a review. Share with everyone you know, and if you also watch on YouTube, subscribe, like, and leave a comment! To be one of the 10 people who will get $100 cash back by funding their Bamboo wallet with $200 by Friday, 4th April follow this link - https://app.adjust.com/1m9ph3zoMake sure to follow us on Twitter: @ISWISPodcastInstagram: @isaidwhatisaidpodYoutube: @isaidwhatisaidpod Hosted on Acast. See acast.com/privacy for more information.

Crypto Curious is back this week with a VERY special guest… She's been making people laugh through every bear market…the queen of crypto comedy and founder of Web3 Is A Joke – welcome, Mona!First up, the notorious Lazarus Group and Kim Jong Un were spotted popping bottles in Ibiza—because apparently, laundering billions just isn't thrilling enough without a beachfront DJ set.Meanwhile, Bitcoin maxi Michael Saylor has stunned the crypto world by—brace yourself—buying Ethereum. That's right, the man who put “laser eyes” in his LinkedIn bio just aped into ETH.In corporate news, Ripple is making waves—literally. They've just acquired Trojan Condoms. Why? We have no idea, but let's hope their liquidity stays as strong as their protection.And finally, Coinbase CEO Brian Armstrong has returned from Turkey with… a full head of hair. That's right—crypto winter might still be dragging on, but Brian's hairline? Bull market confirmed.Buckle up—it's April Fools', and nothing is as it seems. Let's get into it!****Show links:web3isajokeXInstagramYoutubeTikTok****You can sign up for our Equity Mates Crypto Newsletter here****If you're enjoying these episodes please subscribe to our podcast on your preferred platform, leave a review, or share this episode with a friend or family member.If you want to start investing in Bitcoin, Ethereum, Gold & Silver, you can download the Bamboo app here. Use the code CURIOUS for $10 in BTC when you sign up.Follow the Crypto Curious Instagram here.Join the Crypto Curious Facebook Group here.*****In the spirit of reconciliation, Equity Mates Media and the hosts of Crypto Curious acknowledge the Traditional Custodians of the country throughout Australia and their connections to land, sea, and community. We pay our respects to their elders past and present and extend that respect to all Aboriginal and Torres Strait Islander people today.*****Crypto Curious is a product of Equity Mates Media.This podcast is intended for educational and entertainment purposes. Any advice is general advice only and has not taken into account your personal financial circumstances, needs, or objectives.Before acting on general advice, you should consider if it is relevant to your needs and read the relevant Product Disclosure Statement. And if you are unsure, please speak to a financial professional.Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.

This week, the podcast is graced by the amazing Banke Kuku, one of the most outstanding designers in Nigeria. A very demure and gentle babe, Banke joins your favourite troublemakers in giving some advice before diving into what it takes to build a luxury brand in Nigeria, and the difficulties in accepting plagiarism and imitation rampant in the creative spaceTo get some beautiful outfits, you can find Banke Kuku Online here - https://bankekuku.myshopify.com/Insagram - https://www.instagram.com/bankekuku/?hl=enThis is the link for the Coins by Bamboo app referral https://app.adjust.com/1m9ph3zoRemember to use #ISWIS or #ISWISPodcast to share your thoughts while listening to the podcast on Twitter! Rate the show 5 stars on whatever app you listen to and leave a review. Share with everyone you know, and if you also watch on YouTube, subscribe, like, and leave a comment! Make sure to follow us on Twitter: @ISWISPodcastInstagram: @isaidwhatisaidpodYoutube: @isaidwhatisaidpod Hosted on Acast. See acast.com/privacy for more information.

Welcome back to Crypto Curious! This week, the M&A race is heating up—Kraken's making big moves, and Coinbase isn't far behind.Plus, Trump is doubling down on stablecoin regulations—could this be the breakthrough crypto needs?And finally, EOS is out, and Vaulta is in—we break down what this shake-up means.All that and more, coming up. Let's dive in!

Fluent Fiction - Japanese: Bamboo Grove Bonding: Unraveling Leadership in Nature's Embrace Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2025-03-25-22-34-01-ja Story Transcript:Ja: 春の嵐山竹林は、青々とした竹の木々と美しい桜の花びらで彩られていました。En: In the spring, the Arashiyama bamboo grove was adorned with lush green bamboo trees and beautiful cherry blossom petals.Ja: 木漏れ日が広がる道には花びらが舞い、穏やかで活気のある雰囲気が漂っていました。En: On the sun-dappled path, petals danced, and a calm yet vibrant atmosphere lingered.Ja: このような場所で、マーケティング会社のチームビルディングのためのリトリートが開催されていました。En: In such a place, a retreat for team building was held for a marketing company.Ja: アキラは若くて野心的なマーケティング担当者です。En: Akira is a young and ambitious marketing professional.Ja: 彼は昇進を目指して、この機会を活かそうとしています。En: He's aiming for a promotion and intends to make the most of this opportunity.Ja: しかし、自分の能力に対する自信の無さも抱えていました。En: However, he's also plagued by a lack of confidence in his abilities.Ja: 一方、チームリーダーのはるかは冷静で落ち着いた態度で知られていますが、内心ではチームのダイナミクスを失うことを恐れていました。En: On the other hand, the team leader, Haruka, is known for her calm and composed demeanor but secretly fears losing the team dynamics.Ja: チームには、新しいメンバーのヨシもいました。En: The team also included Yoshi, a new member.Ja: 彼は、少し経験不足ですが、やる気に満ちています。En: Though a bit inexperienced, he is full of enthusiasm.Ja: リトリートの最初の日、チームは協力して課題に取り組んでいました。En: On the first day of the retreat, the team was collaborating to tackle challenges.Ja: しかし、アキラの内面の葛藤が時折姿を現し、はるかのリーダーシップと衝突することがありました。En: However, Akira's internal conflicts occasionally surfaced, clashing with Haruka's leadership.Ja: それに加え、ヨシの熱意が誤解を生み、小さなミスが発生することもありました。En: Additionally, Yoshi's enthusiasm sometimes led to misunderstandings and minor mistakes.Ja: だが、アキラはヨシの成長のために、助け合うことを選びました。En: Yet, Akira chose to help Yoshi grow.Ja: その姿勢は、自分の野心とチームワークのバランスを取るための新しい試みでした。En: This attitude was a new endeavor to balance his ambition with teamwork.Ja: ある日、チームは竹林の中で行われるチームビルディングの演習の最中、突然の雨に見舞われました。En: One day, during a team-building exercise in the bamboo grove, they were suddenly caught in a rain shower.Ja: 竹の葉の下に避難するしかなく、いったん足を止めることにしました。En: They had no choice but to take shelter under the bamboo leaves and come to a brief halt.Ja: その時、リーダーシップが試される瞬間が訪れました。En: It was a moment when leadership would be tested.Ja: アキラは自ら進んでチームをまとめ、安全な帰り道を探しました。En: Akira willingly stepped up to lead the team, guiding them to find a safe path back.Ja: 彼の指示のおかげで、チームは無事に雨宿りができ、次への場所に向かうことができました。En: Thanks to his direction, the team was able to take shelter from the rain and proceed to the next location safely.Ja: この出来事の後、はるかはアキラを信頼するようになり、昇進を与えることを決めました。En: After this incident, Haruka began to trust Akira and decided to grant him a promotion.Ja: また、ヨシもこの経験から多くを学び、次第にチームの中で調整を図るようになりました。En: Moreover, Yoshi learned a lot from this experience and gradually began to adjust within the team.Ja: アキラは自信を持つことができ、野心とチームワークの価値を理解するようになりました。En: Akira was able to gain confidence and come to understand the value of ambition and teamwork.Ja: 春の嵐山竹林での経験は、彼ら全員にとって、心深く残るものとなりました。En: The experience in the spring Arashiyama bamboo grove left a deep impression on all of them. Vocabulary Words:adorned: 彩られていましたlush: 青々としたpetals: 花びらdappled: 木漏れ日が広がるlinger: 漂っていましたretreat: リトリートambitious: 野心的plagued: 抱えていましたdemeanor: 態度dynamics: ダイナミクスenthusiasm: 熱意collaborating: 協力してtackle: 取り組んでいましたinternal: 内面のconflicts: 葛藤surface: 姿を現しendeavor: 試みbalance: バランスexercise: 演習shower: 雨shelter: 雨宿りhalt: 足を止めるtested: 試されるguiding: まとめpromotion: 昇進gradually: 次第にadjust: 調整confidence: 自信ambition: 野心impression: 心深く残る

"I enjoy feeling disorientated sometimes; being exposed to sound worlds which don't reveal their inner logic. The bamboo recording felt like one of those moments.  "I wanted to take the rhythms of the creaking bamboo & weave something around it, thinking about nature, preservation and the encroachment of technology, as well as Brazil's immense percussive heritage & influence. "The piece of music which has emerged is darker than I anticipated, perhaps reflecting the times we're living through. "The main components were put together on a train, which may have informed its repetitive nature. Some serendipitous equipment malfunctions; digital distortion, timing inaccuracies, also made their way in, and have been retained. "Initial work was done using segments of the recording as samples in a Polyend Tracker Mini, then supplemented by Logic Pro running various plugins, some analogue outboard distortion, and a Dreadbox Nymphes synthesizer. "Off-kilter rhythms, and a sense that everything might fall over at any minute are very much part of the deal, but bamboo is resilient; it may flex, but rarely breaks." Ilha Grande soundscape reimagined by Andrew Tulloch. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

Fluent Fiction - Japanese: Unveiling Secrets: The Bamboo Grove's Hidden Legacy Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2025-03-21-22-34-02-ja Story Transcript:Ja: 春の訪れとともに、嵐山の竹林には穏やかな風が吹いていました。En: With the arrival of spring, a gentle breeze blew through the bamboo grove in Arashiyama.Ja: ここはカナが心の安らぎを求める場所です。En: This is the place where Kana seeks peace of mind.Ja: 竹の茎が太陽の光を受けて鮮やかに輝き、鳥たちのさえずりが静寂をやさしく破ります。En: The bamboo stalks shone brightly as they caught the sunlight, and the birds' chirping gently broke the silence.Ja: 春分の日。En: The vernal equinox day.Ja: 今日は特別な日でした。En: Today was a special day.Ja: カナはいつもの場所に座り、深呼吸をして心を落ち着けます。En: Kana sat in her usual spot, took a deep breath, and calmed her mind.Ja: しかし、そのとき、地面に何かが見えました。En: However, at that moment, she noticed something on the ground.Ja: 茶色い小さな封筒です。En: It was a small brown envelope.Ja: 封筒は少し古びていましたが、カナは興味をそそられてそれを手に取ります。En: The envelope was slightly old, but Kana was intrigued and picked it up.Ja: 封筒を開けると、中には短いメッセージが。En: When she opened the envelope, there was a short message inside.Ja: 「家族の過去と未来を知りたければ、竹林の秘密を探れ」と書かれていました。En: It read, "If you want to know the past and future of your family, seek the secret of the bamboo grove."Ja: 心がざわつきます。En: Her heart was stirred.Ja: カナはこのメッセージが何を意味するか知りたくなりました。En: Kana became curious about what this message could mean.Ja: それでカナは幼なじみのハルトを訪ねました。En: So Kana visited her childhood friend, Haruto.Ja: ハルトは好奇心旺盛な性格で、ことごとく新しい冒険を求める男の子です。En: Haruto is a boy with a curious personality, always seeking new adventures.Ja: 「ねえ、ハルト。この手紙、どう思う？」カナはハルトに封筒を差し出しながら言いました。En: "Hey, Haruto. What do you think of this letter?" Kana asked as she handed him the envelope.Ja: ハルトはそれをじっくり読み、「これは冒険の始まりかもね。まず、この秘密を探ろう」と言いました。En: Haruto read it carefully and said, "This might be the start of an adventure. Let's first uncover this secret."Ja: それで二人は竹林をもっと調べることにしました。En: With that, the two decided to investigate the bamboo grove further.Ja: 調査を進めるうちに、竹の茂みの中に古い日記を見つけます。En: As they continued their investigation, they found an old diary among the bamboo thickets.Ja: 日記はカナの家族について詳しく書かれていました。En: The diary contained detailed information about Kana's family.Ja: 長い間隠されていた家宝が、アキコという近所の芸術家の家に関係していることがわかります。En: It turned out that a long-hidden family heirloom was connected to the house of a nearby artist named Akiko.Ja: アキコは秘密主義で有名ですが、絵を通した独特の表現力を持っています。En: Akiko is known for being secretive but possesses a unique form of expression through her paintings.Ja: 彼女の助けを借りて、カナは日記の謎を解く手がかりを得ることができました。En: With her help, Kana was able to find clues to solve the mystery of the diary.Ja: アキコは冷静に言いました。「心を閉ざさずに、過去を受け入れることが大切よ。」En: Akiko calmly said, "It's important to keep your heart open and accept the past."Ja: カナは両親と向き合い、日記のことを話す決心をしました。En: Kana resolved to face her parents and discuss the diary.Ja: 思いもよらないことに、両親は心を開き、家族の歴史について初めて話しました。En: To her surprise, her parents opened up and spoke about their family's history for the first time.Ja: 「家宝はただの美しいものではない。絆を描いた私たちの歴史なのだ」と。En: "The heirloom is not just a beautiful object. It's the history of our bonds," they said.Ja: その日、カナは自分の過去を受け入れ、家族と再び絆を深めることができました。En: That day, Kana was able to accept her past and strengthen her bonds with her family once again.Ja: 自信を持つ彼女は、未来をしっかりと見据えて歩き始めました。En: With newfound confidence, she began to walk forward, firmly looking towards the future.Ja: 竹が春風に揺れるように、カナの心もまた新しい一歩を踏み出しました。En: Just as the bamboo sways in the spring breeze, Kana's heart took a new step forward. Vocabulary Words:arrival: 訪れgrove: 竹林gentle: 穏やかなbreeze: 風whispered: ささやいたchirping: さえずりequivalent: 対等のintrigued: 興味をそそられるenvelope: 封筒stirred: ざわつくadventure: 冒険investigate: 調べるdiary: 日記heirloom: 家宝expression: 表現clue: 手がかりmystery: 謎resolved: 決心をしましたbonds: 絆confidence: 自信purpose: 目的confidence: 自信strengthen: 強化するpossession: 所持calmly: 冷静にaccept: 受け入れるhistory: 歴史silence: 静寂curious: 好奇心旺盛なuncover: 探る

Vous aimez les comics ? Vous aimez la bande dessinée ? Dans le registre tous publics ? Vous êtes curieux ? Vous souhaitez découvrir de nouveaux auteurs ? Alors vous êtes arrivés pile poil au bon endroit. Poursuivant notre volonté de mettre en avant les travaux de celles et ceux qui amènent des comics en France, nous avons rencontré au cours du FIBD en début d'année (et qui se fait déjà loin, mine de rien) l'éditeur Marc-Antoine Fleuret. Celui-ci a décidé un jour de tout plaquer pour se lancer dans l'édition, en lançant sa propre maison, Les Aventuriers de l'Étrange. Une aventure qui n'a pas été sans mal, mais qui trouve aujourd'hui un nouveau souffle en étant intégré chez Bamboo, et avec un nouveau nom : Les Aventuriers d'Ailleurs ! Cette histoire vous est racontée par l'éditeur dans ce nouveau podcast SuperFriends !Venez rencontrer une maison d'édition que vous ne connaissez peut-être pas !Au cours de cette émission d'une bonne heure, Marc-Antoine Fleuret reviens sur son parcours, les choix qu'il a pris pour monter sa maison d'édition, et revient aussi en toute franchise et lucidité sur les difficultés ou erreurs de parcours faites en chemin, tout en traçant les contours de sa ligne éditoriale, notamment avec l'auteur Derek Laufman qu'on ne peut que vous encourage à découvrir. Un bon SuperFriends comme on aime à vous les proposer !Découvrir Bot 9 à ce lien !Découvrir Duncross à ce lien !Découvrir Ally & Gator à ce lien !Si vous appréciez ce podcast et notre travail, ne manquez pas de le faire savoir : il est vital d'avoir un maximum de soutien, en ligne ou ailleurs, pour faire découvrir le podcast, notre approche de la culture comics & bande dessinée, et tout le temps et les efforts que nous passons à vous produire ces émissions qui permettent de plonger dans les coulisses de l'édition. Merci à toutes et tous de partager l'émission, et de nous avoir écouté, et à bientôt pour le prochain podcast !Soutenez First Print - Podcast Comics de Référence sur TipeeeHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Fluent Fiction - Japanese: A Reunion Amongst the Bamboo: Healing Hearts Reconnect Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2025-03-20-22-34-02-ja Story Transcript:Ja: 春の午後、嵐山の竹林は緑の海のように静かでした。En: On a spring afternoon, the bamboo grove in Arashiyama was as quiet as a sea of green.Ja: 爽やかな竹の香りが風とともに漂い、日差しが葉の間から柔らかく差し込みます。En: The refreshing scent of bamboo wafted through the air with the breeze, and sunlight softly streamed through the leaves.Ja: リナはこの場所に立ち、心を落ち着かせようとしていました。En: Rina stood in this place, trying to calm her heart.Ja: 今日は家族再会の日、彼女には重要な使命がありました。En: Today was a family reunion day, and she had an important mission.Ja: リナと従兄弟のタクミは、かつては無二の親友でした。En: Rina and her cousin Takumi had once been inseparable friends.Ja: しかし、数年前の口論が二人を引き離しました。En: However, a quarrel several years ago had driven them apart.Ja: その日以来、誤解が誤解を生み、彼らをさらに遠ざけていました。En: Since that day, misunderstandings had bred further misunderstandings, pushing them even farther away from each other.Ja: この問題を解決するために、リナは決心しました。En: To resolve this issue, Rina had made a decision.Ja: 彼女はタクミと正直に話をするつもりでした。En: She intended to speak honestly with Takumi.Ja: 「サクラ、少しの間、タクミと話してくるね。」とリナは妹のサクラに言いました。En: “Sakura, I'm going to talk with Takumi for a bit,” Rina told her younger sister, Sakura.Ja: サクラは頷き、応援の微笑みをリナに送りました。En: Sakura nodded, offering a supportive smile to Rina.Ja: 竹林の中を歩きながら、タクミを探しました。En: Walking through the bamboo grove, she searched for Takumi.Ja: すぐに彼を見つけると、リナは心を決め、彼に近づきました。En: When she soon found him, Rina made up her mind and approached him.Ja: 「タクミ、ちょっと話せるかな？」彼は驚きつつも、その提案を受け入れました。En: “Takumi, can we talk for a moment?” He was surprised but accepted the proposal.Ja: 二人は少しの間、何も言わずに竹を見上げていました。En: For a short time, the two of them looked up at the bamboo in silence.Ja: 「あの日のこと、まだ覚えてる？」リナが静かに問いかけます。En: “Do you still remember that day?” Rina quietly asked.Ja: 「もちろん、忘れられないよ。」タクミは答えました。En: “Of course, it's unforgettable,” Takumi replied.Ja: リナは、過去の誤解を説明しました。En: Rina explained the past misunderstandings.Ja: 当時は、何かを誤解していたことに気づいたのです。En: She realized that at the time, she had misunderstood something.Ja: 「あのとき、本当にごめんね。」彼女は真剣に言いました。En: “I'm really sorry for what happened then,” she said sincerely.Ja: タクミはしばらく黙っていましたが、やがて深く息を吐きました。En: Takumi was silent for a while, but eventually, he took a deep breath.Ja: 「僕も悪かった。気づかなかったことがたくさんあった。」彼は言い、リナに顔を向けました。En: “I was wrong too. There were so many things I didn't realize,” he said, turning to face Rina.Ja: 目には涙が浮かんでいました。En: Tears welled up in his eyes.Ja: 二人はその場で抱き合い、今までの重荷が消えたような気持ちになりました。En: The two hugged on the spot, feeling as if the burden they had been carrying was lifted.Ja: 「これからは、違うね。」リナが笑顔で言うと、タクミも笑顔で頷きました。En: “Things will be different from now on,” Rina said with a smile, to which Takumi nodded with a smile as well.Ja: 春の風が竹林をそよがせ、もう一度その静けさを返していました。En: The spring wind rustled through the bamboo grove, returning its tranquility once more.Ja: リナとタクミは竹の間を並んで歩き始め、過去を振り返りながらも、新しい未来に向けて一歩を踏み出しました。En: Rina and Takumi began to walk side by side between the bamboo, reflecting on the past while taking a step forward towards a new future.Ja: リナは安心しました。En: Rina felt at ease.Ja: コミュニケーションと許しの力を実感し、心が軽くなったのでした。En: She felt the power of communication and forgiveness, and her heart became lighter.Ja: 「これからは、ずっと仲良しでいようね。」リナは言いました。En: “From now on, let's always be close,” Rina said.Ja: 「そうだね、約束だよ。」タクミが答えました。En: “Yes, it's a promise,” Takumi replied.Ja: 二人の笑い声が、竹林の中に響き渡りました。En: Their laughter echoed through the bamboo grove. Vocabulary Words:grove: 竹林wafted: 漂いbreeze: 風streamed: 差し込みますreunion: 再会inseparable: 無二quarrel: 口論misunderstanding: 誤解resolve: 解決supportive: 応援proposal: 提案unforgettable: 忘れられないsincerely: 真剣にbreath: 息welling: 浮かんでburden: 重荷rustled: そよがせtranquility: 静けさforgiveness: 許しlighter: 軽くpromise: 約束echoed: 響き渡りましたrefreshing: 爽やかなcousin: 従兄弟intended: つもりnodded: 頷きquietly: 静かにapproached: 近づきreflected: 振り返りinseparable: 無二

This week on Crypto Curious the whole crew is back behind the mic!!

[GRAINE DE METAMORPHOSE] Xavier Pitois reçoit Tony Sylvestre, cofondateur d'Esprit Dog, une référence incontournable en éducation canine. Ensemble, ils déconstruisent les idées reçues à propos des chiens. Saviez-vous qu'un chien peut passer par une crise d'adolescence, qu'il n'a pas besoin de manger à heure fixe, ou encore que le grognement n'est pas forcément un signe d'agressivité ? Tony Sylvestre s'attaque, avec humour, clarté et expertise, aux nombreuses fausses croyances qui influencent encore notre relation avec eux. Retrouvez son guide, le Vrai/Faux des Chiens, publié aux Éditions Bamboo et son site pour suivre toutes ses actualités. Épisode #121Quelques citations du podcast avec Tony Sylvestre alias Esprit Dog :"L'accès à l'information sur le monde animalier est très opaque.""L'éducateur canin de chaque chien, c'est le maître.""Le chien a une forme de résilience extraordinaire."Thèmes abordés lors du podcast avec Tony Sylvestre alias Esprit Dog :00:00 Introduction03:07 L'aventure d' "Esprit Dog".08:01 Pourquoi tant de fausses croyances sur les chiens ?12:02 Conseils pour une personne qui veut adopter.15:20 L'importance de bien choisir la race de chien.16:33 Comprendre le langage corporel d'un chien.17:51 Que faire quand un chien mange tout ce qu'il trouve ?24:17 Comment renforcer l'attachement maître / chien ?27:01 Certains environnements à éviter avec un chien.29:52 Chien seul à la maison toute la journée.37:49 La capacité des chiens à apaiser et soigner.41:42 Comment préparer son chien à bien vieillir ?Avant-propos et précautions à l'écoute du podcast Recevez un mercredi sur deux l'inspirante newsletter Métamorphose par Anne GhesquièreFaites le TEST gratuit de La Roue Métamorphose avec les 9 piliers de votre vie !Suivez nos RS : Insta, Facebook & TikTokAbonnez-vous gratuitement sur Apple Podcast / Spotify / Deezer / CastBox/ YoutubeSoutenez Métamorphose en rejoignant la Tribu MétamorphosePhoto DR Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this conversation, Joslyn Faust discusses the surprising environmental impact of toilet paper production, revealing that 27,000 trees are cut down daily for this product. She shares her journey towards more sustainable purchasing decisions, influenced by her teenagers' candid feedback on various brands. Their insights highlight the importance of considering both sustainability and product quality, prompting a deeper reflection on consumer choices and environmental responsibility.Takeaways27,000 trees are cut down every day for toilet paper.Sustainability in everyday products is crucial for the environment.Teenagers provide honest feedback that can influence choices.Consumer awareness can lead to better purchasing decisions.Sustainable products should not compromise on quality.Plastic wrapping on sustainable products raises questions.Exploring different brands can reveal better options.Environmental impact should be a priority for consumers.Feedback from family can drive change in buying habits.Awareness of product sourcing can lead to more responsible consumption.Sound Bites"There could be a better way""Such a big impact""Why is it wrapped in plastic?"Chapters00:00Introduction to Hey Bamboo and Jocelyn's Journey03:30Sustainability in Toilet Paper: The Hey Bamboo Approach06:16Market Entry and Consumer Insights09:37The Role of Social Media in Brand Growth12:22Bamboo as a Sustainable Resource15:21Future Products and Market Expansion18:25E-commerce Strategies and Brand Positioning21:16Closing Thoughts and Personal Insights

Today, we've got a blockbuster lineup of news on Crypto Curious — so let's get into it!

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This episode is ad free. If you want to support us and help us to keep going, check out our shop where we sell high quality Jersey merch! :)BUY OUR MERCH HEREJoin the mail bag by leaving a voicemail at: 908-67-9999-3Our personal Instagrams:SoboChomikJimmyJordanWelcome back to The Garden State, the only NJ podcast that gives you all the news you need to know this week. Thanks for tuning in once again and for supporting the podcast. If you're enjoying the show, make sure to leave us a review! We love reading those!Follow us on all our socials to keep up to date with that and everything else happening. https://linktr.ee/thegardenstate

Good Ol' Teddy Ballgame kicks off The Big Suey, but we can't stay there long because a new potential NFL moment has been unlocked: What if Matthew Stafford leads the Rams to an upset over the Lions in a potential NFC Championship Game? Then, Greg Cote plays a dangerous game and considers changing his tune on the Houston Texans as they prepare to take on the Kansas City Chiefs. Plus, Earleen Cote is here and now leads the clubhouse in the "Best Revelation" category for the 2025 Suey Awards. Learn more about your ad choices. Visit podcastchoices.com/adchoices