Podcasts about Mabu

Last time we spoke about Gokokujo and Collaborators. In September 1931, the Japanese Imperial General Headquarters aimed to contain the Mukden Incident but faced resistance from the Kwantung Command. Led by General Honjo, Japanese forces quickly overwhelmed Chinese troops, seizing key cities in Manchuria. Despite Tokyo's disapproval, military leaders acted independently, invoking the Emperor's authority. Amidst the chaos, local Chinese leaders cooperated with the invaders, leading to a swift Japanese victory. As the military expanded its power, the civilian government struggled to regain control, illustrating the complexities of Japan's political landscape. In 1931, the Kwantung Army's officers, led by Ishiwara and Itegaki, aimed for a military occupation of Manchuria, initially allowing local officials autonomy. However, Tokyo's rejection of annexation forced them to claim Manchurian independence. Amidst confusion and infighting, Komai Tokuzo emerged as a key figure, manipulating local elites to establish control. The Japanese employed violence and persuasion, swiftly occupying cities while puppet leaders maintained a facade of governance. As resistance brewed, Zhang Xueliang and others sought to reclaim their homeland from Japanese dominance.   #140 The Jiangqiao Campaign: The Resistance of Ma Zhanshan Welcome to the Fall and Rise of China Podcast, 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 the history of Asia? Kings and Generals have an assortment of episodes on history of asia 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 where I cover the history of China and Japan from the 19th century until the end of the Pacific War. For quite some time we have spoken about countless variables involved with the conquest of Manchuria. More or less we broke down three sorts of players in this invasion: those Chinese who chose to collaborate with the Japanese, those who tried to act neutral and sit upon the fence and then there were those who resisted. The resistance against the Japanese was not unified, often it was pockets of groups trying to hold out as long as possible. The resistance took on various forms for various reasons. One of the resistance stories I always found more interesting than the rest was the story of Ma Zhanshan. Ma Zhanshan was born in 1885 in Gongzhuling of Jilin province to a poor shepherding family. Ma was of Manchu heritage as stated by his grandson Ma Zhiwei who became a member of the Chinese Peoples' political consultative conference. At a very young age, Ma joined a bandit group in Heihushan. This bandit group gradually was incorporated into some troops of Huaide county yamen. During the Russo-Japanese War, Ma was one of the many local soldiers who served under the Japanese. At the age of 20, as a result of his exceptional marksmanship and equestrianism, Ma was promoted to Guard Monitor of the 4th security Guard Battalion under Wu Junsheng. Wu Junsheng commanded the Tianhou Road Patrol and defense battalion for Mukden in 1908. In 1913 Ma was appointed as Major and Company commander over the 3rd company, 3rd regiment, 2nd Brigade of the Central Cavalry Army of Republic China. By 1920 he was promoted to Colonel and followed his superior Wu Junsheng who became a warlord. He gradually found himself serving Zhang Zuolin's Northeastern Army, serving as a brigade commander of the 5th cavalry brigade, 17th cavalry division. By 1927 he was transferred to Heilongjiang where he became a garrison commander at Heihe, along the Soviet border. After Zhang Zuolins death in 1928 Ma was nominated as Heilongjiang's Provincial Bandit Suppression Commander and the provincial cavalry commander in chief. During the Mukden Incident of September 18th, 1931, General Xie Ke, the deputy commander in chief of Qiqihar took a series of strategic measures to block the Japanese and their Chinese collaborationist troops from invading their territory. Xie Ke dispatched two battalions of infantry and an artillery regiment to defend Qiqihar under Park Bingshan; a regiment led by Zhu Fengyang from Xiaohaozi station to Tailai to guard in the direction of Taonan; the first cavalry brigade of Wu Shongli from Baiquan to Qiqihar; a guard regiment under Xu Baozhen, with a battalion of artillery, a company of engineers and a company of baggage, roughly 2000 people to take up a position north of Jiangqiao where they began building fortifications, laid minefields south of the critical Nenjiang bridge there and mounted 100 Czech made light machine guns to the front lines.  Now when the Mukden Incident broke out, the Governor of Heilongjiang province, Wan Fulin was in Beiping leaving no one of real authority in the province to take charge of its defenses against the Japanese. Meanwhile Liaoning and Jilin were basically trampled upon without much incident. From Beiping Zhang Xueliang telegraphed the Nanjing government to ask for instructions as what he should do, but in the meantime he appointed Ma Zhanshan as acting Governor and Military commander in chief of Heilongjiang Province on October 10th, 1931. Now a full General, Ma Zhanshan arrived at the capital Qiqihar on the 19th and began personally inspecting the troops and defensive positions. By this point Chiang Kai-Shek had made it known the stance of Nanjing was one of passiveness, to wait for negotiations to unfold to settle the matter. Zhang Xueliang loyally followed said commands, but multiple parties within Manchuria sought to either surrender, openly collaborate or resist the Japanese. Under the circumstances, Ma Zhanshan told his troops “I am appointed as Chairman of the Province, and I have the responsibility to defend the Province and I will never be a surrendering general". Thus Ma Zhanshan chose to disobey the Kuomintang's orders not to resist the Japanese. Meanwhile also during the month of October, General Zhang Haipeng of the 2nd Provincial Defense Brigade at Taonan had just been approached by the Japanese seeking collaboration. Zhang Haipeng had been a Honghuzi irregular cavalry commander during the first sino-japanese war. He later became a mercenary during the Russo-Japanese War and went on to study at the Northeast Military academy. After the Xinhai revolution he was assigned command of an infantry regiment, but was one of the morons who supported Zhang Xun's attempt to restore the Qing Dynasty in 1917. After that debacle he went to work for Zhang Zuolin and in 1923 was appointed a commissioner of the Chinese Eastern Railway. When the Japanese asked him to collaborate, Zhang Haipeng immediately seized command of the local forces including the Xing'an Reclamation Army to declare the district independent from China. He did this in return for a shipment of military supplies from the IJA. Upon taking charge on October 23, Zhang Haipeng dispatched 3 regiments from Baichengzi to attack Jiangqiao led by General Xu Jinglong. Xu Jinglong's advance guard with an engineering company was attacked by forces led by General Dou Lianfang defending the north bank around the Nenjiang Bridge. During the battle, Ma Zhanshan had his forces use dynamite to damage the Nenjiang railroad bridge. The Japanese began to repeatedly demand Ma Zhanshan allow them to repair the bridge, but he continuously refused and had his forces defend the area near Daxing preventing Zhang Haipengs men from proceeding north. By October the 15th, the Japanese provided some fighter-bomber support, but Zhang Haipengs forces suffered heavy casualties and were counterattacked until they retreated. At this time Ma Zhanshan was traveling from Heihe to Qiqihar. By the 20th Ma officially took office as the acting chairman of Heilongjiang and went to the front lines to encourage the men. He issued a reward for the head of Zhang Haipeng and announced the establishment of the Heilongjiang Army Provincial HQ. Xi Ke became his chief of staff and deputy commander. On October 22nd, Ma Zhanshan issued a declaration in response to the Japanese massing forces along the border of Heilongjiang. "In this difficult time for the country, two of the three provinces have been lost. Those who have a little conscience will all sleep on straw and taste gall, and swear to survive. Although our Heilongjiang is still a clean piece of land... From now on, anyone who invades our province will fight to the death." Ma Zhanshan then went to work, grabbing reports from his generals such as Xie Ke about the state of their defenses. He immediately began adjusting the deployment of forces: He appointed Pu Bingshan as the commander of the provincial capital garrison to enhance the defense of the area. Wang Nanping was designated as the commander of the Heihe garrison, taking over from Ma Zhanshan. Additionally, he organized three infantry regiments, one cavalry regiment, and one artillery battalion from the Northeast Reclamation Army into the 1st Infantry Brigade, positioning them south of Daxing. The cavalry unit was deployed to the west of Fulaerji to secure the Jingxing direction. By October 29, 1931, the establishment of three defensive positions, extending approximately 40 kilometers in depth and 10 kilometers in width from Jiangqiao to Yushutun and Ang'angxi, was largely completed, with the railway serving as the central axis. Liu Wankui, the former head of the Ning'an Public Security Bureau, led over 1,000 troops to be reorganized west of Ning'an on the 15th, forming the 5th Independent Regiment of the Self-Defense Army. Following the defeat of Zhang Haipeng's rebels, the Kwantung Army was prepared to deploy troops directly. They viewed the destruction of the Nenjiang Bridge by the Chinese army as a prime justification for action. Consequently, they decided to establish the Nenjiang Detachment, consisting of one infantry battalion, one artillery battalion, and an engineering squadron from the 16th Regiment of the 2nd Division, supported by the 8th Independent Flying Squadron. Their plan was to use military force to secure the bridge repair, incite trouble, and launch an attack. However, the Japanese Army Ministry and General Staff Headquarters were still wary of the Soviet Union at that time and did not endorse the Kwantung Army's offensive. Kanaya Nobumitsu sent a telegram to the Kwantung Army stating, "You may proceed to repair the river bridge. However, you are not permitted to deploy troops to North Manchuria, far from the Nenjiang River, without my approval, regardless of the circumstances." However, when Hirota Koki, the Japanese ambassador to the Soviet Union, learned from Soviet Deputy Foreign Minister Kajiekan on October 29 that the Soviet Union would not support either side in the conflict and would maintain a "strict non-interference policy," the stance of the Japanese Army Ministry shifted, leading them to back the Kwantung Army. On November 2, 1931, Honjo Shigeru instructed Hayashi Yoshihide, the head of the Qiqihar Japanese secret service, to deliver an ultimatum to Ma Zhanshan. The ultimatum demanded that Ma Zhanshan's troops withdraw to a location at least 10 kilometers from the Nenjiang Iron Bridge by noon on the 3rd, and refrain from entering the area until the Japanese army had completed repairs on the bridge. If these conditions were not met, the Japanese army would resort to force.  On November 4th Ma Zhanshan sent subordinates to accompany Major Hayashi Yoshihide “so that the Japanese might begin work, and so that I could order my army to start to retreat”. Ma Zhanshan gave assurances the Japanese repairing operation would not be interfered with, meanwhile teelgraming his subordinates “paint all Manchuria red with the blood of Japanese troops”. A force of 800 Japanese led by Major General Shogo Hasebe with repair crews came to the area to find Daxing a warzone. Shogo found Ma Zhanshans subordinate on the ground, Xu Baozhen and demanded the fighting cease so they could repair the bridge. Xu Baozhen said he never received any orders to cease fighting. The Japanese claim the nearby 2500 Chinese forces of Ma Zhanshan began opening fire upon them using rifles and machine guns. The Japanese retaliated likewise and Japanese aircraft began strafing the Chinese forcing them to retreat towards Qiqihar. The Chinese suffered 120 casualties, the Japanese 15. That day the Japanese Nenjiang Detachment's advance squadron moved northward from Jiangqiao Station, supported by aircraft. After crossing the Nenjiang Bridge, they launched an assault on the Chinese army positions south of Daxing Station. At that time, Xu Baozhen's and Zhang Jingdu's troops from Ma Zhanshan's Guard Regiment, totaling 2,700 soldiers, rose to confront the enemy and successfully repelled them. In the afternoon, the Japanese forces, now numbering around 4,000 and led by Colonel Hamamoto, attacked Jiangqiao with the support of aircraft, tanks, and heavy artillery. They initially penetrated the left flank of Jiangqiao before launching a fierce assault on the main Daxing Line position in front of the town. Despite the Chinese defenders' resistance, the Japanese managed to breach their positions, leading to intense hand-to-hand combat. Despite this the Japanese forces were forced to retreat to the riverbank, where they were ambushed by Chinese troops concealed in the reeds. As reinforcements for the Japanese arrived, they were quickly flanked by the defending cavalry, forcing them to retreat once more. By 20:00, the Japanese forces had completely pulled out, leaving behind over 400 casualties. That night, following a sustained artillery bombardment, the Japanese attempted a surprise boat attack. As their boats neared the northern bank, the Chinese troops hidden in the reeds opened fire, resulting in many Japanese soldiers falling into the water, either killed or wounded, while the remainder retreated. On that day, the Chinese army suffered over 300 casualties, while the Japanese and their puppet forces incurred more than 1,000 losses. Despite concentrating their forces and launching continuous attacks with air and artillery support, the Japanese were ultimately repelled by the defenders. Lieutenant Shinichiro Ojin, a Japanese pilot flying low and dropping bombs, was also injured during the conflict. The Japanese sent word to Ma Zhanshan, demanding he make true on his promise, but Ma Zhanshan responded that of his 15,000 troops he could only nominally control a third. Ma Zhanshan then sent a telegram to the League of Nations reading this “I am helpless. I have exhausted all attempts to preserve peace. I have strictly instructed my commanders to act only on the defensive, and that they must not attack. But Major Hayashi has seen this behavior by the Japanese military, and not only has not stopped it but, on the contrary, wants our army to withdraw from Heilongjiang province, so that they can carve up the whole lot... Since the 4th, the Japanese army has started to attack our army . . . They are coordinating land and air attacks, carrying out utterly horrible bombings!”  On the morning of the 5th, the Japanese army focused all its efforts on launching another assault. At 6 am., the Japanese forces bombarded the defenders' positions with numerous cannons. By 7 am, over 8,000 Japanese and puppet troops crossed the river via the central route, while additional puppet forces advanced from the left and right, shielded by artillery and aircraft. As the boats reached the midpoint of the river, the Chinese army mounted a vigorous counterattack. Despite suffering significant casualties, the Japanese and puppet troops persisted in their attempt to cross. By 10 am, the Japanese army had taken the frontline positions on the riverbank, forcing the defenders to retreat to the flanks. The Japanese then launched an assault on the second line of defense at Daxing, where they faced staunch resistance from the defenders. At noon, Ma Zhanshan arrived at the front lines to direct Wu Delin's and Xu Baozhen's regiments in a counteroffensive, urgently sending the Sabli Regiment of the 1st Cavalry Brigade to encircle the Japanese forces from both sides. The brutal fighting continued from 3pm until dusk. The Japanese acknowledged, "The Chinese army executed an encirclement counterattack using infantry and cavalry. The Japanese army suffered heavy losses and was compelled to retreat" . The Japanese forces were forced to shift from an offensive to a defensive stance, with many of their support units annihilated by our cavalry. In this engagement, the Chinese army incurred over 200 casualties, while the Japanese army lost 167 soldiers and sustained more than 600 injuries. That night, a battalion from the 29th Regiment of the Japanese Army arrived as reinforcements. Upon their arrival, they immediately launched an attack but were quickly surrounded by Ma Zhanshan's forces. In response, Honjo Shigeru urgently dispatched an infantry battalion and three artillery squadrons from the 16th Regiment to assist. On the morning of the 6th, Japanese reinforcements arrived and launched a vigorous assault, supported by aircraft that conducted strafing and bombing runs in an attempt to rescue the encircled Japanese forces. On that day, Ma Zhanshan personally visited the front lines to oversee the battle. Both sides incurred significant casualties. Despite the fierce resistance from Ma Zhanshan's troops, the Japanese offensive struggled to gain ground. In response, Honjo Shigeru ordered Tamon Jiro of the 2nd Division to lead the 29th Regiment, the 2nd Cavalry Regiment, the 2nd Field Artillery Regiment, the Temporary Field Heavy Artillery Battalion, the Engineer Squadron, and a battalion from the 39th Mixed Brigade in the Shenyang area to rush to the vicinity of Kaijiang Bridge. Their objective was to reinforce their forces, attack the defenders, and capture the key position at Daxing. The Chinese army fought desperately, with the sounds of hand-to-hand combat echoing loudly as they repeatedly recaptured lost positions. That day, the Chinese forces suffered over 1,850 casualties, while inflicting more than 2,000 deaths on Japanese and puppet troops and shooting down one aircraft. The Japanese Hamamoto Detachment was nearly annihilated, and the Gaobo Cavalry Team sustained almost total losses. After three days and two nights of continuous fighting without reinforcements, the soldiers were extremely fatigued, and the Daxing position had been heavily damaged. General Ma Zhanshan then ordered the main forces to withdraw to the secondary position at Sanjianfang, located 18 kilometers from Daxing Station, to reorganize defenses alongside the 1st Cavalry Brigade and the 1st Infantry Brigade. On the morning of the 7th, a significant force of Japanese and puppet troops, supported by ten aircraft, launched an attack on the Nantangchi area of Sanjianfang. In response, a combined regiment from Zhang Dianjiu's Brigade and Su Bingwen's Brigade quickly mobilized to counterattack, successfully repelling the enemy by the afternoon. The Chinese forces incurred over 300 casualties, while the Japanese suffered more than 600 casualties, along with over 1,000 from the puppet troops. Notably, and take this one with a heavy grain of I am using a PRC source grain of salt quote “despite ongoing enemy air assaults and the lack of anti-aircraft artillery, the courageous soldiers displayed remarkable ingenuity by lying on the ground in groups of 20 and firing their rifles upward, ultimately managing to shoot down an enemy aircraft”. Upon inspection, the wreckage revealed 26 bullet holes in both wings, marking the first enemy plane downed in China's war against Japan. As a result, Japanese aircraft became hesitant to fly at low altitudes in subsequent battles. Observing the heavy losses inflicted on his forces, Honjo Shigeru ordered Duomen Jiro to halt their advance and return to their original positions. To conceal the reality of their defeat, the Japanese army circulated rumors claiming that the Soviet Union supplied ammunition to the defenders in Heilongjiang. They also propagated various falsehoods to downplay the number of Japanese casualties, worried that anti-war sentiments in Japan would gain momentum. In response, Ma Zhanshan sent a telegram to counter the Japanese army's claims. The Japanese army experienced significant losses during the initial phase of the battle. To resolve the stalemate quickly, they deployed additional troops and made every effort to prepare for a renewed attack. Simultaneously, they issued an ultimatum to Ma Zhanshan, pressuring him to resign, relinquish power, and withdraw Chinese forces from Qiqihar, but Ma Zhanshan firmly refused. The Kwantung Army recommended that the Japanese Army Central Department expedite the deployment of an extra division. In response, Honjo Shigeru ordered the "2nd Division to gather in Daxing with full force." By the 11th, the Japanese army had assembled the Hase Brigade Headquarters, the 16th Infantry Regiment, the 4th Regiment , the 1st Battalion of the 29th Regiment, the 2nd Cavalry Regiment, and the 2nd Squadron of the 28th Regiment, along with the 2nd Field Artillery Regiment and the 2nd Engineer Squadron on the north bank of the Nenjiang River. On the south bank, they had the 3rd Battalion of the 26th Field Artillery Regiment and a Temporary Field Heavy Artillery Battalion, totaling over 30,000 troops. In response to the Japanese army's troop deployment, Ma Zhanshan convened a military meeting on the evening of the 7th to discuss strategies for countering the enemy and to reorganize troop placements, establishing three lines of defense. The first line of defense was located in Tangchi, Wunotou, and Xinlitun, with front-line positions at Houyiriba, Qianguandi, and Houguandi, defended by two regiments from Wu Songlin's 1st Cavalry Brigade. After the 14th, Lu Zhiyuan's 2nd Cavalry Brigade was fully deployed to engage in combat in Tangchi and surrounding areas. The second line of defense was situated in Yinglaofen, Sanjianfang, Daxingtun, Xiaoxingtun, and Huotuoqi, serving as the primary position for the black army's frontal defense. This line was manned by four regiments from Yuan Chonggu's 1st Brigade, Wu Delin's 2nd Infantry Brigade, Li Qingshan's 3rd Infantry Brigade, Wang Kezhen's 1st Cavalry Brigade, as well as Park Bingshan's artillery regiment and various engineering and support units. Following the 14th, Sun Hongyu's 1st Infantry Brigade and 2,000 personnel from the Suihua Security Battalion joined the frontal defense efforts. The third line of defense was established in Zhujiakan, Fulaerji, Ang'angxi, and Yushutun, defended by two regiments from Zhang Dianjiu's 1st Infantry Brigade, the entire 2nd Cavalry Brigade, and the Guard Regiment, totaling over 13,000 troops. Sanjianfang is a station located on the railway line from Taonan to Ang'angxi, situated 70 li north of Qiqihar and 60 li south of Nenjiang Bridge. It served as a crucial defensive site for the Chinese army in protecting the capital of Heilongjiang Province. For the Japanese army to take control of Heilongjiang Province, capturing Sanjianfang was essential for a direct route to Qiqihar. Consequently, the struggle for Sanjianfang became a central point in the second phase of the Battle of Jiangqiao. On the morning of the 12th, a vanguard of 500 Japanese infantry and cavalry launched an assault on Ma Zhanshan's frontier positions at Qianguandi, Houguandi, and Zhanghuayuan. The defending forces under Wu Songlin mounted a counterattack. By 1:00 pm, the Japanese army had taken control of the positions, forcing over 600 defenders to retreat to the front lines. At 5:00 am on the 13th more than 500 Japanese soldiers, supported by two aircraft, attacked Xinlitun, but they faced a strong counteroffensive from the defenders. By 10:00 am, the defenders had successfully repelled the attack. At noon that day, the damaged Nenjiang Bridge was repaired, creating advantageous conditions for a large-scale Japanese offensive. At this time, Kwantung Army commander Honjo Shigeru issued a third reinforcement order: "Deploy the remaining troops of the 2nd Division, along with three infantry battalions from the 39th Mixed Brigade and the rescue squad, to the vicinity of Daxing." He also instructed Lieutenant General Duomen, the commander of the 2nd Division, to lead the Nenjiang Detachment. In response, the Japanese headquarters hastily dispatched three air squadrons to Heilongjiang Province and redirected the 4th Mixed Brigade, initially set to land in Dalian, to Busan, Korea, for a swift deployment to Heilongjiang. In the afternoon, over 3,000 Japanese infantry and cavalry, supported by artillery, launched a vigorous attack on Tangchi, Unotou, and Xinlitun. The defenders fought back fiercely until midnight, when the Japanese finally occupied Unotou. On the morning of the 14th, the Japanese army launched an attack on the Tangchi position, supported by two aircraft and heavy artillery, but they were repelled by the forces of Ma Zhanshan. Around 10 a.m., over 2,000 Japanese troops, led by Hase, split into two units—infantry and cavalry—and employed a strategy of large encirclement to assault Tangchi from both the left and right flanks. The cavalry engaged in combat but eventually retreated. The intense fighting continued until the morning of the 15th, when the Japanese army targeted Shuanma. By this time, Ma Zhanshan had already dispatched two cavalry regiments to quietly encircle the enemy's flanks. At his command, the front guard regiment charged into the Japanese positions first, while the cavalry regiments surged from both sides, forcing the Japanese to retreat hastily. Ma Zhanshan's forces captured two artillery pieces and 70 horses, killed 300 Japanese soldiers, and took 200 prisoners, while the puppet army suffered over 2,000 casualties and fled with their weapons. To bolster their defensive capabilities, the defenders organized the 2,000 members of the Suihua Security Battalion into an independent regiment and integrated them into the frontline. On the 15th, following orders from Japanese Army Minister Minami Jiro, Honjo Shigeru presented three demands to Ma Zhanshan: that Ma's troops withdraw from south of the Chinese Eastern Railway, that the area be administered by the Taomao Bureau, and that Ma refrain from interference. However, Ma Zhanshan rejected these demands. At 7:30 a.m. on the 15th, Lieutenant General Tamon, the commander of the Japanese 2nd Division, led the main contingent of his division to the Daxing front. By 11:00 am on the 16th, with the backing of 10 aircraft, heavy artillery, and tanks, 4,000 Japanese infantry and cavalry launched a vigorous assault on positions including Xinlitun and Sanjiazi. The defenders fought valiantly and managed to repel the Japanese forces by 3:00 pm, resulting in heavy casualties on both sides. At 10:10 a.m. on the 17th, Honjo Shigeru received orders from the Chief of Army General Staff to "advance north of Qiqihar and attempt to destabilize the enemy with bold maneuvers, and have the 2nd Division  capture Qiqihar in one decisive strike." He also instructed the 39th Mixed Brigade to "mobilize all remaining troops in Daxing, except for one infantry company and an engineering company, placing them under the command of the 2nd Division leader." At 1:00 p.m., Division Commander Duomen ordered the Japanese troops stationed at the Houyiriba train to launch a full-scale assault on the Black Army, particularly targeting Sanjianfang. By 10:00 pm on the 17th the Japanese forces, having received supplies and reinforcements, split into three groups and mounted a fierce attack on the Mabu position. Under Amano's command, the right-wing troops advanced from Wunotou to assault the left-wing positions in the Xinlitun area. Despite the Wu Songlin Brigade being exhausted from several days of fighting, they fiercely resisted the numerically superior enemy, repelling more than ten Japanese attacks. However, by early morning, most of the defenders' trenches had been destroyed, and their positions were compromised in numerous locations, forcing a retreat to the second line in the Daxingtun area. At 10:40 pm on the 17th, the left-wing Japanese forces, commanded by Hase, attacked the right-wing positions in the Tangchi area, where the Cheng Zhiyuan Brigade fought tenaciously. By 2:00 am the following day, the Japanese intensified their assault, deploying 8 tanks and over 30 artillery pieces. Unable to sustain their defense, the defenders retreated to the main position at Sanjianfang. At 3 am on the 18th, the Japanese army mobilized various units and moved to the designated staging area as planned. By 6:30, aircraft and artillery began a one-hour bombardment of the front-line positions at Sanjianfang, to which the defenders responded with their own artillery fire. The booming of the cannons echoed across the entire Shuobei wilderness. At that time, Japanese heavy artillery had a range of 30 kilometers, while the Ma army's heavy artillery could only reach 15 kilometers, resulting in significant losses. Around 8 o'clock, the Japanese forces launched a full-scale attack, supported by tanks. Despite the fierce fighting from the defenders, the Japanese advance was initially repelled. At 9:20, Duomen ordered reinforcements from the reserves and initiated another aggressive assault. By 10 o'clock, although the defenders on the right flank fought valiantly, they were unable to hold their ground and retreated to Mao Mao Creek. At 10:30, the left flank position at Xiaoxingtun fell, forcing the troops to fight their way back to Hongqiyingzi and Yushutun. At this point, Hase directed the infantry and cavalry to assault the main position at Sanjianfang with support from aircraft and tanks. The defending troops, including the Yuan Chonggu Brigade and Zhang Dianjiu Brigade, put up a fierce resistance. By 14:00, the Japanese 39th Mixed Brigade, followed by a regiment from Sanjiazi to the west of Sanjianfang, joined the fight. Together with the Hase Brigade launching a direct assault, they executed a coordinated pincer movement. After 15:00, the Japanese forces added 12 aircraft, 12 tanks, and over 30 artillery pieces, bombarding the trenches with intense fire. Due to insufficient reinforcements, the Japanese army captured Qiqihar on the 19th. Ma Zhanshan's army was on the brink of starvation after Japanese planes bombed their food storage facilities. The Chinese defenders, battling fiercely despite their empty stomachs, were undeterred by their enemy's overwhelming numbers. They engaged in hand-to-hand combat, fighting to the death, their battle cries echoing through the ground. Fighting in the Sanjianfang area continued throughout the night. Although the Chinese troops shared a common hatred and displayed "extraordinary bravery," many had gone several days without sleep due to relentless fighting, and their food supplies had been cut off, leaving them without reinforcements. The ammunition available at that time was part of a long-term stockpile from the Heilongjiang defenders, with much of it rendered unusable due to mold. Meanwhile, the invading forces were continuously bolstered by fresh supplies and reinforcements, creating a dire imbalance between the strong enemy and the weakened defenders. Furthermore, the position had been heavily damaged and was "truly unable to sustain" the fight. On the afternoon of the 18th, Ma Zhanshan was forced to make the difficult decision to order a withdrawal. By the 19th, over 5,000 Japanese troops had taken control of Qiqihar, marking the end of the Battle of Jiangqiao. The civilian population had pushed Ma Zhanshan to pull out, a long held Chinese tradition that did not mean losing face, but rather living to fight another day. On November the 18th, Ma Zhanshans forces evacuated Qiqihar and by the 19th he led them east to defend Baiquan and Hailun. His army suffered tremendous casualties, possibly up to 3000, with the Japanese claiming 300 casualties for themselves. Ma Zhanshans forces then retired to the Nonni river valley and eventually over the Soviet Border. The Japanese began an occupation of Qiqihar, thus securing the control of all three Manchurian provincial capitals. They quickly established a collaborist government under General Zhang Jinghui and secured control over the central section of the Chinese eastern railway. However the eastern section of the railway was still under the control of General Ting Chao operating in Harbin. Ting Chao would follow Ma Zhanshans example, inspiring local Chinese to aid and enlist in the resistance efforts.  Ma Zhanshan drew international attention through a series of telegrams he sent describing his campaign of resistance against the Japanese in Heilongjiang. His stand along the Nonni river near Qiqihar lionized him amongst the Chinese nationalists who sought to use his public image to shame Chiang Kai-shek into action against the Japanese.  During the Battle of Jiangqiao, Ma Zhanshan fought independently without any assistance from the Northeast Army based in Jinzhou. Although Zhang Xueliang instructed Ma to hold his position, the troops in Jinzhou were "not ready for combat." Following the battle, Zhang Xueliang faced significant public backlash. The Shanghai National Salvation Federation stated that "Ma's forces in Heilongjiang Province fought valiantly against the Japanese and demonstrated loyalty on the battlefield, while Zhang Xueliang failed to provide support." The Citizens' Federation sent a telegram to the National Government, accusing Zhang of "neglecting his responsibilities while allowing the Japanese invaders to attack the Northeast, leading to national humiliation and territorial loss." Additionally, the National Student Anti-Japanese National Salvation Federation sent a telegram urging the government to "severely punish Zhang Xueliang and deploy troops immediately." Chiang Kai-shek sent multiple telegrams to praise Ma Zhanshan for his brave resistance and instructed Zhang Xueliang to quickly provide reinforcements. For instance, on November 12th,, Chiang Kai-shek sent a message to Ma Zhanshan stating: "Japan has once again invaded Heilongjiang Province under the pretext of repairing the Jiangqiao Bridge. Our defensive actions were justified. Fortunately, due to your careful leadership and the bravery of the soldiers, we managed to defeat the relentless enemy and protect our territory. I was furious upon receiving the telegram. You and your comrades have brought honor to the party and the nation, fighting for our survival. The entire Chinese populace is inspired. The people's spirit remains unbroken, justice prevails, and the future is hopeful. We pledge to unite in our efforts. I shed tears in the wind and snow, unable to express all my thoughts. Chiang Kai-shek." Additionally, on the 19th, Chiang Kai-shek wrote to Ma Zhanshan: "I have read your telegram and am filled with sorrow and anger that words cannot capture. Our army has fought valiantly for days, bringing glory to our nation. Our reputation has spread widely, earning admiration both domestically and internationally, which is truly commendable. I have urged Deputy Commander Zhang to send troops to assist you. I miss you dearly as I write this message. Chiang Kai-shek." All major domestic newspapers covered the Jiangqiao Anti-Japanese War prominently, and various sectors of society conveyed their condolences to the frontline soldiers in numerous ways. Life Weekly, backed by Zou Taofen, remarked, "This spirit of defending the nation and refusing to surrender even in death is crucial for the future of the Chinese people. It demonstrates to the world that our soldiers are not entirely dishonorable and have restored significant pride for the nation." The Shanghai Fuchang Tobacco Company even created "General Ma Zhanshan Cigarettes," promoting the slogan, "May everyone emulate General Ma." On November 17th,, the Binjiang Times published an editorial stating, "The Chinese soldiers in Heilongjiang fought valiantly against the brutality of the Japanese army. The blood shed along the Nenjiang River is the legacy of our brave men. The Chinese army in Heilongjiang represents the true warriors defending the nation. After the September 18th Incident, we began to doubt how many Chinese soldiers could confront the enemy, and we were deeply disappointed. Fifty days after losing Liaoning and Jilin provinces, we realized that Ma Zhanshan in Heilongjiang truly deserves the title of Chinese soldier." People across the country spontaneously formed groups for condolences and support, donating money and supplies to aid Heilongjiang's resistance efforts. Many young students set aside their studies to join the Anti-Japanese Volunteer Army. 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. Thus ended the Jiangqiao Campaign. General Ma Zhanshan proved himself quite a formidable rebel leader in the face of pretty overwhelming odds. His name was propagandized heavily by the Chinese press to boost morale and try to awaken the Chinese that a fight for their very existence was at hand, but China simply did not have the means yet to face such an enemy. 

i apologize for any bad energy.

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In this episode, Anna sits down with two leaders in the finance industry, exploring the forefront of AI and ML innovations. First, we have Mabu Manaileng, Lead Data Scientist at Standard Bank Group. Mabu shares his journey and current role, highlights the challenges of applied data science in the financial sector, and discusses the transformative impact of AI on banking in the coming years. Next, we welcome Adam Lieberman, Head of AI and ML at Finastra. Adam defines the concept of drift, discusses statistical measures to quantify it, and provides strategies for maintaining model health, ensuring that models continue to serve users' needs effectively.

draft --- Support this podcast: https://podcasters.spotify.com/pod/show/offtherecord-djakademiks/support

#LilMabu #FivioForegin #TEACHMEHOWTODRILL After the music critic divorce, and after she left him he's now on the road reviewing music. What crazy adventures will S7 find well find out on LET'S TALK ABOUT IT: MUSIX REVIEWS S7

This is an reaction to the song tech me how to drill by lil mabu featuring fivio foreign --- Send in a voice message: https://podcasters.spotify.com/pod/show/the711/message

Do you remember when music videos were on cable tv? We don't either! Join us in this podcast where we watch music videos that we haven't seen before and talk ALL about them! Get our reactions and our thoughts and find out if we will stream these songs in the future! Got a video for us to react to? Send it to us on our instagram page @videovirginspod ! This week we are coming to you LIVE from - Your Local Hobby Lobby FOLLOW us @johnbeforedawn and @joeistherealest  !!! Follow our special guest @ LAVQUIN and go to ⁠⁠⁠⁠feat. Video Virgins | lavquin.com⁠⁠⁠⁠ to find ALL of our links THERE! This episode's music videos are: Makin It Out the Hood by UrFavGrannie, Bounce Rock Shake by Paul Wall x Bun B x Chalie Boy, Broadway Girls by Lil Durk ft. Morgan Wallen, Reppin Riverside by Jenny69 ft. MC Magic, Good To Know by Sadie Jean, Hey Jack by Priscilla Block, Mr.Take Ya Bitch by Lil Mabu x ChriseanRock First everybody is hittin UrFavGrannie. Then Paul Wall got titties and hips. Then Lil Dirk or Morgan Wallen? Either way Lav is fingering herself. Then Jenny69 is too advanced. Then Sadie Jean can hold a note with one deep pussy breath. Then Priscilla Block wears black to be slim…we think? Then is Lil Mabu just Timothee Chamalet?! https://youtu.be/u6wJy1K1jNE?si=hbAc3TY0r1UgmNOK https://youtu.be/dgvYNmsORCM?si=423vECmg7QdEpsrh https://youtu.be/2CNl_CCtE-I?si=SNUp1_cGin9CDtXt https://youtu.be/skvZ_UhJ8f4?si=PS3hgvCdny9XtOcD https://youtu.be/0jsWg4uuMRk?si=GaGOa_xZKStehibZ https://youtu.be/jatDw_dVLjA?si=tsCEVr70SOXp8mA5 https://youtu.be/b_rpj_nMWBI?si=JVoeX-QH76z2fn2s Dont forget to Like and leave a review!  Subscribe to our YOUTUBE - VIDEO VIRGINS and follow our Instagram @VIDEOVIRGINSPOD and our personal instagrams @JOEISTHEREALEST and @JOHNBEFOREDAWN

Links to Palestinian Journalists: https://www.instagram.com/motaz_azaiza/ https://www.instagram.com/wizard_bisan1/ https://www.instagram.com/byplestia/ Come chill with me as I talk about being an LA tour guide for my parents, my current obsessions and my review of the new Hunger Games movie :) FOLLOW NMJC @nmjcpodcast

Linktree: https://linktr.ee/AnalyticJoin Analytic Dreamz as he dives into the controversial track "MR. TAKE YA B*TCH" by Lil Mabu and Chriseanrock. This hard-hitting track has sparked outrage online, with many calling it "the worst song of the century." But is it really that bad?In this segment, we'll break down the song's lyrics, discuss the backlash it has received, and explore the rumored relationship between Lil Mabu and Chriseanrock.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Wanna Support the show Directly? Sign up for the membership! https://podcasters.spotify.com/pod/show/tk-official/subscribe MUSIC CRITIC RETURNS! After his vacation the music critic developed a Biscuits and Gravy Virus (lord mighty) it's time for the Music critic to find a cure before it's too late. JOIN THE WILD RIDE FOR LET'S TALK ABOUT IT: MUSIX REVIEWS S6

This is my first time hearing lil mabu and he has done a song with chrisean rock and it has skyrocketed and took off --- Send in a voice message: https://podcasters.spotify.com/pod/show/the711/message

Lil Mabu is a 178-ear-old rapper from New York. He first gained attention in 2022 for his energetic and catchy raps, which he often posts on TikTok. His biggest hit to date is "RICH SCHOLAR", which has over 10 million views on YouTube. Lil Mabu's new song, "AT WHAT COST?", was released on September 1, 2023. The song is a reflection on the sacrifices that Lil Mabu has made in order to pursue his music career. In the song, he raps about how he has had to give up time with his friends and family, and how he has had to put in long hours of work. However, he also expresses his determination to succeed, and he vows to never give up on his dreams. "AT WHAT COST?" is a powerful and personal song that gives a glimpse into Lil Mabu's life and his journey to becoming a successful rapper. The song has been praised by critics for its raw emotion and its honest portrayal of the challenges of pursuing a music career. Learn more about your ad choices. Visit megaphone.fm/adchoices

Will Lil Mabu fall under like most of these type of rappers!?

Where is the submarine? Modelo passes Bud Light. Zion and Moriah Millz. What are you dropping a couple grand on? Are y'all hip on Lil Mabu?

Where is the submarine? Modelo passes Bud Light. Zion and Moriah Millz. What are you dropping a couple grand on? Are y'all hip on Lil Mabu?

Lil Mabu is a rising star in the music industry, captivating audiences with his unique style and captivating performances. Born with an innate talent for music, Lil Mabu quickly developed a passion for writing and producing his own songs at a young age. His music is characterized by infectious melodies, thought-provoking lyrics, and a blend of genres that seamlessly fuses elements of hip-hop, R&B, and pop. Lil Mabu's distinctive voice and charismatic stage presence have earned him a dedicated fan base, and his tracks have garnered millions of streams across various platforms. With his relentless work ethic and unwavering dedication to his craft, Lil Mabu continues to push boundaries and redefine the sound of contemporary music, making him a true force to be reckoned with in the industry. Learn more about your ad choices. Visit megaphone.fm/adchoices

The pure joy of maths.

Ebro, Rosenberg and Laura Stylez star in HOT97's flagship program Ebro in the Morning - this episode aired on 5/18/2023. TRY MINDBLOOM: https://www.mindbloom.com/podcast/ebroUSE PROMO CODE "EBRO" Ebro, Rosenberg, Laura Stylez and the crew are broadcasting live from HOT 97 - talking about Ja Morant's recent controversy, Ebro discovers Lil Mabu, the Top 50 Hip-Hop Songs of All-Time 1986-1990, and much more!  Find New HOT 97 Podcasts: https://www.hot97.com/podcasts See omnystudio.com/listener for privacy information.

Nornie Bero is from the Meriam People of Mer Island in the Torres Strait and is the executive chef, CEO and owner of Mabu Mabu. Nornie has been a professional chef for more than twenty-five years and draws inspiration from her cultural heritage and from the abundance of natural resources she grew up with and now champions. Nornie's cooking style reflects her passion for using local, sustainable ingredients and traditional and modern techniques to create contemporary, creative dishes that tell a story, her story. Nornie's book, Mabu Mabu, An Australian Kitchen Cookbook is a guide to using native flavours in everyday cooking. Mabu Mabu means help yourself and reflects Nornie's generous approach to cooking and life. Nornie is joining forces with the Stomping Ground team for a Good Beer Week event on 23 May where they will present a multi-course Torres Strait Island feast inspired by a Creation story. Each course will link to different elements of the story and will include seafood and native meats,, as well as native ingredients from across Australia.

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LIL MABU OTR REVIEW !

In'easa Mabu Ishtar is an embodied channel for the Ascended Masters and an international spiritual teacher. Ishtar has been channeling wisdom from the Masters for 20+ years and has written 5 books, and channeled multiple schools of wisdom and healing that she has taught all around the world.In this episode Kristy and Ishtar speak about many grounded spiritual concepts including what the ascended masters are, how to step into your highest potential, what it is we are being asked to do on earth at this time, the initiations of the planet and the universal rays of consciousness, along with channeled wisdom and incredible experiences from Ishtar and the masters.This is an episode not to be missed.HIGHLIGHTS02:20 - Why do synchronicities happen?05:00 - The secret to dealing with your challenges07:00 - Mastering unconditional love and learning to love yourself15:25 - Why we are here and what is source20:00 - The channeled schools of consciousness and healing with the masters and how to join26:00 - Wisdom on how to walk the pathKristy Renae has released the opportunity to score a $100- discount off her online programs by leaving a 5 star rating and reviewing this podcast, taking a screenshot and send that to her through the DM's on Facebook - Instagram or emailing kristy@kristyrenaeobst.com  -YOU CAN DO THIS WITH THE LINKS BELOWDID YOU ENJOY THIS EPISODE??Leave your love by rating and reviewing HERElovethepodcast.com/InitiatinggreatnessDISCOVER OUR PROGRAMShttps://kristy-renae-s-school.thinkific.com/BOOK IN FOR YOUR SOUL CHART READINGhttps://kristy-renae-s-school.thinkific.com/courses/soul-chart-masterclassFREEBIES 4 YOUHealthy, happy, aligned & kicking ass Guidebook: https://www.kristyrenaeobst.com/freebiesFREE Telegram community (Limitless Women Rising): HEREFREE Facebook Group: www.facebook.com/groups/iamfiercefeminine/FREE masterclass - The Confidence Codes: https://kristy-renae-s-school.thinkific.com/courses/the-confidence-codesLINKS:Follow Kristy Renae on:Website: https://www.kristyrenaeobst.comFacebook: https://www.facebook.com/profile.php?id=1053296701Instagram: https://www.instagram.com/iam.kristyrenae/Linkedin: https://www.linkedin.com/in/kristy-renae-obst-98040539/Follow Ishtar on:Website: https://www.ishtarmasterchannel.com/Instagram: https://www.instagram.com/ineasamabuishtar/

In'easa Mabu Ishtar is an embodied channel for the Ascended Masters and an international spiritual teacher. Ishtar has been channeling wisdom from the Masters for 20+ years and has written 5 books, and channeled multiple schools of wisdom and healing that she has taught all around the world.In this episode Kristy and Ishtar speak about many grounded spiritual concepts including what the ascended masters are, how to step into your highest potential, what it is we are being asked to do on earth at this time, the initiations of the planet and the universal rays of consciousness, along with channeled wisdom and incredible experiences from Ishtar and the masters.This is an episode not to be missed.HIGHLIGHTS03:00 - What time we are in on planet earth right now and why we are here05:30 - What are the ascended masters and channeling12:00 - Surrendering the ego for growth13:30 - What is karma? How to work with it on earth19:30 - The dogma of new age spirituality24:34 - What are the universal rays and receive high frequency healing27:00 - Discovering your unique purpose and masteryKristy Renae has released the opportunity to score a $100- discount off her online programs by leaving a 5 star rating and reviewing this podcast, taking a screenshot and send that to her through the DM's on Facebook - Instagram or emailing kristy@kristyrenaeobst.com  -YOU CAN DO THIS WITH THE LINKS BELOWDID YOU ENJOY THIS EPISODE??Leave your love by rating and reviewing HERElovethepodcast.com/InitiatinggreatnessDISCOVER OUR PROGRAMShttps://kristy-renae-s-school.thinkific.com/BOOK IN FOR YOUR SOUL CHART READINGhttps://kristy-renae-s-school.thinkific.com/courses/soul-chart-masterclassFREEBIES 4 YOUHealthy, happy, aligned & kicking ass Guidebook: https://www.kristyrenaeobst.com/freebiesFREE Telegram community (Limitless Women Rising): HEREFREE Facebook Group: www.facebook.com/groups/iamfiercefeminine/FREE masterclass - The Confidence Codes: https://kristy-renae-s-school.thinkific.com/courses/the-confidence-codesLINKS:Follow Kristy Renae on:Website: https://www.kristyrenaeobst.comFacebook: https://www.facebook.com/profile.php?id=1053296701Instagram: https://www.instagram.com/iam.kristyrenae/Linkedin: https://www.linkedin.com/in/kristy-renae-obst-98040539/Follow Ishtar on:Website: https://www.ishtarmasterchannel.com/Instagram: https://www.instagram.com/ineasamabuishtar/

When it comes to the New York City drill scene, it kind of feels like we've seen it all. Not only have we seen artists emerge suddenly out of nowhere with one hit song, we've even seen some of them be young kids still in their mid-teens who find a way to turn themselves into big-time stars. And Lil Mabu? Well, he's more or a less combination of both those things. Not only did he spring up out of nowhere over the past two years, but he did so at the age of just 15-years-old, while also being... let's just say -- not your average looking drill-rapperBefore Lil Mabu would become drill music's latest obsession with hit tracks like “Move It”, “Demon Time” and “King of the World” ... Before Lil Mabu would employ a unique brand of marketing tactics to blow up in the course of just one year... Before Lil Mabu U would have 87.5K subscriber on YouTube, 241K followers on Instagram and 1.2 Million followers on TikTok at the time of this recording... When it comes to the New York City drill scene, it kind of feels like we've seen it all. Not only have we seen artists emerge suddenly out of nowhere with one hit song, we've even seen some of them be young kids still in their mid-teens who find a way to turn themselves into big-time stars. And Lil Mabu? Well, he's more or a less combination of both those things. Not only did he spring up out of nowhere over the past two years, but he did so at the age of just 15-years-old, while also being... let's just say -- not your average looking drill-rapper

The newest Drag Race franchise is wasting no time! The first two episodes of the season were released this week, introducing us to 12 new queens, including six coworkers (well, five coworkers AND THEIR BOSS), only one pageant girl, and a little Down Under crossover from Melbourne.To hear us discuss Episode 2 (and the rest of the season!) join us on Patreon at the Sister Mary level! You'll also get access Canada's Drag Race Season 3, Drag Race Down Under Season 2 and hundreds of back episodes, including past Drag Race seasons like Season 3, Season 8 and Seasons 2 and 3 of Drag Race UK. Join us at our OnlyMary's level for EVEN MORE movie reviews, brackets, and deep dives into our personal lives!Patreon: www.patreon.com/alrightmaryEmail: alrightmarypodcast@gmail.comInstagram: @alrightmarypodTwitter: @alrightmaryJohnny: @johnnyalso (Instagram) // @johnnyalso1 (Twitter)Colin: @colindrucker_ (Instagram) // @colindrucker (Twitter)Web:www.tasteofreality.com/alright-mary/www.alrightmary.comBetterHelp Promo: betterhelp.com/AlrightMary(discount code: AlrightMary)

¡Carmen está de vuelta! En este episodio especial, Carmen y Mariana hablan de los primeros dos episodios de la nueva temporada de Drag Race Filipinas. Síguenos en  @untuckinglachisma y @sonoropodcast en todas las redes sociales.

Clinton Benjamin, Nyamba Buru Yawuru Chair, joins Sandy to talk about the new health campus which was officially announced on Sunday Clinton also talks about the lovely event held at Nyamba Buru Yawuru on Sunday attended by Mark himself and the Minsters involved in the project. The new campus will be called Yinajalan Ngarrungunil which means Care for People in Yawuru language. WORKS CONTRACT MARKS START FOR BROOME HEALTH AND WELL-BEING CAMPUS • Civil works contract awarded on Sunday 31stJuly 2022 to local business Roadline Civil Contractors for Yinajalan Ngarrungunil, Broome Health and Wellbeing Campus. • Yinajalan Ngarrungunil means “Care for people,” in local Yawuru language, • New campus to be developed on land owned by Indigenous corporation, Nyamba Buru Yawuru (NBY). • Project to deliver improved health outcomes for the region and generate broader economic development opportunities. Nyamba Buru Yawuru (NBY) with support from Development WA are creating a unique Health and Wellbeing Campus in Broome, the first of its kind in Australia. The Campus called Yinajalan Ngarrungunil meaning “care for the people” will deliver on the Yawuru vision for mabu liyan (good wellbeing) providing improved health and wellbeing outcomes for the region. Works are set to begin on the new Broome Health and Wellbeing Campus, being developed on land owned by NBY with Development funding of $8 million provided by the State Government under the State Recovery Plan for the project's subdivision consultancy and civil works. NBY are the operational company of the Yawuru people, who are the traditional owners of the land and waters in and around Rubibi (Broome). The Broome Health and Wellbeing Campus will be named Yinajalan Ngarrungunil, which means “care for the people” in the local Yawuru language, and will have a focus on providing a holistic approach to health and wellbeing. NBY CEO Nini Mills said the unique campus aligned with the Yawuru strategic vision and was designed to contribute to the resilience and empowerment of the Yawuru people by supporting their physical, emotional and mental health. “Yawuru have developed a very clear vision and strategy to build a sustainable and successful Yawuru community, which in turn helps build a more sustainable and successful Broome,” she said. “Part of our vision for mabu liyan (good wellbeing) includes the creation of a health and wellbeing campus. We will ensure good liyan is maintained throughout the journey of this project, and that the campus holds true to what our old people set out in our Yawuru Cultural Management Plan; to contribute to the resilience and empowerment of our people by supporting their physical, emotional and mental health. Mabu buru (healthy country) mabu ngarrungunil (healthy people) for mabu liyan (good wellbeing).” Plans for the Yinajalan Ngarrungunil, Broome Health and Wellbeing Campus include facilities to support physical, emotional and mental health. The site, on Dora Street in Broome, is partially occupied by Southern Cross Care's Germanus Kent House aged care facility, and Bran Nue Dae respite care, as well as MercyCare's Broome Short Stay Accommodation for Aboriginals facility. VIDEO YINAJALAN NGARRUNGUNIL, BROOME HEALTH AND WELL-BEING CAMPUS: https://www.youtube.com/watch?v=SL7799mznHs

The horse stance or Mabu in Chinese is an ancient "pose" of all martial arts training. In fact without the mabu or horse stance many of the martial arts movements could not be successfully implemented. This video podcast demonstrates the 10 most important health benefits of this pose not only for martial arts sports but for everyone; young and old. It is very easy to practice if done regularly. --- Send in a voice message: https://anchor.fm/bronwyn59/message

We sit down with Ishtar & Jo who work with the light bring people out of their own shadow & into their full potential. Ishtar is a channel of higher consciousness & jo is the CHEK holistic lifestyle coach teacher in Australia who has worked with Ishtar's guidance for many years. Enjoy the conversation we had with two powerful woman.

Intro: Boz did MDMALet Me Run This By You: Will Smith and Chris RockInterview: We talk to Katharine Scarborough about The New School, Ron Leibman, Robert LuPone, Casey Biggs, the Actor's Studio, Neil Labute's Fat Pig, Harvard's A.R.T., Shakespeare & Company, Moscow Art Theatre, Biomechanics, Michael Chekhov technique, Michael Chekhov Theatre Festival, Ragnar Freidank, Mabou Mines, Dixon Place, The Brick Theater, JoAnne Akalaitis, Big Girl web series, Jean Taylor, clowning, clown burlesque, improv culture, Bridesmaids, Melissa McCarthy, actor branding, cultivating a good relationship with agents, One on One NYC.FULL TRANSCRIPT (unedited):2 (10s):And I'm Gina Kalichi.1 (11s):We went to theater school together. We survived it, but we didn't quite understand.2 (15s):And at 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (21s):We survived theater school and you will too. Are we famous yet? So I think the main thing I just want to say is like, I took drugs, but we call it the medicine. Right. Everyone's like in the ma so I did, and I won't, it's still illegal because it's still in third clinical trials, but I took MTMA with a trained MTMA guide. Who's also a therapist whose name I shall not say so that she doesn't go to jail for some weird reasons. And I'm going to tell you, and you probably already know this from your, from, I know you have some like knowledge about psychiatry or about psychedelics in terms of medical use and stuff like that.1 (1m 12s):Not that you've done them, but you know what I mean? I know you, whatever the point is, I think it's going to change psychiatry. Like it's going to change2 (1m 21s):A hundred percent.1 (1m 22s):I had. Okay. First of all, I was scared shitless. So MTMA is the pure forum for people that don't know of, of ecstasy or Molly, but it's, it's, you know, pharmaceutical grade and it's whatever, it's very, you know, whatever, it's a, it's a legit medicine, but I was scared. I was like, I'm going to die. I'm going to take this. This is where for someone that has anxiety more than I have depression, I think now anyway, in my life, the fear was I'm I'm doing something illegal. This is wrong. And I'm going to suffer for it also, like that was the moralistic fear. And then the actual fear of what the fuck is going to happen.1 (2m 3s):So for people, you know, just so people know, like you're in this person, rented a house and Airbnb and had a beautiful, I was, it was just me and her and a beautiful, like, amazing bed. That was that she brings in. That's like a foam, a memory foam. It's not as shitty thing. It's like really great. And I even thought that before I was on drugs, right? Like I was like, this is a really good setup. The house was a neutral house. Meaning she picked a great thing, which was there. Wasn't the, the family of the people's art on the walls. It was like pictures of surfing and stuff and like water.1 (2m 44s):But like not a lot of people, there were no mirrors. Like I was like, is this made for this? And she's like, no, I just found this. There was no, no, the house was clean. So it felt really good. Right. But not sterile. So that was great. And she had flowers and stuff and there was like a table set up. So then you go in, you bring objects and, and pictures, if you want. And there's two kinds of MDM assisted therapy, right. There's talk therapy you could do with two therapists. I did not. This, this practitioner does not do that kind. She's a firm believer in like letting the client lead their own experience.1 (3m 26s):And at first I was like, oh, I hate that. I want you to take care of me. Like I was like, I want all the therapists in the room. Right. It was like a real, and then I said, you know, no, I'm gonna, I'm an adult. Like I can it's. Okay. And also when you have two therapists in the room, they, they, they use the music less. So what I will say is the music was, I would say 90% of what was amazing about this. I don't even like music really. Like, I'm not a music person, but you, you literally have your headphones noise, canceling headphones with th with curated music from MTMA musicians.1 (4m 7s):So people that have scientists have worked with psychiatrists and doctors to develop music specifically for psychedelic MTMA journeys it's and it's timed with the medicines. So, because they know, because they've done studies, they know the trajectory of the journey in terms of what you're going to be, what kind of thing is going to be maybe happening. So they time this music. So you put on these headphones and there's like blankets. And I brought my own blanket. And it's you do like beforehand, you say a prayer and like, not a prayer, but like, yeah, like, like a, like a meditation tension.1 (4m 47s):We said, I, and believe me, this was not something I took lightly in terms of, I for weeks have been committed to doing it. So then there's a workbook beforehand there's sessions with the therapist beforehand. So it is not a party. This is not, I cannot say this enough. It is a journey and not a party. So meaning that it's a whole thing. It's like a process it's it's therapy. It's it's medical treatment is what it is. Okay. So you have this headphones on and also the music is playing in the room as well, the same music. So that even if you take your headphones off, you hear it and okay. And you have total blackout shades on, on your eyes.1 (5m 31s):So a mask that is comfortable and soft, but really dark. And I was like, oh my God, I'm going to die. Like, this is, this is it. This is how I die. And then I was like, you know what? You have so much, like you you've done so much research. You've watched the videos, you know, this is not gonna, they're gonna kill you, but you're scared. Okay. But I just took the pill. I was like, okay, here we go. So I took the pill and then you lay down and you're like, okay, it's not working. Like none of it. And by the way, I've never taken equity in my life. I've taken throughs and I'm taking acid and obviously marijuana I've smoked and stuff and edibles, but never that. So I was like, nah, it's not working.1 (6m 12s):And then the music, okay, well, all I can say is it becomes a party for your body and the notes I will share with you in an email that she took. I said some of the funniest things that I've ever said, and also you're like still aware that you're you. So it's not the feeling because for someone like me who has trauma and panic, the big fears that you'll disappear, I will disappear. I won't have an identity and no one will take care of me. And I will, I will totally decompensate to the point of death. Like that is really the thing, this drug, this medicine, you know, you're still you like, if, if, if a police officer, God forbid came up and said, what's your name?1 (6m 57s):And you could answer all those questions. It's just, it literally turns off the part of your brain that is super judgy. So I knew what was happening sort of, but then the music, I was like, okay, this is not working. And all of a sudden, Gina, the music becomes the most beautiful music you've ever heard in your life. Like, you can't believe that humans made the music. Like I was like, this is, and I, I kept saying, this is like watching a movie with your body. So you're. Yeah. So you're like, and then, okay, so you feel, I felt great. And like, you're underwater, you can breathe under water and there's some visuals, but you're seeing nothing.1 (7m 40s):I mean, there's no, there's black, but you're seeing it. So you are kind of hallucinating. But the thing, and the thing that happens is with MTMA is that the whole principle is that inside of us, that these MTMA psychiatrists and therapists believe that there is an inner healer drive to live person who knows better inside of all of us before the trauma happens. Right. It's moved that we access that part of ourselves during the MTMA journey and you, and that's why they say trust the medicine. And I'm like, that is, fuck you. Trust them like beforehand. I was like, but you, and don't get ahead of the medicine, all these things they say.1 (8m 21s):And you're like, what? But you, you know what it means once you do it, you're like you is the most. So you're feeling good. I felt like you just feel relaxed and, but it gets you in that state. So then you can look at your trauma, so,3 (8m 38s):Oh, okay. Like making everything, just so PR conditions being perfect. Yeah.1 (8m 44s):And then you're like, oh, this is a hard song. So it feels like, oh, this is a hard song. And that's how I started to feel. This is going to be a song. And it, and I can only tell you that, like I worked through some it's, it is, it's like 12 therapy sessions in six hours in a, in a, in a, in a wonderful way in that I looked at some stuff, some crazy stuff, but it is not, we're not when we're on MTMA we're not attached to the trauma. So it's like watching a movie, but also you're feeling it.1 (9m 27s):Like I could feel fear and panic come up. So it wasn't like I had a good time all the time, but I wasn't, you can go towards it without feeling like you're going to be annihilated. I didn't think I was ever going to be annihilated by my trauma in the, in the medicine. I felt like I had the resources and I knew there, and I was curious about what the songs and the music and the drug was going to show me rather than petrified. And I have to get the fuck out of here. And like, I don't care what I do.3 (10m 6s):Did you ha did you remember things that you hadn't remembered before?1 (10m 10s):No. It was like, well, no, no. It was like different. It does it in a way that is like, not you. So the things I worked through, I can say it was like a song and the music is timed. When you're at the peak of the medicine for this, it was like some crazy, like intense, you know, soundtrack to a scary, not a scary movie, like, like, like a war movie. Right. And you're like, oh God. And at least that was my experience. But then what happened was I had a nine 11 situation where I was in the burning building is so crazy. This is nine 11. And I'm in a burning building on the 94, but I'm not panicked. I'm like, okay, this is what's happening.1 (10m 52s):And I go to a man and a woman who are dressed in business clothes, and they're sort of tattered. And we've all been through this horrible crash. And I say, you guys, we have to jump now. And they're like, fuck, you know, way to a man and a woman blonde lady. And I say, listen, I know you're really scared work on a jump together. We're together. And this is the last conscious choice we get to make as a group to do, to take, to take our lives in our own hands. I'm going to ask you now to take my hands and we're going to jump and they're like petrified and I'm like, we can do it. And then, and I'm here watching Jen, the observers, like what is going to happen, but not like I got to get the fuck outta here and clawing at my skin.1 (11m 38s):No, no, no more like we, I knew that we had to do this. And so I took their hand and we jumped and then we started flying. We flew away. So I like helped them to, and it's really me helping me. Right. So like, I get that now. But like, and so I wasn't like petrified. So that was a huge moment. But the other moment was none of the people I didn't want to come in, came in. So like your inner healer knows, like I didn't want to see my parents and I didn't want to see my sister. And I didn't. I saw my dad in the, like a field and he was young and happy. Great. We like, that was great.1 (12m 18s):But in the song, there was a, like a Tibetan song nothing's in English, which is great. So like, if there are words and lyrics, it's not an English, which is great. Unless you speak those languages, then you might know what they're saying, but I did not. And so there was a Tibetan, like guys scream, like screaming, singing, like chanting. And in my head, I was like, oh, this is the reckoning song. This is where he makes other people atone for their sins against me. He's yelling at them, all the bad things they did to me. So I don't have to do it like stuff like that comes forward where you're like, holy fuck. So, and then the other thing was the name.1 (13m 1s):And I will say this, and I will not say the name, but the name of someone I think like sexually abused me as a child came forward. And it just said, the name of your perpetrator is, and then there was the name and it wasn't scary. And it was at the end of my journey. And it was sort of like, this is just the name and it's the name I knew. And it's a name that I had questions about. And I was like, oh, okay. And it was like, not a dun dun dong. It was like, this is3 (13m 33s):Okay. Okay. Oh my God. I make so many feelings.1 (13m 37s):Oh God. Yeah. So, so that is my, so my takeaways are still, I have many sessions afterwards. I'm gonna meet with her tonight on zoom. And we it's an ongoing process. I don't know if I'd ever do it again. They say like, you just do a maximum of three, three sessions for any person, unless you have like severe, severe trauma. And then sometimes they mix it with mushrooms and ketamine and they do all kinds of things for like combat veterans and stuff like that. Or just people that are really stuck for years that are on like 40 meds. And like can't. So I will say that it's changing psycho, like it, because you are self fricking guided.1 (14m 21s):It is, I didn't make the experience about anyone, but myself and I was able to take ownership over. Like it was parts were scary. Parts were lovely. Parts were fun, but it was my experience. So like, you don't lie.3 (14m 40s):You're the protagonist in a story.1 (14m 42s):And I didn't make the therapist, the leader, or I sh she was there as a witness. So what I'm saying about MTMA therapy is if you are committed to it is one it's just like fucking having a dog or getting married or anything else. If you don't really have to, or need to do it, I would say, don't do it. But if you are someone who is in therapy, working on your shit and you feel stuck, or you feel like there is a trauma that you just refuse to touch in there, talk therapy or whatever MTMA is, is the thing. But, but I really recommend, like I took a shit ton of supplements before a shit ton of supplements after HTP, all things you can get at whole foods because your body does need to.1 (15m 29s):And I got a massage, you got to do it the right way. Like this is, I tell people it's not a party, but it's also, it's like a journey. And it's also a huge self care thing. It's like, it's all the all, and they say, the minute you commit to the medicine like that, you're going to go on a journey. The medicine starts working. So like stuff will come up before then you're on. So all this to say, what are your thoughts when you hear this?3 (15m 55s):Well, I mean, I'm, That's what I would be scared of this Learning something new about my past.1 (16m 12s):Right, right. I know. I know. It's3 (16m 17s):Afterwards. How do you feel about that?1 (16m 20s):I, I feel like she not first want to say, like, I totally get that. I was petrified and I, The worst in our life has already happened to us because we were children and we could not do anything about it. That is the worst part of the whole thing is that we were little and had no resources. That is the crime that was committed against us. Not that it, it was that we were resource lists. The thing about MTMA and how I feel. I never felt resource lists.1 (17m 0s):I knew3 (17m 2s):If I'm prepared1 (17m 3s):And in the journey, even while I was like, oh, this is going to be hard, but I never felt like D I was in danger and I never felt like a child. So trauma robs you of your adult hood. Right. So it tells you you're still five and you're still in the situation and nobody's going to help you. You don't feel like that on MTMA. I don't know about, I feel like on other drugs you might, but MTMA is like really renowned for people feeling in somewhat in control. Like I could have, I wouldn't want to drive a car, but if like I needed to, I could have been like, oh, Hey, let's get out of the house now, but I hear you.1 (17m 43s):But it is so evident in my journey that like,3 (17m 51s):We w it really helps to grow you up. Let me run this fine. Everybody has trauma that they need to look at. And that leads us into what we definitely have to run by each other, which is th this thing that happened at the Oscars and talk about trauma. And, you know, all I could see in that moment was two little boys. I saw Gina.3 (18m 30s):Exactly. I thought, oh, they're so hurt. So deeply hurt. I have no tools right now to it, especially for will Smith. It's like, he, he short-circuited somehow. And was his trauma was unable to stay under wraps and it came out in, on a public stage. And that's all I could see too, because that's my framework. That's my, that's my paradigm. Yeah. And, and, you know, of course in the information age that we're in and the, in the social media age, the, the, the, the second something like that happens, all anybody can think about is like, what are the hot takes going to be on Twitter?3 (19m 16s):Right. Okay. Well, there's a variety of takes, but they all seem to be mostly focused on who was wrong or what was wrong, you know, which to me is like, not the point, you know, like it's, who's hurt, who is hurting and what are they going to do about their hurt? You know, I said, yeah. I said, these people, all of them involved need help and support. Absolutely. They need help need shunning. They don't need, you know, I mean, and, and I don't really hear too many people talking about Chris rock, but I mean, I hope his people are checking on him because he gave his help to television.3 (20m 1s):And I just, I know that that has happened to him before. Right. I just felt like this is such a redo of his child that I don't know that it must be. And he said, you know, he's talked about everybody hates Chris. That was a joke. And he talks about getting him, getting in trouble with his mouth before, but I don't know, man. It was just so raw. And I kinda think they just, I guess they had to air it, but, and it's sort of live or whatever, but I don't know. I just, I wish there had been, I wish the grownups had come in. Well, what we need all I was telling my therapist yesterday, we need referees to say, wait, time out time, like psychological referees that are like, this is actually going into a territory.3 (20m 43s):That's not okay. So like, let's stop and regroup, but nobody, you know, it's1 (20m 47s):Capitalism and money. And nobody cares about psychology.3 (20m 49s):It's like, oh, good ratings. You know, this is getting before,1 (20m 52s):Like, fuck them. They're rich. So who cares about them? Or fuck that.3 (20m 55s):I hate that. I, that argument just really is just so tired. Like, oh, if you have money, then you're not allowed to have any other problem for life.1 (21m 4s):Well, the other thing I think is like, if we, if we live in a capitalist world, which we do, and basically the rich people run things, I want my rich people to be healthy.3 (21m 13s):Amen to that. Yes.1 (21m 16s):Yeah.3 (21m 18s):And talk about tools and resources. I mean, they, they that's, that's the one thing I will say, if you have those resources, you have a responsibility to make use of them in a way that contributes not detracts from the world and yourself and the people that you love and who love you, you know? Yeah. So it was sad. And, but at the same time, I was happy. There was theater back in the Oscars. I was happy about all of the firsts that happened. I was, I, it, it looked to me to be the most inclusive orange show I've ever seen in terms of what they talked about and hoop in the symbolism.3 (21m 58s):And I really, I really get into the symbolism, you know, when people wear certain things and do certain things, and this rep, you know, I'm sure if we could talk to the set designer, we would, we would learn a lot about what the symbolism was of the set. And so I thought that was interesting. I was wondering where they were sitting around these tables because it's not like the golden gloves are not eating meals. And then when, when these dancers got on, I thought, oh, this is for this. And, and it just felt like theater. And I just thought, yeah, okay, good. We need this. Anyway. We need, we need to get back to like, something more pure about why we all went into this because Yes. And visceral, because the other thing that occurred to me is like, wow, I never heard about this before, but it must be so tense to be at the Oscars,1 (22m 46s):Like horrible.3 (22m 48s):You're either tense about what you're wearing tense about whether or not you're going to win tense about what speech you're going to make tense about what I noticed people. I feel like I could read people's body language when they were dissatisfied with where their seat was. You know, I just felt like everybody was, everybody comes to that night with who are you going to tell me? I am. Oh,1 (23m 10s):Right. That's right. And am3 (23m 11s):I, is that going to be acceptable to me? And it's a very narrow definition of what's.1 (23m 17s):Yes. Well, yeah. It's like, yeah, it's teeny, it's impossible. It's impossible. So I think you got to go, like, I now know why, like Frances McDormand goes and she's like completely stoned or like, or like just crazy people do because it's too much pressure. That's the other thing I'm real I saw was with the, with the will Smith thing, was that the amount of, like you said, tenseness, you know, the amount of pressure they, everyone looks like ready to pop. They're so anxious and stressed out and understandably it's. So I, I know now why people don't go to those things. Like I always thought it would be so fun, but now that I'm looking at it, I'm like, that seems like a lot of work and also real tense,3 (24m 3s):Real, real tense, but that doesn't take away from the beautiful, you know, I heard some beautiful speeches and overall I think overall I hope everything that happened at the Oscars is indicative of like things moving in a better and better direction, but we're also very far away from a lot of things, a whole lot of things.1 (24m 26s):And, and then there's this, you know, and we don't really have time to talk about it this time. We're going to talk about next time maybe, but like this whole thing of like, okay, so a lot of, you know, like who gets to have a take on what went down? So like, people are, are saying, you know, I've seen members of the black community saying, you know, like no white people should talk about this. And, and frankly, I didn't feel the need to talk about it as a half white, half Latino or as a human. I also, my, I thought, I thought, oh, my framework is I come from a place of like, we're all traumatized. So like, that's what I, and I'm trained in that. And that's what I can chime in about if somebody asks my goddamn opinion, like you and I ask each other's opinion, but nobody's asking my goddamn opinion.1 (25m 13s):So I don't keep my mouth shut. If you want to ask me what I think, then we talk about it on our podcast. You know what I mean? But like, I don't need a platform Twitter to talk about will Smith and Chris rock, they, plenty of people are doing that3 (25m 25s):Where people1 (25m 26s):Covered3 (25m 27s):It's covered. It's well-covered yeah. Oh, I just have a very quick update about my fascination with those tick talks with the, the women and1 (25m 36s):They're getting ready and the coming home,3 (25m 38s):I found out they're all infomercials1 (25m 44s):For the products in there for all the products.3 (25m 47s):Yeah.1 (25m 48s):So it's actually nothing about there. They don't really do that.3 (25m 52s):I mean, who knows,1 (25m 54s):How did you find that out?3 (25m 57s):'cause my kids stole they're like, I mean, and they were, they weren't saying mom, you know, that's just infomercial. They were like, yeah, you can get all those products. If you just click on the thing you can see. And I was like, oh, so the whole thing is a commercial. And they were like, yeah, what did you think it was?1 (26m 12s):You're that it was a day in the life of a lovely lady with very many gadgets and outfit.3 (26m 19s):And it was just one of those moments like, oh, I, so1 (26m 24s):I have those all the time. I have those all where I'm like, oh, I'm truly an eater.3 (26m 29s):I'm truly so dumb. I deserve, I deserve to waste my money on these products and they don't want to get my money completely work. I did in the end, only buy one thing. Oh, you1 (26m 42s):Actually did buy what you3 (26m 43s):Buy. I bought it a egg cooker. You can, you can hardball eggs in the microwave.1 (26m 50s):Well, that's pretty good. Okay.3 (27m 9s):Today on the contest we were talking to Catherine Scarborough. Catherine is an award-winning New York city-based actress and writer. She got her MFA in acting from the new school for drama. And she's also trained with the Moscow art theater and the people's improv theater. She has a lot of interesting stories and she has a fantastic web series called , which you can find on her website, Catherine scarborough.com. So please enjoy our conversation with Catherine Scarborough.6 (27m 51s):Yeah. Yeah. Perfect. Okay.3 (27m 53s):So congratulations, Catherine, Catherine Scarborough, you survived theater school and your first new-school alone. So I I'm really intrigued by the way, by your intro here, he says, can be interesting conversation. Does that mean you had a mixed bag of a time?7 (28m 10s):Well, first of all, thank you. I, yes, it was definitely a mixed bag. It's an interesting program. Yeah. I mean, I, the training, my professors were really great. I had a lot, I really am happy with my artistic training. It was the business side of things1 (28m 32s):That7 (28m 33s):I, we went out into the world completely unprepared.1 (28m 36s):Okay. When did you graduate? You look so young.7 (28m 39s):20 13, 20 131 (28m 44s):Is recent. So we graduated and fricking long, long time ago. So, so like, like, yeah, nineties. So, so at 2013, the new school didn't really prepare you business wise. And I mean,3 (28m 59s):When did these people get,1 (29m 0s):When are we going to get prepared,7 (29m 4s):Please schools do it, to be honest with you. I think that if it's a name, if it's a school that you can walk into an audition room and they're like, oh, you're a Yalie. You're NYU. It's a different story. But like, to give you an idea, and I got my MFA, it was not a BFA program. It was an MFA program when we were getting ready or we had done our showcase maybe. And then we were doing, you know, reaching out to agents and managers, this spreadsheet that we were given, some of the people on it were dead1 (29m 44s):Or in jail or in jail7 (29m 46s):Dead. I mean, one of my classmates came back, oh1 (29m 48s):My God, these people,7 (29m 52s):They were like, I'm sorry, this person has passed away.1 (29m 60s):That's3 (29m 60s):Crazy.1 (30m 1s):I really, I really applaud that. Person's tenacity. They were like trying to get repped by a ghost. They will do like, I'll take anyone, give me the ghost, even3 (30m 10s):The ghost ghosted me. Okay. So, so you weren't prepared, but what about the straight training side of it? Like7 (30m 20s):You,3 (30m 21s):Presumably you went there saying I'm going to be a famous actress. Give me all I need to know. Did they fit the bill in that way?7 (30m 30s):Yes and no. I mean, it was, you know, again, once again a mixed bag, I had some fantastic professors. I, I was lucky enough to study with Ron Leibman1 (30m 42s):Who he, more,7 (30m 44s):Ron originated the role of Roy Cohn in angels in America. He was Rachel Green's dad on friends. He and studying with him was really a gift. I mean, and he, you know, I mean, he had done what you want to do as an actor in his career. He had Tony, can I curse? I really, You know, he had a fucking Tony. So there was no, I think sometimes with acting teachers, there is an ego part of it where they, I don't know, they want to mold you or they're frustrated and they haven't done what they want, but he had done everything that he wanted to do.7 (31m 27s):And so really he was just in it because he cared about young actors and he was tough, but he wanted you to be the best artists you could possibly be. And so that was such a gift that there were lots of professors that I really had a wonderful experience with there. Casey Biggs was my classical technique. Like Shakespeare professor. He's wonderful. He was, he's a star Trek actor. If you don't know, the Saifai world gets a lots of Shakespearian actors because they have to3 (31m 58s):Make7 (31m 58s):Sense. You know, they have to take this ridiculous material and make1 (32m 3s):And make it accessible.7 (32m 6s):Right.1 (32m 7s):So for people that don't know, obviously the new schools in New York, did you audition? How was that?7 (32m 14s):Yes, I auditioned. So it, yes, it's in New York city. It used to be where the actors studio was. And then there was this gray Bradley Cooper went to my grad school at the time that the actor's studio was still attached. And then there was this big schism actor studio went to pace. And then the new school had its own drama program run by Patty lipomas brother bobble poem. So he was the Dean1 (32m 44s):Of the school at your school?7 (32m 46s):At my school. Yeah. Bobby Lou. And so, yeah. So the audition process was I actually, they asked you to prepare a scene. So you had to find a scene partner and do a scene rather than just a monologue, which was cool. So I had a friend of mine come with him. This is funny. And a friend of mine come and do a scene with me. I did a scene from a play that I hate, but that I felt like would make me appear marketable. I did a scene.1 (33m 17s):Yeah.7 (33m 17s):I did a scene from fat pig, which,1 (33m 19s):Oh, no,7 (33m 21s):But Hey, I got into school with it. So1 (33m 23s):Yeah. You know what I always say about that play? Like I actually know Neil LaBute and that guy's a Dick. So, I mean, I've met him. I wouldn't say know him. He directed did he direct, he directed Wicker man, that my boss Nick cage, was it the second time UN he's got problems. He's a, he's like a Mormon, he's got problems with his own body size. I think as a, as a plus sized dude, he's real weird. He's real weird. But anyway, I always say about fat pig. It's like, I am always rooting obviously for the actress that takes on that role.1 (34m 6s):Especially as a plus sized lady, I'm like, yeah, you go. And, and we think, God, I hope we're writing better plays in that, but you know what? It's not the actresses deal that is doing it so good for you. So you did a scene from that pig with your friends,7 (34m 22s):And then he got asked to audition for the school himself and he got into,1 (34m 30s):I'm glad you both did because you didn't.7 (34m 33s):I know it would have been nuts. So, so we do the scene and then we find out what happens then is something called callback weekend. And I actually, I have to say, I think that the new school at that time, because the training has completely changed at the school now, since I've graduated. But their audition process was the best that I ever experienced because, and by the way, I auditioned for graduate schools, like on three different occasions. And when I auditioned for the new school, it was like the last gasp. It was the only school I applied to that season. Like I was like, I'm done with this. I'm going to open it.1 (35m 11s):No one, no one accepted you the first times. Right. Mad at them.7 (35m 17s):It was really awful. But are you1 (35m 19s):Fucking kidding me? Okay. All right. So they, you were like, fuck it. This is the last hurrah. I don't get it here. Okay.7 (35m 25s):Yeah. So the only school that I applied to that season, so you do your scene and then they have something called callback weekend where it's a whole weekend. You go and it's a surprise. You don't know what's going to happen. You go. And they have, because part of the core of the training and the new school is having playwrights directors and actors create new work together, creating your own work is a big part or was at that time a big part of the training program. And so you had to put together, we were put in groups and we put together a short play in 24 hours. And that was our, our callback.3 (36m 6s):I mean, that sounds really stressful, but also really7 (36m 8s):Fun. It was so fun.1 (36m 10s):Did you write the play,7 (36m 12s):The playwrights? Did they1 (36m 14s):Right? Yeah.7 (36m 15s):Yeah. At some point too, I did have to do two monologues and I cannot remember when that happened. I think, I think, you know what it was. Okay. It was callback weekend. I had to go and do my two monologues and do like a movement workshop. And then you found out, okay, you've made it now. You're the last round and you're doing a 24 hour play. Yeah. And so, yeah, it was really fun to be honest with you. It was good.3 (36m 42s):Yeah. I bet it was. So what about for undergrad? Were you also doing theater and under?7 (36m 48s):I did, but I didn't get a BFA. I got a BA at UMass at the university of Massachusetts Amherst. They actually have a beautiful theater program there. I had a great experience with them.3 (37m 1s):Yeah. And what was the impetus to go to grad school?7 (37m 6s):I had always, I mean, since I was a small child, like four years old, I've wanted to be an actress. I always, and I'm not, I'm not, I'm a theater nerd. Like I always wanted conservatory training. My family historically was not supportive of this. I really wanted to get a BFA and they didn't want me to do it. And so I ended up going to, you know, regular school, regular school and just getting a BA but studying theater. And so I had always wanted to have the experience of conservatory training.7 (37m 45s):After, after I got my BA at UMass, then I did a, like a training program with the Moscow art theater kind of connected. Cause I had applied for art. Didn't get in. But then the Moscow art theater reached out to me and they were like, Hey, we do this summer program. And we also do a winter program in Moscow. So I did both of those things.1 (38m 9s):Awesome. Yeah. They tell you my art story.7 (38m 12s):Oh yes, please.1 (38m 13s):Dude. I was a fucking idiot. So I, I was at taking a leave of absence from the theater school at DePaul. And I was at, I was at Shakespeare and company on the east coast. I was working there, but anyway, I thought, oh, this is a great time to audition for Harvard.7 (38m 28s):What?1 (38m 30s):I don't know what I was thinking. Like DePaul was fine. Like Harvard, like air chief was actually going to be better. But anyway, I mean, it's all the same once you get there. But so I thought, let me just audition. Sure. I had, usually I have two monologues. I had one monologue. Sure. I was also young and you didn't3 (38m 49s):Read the,1 (38m 52s):I did not understand the assignment. So I show up at a party and I'm do my monologue. And it went really well, even though it was probably a totally ridiculous monologue. It was above my head and the person the woman goes, that's great. And then I just stopped. Right. Cause I didn't have another monologue. And I said, and they said, do you have anything else you could show me? And I literally said no, but I could tell you some jokes.3 (39m 21s):See, I know it's a great idea. I think that was a great, I mean maybe he didn't know her that well, but I like,1 (39m 28s):And it was the truth and I, and they, she looked at, it was, it was, I did not get in there and I think they were all like what? She was like, what I, it was, she wasn't that I was on drugs. I wasn't, but she probably thought this child is on drugs. Like that's the only answer. So anyway, I don't know. But also they closed so no longer around. So you, okay. So you, so you did, you went to Russia?7 (39m 51s):I did. I went to Moscow and I studied like one of my teachers that I stayed with her father was Stanislavski student. I mean, it was crazy1 (40m 2s):My, oh,3 (40m 3s):Tell us everything about that program. It sounds interesting.7 (40m 6s):And I mean, considering what's going on, it's so sad in the world, but I always will hold my experience with the Stanislavski summer school and with it's my hot mess, Moscow art theater, very, very close because you know, I think as actors, NSX and students, we are delicate creatures and our confidence in ourselves and in our instrument and in our own talent is very, very delicate at all times. You know what I mean? And it really studying with them really made me fall in love with the theater and ma built me up and made me feel like, oh, this is what I'm meant to do with my life. And it just was because again, these, you know, the Russians, they, they don't give a shit.7 (40m 53s):They're all about the art. And they care about you as a, an artist. And1 (40m 59s):Did they not? Can I just say, were they not? Were they inclusive about body sizes? Oh, see, this is my problem. It's like what kid? Anybody fucking, not even in Moscow.7 (41m 11s):I mean, listen over there. It's definitely. But what I will say is my experience in classes and stuff, they just expected me to do it, you know, like,1 (41m 21s):Right.7 (41m 21s):My, my Grotowski admire hold biomechanics teachers. They were like, okay, now you will do backbend. You know? And I would just wouldn't do it. And it was like, okay, Catherine, now you will. You know what I mean? And so, and I, you know, I, we had this one teacher who re actually recently passed away. He was the most wonderful man. His name was Misha and Misha taught Michael checkoff technique, which I had never studied before I studied with them. And he was a lunatic, but like in the best, most beautiful way he would do this, this game with us called I love myself where, where he would have us run around the room, like crazy seagull.7 (42m 10s):And then while we're running around the room, like crazy seagulls, he is humming the theme to the godfather. So he goes,1 (42m 18s):It's fantastic. It's like what I did in my day program in therapy.7 (42m 24s):So he's going up, up, up, up, up, up, up, up, and then he'd clap his hands and go number one. And you had to hug yourself and he goes, I love myself. And then he'd clap again. And then you have to run around again and he'd go bump up, Clap number two. And you'd hug someone and he'd go, I love my friends and Cutest. And like, he, I don't know, it was, it was a lovely experience. And I got to do Google. I was in a Google little, oh, Hey, I was in the inspector general. And I just felt seen by these teachers3 (43m 5s):Randomly, I don't know what the connection is, but they're in my town, which only has 30,000 people in it. There's a Michael checkoff like festival. Oh, I don't know if he lived here or I I'll have to look into it more Connecticut.7 (43m 24s):Is that because my grad school, Michael checkoff technique, professor Ragnar fry dog does a maybe1 (43m 34s):Greta. Steve. I bet it's gotta be connected. Ragnar and fry. Duncan7 (43m 38s):Connect,1 (43m 39s):Cover all connected.7 (43m 40s):Yeah. It might be. It might be there. It's somewhere up. I don't know. It might be,1 (43m 46s):Are you in New York city?7 (43m 47s):I am. I am in the city. Okay.3 (43m 51s):Okay. So you didn't feel prepared once you graduated. So what did you do?7 (43m 56s):Well, one thing that the new school, like I said, that they did, that was great. Was they taught us that we have to make our own work, which I think is true. I mean, I think, you know, and you know, I just been through this experience where I had to plumb all of this personal trauma to, you know, being in front of your friends to be an actor. I don't know. And there was a crisis in my family and I ended up using it and applied for an artist residency with Mabu mines. I don't know if you guys Mabee mind says1 (44m 33s):I don't, what7 (44m 34s):Is that? So Mabu mines is a theater company. That's been in New York city since like the sixties, seventies. And they're very experimental run by who has since passed away Ruth Mela check and Joanne Akalaitis and Lee brewer. Who's also, so they they're really into cookie, like experimental crazy theater. And so I got an artist residency with them right out of graduate school. And for a year developed my own place,3 (45m 5s):Something where you had to write a proposal about what you would be working on there. And, and you're, so you wrote something that was informed by a terrible thing that happened to you.7 (45m 15s):Okay. And so, yeah, I wrote a few3 (45m 17s):Minds saying anything about,7 (45m 21s):Because I wrote a play. So yeah. So I come from a very chaotic family. There's just all kinds of craziness. Always my father, who is much older, he was a doctor for nearly like 50 years, maybe 50 years. And he had this huge practice in this like shitty Podunk, back ass words, town and Florida. And he's very eccentric. He doesn't make friends, he's not politically savvy and was employing really ne'er do Wells to run his office.7 (46m 4s):And one of his nurses was writing counterfeit prescriptions1 (46m 10s):For opioids,7 (46m 11s):Opioids. So the, the, what is it? The DEA shut down his office and conducted an investigation for over a year while I'm in graduate school. This is going on. And then D couldn't get him on running a pill mill because he wasn't, but got him on insurance fraud, which I will tell you, actually, something that I do have done in the past no longer, but for a survival job, I've worked as a medical secretary. Every doctor concerns, insurance fraud and the1 (46m 50s):System, the system is set up for that. What are you7 (46m 52s):Talking about? So at the time, my 77, my in fact, my, was it my third year. Yeah. My third year of graduate school, my 77 year old father went to jail. Thank God he wasn't in there for very long, but we fought, he might be, he was held on half a billion dollars bail. Like it was insane how they went after him. And, you know, it's funny because I've been rethinking the project that I did because I was so fresh out of it. I essentially, I took because as he started me letters from jail, and then I realized he had been writing me letters since I, for like 20 years, he's a letter writer.7 (47m 37s):He himself is kind of insane. Like, he's, I love him, but he's, you know, and so anyway, I took all of that source material and I created a play out of it.3 (47m 51s):Wow. And, and I mean, presented for the public, right. Like people came to see it. How was it received?7 (47m 58s):I think it went really well. I mean, it was my first, you know, I, again, being unprepared, you know, coming out of graduate school, I didn't know a lot about promoting your own work, you know, I didn't know to write a press release and I didn't know to, but I did it with Mabu mines. And then I workshopped it in a few other places. I did it at Dixon place, which is another like incubator you're in the city. And then I did it in residency at the brick theater in Williamsburg. And that was, yeah, that was the last showing that I did1 (48m 30s):A solo show.7 (48m 31s):No, I had a hue. I unwisely had a huge cast. It was like nine all of us. Yeah. But it was like about because I'm from the south originally and it was about my family. And like the stories you tell yourself about your family versus reality versus very, yeah. It was, it was a great experience doing that. So3 (48m 55s):How have you continued to create your own work? I know you have a show, your own show, big girls. Is it called big girl?7 (49m 1s):It's called big girl. Yes, I, yeah. I really do enjoy writing and writing for myself. I think that, yeah, my experience has been more fruitful in writing for myself. Then, you know, the little parts you can get or, you know, yeah.1 (49m 20s):I want to let your, I just want to give you permission to let yourself off the hook for the publicizing of your thing. No, no. I need to tell you that I, when I did a solo show and it went to New York, I fucking paid a publicist $10,000 and they didn't do anything. So, so, so I'm just saying he, they didn't write a press release either and you were out $10,000. So was actually saying you saved $10,000. So you did good. Oh, wait. So Gina asked about like, yeah. So you have big girl is a, it's a, it's a show that is still is an ongoing, is it happening right? The second?7 (49m 56s):No, we, so we did. So the way big girl came around is that I started taking improv classes of all things. I hate improv, but I'm glad that I studied it. And I met my producers there in improv class. And I had written a play about body image and they came to see reading of it. And then we decided to do, let's do something together. We decided to write this web series. And so we, we worked on it from like 2018 through 2019.7 (50m 37s):And it's five short episodes. It's stories based on my life, but heightened about dating and just living as a plus sized woman in New York city, every episode is a different genre. So there's a clown episode, a black and white clown episode. That's episode three, which is my favorite of clowning is my favorite theatrical practice. I think I'm working on a clown show right now, actually, but clowning is my favorite. So what do you3 (51m 7s):Love about it? What do you love about coding?7 (51m 10s):I think that clowning is a way of celebrating your vulnerability and your ridiculousness. You know, I think that whatever makes you feel vulnerable is actually your superpower as a performer. It's the thing that people can see that connects us all to our, you know, terror of the abyss, right? And clowning is such a loving and gentle. Isn't the right word. It's, it's a very freeing way to just celebrate whatever is silly or weird about yourself. And if you can laugh at yourself, it gives the audience permission to laugh at themselves, you know, and it's also just really fun.7 (51m 60s):I, I have this beautiful clown professor, my clown, professor, Jean Taylor, she teaches at the Barrow group and that new school and over the pandemic, she reached out to some of us and was like, would you all like to do some zoom clown sessions? And let me tell you that saved my mental health, my like twice a month clown meeting it.3 (52m 25s):It was a picture of a clown school in zoom.7 (52m 28s):It is, I mean, we would just get into nos and we would do eccentric dance. And, you know, she would just have, she has something called go to my spot, which is like, as your clown, you find your spot. It's the whole thing. And, you know, we just made it work and it was, and we would create little, like a tubes as clowns that we would do for her. And it was, it's just, I just love it so much. It's just a, I don't know. It's like balm for the soul. It makes you feel joy.3 (52m 59s):And this is what happens when people feel left out of whatever's happening mainstream wise, as they go find a, like a little off shoot, you know, where, where any aspect of being different is is okay. Celebrated whatever. I mean, in a way it's like, okay, well, I guess that works out too, even though we'd like to be able to be included in mainstream stuff. Right.1 (53m 21s):Well, I feel like that's how all these theater companies that we adore love were made and then, you know, then it becomes something else that gets commercialized. And, but like, if you think about it, like a lot of, a lot of stuff in life, right. Comes from that. And like, I'm now writing feminist body horror. I know, I didn't even know that existed. It only happened because I just was like, okay, well maybe, maybe this. Okay. Fuck it. And then people are like, no, it's actually a genre. And I'm like, what? So like clowning was like, we can do this thing together and tell these stories. And people were like, oh yeah, that's good. And so then that it becomes a thing, you know, for years and years and years, so, okay.1 (54m 4s):So you, you, are you doing a clown show? Are you developing a solo clown show?7 (54m 10s):I have a co clown and a director and we are putting together a clown burlesque show.1 (54m 19s):I love that.3 (54m 21s):That sounds amazing.7 (54m 23s):It's going to be, I'm really excited. Yeah. It's going to be, we're just at the beginnings, like applying to festivals and things like that. And we're just about to start real rehearsals and1 (54m 35s):Oh, is it a scripted, like how does that work in terms of like, what, how what's your process like for us? So I don't know why I keep pushing you to do solo work. I keep asking if everything you do, I feel like I really need you to do a solo show. Apparently7 (54m 46s):I should do a solo show. I haven't before this1 (54m 50s):Do what you want. I just said, so it's a solo show. So you're doing your clown burlesque show. How do you write, is it scripted? Tell me about that.7 (54m 60s):That is a very good question. We are figuring that out because clown involves a lot of, I don't want to call it improvisation, but impulse it's like, you have to let your in order for it, to be honest, right? The clown clowns are my teacher put it this way. They're like cretins. They're very, they're there. Everything is very simple and they're idiots, but experts at the same time and you have to leave room for the unexpected. So our tactic right now is we're going to have a, a loose, an outline, like beats that we want to hit, let's say, but then to leave room for our clowns to play and do what they want.3 (55m 47s):I'm kind of curious about this thing you said about improv, because I also have the feeling that I hate improv, but only to say that I hate doing it, but actually if I was good at it, I wouldn't hate it. So what do you hate about it?7 (56m 2s):I am also not good at it. I get too, too in my I'm just not good at it. I get too in my head. I'm like, why are there so many rules? Why can't I ask questions? Why can't I just come up here and have fun? Why does there have to be a, what does the Harold, why do I have to go back to see the,3 (56m 22s):I mean, think that like, this is all just because a bunch of guys made up improv, right? Like what would it have been like if it was a bunch of women who, who developed the art,1 (56m 35s):It would be clowning and it would be, it would be something more beautiful. I mean, I just think the culture of improv is such garbage and I happen to love improv. I love, love, love it, but I love it because I'm scared because I do feel like you can do no wrong and improv, especially at like an improv audition for commercials and shit are my jam because there's no things to memorize and, and, and to be serious actors and not fuck anything up, but that does crossover into yeah. It, if you're in a culture and improv like school, the culture is there a lot of rules and there are a lot of stuff.1 (57m 16s):And also to be fair, you know, to be, or to be honest, there's a lot of drinking. There's a lot of drugging. It's just not my scene. And it's also really like a 22 year old white dudes see3 (57m 25s):Very fresh, very fat frat life,1 (57m 28s):But okay. So go ahead.7 (57m 30s):Wait, where was1 (57m 31s):I? Oh, no, it's me. I was just saying, go ahead. Either one of you. Cause3 (57m 36s):Well, I, I, I can't actually bring us back to what we were talking about before, but I can ask you, does new school do a showcase at the end? Can you tell us about it?7 (57m 48s):Sure. So it was, we did our showcase at playwrights horizons. We worked on our scenes for a semester and there were a lot of us in my class. So I got into graduate school, like at a time when people like right after the oh eight recession. So tons of people were applying to graduate school and they let 35 actors into our class. And so that was a big, obviously a big issue all through my graduate experience was what do we do with all of these kids?7 (58m 36s):There were, I think at least a good 10 people in my class who had no business. Like they just shouldn't have. And there were people who graduated from the most expensive. The, my school debt is so ridiculous. It's imaginary. There were people who graduated from my program who never stepped foot on a main stage.1 (58m 56s):We, why is it so fricking expensive? What's happening?7 (58m 60s):I it's the new school. I don't know. But yeah, it's the most expensive,1 (59m 5s):Never we're up. We've heard this before, by the way, at other schools Where the people never, there were people that graduated, maybe not an MFA, but like, there are people that graduated that were never in a show and I'm like, okay,7 (59m 19s):I would have, yeah. I,1 (59m 22s):Why weren't they at a show? They never got cast or7 (59m 24s):They didn't get cast.1 (59m 26s):I give him like a pity part. Like you're going to be Cinderella's step sister. And the,7 (59m 31s):I mean, they would be like in the chorus of something1 (59m 34s):That would have been me. That would have been me. I know it would've been3 (59m 38s):Me too. Me too, but was it for agents? And the showcase was for agents.7 (59m 42s):Yeah. Agents and managers. And I did two scenes from bridesmaids because bridesmaid said recently come out. So I did the airplane scene with, and then I did her, her monologue at the end about being in the CIA. I just love. And it probably wasn't wise of me to choose scenes from what, but I was like, fuck it. This is what I wanna do. I worship Melissa McCarthy. I think that she's I, if I ever met her, I would absolutely lose my mind. I just think she be,3 (1h 0m 13s):I think that was the perfect thing to do because right. Because the, the, the thing that bothered, I are always talking about that we never got is that we were supposed to think of ourselves as, you know, to be crass, like a product and what, you know, so what is our brand and what, you know, and we never did that, but that is what is required. So why is it not good to have done the Melissa McCarthy?7 (1h 0m 36s):I guess maybe I think you're right. I maybe I felt like I should have shown more range.1 (1h 0m 42s):They're not looking for range. Let me tell you something. They're looking to look at you seriously and now be in LA. I can really tell you looking at, oh, oh, she knows. She, she, she knows that we think she's going to be like the Melissa McCarthy character. Great. So let us just all get on the, the Melissa McCarthy bus with her, and then we can sell her that way. And maybe we'll all make a lot of money and be rich. Now look, I'm not saying that's a good thing. I'm just saying it was smart in terms of a business move. And please tell me you got an agent. Did you get an agent and a manager?7 (1h 1m 15s):Ah, I, I got one agent who freelanced with me for a minute and he sent me on two auditions in three years.1 (1h 1m 31s):Okay. All right.7 (1h 1m 32s):So1 (1h 1m 33s):Not good, not good.7 (1h 1m 35s):And that agent, I mean, I,1 (1h 1m 38s):What,7 (1h 1m 39s):He, it just,8 (1h 1m 41s):Eh,7 (1h 1m 44s):I'm worried because why?1 (1h 1m 46s):Okay. Let me tell you something. Let me tell you something. This is not about him. This is about your reaction. You don't have to, obviously don't say the name, but this is about your experience of what it was like to be that age and work with is someone in the industry. So tell it now.7 (1h 2m 2s):Okay. So from that point, yes, from that point of view, you know, number one, it, you know, I, I had one really solid audition. I didn't book it, but it was my first big audition in a big room. And I went in and I was prepared and I killed it. And I remember, oh, at PA, oh, oh wait, okay. It's back. Oh, you're1 (1h 2m 24s):Fine.7 (1h 2m 25s):Okay. Like froze for a1 (1h 2m 26s):Second. That's okay.7 (1h 2m 29s):I went in and it was Judy Henderson's office. She's a casting director. I killed it. And I had them all laughing. And I remember I walked out and I heard the director say, oh, that was really good.1 (1h 2m 43s):Yes.7 (1h 2m 44s):So that was such a win right out of an acting program. You know, I didn't get a call back. I didn't book it, but it was such a great, you know, experience. But then after that, and I emailed my agent to say, Hey, this was so great. This is what the people said, send, thank you, notes, all of that. But he like had this Facebook group for the members of the agency and he would have these mixers, Which, and I went to one and it made me so uncomfortable because it was like him. And then a bunch of like women, you know what I mean?1 (1h 3m 23s):Yeah. It's gross. That's gross. I don't know who you are, agents. So it's not a personal thing, but also that's gross.7 (1h 3m 29s):Yeah.1 (1h 3m 30s):It's weird. That's weird.7 (1h 3m 32s):And like also something that made me super uncomfortable would be that there would on the Facebook group, he would put up these statuses, like, you know, a word to the wise, never write an email to an agent like this deducted that dah, dah, and don't show up to an audition doing blah, blah, blah, blah, blah. And I just in my head, I'm like, why don't you go get me an audition instead of spending your time? And like, there is no roadmap for young actors. None of us know what the fuck we're doing.3 (1h 4m 4s):Well, let's do mystify something right now for people who haven't gone through this yet. Why do some agents not get auditions for their clients?1 (1h 4m 16s):Oh, I know. I feel like, I feel like for what my knowledge is of working in casting and then also working as a writer and an actor, is that agents. Okay. So like, this is my understanding. All agents get the same breakdowns, right? And a lot of times for better, for worse they're thinking is I need to, I can't possibly do everything on this breakdown. So who are the people I know that are gonna, for whatever reason are top of mind that are gonna, that have a better, good chance of booking these things. And then they sort of gravitate towards that. And then a lot of people who aren't, don't look a certain way for whatever, get pushed to the side.1 (1h 5m 2s):And then I think we're also not as actors at our schools and in the world taught how to have a relationship with an agent that is on equal footing so that you stay top. This is what I teach my kids at the theater school, which is like how to build a relationship or get out of one. When you feel like it's not on equal footing where you can't, you don't feel like you can call or email the agent and say, Hey, I'm feeling like I'm not going out. Is there something that we can do together? Because we're so scared of the agent. We never make those, but I am. I think that is what happens.1 (1h 5m 43s):And then the fear begets fear. And then you just never hear from them again. Then they drop you or whatever. So it's a matter. So that's what happens. And, and agents, a lot of times, like the rest of us are traumatized and hurt and scared. And, and it's easy to take that shit out on younger people.3 (1h 6m 3s):So it's not what I was thinking. You were going to say, which is that if the agent is unknown, they literally cannot get their client. Okay. It's not that,1 (1h 6m 15s):I mean, I feel like they, I feel like S H certain agents have better relationships than others with casting, but everyone gets the same breakdowns. It's, it's a, it's a common document. So anyone, if we, if you, and I said, now we're an agent. We would get those breakdowns and we could start submitting people. And if you send a kick ass letter that says, Hey, Catherine is perfect for this. Look at our shots. Please see her, they'll see her because they want, Cassie wants to meet new, new, fresh faces that are kick ass. Like that's their jam. So, yeah, it's a matter of top of mind. And3 (1h 6m 49s):Well, since we're on the topic, I don't know. You mentioned this thing about getting a good relationship with your agent CA well, so Kevin, do you have an agent now?7 (1h 6m 57s):I am. Now I am looking for representation right3 (1h 7m 0s):Now. All right. You're looking for representation. A lot of people who listen to this podcast are recent graduates from theater school. I have my only experience with an agent is I'm helped my son with his stuff. And so I'm, I have a relationship with his agent. I'm very scared of this person. And when he doesn't like something we did just on my stomach. So like, what, I mean, you know, what, what do you do and how do you have a good relationship with an agent? Because it seems like they're all the hassle.1 (1h 7m 31s):No, no, they, they, it does seem like that. They're not all assholes, but I feel like a lot of them are, are scary. So inherent and Gina, Gina talks about this and Catherine, I want to know your thoughts. So, so we talk about the idea that like inherent in this industry is a pear is a patriarchal and like a, a status, right. Triangle, whatever hierarchy. So that creates a dynamic where the people that have, are seemingly having the more power are, are, are a little bit mean. It can be a little bit mean. So Catherine, how do you think, I guess my question for you would be like, what is your, maybe your experience with how to work with that and what are you looking to do differently this time when you have an agent, I guess, for the youngsters7 (1h 8m 15s):Listening? So my experience with them being mean, Or I just think that there is a, in my experience, there has been a feeling of being dismissed perhaps of, you know, yeah, yeah. You know, I do a lot of in the past, I've done a lot of there's this company here in the city called one-on-one, which there's another one that's called, like actor's connection where you can go and it, it kinda sucks. It's pay to play and you pay like a little fee to do a class with a casting director or an agent, or, you know, an opportunity for like a 10, 15 minute meeting with an agent.7 (1h 9m 2s):And I have met some success with that, you know, in the past, I don't necessarily, I feel a little morally repugnant about pay to play. You know, this is such a, I mean, the other thing along with the hierarchy of this industry is that it's predatory, you know, it's very predatory on the hopes and dreams of, you know, young actors. And so I have had tons of experience going into auditions for things. And, you know, it's like, oh, you have to pay to do this, or you have to it. And it's like, okay, well, fuck you, bye. I'm not going to pay you to work. But, and then what was the second part of your question about, oh, what am I looking to do differently?7 (1h 9m 45s):I mean, I think the thing is right, I'm a character actress. I'm a misfit, certainly in the industry. And I need to find someone who really gets me, gets my work. You know, I want to find representation that isn't necessarily trying to, and this is perhaps an unrealistic dream, but I, I would like to find representation that that gets my voice as an artist, and doesn't necessarily want to pigeonhole me. You know, for example, I will never, I'm very into body justice and fat liberation.7 (1h 10m 30s):I'm not gonna even say body positivity anymore because it's been co-opted by a skinny white women, but I will never make a weight loss, commercial that's not happening. And that might be a problem for a commercial agent who meets me, you know what I mean? And so I, so yeah, I, I would like to find a team who, who gets me and really, you know, wants to, wants to see me succeed in that, in the, in that way,3 (1h 10m 59s):This relates pause to our conversation earlier, just about contracting versus expanding. And I think that my mindset for certain, and maybe other people too, is like, you know, it's like kind of like how I used to be with boyfriends. If, just, if, if anybody likes me that I have to go with them because there's not going to be anybody else that likes me. Right. When in reality, It seems like the, the way to think about it is, oh, they need me because I know what I'm doing. And I have this look and I've seen people who look like me in this kind of thing. And there'll be lucky to find me because I can solve a problem for them.3 (1h 11m 40s):That's not how I've ever thought about it. I've thought about it. Like, I hope they pick me, but they probably won't. So if anybody shows me any attention, even if I have to pay for it, then the bus. Yeah.1 (1h 11m 50s):I mean, I think that's so right on. And I will say that. And I, I, I was that way for, and I still am obviously that way, but I found a team. I love my team, but it took me a very long time. And it took me to 40, I dunno, 44 to do that or 43. And it took me going in literally and saying, this is me, here's my body of work. I look like this. I want, I came in, I went in with a list of things in a piece of paper and what I brought to the table and what I expected from a relationship.1 (1h 12m 35s):And I had to be prepared that they were going to say, no, thank you. Like, this is crazy. Fuck you. But they didn't say that instead. They said, we, we support you. We've looked at your stuff. We believe in you. And we want to work with you. And that was all right. And then I found my person at that place. And when she left, I followed her. So it really is about relationships, but it's like, it takes a long check. My therapist, this, it takes a long time to do the work. Like it is not an overnight

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Música y Palabras, episodio 111. Nos visitan El Galgo, Salduie, Nuei, Artistas del Gremio, Blues Whale, Perdita Durango, Fominder, Solo Va, Speaker Cabinets, Frankie Chavez, La Vida Boheme, Andrea Grau, Deco Pilot, Sofia Ellar, Marlena, Mabu, Sofia Morente, Shego. Visita nuestra web https://podcastaragon.es/ Escríbenos a infopodcastaragon@gmail.com 🖊️Suscribete a ▶️ nuestros episodios y no te pierdas ninguno Envíanos tus notas de voz a 📞Whasapt 654 93 42 41 Apoya nuestros 🎙️podcast, hazte 💯fans para continuar con la difusión de la cultura en 🔊audio. Autor del programa: Francho MartinezEscucha este episodio completo y accede a todo el contenido exclusivo de MUSICA Y PALABRAS. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/169389

View the full show notes here.  During this episode of Uplevel Your Life ® with Amy Innes and In'Easa mabu Ishtar, you'll learn: Opening your heart to receive divine truth Empowering ways to start connecting with yourself Self-mastery what it is and how to start your own journey The ascended masters  How to start your spiritual journey Get connected with Amy and In'Easa mabu Ishtar on Instagram @amyinneshealth and @ineasamabuishtar - we can't wait to connect with you further! Visit the show notes for the life list of resources and more info.  See omnystudio.com/listener for privacy information.

Música y Palabras, episodio 106. Nos visitan Os Fillos d'o Sobrarbe, Almalé, Fur el Guti, Ariday, El Diluvi, Monica Naranjo, My Expansive Awareness, Belen Aguilera, Isabel Marco, Sebastian Cortes, Los Bengala, Solea Morente, Mabu, La Habitación Roja, Erin Memento, Chico Perez con Rosario La Tremendita, Joana Serrat, Colectivo da Silva, Sara Zozaya. Visita nuestra web https://podcastaragon.es/ Escríbenos a infopodcastaragon@gmail.com 🖊️Suscribete a ▶️ nuestros episodios y no te pierdas ninguno Envíanos tus notas de voz a 📞Whasapt 654 93 42 41 Apoya nuestros 🎙️podcast, hazte 💯fans para continuar con la difusión de la cultura en 🔊audio. Autor del programa: Francho Martinez

When my parents were first getting divorced we spent a brief time in Reno, Nevada at a camp for kids whose parents were getting divorced. Don't ask me, I didn't know there were such things. We made the best of it by making a short film. A spaghetti western, of course. I have a Patreon page! Please check it out. If you make a small pledge you'll get to see photos and clips from my journals and hear a bit more about some of the stories. This is a fun way that I can share visuals with you. Check it out HERE. Or at patreon.com/dianathebard If you want to hear more on any particular subject, or if you want to ask a question or simply connect, you can find me on Instagram at https://www.instagram.com/dianathebard or email me at bardofhudson@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

The Who: Nornie Bero of Mabu Mabu (including Mabu Mabu Tuck Shop at Yarraville and Big Esso at Federation Square)The What: Growing up in Torres Strait and cooking fish on the beach and pickling octopus collected from the reef, how this food empire took off, the beginners guide to native Australian ingredients to have in your pantry, awesome native Australian drinks company, and what green ants taste like.The Why: Nornie is an all round brilliant person with awesome stories of growing up in the Torres Strait. In between laughing, Nornie shares the native Australian ingredients we should all have in our pantry.Show NotesFind information about Big Esso, The Tuck Shop, Mabu Mabu Catering and the Mabu Mabu shop Browse the delicious gins and vodkas from Seven Seasons mentioned by Nornie

“I want to showcase how Australia gives us so many great different foods. Each state has different produce and we should be celebrating all of it.” - Nornie Bero; chef and owner of Mabu Mabu

Con Nacho Herranz, nos subimos al Teide, el pico más alto de España, que se encuentra en la isla volcánica de Tenerife. Además, descubrimos como ha sido tratada la homosexualidad a lo largo de la historia. Descubrimos la voz de MABU, la hija de Sergio Blanco y Estivaliz Uranga. Y, por supuesto, te contamos las noticias más positivas de la semana.

S2E2 - Yaaaa biasaalahh~ namanya juga anaq jakartaa... partehhhhh!!! HAHAHA!gag deng! ini acara after party prambors 50th dan gue lagi super kecapean alhasil jadilah saya tepar ges.. namun kocaq yang bopong gue adalah anak magang yang katanya 'takut' sama gue karena gw keliatan sombong wkkwk! dengerin aje deeee.. btw, just for fun yo!

Sandy Dann chats with Maria Morgan about the new Housing Program by Nyamba Buru Yawuru Jalbi Jiya, meaning ‘your home’ in the Yawuru language, is a Nyamba Buru Yawuru program in partnership with the North-West Aboriginal Housing Fund , creating affordable housing opportunities for Indigenous people in Broome. Jalbi Jiya is based on the Yawuru philosohy of wellbeing (mabu (good) liyan. Mabu liyan is attained when connected to community, culture and country. Secure housing and home ownership are critical for Aboriginal people to build their financial autonomy and fully participate in the economy and community. The program is designed to support you to achieve your goals while you rent and save. Jalbi Jiya will support you through the rental, and later, home loan lending processes. The Jalbi Jiya team will be with you at each stage of your journey and provide support in areas including finances, jobs and training, education and wellbeing. Our team will meet with you to understand what is important to you and your family. They can help develop a plan to create the best for you and your family’s wellbeing. We want to enable families to be strong, resilient and empowered. The program is open to all Aboriginal and Torres Strait Islander people living in Broome, who meet the eligibility criteria. If you are interested then please fill out this Expression of Interest Form For further information email: jalbijiya@yawuru.org.au http://www.yawuru.org.au/community/jalbi-jiya/?doing_wp_cron=1612415142.7101221084594726562500

Akön Mabuɔc ee rɛ̈ɛ̈c në Melbourne agut cë penë diäk wär ben lɔ Apirka. Në ye mɛn ëke lɔ tuany kuke tääc në Kenyatta Hospital. Në ye mɛn athöörke ku athöör ke tiŋde acïï kɔc ke akëmë Kenyatta Hospital kekk jɔt.

Mabu Manaileng is a Lead Data Scientist at one of the Top 3 Banks focusing on AI for Non Financial Risk Management. He is also a co-founder and research scientist at Datawizzards - a research lab focusing on Applied Data Science for real-world problems. He holds a Masters degree in Computer Science, focusing on Natural Language Processing. Mabu was listed as Top 10 Global Voice for Data Science by LinkedIn in 2019 Multiple Hackathon Winner and Top 15 Young Geeks 2018 visit www.datawizzards.io for more information

Mabu Manaileng is a Lead Data Scientist at one of the Top 3 Banks focusing on AI for Non Financial Risk Management. He is also a co-founder and research scientist at Datawizzards - a research lab focusing on Applied Data Science for real-world problems. He holds a Masters degree in Computer Science, focusing on Natural Language Processing. Mabu was listed as Top 10 Global Voice for Data Science by LinkedIn in 2019 Multiple Hackathon Winner and Top 15 Young Geeks 2018 visit www.datawizzards.io for more information 

Mabu Manaileng is a Lead Data Scientist at one of the Top 3 Banks focusing on AI for Non Financial Risk Management. He is also a co-founder and research scientist at Datawizzards - a research lab focusing on Applied Data Science for real-world problems. He holds a Masters degree in Computer Science, focusing on Natural Language Processing. Mabu was listed as Top 10 Global Voice for Data Science by LinkedIn in 2019 Multiple Hackathon Winner and Top 15 Young Geeks 2018 visit www.datawizzards.io for more information

Vrai, Chiaki, and Dee take a look back at yet another difficult to succinctly summarize TV anime by Ikuhara, Sarazanmai! 0:00:00 Intros 0:01:03 Background, Ikuhara, and related media 0:07:45 Accessibility 0:11:48 Kazuki’s crossdressing 0:13:26 Family values 0:22:01 Archetypes or cliches? 0:26:45 Fightin’ about Enta 0:31:20 Reo, Mabu, and ACAB 0:35:57 The big idea 0:42:46 Soccer practice 0:55:39 Final thoughts 0:56:36 Outro Vrai: twitter.com/WriterVrai Chiaki: twitter.com/Chiaki747 Dee: twitter.com/joseinextdoor AniFem Patreon: www.patreon.com/animefeminist AniFem Twitter: twitter.com/AnimeFeminist AniFem Facebook: www.facebook.com/animefem/ Recorded Sunday 9th February 2020 Music: Open Those Bright Eyes by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/

Topics discussed: Full review of Mabu Mabu Bonus Segment: What Did Review Think? Links mentioned in this episode: https://www.mabumabu.com.au/shop https://www.instagram.com/coffinbirth/  We have a Patreon! Check it out here: https://www.patreon.com/cruelpodGet in touch: https://instagram.com/cruelpod https://www.facebook.com/cruelpod cruelpod@gmail.com https://twitter.com/cruelpod This podcast is produced by Adam Flannery. Andrew de Souza wrote and performed the theme song.

In this episode we cover not just the titles and creators, but where you can read them as well! Many, many of these are licensed and available in English already, with several more to come this year. What a time to be alive!The List: (only 14-20 covered in this episode)In this episode we cover not just the titles and creators, but where you can read them as well! Many, many of these are licensed and available in English already, with several more to come this year. What a time to be alive!The List: (only 1-13 covered in this episode)Achira Kochira Bokura by Thanat - available now at futekiya (not available at time of recording)Blue Morning by Hidaka  Shōko - all volumes published by SuBLimeOne Room Angel by Harada - not licensed in EnglishTwittering Birds Never Fly by Yoneda Kou -  V1-3 published in print and eManga by June (ongoing)Kaniteki (Simplified) Pervert Romance by Sekihara Neg  and Semori Nanako  - available now at futekiyaSarazanmai: Reo and Mabu by Ikuhara Kunihiko  and Saitoh Misaki  - projected release date May 2020 by Seven SeasGiven by Kizu Natsuki  - Uenoyama x Mafuyu - V1 out now from SuBLime, V2 coming in May 2020 (ongoing)Love Nest by Minazuki  Yū - not licensed in EnglishGolden Sparkle by Minta Suzumaru - available now at futekiyaTherapy Game by Hinohara Meguru  - projected release date June 2020 by SuBLimeShangri La no Tori by Zarya Ranmaru - projected release date November 2020 by SuBLimeHibi mo Tsumoreba Koi to Naru by Kon Shota - not licensed in EnglishBlue Sky Complex by Ichikawa Kei - not licensed in EnglishTengoku in the Hell by Mushiba - available now at futekiyaLink and Ring by Tsuyuki Yuruco - available now at futekiya (not available at time of recording)Metro by Hongou Chika - not licensed in EnglishOnii to Tengoku by Aga Naomi and Oyoshikawa Kyouko - not licensed in EnglishKoi ga Ochitara by Ueda Aki - not licensed in English10 Dance by Inoue Satou -  V1-5 published by Kodansha (ongoing)Dousei Yankii Akamatsu Seven by SHOOWA and Okushima Hiromasa - not licensed in English

HI! It gives us great pleasure to invite you to listen Exclusivly 60' podcast mixed by MABU Subscribe Luzztro Records on iTunes Here: apple.co/1Uyp7I5 Subscribe on YT Here: bit.ly/1Rw0YhK Like The Luzztro Rec Fanpage: facebook.com/luzztrorecords Follow The Luzztro Rec Instagram: instagram.com/luzztrorecords Follow MABU: https://www.facebook.com/mabuxmabu/

In this episode we cover not just the titles and creators, but where you can read them as well! Many, many of these are licensed and available in English already, with several more to come this year. What a time to be alive!The List: (only 1-13 covered in this episode)Achira Kochira Bokura by Thanat - available now at futekiya (not available at time of recording)Blue Morning by Hidaka  Shōko - all volumes published by SuBLimeOne Room Angel by Harada - not licensed in EnglishTwittering Birds Never Fly by Yoneda Kou -  V1-3 published in print and eManga by June (ongoing)Kaniteki (Simplified) Pervert Romance by Sekihara Neg  and Semori Nanako  - available now at futekiyaSarazanmai: Reo and Mabu by Ikuhara Kunihiko  and Saitoh Misaki  - projected release date May 2020 by Seven SeasGiven by Kizu Natsuki  - Uenoyama x Mafuyu - V1 out now from SuBLime, V2 coming in May 2020 (ongoing)Love Nest by Minazuki  Yū - not licensed in EnglishGolden Sparkle by Minta Suzumaru - available now at futekiyaTherapy Game by Hinohara Meguru  - projected release date June 2020 by SuBLimeShangri La no Tori by Zarya Ranmaru - projected release date November 2020 by SuBLimeHibi mo Tsumoreba Koi to Naru by Kon Shota - not licensed in EnglishBlue Sky Complex by Ichikawa Kei - not licensed in EnglishTengoku in the Hell by Mushiba - available now at futekiyaLink and Ring by Tsuyuki Yuruco - available now at futekiya (not available at time of recording)Metro by Hongou Chika - not licensed in EnglishOnii to Tengoku by Aga Naomi and Oyoshikawa Kyouko - not licensed in EnglishKoi ga Ochitara by Ueda Aki - not licensed in English10 Dance by Inoue Satou -  V1-5 published by Kodansha (ongoing)Dousei Yankii Akamatsu Seven by SHOOWA and Okushima Hiromasa - not licensed in English

- Tampereen teatterin Notre Damen kellonsoittaja (YouTube)- Helsingin kaupunginteatterin Pieni Merenneito (YouTube)- Lontoon Lyceum Theatren Leijonakuningas (YouTube)- Leijonakuninkaan poistettu kohtaus, joka oli mukana musikaalissa (YouTube)- Kuroko, nukenliikuttajat joihin yleisön on tarkoitus suhtautua näkymättöminä08:04 – Kuuntelijakommentteja- Japanilaiset nuorisojengiläiset fiktiossa- Crows- Worst- Shonan Junai Gumi eli GTO: The Early Years- Great Teacher Onizuka- Shonan Seven- Angel Densetsu- Clover- Kongo Bancho, 7 kuolemansynnin tekijän edellinen sarjaNykyään lähinnä parodian kautta:- Cromartie High School- Beelzebub- Nyankees- Jotaro Kujo JoJo’s Bizarre Adventuresista- The Delinquent Housewife- Arisa Uotani Fruits Basketista- Koisuru harinezumi, josta Maaret puhui jaksossa 8Tai yleisesti alamaailmaa:- Shinjuku Swan- Ushijima the Loan Shark- Ichi the Killer- Nobuyuki Fukumoto- GTO: Paradise Lost17:04 – Netflixin yhteistyöprojektit- Tiedote: Netflix Expands Commitment to Anime by Welcoming Six Japanese Creators to Develop New Originals- CLAMP- Shin Kibayashi- Yasuo Ootagaki- Mari Yamazaki- Tow Ubukata- Otsuichi- Netflixin 30 sekunnin videon julkistusvideo25:29 – Vizin lisenssit- Chainsaw Man- Patriootti Moriarty- Mermaid Saga -uusintapainos- Revolutionary Girl Utena: After the Revolution- Fly Me to the Moon eli Tonikaku Kawaii33:07 – Seven Seasin lisenssit- Akiko Morishiman Hajimete, kanojo to ja Ruri-iro no yume- Sarazanmain romaaniversio- Penguindrumin romaaniversio julkaistaan myös tänä keväänä- Kuten myös Sarazanmai: Reo & Mabu -manga- We Swore to Meet in the Next Life and That's When Things Got Weird!- Jakso 18, jossa puhuimme viime vuosikymmenen mangatrendeistä- Jakso 16, jossa puhuimme Takane & Hanasta- Cutie and the Beast eli Pujo to yajuu- What the Font?! A Manga Guide to Western Typeface47:08 – Our Dreams at Dusk: Yleisesti- Our Dreams at Dusk- Seven Seasin sivu sarjalle- Yuuki Kamatani (Seven Seas haluaa kirjoittaa “Yuhki“)- Hibana-lehden lopettaminen, Our Dreams at Dusk kannessa- Nabari no ou- Drop-in Center (kuva)- …ja sen vakiokävijät (kuva)53:39 – Our Dreams at Dusk: Tyyli ja miljöö- Jakso 4, jossa puhuimme My Brother’s Husbandista- Melkein joka sivulla on joku sanoo ajattelemattomasti jotain, josta tulee paha mieli (kuva)- "Sääliksi käy noiden vanhempia" (kuva)- Onomichi (Google Maps)- Onomichi ja viereinen saari mangassa (kuva)- Shimanami kaidoo -moottoritie- Rakennusten kunnostamista vapaaehtoistyönä (kuva)56:59 – Our Dreams at Dusk: Tasuku, Tsubaki ja Misora- Tasukun paniikinomainen kieltäminen, kun joku puhuu homoista (kuva)- Tsubakin kasuaali homofobia nousee pintaan aina välillä (kuva)- …Ja välillä taas oireilee vähän selvemmin ahdistuksen muodossa (kuva)- Misora saa Tasukun miettimään asioita omaa nenäänsä pidemmältä (kuva)01:04:21 – Our Dreams at Dusk: Sarjan teemat- Misora ensimmäistä kertaa ulkona tyttönä (kuva)- Tasuku satuttaa Misoraa ajattelemattomuudellaan (kuva)01:06:07 – Our Dreams at Dusk: Utsumi, Haruko ja Tchaiko- Utsumin vanha koulukaveri, joka on erinomaisen hyväksyvä mutta väärällä tavalla (kuva)- Koulukaverin nihkeä ja alentuva ajattelumaailma (kuva)- Japanilainen okama-stereotyyppi- Haruko, joka ottaa Tasukun siipiensä suojaan koska näkee hänessä itsensä (kuva)- Harukon tyttöystävä Saki, joka elää edelleen kaapissa (kuva)- Tchaiko, jonka elämänkumppani on saattohoidossa (kuva)- Vaikeaa on, kun ei ole virallisesti osa perhettä (kuva)01:17:36 – Our Dreams at Dusk: Maailma ei ole mustavalkoinen- Pieniä kohtauksia, jotka luovat uskoa ihmiskuntaan (kuva)- Toisaalta maailman ongelmat eivät ratkea kerralla (kuva)01:20:40 – Our Dreams at Dusk: Someone-san ja maaginen realismi- Someone (kuva)- Someone käy kävelyllä hyppäämällä ikkunasta ulos (kuva)- Maagista realismia: Tasukusta tuntuu että rakennus sortuu niskaan (kuva)- Maagista realismia: Talviunelmia-baletti saa aikaan lumisateen sisällä (kuva)- Maagista realismia: se kuva joka on sarjan kaikissa arvosteluissa (kuva)- Misora ja miljoonakalat (kuva)- Tsubakia ja Utsumia oli välillä turhan vaikea erottaa toisistaan (kuva)01:29:18 – Our Dreams at Dusk: Yhteenveto- Pokémon-pelien pyörätiet- A Letter to Momo01:32:18 – Lukujonossa: Rengoku no toshi- Rengoku no toshi- Truman Show- SSSS.Gridman- Seven Seasin Ghost Ship voisi lisensoida tämän, ehkä01:41:26 – Lukujonossa: Nivawa ja minä- Nivawa ja minä- The Girl from the Other Side- The Wize Wize Beasts of the Wizarding Wizdoms- Buchou wa onee- Children Raise You- Barakamon- Tekijän omasta mielestä Nivawa on selvästi tosi söpö (kuva)- Miss Kobayashi’s Dragon Maid01:52:38 – Lopetus

JAJAJAJA!!!! Ketemu lagi sama POCENG di 2020! Cerita hal konyol di masa lalu yuk!

“Minuman keras, MIRAS!!” *you sing you lose* Siapa yang inget lirik lagu itu??? Yes, kayanya semua pecinta Anu pasti pernah mencicipi (bahkan ketagihan) yang namanya Miras, termasuk Anuers kita. Cari tau, kebiasaan mereka pas mabuk, minum apa, dan jadi kaya gimana pas mereka mabukkk, bahkan Ronny langsung masuk Rumah Sakit, gak percaya? Denger langsung podcast Nganu #NGOMONGINANU di edisi paling memabukan ini!

Ternyata kalau mabu jadi religius. haha | Episode kali ini barengan sama gitarisnya D'Masiv ( @dwikkymarsall ) .

Dr. Cory Kidd, founder, and CEO of Catalia Health is the special guest for Episode 307.  He talks with Dr. Kvedar about how AI technology can help to address chronic health conditions, the deliberate design decisions made for Mabu that improve its interactions with people, and how he’s applied early lessons learned and his entrepreneurial... Read more »

We finally got more Reo and Mabu, but at what cost?

Cory Kidd, Founder and CEO of Catalia Health, discusses the importance of proper transitional care out of the hospital and the development his company's automated healthcare companion, Mabu. See acast.com/privacy for privacy and opt-out information.

LLM 4x04 Valeria Ros da clases de elegancia, hablamos de porno con Analía Iglesias y Mabu nos deja flipados con su músicaLLM 4x04 Valeria Ros da clases de elegancia, hablamos de porno con Analía Iglesias y Mabu nos deja flipados con su músicaLLM 4x04 Valeria Ros da clases de elegancia, hablamos de porno con Analía Iglesias y Mabu nos deja flipados con su músicaLLM 4x05 Valeria Ros copia a todos los cómicos de España y, gracias a Coti, logramos que el programa valga la pena

LLM 4x04 Valeria Ros da clases de elegancia, hablamos de porno con Analía Iglesias y Mabu nos deja flipados con su músicaLLM 4x04 Valeria Ros da clases de elegancia, hablamos de porno con Analía Iglesias y Mabu nos deja flipados con su músicaLLM 4x04 Valeria Ros da clases de elegancia, hablamos de porno con Analía Iglesias y Mabu nos deja flipados con su músicaLLM 4x05 Valeria Ros copia a todos los cómicos de España y, gracias a Coti, logramos que el programa valga la pena

LLM 4x04 Valeria Ros da clases de elegancia, hablamos de porno con Analía Iglesias y Mabu nos deja flipados con su música

LLM 4x04 Valeria Ros da clases de elegancia, hablamos de porno con Analía Iglesias y Mabu nos deja flipados con su música

An Interview with Cory Kidd the CEO of Catalia Health, Catalia is the type of company that is leading the MedTech revolution in our health care system by incorporating AI, Machine Learning and actual robots. The Catalia Health platform tailors conversations to each patient to obtain the hard-to-get data about treatment, challenges, and outcomes daily. The Mabu wellness coach, which is the robot communicating with the patient, is the key to long-term patient engagement to enhance outcomes and improve dialog with the patient. The Conversations actually evolve so that the interaction between Mabu and the patient becomes personalized. Incredible.

Dr. Cory Kidd, founder and CEO of Catalia Health, delivers an informative discussion on chronic disease healthcare management and the benefits of using robots that are tailored to a particular patient's needs to help them manage their conditions. With over two decades of experience in healthcare technology focused on innovations and solutions to major healthcare challenges, Dr. Kidd is uniquely qualified to make an impact in the patient/user experience. He has successfully launched other health and tech oriented companies as a veteran of the industry. Dr. Kidd received a M.S. and Ph.D. at the MIT Media Lab, specializing in human-robot interaction. His primary objective while there was to demonstrate how there were obvious clinical, as well as psychological, advantages to using physical robots instead of traditional screen-based methods. While the front end allows for easy patient interfacing, the back end flows to doctors and health professionals who are working to monitor the overall progress of these chronic care patients. From arthritis to kidney issues and more, Catalia Health's robotic tech products deliver outstanding results for patient and doctor.   As the health technology CEO explains, the robot elicits a stronger long-term engagement with patients. The fact that the robot actually looks at you creates a much deeper psychological connection with patients, which drives them to be more involved with their own health and the management of their condition over long periods of time. Catalia Health's robots (know individually as Mabu) are built on a set of artificial intelligence algorithms that draw on psychology to form the conversations with patients. As it is not scripted, but interaction based, the experience feels interactive and real, and, ironically, more human. Much like a physician tailors the needed medical information and delivers it in a way that is best suited for an individual, Catalia Health's robots also interact and respond with patients in a manner that creates a comfortable experience. Catalia Health's platform‘s integrated technology learns about a patient's overall personality, and their interests, as well as any particular treatment difficulties or challenges they have had over time. This enables the Mabu robot to engage in conversations that are unique to each patient, based on established behavioral models of psychology designed to promote significant behavioral change for improved well-being. As Mabu communicates daily, patients are much more likely to manage their treatment better. Dr. Kidd gives a detailed analysis on the topics of symptoms, side effects, and psychosocial issues, which are three major components of the AI based care management. And as the old modified proverb says, the proof is in the pudding, and this is certainly evidenced by Catalia Health's data from their experimentation and market testing. In multiple testing situations in which three groups of patients were told to use either the paper log system to record and manage their care, the Catalia Health software on a computer, or the system integrated into an actual robot, the robot was strongly preferred, by far. Some people even tried to negotiate to keep their test robot longer, which is about as glowing an endorsement as you could hope for. The robots clearly have won.

SpeakOut with Mabu Boloka

Mabu, the personal healthcare companion robot, makes an appearance in this episode via her creator, Cory Kidd, founder and CEO of Catalia Health. Guest host Keith Thurgood, director of the Jindal School's  MS in Healthcare Leadership and Management for Professionals program, asks Kidd about healthcare challenges related to cost and quality associated with chronic-disease care management and how Catalia's unique artificial intelligence solution addresses them.

Speakout with Mabu Boloka

Ep. 53 - Dr. Cory Kidd on Robots in Healthcare Catalia Health website Cory Kidd - LinkedIn profile Mabu - robot healthcare assistant Mabu Intro Video Julie Carpenter website Julie Carpenter Twitter

Cory Kidd PhD Founder and CEO Catalia Health has been exploring the use of robots and artificial intelligence for improving healthcare for over 20 years.  He and his team have taken on the challenge of figuring out why people don't stay with a drug regimen for chronic conditions.  Using the robot Mabu, they are able to personalize the interaction with patients to encourage healthier habits and gather data about barriers to adherence. @CoryK  @CataliaHealth #robot #AI #Heartfailure Catalia Health  

Catalia Health Founder and CEO Cory Kidd, PhD, who has spent two decades working at the intersection of healthcare and technology, explains the power of Mabu, an electronic healthcare assistant.

RAYDEN & MABU --- Pequeño Torbellino . David Martínez, más conocido por todos como Rayden, un MC madrileño de 29 años, aún deja huella y vive día a día. Desde pequeño quería ser músico, aunque a pesar de ello no le gustaba ningún estilo de música: “Hasta que descubrí el rap. A partir de ahí fui valorando otros estilos”.

In episode 45 I have a fascinating conversation with Cory Kidd PhD, who shares his story of creating Mabu, the amazing robotic health care companion who is making friends everywhere. Cory is the founder and CEO of Catalia Health, a healthcare technology company focused on delivering effective behavioral change. Cory is a serial entrepreneur who has been working in healthcare technology for nearly two decades.He received his M.S. and Ph.D at the MIT Media Lab in human-robot interaction and he received his Bachelor of Science in Computer Science at the Georgia institute of technology. Cory answers the following questions: How did you come to create Catalia health and Mabu? Why Mabu? How did you come up with that name? What can Mabu can do? How does Mabu learn and process information? What kind of information can she provide a patient? Is there any way to communicate with Mabu if you are away from home? Does Mabu always take on a female persona and if so, why? Does Mabu speak any foreign languages? So patients are sharing a lot of personal and confidential information to Mabu. What happens to the information obtained by Mabu? Is it safe? How have users responded to living with Mabu? What has been your biggest surprise from people interacting with Mabu? How much does Mabu costs and how can somebody get one? Do you have any active studies going on with Mabu? If so, how can somebody interested sign up? What do you see as the future for Mabu and artificial intelligence in medicine and patient care? Where can people go to get more information and to contact you? Resources Mentioned by Dr. Kidd: Autom - Cory's research project at MIT Catalia Health - Cory Kidd is the founder and CEO of Catalia Health, which is developing Mabu. CLICK HERE to see the video of how Mabu works CLICK HERE to contact Cory Kidd, PhD  How to Subscribe and leave a review for The Essential Boomer podcast I really appreciate your interest and support. Subscribing and leaving a review for my podcast is by far the best way to get it seen by more people. CLICK HERE to subscribe and/or to leave a review to THE ESSENTIAL BOOMER podcast on iTunes. Thank you so much! Jim Jensen

Dancing With The Fire (b2b) Rikson & Mabu facebook.com/riksonnn facebook.com/Rico.Mues facebook.com/pages/Techno-ohn

Dancing With The Fire (b2b) Rikson & Mabu facebook.com/riksonnn facebook.com/Rico.Mues facebook.com/pages/Techno-ohn

Missing Link (b2b) Rikson & Mabu facebook.com/riksonnn facebook.com/Rico.Mues facebook.com/pages/Techno-ohn

Missing Link (b2b) Rikson & Mabu facebook.com/riksonnn facebook.com/Rico.Mues facebook.com/pages/Techno-ohn

Genesis (b2b) Rikson & Mabu facebook.com/riksonnn facebook.com/Rico.Mues facebook.com/pages/Techno-ohn

Genesis (b2b) Rikson & Mabu facebook.com/riksonnn facebook.com/Rico.Mues facebook.com/pages/Techno-ohn

Genesis (b2b) Rikson & Mabu facebook.com/riksonnn facebook.com/Rico.Mues facebook.com/pages/Techno-ohn

This week, we discuss the cost of living, Snuffleupagus, and our love of nature. We also hold a Doritos intervention, are visited by a dog, and announce the subject of our next SSJ Video Game Book Club! Plus, your fav segments like Something Something Jepsen, Animorphs Minute and Sunny/Shade return, and we premiere Guess What Game This Is and Podcasting 101!MUSIC USED:SSJ Theme 2: Xavier Rubetzki Noonan7-Eleven: The GratesMabu: PUPFEATURE TRACK:It Is You, by Natalie Prass, from her just-released debut album.CLICK HERE to download!Email Tom or Xavier or both!