Podcasts about Yuri

This is a free preview of a paid episode. To hear more, visit theculturejournalist.substack.comThank you ock sportello, DJ Falkor / Random Rules, Tyler Foster, Yana Sosnovskaya, Ingmar Carlson, and many others for tuning in to CUJO's first-ever live video, featuring film critic Joshua Rivera and Macho Pod co-host drew millard. Shout out to Yuri for sparking the idea for this conversation. Full video available to paid subscribers.

this episode marks the end of our journey through the toxic yuri jam, until the next one happens at least. we finish out our discussions of games we both played before getting down to the hard task of picking just 10(+1) games you dear listener should play. and the other 15 games you should also play. also you should play whatever sounds interesting, we're not your moms. thank you for joining us on this wild adventure, new listeners and old.next time, we'll be back to fate/extra ccc! we're on to chapter 3, and the toxic yuri train keeps rolling. for yuri teatime we're covering the 2010 movie uncle boonmee who can recall his past lives.featuring co-hosts Benn Ends (@bennends.itch.io) and fen (@fenic.moe).support the show and get access to bonus episodes: https://www.patreon.com/cryingruleslink to the fate/moon archive new and improved schedule: http://moonarchive.art/scheduletop 10(ish) listthe romance of the moth and the flameno mice in heaventen metre tidewishbleedloner dog://snuff puppy carnage societycumulonimbus: still the clouds of my childhood remainconnect the dotsdead dolls never dieheavenly amnesiauranium gaysthe lonely dog years for lovehonorable mentions妄想発想 paranoia hyponoiawhat is it like to tastebite the handmilk puzzlesunflower sanctuaryfrew/hortsnowcorpse necromancysacrosacredpressure cookerflesh and pressurein your fleshcontamination protocolid & ifaithless//flagellantride homesection timestamps:intro - 0:00pressure cooker - 1:11copycat recipie - 7:44of piers and bays - 22:10loner_dog://snuff puppy carnage society - 42:43no mice in heaven - 1:28:17flesh and pressure - 1:45:01incen(diary) - 2:01:27dead dolls never die - 2:10:41in your flesh - 2:18:13b.e.c.k.a. - 2:27:45heavenly amnesia - 2:48:17cyberbulli - 3:00:20gravity house duology - 3:08:18cumulonimbus - still the clouds of my childhood remain - 3:25:17contamination protocol - 3:31:12id & i - 3:37:01faithless//flagellant - 3:52:07love you as i am - 4:10:58official crying rules top 11 toxic yuri jam games list - 4:26:26outro - 4:54:56ride home - 5:25:30seams and senses - 5:45:30silksong - 6:44:59list of non type-moon works referencedpressure cookercopycat recipeof piers and baysloner_dog://snuff puppy carnage societyno mice in heavenflesh and pressureincen(diary)dead dolls never diein your fleshb.e.c.k.a.heavenly amnesiacyberbulligravity house duologycumulonimbus - still the clouds of my childhood remaincontamination protocolid & ifaithless//flagellantlove you as i amride homeseams and senseshollow knight silksongthis episode carries content warnings for discussions of pedantry, negativity, everything you'd expect from "toxic" yuri, etc.email us at cryingrulesactually@gmail.com with questions, comments, and compliments.cover art by Benn Ends, intro music by Benn Ends, remaining music from works covered.

Livestream with Yuri Rashkin----------SILICON CURTAIN FILM FUNDRAISERA project to make a documentary film in Ukraine, to raise awareness of Ukraine's struggle and in supporting a team running aid convoys to Ukraine's front-line towns.https://buymeacoffee.com/siliconcurtain/extras----------https://car4ukraine.com/campaigns/autumn-harvest-silicon-curtainDonate and Receive - Collectable PatchAUTUMN HARVEST TRUCKS 2025. Part of our 2025 patch collection. Everyone who contributes €100 (~$115) or more will be able to receive it.For our Autumn patch, we present the Galician Lion. The rampant lion represents power and intelligence. It has represented Western Ukrainian people since the 1100s. The Ruthenian lion, also known as the Ukrainian lion or Galician lion, was featured on the historic coat of arms of: The Kingdom of Galicia-Volhynia (Ruthenia)1199-1349, The battle flag of the Lviv land in the Battle of Tannenberg, 1410 The Ruthenian Voivodeship (Administration) 1434-1772 and The Western Ukrainian People's Republic 1918-1919. The Ukrainian national liberation movement, 1948----------SILICON CURTAIN LIVE EVENTS - FUNDRAISER CAMPAIGN Events in 2025 - Advocacy for a Ukrainian victory with Silicon Curtainhttps://buymeacoffee.com/siliconcurtain/extrasOur events of the first half of the year in Lviv, Kyiv and Odesa were a huge success. Now we need to maintain this momentum, and change the tide towards a Ukrainian victory. The Silicon Curtain Roadshow is an ambitious campaign to run a minimum of 12 events in 2025, and potentially many more. Any support you can provide for the fundraising campaign would be gratefully appreciated. https://buymeacoffee.com/siliconcurtain/extrasWe need to scale up our support for Ukraine, and these events are designed to have a major impact. Your support in making it happen is greatly appreciated. All events will be recorded professionally and published for free on the Silicon Curtain channel. Where possible, we will also live-stream events.https://buymeacoffee.com/siliconcurtain/extras----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtain----------TRUSTED CHARITIES ON THE GROUND:Save Ukrainehttps://www.saveukraineua.org/Superhumans - Hospital for war traumashttps://superhumans.com/en/UNBROKEN - Treatment. Prosthesis. Rehabilitation for Ukrainians in Ukrainehttps://unbroken.org.ua/Come Back Alivehttps://savelife.in.ua/en/Chefs For Ukraine - World Central Kitchenhttps://wck.org/relief/activation-chefs-for-ukraineUNITED24 - An initiative of President Zelenskyyhttps://u24.gov.ua/Serhiy Prytula Charity Foundationhttps://prytulafoundation.orgNGO “Herojam Slava”https://heroiamslava.org/kharpp - Reconstruction project supporting communities in Kharkiv and Przemyslhttps://kharpp.com/NOR DOG Animal Rescuehttps://www.nor-dog.org/home/-----------

Apesar de ter criado as melhores chances, o Corinthians saiu da Neo Química Arena derrotado pelo Flamengo no Campeonato Brasileiro. Neste episódio, Gabriel Oliveira, Bruno Cassucci e Careca Bertaglia analisam como foi a partida do Timão, questionam a cavadinha de Yuri Alberto que perdeu um pênalti na primeira etapa e os problemas na equipe de Dorival Jr. Sobrou tempo para explicarmos as novas dívidas que preocupam a diretoria do Alvinegro. Dá o play!

Yuri se vuelve viral por declaraciones de Sergio Andrade. Adela Micha se pone caprichosa con sus patrocinadores. Eduin caz regala moto en pleno concierto. See omnystudio.com/listener for privacy information.

welcome back to crying rules actually, a podcast about taking a short break from our extremely important work talking about bb in order to cover the under-examined world of english language visual novels! this episode is the second in our series of deep dives into the 2025 itch.io-hosted toxic yuri visual novel jam. last episode we talked at length about games only one of us had played, this episode we go through roughly half the games we both played before we run out of time. scroll down for a full list of works discussed on this episode, timestamps for when we discuss them, and links to all the available tyj games we cover this episode!next week, we'll return with even more toxic yuri! our normal schedule is on pause but ccc coverage and our normal yuri teatime segment will return on october 11th.featuring co-hosts Benn Ends (@bennends.itch.io) and fen (@fenic.moe).support the show and get access to bonus episodes: https://www.patreon.com/cryingruleslink to the fate/moon archive new and improved schedule: http://moonarchive.art/schedulesection timestamps:intro - 0:00black lily theater company - 4:46fairy unfortunate - 19:21trip to the milky way - 26:33sieve - 27:54妄想発想 paranoia hyponoia - 30:28cigarettes for shion - 45:04wishbleed - 51:04uranium gays - 1:07:16what is it like to taste - 1:12:37bite the hand - 1:26:50the lonely dog yearns for love - 1:34:25heavensent - 1:42:57ten metre tide - 1:56:31milk puzzle - 2:26:50swordmaiden's elegy - 2:36:00girls' symbiosis - 2:38:58surveillance:servant - 2:44:55the girl who was hypnotized to huff armpits - 2:55:33sunflower sanctuary - 3:00:29frew/hort - 3:10:01snowcorpse necromancy - 3:16:09love you as i am - 3:24:49seller's market - 3:29:04connect the dots - 3:31:33sacrosacred - 3:44:20going on a walk - 3:48:37outro - 3:55:25silksong & hollow knight - 4:10:39list of non type-moon works referencedthe black lily theatre companyfairy unfortunatetrip to the milky waysieve妄想発想 Paranoia Hyponoiacigarettes for shionwishbleeduranium gayswhat is it like to tastebite the handthe lonely dog yearns for loveheavensentten metre tidemilk puzzleswordmaiden's elegygirls' symbiosissurveillance:servantthe girl who was hypnotized to huff armpitssunflower sanctuaryfrew/hortsnowcorpse necromancylove you as i amseller's marketconnect the dotssacrosacredgoing on a walkhollow knight silksongla mulanathis episode carries content warnings for discussions of pedantry, negativity, everything you'd expect from "toxic" yuri, etc.email us at cryingrulesactually@gmail.com with questions, comments, and compliments.cover art by Benn Ends, intro music by Benn Ends, remaining music from works covered.

The ガールズトークに足を踏み入れたアラサー男Yuriさんのインスタは⁠⁠こちら⁠▼▼留学費用が一発で分かる公式LINEは▼https://bit.ly/4gPlWbZ■Podcastの感想やリクエストはInstagramのDMまで！⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/studyin.jp

Zu dem Thema unserer ersten Sonderfolge gab's viel Feedback und Fragen, deswegen kommt hier Teil 2 – mit Yuri & … unserem Bundesverteidigungsminister Boris Pistorius. Und darum geht's: Die Bundesregierung diskutiert gerade ein neues Wehrdienstmodell – vorgestellt von Verteidigungsminister Pistorius. Stimmt der Bundestag zu, soll der Neue Wehrdienst am 1. Januar 2026 eingeführt werden. Damit will die Bundesregierung den wachsenden Bedarf an Soldatinnen und Soldaten für die Landes- und Bündnisverteidigung decken. Das betrifft vor allem uns, die Gen Z. Wir sollen künftig Verantwortung für unser Land übernehmen – und: im Ernstfall sogar unser Leben riskieren. Ist das fair? Habt ihr Teil 1 des Themen Specials verpasst? Dann hört doch hier als erstes rein: “Wehrdienst – Würdest du freiwillig für Deutschland kämpfen?” >> https://open.spotify.com/episode/4EhPtIU1djdaxA5AbJQJUm?si=6f09363e9e4f43c5 Moderation: Yuri João Pavão Türk Recherche: Dennis Leiffels Redaktion funk: Helen Schulte, Andrej Reisin Ton: Silas Lenz, Leon Waterkamp Videoschnitt: Tabea Hilbert Produktionsleitung: Sarah Omar Produktion: Studio Bummens im Auftrag von funk

Hola Mix(ed)tape listeners! Today we'll be listening to Herencia Africana by Yuri Buenaventura. In this song Yuri seeks to highlight and pay homage to the African heritage in Colombia. Musically, the song has a playful transition back and forth between salsa and rumba guaguancó, the latter an insistent call, pulling us back, closer to the African and Afro-Latin roots of Latin American and Caribbean culture.Were we listening?   We hope this track helps to add value to your listening and awareness in your dancing!Find all of our Were You Listening? episodes here.For more info and resources check our website  here and our YouTube channel here.Contact us at: themixedtapepodcast@gmail.comIf you like the music we use check our playlists here.Host/Director of Series: Andrés Hincapié, PhDOriginal Episode Script: Melissa Villodas, PhDSound Editor: Melissa Villodas, PhD

Elizabeth Figura is a Wine developer at Code Weavers. We discuss how Wine and Proton make it possible to run Windows applications on other operating systems. Related links WineHQ Proton Crossover Direct3D MoltenVK XAudio2 Mesa 3D Graphics Library Transcript You can help correct transcripts on GitHub. Intro [00:00:00] Jeremy: Today I am talking to Elizabeth Figuera. She's a wine developer at Code Weavers. And today we're gonna talk about what that is and, uh, all the work that goes into it. [00:00:09] Elizabeth: Thank you Jeremy. I'm glad to be here. What's Wine [00:00:13] Jeremy: I think the first thing we should talk about is maybe saying what Wine is because I think a lot of people aren't familiar with the project. [00:00:20] Elizabeth: So wine is a translation layer. in fact, I would say wine is a Windows emulator. That is what the name originally stood for. it re implements the entire windows. Or you say win 32 API. so that programs that make calls into the API, will then transfer that code to wine and and we allow that Windows programs to run on, things that are not windows. So Linux, Mac, os, other operating systems such as Solaris and BSD. it works not by emulating the CPU, but by re-implementing every API, basically from scratch and translating them to their equivalent or writing new code in case there is no, you know, equivalent. System Calls [00:01:06] Jeremy: I believe what you're doing is you're emulating system calls. Could you explain what those are and, and how that relates to the project? [00:01:15] Elizabeth: Yeah. so system call in general can be used, referred to a call into the operating system, to execute some functionality that's built into the operating system. often it's used in the context of talking to the kernel windows applications actually tend to talk at a much higher level, because there's so much, so much high level functionality built into Windows. When you think about, as opposed to other operating systems that we basically, we end up end implementing much higher level behavior than you would on Linux. [00:01:49] Jeremy: And can you give some examples of what some of those system calls would be and, I suppose how they may be higher level than some of the Linux ones. [00:01:57] Elizabeth: Sure. So of course you have like low level calls like interacting with a file system, you know, created file and read and write and such. you also have, uh, high level APIs who interact with a sound driver. [00:02:12] Elizabeth: There's, uh, one I was working on earlier today, called XAudio where you, actually, you know, build this bank of of sounds. It's meant to be, played in a game and then you can position them in various 3D space. And the, and the operating system in a sense will, take care of all of the math that goes into making that work. [00:02:36] Elizabeth: That's all running on your computer and. And then it'll send that audio data to the sound card once it's transformed it. So it sounds like it's coming from a certain space. a lot of other things like, you know, parsing XML is another big one. That there's a lot of things. The, there, the, the, the space is honestly huge [00:02:59] Jeremy: And yeah, I can sort of see how those might be things you might not expect to be done by the operating system. Like you gave the example of 3D audio and XML parsing and I think XML parsing in, in particular, you would've thought that that would be something that would be handled by the, the standard library of whatever language the person was writing their application as. [00:03:22] Jeremy: So that's interesting that it's built into the os. [00:03:25] Elizabeth: Yeah. Well, and languages like, see it's not, it isn't even part of the standard library. It's higher level than that. It's, you have specific libraries that are widespread but not. Codified in a standard, but in Windows you, in Windows, they are part of the operating system. And in fact, there's several different, XML parsers in the operating system. Microsoft likes to deprecate old APIs and make new ones that do the same thing very often. [00:03:53] Jeremy: And something I've heard about Windows is that they're typically very reluctant to break backwards compatibility. So you say they're deprecated, but do they typically keep all of them still in there? [00:04:04] Elizabeth: It all still It all still works. [00:04:07] Jeremy: And that's all things that wine has to implement as well to make sure that the software works as well. [00:04:14] Jeremy: Yeah. [00:04:14] Elizabeth: Yeah. And, and we also, you know, need to make it work. we also need to implement those things to make old, programs work because there is, uh, a lot of demand, at least from, at least from people using wine for making, for getting some really old programs, working from the. Early nineties even. What people run with Wine (Productivity, build systems, servers) [00:04:36] Jeremy: And that's probably a good, thing to talk about in terms of what, what are the types of software that, that people are trying to run with wine, and what operating system are they typically using? [00:04:46] Elizabeth: Oh, in terms of software, literally all kinds, any software you can imagine that runs on Windows, people will try to run it on wine. So we're talking games, office software productivity, software accounting. people will run, build systems on wine, build their, just run, uh, build their programs using, on visual studio, running on wine. people will run wine on servers, for example, like software as a service kind of things where you don't even know that it's running on wine. really super domain specific stuff. Like I've run astronomy, software, and wine. Design, computer assisted design, even hardware drivers can sometimes work unwind. There's a bit of a gray area. How games are different [00:05:29] Jeremy: Yeah, it's um, I think from. Maybe the general public, or at least from what I've seen, I think a lot of people's exposure to it is for playing games. is there something different about games versus all those other types of, productivity software and office software that, that makes supporting those different. [00:05:53] Elizabeth: Um, there's some things about it that are different. Games of course have gotten a lot of publicity lately because there's been a huge push, largely from valve, but also some other companies to get. A lot of huge, wide range of games working well under wine. And that's really panned out in the, in a way, I think, I think we've largely succeeded. [00:06:13] Elizabeth: We've made huge strides in the past several years. 5, 5, 10 years, I think. so when you talk about what makes games different, I think, one thing games tend to do is they have a very limited set of things they're working with and they often want to make things run fast, and so they're working very close to the me They're not, they're not gonna use an XML parser, for example. [00:06:44] Elizabeth: They're just gonna talk directly as, directly to the graphics driver as they can. Right. And, and probably going to do all their own sound design. You know, I did talk about that XAudio library, but a lot of games will just talk directly as, directly to the sound driver as Windows Let some, so this is a often a blessing, honestly, because it means there's less we have to implement to make them work. when you look at a lot of productivity applications, and especially, the other thing that makes some productivity applications harder is, Microsoft makes 'em, and They like to, make a library, for use in this one program like Microsoft Office and then say, well, you know, other programs might use this as well. Let's. Put it in the operating system and expose it and write an API for it and everything. And maybe some other programs use it. mostly it's just office, but it means that office relies on a lot of things from the operating system that we all have to reimplement. [00:07:44] Jeremy: Yeah, that's somewhat counterintuitive because when you think of games, you think of these really high performance things that that seem really complicated. But it sounds like from what you're saying, because they use the lower level primitives, they're actually easier in some ways to support. [00:08:01] Elizabeth: Yeah, certainly in some ways, they, yeah, they'll do things like re-implement the heap allocator because the built-in heap allocator isn't fast enough for them. That's another good example. What makes some applications hard to support (Some are hard, can't debug other people's apps) [00:08:16] Jeremy: You mentioned Microsoft's more modern, uh, office suites. I, I've noticed there's certain applications that, that aren't supported. Like, for example, I think the modern Adobe Creative Suite. What's the difference with software like that and does that also apply to the modern office suite, or is, or is that actually supported? [00:08:39] Elizabeth: Well, in one case you have, things like Microsoft using their own APIs that I mentioned with Adobe. That applies less, I suppose, but I think to some degree, I think to some degree the answer is that some applications are just hard and there's, and, and there's no way around it. And, and we can only spend so much time on a hard application. I. Debugging things. Debugging things can get very hard with wine. Let's, let me like explain that for a minute because, Because normally when you think about debugging an application, you say, oh, I'm gonna open up my debugger, pop it in, uh, break at this point, see what like all the variables are, or they're not what I expect. Or maybe wait for it to crash and then get a back trace and see where it crashed. And why you can't do that with wine, because you don't have the application, you don't have the symbols, you don't have your debugging symbols. You don't know anything about the code you're running unless you take the time to disassemble and decompile and read through it. And that's difficult every time. It's not only difficult, every time I've, I've looked at a program and been like, I really need to just. I'm gonna just try and figure out what the program is doing. [00:10:00] Elizabeth: It takes so much time and it is never worth it. And sometimes you have to, sometimes you have no other choice, but usually you end up, you ask to rely on seeing what calls it makes into the operating system and trying to guess which one of those is going wrong. Now, sometimes you'll get lucky and it'll crash in wine code, or sometimes it'll make a call into, a function that we don't implement yet, and we know, oh, we need to implement that function. But sometimes it does something, more obscure and we have to figure out, well, like all of these millions of calls it made, which one of them is, which one of them are we implementing incorrectly? So it's returning the wrong result or not doing something that it should. And, then you add onto that the. You know, all these sort of harder to debug things like memory errors that we could make. And it's, it can be very difficult and so sometimes some applications just suffer from those hard bugs. and sometimes it's also just a matter of not enough demand for something for us to spend a lot of time on it. [00:11:11] Elizabeth: Right. [00:11:14] Jeremy: Yeah, I can see how that would be really challenging because you're, like you were saying, you don't have the symbols, so you don't have the source code, so you don't know what any of this software you're supporting, how it was actually written. And you were saying that I. A lot of times, you know, there may be some behavior that's wrong or a crash, but it's not because wine crashed or there was an error in wine. [00:11:42] Jeremy: so you just know the system calls it made, but you don't know which of the system calls didn't behave the way that the application expected. [00:11:50] Elizabeth: Exactly. Test suite (Half the code is tests) [00:11:52] Jeremy: I can see how that would be really challenging. and wine runs so many different applications. I'm, I'm kind of curious how do you even track what's working and what's not as you, you change wine because if you support thousands or tens thousands of applications, you know, how do you know when you've got a, a regression or not? [00:12:15] Elizabeth: So, it's a great question. Um, probably over half of wine by like source code volume. I actually actually check what it is, but I think it's, i, I, I think it's probably over half is what we call is tests. And these tests serve two purposes. The one purpose is a regression test. And the other purpose is they're conformance tests that test, that test how, uh, an API behaves on windows and validates that we are behaving the same way. So we write all these tests, we run them on windows and you know, write the tests to check what the windows returns, and then we run 'em on wine and make sure that that matches. and we have just such a huge body of tests to make sure that, you know, we're not breaking anything. And that every, every, all the code that we, that we get into wine that looks like, wow, it's doing that really well. Nope, that's what Windows does. The test says so. So pretty much any code that we, any new code that we get, it has to have tests to validate, to, to demonstrate that it's doing the right thing. [00:13:31] Jeremy: And so rather than testing against a specific application, seeing if it works, you're making a call to a Windows system call, seeing how it responds, and then making the same call within wine and just making sure they match. [00:13:48] Elizabeth: Yes, exactly. And that is obviously, or that is a lot more, automatable, right? Because otherwise you have to manually, you know, there's all, these are all graphical applications. [00:14:02] Elizabeth: You'd have to manually do the things and make sure they work. Um, but if you write automateable tests, you can just run them all and the machine will complain at you if it fails it continuous integration. How compatibility problems appear to users [00:14:13] Jeremy: And because there's all these potential compatibility issues where maybe a certain call doesn't behave the way an application expects. What, what are the types of what that shows when someone's using software? I mean, I, I think you mentioned crashes, but I imagine there could be all sorts of other types of behavior. [00:14:37] Elizabeth: Yes, very much so. basically anything, anything you can imagine again is, is what will happen. You can have, crashes are the easy ones because you know when and where it crashed and you can work backwards from there. but you can also get, it can, it could hang, it could not render, right? Like maybe render a black screen. for, you know, for games you could very frequently have, graphical glitches where maybe some objects won't render right? Or the entire screen will be read. Who knows? in a very bad case, you could even bring down your system and we usually say that's not wine's fault. That's the graphics library's fault. 'cause they're not supposed to do that, uh, no matter what we do. But, you know, sometimes we have to work around that anyway. but yeah, there's, there's been some very strange and idiosyncratic bugs out there too. [00:15:33] Jeremy: Yeah. And like you mentioned that uh, there's so many different things that could have gone wrong that imagine's very difficult to find. Yeah. And when software runs through wine, I think, Performance is comparable to native [00:15:49] Jeremy: A lot of our listeners will probably be familiar with running things in a virtual machine, and they know that there's a big performance impact from doing that. [00:15:57] Jeremy: How does the performance of applications compare to running natively on the original Windows OS versus virtual machines? [00:16:08] Elizabeth: So. In theory. and I, I haven't actually done this recently, so I can't speak too much to that, but in theory, the idea is it's a lot faster. so there, there, is a bit of a joke acronym to wine. wine is not an emulator, even though I started out by saying wine is an emulator, and it was originally called a Windows emulator. but what this basically means is wine is not a CPU emulator. It doesn't, when you think about emulators in a general sense, they're often, they're often emulators for specific CPUs, often older ones like, you know, the Commodore emulator or an Amiga emulator. but in this case, you have software that's written for an x86 CPU. And it's running on an x86 CPU by giving it the same instructions that it's giving on windows. It's just that when it says, now call this Windows function, it calls us instead. So that all should perform exactly the same. The only performance difference at that point is that all should perform exactly the same as opposed to a, virtual machine where you have to interpret the instructions and maybe translate them to a different instruction set. The only performance difference is going to be, in the functions that we are implementing themselves and we try to, we try to implement them to perform. As well, or almost as well as windows. There's always going to be a bit of a theoretical gap because we have to translate from say, one API to another, but we try to make that as little as possible. And in some cases, the operating system we're running on is, is just better than Windows and the libraries we're using are better than Windows. [00:18:01] Elizabeth: And so our games will run faster, for example. sometimes we can, sometimes we can, do a better job than Windows at implementing something that's, that's under our purview. there there are some games that do actually run a little bit faster in wine than they do on Windows. [00:18:22] Jeremy: Yeah, that, that reminds me of how there's these uh, gaming handhelds out now, and some of the same ones, they have a, they either let you install Linux or install windows, or they just come with a pre-installed, and I believe what I've read is that oftentimes running the same game on both operating systems, running the same game on Linux, the battery life is better and sometimes even the performance is better with these handhelds. [00:18:53] Jeremy: So it's, it's really interesting that that can even be the case. [00:18:57] Elizabeth: Yeah, it's really a testament to the huge amount of work that's gone into that, both on the wine side and on the, side of the graphics team and the colonel team. And, and of course, you know, the years of, the years of, work that's gone into Linux, even before these gaming handhelds were, were even under consideration. Proton and Valve Software's role [00:19:21] Jeremy: And something. So for people who are familiar with the handhelds, like the steam deck, they may have heard of proton. Uh, I wonder if you can explain what proton is and how it relates to wine. [00:19:37] Elizabeth: Yeah. So, proton is basically, how do I describe this? So, proton is a sort of a fork, uh, although we try to avoid the term fork. It's a, we say it's a downstream distribution because we contribute back up to wine. so it is a, it is, it is a alternate distribution fork of wine. And it's also some code that basically glues wine into, an embedding application originally intended for steam, and developed for valve. it has also been used in, others, but it has also been used in other software. it, so where proton differs from wine besides the glue part is it has some, it has some extra hacks in it for bugs that are hard to fix and easy to hack around as some quick hacks for, making games work now that are like in the process of going upstream to wine and getting their code quality improved and going through review. [00:20:54] Elizabeth: But we want the game to work now, when we distribute it. So that'll, that'll go into proton immediately. And then once we have, once the patch makes it upstream, we replace it with the version of the patch from upstream. there's other things to make it interact nicely with steam and so on. And yeah, I think, yeah, I think that's, I got it. [00:21:19] Jeremy: Yeah. And I think for people who aren't familiar, steam is like this, um, I, I don't even know what you call it, like a gaming store and a [00:21:29] Elizabeth: store game distribution service. it's got a huge variety of games on it, and you just publish. And, and it's a great way for publishers to interact with their, you know, with a wider gaming community, uh, after it, just after paying a cut to valve of their profits, they can reach a lot of people that way. And because all these games are on team and, valve wants them to work well on, on their handheld, they contracted us to basically take their entire catalog, which is huge, enormous. And trying and just step by step. Fix every game and make them all work. [00:22:10] Jeremy: So, um, and I guess for people who aren't familiar Valve, uh, softwares the company that runs steam, and so it sounds like they've asked, uh, your company to, to help improve the compatibility of their catalog. [00:22:24] Elizabeth: Yes. valve contracted us and, and again, when you're talking about wine using lower level libraries, they've also contracted a lot of other people outside of wine. Basically, the entire stack has had a tremendous, tremendous investment by valve software to make gaming on Linux work. Well. The entire stack receives changes to improve Wine compatibility [00:22:48] Jeremy: And when you refer to the entire stack, like what are some, some of those pieces, at least at a high level. [00:22:54] Elizabeth: I, I would, let's see, let me think. There is the wine project, the. Mesa Graphics Libraries. that's a, that's another, you know, uh, open source, software project that existed, has existed for a long time. But Valve has put a lot of, uh, funding and effort into it, the Linux kernel in various different ways. [00:23:17] Elizabeth: the, the desktop, uh, environment and Window Manager for, um, are also things they've invested in. [00:23:26] Jeremy: yeah. Everything that the game needs, on any level and, and that the, and that the operating system of the handheld device needs. Wine's history [00:23:37] Jeremy: And wine's been going on for quite a while. I think it's over a decade, right? [00:23:44] Elizabeth: I believe. Oh, more than, oh, far more than a decade. I believe it started in 1990, I wanna say about 1995, mid nineties. I'm, I probably have that date wrong. I believe Wine started about the mid nineties. [00:24:00] Jeremy: Mm. [00:24:00] Elizabeth: it's going on for three decades at this rate. [00:24:03] Jeremy: Wow. Okay. [00:24:06] Jeremy: And so all this time, how has the, the project sort of sustained itself? Like who's been involved and how has it been able to keep going this long? [00:24:18] Elizabeth: Uh, I think as is the case with a lot of free software, it just, it just keeps trudging along. There's been. There's been times where there's a lot of interest in wine. There's been times where there's less, and we are fortunate to be in a time where there's a lot of interest in it. we've had the same maintainer for almost this entire, almost this entire existence. Uh, Alexander Julliard, there was one person starting who started, maintained it before him and, uh, left it maintainer ship to him after a year or two. Uh, Bob Amstat. And there has been a few, there's been a few developers who have been around for a very long time. a lot of developers who have been around for a decent amount of time, but not for the entire duration. And then a very, very large number of people who come and submit a one-off fix for their individual application that they want to make work. [00:25:19] Jeremy: How does crossover relate to the wine project? Like, it sounds like you had mentioned Valve software hired you for subcontract work, but crossover itself has been around for quite a while. So how, how has that been connected to the wine project? [00:25:37] Elizabeth: So I work for, so the, so the company I work for is Code Weavers and, crossover is our flagship software. so Code Weavers is a couple different things. We have a sort of a porting service where companies will come to us and say, can we port my application usually to Mac? And then we also have a retail service where Where we basically have our own, similar to Proton, but you know, older, but the same idea where we will add some hacks into it for very difficult to solve bugs and we have a, a nice graphical interface. And then, the other thing that we're selling with crossover is support. So if you, you know, try to run a certain application and you buy crossover, you can submit a ticket saying this doesn't work and we now have a financial incentive to fix it. You know, we'll try to, we'll try to fix your, we'll spend company resources to fix your bug, right? So that's been so, so code we v has been around since 1996 and crossover, I don't know the date, but it's crossover has been around for probably about two decades, if I'm not mistaken. [00:27:01] Jeremy: And when you mention helping companies port their software to, for example, MacOS. [00:27:07] Jeremy: Is the approach that you would port it natively to MacOS APIs or is it that you would help them get it running using wine on MacOS? [00:27:21] Elizabeth: Right. That's, so that's basically what makes us so unique among porting companies is that instead of rewriting their software, we just, we just basically stick it inside of crossover and, uh, and, and make it run. [00:27:36] Elizabeth: And the idea has always been, you know, the more we implement, the more we get correct, the, the more applications will, you know, work. And sometimes it works out that way. Sometimes not really so much. And there's always work we have to do to get any given application to work, but. Yeah, so it's, it's very unusual because we don't ask companies for any of their code. We don't need it. We just fix the windows API [00:28:07] Jeremy: And, and so in that case, the ports would be let's say someone sells a MacOS version of their software. They would bundle crossover, uh, with their software. [00:28:18] Elizabeth: Right? And usually when you do this, it doesn't look like there's crossover there. Like it just looks like this software is native, but there is soft, there is crossover under the hood. Loading executables and linked libraries [00:28:32] Jeremy: And so earlier we were talking about how you're basically intercepting the system calls that these binaries are making, whether that's the executable or the, the DLLs from Windows. Um, but I think probably a lot of our listeners are not really sure how that's done. Like they, they may have built software, but they don't know, how do I basically hijack, the system calls that this application is making. [00:29:01] Jeremy: So maybe you could talk a little bit about how that works. [00:29:04] Elizabeth: So there, so there's a couple steps to go into it. when you think about a program that's say, that's a big, a big file that's got all the machine code in it, and then it's got stuff at the beginning saying, here's how the program works and here's where in the file the processor should start running. that's, that's your EXE file. And then in your DLL files are libraries that contain shared code and you have like a similar sort of file. It says, here's the entry point. That runs this function, this, you know, this pars XML function or whatever have you. [00:29:42] Elizabeth: And here's this entry point that has the generate XML function and so on and so forth. And, and, then the operating system will basically take the EXE file and see all the bits in it. Say I want to call the pars XML function. It'll load that DLL and hook it up. So it, so the processor ends up just seeing jump directly to this pars XML function and then run that and then return and so on. [00:30:14] Elizabeth: And so what wine does, is it part of wine? That's part of wine is a library, is that, you know, the implementing that parse XML and read XML function, but part of it is the loader, which is the part of the operating system that hooks everything together. And when we load, we. Redirect to our libraries. We don't have Windows libraries. [00:30:38] Elizabeth: We like, we redirect to ours and then we run our code. And then when you jump back to the program and yeah. [00:30:48] Jeremy: So it's the, the loader that's a part of wine. That's actually, I'm not sure if running the executable is the right term. [00:30:58] Elizabeth: no, I think that's, I think that's a good term. It's, it's, it's, it starts in a loader and then we say, okay, now run the, run the machine code and it's executable and then it runs and it jumps between our libraries and back and so on. [00:31:14] Jeremy: And like you were saying before, often times when it's trying to make a system call, it ends up being handled by a function that you've written in wine. And then that in turn will call the, the Linux system calls or the MacOS system calls to try and accomplish the, the same result. [00:31:36] Elizabeth: Right, exactly. [00:31:40] Jeremy: And something that I think maybe not everyone is familiar with is there's this concept of user space versus kernel space. you explain what the difference is? [00:31:51] Elizabeth: So the way I would explain, the way I would describe a kernel is it's the part of the operating system that can do anything, right? So any program, any code that runs on your computer is talking to the processor, and the processor has to be able to do anything the computer can do. [00:32:10] Elizabeth: It has to be able to talk to the hardware, it has to set up the memory space. That, so actually a very complicated task has to be able to switch to another task. and, and, and, and basically talk to another program and. You have to have something there that can do everything, but you don't want any program to be able to do everything. Um, not since the, not since the nineties. It's about when we realized that we can't do that. so the kernel is a part that can do everything. And when you need to do something that requires those, those permissions that you can't give everyone, you have to talk to the colonel and ask it, Hey, can you do this for me please? And in a very restricted way where it's only the safe things you can do. And a degree, it's also like a library, right? It's the kernel. The kernels have always existed, and since they've always just been the core standard library of the computer that does the, that does the things like read and write files, which are very, very complicated tasks under the hood, but look very simple because all you say is write this file. And talk to the hardware and abstract away all the difference between different drivers. So the kernel is doing all of these things. So because the kernel is a part that can do everything and because when you think about the kernel, it is basically one program that is always running on your computer, but it's only one program. So when a user calls the kernel, you are switching from one program to another and you're doing a lot of complicated things as part of this. You're switching to the higher privilege level where you can do anything and you're switching the state from one program to another. And so it's a it. So this is what we mean when we talk about user space, where you're running like a normal program and kernel space where you've suddenly switched into the kernel. [00:34:19] Elizabeth: Now you're executing with increased privileges in a different. idea of the process space and increased responsibility and so on. [00:34:30] Jeremy: And, and so do most applications. When you were talking about the system calls for handling 3D audio or parsing XML. Are those considered, are those system calls considered part of user space and then those things call the kernel space on your behalf, or how, how would you describe that? [00:34:50] Elizabeth: So most, so when you look at Windows, most of most of the Windows library, the vast, vast majority of it is all user space. most of these libraries that we implement never leave user space. They never need to call into the kernel. there's the, there only the core low level stuff. Things like, we need to read a file, that's a kernel call. when you need to sleep and wait for some seconds, that's a kernel. Need to talk to a different process. Things that interact with different processes in general. not just allocate memory, but allocate a page of memory, like a, from the memory manager and then that gets sub allocated by the heap allocator. so things like that. [00:35:31] Jeremy: Yeah, so if I was writing an application and I needed to open a file, for example, does, does that mean that I would have to communicate with the kernel to, to read that file? [00:35:43] Elizabeth: Right, exactly. [00:35:46] Jeremy: And so most applications, it sounds like it's gonna be a mixture. You're gonna have a lot of things that call user space calls. And then a few, you mentioned more low level ones that are gonna require you to communicate with the kernel. [00:36:00] Elizabeth: Yeah, basically. And it's worth noting that in, in all operating systems, you're, you're almost always gonna be calling a user space library. That might just be a thin wrapper over the kernel call. It might, it's gonna do like just a little bit of work in end call the kernel. [00:36:19] Jeremy: [00:36:19] Elizabeth: In fact, in Windows, that's the only way to do it. Uh, in many other operating systems, you can actually say, you can actually tell the processor to make the kernel call. There is a special instruction that does this and just, and it'll go directly to the kernel, and there's a defined interface for this. But in Windows, that interface is not defined. It's not stable. Or backwards compatible like the rest of Windows is. So even if you wanted to use it, you couldn't. and you basically have to call into the high level libraries or low level libraries, as it were, that, that tell you that create a file. And those don't do a lot. [00:37:00] Elizabeth: They just kind of tweak their parameters a little and then pass them right down to the kernel. [00:37:07] Jeremy: And so wine, it sounds like it needs to implement both the user space calls of windows, but then also the, the kernel, calls as well. But, but wine itself does that, is that only in Linux user space or MacOS user space? [00:37:27] Elizabeth: Yes. This is a very tricky thing. but all of wine, basically all of what is wine runs in, in user space and we use. Kernel calls that are already there to talk to the colonel, to talk to the host Colonel. You have to, and you, you get, you get, you get the sort of second nature of thinking about the Windows, user space and kernel. [00:37:50] Elizabeth: And then there's a host user space and Kernel and wine is running all in user, in the user, in the host user space, but it's emulating the Windows kernel. In fact, one of the weirdest, trickiest parts is I mentioned that you can run some drivers in wine. And those drivers actually, they actually are, they think they're running in the Windows kernel. which in a sense works the same way. It has libraries that it can load, and those drivers are basically libraries and they're making, kernel calls and they're, they're making calls into the kernel library that does some very, very low level tasks that. You're normally only supposed to be able to do in a kernel. And, you know, because the kernel requires some privileges, we kind of pretend we have them. And in many cases, you're even the drivers are using abstractions. We can just implement those abstractions kind of over the slightly higher level abstractions that exist in user space. [00:39:00] Jeremy: Yeah, I hadn't even considered the being able to use hardware devices, but I, I suppose if in, in the end, if you're reproducing the kernel, then whether you're running software or you're talking to a hardware device, as long as you implement the calls correctly, then I, I suppose it works. [00:39:18] Elizabeth: Cause you're, you're talking about device, like maybe it's some kind of USB device that has drivers for Windows, but it doesn't for, for Linux. [00:39:28] Elizabeth: no, that's exactly, that's a, that's kind of the, the example I've used. Uh, I think there is, I think I. My, one of my best success stories was, uh, drivers for a graphing calculator. [00:39:41] Jeremy: Oh, wow. [00:39:42] Elizabeth: That connected via USB and I basically just plugged the windows drivers into wine and, and ran it. And I had to implement a lot of things, but it worked. But for example, something like a graphics driver is not something you could implement in wine because you need the graphics driver on the host. We can't talk to the graphics driver while the host is already doing so. [00:40:05] Jeremy: I see. Yeah. And in that case it probably doesn't make sense to do so [00:40:11] Elizabeth: Right? [00:40:12] Elizabeth: Right. It doesn't because, the transition from user into kernel is complicated. You need the graphics driver to be in the kernel and the real kernel. Having it in wine would be a bad idea. Yeah. [00:40:25] Jeremy: I, I think there's, there's enough APIs you have to try and reproduce that. I, I think, uh, doing, doing something where, [00:40:32] Elizabeth: very difficult [00:40:33] Jeremy: right. Poor system call documentation and private APIs [00:40:35] Jeremy: There's so many different, calls both in user space and in kernel space. I imagine the, the user space ones Microsoft must document to some extent, but, oh. Is that, is that a [00:40:51] Elizabeth: well, sometimes, [00:40:54] Jeremy: Sometimes. Okay. [00:40:55] Elizabeth: I think it's actually better now than it used to be. But some, here's where things get fun, because sometimes there will be, you know, regular documented calls. Sometimes those calls are documented, but the documentation isn't very good. Sometimes programs will just sort of look inside Microsoft's DLLs and use calls that they aren't supposed to be using. Sometimes they use calls that they are supposed to be using, but the documentation has disappeared. just because it's that old of an API and Microsoft hasn't kept it around. sometimes some, sometimes Microsoft, Microsoft own software uses, APIs that were never documented because they never wanted anyone else using them, but they still ship them with the operating system. there was actually a kind of a lawsuit about this because it is an antitrust lawsuit, because by shipping things that only they could use, they were kind of creating a trust. and that got some things documented. At least in theory, they kind of haven't stopped doing it, though. [00:42:08] Jeremy: Oh, so even today they're, they're, I guess they would call those private, private APIs, I suppose. [00:42:14] Elizabeth: I suppose. Uh, yeah, you could say private APIs. but if we want to get, you know, newer versions of Microsoft Office running, we still have to figure out what they're doing and implement them. [00:42:25] Jeremy: And given that they're either, like you were saying, the documentation is kind of all over the place. If you don't know how it's supposed to behave, how do you even approach implementing them? [00:42:38] Elizabeth: and that's what the conformance tests are for. And I, yeah, I mentioned earlier we have this huge body of conformance tests that double is regression tests. if we see an API, we don't know what to do with or an API, we do know, we, we think we know what to do with because the documentation can just be wrong and often has been. Then we write tests to figure out what it's supposed to behave. We kind of guess until we, and, and we write tests and we pass some things in and see what comes out and see what. The see what the operating system does until we figure out, oh, so this is what it's supposed to do and these are the exact parameters in, and, and then we, and, and then we implement it according to those tests. [00:43:24] Jeremy: Is there any distinction in approach for when you're trying to implement something that's at the user level versus the kernel level? [00:43:33] Elizabeth: No, not really. And like I, and like I mentioned earlier, like, well, I mean, a kernel call is just like a library call. It's just done in a slightly different way, but it's still got, you know, parameters in, it's still got a set of parameters. They're just encoded differently. And, and again, like the, the way kernel calls are done is on a level just above the kernel where you have a library, that just passes things through. Almost verbatim to the kernel and we implement that library instead. [00:44:10] Jeremy: And, and you've been working on i, I think, wine for over, over six years now. [00:44:18] Elizabeth: That sounds about right. Debugging and having broad knowledge of Wine [00:44:20] Jeremy: What does, uh, your, your day to day look like? What parts of the project do you, do you work on? [00:44:27] Elizabeth: It really varies from day to day. and I, I, a lot of people, a lot of, some people will work on the same parts of wine for years. Uh, some people will switch around and work on all sorts of different things. [00:44:42] Elizabeth: And I'm, I definitely belong to that second group. Like if you name an area of wine, I have almost certainly contributed a patch or two to it. there's some areas I work on more than others, like, 3D graphics, multimedia, a, I had, I worked on a compiler that exists, uh, socket. So networking communication is another thing I work a lot on. day to day, I kind of just get, I, I I kind of just get a bug for some program or another. and I take it and I debug it and figure out why the program's broken and then I fix it. And there's so much variety in that. because a bug can take so many different forms like I described, and, and, and the, and then the fix can be simple or complicated or, and it can be in really anywhere to a degree. [00:45:40] Elizabeth: being able to work on any part of wine is sometimes almost a necessity because if a program is just broken, you don't know why. It could be anything. It could be any sort of API. And sometimes you can hand the API to somebody who's got a lot of experience in that, but sometimes you just do whatever. You just fix whatever's broken and you get an experience that way. [00:46:06] Jeremy: Yeah, I mean, I was gonna ask about the specialized skills to, to work on wine, but it sounds like maybe in your case it's all of them. [00:46:15] Elizabeth: It's, there's a bit of that. it's a wine. We, the skills to work on wine are very, it's a very unique set of skills because, and it largely comes down to debugging because you can't use the tools you normally use debug. [00:46:30] Elizabeth: You have to, you have to be creative and think about it different ways. Sometimes you have to be very creative. and programs will try their hardest to avoid being debugged because they don't want anyone breaking their copy protection, for example, or or hacking, or, you know, hacking in sheets. They want to be, they want, they don't want anyone hacking them like that. [00:46:54] Elizabeth: And we have to do it anyway for good and legitimate purposes. We would argue to make them work better on more operating systems. And so we have to fight that every step of the way. [00:47:07] Jeremy: Yeah, it seems like it's a combination of. F being able, like you, you were saying, being able to, to debug. and you're debugging not necessarily your own code, but you're debugging this like behavior of, [00:47:25] Jeremy: And then based on that behavior, you have to figure out, okay, where in all these different systems within wine could this part be not working? [00:47:35] Jeremy: And I, I suppose you probably build up some kind of, mental map in your head of when you get a, a type of bug or a type of crash, you oh, maybe it's this, maybe it's here, or something [00:47:47] Elizabeth: Yeah. That, yeah, there is a lot of that. there's, you notice some patterns, you know, after experience helps, but because any bug could be new, sometimes experience doesn't help and you just, you just kind of have to start from scratch. Finding a bug related to XAudio [00:48:08] Jeremy: At sort of a high level, can you give an example of where you got a specific bug report and then where you had to look to eventually find which parts of the the system were the issue? [00:48:21] Elizabeth: one, one I think good example, that I've done recently. so I mentioned this, this XAudio library that does 3D audio. And if you say you come across a bug, I'm gonna be a little bit generics here and say you come across a bug where some audio isn't playing right, maybe there's, silence where there should be the audio. So you kind of, you look in and see, well, where's that getting lost? So you can basically look in the input calls and say, here's the buffer it's submitting that's got all the audio data in it. And you look at the output, you look at where you think the output should be, like, that library will internally call a different library, which programs can interact with directly. [00:49:03] Elizabeth: And this our high level library interacts with that is the, give this sound to the audio driver, right? So you've got XAudio on top of, um. mdev, API, which is the other library that gives audio to the driver. And you see, well, the ba the buffer is that XAudio is passing into MM Dev, dev API. They're empty, there's nothing in them. So you have to kind of work through the XAudio library to see where is, where's that sound getting lost? Or maybe, or maybe that's not getting lost. Maybe it's coming through all garbled. And I've had to look at the buffer and see why is it garbled. I'll open up it up in Audacity and look at the weight shape of the wave and say, huh, that shape of the wave looks like it's, it looks like we're putting silence every 10 nanoseconds or something, or, or reversing something or interpreting it wrong. things like that. Um, there's a lot of, you'll do a lot of, putting in print fs basically all throughout wine to see where does the state change. Where was, where is it? Where is it? Right? And then where do things start going wrong? [00:50:14] Jeremy: Yeah. And in the audio example, because they're making a call to your XAudio implementation, you can see that Okay, the, the buffer, the audio that's coming in. That part is good. It, it's just that later on when it sends it to what's gonna actually have it be played by the, the hardware, that's when missing. So, [00:50:37] Elizabeth: We did something wrong in a library that destroyed the buffer. And I think on a very, high level a lot of debugging, wine is about finding where things are good and finding where things are bad, and then narrowing that down until we find the one spot where things go wrong. There's a lot of processes that go like that. [00:50:57] Jeremy: like you were saying, the more you see these problems, hopefully the, the easier it gets to, to narrow down where, [00:51:04] Elizabeth: Often. Yeah. Especially if you keep debugging things in the same area. How much code is OS specific?c [00:51:09] Jeremy: And wine supports more than one operating system. I, I saw there was Linux, MacOS I think free BSD. How much of the code is operating system specific versus how much can just be shared across all of them? [00:51:27] Elizabeth: Not that much is operating system specific actually. so when you think about the volume of wine, the, the, the, vast majority of it is the high level code that doesn't need to interact with the operating system on a low level. Right? Because Windows keeps putting, because Microsoft keeps putting lots and lots of different libraries in their operating system. And a lot of these are high level libraries. and even when we do interact with the operating system, we're, we're using cross-platform libraries or we're using, we're using ics. The, uh, so all these operating systems that we are implementing are con, basically conformed to the posix standard. which is basically like Unix, they're all Unix based. Psic is a Unix based standard. Microsoft is, you know, the big exception that never did implement that. And, and so we have to translate its APIs to Unix, APIs. now that said, there is a lot of very operating system, specific code. Apple makes things difficult by try, by diverging almost wherever they can. And so we have a lot of Apple specific code in there. [00:52:46] Jeremy: another example I can think of is, I believe MacOS doesn't support, Vulkan [00:52:53] Elizabeth: yes. Yeah.Yeah, That's a, yeah, that's a great example of Mac not wanting to use, uh, generic libraries that work on every other operating system. and in some cases we, we look at it and are like, alright, we'll implement a wrapper for that too, on top of Yuri, on top of your, uh, operating system. We've done it for Windows, we can do it for Vulkan. and that's, and then you get the Molten VK project. Uh, and to be clear, we didn't invent molten vk. It was around before us. We have contributed a lot to it. Direct3d, Vulkan, and MoltenVK [00:53:28] Jeremy: Yeah, I think maybe just at a high level might be good to explain the relationship between Direct 3D or Direct X and Vulcan and um, yeah. Yeah. Maybe if you could go into that. [00:53:42] Elizabeth: so Direct 3D is Microsoft's 3D API. the 3D APIs, you know, are, are basically a way to, they're way to firstly abstract out the differences between different graphics, graphics cards, which, you know, look very different on a hardware level. [00:54:03] Elizabeth: Especially. They, they used to look very different and they still do look very different. and secondly, a way to deal with them at a high level because actually talking to the graphics card on a low level is very, very complicated. Even talking to it on a high level is complicated, but it gets, it can get a lot worse if you've ever been a, if you've ever done any graphics, driver development. so you have a, a number of different APIs that achieve these two goals of, of, abstraction and, and of, of, of building a common abstraction and of building a, a high level abstraction. so OpenGL is the broadly the free, the free operating system world, the non Microsoft's world's choice, back in the day. [00:54:53] Elizabeth: And then direct 3D was Microsoft's API and they've and Direct 3D. And both of these have evolved over time and come up with new versions and such. And when any, API exists for too long. It gains a lot of croft and needs to be replaced. And eventually, eventually the people who developed OpenGL decided we need to start over, get rid of the Croft to make it cleaner and make it lower level. [00:55:28] Elizabeth: Because to get in a maximum performance games really want low level access. And so they made Vulcan, Microsoft kind of did the same thing, but they still call it Direct 3D. they just, it's, it's their, the newest version of Direct 3D is lower level. It's called Direct 3D 12. and, and, Mac looked at this and they decided we're gonna do the same thing too, but we're not gonna use Vulcan. [00:55:52] Elizabeth: We're gonna define our own. And they call it metal. And so when we want to translate D 3D 12 into something that another operating system understands. That's probably Vulcan. And, and on Mac, we need to translate it to metal somehow. And we decided instead of having a separate layer from D three 12 to metal, we're just gonna translate it to Vulcan and then translate the Vulcan to metal. And it also lets things written for Vulcan on Windows, which is also a thing that exists that lets them work on metal. [00:56:30] Jeremy: And having to do that translation, does that have a performance impact or is that not really felt? [00:56:38] Elizabeth: yes. It's kind of like, it's kind of like anything, when you talk about performance, like I mentioned this earlier, there's always gonna be overhead from translating from one API to another. But we try to, what we, we put in heroic efforts to. And try, try to make sure that doesn't matter, to, to make sure that stuff that needs to be fast is really as fast as it can possibly be. [00:57:06] Elizabeth: And some very clever things have been done along those lines. and, sometimes the, you know, the graphics drivers underneath are so good that it actually does run better, even despite the translation overhead. And then sometimes to make it run fast, we need to say, well, we're gonna implement a new API that behaves more like windows, so we can do less work translating it. And that's, and sometimes that goes into the graphics library and sometimes that goes into other places. Targeting Wine instead of porting applications [00:57:43] Jeremy: Yeah. Something I've found a little bit interesting about the last few years is [00:57:49] Jeremy: Developers in the past, they would generally target Windows and you might be lucky to get a Mac port or a Linux port. And I wonder, like, in your opinion now, now that a lot of developers are just targeting Windows and relying on wine or, or proton to, to run their software, is there any, I suppose, downside to doing that? [00:58:17] Jeremy: Or is it all just upside, like everyone should target Windows as this common platform? [00:58:23] Elizabeth: Yeah. It's an interesting question. I, there's some people who seem to think it's a bad thing that, that we're not getting native ports in the same sense, and then there's some people who. Who See, no, that's a perfectly valid way to do ports just right for this defacto common API it was never intended as a cross platform common API, but we've made it one. [00:58:47] Elizabeth: Right? And so why is that any worse than if it runs on a different API on on Linux or Mac and I? Yeah, I, I, I guess I tend to, I, that that argument tends to make sense to me. I don't, I don't really see, I don't personally see a lot of reason for, to, to, to say that one library is more pure than another. [00:59:12] Elizabeth: Right now, I do think Windows APIs are generally pretty bad. I, I'm, this might be, you know, just some sort of, this might just be an effect of having to work with them for a very long time and see all their flaws and have to deal with the nonsense that they do. But I think that a lot of the. Native Linux APIs are better. But if you like your Windows API better. And if you want to target Windows and that's the only way to do it, then sure why not? What's wrong with that? [00:59:51] Jeremy: Yeah, and I think the, doing it this way, targeting Windows, I mean if you look in the past, even though you had some software that would be ported to other operating systems without this compatibility layer, without people just targeting Windows, all this software that people can now run on these portable gaming handhelds or on Linux, Most of that software was never gonna be ported. So yeah, absolutely. And [01:00:21] Elizabeth: that's [01:00:22] Jeremy: having that as an option. Yeah. [01:00:24] Elizabeth: That's kind of why wine existed, because people wanted to run their software. You know, that was never gonna be ported. They just wanted, and then the community just spent a lot of effort in, you know, making all these individual programs run. Yeah. [01:00:39] Jeremy: I think it's pretty, pretty amazing too that, that now that's become this official way, I suppose, of distributing your software where you say like, Hey, I made a Windows version, but you're on your Linux machine. it's officially supported because, we have this much belief in this compatibility layer. [01:01:02] Elizabeth: it's kind of incredible to see wine having got this far. I mean, I started working on a, you know, six, seven years ago, and even then, I could never have imagined it would be like this. [01:01:16] Elizabeth: So as we, we wrap up, for the developers that are listening or, or people who are just users of wine, um, is there anything you think they should know about the project that we haven't talked about? [01:01:31] Elizabeth: I don't think there's anything I can think of. [01:01:34] Jeremy: And if people wanna learn, uh, more about the wine project or, or see what you're up to, where, where should they, where should they head? Getting support and contributing [01:01:45] Elizabeth: We don't really have any things like news, unfortunately. Um, read the release notes, uh, follow some, there's some, there's some people who, from Code Weavers who do blogs. So if you, so if you go to codeweavers.com/blog, there's some, there's, there's some codeweavers stuff, uh, some marketing stuff. But there's also some developers who will talk about bugs that they are solving and. And how it's easy and, and the experience of working on wine. [01:02:18] Jeremy: And I suppose if, if someone's. Interested in like, like let's say they have a piece of software, it's not working through wine. what's the best place for them to, to either get help or maybe even get involved with, with trying to fix it? [01:02:37] Elizabeth: yeah. Uh, so you can file a bug on, winehq.org,or, or, you know, find, there's a lot of developer resources there and you can get involved with contributing to the software. And, uh, there, there's links to our mailing list and IRC channels and, uh, and, and the GitLab, where all places you can find developers. [01:03:02] Elizabeth: We love to help you. Debug things. We love to help you fix things. We try our very best to be a welcoming community and we have got a long, we've got a lot of experience working with people who want to get their application working. So, we would love to, we'd love to have another. [01:03:24] Jeremy: Very cool. Yeah, I think wine is a really interesting project because I think for, I guess it would've been for decades, it seemed like very niche, like not many people [01:03:37] Jeremy: were aware of it. And now I think maybe in particular because of the, the Linux gaming handhelds, like the steam deck,wine is now something that a bunch of people who would've never heard about it before, and now they're aware of it. [01:03:53] Elizabeth: Absolutely. I've watched that transformation happen in real time and it's been surreal. [01:04:00] Jeremy: Very cool. Well, Elizabeth, thank you so much for, for joining me today. [01:04:05] Elizabeth: Thank you, Jeremy. I've been glad to be here.

Regina Blandón me contó cómo fue crecer siendo Bibi en la Familia Peluche y lidiar con la fama desde niña, la vulnerabilidad que genera el síndrome del impostor y cómo lo ha enfrentado, porqué hoy la maternidad es su cuestionamiento más grande, cómo aprendió a PEDIR lo que se merece, porqué tod@s necesitamos ver su obra de teatro “Prima Facie” + lo que ha aprendido sobre relaciones, consentimiento, feminismo y la importancia de reconocer las agresiones normalizadas por la sociedad hacia las mujeres. También hablamos de los pros y contras de trabajar con mi papá (Eugenio Derbez), cómo lidia ella con la exposición y las críticas hirientes en redes sociales, y qué hubo detrás de darle vida a Yuri en la serie “Mentiras”. ¡Cuéntame en los comentarios qué te pareció el episodio! 

Regina Blandón me contó cómo fue crecer siendo Bibi en la Familia Peluche y lidiar con la fama desde niña, la vulnerabilidad que genera el síndrome del impostor y cómo lo ha enfrentado, porqué hoy la maternidad es su cuestionamiento más grande, cómo aprendió a PEDIR lo que se merece, porqué tod@s necesitamos ver su obra de teatro “Prima Facie” + lo que ha aprendido sobre relaciones, consentimiento, feminismo y la importancia de reconocer las agresiones normalizadas por la sociedad hacia las mujeres. También hablamos de los pros y contras de trabajar con mi papá (Eugenio Derbez), cómo lidia ella con la exposición y las críticas hirientes en redes sociales, y qué hubo detrás de darle vida a Yuri en la serie “Mentiras”. ¡Cuéntame en los comentarios qué te pareció el episodio! 

Yuri Landman verkent de donkere evolutie van de popcultuur vanaf Ozzy Osbourne tot de zombie-metafoor van vandaag. Van de Satanic Panic en false memory syndrome tot black metal terrorisme en het verdwijnen van popiconen - een diepgaande analyse van jeugdrebellie, massahysterie en culturele ontbinding in de moderne samenlevingSteun DNW en word patroon op http://www.petjeaf.com/denieuwewereld.Liever direct overmaken? Maak dan uw gift over naar NL61 RABO 0357 5828 61 t.n.v. Stichting De Nieuwe Wereld. Crypto's doneren kan via https://commerce.coinbase.com/checkout/31d3b502-6996-41f6-97aa-ef2958025fb8-- Bronnen en links bij deze uitzending: --- 0:00 Inleiding en Ozzy Osbourne's Doorbraak- 2:27 Van Beatles tot Heavy Metal: De Evolutie van de Rockmuziek- 7:20 De Satanic Panic en Recovered Memory Syndrome- 10:14 Filthy 15 en Muziekverboden op Scholen- 21:05 Black Metal: Van Provocatie naar Terrorisme- 27:30 Popcultuur in Stripboeken en Manga- 31:54 New Wave, Joy Division en Persoonlijke Muzieksmaak- 39:52 Het Einde van Grote Jeugdbewegingen na 2000- 43:25 Zombie Cultuur en The Walking Dead Fenomeen- 51:15 Ontlijving en Virtualisering van de Samenleving- 55:21 Het Verdwijnen van Popiconen en Culturele Leiders- 59:03 Afsluiting en Dankwoord--De Nieuwe Wereld TV is een platform dat mensen uit verschillende disciplines bij elkaar brengt om na te denken over grote veranderingen die op komst zijn door een combinatie van snelle technologische ontwikkelingen en globalisering. Het is een initiatief van filosoof Ad Verbrugge in samenwerking met anchors Jelle van Baardewijk en Marlies Dekkers. De Nieuwe Wereld TV wordt gemaakt in samenwerking met de Filosofische School Nederland. Onze website: https://denieuwewereld.tv/ DNW heeft ook een Substack. Meld je hier aan: https://denieuwewereld.substack.com/

Welcome to Crying Rules Actually, a podcast about taking a short break from our extremely important work talking about BB in order to cover the under-examined world of English language visual novels! For the next three Saturdays we'll be releasing a deep dive dive into the 2025 itch.io-hosted Toxic Yuri Visual Novel Jam. Scroll down for a full list of works discussed on this episode, timestamps for when we discuss them, and links to all the available TYJ games we cover this episode!Next week, we'll return with even more toxic yuri! Our normal schedule is on pause but CCC coverage and our normal Yuri Teatime segment will return on October 11th.For similar evn jam game coverage, see our menhera jam episodes: moon archive 86 & 87Featuring co-hosts Benn Ends (@bennends.itch.io) and fen (@fenic.moe).Support the show and get access to bonus episodes: https://www.patreon.com/cryingrulesLink to the fate/moon archive new and improved schedule: http://moonarchive.art/scheduleSECTION TIMESTAMPS:intro - 0:00toxic yuri boston definition - 0:55your glass heart in my hands - 40:18with reckless abandon - 44:54wish on this flower - 47:54weird girl science - 51:00the girl who was hypnotized to huff armpits (& other stories) - 55:26we can't keep doing this - 1:02:43frew/hort - 1:05:57victims & vessels - 1:14:14victim soul - 1:38:09upon graves of ashen snow - 1:43:18watashi no hatsukoi aite ga kiss shiteta & my girlfriend isn't here today - 1:47:46trip to the milky way - 1:58:25the vampire's pet - 2:02:23the lonely dog yearns for love - 2:04:15the black lily theatre company - 2:09:31flesh and pressure - 2:13:15teeth of the wicked - 2:17:44syzygy - 2:24:01devotion - 2:30:41suburb hell vampire - 2:43:15the perfect human - 2:51:45strange animals - 2:56:43offsuit pair - 2:59:53sieve - 3:06:24they once had names - 3:10:06seller's market - 3:14:39queen and knight - 3:19:56play our roles - 3:23:31melt - 3:27:54maybe next year - 3:36:09lilith compolex (prototype) - 3:39:06let's go to heaven - 3:40:49junk mail demo - 3:47:02juliet's sol - 3:49:00in your flesh - 3:51:01if it's by my hand - 3:54:48miso shiru - 3:57:07i want to rip off your **** with my teeth - 4:05:04haunt holy - 4:11:15gash rabbit - 4:16:52forever yours - 4:24:19fear of darkness - 4:28:53diving bell - 4:31:32distant sunlight endless regrets - 4:38:32different echos - 4:41:17demonize on date - 4:49:30dead end system: prelude - 4:57:37curled in ice - 5:01:01cicuta - 5:15:28blood of the future - 5:18:22beaconing: a lost cause - 5:21:13bad apples - 5:28:52astral battler crux: gilded lily - 5:31:51aletheia - 5:36:29outro - 5:39:16LIST OF NON TYPE-MOON WORKS REFERENCEDyour glass heart in my handswith reckless abandonwish on this flowerweird girl sciencethe girl who was hypnotized to huff armpits (& other stories)we can't keep doing thisfrew/hortvictims & vesselsvictim soulupon graves of ashen snowwatashi no hatsukoi aite ga kiss shitetamy girlfriend isn't here todaytrip to the milky waythe vampire's petthe lonely dog yearns for lovethe black lily theatre companyflesh and pressureteeth of the wickedsyzygydevotionsuburb hell vampirethe perfect humanstrange animals [demo]offsuit pairsievethey once had namesdiaries of a spaceport janitorseller's marketqueen and knightplay our rolesmeltmaybe next yearlilith complex (prototype)let's go to heavenjunk mail demojuliet's solin your fleshif it's by my handmiso shirui want to rip off your **** with my teethhaunt holygash rabbetforever yoursfear of darknessdiving belldistant sunlight, endless regretsdifferent echoesdemonize on datedead end system: preludecurled in icecicutablood of the futurebeaconing: a lost causebad applesastral battler crux: gilded lilyaletheiaThis episode carries content warnings for discussions of pedantry, negativity, everything you'd expect from "toxic" yuri, etcEmail us at cryingrulesactually@gmail.com with questions, comments, and compliments.Cover art by Benn Ends, intro music by Benn Ends, remaining music from works covered.

Paula & Yuri sind für euch im “Die Woche” Studio - und auch diese Woche nicht alleine, sondern mit den wichtigsten News: Intro (00:00) Abriss der Emmys mit einer Sprachi des funk-Formats Cinema Strikes Back (01:00) Brasiliens Ex-Präsident Bolsonaro wurde zu 27 Jahren Haft verurteilt (03:16) Die Kurznews der Woche (05:36) Größte nationalistische Demo in der britischen Geschichte (07:54) Droht den USA ein Bürgerkrieg? (14:43) Interview mit der amerikanischen Journalistin Jiffer Bourguignon (17:53) Russische Drohnen über Polen (33:36) Good News zum Ozonloch (38:15) Deutschland ist Basketball-Europameister (39:07) Unsere Quellen findet ihr hier: https://docs.google.com/document/d/1XKTCuI-0zOCOlfyTpCbEv-hnfRhQCq3rpyx1R_fzvHg/edit?tab=t.0 Moderation: Paula Menzel, Yuri João Pavão Türk Redaktion: Celine Weimar-Dittmar Fact Checking: Deana Mrkaja Redaktion funk: Helen Schulte, Andrej Reisin Ton: Silas Lenz Videoschnitt: Paul Ott Filmproduktionsleitung: Hannah Reiss Produktion: Studio Bummens im Auftrag von funk Episodencover: IMAGO / Middle East Images

清家のリアル相談にも乗ってくれました。▼留学費用が一発で分かる公式LINEは▼https://bit.ly/4gPlWbZ■Podcastの感想やリクエストはInstagramのDMまで！⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/studyin.jp

When flowers bloom, they captivate with beauty—but HANA proves that blooms can bite back. This seven-member Japanese powerhouse, assembled through the "No No Girls" audition program under CHANMINA's expert guidance, has redefined what a rookie girl group can achieve in today's saturated market.From our first listen of "Drop," we were mesmerized by the classical piano introduction that gives way to thunderous bass—a perfect metaphor for the group itself: delicate yet commanding, beautiful yet fierce. Each member contributes a distinctive vocal color to the group's sonic palette, creating a tapestry of sound that sets them apart from their contemporaries.What struck us most during our deep dive was how each song explores a different facet of the Hana metaphor. "Burning Flower" embraces Latino influences with fierce declarations that "the flames will never stop." "Rose" examines the duality of beauty and protection through its thorns. "Tiger" showcases predatory energy with actual growls incorporated into the vocals. Their latest release "Bad Love" ventures into entirely new territory with 90s-inspired indie rock and emo sensibilities, proving their remarkable versatility.CHANMINA's influence permeates everything from the production to the members' performance style, creating a signature sound produced with Japanese sensibilities and Western influences. With writing credits on every track, she's crafting a musical universe where these seven flowers can truly bloom with determination.Whether you're drawn to electro-pop bangers or guitar-driven angst, HANA offers something that will capture your attention and refuse to let go. Listen with headphones to catch the intricate production details that might get lost otherwise—the faint background vocals, the demented music box sounds, the subtle piano motifs that connect their discography.Subscribe to our podcast for exclusive content, including a special subscriber-only episode where we'll spill the tea on what's been happening in our personal lives. Until then, discover HANA and watch these beautiful, determined flowers continue to bloom despite—and because of—their thorns.HANA Instagram X YouTube Official HANA playlistSupport the showPlease help Music Elixir by rating, reviewing, and sharing the episode. We appreciate your support!Follow us on:TwitterInstagram BlueskyIf have questions, comments, or requests click on our form:Music Elixir FormDJ Panic Blog:OK ASIA

Yuri wurde nach seiner Geburt palliativ in den Tod begleitet. Die «Input»-Folge darüber hat viele berührt. Drei Jahre später besucht Mariel Kreis die Eltern erneut und erfährt: «Wir bauen unser Leben um die Trauer herum neu auf.» Was bedeutet es, wenn Trauer ein fester Bestandteil des Alltags wird? ____________________ In dieser Episode zu hören - Rebecca und Daniel, Eltern von Yuri - Hansjörg Znoj, Psycholog und Trauerforscher - Sophie und Joel, Angehörige von Yuris Eltern ____________________ Habt ihr Feedback, Fragen oder Wünsche? Wir freuen uns auf eure Nachrichten an input@srf.ch – und wenn ihr euren Freund:innen und Kolleg:innen von uns erzählt. ____________________ - Autor:in: Mariel Kreis - Publizistische Leitung: Anita Richner ____________________ Das ist «Input»: Dem Leben in der Schweiz auf der Spur – mit all seinen Widersprüchen und Fragen. Der Podcast «Input» liefert jede Woche eine Reportage zu den Themen, die euch bewegen. ____________________ (00:00 - 01:36) Intro (01:37 - 04:28) Rückblick (04:29 - 08:35) Erinnerungen und Rituale (08:36 - 11:03) Trauerforscher: Was hilft? (11:04 - 16:22) Rebeccas Trigger (16:23 - 19:49) Daniels Depression (19:50 - 27:39) Trauer akzeptieren und Härtetest für Beziehung (27.39 - 38:12) Freunde: Was hilft? (38:13 - 40:33) Fazit und Sinn der Trauer

Yuri Facchini discusses growing up in Brazil, getting hooked up with Blind Skateboards at 14 years old, coming to the states and entering Tampa Am, his Blind pro part turning into his welcome to Almost part, having no board sponsor for 2 years after leaving Almost, how getting on Shake Junt lead to getting on Deathwish Skateboards, his 180 nose grind at The Nine Club Classic and much more! Yuri Facchini: https://www.instagram.com/yurifacchiniTropicalients: https://www.tropicalients.comBecome a Channel Member & Receive Perks: https://www.youtube.com/TheNineClub/joinNew Merch: https://thenineclub.com Sponsored By: AG1: Get a free 1-year supply of immune-supporting Vitamin D3 + K2 and 5 travel packs with your first purchase. https://drinkag1.com/nineclubLMNT: Grab a free Sample Pack with 8 flavors when you buy any drink mix or Sparkling. https://drinklmnt.com/nineclubWoodward: Save $100 off summer camp with code NINECLUB. Join Chris, Kelly, Jeron, and Roger at Woodward West Adult Camp, Aug 11-16. https://www.woodwardwest.com & https://www.woodwardpa.comBear Mattress: Delivered to your door with easy setup. Use code NINECLUB for 40% off your order. https://www.bearmattress.comMonster Energy: https://www.monsterenergy.comSkullcandy: https://www.skullcandy.comYeti: https://www.yeti.comEmerica: Get 10% off your purchase using our code NINECLUB or use our custom link. https://emerica.com/NINECLUB Find The Nine Club: Website: https://thenineclub.com Instagram: https://www.instagram.com/thenineclub X: https://www.twitter.com/thenineclub Facebook: https://www.facebook.com/thenineclub Discord: https://discord.gg/thenineclub Twitch: https://www.twitch.tv/nineclub Nine Club Clips: https://www.youtube.com/nineclubclips More Nine Club: https://www.youtube.com/morenineclub I'm Glad I'm Not Me: https://www.youtube.com/chrisroberts Chris Roberts: https://linktr.ee/Chrisroberts Timestamps (00:00:00) Yuri Facchini (00:02:31) Dual citizenship Brazillian and Italian (00:06:30) Where he grew up in Brazil (00:11:18) Sponsored at 14 (00:12:51) Getting hooked up with Blind Skateboards (00:14:48) First time to the states - Tampa Am (00:31:26) Blind then Almost (00:35:34) His Blind pro part turned into his welcome to Almost part (00:44:08) Skated for Almost for 5 years (00:46:51) Shake Junt entry point for getting on Deathwish Skateboards (00:54:28) Asking Jay Thorpe to get on (01:13:54) Getting a board with his name on it (01:18:49) Surviving with out a board sponsor for 2 years after Almost (01:20:07) Working with his friends clothing brand back in Brazil (01:27:31) Nine Club Classic 180 nose grind (01:37:29) What's he working on now? (01:45:05) Shifty flip at Dime Glory Challenge (01:56:03) What's a day in yuri's life like? Learn more about your ad choices. Visit megaphone.fm/adchoices

Adrian & Yuri sind back und haben die wichtigsten News der Woche für euch dabei: Intro (00:00) Überall Memes von performative Males?! (00:48) Rechtswidrige Durchsuchung bei SPD-Politikerin nach Anti-Merz-Graffiti (03:13) Die Kurznews der Woche (05:57) Neue Sanktionen für Russland? (07:57) Regierungskrise in Frankreich (13:53) Exklusive EInblicke ins funk-Netzwerktreffen in Mainz

Click the post for details on this episode! Welcome back to Open House! Randy Seidman here, with another two hours of the grooviest beats. Coming off an amazing couple weeks in the States. Thank you to everyone who made it out to the shows in LA, Seattle and Denver. This month is a busy one with upcoming gigs at Surf Club in Dubai, the DXB Boat Party in Istanbul, Sandai Music Festival in Korea, and back at home in Bangkok for another round at Mustache. Today's episode originally aired thirteen years ago, at #91 (back in September 2012), and included the recording of my fabled set at Terminal 5 in New York City, along with a stellar guest mix from the legendary Russian artist, Yuri Kane. For now, turn it up. Randy Seidman's WebsiteRandy Seidman's SoundCloudRandy Seidman's BeatportRandy Seidman's SpotifyRandy Seidman's FacebookRandy Seidman's Twitter Randy Seidman's Track List:01) Jean Claude Ades - My Journey (Jerome Isma-Ae Remix)02) Rashid Ajami & Haroun Hickman - Lets Be Free (Jerome Isma-Ae Remix)03) Kirsty Hawkshaw - A Million Stars (Save The Robot Remix / Randy Edit)04) Save The Robot - Compassionate Red City (Randy Seidman Edit)05) George Acosta feat. Fisher - True Love (Save The Robot Remix)06) Weekend Heros - Loura (Original Mix)07) Betsie Larkin & Sied Van Riel - The Offering (Save The Robot Remix)08) Dave202 - Purple Drops (Original Mix)09) Antillas - Damaged (Green & Falkner vs. Myon & Shane 54 / Randy Edit)10) Alex Sayz - Acid Kills (Original Mix)11) Fedde le Grand, Deniz Koyu & Johan Wedel - Turn it (Original Mix)12) Dada - Majestic 12 feat. The Other (Ted Nilsson Remix)13) Tom Colontonio - Reflection (Heatbeat Remix)14) Tempo Giusto - Dive Into The Echo (Mike Koglin Remix)15) Norin & Rad - Zion (Original Mix) I hope you enjoyed the first hour, as special throwback from thirteen years ago featuring my set recorded at Terminal 5 in NYC. Also included in this episode was a guest mix from the famous Russian-based artist, Yuri Kane. This musical monster blew up in 2009 with his production ‘Right Back' supported by legendary DJs including Pete Tong on ‘BBC Radio One.' And it was voted the best track of 2010 in Armin van Buuren's ‘A State of Trance' radio show. Following that success, Yuri recieved requests to do remixes for such labels as Flashover, Blackhole, Infrasonic, and for such producers as Matt Darey, Cosmic Gate, and many others. From Ministry of Sound compilations to radio play from the likes of Above & Beyond, Tiesto, and Myon & Shane 54 – he isn't slowing down anytime soon. Yuri Kane's SpotifyYuri Kane's SoundcloudYuri Kane's Beatport Yuri Kane's Track List:01) Sunleed - Suspended Animation (Johnny Yono Remix)02) Above & Beyond vs. Andy Moor - Air For Life (Norin & Rad Remix)03) The Blizzard & Yuri Kane feat. Relyk - Everything About You (Original Mix)04) Solis & Sean Truby feat. Fisher - Love Is The Answer (Yuri Kane Remix)05) Jaytech feat. Steve Smith - Stranger (Original Mix)06) Deepwide - Lacuna (The Madison Remix)07) Ronski Speed - Proton 12 (Ronski Speed & Cressida Mix)08) Neev Kennedy - One Step Behind (Vs Gal Abutbul)09) Lange feat. Stine Grove - Crossroads (Original Mix)10) Cosmic Gate - Perfect Stranger (Wezz Devall Remix) Randy Seidman · Open House 247 w/Randy (at Terminal 5, NYC) + Yuri Kane [Sep. 2025] - 13 Year Throwback

Giorgio Armani dejó una fortuna de más de 13 mil millones de dólares, pero no tenía hijos ni cónyuge así que la gran pregunta es ¿Quién heredará los millones? Aquí te lo contamos. Y además de El Gordo y La Flaca: Nueva York fue el escenario de una nueva entrega de los VMA's con un Ricky Martin que se robó el show. Te contamos todo lo que sucedió.Conversamos con varios famosos a su llegada al Aeropuerto de México y te contamos todos los chismecitos que nos nos encontramos allí. Las peleas entre Pepe Aguilar y su hijo están lejos de terminar y así se enfrentaron a través de las redes. 

Fluent Fiction - Korean: A Necklace of Memories: Jinsu's Heartfelt Chuseok Gift Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ko/episode/2025-09-06-22-34-02-ko Story Transcript:Ko: 서울 자연사 박물관은 항상 사람들로 붐빕니다.En: The Seoul Natural History Museum is always bustling with people.Ko: 가을의 서늘한 바람이 불어오는 추석 전날, 이곳은 더욱 분주했습니다.En: On the eve of Chuseok, with the cool autumn breeze blowing, the place was even busier.Ko: 진수는 박물관 기념품 가게를 찾고 있었습니다.En: Jinsu was looking for the museum gift shop.Ko: 이번 추석에는 특별한 선물을 가족에게 주고 싶었습니다.En: He wanted to give his family a special gift this Chuseok.Ko: 옆에는 그의 친구 유리가 있었습니다. 유리는 걱정 가득한 진수를 바라보며 미소 지었습니다.En: Beside him was his friend, Yuri, who smiled as she gazed at the worried Jinsu.Ko: “진수야, 너무 긴장하지 마. 마음에서 우러나오는 선물이 중요해,” 유리는 말했습니다.En: "Jinsu, don't be too nervous. The important thing is a gift that comes from the heart," Yuri said.Ko: 진수는 고개를 끄덕였지만 여전히 마음속으로는 걱정이 많았습니다.En: Jinsu nodded, but still had many worries inside.Ko: 운명처럼 그가 매우 원하던 한정판 유물 모형이 매진되었음을 알게 되었습니다.En: As if by fate, he learned that the limited edition artifact model he had truly wanted was sold out.Ko: 이 선물은 진수가 생각했던 이상적인 추석 선물이었지만, 이미 다른 이들이 그것을 다 사갔습니다.En: It was the ideal Chuseok gift Jinsu had thought of, but others had already bought them all.Ko: “어떻게 하지?” 진수는 당황스러워했습니다.En: "What should I do?" Jinsu was flustered.Ko: “음... 굳이 이곳에서 살 필요 있나?” 유리가 물었습니다.En: "Well... do you really need to buy it here?" Yuri asked.Ko: “어떤 의미 있는 걸 직접 만들어 보는 건 어때?”En: "How about making something meaningful yourself?"Ko: 그 순간 진수의 머릿속에 번쩍이는 아이디어가 떠올랐습니다.En: At that moment, a bright idea flashed in Jinsu's mind.Ko: “박물관의 다른 섹션에서 무엇을 만들 수 있을지 생각해볼까?”En: "Shall we think about what we can make in another section of the museum?"Ko: 그러자 진수는 유리와 함께 박물관을 둘러보았습니다.En: Then Jinsu and Yuri explored the museum together.Ko: 지질학 섹션에서는 다양한 색상의 아름다운 돌을 발견했습니다.En: In the geology section, they discovered beautiful stones of various colors.Ko: 진수는 이 돌들을 명절 상징의 목걸이로 만들기로 결심했습니다.En: Jinsu decided to make a necklace representing the holiday with these stones.Ko: 열심히 만든 목걸이를 유리는 옆에서 도와주었습니다.En: Yuri helped him beside him as he diligently worked on the necklace.Ko: 그런 다음, 진수는 새로 만든 목걸이를 보며 미소 지었습니다.En: Then, Jinsu smiled while looking at the newly made necklace.Ko: “이것이 바로 내가 찾던 거야,” 그는 말했습니다.En: "This is exactly what I was looking for," he said.Ko: 추석 날, 진수는 가족에게 손수 만든 목걸이를 선물했습니다.En: On Chuseok, Jinsu gifted the handmade necklace to his family.Ko: 분명 단순한 것처럼 보였지만, 가족 모두 그 의미를 깨닫고 눈물을 글썽였습니다.En: It seemed simple, but everyone realized its meaning and teared up.Ko: “이렇게 정성 들인 선물은 처음이야,” 어머니가 말했습니다.En: "This is the first time I've received such a heartfelt gift," his mother said.Ko: 그 순간 진수는 깨달았습니다. 선물의 가치는 그 희귀성에 있는 것이 아니라, 그것을 준비하는 데 쏟은 마음과 시간에 있다는 것을.En: At that moment, Jinsu realized that the value of a gift lies not in its rarity but in the heart and time invested in its preparation.Ko: 이날 이후로 진수는 가족 전통과 본인의 가치를 더 잘 이해하게 되었습니다.En: From that day on, Jinsu came to understand his family traditions and his own values better.Ko: 진수가 만든 목걸이는 가족의 소중한 보물이 되었고, 그 순간은 변함없는 가족의 추억으로 남게 되었습니다.En: The necklace made by Jinsu became a precious family treasure, and that moment became an enduring family memory. Vocabulary Words:bustling: 붐비다eve: 전날breeze: 바람artifact: 유물limited edition: 한정판flustered: 당황스러운meaningful: 의미 있는geology: 지질학necklace: 목걸이diligently: 열심히handmade: 손수 만든simple: 단순한heartfelt: 정성 들인rarity: 희귀성invested: 쏟은treasure: 보물enduring: 변함없는memory: 추억museum: 박물관gift shop: 기념품 가게worried: 걱정 가득한gazed: 바라보며ideal: 이상적인fate: 운명precious: 소중한family traditions: 가족 전통values: 가치cool: 서늘한beside: 옆에worries: 걱정

Artem is a 12-year-old Ukranian boy who likes to spend summer days on his grandfather's sunflower farm swimming with his younger brother, Yuri. But one night in February 2022, they hear sirens and bomb blasts – and soon, they're fleeing war. Sam Wachman's debut novel The Sunflower Boys was inspired by his ancestral ties to Ukraine and his experience volunteering with Ukrainian children. In today's episode, he joins NPR's Scott Simon for a conversation about national history, the boys he tutored, and the sense of mission behind his writing.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Bad Bunny sigue haciendo historia con su residencia en Puerto Rico que ya completa 24 fechas con lleno total. Ha tenido famosos invitados, pero hay un grupo de personas que se están robando el show. Te contamos de quiénes se trata.Y además en El Gordo y La Flaca: Christian Nodal y Ángela Aguilar quisieron evitar la prensa en un evento, pero lo que se armó fue un tremendo zafarrancho.Emiliano Aguilar habló sin pelos en la lengua sobre su padre: Pepe Aguilar y sobre sus dinámicas familiares.Continúa la batalla legal de Natalia Jiménez y su ex por la custodia de su hija. Además Cauhtemoc Blanco se defiende de varias acusaciones. Esto y más en los Chismex.A los 91 años falleció uno de los grandes diseñadores de la historia: Giorgio Armani. 

Co‑hosts Nick Ferguson and Steve Cieslewicz sit down with Chris Vetromile, Wildfire Mitigation Manager at Austin Energy, to unpack how a municipal utility in Central Texas is building a modern wildfire program. Chris traces his career path from California to Texas, then walks through the region's often‑overlooked wildfire risks and how they differ from the West Coast model. The conversation explores Austin Energy's preparation for potential state requirements around utility wildfire mitigation plans, the role of technology (including tools like Technosylva), and the way local vegetation—oak and juniper rather than pines—shapes tactics on the ground. Listeners get a look at operational readiness during red‑flag conditions, how wildfire risk is being woven into routine vegetation‑management cycles, the overlap with WUI codes and defensible‑space responsibilities, and how grid‑modernization efforts support prevention and response. The episode also tackles the politics of tree work after major storms like Yuri and Mara, and closes with Chris's practical advice for utilities standing up new programs in regions where wildfire is a newer concern. A big thank you to the sponsors of this episode, Clear Path Utility Solutions. 

Tremendo agarrón que se dio entre Alito Moreno, Fernández Noroña y el güey de verde. Se agarraron como niños de secu y nosotros nos divertimos como tal. Nuestro querido FacuFacundo rompe en llando en 'La Casa', le mandamos besos en la pelona. Yuri muestra su lado standupero y el 'compa Nata' abre debate sobre la pareja. 

 Subscribers! Be sure to go to the blog to read the description easier & check out links for this episode!Treat yourself or a loved one! TokyoTreat makes the perfect gift for any occasion. Use code "NOSTALGIA" for $5 off your first #TokyoTreat box through my link: https://team.tokyotreat.com/theanimenostalgiaThis month, I'm joined by friend and new voice to the show, Ashely Miami, to celebrate all things Dirty Pair, as the TV anime recently celebrated it's 40th Anniversary! We'll go through the franchise's history, Kei & Yuri's origins, and just why--40 years later--we still love the series. And yes, we will answer your burning questions on who we think is "best girl", and even our opinions on the cursed Kickstarter. Also in this episode: How we'd reboot the series, getting a little personal, and....anime tattoos?! Stream the episode or [Direct Download] Subscribe on apple podcasts | SpotifyRelevant links:Watch the Dirty Pair TV series free with ads in the USA on PlutoTV!Read a great essay on Adam Warren's Dirty Pair comics from Women Write About Comics!Buy Adam Warren's Dirty Pair comics on Amazon!Buy the first two original Dirty Pair novels in English on Amazon here and here!Follow Ashely Miami on Bluesky!See how you can get access to behind-the-scenes stuff, early access to the podcast (without ads!), and a BRAND NEW subscriber exclusive podcast with my new Ko-fi Subscriptions!My theme song music was done by Kerobit! You can find more about them on their website!As always, feel free to leave me your thoughts on this episode or ideas for future episodes here—or email me directly at AnimeNostalgiaPodcast@gmail.com. Thanks for listening!

Seguramente recuerdan la canción «El Apagón» interpretada por Yuri, pero en realidad se hizo famosa en los años 40 con Toña la Negra. Hoy les platico la historia de esa canción y sus peculiares mensajes alusivos a la guerra. Celebramos un año más de los Tratados de Córdoba y, claro, no pueden faltar en nuestra mesa los chiles en nogada. ¿Y saben quién le puso Tohuí al osito panda del Zoológico de Chapultepec?

For more of my latest content, subscribe to my YouTube channel, Dark Asia with Megan and join our awesome community. Your support means everything, and I can't wait to share more Asian cases with you! On Other Platforms: • TikTok: https://www.tiktok.com/@darkasiawithmegan • Instagram: https://www.instagram.com/darkasiawithmegan • Facebook: https://www.facebook.com/darkasiameganlee

Yuri seals Battlehawk inside Hawknest after Battletank picks up a bomb while investigating a ZEAF.Intro special guest: Nicola Bryant.

Send us a textEpisode 563 "Stranger Things" Actor: Nikola Djuricko | (Yuri Ismaylov) Stranger Things Talk begins here: 47:00This is Nikola Djuricko's second podcast. His first was with Bert Kreischer #bertkreischer Nikola and I talk about so much. Acting, Serbia, his American Movie and Television influences, adapting to America #tbd and so much more. We end the interview (about 50 minutes) talking Stranger Things. We talk about Yuri's Redemption Arc, Why he (Yuri) saved Season 4, why Yuri brought us so much joy after dealing with the tragic passing of Eddie Munson and the awesome fans of Stranger Things.  #strangerthings  #strangerthings4  #strangerthingsedits  #strangerthings3  #strangerthings2  #strangerthings1  #nikoladjuricko #interview  #serbia  #serbian  #nikolajokic  #novakdjokovic  #dufferbrothers  #vecna  #jamiecampbellbower  #winonaryder  #hopper  #davidharbour #eleven #milliebobbybrown #finnwolfhard #joekerry #eddiemunson #strangerthingsfans Welcome, Nikola DjurickoReach out to Darek Thomas and Monday Morning Critic!Instagram: https://www.instagram.com/mondaymorningcritic/Facebook: https://www.facebook.com/mondaymorningcritic/TikTok: https://www.tiktok.com/@mondaymorningcriticMondaymorningcritic@gmail.com

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists.   In this two-part series of Oakland Asian Cultural Center's “Let's Talk” podcast Eastside Arts Alliance is featured. Elena Serrano and Susanne Takehara, two of the founders of Eastside Arts Alliance, and staff member Aubrey Pandori will discuss the history that led to the formation of Eastside and their deep work around multi-racial solidarity.   Transcript: Let's Talk podcast episode 9  [00:00:00] Emma: My name is Emma Grover, and I am the program and communications coordinator at the Oakland Asian Cultural Center, known also as OACC. Today we are sharing the ninth episode of our Let's Talk Audio Series. Let's Talk is part of OACC'S Open Ears for Change Initiative, which was established in 2020. With this series, our goals are to address anti-Blackness in the APIA communities, discuss the effects of colorism and racism in a safe space, and highlight Black and Asian solidarity and community efforts specifically in the Oakland Chinatown area. Today's episode is a round table discussion with Elena Serrano, Susanne Takahara, and Aubrey Pandori of Eastside Arts Alliance.  [00:00:53] Aubrey: Hello everybody. This is Aubrey from Eastside Arts Alliance, and I am back here for the second part of our Let's Talk with Suzanne and Elena. We're gonna be talking about what else Eastside is doing right now in the community. The importance of art in activism, and the importance of Black and Asian solidarity in Oakland and beyond.  So I am the community archivist here at Eastside Arts Alliances. I run CARP, which stands for Community Archival Resource Project. It is a project brought on by one of our co-founders, Greg Morozumi. And it is primarily a large chunk of his own collection from over the years, but it is a Third World archive with many artifacts, journals, pens, newspapers from social movements in the Bay Area and beyond, international social movements from the 1960s forward. We do a few different programs through CARP. I sometimes have archival exhibitions. We do public engagement through panels, community archiving days. We collaborate with other community archives like the Bay Area Lesbian Archives and Freedom Archives here in Oakland and the Bay Area. And we are also working on opening up our Greg Morozumi Reading Room in May. So that is an opportunity for people to come in and relax, read books, host reading groups, or discussions with their community. We're also gonna be opening a lending system so people are able to check out books to take home and read. There'll be library cards coming soon for that and other fun things to come.  [00:02:44] So Suzanne, what are you working on at Eastside right now? [00:02:48] Susanne: Well, for the past like eight or nine years I've been working with Jose Ome Navarrete and Debbie Kajiyama of NAKA Dance Theater to produce Live Arts and Resistance (LAIR), which is a Dance Theater Performance series. We've included many artists who, some of them started out here at Eastside and then grew to international fame, such as Dohee Lee, and then Amara Tabor-Smith has graced our stages for several years with House Full of Black Women. This year we're working with Joti Singh on Ghadar Geet: Blood and Ink, a piece she choreographed, and shot in film and it's a multimedia kind of experience. We've worked with Cat Brooks and many emerging other artists who are emerging or from all over, mostly Oakland, but beyond. It's a place where people can just experiment and not worry about a lot of the regulations that bigger theaters have. Using the outside, the inside, the walls, the ceiling sometimes. It's been an exciting experience to work with so many different artists in our space.  [00:04:03] Elena: And I have been trying to just get the word out to as many different folks who can help sustain the organization as possible about the importance of the work we do here. So my main job with Eastside has been raising money. But what we're doing now is looking at cultural centers like Eastside, like Oakland Asian Cultural Center, like the Malonga Casquelord Center, like Black Cultural Zone, like the Fruitvale Plaza and CURJ's work. These really integral cultural hubs. In neighborhoods and how important those spaces are.  [00:04:42] So looking at, you know, what we bring to the table with the archives, which serve the artistic community, the organizing community. There's a big emphasis, and we had mentioned some of this in the first episode around knowing the history and context of how we got here so we can kind of maneuver our way out. And that's where books and movies and posters and artists who have been doing this work for so long before us come into play in the archives and then having it all manifest on the stage through programs like LAIR, where theater artists and dancers and musicians, and it's totally multimedia, and there's so much information like how to keep those types of places going is really critical.  [00:05:28] And especially now when public dollars have mostly been cut, like the City of Oakland hardly gave money to the arts anyway, and they tried to eliminate the entire thing. Then they're coming back with tiny bits of money. But we're trying to take the approach like, please, let's look at where our tax dollars go. What's important in a neighborhood? What has to stay and how can we all work together to make that happen?  [00:05:52] Susanne: And I want to say that our Cultural Center theater is a space that is rented out very affordably to not just artists, but also many organizations that are doing Movement work, such as Palestinian Youth Movement, Bala, Mujeres Unidas Y Activas, QT at Cafe Duo Refugees, United Haiti Action Committee, Freedom Archives, Oakland Sin Fronteras, Center for CPE, and many artists connected groups.  [00:06:22] Aubrey: Yeah, I mean, we do so much more than what's in the theater and Archive too, we do a lot of different youth programs such as Girl Project, Neighborhood Arts, where we do public murals. One of our collective members, Angie and Leslie, worked on Paint the Town this past year. We also have our gallery in between the Cultural Center and Bandung Books, our bookstore, which houses our archive. We are celebrating our 25th anniversary exhibition.  [00:06:54] Susanne: And one of the other exhibits we just wrapped up was Style Messengers, an exhibit of graffiti work from Dime, Spy and Surge, Bay Area artists and Surge is from New York City, kind of illustrating the history of graffiti and social commentary.  [00:07:30] Elena: We are in this studio here recording and this is the studio of our youth music program Beats Flows, and I love we're sitting here with this portrait of Amiri Baraka, who had a lot to say to us all the time. So it's so appropriate that when the young people are in the studio, they have this elder, magician, poet activist looking at him, and then when you look out the window, you see Sister Souljah, Public Enemy, and then a poster we did during, when Black Lives Matter came out, we produced these posters that said Black Power Matters, and we sent them all over the country to different sister cultural centers and I see them pop up somewhere sometimes and people's zooms when they're home all over the country. It's really amazing and it just really shows when you have a bunch of artists and poets and radical imagination, people sitting around, you know, what kind of things come out of it. [00:08:31] Aubrey: I had one of those Black Power Matters posters in my kitchen window when I lived in Chinatown before I worked here, or visited here actually. I don't even know how I acquired it, but it just ended up in my house somehow.  [00:08:45] Elena: That's perfect. I remember when we did, I mean we still do, Malcolm X Jazz Festival and it was a young Chicana student who put the Jazz Festival poster up and she was like, her parents were like, why is Malcolm X? What has that got to do with anything? And she was able to just tell the whole story about Malcolm believing that people, communities of color coming together  is a good thing. It's a powerful thing. And it was amazing how the festival and the youth and the posters can start those kind of conversations.  [00:09:15] Aubrey: Malcolm X has his famous quote that says “Culture is an indispensable weapon in the freedom struggle.” And Elena, we think a lot about Malcolm X and his message here at Eastside about culture, but also about the importance of art. Can we speak more about the importance of art in our activism?  [00:09:35] Elena: Well, that was some of the things we were touching on around radical imagination and the power of the arts. But where I am going again, is around this power of the art spaces, like the power of spaces like this, and to be sure that it's not just a community center, it's a cultural center, which means we invested in sound good, sound good lighting, sprung floors. You know, just like the dignity and respect that the artists and our audiences have, and that those things are expensive but critical. So I feel like that's, it's like to advocate for this type of space where, again, all those groups that we listed off that have come in here and there's countless more. They needed a space to reach constituencies, you know, and how important that is. It's like back in the civil rights organizing the Black church was that kind of space, very important space where those kind of things came together. People still go to church and there's still churches, but there's a space for cultural centers and to have that type of space where artists and activists can come together and be more powerful together.  [00:10:50] Aubrey: I think art is a really powerful way of reaching people. [00:10:54] Elena: You know, we're looking at this just because I, being in the development end, we put together a proposal for the Environmental Protection Agency before Donald (Trump) took it over. We were writing about how important popular education is, so working with an environmental justice organization who has tons of data about how impacted communities like East Oakland and West Oakland are suffering from all of this, lots of science. But what can we, as an arts group, how can we produce a popular education around those things? And you know, how can we say some of those same messages in murals and zines, in short films, in theater productions, you know, but kind of embracing that concept of popular education. So we're, you know, trying to counter some of the disinformation that's being put out there too with some real facts, but in a way that, you know, folks can grasp onto and, and get.  [00:11:53] Aubrey: We recently had a LAIR production called Sky Watchers, and it was a beautiful musical opera from people living in the Tenderloin, and it was very personal. You were able to hear about people's experiences with poverty, homelessness, and addiction in a way that was very powerful. How they were able to express what they were going through and what they've lost, what they've won, everything that has happened in their lives in a very moving way. So I think art, it's, it's also a way for people to tell their stories and we need to be hearing those stories. We don't need to be hearing, I think what a lot of Hollywood is kind of throwing out, which is very white, Eurocentric beauty standards and a lot of other things that doesn't reflect our neighborhood and doesn't reflect our community. So yeah, art is a good way for us to not only tell our stories, but to get the word out there, what we want to see changed.  So our last point that we wanna talk about today is the importance of Black and Asian solidarity in Oakland. How has that been a history in Eastside, Suzanne?  [00:13:09] Susanne: I feel like Eastside is all about Third World solidarity from the very beginning. And Yuri Kochiyama is one of our mentors through Greg Morozumi and she was all about that. So I feel like everything we do brings together Black, Asian and brown folks. [00:13:27] Aubrey: Black and Asian solidarity is especially important here at Eastside Arts Alliance. It is a part of our history. We have our bookstore called Bandung Books for a very specific reason, to give some history there. So the Bandung Conference happened in 1955 in Indonesia, and it was the first large-scale meeting of Asian and African countries. Most of which were newly independent from colonialism. They aimed to promote Afro-Asian cooperation and rejection of colonialism and imperialism in all nations. And it really set the stage for revolutionary solidarity between colonized and oppressed people, letting way for many Third Worlds movements internationally and within the United States.  [00:14:14] Eastside had an exhibition called Bandung to the Bay: Black and Asian Solidarity at Oakland Asian Cultural Center the past two years in 2022 and 2023 for their Lunar New Year and Black History Month celebrations. It highlighted the significance of that conference and also brought to light what was happening in the United States from the 1960s to present time that were creating and building solidarity between Black and Asian communities. The exhibition highlighted a number of pins, posters, and newspapers from the Black Liberation Movement and Asian American movement, as well as the broader Third World movement. The Black Panthers were important points of inspiration in Oakland, in the Bay Area in getting Asian and Pacific Islanders in the diaspora, and in their homelands organized.  [00:15:07] We had the adoption of the Black Panthers 10-point program to help shape revolutionary demands and principles for people's own communities like the Red Guard in San Francisco's Chinatown, IWK in New York's Chinatown and even the Polynesian Panthers in New Zealand. There were so many different organizations that came out of the Black Panther party right here in Oakland. And we honor that by having so many different 10-point programs up in our theater too. We have the Brown Berets, Red Guard Party, Black Panthers, of course, the American Indian Movement as well. So we're always thinking about that kind of organizing and movement building that has been tied here for many decades now.  [00:15:53] Elena: I heard that the term Third World came from the Bandung conference. [00:15:58] Aubrey: Yes, I believe that's true.  [00:16:01] Elena: I wanted to say particularly right now, the need for specifically Black Asian solidarity is just, there's so much misinformation around China coming up now, especially as China takes on a role of a superpower in the world. And it's really up to us to provide some background, some other information, some truth telling, so folks don't become susceptible to that kind of misinformation. And whatever happens when it comes from up high and we hate China, it reflects in Chinatown. And that's the kind of stereotyping that because we have been committed to Third World solidarity and truth telling for so long, that that's where we can step in and really, you know, make a difference, we hope. I think the main point is that we need to really listen to each other, know what folks are going through, know that we have more in common than we have separating us, especially in impacted Black, brown, Asian communities in Oakland. We have a lot to do.  [00:17:07] Aubrey: To keep in contact with Eastside Arts Alliance, you can find us at our website: eastside arts alliance.org, and our Instagrams at Eastside Cultural and at Bandung Books to stay connected with our bookstore and CArP, our archive, please come down to Eastside Arts Alliance and check out our many events coming up in the new year. We are always looking for donations and volunteers and just to meet new friends and family.  [00:17:36] Susanne: And with that, we're gonna go out with Jon Jang's “The Pledge of Black Asian Alliance,” produced in 2018.  [00:18:29] Emma: This was a round table discussion at the Eastside Arts Alliance Cultural Center with staff and guests: Elena, Suzanne and Aubrey.  Let's Talk Audio series is one of OACC'S Open Ears for Change projects and as part of the Stop the Hate Initiative with funds provided by the California Department of Social Services in consultation with the commission of Asian and Pacific Islander American Affairs to administer $110 million allocated over three years to community organizations. These organizations provide direct services to victims of hate and their families and offer prevention and intervention services to tackle hate in our communities. This episode is a production of the Oakland Asian Cultural Center with engineering, editing, and sound design by Thick Skin Media.  [00:19:18] A special thanks to Jon Jang for permission to use his original music. And thank you for listening.  [00:19:32] Music: Life is not what you alone make it. Life is the input of everyone who touched your life and every experience that entered it. We are all part of one another. Don't become too narrow, live fully, meet all kinds of people. You'll learn something from everyone. Follow what you feel in your heart. OACC Podcast [00:00:00] Emma: My name is Emma Grover, and I am the program and communications coordinator at the Oakland Asian Cultural Center, known also as OACC. Today we are sharing the eighth episode of our Let's Talk audio series. Let's talk as part of OACC's Open Ears for Change Initiative, which was established in 2020. With this series, our goals are to address anti-blackness in the APIA communities, discuss the effects of colorism and racism in a safe space, and highlight black and Asian solidarity and community efforts specifically in the Oakland Chinatown area.   [00:00:43] Today's guests are Elena Serrano and Suzanne Takahara, co-founders of Eastside Arts Alliance. Welcome Elena and Suzanne, thank you so much for joining today's episode. And so just to kick things off, wanna hear about how was Eastside Arts Alliance started?   [00:01:01] Susanne: Well, it was really Greg Morozumi who had a longstanding vision of creating a cultural center in East Oakland, raised in Oakland, an organizer in the Bay Area, LA, and then in New York City where he met Yuri Kochiyama, who became a lifelong mentor.   [00:01:17] Greg was planning with one of Yuri's daughters, Ichi Kochiyama to move her family to Oakland and help him open a cultural center here. I met Greg in the early nineties and got to know him during the January, 1993 “No Justice, No Peace” show at Pro Arts in Oakland. The first Bay Graffiti exhibition in the gallery. Greg organized what became a massive anti-police brutality graffiti installation created by the TDDK crew. Graffiti images and messages covered the walls and ceiling complete with police barricades. It was a response to the Rodney King protests. The power of street art busted indoors and blew apart the gallery with political messaging. After that, Greg recruited Mike Dream, Spy, and other TDK writers to help teach the free art classes for youth that Taller Sin Fronteras was running at the time.   [00:02:11] There were four artist groups that came together to start Eastside. Taller Sin Fronteras was an ad hoc group of printmakers and visual artists activists based in the East Bay. Their roots came out of the free community printmaking, actually poster making workshops that artists like Malaquias Montoya and David Bradford organized in Oakland in the early 70s and 80s.   [00:02:34] The Black Dot Collective of poets, writers, musicians, and visual artists started a popup version of the Black Dot Cafe. Marcel Diallo and Leticia Utafalo were instrumental and leaders of this project. 10 12 were young digital artists and activists led by Favianna Rodriguez and Jesus Barraza in Oakland. TDK is an Oakland based graffiti crew that includes Dream, Spie, Krash, Mute, Done Amend, Pak and many others evolving over time and still holding it down.   [00:03:07] Elena: That is a good history there. And I just wanted to say that me coming in and meeting Greg and knowing all those groups and coming into this particular neighborhood, the San Antonio district of Oakland, the third world aspect of who we all were and what communities we were all representing and being in this geographic location where those communities were all residing. So this neighborhood, San Antonio and East Oakland is very third world, Black, Asian, Latinx, indigenous, and it's one of those neighborhoods, like many neighborhoods of color that has been disinvested in for years. But rich, super rich in culture.   [00:03:50] So the idea of a cultural center was…let's draw on where our strengths are and all of those groups, TDKT, Taller Sin Fronters, Black artists, 10 – 12, these were all artists who were also very engaged in what was going on in the neighborhoods. So artists, organizers, activists, and how to use the arts as a way to lift up those stories tell them in different ways. Find some inspiration, ways to get out, ways to build solidarity between the groups, looking at our common struggles, our common victories, and building that strength in numbers.   [00:04:27] Emma: Thank you so much for sharing. Elena and Suzanne, what a rich and beautiful history for Eastside Arts Alliance.   [00:04:34] Were there any specific political and or artistic movements happening at that time that were integral to Eastside's start?   [00:04:41] Elena: You know, one of the movements that we took inspiration from, and this was not happening when Eastside got started, but for real was the Black Panther Party. So much so that the Panthers 10-point program was something that Greg xeroxed and made posters and put 'em up on the wall, showing how the 10-point program for the Panthers influenced that of the Young Lords and the Brown Berets and I Wor Kuen (IWK).   [00:05:07] So once again, it was that Third world solidarity. Looking at these different groups that were working towards similar things, it still hangs these four posters still hang in our cultural, in our theater space to show that we were all working on those same things. So even though we came in at the tail end of those movements, when we started Eastside, it was very much our inspiration and what we strove to still address; all of those points are still relevant right now.   [00:05:36] Susanne: So that was a time of Fight The Power, Kaos One and Public Enemy setting. The tone for public art murals, graphics, posters. So that was kind of the context for which art was being made and protests happened.   [00:05:54] Elena: There was a lot that needed to be done and still needs to be done. You know what? What the other thing we were coming on the tail end of and still having massive repercussions was crack. And crack came into East Oakland really hard, devastated generations, communities, everything, you know, so the arts were a way for some folks to still feel power and feel strong and feel like they have agency in the world, especially hip hop and, spray can, and being out there and having a voice and having a say, it was really important, especially in neighborhoods where things had just been so messed up for so long.   [00:06:31] Emma: I would love to know also what were the community needs Eastside was created to address, you know, in this environment where there's so many community needs, what was Eastside really honing in on at this time?   [00:06:41] Elena: It's interesting telling our story because we end up having to tell so many other stories before us, so things like the, Black Arts movement and the Chicano Arts Movement. Examples of artists like Amiri Baraka, Malaguias Montoya, Sonya Sanchez. Artists who had committed themselves to the struggles of their people and linking those two works. So we always wanted to have that. So the young people that we would have come into the studio and wanna be rappers, you know, it's like, what is your responsibility?   [00:07:15] You have a microphone, you amplify. What are some of the things you're saying? So it was on us. To provide that education and that backstory and where they came from and the footsteps we felt like they were in and that they needed to keep moving it forward. So a big part of the cultural center in the space are the archives and all of that information and history and context.   [00:07:37] Susanne: And we started the Malcolm X Jazz Arts Festival for that same reason coming out of the Bandung Conference. And then the Tri Continental, all of this is solidarity between people's movements.   [00:07:51] Emma: You've already talked about this a little bit, the role of the arts in Eastside's foundation and the work that you're doing, and I'd love to hear also maybe how the role of the arts continues to be important in the work that you're doing today as a cultural center.   [00:08:04] And so my next question to pose to you both is what is the role of the arts at Eastside?   [00:08:10] Elena: So a couple different things. One, I feel like, and I said a little bit of this before, but the arts can transmit messages so much more powerfully than other mediums. So if you see something acted out in a theater production or a song or a painting, you get that information transmitted in a different way.   [00:08:30] Then also this idea of the artists being able to tap into imagination and produce images and visions and dreams of the future. This kind of imagination I just recently read or heard because folks aren't reading anymore or hardly reading that they're losing their imagination. What happens when you cannot even imagine a way out of things?   [00:08:54] And then lastly, I just wanted to quote something that Favianna Rodriguez, one of our founders always says “cultural shift precedes political shift.” So if you're trying to shift things politically on any kind of policy, you know how much money goes to support the police or any of these issues. It's the cultural shift that needs to happen first. And that's where the cultural workers, the artists come in.   [00:09:22] Susanne: And another role of Eastside in supporting the arts to do just that is honoring the artists, providing a space where they can have affordable rehearsal space or space to create, or a place to come safely and just discuss things that's what we hope and have created for the Eastside Cultural Center and now the bookstore and the gallery. A place for them to see themselves and it's all um, LGBTA, BIPOC artists that we serve and honor in our cultural center. To that end, we, in the last, I don't know, 8, 9 years, we've worked with Jose Navarrete and Debbie Kajiyama of Naka Dance Theater to produce live arts and resistance, which gives a stage to emerging and experienced performance artists, mostly dancers, but also poets, writers, theater and actors and musicians.   [00:10:17] Emma: The last question I have for you both today is what is happening in the world that continues to call us to action as artists?   [00:10:27] Elena: Everything, everything is happening, you know, and I know things have always been happening, but it seems really particularly crazy right now on global issues to domestic issues. For a long time, Eastside was um, really focusing in on police stuff and immigration stuff because it was a way to bring Black and brown communities together because they were the same kind of police state force, different ways.   [00:10:54] Now we have it so many different ways, you know, and strategies need to be developed. Radical imagination needs to be deployed. Everyone needs to be on hand. A big part of our success and our strength is organizations that are not artistic organizations but are organizing around particular issues globally, locally come into our space and the artists get that information. The community gets that information. It's shared information, and it gives us all a way, hopefully, to navigate our way out of it.   [00:11:29] Susanne: The Cultural Center provides a venue for political education for our communities and our artists on Palestine, Haiti, Sudan, immigrant rights, prison abolition, police abolition, sex trafficking, and houselessness among other things.   [00:11:46] Elena: I wanted to say too, a big part of what's going on is this idea of public disinvestment. So housing, no such thing as public housing, hardly anymore. Healthcare, education, we're trying to say access to cultural centers. We're calling that the cultural infrastructure of neighborhoods. All of that must be continued to be supported and we can't have everything be privatized and run by corporations. So that idea of these are essential things in a neighborhood, schools, libraries, cultural spaces, and you know, and to make sure cultural spaces gets on those lists.   [00:12:26] Emma: I hear you. And you know, I think every category you brought up, actually just now I can think of one headline or one piece of news recently that is really showing how critically these are being challenged, these basic rights and needs of the community. And so thank you again for the work that you're doing and keeping people informed as well. I think sometimes with all the news, both globally and, and in our more local communities in the Bay Area or in Oakland. It can be so hard to know what actions to take, what tools are available. But again, that's the importance of having space for this type of education, for this type of activism. And so I am so grateful that Eastside exists and is continuing to serve our community in this way.   What is Eastside Arts Alliance up to today? Are there any ways we can support your collective, your organization, what's coming up?   [00:13:18] Elena: Well, this is our 25th anniversary. So the thing that got us really started by demonstrating to the community what a cultural center was, was the Malcolm X Jazz Arts Festival, and that this year will be our 25th anniversary festival happening on May 17th.   [00:13:34] It's always free. It's in San Antonio Park. It's an amazing day of organizing and art and music, multi-generational. It's beautiful. It's a beautiful day. Folks can find out. We have stuff going on every week. Every week at the cultural center on our website through our socials. Our website is Eastside Arts alliance.org, and all the socials are there and there's a lot of information from our archives that you can look up there. There's just just great information on our website, and we also send out a newsletter.   [00:14:07] Emma: Thank you both so much for sharing, and I love you bringing this idea, but I hear a lot of arts and activism organizations using this term radical imagination and how it's so needed for bringing forth the future that we want for ourselves and our future generations.   [00:14:24] And so I just think that's so beautiful that Eastside creates that space, cultivates a space where that radical imagination can take place through the arts, but also through community connections. Thank you so much Elena and Suzanne for joining us today.   [00:14:40] Susanne: Thank you for having us.   [00:15:32] Emma: Let's Talk Audio series is one of OACC'S Open Ears for Change projects and is part of the Stop the Hate Initiative with funds provided by the California Department of Social Services. In consultation with the commission of Asian and Pacific Islander American Affairs to administer $110 million allocated over three years to community organizations. These organizations provide direct services to victims of hate and their families, and offer prevention and intervention services to tackle hate in our communities.   This episode is a production of the Oakland Asian Cultural Center with engineering, editing, and sound design by Thick Skin Media. A special thanks to Jon Jang for permission to use his original music, and thank you for listening.   [00:16:34] Music: Life is not what you alone make it. Life is the input of everyone who touched your life and every experience that entered it. We are all part of one another. Don't become too narrow. Live fully, meet all kinds of people. You'll learn something from everyone. Follow what you feel in your heart. The post APEX Express – August 14, 2025 appeared first on KPFA.

¿Tus clientes no compran aunque te sigan en redes? Descubre el verdadero enemigo que frena tu negocio y por qué tu contenido no logra convertir. Aprende la clave para que cada reel, historia y publicación trabaje por ti y te genere ventas mientras duermes.

Buy Merch Here!  https://otamerch.shop/ Playlist of music: https://www.youtube.com/playlist?list=PLp6uXoGNUwk9Tq0NWOwaCLGruX0XdVBfd Each week we aim to bring together the biggest events in Vtubing and talk about what's been going on. Stop by, hang out, and let's catch up with us! Join this discord : https://discord.gg/wFMcTGHWGJ Follow here for updates: https://twitter.com/SuperChatsPod Shorts over here: https://www.tiktok.com/@superchatspod 00:00:00 Intro 00:04:41 Marine's Birthday 3D Live 00:16:42 Elizabeth 3D Showcase 00:27:33 Gigi 3D Showcase 00:47:06 PP Debut 00:51:25 Valentia Seeker Debut 00:54:43 Icey 2.0 00:58:00 Shibi 2.0 01:01:33 Immy 2.0 01:06:01 VAllure Group ASMR 01:07:39 Shibi Plushie 01:10:25 Advent Lore Videos 01:13:28 Ironmouse Anniversary 01:15:24 Shylily Update 01:19:08 Outfits 01:24:16 Sakura Miko Weakest Tournament 01:26:23 Bad News Corner 01:30:38 Hololive at Taipei Dome 01:31:42 DC Here We Come 01:32:27 Stronny's Next Relay 01:34:49 More Upcoming 01:37:48 Marine Suki Suki Diesuki 01:38:58 Fuwamoco Lifetime Showtime 01:40:11 Advent Genesis 01:41:29 Kanade I'm Gonna Go 01:42:42 Monitoring Covers 01:44:23 Yuri x Hajime DAIDAIDAIDAIDAIKIRAI 01:45:42 Pan x Hakka CHECK 01:46:17 Momoiro Clover Z 01:47:56 Michi Everything I Wanted 01:49:23 Laplus ASMR Fun 01:53:58 GXAura Pokemon Emerald 01:59:39 Bae's Gundam 02:00:33 Nimi Animal Revolt 02:01:06 We Love Yena 02:02:05 Dr Nova is Glue 02:03:08 REM Prison Escape 02:05:37 Phase A/Lure 02:09:00 Rie Sausage in Bun 02:11:13 Rambling 02:14:11 Nimi The King is Watching 02:15:16 Bri's Balls 02:17:41 Comments

Hilarious and multi-talented, Yuri Lamasbella—actress, content creator, and queen of Kardashian parodies, joins us for a conversation that's equal parts real and ridiculous (in the best way). From her start as a beauty YouTuber to becoming a viral comedic voice, Yuri has carved out a space where pop culture, humor, and now motherhood collide. We dive into her creative evolution, the beautiful chaos of new mom life, and why self-care isn't selfish (yes, that oxygen mask metaphor applies here too). It's a candid, heartfelt, and laugh-out-loud episode about staying grounded in creativity, community, and comedy.

Live stream with Yuri Rashkin. ----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtain----------TRUSTED CHARITIES ON THE GROUND:Save Ukrainehttps://www.saveukraineua.org/Superhumans - Hospital for war traumashttps://superhumans.com/en/UNBROKEN - Treatment. Prosthesis. Rehabilitation for Ukrainians in Ukrainehttps://unbroken.org.ua/Come Back Alivehttps://savelife.in.ua/en/Chefs For Ukraine - World Central Kitchenhttps://wck.org/relief/activation-chefs-for-ukraineUNITED24 - An initiative of President Zelenskyyhttps://u24.gov.ua/Serhiy Prytula Charity Foundationhttps://prytulafoundation.orgNGO “Herojam Slava”https://heroiamslava.org/kharpp - Reconstruction project supporting communities in Kharkiv and Przemyślhttps://kharpp.com/NOR DOG Animal Rescuehttps://www.nor-dog.org/home/----------

Yago Rudá, Gabriel Oliveira e Careca Bertaglia analisam a escalação do Corinthians para o clássico contra o Palmeiras, pelas oitavas de final da Copa do Brasil. Dorival Júnior aposta no trio Garro, Memphis e Yuri Alberto, que volta a atuar junto após quatro meses. A dupla de zaga será formada por André Ramalho e Gustavo Henrique, enquanto Matheuzinho e Bidu retornam às laterais. O trio do GE debate o provável time, as expectativas para o Dérbi em Itaquera e os caminhos para o Timão largar na frente no mata-mata. Dá o play!

“Oh, how it's been so long! We're so sorry we've been gone!” Life has been really life-ing lately, but we're glad to be back with the next installment discussing King of Scars. Leigh has been hard at work and has given us much to be excited about!Every man deserves to be punished by Zoya specifically Nikolai's compassion for other people is one of his best qualities Nina finds closure and an accidental date Julianna makes a joke that almost kills Geoff, and it's not even on purpose Fun Segment: Set the Scene: Superstore edition Question of the week: Who do you think is more dangerous: Yuri or the Appaprat?

BAM! A double dose of Into the Fold! We're so happy to finally be putting out episodes again. Thank you so much to everyone for sticking with us while we've been getting ourselves together. Julianna is going to see Leigh Bardugo IRL, even if Geoff has to pay for it Zoya and Yuri are probably not going to become besties… probably…Nina may not know she's falling for Hana, but we do Isaak should qualify for sainthood because he didn't ask for any of this Fun segment: One Word StoriesQuestion of the week: Would you be willing to do Isaak's job and impersonate Nikolai?

A varios cantantes de corridos tumbados se les han cancelado sus visas de trabajo y no pueden presentarse en los Estados Unidos. Pero la de Natanael Cano fue negada por falsedad de documento. Te contamos todos los peculiares detalles.Y además en El Gordo y La Flaca: El reguetonero Luar La L protagonizó un escándalo en España durante una presentación en un festival. A varios cantantes de corridos tumbados se les han cancelado sus visas de trabajo y no pueden presentarse en los Estados Unidos.

On this episode, I talk with an old friend and co-worker, Yuri, about his journey as a father of his 4-year-old son. We talk about his marriage of 5 years, his son and their journey as a young family. #daddyconfessions #dadlife #dadlifematters #neurodivergent #parenting #dadsperspective

Live stream with Yuri Rashkin. ----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtain----------TRUSTED CHARITIES ON THE GROUND:Save Ukrainehttps://www.saveukraineua.org/Superhumans - Hospital for war traumashttps://superhumans.com/en/UNBROKEN - Treatment. Prosthesis. Rehabilitation for Ukrainians in Ukrainehttps://unbroken.org.ua/Come Back Alivehttps://savelife.in.ua/en/Chefs For Ukraine - World Central Kitchenhttps://wck.org/relief/activation-chefs-for-ukraineUNITED24 - An initiative of President Zelenskyyhttps://u24.gov.ua/Serhiy Prytula Charity Foundationhttps://prytulafoundation.orgNGO “Herojam Slava”https://heroiamslava.org/kharpp - Reconstruction project supporting communities in Kharkiv and Przemyślhttps://kharpp.com/NOR DOG Animal Rescuehttps://www.nor-dog.org/home/----------

This week, Aaron and Leyla try to unpack a confusing reading on artificial intelligence with M3gan 2.0! Join us for discussions of friend-shaped robots, strangely consistent paperclip motifs, and the desire to just go wahoo.  --- Our theme song is "Obsolete" by Keshco, from the album "Filmmaker's Reference Kit Volume 2." Our other projects: Aaron's TTRPGs Aaron's TTRPG Reviews aavoigt.com

Live stream with Yuri Rashkin. ----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtain----------TRUSTED CHARITIES ON THE GROUND:Save Ukrainehttps://www.saveukraineua.org/Superhumans - Hospital for war traumashttps://superhumans.com/en/UNBROKEN - Treatment. Prosthesis. Rehabilitation for Ukrainians in Ukrainehttps://unbroken.org.ua/Come Back Alivehttps://savelife.in.ua/en/Chefs For Ukraine - World Central Kitchenhttps://wck.org/relief/activation-chefs-for-ukraineUNITED24 - An initiative of President Zelenskyyhttps://u24.gov.ua/Serhiy Prytula Charity Foundationhttps://prytulafoundation.orgNGO “Herojam Slava”https://heroiamslava.org/kharpp - Reconstruction project supporting communities in Kharkiv and Przemyślhttps://kharpp.com/NOR DOG Animal Rescuehttps://www.nor-dog.org/home/----------PLATFORMS:Twitter: https://twitter.com/CurtainSiliconInstagram: https://www.instagram.com/siliconcurtain/Podcast: https://open.spotify.com/show/4thRZj6NO7y93zG11JMtqmLinkedin: https://www.linkedin.com/in/finkjonathan/Patreon: https://www.patreon.com/siliconcurtain----------Welcome to the Silicon Curtain podcast. Please like and subscribe if you like the content we produce. It will really help to increase the popularity of our content in YouTube's algorithm. Our material is now being made available on popular podcasting platforms as well, such as Spotify and Apple Podcasts.

Live stream with Yuri Rashkin. ----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtain----------TRUSTED CHARITIES ON THE GROUND:Save Ukrainehttps://www.saveukraineua.org/Superhumans - Hospital for war traumashttps://superhumans.com/en/UNBROKEN - Treatment. Prosthesis. Rehabilitation for Ukrainians in Ukrainehttps://unbroken.org.ua/Come Back Alivehttps://savelife.in.ua/en/Chefs For Ukraine - World Central Kitchenhttps://wck.org/relief/activation-chefs-for-ukraineUNITED24 - An initiative of President Zelenskyyhttps://u24.gov.ua/Serhiy Prytula Charity Foundationhttps://prytulafoundation.orgNGO “Herojam Slava”https://heroiamslava.org/kharpp - Reconstruction project supporting communities in Kharkiv and Przemyślhttps://kharpp.com/NOR DOG Animal Rescuehttps://www.nor-dog.org/home/----------PLATFORMS:Twitter: https://twitter.com/CurtainSiliconInstagram: https://www.instagram.com/siliconcurtain/Podcast: https://open.spotify.com/show/4thRZj6NO7y93zG11JMtqmLinkedin: https://www.linkedin.com/in/finkjonathan/Patreon: https://www.patreon.com/siliconcurtain----------Welcome to the Silicon Curtain podcast. Please like and subscribe if you like the content we produce. It will really help to increase the popularity of our content in YouTube's algorithm. Our material is now being made available on popular podcasting platforms as well, such as Spotify and Apple Podcasts.

In this spin-off of a spin-off, C&C assumes the Allies are victorious in C&C Red Alert 2, which is why Yuri is out for Revenge. Use your units and strategic wits to outsmart the enemy, and as a reward you will get to see some of the silliest cutscenes ever made.