Posted on

gyo green promo

Why look for feminized marijuana seeds for sale, when there are cheaper, regular seeds available? Can anyone learn how to feminize marijuana seeds, or is the process the closely-guarded secret of a shadowy gang of elite breeders? Just what is it about female marijuana seeds that has made ‘feminized marijuana seeds USA’ such a wonderful phrase to shout about?

So, can anyone learn how to feminize marijuana seeds? Simple answer: yes, of course, but how much time do you have on your hands? Feminized marijuana seeds are what you get when you force a female plant to produce pollen and then use this pollen to fertilise a separate female marijuana plant. The subsequent seeds will have very few male chromosomes, and each plant grown from these seeds will, in theory, be female. There are different schools of thought as how best to produce the pollen needed from the female plant, each requiring different levels of skill, with rodelisation and silver nitrate being the most popular. That said, until you have mastered these processes and learned how to feminize marijuana seeds yourself, there is a much easier, less time-consuming way. let the breeders feminize the seeds!

Feminized Marijuana Seeds: what makes them so wanted, so desired, so damnably attractive?

Here, we will try to give you the basics and arm you with the knowledge needed to go out and buy feminized cannabis seeds with confidence.

Okay, what is the difference between regular and female seeds? Basically, regular seeds will produce an even split of female marijuana plants and males. This is fine for breeding and experimenting with different marijuana strains and crosses, but for those keen on high yields of thick, green, trichome-heavy, seed-free bud, the female plants are the only way to go. Males can end up pollinating the whole crop, in effect ruining a full season’s work, and then you need twice as much again just to calm yourself back down!

Whether you’re searching for feminized marijuana seeds, feminised cannabis seeds or female weed seeds, we catch your drift. The GYO Seedbank team know you’re looking to get in touch with your feminine side and the good news is we know a thing or two about feminized marijuana seeds. Get your lipstick on and mosey on down through the finest list of feminized marijuana genetics online, anywhere.

More in this series on the power and pleasures of children’s books.

Fujikawa didn’t insist that all of her children be cheerful. In “Gyo Fujikawa’s A to Z Picture Book” (1974), on the first painted spread, a girl stands in a marsh, looking neither happy nor sad, hands in pockets, looking at a frog on a rock. “A is for alone, all by myself,” the text reads. “Hi, there, frog! Can I play with you?” Solitude and loneliness are natural, too, we learn. Later, at “F,” we see a boy leaning over a toadstool, looking at two fairies: “F is for friends, fairies, flowers, fish, and frogs.” All of these moods are presented with acceptance, just as her spot illustrations nod to an array of pleasant items in the world’s catalogue: “M” is for moose, marigold, milk, mockingbird, and moo goo gai pan.

The article was hardly alone in failing to recognize Fujikawa’s Americanness, especially as the Second World War gathered strength. One day, Fujikawa later told an interviewer, Walt Disney “came in to see me especially. . . . He said, ‘How are you doing? I’ve been worried about you.’ ” She said she was doing O.K., and that when people asked her what nationality she was, “ ‘I tell them the truth or I give them big lies, like half Chinese and half Japanese, or part Korean, part Chinese, and part Japanese.’ He said, ‘Why do you have to do that? For Christ sakes, you’re an American citizen.’ ” In 1941, she was sent to New York, to work in Disney’s studios there; in early 1942, her parents and brother, along with many Japanese-Americans on the West Coast, were sent to internment camps. The Fujikawas were sent to the Santa Anita racetrack, where they lived in horse stalls, and then to a camp in Jerome, Arkansas. Fujikawa visited them there and found what she described as “barbed wire and a sentry walking around the wall with a bayonet.”

Fujikawa died in 1998, at age ninety, and obituaries in the Times and the L.A. Times illuminated her life story well. But, considering that her work has mesmerized children for several decades, I’ve been surprised not to see more acclaim for her during my adult life—no articles or exhibitions, or calendars or tote bags or socks—as I have with other great children’s-book artists, such as Garth Williams, Arnold Lobel, Virginia Lee Burton, Margaret Wise Brown, William Steig, Maurice Sendak, Louise Fitzhugh, and so on. But lately, other artists have begun to pay homage to Fujikawa’s story. In 2017, the playwright Lloyd Suh staged a one-act called “Disney and Fujikawa,” imagining a dialogue between Walt and Gyo; this fall, HarperCollins will publish “It Began with a Page: How Gyo Fujikawa Drew the Way,” by Kyo Maclear and Julie Morstad, which tells her story beautifully, in picture-book form.

Fujikawa was born in Berkeley, California, in 1908, to Hikozo and Yu Fujikawa, Japanese immigrants and grape-farm workers. Yu was an activist who wrote poetry and did embroidery. In the early twenties, the Fujikawas moved to Terminal Island, a fishing village near San Pedro, populated with many first- and second-generation Japanese-Americans. At mostly white schools on the mainland, Fujikawa struggled to fit in—late in life, she said that hers wasn’t “a particularly marvelous childhood”—but she excelled at art, and a high-school teacher helped her apply for a scholarship to the Chouinard Art Institute (now CalArts), where she thrived. After a year travelling in Japan, she returned to Los Angeles, where, in 1939, she was hired by Walt Disney Studios. She designed promotional materials for “Fantasia,” and in a piece in Glamour, published in the early nineteen-forties and titled “Girls at Work for Disney,” a caption identifies her as “Gyo, a Japanese artist.”