Podcasts about Gamo

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. Powerleegirl hosts, the mother daughter team of Miko Lee, Jalena & Ayame Keane-Lee speak with artists about their craft and the works that you can catch in the Bay Area. Featured are filmmaker Yuriko Gamo Romer, playwright Jessica Huang and photographer Joyce Xi.   More info about their work here: Diamond Diplomacy Yuriko Gamo Romer Jessica Huang's Mother of Exiles at Berkeley Rep Joyce Xi's Our Language Our Story at Galeria de la Raza     Show Transcript Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    Ayame Keane-Lee: [00:00:46] Thank you for joining us on Apex Express Tonight. Join the PowerLeeGirls as we talk with some powerful Asian American women artists. My mom and sister speak with filmmaker Yuriko Gamo Romer, playwright Jessica Huang, and photographer Joyce Xi. Each of these artists have works that you can enjoy right now in the Bay Area. First up, let's listen in to my mom Miko Lee chat with Yuriko Gamo Romer about her film Diamond Diplomacy.    Miko Lee: [00:01:19] Welcome, Yuriko Gamo Romer to Apex Express, amazing filmmaker, award-winning director and producer. Welcome to Apex Express.   Yuriko Gamo Romer: [00:01:29] Thank you for having me.    Miko Lee: [00:01:31] It's so great to see your work after this many years. We were just chatting that we knew each other maybe 30 years ago and have not reconnected. So it's lovely to see your work. I'm gonna start with asking you a question. I ask all of my Apex guests, which is, who are your people and what legacy do you carry with you?    Yuriko Gamo Romer: [00:01:49] Oh, who are my people? That's a hard one. I guess I'm Japanese American. I'm Asian American, but I'm also Japanese. I still have a lot of people in Japan. That's not everything. Creative people, artists, filmmakers, all the people that I work with, which I love. And I don't know, I can't pare it down to one narrow sentence or phrase. And I don't know what my legacy is. My legacy is that I was born in Japan, but I have grown up in the United States and so I carry with me all that is, technically I'm an immigrant, so I have little bits and pieces of that and, but I'm also very much grew up in the United States and from that perspective, I'm an American. So too many words.    Miko Lee: [00:02:44] Thank you so much for sharing. Your latest film was called Diamond Diplomacy. Can you tell us what inspired this film?   Yuriko Gamo Romer: [00:02:52] I have a friend named Dave Dempsey and his father, Con Dempsey, was a pitcher for the San Francisco Seals. And the Seals were the minor league team that was in the West Coast was called the Pacific Coast League They were here before the Major League teams came to the West Coast. So the seals were San Francisco's team, and Con Dempsey was their pitcher. And it so happened that he was part of the 1949 tour when General MacArthur sent the San Francisco Seals to Allied occupied Japan after World War II. And. It was a story that I had never heard. There was a museum exhibit south of Market in San Francisco, and I was completely wowed and awed because here's this lovely story about baseball playing a role in diplomacy and in reuniting a friendship between two countries. And I had never heard of it before and I'm pretty sure most people don't know the story. Con Dempsey had a movie camera with him when he went to Japan I saw the home movies playing on a little TV set in the corner at the museum, and I thought, oh, this has to be a film. I was in the middle of finishing Mrs. Judo, so I, it was something I had to tuck into the back of my mind Several years later, I dug it up again and I made Dave go into his mother's garage and dig out the actual films. And that was the beginning. But then I started opening history books and doing research, and suddenly it was a much bigger, much deeper, much longer story.   Miko Lee: [00:04:32] So you fell in, it was like synchronicity that you have this friend that had this footage, and then you just fell into the research. What stood out to you?    Yuriko Gamo Romer: [00:04:41] It was completely amazing to me that baseball had been in Japan since 1872. I had no idea. And most people,   Miko Lee: [00:04:49] Yeah, I learned that too, from your film. That was so fascinating.    Yuriko Gamo Romer: [00:04:53] So that was the first kind of. Wow. And then I started to pick up little bits and pieces like in 1934, there was an American All Star team that went to Japan. And Babe Ruth was the headliner on that team. And he was a big star. People just loved him in Japan. And then I started to read the history and understanding that. Not that a baseball team or even Babe Ruth can go to Japan and prevent the war from happening. But there was a warming moment when the people of Japan were so enamored of this baseball team coming and so excited about it that maybe there was a moment where it felt like. Things had thawed out a little bit. So there were other points in history where I started to see this trend where baseball had a moment or had an influence in something, and I just thought, wow, this is really a fascinating history that goes back a long way and is surprising. And then of course today we have all these Japanese faces in Major League baseball.   Miko Lee: [00:06:01] So have you always been a baseball fan?   Yuriko Gamo Romer: [00:06:04] I think I really became a fan of Major League Baseball when I was living in New York. Before that, I knew what it was. I played softball, I had a small connection to it, but I really became a fan when I was living in New York and then my son started to play baseball and he would come home from the games and he would start to give us the play by play and I started to learn more about it. And it is a fascinating game 'cause it's much more complex than I think some people don't like it 'cause it's complex.    Miko Lee: [00:06:33] I must confess, I have not been a big baseball fan. I'm also thinking, oh, a film about baseball. But I actually found it so fascinating with especially in the world that we live in right now, where there's so much strife that there was this way to speak a different language. And many times we do that through art or music and I thought it was so great how your film really showcased how baseball was used as a tool for political repair and change. I'm wondering how you think this film applies to the time that we live in now where there's such an incredible division, and not necessarily with Japan, but just with everything in the world.   Yuriko Gamo Romer: [00:07:13] I think when it comes down to it, if we actually get to know people. We learn that we're all human beings and that we probably have more in common than we give ourselves credit for. And if we can find a space that is common ground, whether it's a baseball field or the kitchen, or an art studio, or a music studio, I think it gives us a different place where we can exist and acknowledge That we're human beings and that we maybe have more in common than we're willing to give ourselves credit for. So I like to see things where people can have a moment where you step outside of yourself and go, oh wait, I do have something in common with that person over there. And maybe it doesn't solve the problem. But once you have that awakening, I think there's something. that happens, it opens you up. And I think sports is one of those things that has a little bit of that magical power. And every time I watch the Olympics, I'm just completely in awe.    Miko Lee: [00:08:18] Yeah, I absolutely agree with you. And speaking of that kind of repair and that aspect that sports can have, you ended up making a short film called Baseball Behind Barbed Wire, about the incarcerated Japanese Americans and baseball. And I wondered where in the filmmaking process did you decide, oh, I gotta pull this out of the bigger film and make it its own thing?    Yuriko Gamo Romer: [00:08:41] I had been working with Carrie Yonakegawa. From Fresno and he's really the keeper of the history of Japanese American baseball and especially of the story of the World War II Japanese American incarceration through the baseball stories. And he was one of my scholars and consultants on the longer film. And I have been working on diamond diplomacy for 11 years. So I got to know a lot of my experts quite well. I knew. All along that there was more to that part of the story that sort of deserved its own story, and I was very fortunate to get a grant from the National Parks Foundation, and I got that grant right when the pandemic started. It was a good thing. I had a chunk of money and I was able to do historical research, which can be done on a computer. Nobody was doing any production at that beginning of the COVID time. And then it's a short film, so it was a little more contained and I was able to release that one in 2023.   Miko Lee: [00:09:45] Oh, so you actually made the short before Diamond Diplomacy.   Yuriko Gamo Romer: [00:09:49] Yeah. The funny thing is that I finished it before diamond diplomacy, it's always been intrinsically part of the longer film and you'll see the longer film and you'll understand that part of baseball behind Barbed Wire becomes a part of telling that part of the story in Diamond Diplomacy.   Miko Lee: [00:10:08] Yeah, I appreciate it. So you almost use it like research, background research for the longer film, is that right?    Yuriko Gamo Romer: [00:10:15] I had been doing the research about the World War II, Japanese American incarceration because it was part of the story of the 150 years between Japan and the United States and Japanese people in the United States and American people that went to Japan. So it was always a part of that longer story, and I think it just evolved that there was a much bigger story that needed to be told separately and especially 'cause I had access to the interview footage of the two guys that had been there, and I knew Carrie so well. So that was part of it, was that I learned so much about that history from him.   Miko Lee: [00:10:58] Thanks. I appreciated actually watching both films to be able to see more in depth about what happened during the incarceration, so that was really powerful. I'm wondering if you can talk a little bit about the style of actually both films, which combine vintage Japanese postcards, animation and archival footage, and how you decided to blend the films in this way.   Yuriko Gamo Romer: [00:11:19] Anytime you're making a film about history, there's that challenge of. How am I going to show this story? How am I gonna get the audience to understand and feel what was happening then? And of course you can't suddenly go out and go, okay, I'm gonna go film Babe Ruth over there. 'cause he's not around anymore. So you know, you start digging up photographs. If we're in the era of you have photographs, you have home movies, you have 16 millimeter, you have all kinds of film, then great. You can find that stuff if you can find it and use it. But if you go back further, when before people had cameras and before motion picture, then you have to do something else. I've always been very much enamored of Japanese woodblock prints. I think they're beautiful and they're very documentary in that they tell stories about the people and the times and what was going on, and so I was able to find some that sort of helped evoke the stories of that period of time. And then in doing that, I became interested in the style and maybe can I co-opt that style? Can we take some of the images that we have that are photographs? And I had a couple of young artists work on this stuff and it started to work and I was very excited. So then we were doing things like, okay, now we can create a transition between the print style illustration and the actual footage that we're moving into, or the photograph that we're dissolving into. And the same thing with baseball behind barbed wire. It became a challenge to show what was actually happening in the camps. In the beginning, people were not allowed to have cameras at all, and even later on it wasn't like it was common thing for people to have cameras, especially movie cameras. Latter part of the war, there was a little bit more in terms of photos and movies, but in terms of getting the more personal stories. I found an exhibit of illustrations and it really was drawings and paintings that were visual diaries. People kept these visual diaries, they drew and they painted, and I think part of it was. Something to do, but I think the other part of it was a way to show and express what was going on. So one of the most dramatic moments in there is a drawing of a little boy sitting on a toilet with his hands covering his face, and no one would ever have a photograph. Of a little boy sitting on a toilet being embarrassed because there are no partitions around the toilet. But this was a very dramatic and telling moment that was drawn. And there were some other things like that. There was one illustration in baseball behind barbed wire that shows a family huddled up and there's this incredible wind blowing, and it's not. Home movie footage, but you feel the wind and what they had to live through. I appreciate art in general, so it was very fun for me to be able to use various different kinds of art and find ways to make it work and make it edit together with the other, with the photographs and the footage.    Miko Lee: [00:14:56] It's really beautiful and it tells the story really well. I'm wondering about a response to the film from folks that were in it because you got many elders to share their stories about what it was like being either folks that were incarcerated or folks that were playing in such an unusual time. Have you screened the film for folks that were in it? And if so what has their response been?    Yuriko Gamo Romer: [00:15:20] Both the men that were in baseball behind barbed wire are not living anymore, so they have not seen it. With diamond diplomacy, some of the historians have been asked to review cuts of the film along the way. But the two baseball players that play the biggest role in the film, I've given them links to look at stuff, but I don't think they've seen it. So Moi's gonna see it for the first time, I'm pretty sure, on Friday night, and it'll be interesting to see what his reaction to it is. And of course. His main language is not English. So I think some of it's gonna be a little tough for him to understand. But I am very curious 'cause I've known him for a long time and I know his stories and I feel like when we were putting the film together, it was really important for me to be able to tell the stories in the way that I felt like. He lived them and he tells them, I feel like I've heard these stories over and over again. I've gotten to know him and I understand some of his feelings of joy and of regret and all these other things that happen, so I will be very interested to see what his reaction is to it.   Miko Lee: [00:16:40] Can you share for our audience who you're talking about.   Yuriko Gamo Romer: [00:16:43] Well, Sanhi is a nickname, his name is Masa Nouri. Murakami. He picked up that nickname because none of the ball players could pronounce his name.   Miko Lee: [00:16:53] I did think that was horrifically funny when they said they started calling him macaroni 'cause they could not pronounce his name. So many of us have had those experiences.   Yuriko Gamo Romer: [00:17:02] Yeah, especially if your name is Masanori Murakami. That's a long, complicated one. So he, Masanori Murakami is the first Japanese player that came and played for the major leagues. And it was an inadvertent playing because he was a kid, he was 19 years old. He was playing on a professional team in Japan and they had some, they had a time period where it made sense to send a couple of these kids over to the United States. They had a relationship with Kapi Harada, who was a Japanese American who had been in the Army and he was in Japan during. The occupation and somehow he had, he'd also been a big baseball person, so I think he developed all these relationships and he arranged for these three kids to come to the United States and to, as Mahi says, to study baseball. And they were sent to the lowest level minor league, the single A camps, and they played baseball. They learned the American ways to play baseball, and they got to play with low level professional baseball players. Marcy was a very talented left handed pitcher. And so when September 1st comes around and the postseason starts, they expand the roster and they add more players to the team. And the scouts had been watching him and the Giants needed a left-handed pitcher, so they decided to take a chance on him, and they brought him up and he was suddenly going to Shea Stadium when. The Giants were playing the Mets and he was suddenly pitching in a giant stadium of 40,000 people.    Miko Lee: [00:18:58] Can you share a little bit about his experience when he first came to America? I just think it shows such a difference in time to now.    Yuriko Gamo Romer: [00:19:07] Yeah, no kidding. Because today they're the players that come from Japan are coddled and they have interpreters wherever they go and they travel and chartered planes and special limousines and whatever else they get. So Marcie. He's, I think he was 20 by the time he was brought up so young. Mahi at 20 years old, the manager comes in and says, Hey, you're going to New York tomorrow and hands him plane tickets and he has to negotiate his way. Get on this plane, get on that plane, figure out how to. Get from the airport to the hotel, and he's barely speaking English at this point. He jokes that he used to carry around an English Japanese dictionary in one pocket and a Japanese English dictionary in the other pocket. So that's how he ended up getting to Shea Stadium was in this like very precarious, like they didn't even send an escort.   Miko Lee: [00:20:12] He had to ask the pilot how to get to the hotel. Yeah, I think that's wild. So I love this like history and what's happened and then I'm thinking now as I said at the beginning, I'm not a big baseball sports fan, but I love love watching Shohei Ohtani. I just think he's amazing. And I'm just wondering, when you look at that trajectory of where Mahi was back then and now, Shohei Ohtani now, how do you reflect on that historically? And I'm wondering if you've connected with any of the kind of modern Japanese players, if they've seen this film.   Yuriko Gamo Romer: [00:20:48] I have never met Shohei Ohtani. I have tried to get some interviews, but I haven't gotten any. I have met Ichi. I did meet Nori Aoki when he was playing for the Giants, and I met Kenta Maya when he was first pitching for the Dodgers. They're all, I think they're all really, they seem to be really excited to be here and play. I don't know what it's like to be Ohtani. I saw something the other day in social media that was comparing him to Taylor Swift because the two of them are this like other level of famous and it must just be crazy. Probably can't walk down the street anymore. But it is funny 'cause I've been editing all this footage of mahi when he was 19, 20 years old and they have a very similar face. And it just makes me laugh that, once upon a time this young Japanese kid was here and. He was worried about how to make ends meet at the end of the month, and then you got the other one who's like a multi multimillionaire.    Miko Lee: [00:21:56] But you're right, I thought that too. They look similar, like the tall, the face, they're like the vibe that they put out there. Have they met each other?    Yuriko Gamo Romer: [00:22:05] They have actually met, I don't think they know each other well, but they've definitely met.   Miko Lee: [00:22:09] Mm, It was really a delight. I am wondering what you would like audiences to walk away with after seeing your film.   Yuriko Gamo Romer: [00:22:17] Hopefully they will have a little bit of appreciation for baseball and international baseball, but more than anything else. I wonder if they can pick up on that sense of when you find common ground, it's a very special space and it's an ability to have this people to people diplomacy. You get to experience people, you get to know them a little bit. Even if you've never met Ohtani, you now know a little bit about him and his life and. Probably what he eats and all that kind of stuff. So it gives you a chance to see into another culture. And I think that makes for a different kind of understanding. And certainly for the players. They sit on the bench together and they practice together and they sweat together and they, everything that they do together, these guys know each other. They learn about each other's languages and each other's food and each other's culture. And I think Mahi went back to Japan with almost as much Spanish as they did English. So I think there's some magical thing about people to people diplomacy, and I hope that people can get a sense of that.    Miko Lee: [00:23:42] Thank you so much for sharing. Can you tell our audience how they could find out more about your film Diamond diplomacy and also about you as an artist?    Yuriko Gamo Romer: [00:23:50] the website is diamonddiplomacy.com. We're on Instagram @diamonddiplomacy. We're also on Facebook Diamond Diplomacy. So those are all the places that you can find stuff, those places will give you a sense of who I am as a filmmaker and an artist too.    Miko Lee: [00:24:14] Thank you so much for joining us today, Yuriko. Gamo. Romo. So great to speak with you and I hope the film does really well.    Yuriko Gamo Romer: [00:24:22] Thank you, Miko. This was a lovely opportunity to chat with you.   Ayame Keane-Lee: [00:24:26] Next up, my sister Jalena Keane-Lee speaks with playwright Jessica Huang, whose new play Mother of Exiles just had its world premiere at Berkeley Rep is open until December 21st.    Jalena Keane-Lee: [00:24:39] All right. Jessica Huang, thank you so much for being here with us on Apex Express and you are the writer of the new play Mother of Exiles, which is playing at Berkeley Rep from November 14th to December 21st. Thank you so much for being here.   Jessica Huang: [00:24:55] Yeah, thank you so much for having me. It's such a pleasure.   Jalena Keane-Lee: [00:24:59] I'm so curious about this project. The synopsis was so interesting. I was wondering if you could just tell us a little bit about it and how you came to this work.   Jessica Huang: [00:25:08] When people ask me what mother of Exiles is, I always say it's an American family story that spans 160 plus years, and is told in three acts. In 90 minutes. So just to get the sort of sense of the propulsion of the show and the form, the formal experiment of it. The first part takes place in 1898, when the sort of matriarch of the family is being deported from Angel Island. The second part takes place in 1999, so a hundred years later where her great grandson is. Now working for the Miami, marine interdiction unit. So he's a border cop. The third movement takes place in 2063 out on the ocean after Miami has sunk beneath the water. And their descendants are figuring out what they're gonna do to survive. It was a strange sort of conception for the show because I had been wanting to write a play. I'd been wanting to write a triptych about America and the way that interracial love has shaped. This country and it shaped my family in particular. I also wanted to tell a story that had to do with this, the land itself in some way. I had been sort of carrying an idea for the play around for a while, knowing that it had to do with cross-cultural border crossing immigration themes. This sort of epic love story that each, in each chapter there's a different love story. It wasn't until I went on a trip to Singapore and to China and got to meet some family members that I hadn't met before that the rest of it sort of fell into place. The rest of it being that there's a, the presence of, ancestors and the way that the living sort of interacts with those who have come before throughout the play.   Jalena Keane-Lee: [00:27:13] I noticed that ancestors, and ghosts and spirits are a theme throughout your work. I was wondering if you could talk a little bit about your own ancestry and how that informs your writing and creative practice.   Jessica Huang: [00:27:25] Yeah, I mean, I'm in a fourth generation interracial marriage. So, I come from a long line of people who have loved people who were different from them, who spoke different languages, who came from different countries. That's my story. My brother his partner is German. He lives in Berlin. We have a history in our family of traveling and of loving people who are different from us. To me that's like the story of this country and is also the stuff I like to write about. The thing that I feel like I have to share with the world are, is just stories from that experience.   Jalena Keane-Lee: [00:28:03] That's really awesome. I guess I haven't really thought about it that way, but I'm third generation of like interracial as well. 'cause I'm Chinese, Japanese, and Irish. And then at a certain point when you're mixed, it's like, okay, well. The odds of me being with someone that's my exact same ethnic breakdown feel pretty low. So it's probably gonna be an interracial relationship in one way or the other.   Jessica Huang: [00:28:26] Totally. Yeah. And, and, and I don't, you know, it sounds, and it sounds like in your family and in mine too, like we just. Kept sort of adding culture to our family. So my grandfather's from Shanghai, my grandmother, you know, is, it was a very, like upper crust white family on the east coast. Then they had my dad. My dad married my mom whose people are from the Ukraine. And then my husband's Puerto Rican. We just keep like broadening the definition of family and the definition of community and I think that's again, like I said, like the story of this country.   Jalena Keane-Lee: [00:29:00] That's so beautiful. I'm curious about the role of place in this project in particular, mother of exiles, angel Island, obviously being in the Bay Area, and then the rest of it taking place, in Miami or in the future. The last act is also like Miami or Miami adjacent. What was the inspiration behind the place and how did place and location and setting inform the writing.   Jessica Huang: [00:29:22] It's a good question. Angel Island is a place that has loomed large in my work. Just being sort of known as the Ellis Island of the West, but actually being a place with a much more difficult history. I've always been really inspired by the stories that come out of Angel Island, the poetry that's come out of Angel Island and, just the history of Asian immigration. It felt like it made sense to set the first part of the play here, in the Bay. Especially because Eddie, our protagonist, spent some time working on a farm. So there's also like this great history of agriculture and migrant workers here too. It just felt like a natural place to set it. And then why did we move to Miami? There are so many moments in American history where immigration has been a real, center point of the sort of conversation, the national conversation. And moving forward to the nineties, the wet foot, dry foot Cuban immigration story felt like really potent and a great place to tell the next piece of this tale. Then looking toward the future Miami is definitely, or you know, according to the science that I have read one of the cities that is really in danger of flooding as sea levels rise.   Jalena Keane-Lee: [00:30:50] Okay. The Cuban immigration. That totally makes sense. That leads perfectly into my next question, which was gonna be about how did you choose the time the moments in time? I think that one you said was in the nineties and curious about the choice to have it be in the nineties and not present day. And then how did you choose how far in the future you wanted to have the last part?   Jessica Huang: [00:31:09] Some of it was really just based on the needs of the characters. So the how far into the future I wanted us to be following a character that we met as a baby in the previous act. So it just, you know, made sense. I couldn't push it too far into the future. It made sense to set it in the 2060s. In terms of the nineties and, why not present day? Immigration in the nineties , was so different in it was still, like I said, it was still, it's always been a important national conversation, but it wasn't. There was a, it felt like a little bit more, I don't know if gentle is the word, but there just was more nuance to the conversation. And still there was a broad effort to prevent Cuban and refugees from coming ashore. I think I was fascinated by how complicated, I mean, what foot, dry foot, the idea of it is that , if a refugee is caught on water, they're sent back to Cuba. But if they're caught on land, then they can stay in the us And just the idea of that is so. The way that, people's lives are affected by just where they are caught , in their crossing. I just found that to be a bit ridiculous and in terms of a national policy. It made sense then to set the second part, which moves into a bit of a farce at a time when immigration also kind of felt like a farce.   Jalena Keane-Lee: [00:32:46] That totally makes sense. It feels very dire right now, obviously. But it's interesting to be able to kind of go back in time and see when things were handled so differently and also how I think throughout history and also touching many different racial groups. We've talked a lot on this show about the Chinese Exclusion Act and different immigration policies towards Chinese and other Asian Americans. But they've always been pretty arbitrary and kind of farcical as you put it. Yeah.   Jessica Huang: [00:33:17] Yeah. And that's not to make light of like the ways that people's lives were really impacted by all of this policy . But I think the arbitrariness of it, like you said, is just really something that bears examining. I also think it's really helpful to look at where we are now through the lens of the past or the future. Mm-hmm. Just gives just a little bit of distance and a little bit of perspective. Maybe just a little bit of context to how we got to where we got to.   Jalena Keane-Lee: [00:33:50] That totally makes sense. What has your experience been like of seeing the play be put up? It's my understanding, this is the first this is like the premier of the play at Berkeley Rep.   Jessica Huang: [00:34:00] Yes. Yeah. It's the world premier. It's it incredible. Jackie Bradley is our director and she's phenomenal. It's just sort of mesmerizing what is happening with this play? It's so beautiful and like I've alluded to, it shifts tone between the first movement being sort of a historical drama on Angel Island to, it moves into a bit of a farce in part two, and then it, by the third movement, we're living in sort of a dystopic, almost sci-fi future. The way that Jackie's just deftly moved an audience through each of those experiences while holding onto the important threads of this family and, the themes that we're unpacking and this like incredible design team, all of these beautiful visuals sounds, it's just really so magical to see it come to life in this way. And our cast is incredible. I believe there are 18 named roles in the play, and there are a few surprises and all of them are played by six actors. who are just. Unbelievable. Like all of them have the ability to play against type. They just transform and transform again and can navigate like, the deepest tragedies and the like, highest moments of comedy and just hold on to this beautiful humanity. Each and every one of them is just really spectacular. So I'm just, you know. I don't know. I just feel so lucky to be honest with you. This production is going to be so incredible. It's gonna be, it feels like what I imagine in my mind, but, you know, plus,    Jalena Keane-Lee: [00:35:45] well, I really can't wait to see it. What are you hoping that audiences walk away with after seeing the show?   Jessica Huang: [00:35:54] That's a great question. I want audiences to feel connected to their ancestors and feel part of this community of this country and, and grateful and acknowledge the sacrifices that somebody along the line made so that they could be here with, with each other watching the show. I hope, people feel like they enjoyed themselves and got to experience something that they haven't experienced before. I think that there are definitely, nuances to the political conversation that we're having right now, about who has the right to immigrate into this country and who has the right to be a refugee, who has the right to claim asylum. I hope to add something to that conversation with this play, however small.   Jalena Keane-Lee:[00:36:43]  Do you know where the play is going next?   Jessica Huang: [00:36:45] No. No. I dunno where it's going next. Um, exciting. Yeah, but we'll, time will   Jalena Keane-Lee: [00:36:51] and previews start just in a few days, right?   Jessica Huang: [00:36:54] Yeah. Yeah. We have our first preview, we have our first audience on Friday. So yeah, very looking forward to seeing how all of this work that we've been doing lands on folks.   Jalena Keane-Lee: [00:37:03] Wow, that's so exciting. Do you have any other projects that you're working on? Or any upcoming projects that you'd like to share about?   Jessica Huang: [00:37:10] Yeah, yeah, I do. I'm part of the writing team for the 10 Things I Hate About You Musical, which is in development with an Eye Toward Broadway. I'm working with Lena Dunham and Carly Rae Jepsen and Ethan Ska to make that musical. I also have a fun project in Chicago that will soon be announced.   Jalena Keane-Lee: [00:37:31] And what is keeping you inspired and keeping your, you know, creative energies flowing in these times?   Jessica Huang: [00:37:37] Well first of all, I think, you know, my collaborators on this show are incredibly inspiring. The nice thing about theater is that you just get to go and be inspired by people all the time. 'cause it's this big collaboration, you don't have to do it all by yourself. So that would be the first thing I would say. I haven't seen a lot of theater since I've been out here in the bay, but right before I left New York, I saw MEUs . Which is by Brian Keda, Nigel Robinson. And it's this sort of two-hander musical, but they do live looping and they sort of create the music live. Wow. And it's another, it's another show about an untold history and about solidarity and about folks coming together from different backgrounds and about ancestors, so there's a lot of themes that really resonate. And also the show is just so great. It's just really incredible. So , that was the last thing I saw that I loved. I'm always so inspired by theater that I get to see.   Jalena Keane-Lee: [00:38:36] That sounds wonderful. Is there anything else that you'd like to share?   Jessica Huang: [00:38:40] No, I don't think so. I just thanks so much for having me and come check out the show. I think you'll enjoy it. There's something for everyone.   Jalena Keane-Lee: [00:38:48] Yeah. I'm so excited to see the show. Is there like a Chinese Cuban love story with the Miami portion? Oh, that's so awesome. This is an aside, but I'm a filmmaker and I've been working on a documentary about, Chinese people in Cuba and there's like this whole history of Chinese Cubans in Cuba too.   Jessica Huang: [00:39:07] Oh, that's wonderful. In this story, it's a person who's a descendant of, a love story between a Chinese person and a Mexican man, a Chinese woman and a Mexican man, and oh, their descendant. Then also, there's a love story between him and a Cuban woman.   Jalena Keane-Lee: [00:39:25] That's awesome. Wow. I'm very excited to see it in all the different intergenerational layers and tonal shifts. I can't wait to see how it all comes together.   Ayame Keane-Lee: [00:39:34] Next up we are back with Miko Lee, who is now speaking with photographer Joyce Xi about her latest exhibition entitled Our Language, our Story Running Through January in San Francisco at Galleria de Raza.    Miko Lee: [00:39:48] Welcome, Joyce Xi to Apex Express.    Joyce Xi: [00:39:52] Thanks for having me.    Miko Lee: [00:39:53] Yes. I'm, I wanna start by asking you a question I ask most of my guests, and this is based on the great poet Shaka Hodges. It's an adaptation of her question, which is, who are your people and what legacy do you carry with you?   Joyce Xi: [00:40:09] My people are artists, free spirits, people who wanna see a more free and just, and beautiful world. I'm Chinese American. A lot of my work has been in the Asian American community with all kinds of different people who dreaming of something better and trying to make the world a better place and doing so with creativity and with positive and good energy.   Miko Lee: [00:40:39] I love it. And what legacy do you carry with you?   Joyce Xi: [00:40:43] I am a fighter. I feel like just people who have been fighting for a better world. Photography wise, like definitely thinking about Corky Lee who is an Asian American photographer and activist. There's been people who have done it before me. There will be people who do it after me, but I wanna do my version of it here.   Miko Lee: [00:41:03] Thank you so much and for lifting up the great Corky Lee who has been such a big influence on all of us. I'm wondering in that vein, can you talk a little bit about how you use photography as a tool for social change?   Joyce Xi: [00:41:17] Yeah. Photography I feel is a very powerful tool for social change. Photography is one of those mediums where it's emotional, it's raw, it's real. It's a way to see and show and feel like important moments, important stories, important emotions. I try to use it as a way to share. Truths and stories about issues that are important, things that people experience, whether it's, advocating for environmental justice or language justice or just like some of them, just to highlight some of the struggles and challenges people experience as well as the joys and the celebrations and just the nuance of people's lives. I feel like photography is a really powerful medium to show that. And I love photography in particular because it's really like a frozen moment. I think what's so great about photography is that. It's that moment, it's that one feeling, that one expression, and it's kind of like frozen in time. So you can really, sit there and ponder about what's in this person's eyes or what's this person trying to say? Or. What does this person's struggle like? You can just see it through their expressions and their emotions and also it's a great way to document. There's so many things that we all do as advocates, as activists, whether it's protesting or whether it's just supporting people who are dealing with something. You have that moment recorded. Can really help us remember those fights and those moments. You can show people what happened. Photography is endlessly powerful. I really believe in it as a tool and a medium for influencing the world in positive ways.   Miko Lee: [00:43:08] I'd love us to shift and talk about your latest work, Our language, Our story.” Can you tell us a little bit about where this came from?   Joyce Xi: [00:43:15] Sure. I was in conversation with Nikita Kumar, who was at the Asian Law Caucus at the time. We were just chatting about art and activism and how photography could be a powerful medium to use to advocate or tell stories about different things. Nikita was talking to me about how a lot of language access work that's being done by organizations that work in immigrant communities can often be a topic that is very jargon filled or very kind of like niche or wonky policy, legal and maybe at times isn't the thing that people really get in the streets about or get really emotionally energized around. It's one of those issues that's so important to everything. Especially since in many immigrant communities, people do not speak English and every single day, every single issue. All these issues that these organizations advocate around. Like housing rights, workers' rights, voting rights, immigration, et cetera, without language, those rights and resources are very hard to understand and even hard to access at all. So, Nik and I were talking about language is so important, it's one of those issues too remind people about the core importance of it. What does it feel like when you don't have access to your language? What does it feel like and look like when you do, when you can celebrate with your community and communicate freely and live your life just as who you are versus when you can't even figure out how to say what you wanna say because there's a language barrier.    Miko Lee: [00:44:55] Joyce can you just for our audience, break down what language access means? What does it mean to you and why is it important for everybody?   Joyce Xi: [00:45:05] Language access is about being able to navigate the world in your language, in the way that you understand and communicate in your life. In advocacy spaces, what it can look like is, we need to have resources and we need to have interpretation in different languages so that people can understand what's being talked about or understand what resources are available or understand what's on the ballot. So they can really experience their life to the fullest. Each of us has our languages that we're comfortable with and it's really our way of expressing everything that's important to us and understanding everything that's important to us. When that language is not available, it's very hard to navigate the world. On the policy front, there's so many ways just having resources in different languages, having interpretation in different spaces, making sure that everybody who is involved in this society can do what they need to do and can understand the decisions that are being made. That affects them and also that they can affect the decisions that affect them.   Miko Lee: [00:46:19] I think a lot of immigrant kids just grow up being like the de facto translator for their parents. Which can be things like medical terminology and legal terms, which they might not be familiar with. And so language asks about providing opportunities for everybody to have equal understanding of what's going on. And so can you talk a little bit about your gallery show? So you and Nikita dreamed up this vision for making language access more accessible and more story based, and then what happened?   Joyce Xi: [00:46:50] We decided to express this through a series of photo stories. Focusing on individual stories from a variety of different language backgrounds and immigration backgrounds and just different communities all across the Bay Area. And really just have people share from the heart, what does language mean to them? What does it affect in their lives? Both when one has access to the language, like for example, in their own community, when they can speak freely and understand and just share everything that's on their heart. And what does it look like when that's not available? When maybe you're out in the streets and you're trying to like talk to the bus driver and you can't even communicate with each other. How does that feel? What does that look like? So we collected all these stories from many different community members across different languages and asked them a series of questions and took photos of them in their day-to-day lives, in family gatherings, at community meetings, at rallies, at home, in the streets, all over the place, wherever people were like Halloween or Ramadan or graduations, or just day-to-day life. Through the quotes that we got from the interviews, as well as the photos that I took to illustrate their stories, we put them together as photo stories for each person. Those are now on display at Galleria Deza in San Francisco. We have over 20 different stories in over 10 different languages. The people in the project spoke like over 15 different languages. Some people used multiple languages and some spoke English, many did not. We had folks who had immigrated recently, folks who had immigrated a while ago. We had children of immigrants talking about their experiences being that bridge as you talked about, navigating translating for their parents and being in this tough spot of growing up really quickly, we just have this kind of tapestry of different stories and, definitely encourage folks to check out the photos but also to read through each person's stories. Everybody has a story that's very special and that is from the heart   Miko Lee: [00:49:00] sounds fun. I can't wait to see it in person. Can you share a little bit about how you selected the participants?    Joyce Xi: [00:49:07] Yeah, selecting the participants was an organic process. I'm a photographer who's trying to honor relationships and not like parachute in. We wanted to build relationships and work with people who felt comfortable sharing their stories, who really wanted to be a part of it, and who are connected in some kind of a way where it didn't feel like completely out of context. So what that meant was that myself and also the Asian Law Caucus we have connections in the community to different organizations who work in different immigrant communities. So we reached out to people that we knew who were doing good work and just say Hey, do you have any community members who would be interested in participating in this project who could share their stories. Then through following these threads we were able to connect with many different organizations who brought either members or community folks who they're connected with to the project. Some of them came through like friends. Another one was like, oh, I've worked with these people before, maybe you can talk to them. One of them I met through a World Refugee Day event. It came through a lot of different relationships and reaching out. We really wanted folks who wanted to share a piece of their life. A lot of folks who really felt like language access and language barriers were a big challenge in their life, and they wanted to talk about it. We were able to gather a really great group together.    Miko Lee: [00:50:33] Can you share how opening night went? How did you navigate showcasing and highlighting the diversity of the languages in one space?    Joyce Xi: [00:50:43] The opening of the exhibit was a really special event. We invited everybody who was part of the project as well as their communities, and we also invited like friends, community and different organizations to come. We really wanted to create a space where we could feel and see what language access and some of the challenges of language access can be all in one space. We had about 10 different languages at least going on at the same time. Some of them we had interpretation through headsets. Some of them we just, it was like fewer people. So people huddled together and just interpreted for the community members. A lot of these organizations that we partnered with, they brought their folks out. So their members, their community members, their friends and then. It was really special because a lot of the people whose photos are on the walls were there, so they invited their friends and family. It was really fun for them to see their photos on the wall. And also I think for all of our different communities, like we can end up really siloed or just like with who we're comfortable with most of the time, especially if we can't communicate very well with each other with language barriers. For everybody to be in the same space and to hear so many languages being used in the same space and for people to be around people maybe that they're not used to being around every day. And yet through everybody's stories, they share a lot of common experiences. Like so many of the stories were related to each other. People talked about being parents, people talked about going to the doctor or taking the bus, like having challenges at the workplace or just what it's like to celebrate your own culture and heritage and language and what the importance of preserving languages. There are so many common threads and. Maybe a lot of people are not used to seeing each other or communicating with each other on a daily basis. So just to have everyone in one space was so special. We had performances, we had food, we had elders, children. There was a huge different range of people and it was just like, it was just cool to see everyone in the same space. It was special.    Miko Lee: [00:52:51] And finally, for folks that get to go to Galleria de la Raza in San Francisco and see the exhibit, what do you want them to walk away with?   Joyce Xi: [00:53:00] I would love for people to walk away just like in a reflective state. You know how to really think about how. Language is so important to everything that we do and through all these stories to really see how so many different immigrant and refugee community members are making it work. And also deal with different barriers and how it affects them, how it affects just really simple human things in life that maybe some of us take for granted, on a daily basis. And just to have more compassion, more understanding. Ultimately, we wanna see our city, our bay area, our country really respecting people and their language and their dignity through language access and through just supporting and uplifting our immigrant communities in general. It's a such a tough time right now. There's so many attacks on our immigrant communities and people are scared and there's a lot of dehumanizing actions and narratives out there. This is, hopefully something completely different than that. Something that uplifts celebrates, honors and really sees our immigrant communities and hopefully people can just feel that feeling of like, oh, okay, we can do better. Everybody has a story. Everybody deserves to be treated with dignity and all the people in these stories are really amazing human beings. It was just an honor for me to even be a part of their story. I hope people can feel some piece of that.    Miko Lee: [00:54:50] Thank you so much, Joyce, for sharing your vision with us, and I hope everybody gets a chance to go out and see your work.    Joyce Xi: [00:54:57] Thank you.   Ayame Keane-Lee: [00:55:00] Thanks so much for tuning in to Apex Express. Please check out our website at kpfa.org/program/apexexpress to find out more about the guests tonight and find out how you can take direct action.   Apex Express is a proud member of Asian Americans for civil rights and equality. Find out more at aacre.org. That's AACRE.org.   We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.    Apex Express is produced by  Miko Lee, Jalena Keene-Lee, Ayame Keene-Lee, Preeti Mangala Shekar, Anuj Vaida, Cheryl Truong, Isabel Li, Nina Phillips & Swati Rayasam. Thank you so much to the team at KPFA for their support and have a good night.       The post APEX Express – 11.20.25 – Artist to Artist appeared first on KPFA.

Miguel del Pino dedica Ecología para todos a los cérvidos de España, no todo son berridos... ¡algunos roncan!

En este episodio me tomo un café con José Ramón Gamo, neuropsicólogo especialista en audición y lenguaje.

"Gamo Unleashes the TC50, Macavity Recall Update, & New England Airguns CMAC - Let's Talk Airguns!”  is brought to you by all our AirgunWeb and Gateway to Airguns sponsors and supporters.  We especially want to thank our Patreon Members and Officers' Club Members for helping us create this content to help you all get the MOST out of your Airgun!It's been a LONG time coming. Gamo is releasing an updated TC model called the TC50.  It's a limited run, and this time it's based on the awesome Evanix IBEX platform.  I love the IBEX line from Evanix and have been shooting it for years. Pricing and availability are available directly at Gamo USA. I learned about the Macavity recall while visiting Airgun Angie.  Rather than reinvent the wheel, I'm going to point folks to New England Airgun's website, as they are working directly with Macavity to help consumers.  If you own a Macavity product, visit New England Airgun to learn how to obtain replacement parts and repair your airgun.  It's super fast, simple, and easy to do.While we are on the topic of New England Airguns, they have relocated their airgun event to a new location.  Please visit their site to learn more about the event and to register.  It looks like it's going to be a lot of fun. Lastly, today we'll talk with Robert Hicks, who posted the highest overall score for the “It's All About the Shooter” competition.  Bob is a good friend, and I'm happy to have him on the show.  And don't forget our giveaway!  We are giving away the IAATS rifle that we used at Airgun Expo 2025.  You can enter here: https://gatewaytoairguns.com/contest/ Let's get started, and let's talk airguns!#IAATS #gamousa #gogamo #gamotc50 #pcpairguns #letstalkairguns #theairgunexpo #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviews #newenglandairguns #cmacMan, it's a great time to be an airgunner!By viewing or flagging this video, you are acknowledging and are in full acceptance of the following: Our videos focus on the sport of air gunning and are strictly for documentary, educational, and entertainment purposes only. This video does not contain ANY firearms. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  A qualified and insured individual should carry out any work on airguns. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.If you would like to learn more about AirgunWeb, Gateway To Airguns, or our other work in the airgun world, please Google us and visit our websites.  If you would like to help support us directly and get some great early access, ad-free and exclusive behind-the-scenes content, please visit our Patreon Page at https://www.patreon.com/c/AirgunVideos or AirgunArmy's Officer's Club at: https://army.airgunarmy.com/collections/1049418?sort=by_hosts.  Thank you again for watching.

Thank You's, and Links:We want to thank all our sponsors.. please visit https://www.airgunweb.com and https://www.gatewaytoairguns.comTonight's show: Welcome to our November Livestream for AirgunWeb.  Tonight, we'll talk about Gamo's Shadow Tactical .22 Kit, the only Gamo I know of with a kickstand!  Does it shoot well?  Does shooting off the bipod mess up accuracy?  Also, we put our UX Zelos on paper for the first time, and she's a shooter, folks!  Lastly, we'll chat about the new BARRA 250z.  This should be a great show. Let's get started and "Let's Talk Airguns!"#pcpairguns #letstalkairguns #umarexairguns #zelos #gamousa #theairgunexpo #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviews  @UmarexAir  @airgunsofarizona  @THEGatewayToAirguns  Man it's a great time to be an airgunner!Links and more:Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Exclusive Behind the Scenes and Early Access, Ad-Free content NOW ON PATREON! - https://www.patreon.com/AirgunVideos and AirgunArmy https://www.AirgunArmy.com https://www.airgunweb.com  - meet our sponsorshttps://www.youtube.com/airgunweb  - watch our contenthttps://www.gatewaytoairguns.org  - connect with airgunners worldwide!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video, you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.

Czy ktoś z was wie, że pewna skromna Polka ma od lat osobisty wpływ na edukację wielu Etiopczyków? Iza Karpienia przez piętnaście lat mieszkała i pracowała w Etiopii. Głownie skupiała się na alfabetyzacji i edukacji. Wciąż utrzymuje kontakt z liderami edukacji i służy swoją wiedzą. Pracowała w Etiopii z językami: Gamo, Tsamakko, Nyangatom, trochę też z Gofa, Aari, Daasanach. Z Izą Karpienią rozmawiam o Etiopii, bo któż może lepiej czuć puls tego państwa jak nie misjonarz? Etniczna podróż, w której jest i Biblia, i jedzenie, klimat oraz dużo kawy… Etiopia jest wysokogórskim krajem pachnącym kawą. Odkryjemy w tej rozmowie tajemnice Etiopii, i że tu nie chodzi o religijność. Posłuchaj! Plan rozmowy: • 0:00 – Wstęp do rozmowy • 02:15 – Dlaczego wyjazd do Etiopii? • 07:04 –Etiopia pod względem bogactwa • 11:00 – Edukacja w Etiopii • 15:30 – Etiopia jest wyjątkowa na tle Afryki – wyjaśniamy dlaczego • 19:00 – Motywacja Izy Karpieni do alfabetyzacji i edukacji. • 23:02 – Różnorodne języki w Etiopii • 26:30 – Jak można spisać język, którego litery nie istnieją? • 32:20 – Na czym polega alfabetyzacja języka, który nie jest spisany? • 34:25 – Każda kultura może mieć spisany swój język • 36:26 – Prawo każdego ludu, by mieć spisany język, nie zatracając swojej tożsamości • 37:30 – Ukochani przez Boga • 39:15 – Tu nie chodzi o religijność • 40:45 – Zmiana, której wyczekuję z utęsknieniem • 42:30 – Mocna kawa z Etiopii – bo Etiopia, to kolebka kawy • 44:30 – Podglądanie Etiopii i odkrywanie jej piękna • 46:15 – Etiopczycy kochają swoje dzieci • 47:00 – Nauka języka amharskiego • 50:30 – Trudny obszar badania wpływu na innych • 53:30 – Spojrzenie turysty i spojrzenie realne Jest ponad 7000 języków na całym świecie. Więcej o językach na świecie – https://tiny.pl/92bbm Przywracamy obrazy z Etiopii – https://tiny.pl/4n1f3b88 Film dokumentalny, który mówi o nagraniu piosenki, która miała pomóc Etiopii i pomogła (Netflix) – https://tiny.pl/2vdc8dsq Organizacja misyjna, która tłumaczy Pismo Święte na różne języki. Biblijne Stowarzyszenie Misyjne – https://tiny.pl/1mw3cdn0 Afryka i relacje z Chinami, o tym mówi Tomek Rutkowski w tym odcinku, polecam – https://tiny.pl/9q48q

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Join us on the Pitch Podcast for an enlightening episode with LA Gamo, the mastermind behind The Baseballogist. Discover how LA is revolutionizing baseball training by making hitting simple and effective. He shares insights into his comprehensive program, which includes weekly instructional videos, coaching calls, and courses designed to build independent, hardworking hitters. This episode is packed with valuable strategies for players, coaches, and parents looking to elevate their game and understand the science behind successful hitting. Don't miss out on this opportunity to learn from a true expert! Learn more about your ad choices. Visit megaphone.fm/adchoices

Otro lunes pa' dar LENGUA junto @christianalvarezrd y @lauragisselle donde se respondieron los siguientes correos: “COMO SABER SI ERES UN POLVO?”, “FOLLOW UP>>4,000 EUROS POR AMOR”, “AH! Y TU SINGA?”, “ME ABRO O ME CIERRO?” Y “UN RESPIRO A LAS PREGUNTAS SEXUALES”.SUSCRÍBETE Y VE A VER EL EPISODIO COMPLETO EN YOUTUBE.+PATREON: SUSCRÍBETE PARA QUE ESTES EN VIVO CON NOSOTROS CUANDO GRABEMOS LOS EPISODIOS. (LINK EN BIO). MANDA PREGUNTAS O HISTORIAS A: LASLENGUASCALVAS@GMAIL.COM#LENGUASCALVAS

Thank You's, and Links:We want to thank all our sponsors.. please visit https://www.airgunweb.com and https://www.gatewaytoairguns.comTonight's show: Tonight we'll chat about the Macavity MA2 Range time video that will drop this Friday. The pre-release hit yesterday for our paid members.  We'll also get Harold from Iguana Lifestyles to talk about his first SMC and what it's like to handle iguanas in South Florida.  Lastly, we'll get to some viewer Q&Q.  So, Let's Talk Airguns!#gamosmc #squirrelmasterclassic #barra1866 #airgunangie #theairgunexpo #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviewsMan it's a great time to be an airgunner!Links and more:Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Exclusive Behind the Scenes and Early Access, Ad-Free content NOW ON PATREON! - https://www.patreon.com/AirgunVideos and AirgunArmy https://www.AirgunArmy.com https://www.airgunweb.com  - meet our sponsorshttps://www.youtube.com/airgunweb  - watch our contenthttps://www.gatewaytoairguns.org  - connect with airgunners worldwide!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video, you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.

Thank You's, and Links:We want to thank all our sponsors.. please visit https://www.airgunweb.com and https://www.gatewaytoairguns.comTonight's show: The 2024 Gamo Squirrel Master Classic was a lot of fun. But it's not just about getting out in the woods and shooting squirrels.  It's also about trying to inspire young shooters.  By getting youngsters out into the woods with an airgun and having fun, we can help the next generation of shooters learn about this great sport we love.  In this episode we'll talk about small game hunting with airguns and we'll talk about some new gear coming around the corner.  We'll also get into some viewer Q&A.  So, Let's Talk Airguns!#gamosmc #squirrelmasterclassic #barra1866 #airgunangie #theairgunexpo #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviewsMan it's a great time to be an airgunner!Links and more:Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Exclusive Behind the Scenes and Early Access, Ad-Free content NOW ON PATREON! - https://www.patreon.com/AirgunVideos and AirgunArmy https://www.AirgunArmy.com https://www.airgunweb.com  - meet our sponsorshttps://www.youtube.com/airgunweb  - watch our contenthttps://www.gatewaytoairguns.org  - connect with airgunners worldwide!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video, you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.

Rozmowa z trenerem LinkedIna, mówcą i strategiem marki, Adrianem Gamoniem. Dowiecie się co i w jakim tonie powinien mówić nasz profil LinkedIn. Dlaczego warto o niego zadbać nawet jeśli nie planuje się zmiany pracy? Czy skuteczny profil musi być w języku angielskim? Posłuchajcie!

Thank You's, and Links:We want to thank all our sponsors.. please visit https://www.airgunweb.com and https://www.gatewaytoairguns.comTonight's show: What are your thoughts on Airgun Replicas?  Do you like modern replicas, "legend" replicas, or something in between?  Also, we'll talk about the upcoming Gamo SMC (Squirrel Master Classic) event happening next week.  So, let's talk airguns folks!  And we'll also get to some viewer Q&A.#gamosmc #squirrelmasterclassic #barra1866 #airgunangie #theairgunexpo #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviewsMan it's a great time to be an airgunner!Links and more:Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Exclusive Behind the Scenes and Early Access, Ad-Free content NOW ON PATREON! - https://www.patreon.com/AirgunVideos and AirgunArmy https://www.AirgunArmy.com https://www.airgunweb.com  - meet our sponsorshttps://www.youtube.com/airgunweb  - watch our contenthttps://www.gatewaytoairguns.org  - connect with airgunners worldwide!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video, you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.

#08 Adrian Gamoń. Freelancer online. Jak zaistnieć na LinkedIn. Gościem tego odcinka podcastu „Wyzwoleni” jest Adrian Gamoń - freelancer, strateg i ekspert w zakresie mediów społecznościowych, wykładowca i trener Linkedin. To doskonała osoba do dyskusji na temat roli LinkedIn w pracy freelancera. Czego dokładnie dotyczy ta rozmowa?

Thank You's, and Links:We want to thank all our sponsors.. please visit https://www.airgunweb.com and https://www.gatewaytoairguns.comTonight's show: I love my job! We are going to be looking at some new airguns very soon.  We have the new Macavity MA2 in the studio.  Also, we have the new Gamo Arrow Classic in wood.  Not only does it have the new wood stock, it also pushes more power for more backyard hunting, testing, and target practice fun.   And the list just keeps on going.  I can't wait to get back out on the range and start putting some of these products through the paces.  So, let's talk airguns folks!  And we'll also get to some viewer Q&A.#macavityarms #gamoarrow #airgunangie #theairgunexpo #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviewsMan it's a great time to be an airgunner!Links and more:Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Exclusive Behind the Scenes and Early Access, Ad-Free content NOW ON PATREON! - https://www.patreon.com/AirgunVideos and AirgunArmy https://www.AirgunArmy.com https://www.airgunweb.com  - meet our sponsorshttps://www.youtube.com/airgunweb  - watch our contenthttps://www.gatewaytoairguns.org  - connect with airgunners worldwide!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video, you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.

LinkedIn isn’t just a resume. It’s a storytelling platform. Think of Richard Branson. His LinkedIn presence is a mix of personal insights and professional triumphs. And it works wonders for his brand. I’m Anatolii Ulitovskyi, host of the UNmiss podcast. Today, we’re unraveling LinkedIn’s secrets with Adrian Gamoń. Adrian knows LinkedIn inside out. He’s a…

Thank You's, and Links:We want to thank all our sponsors.. please visit https://www.airgunweb.com and https://www.gatewaytoairguns.comTonight's show: This may be our last .177 video for a while, so let's go out with a bang.  The Air Arms S5110XS Stealth Carbine is a dynamite little airguns.  In our last video we shot some JSB pellets out to 50 yards, tested various power settings, and got some great results.  Long live the .177.  You'll be seeing some very cool shorts coming up on the channel featuring some new Gamo Gear.  Be sure to keep your eyes open for that.  And, we'll get into some Viewer Q&A.   Let's talk airguns!#westernairguns #huntingairguns #airgunangie #theairgunexpo #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviewsMan, it's a great time to be an airgunner!Links and more:Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Exclusive Behind the Scenes and Early Access, Ad-Free content NOW ON PATREON! - https://www.patreon.com/AirgunVideos and AirgunArmy https://www.AirgunArmy.com https://www.airgunweb.com  - meet our sponsorshttps://www.youtube.com/airgunweb  - watch our contenthttps://www.gatewaytoairguns.org  - connect with airgunners worldwide!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video, you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.

Bon vendredi, cette semaine, Sarah reçoit au podcast Annick Kwetcheu Gamo, Entrepreneure sociale & fondatrice de Code F. Aujourd'hui, elles discutent de la santé financière.  Qu'est-ce que l'impact de la situation financière personnelle des employé(e)s au travail ? En quoi la santé financière des employé(e)s touche l'organisation ? Qu'est-ce que l'employeur peut faire ? Bonne écoute !  Pour suivre Annick sur LinkedIn : https://www.linkedin.com/in/annick-kg-codef/  Pour en savoir plus sur Code F :https://codef.ca/ Pour suivre Code F sur LinkedIn : https://www.linkedin.com/company/codef-org/  **** Pour nous laisser cinq étoiles et un commentaire sur iTunes: http://apple.co/3aWCq1D **** Pour vous inscrire à l'infolettre : https://www.latalenterie.com/inscription-infolettre -- Pour me suivre sur LinkedIn : mon profil personnel sur LinkedIn : https://www.linkedin.com/in/sarah-jodoin-houle-cebs-crha-735b2049/ ---- Pour suivre La Talenterie : Site web: https://www.latalenterie.com/ BLOGUE : https://www.latalenterie.com/idees Chaîne YouTube : https://www.youtube.com/channel/UCeuRuB8iUdRBB4Ri0pFIERA?view_as=subscriber LinkedIn : https://www.linkedin.com/company/42738397/admin/ Instagram : https://www.instagram.com/la_talenterie/

Mike got an unexpected opportunity to attend a World Series game this week, so we're going back to this time of year in 2020 for this week's episode. When relations between the United States and Japan broke down in the prelude to WWII, no one was more despondent than Lefty O'Doul, who had fallen in love with and become an unlikely icon in the island nation. As the two nations tried to repair their relationship, Lefty was called on 71 years ago this week to begin a goodwill tour with his San Francisco Seals. Mike and Bill recount the life of O'Doul and then special guest Yuriko Gamo Romer, of Diamond Diplomacy (http://www.diamonddiplomacy.com/), discusses how the tour did, indeed, begin to heal old wounds. Plus, happy birthday to Smoky Joe Wood and Roy Smalley III!

On this week's episode, Writer Adam Pava (Boxtrolls, Lego Movie, Glenn Martin DDS and many many more) talks about his writing career, and why sometimes when he writes features, he doesn't always get credited. Tune in for much more!Show NotesAdam Pava on Twitter: https://twitter.com/adampava?lang=enAdam Pava on IMDB: https://www.imdb.com/name/nm1106082/Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptAdam Pava:I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can. I think that's the first thing, but to get those open writing assignments, I think it's just a cool errand to even try because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things and then they'll seen you've done it. You're listening to Screenwriters Need to Hear This with Michael Jenman.Hey everyone, it's Michael Jamin. Welcome back for another episode. I may be retitling the name of my podcast. So I'm, I'm going to be vague for everyone, but I'm here with my next guest, Adam Pava, who's a very talented writer I worked with many years ago on show called Glen Martin, d d s, and he works. We'll talk. I'll let you speak in a second. Pava, you just relax. I'm going to bring you on with a proper introduction because you've worked a lot, lot of features, a lot of animation. So I'm going to run through some of your many credits. Some of them are credited and some of them just are not so credited. We're going to talk about that even though you've done the work. So I think you started early on on shows like Clone High, Johnny Bravo, I'm going to skip around.You worked with us on Glen Martin d d s, but then you've also done Monsters versus Aliens Dragons. I'm going to jump around, but wait, hold on. I'm skipping a lot of your credits, Pavo, a lot of the box trolls you've done, you work a lot with Lord and Miller on all their stuff, all the Lego movies, goblins. You have something in the works with Leica, which is one of the big animation studios which you're attached to direct as well, and then also some other shows. Let's mention My Little Pony dreamland. What else should we talk about? A bunch of the label, it's hard to talk about the credits because so many of 'em are things that are either in production or development that they're not supposed to talk about yet, or they're things that I was uncredited on. And so it's a weird thing.And why are you uncredited? How does that work? It's super different from TV and movies. So back when I worked in tv, I did tv. I mean, back when we worked together it was like what, 10, 15 years ago? Something like that. But I did TV for the first decade of my career and everything you work on, you're credited, even if you're just like the staff writer in the corner who says three words and doesn't make, get a joke into the script. You're one of the credited writers. Movies are a different situation. It's like one of these dirty secrets of Hollywood where they always want to credit one writer or a team of writers. Sometimes it'll be two writers that get the credit if both of 'em did a huge chunk of the work. But the thing that usually happens these days on big studio movies anyway is they will go through three or four writers over the course of the years and years of it being in development and all those writers who worked on it before the final writer or sometimes just the first writer and the last writer will get credit and all the ones in the middle won't get credit.Or it's like the W G A has these arbitration rules where it's like, unless you did a certain percentage of the final shooting script, you're not going to get credit at all. So even though the guy who brings catering gets credit and every person on, so will you arbitrate for credit or do you go into these projects knowing that you're not going to get credit? Usually I go in knowing that I'm not going to get credit or I will. Sometimes there'll be a situation. I did about a year's worth of work on the Lego movie, the first Lego movie, and Phil and Chris, Phil Lauren and Chris Miller who directed that and wrote the first draft of the script and the final draft of the script. They're buddies of mine and so I'm not going to arbitrate against 'em and I want them to hire me in the future and I love them and they really wanted, they're written and directed by title, and so of course I'm not going to arbitrate in that sort of situation.And also to be fair, I don't think I would win that arbitration because they wrote the first draft and it was already the idea and it was brilliant and it came out of their minds and it was awesome. And then they had me do four or five drafts in the middle of there where I was just addressing all the studio notes and all the notes from the Lego Corporation and all the notes from Lucasville and all that kind of stuff while they're off shooting 21 Jump Street and then they come back. So you were just doing it to move it closer and then they knew they were, yeah, exactly. They knew they were coming back onto it and they were going to direct it and they would do another pass. They would do multiple passes once it goes into storyboarding once it's green lit. So I was just trying to get it to the green lit stage, so they had written a draft and then I did a bunch of drafts addressing all these notes and then we got a green lit off of my drafts and then they came back on and they started the storyboard process and directing process.And the story changes so dramatically during that process anyway that the final product is so far removed from the drafts I did anyway, but it was a valuable, my work was needed to get it to that point to where they can jump back onto it. But very little of that final movie is anything that I can take credit for and I wouldn't want to take credit away from them on that. So I do a lot of that kind of work. Did they have other writers that worked on Legos movie as well, or just you? On the first one, it was them and me. There was these two brothers, the Hagerman brothers who had done a very early treatment, but that had set up the original idea for the movie of Allego man sort of becoming alive. So they got a story by credit, and then they definitely always have a stable of writers that they bring in to do punch up work and to just watch the animatic and give notes and stuff like that.So there's a whole bunch of people that are contributing along the way. Funny, they come from tv, so they really run it. They run it as if they're still on TV a hundred percent. They have their writers. And so I've gotten to work on a lot of their projects as one of their staff writer type people basically is the idea. So it's all uncredited work, but it's great work. They're such great guys and you're working on really cool things every time. And so now there's a new, in the last few years, the W G A started this new thing called additional literary Material credit. And so if Lego were to have come out now, I think I would've gotten that credit on it, but at the time, that didn't exist, so I got a special thanks. And how did you, oh, really? Okay. And how did you meet these guys?They gave me my first ever job before I knew you. I mean, I had written a movie script that was an animated movie. This is like 99 or 2000. I was just out of grad. I wrote it while I was in grad school. And Wait, hold on. I didn't even know you went to grad school. Did you study screenwriting in grad school? Yeah, I went to U S C screenwriting. Oh, I did not. I hide it from you. Why do you hide it? For me? I don't know. It's a weird thing where I feel like a, it's like I was in this weird secondary program that wasn't part of the film school. It was the master's of professional writing and screenwriting. And so people would get confused and I didn't want to lead them on, but also I just feel like it got me to a place and then I was like, I didn't want be part of a good old boys club where people are just hiring U S C people or whatever.That's the whole point of going to USC for Yeah, people ask me, should I go to film school, get an M F A, and my standard answer is, no one will ever ask for your degree. No one caress about your degree. The only thing they care about is can you put the words on the page that are good a hundred? But why did you, but what it did offer me, and I'll get back to how I met Phil and Chris in a little bit, but this is a good side conversation. It gave me an opportunity to do some internships on a couple of TV shows. And that was super, super valuable. So when I was at U SS C, it was 99 and 2000, and so I interned my first year on a little show called Friends, which was still on the air. I was on the air at the time.I was just the stage intern. So I was moving the chairs around during the rehearsals and fetching coffees and getting frozen yogurt for cast members or whatever, just shitting my pants, trying to be a normal human being around all these superstars and was not, I wouldn't say it was the best experience of my life. It was definitely one of those things where I was like, everybody was super intimidating and everybody was really busy and the cast were in the middle of a renegotiation, so they're all showing up late. It just felt like everyone was angry the whole time. And I was like, dunno if I want to work in tv. But there was one writer's assistant who was just like, yeah, because on the stage you're a writer, you need to be in a writer's room, you should be an intern in a writer's room.And I was like, oh. And then so I was able to get an internship on Malcolm In the Middle, which had just sold, it was in his first year, so it was a summer show. So I jumped onto that in the summer and was able to do that. And then in that writer's room, I was like, oh, these are my people. These are actual, wait, you were an intern. They let you sit in the writer's room one. It was like for doing all, getting the lunches and making the coffee and all that stuff. Linwood was nice enough to let me just observe in the room for one day a week just to, well, if I didn't have other stuff I needed to get done. So it was super nice as long as I didn't pitch or say anything and I was just, I never would.But it was cool to, that experience showed me that show was so well written and it was so tight and those writers were all geniuses or I thought they were all geniuses. And then I'd go in the room first, I would read the scripts and I would think, oh my God, I'd never be able to do this. And then I got in the room and I'm like, oh no, they're just working really, really hard and banging their head against the wall until they come up with a perfect joke. And then by the time it's done, it seems like it's genius. But it all was just really hard work, really long hours to get to that place. So that taught me like, oh, maybe I can be one of those people. If I'm just one cog in this room, I could do that. And so that gave sort of the confidence to do that.So I had done those. Getting back, I can loop back into the Phil and Chris thing now because this actually connects really well. I had done those internships. I graduated U Ss C and I had this script that I'd written as my final project or whatever, and it was an animated movie, and I thought you could just sell an animated movie, but I didn't know, they didn't teach me this in grad school that at the time they developed 'em all. It was like only Disney and Dreamworks were doing 'em at the time. This is 2000. And they just hire directors and sort of were an artist in-house to sort of create the stories or back then that's how they would do it. And so I sent it to some agents and the response was always like, Hey, you're a really funny writer. This is really good.I can't sell this. I don't know anybody that buys animated movies, but you should write a live action movie if you can write it as good as this. And so I wrote another movie that was Live Action, but it was silly. It seemed like it might as well have been an, I go back and read it now and I'm like, it's basically an animated movie, but it didn't say it was animated, it was live action human beings. And I submitted it to a small boutique agency at the time called Broder. I don't know if you remember them, Broder Crow, we were there. Yeah. And so Matt Rice was an agent there at the time, and he had on his desk, his assistant was Bill Zody. I dunno if you know him, he's a big name agent now, but he was an assistant at the time.He read that script that I wrote and was like, oh, you know who this reminds me of these other clients that Matt has, Phil and Chris. And so he passed it on to those guys and they were looking for a writer's assistant on Clone High because they had just sold their first TV show. They were a young hotshot writers that were just deal. And so I met with Phil and Chris, and they hired me as the writer's assistant on Clone High, which was like, they were the same age as me. They were just like, we don't know what we're doing. But they're like, you've been in a writer's room, you've been knock on the middle and I friends and you, I didn't know anything. I didn't know what I was doing at all, but it said on my resume that I had had these experiences.So they thought I would be a good writer's assistant for that reason. But they were the coolest dudes from the very beginning. They were just like, you're the writer's assistant, but also you should pitch in the room. You should act like you're another writer. We have a really small staff, we have seven writers, and you're going to get episode eight. I mean, it was crazy. They were just like, they gave me a lance and that never happens anymore. How did they get an overall deal when they came? Oh, it's the craziest day. So they went to Dartmouth, they made each other at Dartmouth and then they were doing cartoons while they were there studying animation. And one of Phil's, I think it was Phil, I think it was Phil won the Student Academy Award for a student film that he did. And it was written about in the Dartmouth Alumni magazine.And there was a development exec at Disney whose son went to Dartmouth and read that article and was like, Hey, called them in their dorm room. And we're like, if you guys ever go out to la lemme know. We'll set a meeting. And they literally, the day after they graduate just drove to LA and then called 'em up and we're like, we're ready to get hired. And it worked and they got hired, it worked. They got hired just to do Saturday morning stuff, and they did that for a little bit and everything they were doing was too crazy for Saturday morning, but it was like Disney. But then Disney was like, well, you can start developing stuff for adult Disney or for primetime stuff. And so they came up with the idea for Clone High, and it originally sold to Fox as a pilot to be after the Simpsons or whatever, but then it didn't get picked up and then M T V picked it up and then they had a show.So it's crazy what a trajectory their career has. Yeah, I know. And now they're running Hollywood. Yeah, pretty much. Pretty much. Yeah. They were good guys to meet right away mean honestly, it was like to become friends with them and just to ride their wake and get some of their sloppy seconds and some of the stuff that they don't want to deal with, it's honestly, it was great. Did they call you a lot with stuff like that? Hey, we don't want to do this. It's yours less now than they used to. I mean, there was a point where I was one of their stable guys that they would call. I think they have met a lot of people in the 20 years since then, but early on it was like, I mean, even their first movie was Claudio with a Chance of Meatballs, and they brought me on to help rewrite the third act at one point.And it was just from then on, they would always send me their scripts and just add jokes or to give feedback or whatever, and they've always been like that. And then I've noticed the last maybe six or seven years as they've gotten these huge deals and all their projects are now just these massive things, it's not quite the same relationship where they would just text me or email me and be like, Hey, read this. Now. It's like they have a whole team of people. They have a machine now, but we still are friends. And then things will come up where they'll hire me for things here and there. I wonder, honestly, I don't want to make this differe about them, but it's so interesting. I kind of think, I wonder what it's like to be that busy. It almost feels like, oh my God, I'm too busy.They're so busy. They're the hardest working people I know. It's like people always wonder how this stuff comes out so good. And it's not that, I mean honestly, it's just good because they stay up later than everybody. They never stop tinkering with things. They're never satisfied. They always think the next thing they do is going to ruin their career. And so they run on this fear that propels them that, I mean, they harness it. It's not like it's a secret. They know that this is what makes them great and utilizing all their friends utilizing, they're the kind of people that are the best idea in the room wins. If you could be the PA or the head of the studio and if you have a great idea, they're like, let's try it. And they also try a lot of stuff that doesn't work and they're given the leeway to go down a lot of dead ends and then realize that's not the answer, and then back up and then try it again and try it again and try it again.And that's how a lot of animated movies are done. And so it drives everybody crazy, but also creates amazing product. That's what, because I've interviewed a couple of guys who worked at dreamworks, which John Able who does a lot of the kung movies, and he describes it the same way. I was like, wow, it's so different from writing live. It's so different from writing live action. The whole experience sounds exhausting to me. Do you find it the same? Yeah, I mean when I first started in it, I was like, this is ridiculous. Why don't they just write a script and then shoot the script? And then over the years, I've learned to love the process. I mean, I was frustrated early on when I would realize how much gets thrown out and how much changes and how much. It's just, it's out of the hands of one writer.And I think a lot of it is also just ego thinking that you could do it better than everybody. And then once I embraced, oh no, you have a bunch of really brilliant storyboard artists and you have a bunch of really brilliant character designers and head of story and a director and all these different people who, and layout artists and even the animators themselves, they all add something so vital and valuable to it, and you learn stuff from each of their steps and then you're just given the leeway to be able to keep adjusting and adjusting until you get it right. And that's why animation comes out so much tighter often than live action is just because you've been able to see the movie so many times and keep tweaking and tweaking until you get it right. Now there is a point where sometimes I feel like you can take that too far and then it just becomes like, oh, we had a great version, four drafts to go and now we've lost our way, or we're just spinning our wheels or whatever.See, that's why I get lost sometimes. I've been in shows where you rewrite something to death and then someone says, we should go back to the way it was, and I'm like, what was the way it was? I don't even remember anymore a hundred percent, and I've stopped ever thinking You can do that. I used to think I would hold out hope though they'll realize that the earlier draft was better. They'd never do. It's like everybody forgets it, and then you just have to have the confidence to be like, well, we know we'll come up with something better together that it'll be from the collaborative mind of all of us. And then I think now I've seen actually the last few years, there's a little bit of a tightening of the belt budgetarily, and that leads to faster schedules. And so instead of having seven times that you can throw the story up from beginning to end on the storyboards, like the reels and watch this movie, you can only do it three times or so.That gives you a little bit more of a window of like, okay, we got to get it right in three drafts or whatever, in three storyboard drafts. And who's driving the ship then in animation? Is it not the director in this case, it's Lord Miller, but they're the writers. Well, Lord Miller are often the directors, and so when they're the directors, they're in charge when they're the producers, they're in charge When they're on the Spider Verse movies, for example, they're the writer or Phil writes them and then they hire directors. But Phil and Chris are the producers, but they're sort of like these super directors. They're very unusual. Yeah, it's not, yeah, that's an unusual situation. But other movies somebody do at dreamworks and there's somebody do at Leica Leica, it's like the director and the head of the studio, Travis Knight, who it's his sandbox and it's his money because he's a billionaire that funds the studio.He has the ultimate say, and so the directors are always working with him, but it's always collaborative. It's always like you get in a room. When I'm working at Leica, it's always like me, the director and Travis trying to figure it out, and he's trusted me to be, I feel like he doesn't trust a lot of people. He is kind of closed off in that way, but once you earn his trust, you will be in that room and you'll figure it out together or whatever. But every movie's different, and sometimes I'm on a movie just to help fix it for a little bit, and then I'm just a fix it person that comes in for a little bit. Sometimes I just add jokes. Sometimes I just, there's been movies where it was a mystery animated movie and they're like, can you just rewrite the mystery?I was like, what a weird assignment. But I had three weeks still. But in this case, they're calling you. How are you getting this work? Just reputation, they're calling you out of nowhere? Mostly now it's reputation. I mean, sometimes I'll be submitted to it. I mean, the first time it's always like you have to be submitted. And I mean, I can tell you how I got hired on box rolls. That was a big breakthrough to me. I mean, it was after I'd done, so Lego was obviously just having known and worked with Phil and Chris forever, and then they got hired on Jump Street, and they needed somebody that they trusted to dear the ship for a while while they're gone. And so I was able to do that, and that was a huge big break. It was like, you couldn't ask for that. I just, I'm the luckiest guy in the world.But after that, at Leica, they had a draft of a movie before it was called box Rolls, it was called Here Be Monsters, and it had been in development for years and years and years and gone through a bunch of writers and they hadn't quite figured it out. It was kind of a mess. It was a big sprawling story that had a lot of moving parts to it, and they had heard that on Lego, I was able to harness a lot of the crazy ideas that Phil and Chris had and put it into a structure that made sense. And so they asked me to come in and do the same thing, or before they even did that, I did a punch up. I got hired to do a punch up on that movie, and I knew that it was going to be a huge opportunity to impress them.I really, really wanted to work at Leica because at the time, they had only had Coralline come out and I loved that movie. And then I had seen maybe ParaNorman had come out or it hadn't come out yet, but it was about to, whatever it was, I knew it was a new animation studio doing really unique original stuff, and I got asked to be part of this round table, and it was all these heavy hitter Simpsons writers. It was like J Kogan and Gamo and Pross, all these people that you're like, these are all legends. They've done a million shows and they get hired to do punch up all the time. That's like their bread and butter, right? I'm not so sure anymore, but okay, no, no, but this is in 2011 or whatever.And I was like, I am going to take this script and analyze it and come up with character moments and come up with, I'm not going to be able to compete with those guys with the best joke in the room necessarily. I'll have good jokes to pitch, but I'm going to have like, oh, what if we adjust the character to be more like this? And where those guys were all, not those guys specifically, but the room in general, these were all guys who were maybe reading five pages ahead and then pitching off the top of their head. And I spent a couple of days writing jokes in the margin and ideas in the margin, and I killed in that room. I got a lot of stuff in and to the point where a few months later when they needed a big overhaul, they asked me to come in and do sort of what I had done on Lego, just take this big thing and hone it down into, so it was a rewrite job at the beginning, and then it turned into three years of working with the director in the studio to change that story.We threw everything out and started over basically a couple times over the course of those years end up, but how are you get paid? Are you getting paid on a weekly scale? Because I don't know how that would work. Do you get paid? It starts off with a draft and then it'll be a typical thing like a draft in two rewrites, but you quickly run through those and then they keep needing your work. At least they're not getting free work out of you. They're picking no, then it turns into either a day rate or a weekly rate, and that's where I bought my house.I made so much money on my day rate. They would literally just, Leica would call me and just be like, oh, we're going to record an actor in a few days. Can you just go through all their scenes and write three or four alts for every joke? Just have a bunch of stuff. And I would spend a few days doing that, and then a day rate, you get paid really, really well, that stuff adds up. Or they would be like, we just need one more pass on the third act, or we just need to go through the whole script and remove this character. And so all these little weekly assignments, and then you're just like, that was very lucrative doing it that way.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Adam Pava:You usually, because done so much animation and it sounds like you always set out to do animation, is that I did set out to do it, and then I didn't set out to only do it. I thought I could do both, but you kind of get pigeonholed a little bit. It's hard. I've gotten hired to write a few live action movies, but there were always a live action movie that had an animation element to it. It could be a hybrid movie or be a family movie that they think, oh, because you've done family work, you can do this. But nobody would ever hire me to just do a horror movie or whatever. And I don't know if I'd be the right guy for that either. I think my sensibility tends to be more animation based, but also, I think movies are such a different thing than TV where there's like, they're so expensive.If you're spending $80 million or whatever, you want to hire somebody that's done it before. So it's really, really hard for the studio bosses or even the lower level executives to fight to hire you if you've never done that kind of thing before. And so you get, it's not pigeonholed. I love doing it and I love the work, but it's also, I get why I get hired for certain things and not for other things. But also I feel super lucky because animation is one of the only parts or the only genres of film that has not shrunk over the years. Movies in general, they've stopped making live action comedies almost completely, except for stuff on streamers. They don't make rom-coms anymore. They barely make action comedies. It's like they make superhero movies and Star Wars movies, but then animation movies are evergreen. And so I feel really lucky that I sort of fell into this area that there is still work to be had.So yeah, I mean, you really have put together a really pretty impressive career. And I know not all your credits, not all your work is credited, so what I mean? Yeah, well, it's either uncredited or there's so many projects that died Vine. So it's like you read my, I said you that list of credits and it's like I'm looking at it over earlier today. Oh, it's just a list of debt projects, but that's expected. When you go into it, you go, okay, they're not all going to go. That's expected. It's all right. I was looking at my, I was organizing my, it's a strike, so I have time to do these things, organizing my folders on my computer and putting everything in, and I had over 150 folders of each. One is its own project, and not all of those are work that I've done.Some of them are like, I got sent this thing to pitch on, and then I had one meeting and it went away. And some of 'em I did a few weeks on, or some of 'em I just did day work on, but 150 projects over the years. Some of 'em I'm on for a year or two or three years. So it's insane. And so the hit ratio is super low of, I got really lucky when I transitioned out of TV and went into movies. It was like the first two things. Well, I sold a thing to Dreamworks that didn't get made, but then right after that, it was Lego and box trolls. They both came out in 2014, and I worked on both of 'em, and I was like, oh, this is going to be easy. You work on a movie and then it comes out and then it's cut to 10 years later and it's like nothing else is my name on it has come out.I've worked steadily. I've worked really well. I've been very happy. But it's definitely, it's a different thing than TV where you're just working and getting credited all the time. Well, yeah, but it also sounds like, I don't know, it sounds like to me, maybe I'm wrong. It sounds like you don't need to hustle as much doing what you do. No, I feel like it's the opposite because on TV you can get on a show and you're running for years, but on a movie you always know what's going to add, but they're coming to you. People are coming to you with offers, in other words. Oh yeah, sometimes. I mean, yes, the ones that end up happening, that's true. But there's so many that I'm just on a list at the studio, but I'm in a bake off with six other writers and I don't get it.So you put a lot of work so people don't know what to bake off is. So this is when you have to pitch to get the job and you have to put in several weeks of work. That's the worst. That's just the worst. And that's the majority of my life. Oh, is it? That's like, yeah. Yeah. So there's definitely, I mean, between Phil and Chris and Laika, I have, and a little bit of Dreamworks now. I'm doing my third movie for them right now. So that's pretty good over 10 years, three movies. But other than those places, it's always like you're getting sent stuff, but that doesn't mean they want you. It just means they want to hear a bunch of takes, and so you have to try to fight for the job if you really want it. Or I used to spend months or maybe eight months coming up with the take and having every detail worked out.And then I realized over time, they don't actually want that. They want a big idea and some themes and some ideas of what the set pieces are, and they want to know that you, I mean, honestly, it's, I don't even recommend that young writers go out for them because you're not going to get it anyway, because they're always going to go with somebody that has done it before. Especially, I mean, not always, if you might be the rare exception, but so much. Well, then what do you recommend to young writers to do? Dude, I don't know. I mean, I think you have to write great samples. I mean, I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can.I think that's the first thing. But to get those open writing assignments, I think it's just a fool's errand to even try, because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things, and then they'll see you've done, it's not even try to get these big studio things, get a small indie thing if you can, or make your own thing if you can, or just try to work your way up in a smaller way. I mean, all the big name directors out there all started on small indie movies. And I think that's got to be the same for writers now too. So many fewer movies. Is there anything that you're doing on the side just for the love of it that you're creating for yourself? Or is it, I haven't, in the last few years, I haven't.I've just been busy with work, but during the pandemic, I had plenty of time. Nobody was buying movies, and I am wrapped up on something and I had an idea that I thought was going to be my next big sale, and that it was an idea about a virus that went, it was a comedy thing, but it was this idea where it was sort of based on the idea that Christmas is getting longer and longer every year, where people put up their lights in decorations sooner and sooner, and you start seeing the stuff for sale in October or whatever. And so I was like, oh, it felt like Christmas was a virus that was slowly taking over the world. And I was like, what if it's a zombie movie, but Christmas is the virus? And so it was sort of a Christmas apocalypse thing where Christmas takes over the world and one family didn't get infected and had to fight back.So I was like, this is going to be a big seller. And then I was like, and then Covid hit, and it was like nobody wanted to buy a thing about a virus taking over the world, so I literally spent the pandemic. To answer your question, I wrote it as a novel. Instead, I wrote it as a middle grade novel, a y, a novel. Did you publish it? Not yet. We're trying. So we're out to publishers, and it took a while to figure out literary agents, which are very different world and everything, but the idea is to hopefully sell it as a book and then be able to adapt it as a feature. But yeah, it was so fun to write, and it was so freeing to not be stuck in 110 pages and to, I mean, I already had the whole thing outlined from the pitch when I was going to pitch it, so I knew the structure of it, so I just kept it as the structure of a movie, but I expanded on it and got more into the character's heads and that kind of stuff.But I had such a fun time writing that, and I was just like, man, someday when the work dries up, I am going to look forward to writing novels instead. And oh, yeah. The funny thing is when you describe the literary word going out to publishers, it's not that different from Hollywood. You think It is. It's not. It's the same hell. Oh, absolutely. But you and I haven't had to deal with breaking into Hollywood in a long time. And then in the literary world, they're like, oh, you've written movies. We don't care. We don't care at all. So it's starting over. And U T A tried to help a little bit, but they're like, we don't really know what to do. And then, so it's, I've been, my manager has been introducing me to editors and stuff, literary editors, and they've been really receptive, and it's been good trying to find the right one and the person I jive with. But it's very much like, oh, you're starting from scratch all over again. And for less money, no money. I mean, literally, I don't know how you would make a living off of this. I mean, I think we're spoiled a little bit, but what was the money they were telling you? Can you say, I don't want to say you don't, but it was basically about, it was less than a 10th that I would get paid on a movie.It was about my weekly rate. So I was telling you, I do weekly jobs on movies, and it's like if I do a weekly on a studio movie or I could sell a novel, or you could work five years on a novel, and I'm like, oh, this is not a way to support a family, but it was really fun. Someday when I'm just doing it for fun, I would love to do it. Wow, how interesting. Wow. So your best advice, because you're not an animator, you're not even an artist, are you? No, I don't draw or anything. I just love animation. I just always loved animation. So I don't know. I think when I was in seventh grade when the Simpsons started, and that blew my mind, and I was like, I remember telling my dad, I think I want to write on this. It was the first time I recognized, oh, people are writing these jokes. It was very, I think, more self-aware than most comedy was. And I was in junior high and I was just like, I want to be a writer on a show like this. I never was a writer on that show, but a bunch of other stuff.Now, as far as directing, because I know you're attached to possibly direct this project, where does your confidence come from that to direct? I mean, I don't know if I have confidence in it. I mean, I would want to co-direct it. In animation, you often get paired with another, if you're a writer, you'd get paired with an experienced animation director who comes from the visual side. So either an animator or a store wear artist or visual development artist. And I just feel like some of the projects I've been doing, you sort of act as more than just a writer anyway. You're sort of meeting with the creative heads all the time, making these big decisions that affect the projects. And at a certain point, I'm like, well, if I write something, that project that I, that's at life that I was attached to, it probably won't even happen at this point.It's been a few years, and it's kind of sitting there waiting for Travis to decide if he wants to make it. But it was a personal project to me, and it was like this would be the one that I was like, I would really want to see this all the way through. And I'm sure at that studio at this point, he's, Travis himself who runs the studio, is kind of directing all the latest projects anyway, so I would be co-directing with him. And so he would really be in charge, and I would just be, they're up in Seattle, right? Portland? Yeah, Portland or in Portland, yeah. So do you go up there a lot for Yeah, when I'm on a project, so usually it's like if I'm just writing it before it's green lit, which is most of the time I'll just fly up there for meetings just to get launched or whatever, and then go back up after I turn it in to get notes. But if it's in production on box trolls, and then there's another upcoming one that I did a bunch of production work on, they'll fly me up there to work with the board artists and stuff. And that's a crazy, that place is so nice.It's like a wonderland. I mean, it's like this giant warehouse downstairs that they have all the stages and they're all covered with black velvet rope, I mean black velvet curtains. So to keep all the light out and everything. And that's where they're moving all the puppets and everything, the stop motion. And then upstairs it's like the offices, and it just feels like a corporate office building with cubicles and stuff. It's very weird. But you go downstairs and it's like there's people animating, there's this huge warehouse where they're building all the props and they're like armature section where they're adding all the skeletal armature to the You never went with us to, because Kapa was like that in a cup of coffee in Toronto when we did Glen Martin. Yeah, it was amazing though. Similar. But Kapa is doing it on a budget, and these guys are spending so much money, it's not a viable way to make money to make these animated stop motion animated movies.They don't do it to make money. He does it. He loves it. Oh, really? Oh my gosh. Yeah, because Travis Knight is the son of Phil Knight who've gone to Nike, so he's got sort of a lot of money, and it's his hobby shoe money. He's got shoe money, but he is a brilliant animator. He is a super smart, interesting dude who wants to make things that are different than anybody else. And so it's an amazing place to work because nowhere else do you ever have the conversation of like, oh, we could do this if we wanted to do it, where more people would see it, or we could do it this way, which is cool and we want to do this. It's fun and weird.Not that he doesn't care about an audience, he does care about an audience, but it's not most important to him is making something that's awesome to him for the art. And so it's a very different way of looking at things. But I've been in situations there where it's like we're doing upstairs, doing a rewrite with me and the director changing the whole third act or whatever, and then I go downstairs and just tour the stages and the workshops, and I'll meet a puppeteer who's like building this giant puppet who's telling me this is the biggest puppet that's ever been created in Stop motion, and here's the 17 different places where I can articulate it. And I'm just thinking like, dude, we cut that yesterday upstairs. Oh no. And he's been working on it for a month. Oh, no. But I can't say anything. I'm just sort of like, oh, yeah, that's awesome.It's so great. You're doing great work. Anyway, I'm going to get back upstairs. That's so heartbreaking. But they burn through so much money just doing it all by hand. It's so crazy. But it's so beautiful, so I love it. And so you were literally upstairs, they gave you a small office and you just start typing? Yeah, that's literally, I mean, usually when I'm there, it's like they just put me in some random cubicle that nobody else is using or it's not a cubicle, a little office that is or whatever, somebody office. And you'll stay there for a few days or a few weeks or what? Yeah, exactly. Depending on how much they need me. So it either be a few days or a few weeks. And then on box rolls, I was up there. I would be up there for a week, relining some stuff, and then I'd come back home for two weeks and write those pages up.And I mean, I'd be writing in the evenings after the meetings and stuff too, while I was up there. But when we are rewriting, it's a train that's moving and it's like the track is you're running on a track and you got to keep pressure. What did you think of staying there in Portland? Did you like it? I did it. It's hard because my family's here and life is here, but if that movie had gone that I was attached to Coder Act, we were planning on moving there for that for three or four years. That's how it would take. Interesting. Would you have sold your house here or just rented it out? I'd have rented it out, I think. Interesting. Yeah, you, it was like we were having all these conversations, and then it's the longer it goes, we're like, that's probably not going to happen.We don't have to think about this right now. How interesting. That's so key. It really takes that long, man. Oh yeah. They're so long. And then also, it's like there is this weird thing in animation where it's not uncommon for a movie to go through two or three directors over the course of its many years in production. So it's like, why? I know. Just because they're beasts. And sometimes in the same way that you're changing the story so many times over the years, sometimes you make such a drastic change that it's no longer the vision of that director, and it's just not a right fit anymore. And I've seen that happen on a lot of movies that I've been on. I mean, Boxtrolls didn't end up with the same two directors that it started with. One of the two stayed on it, but the other one didn't.Oh, no, this sounds very frustrating to me. It sounds It does. And then other movies up there have gone through different directors, and so I was like, even if I had gotten hired as the director, I was in the back of my head. I always knew this might not last even if I'll do my best and I'll try to make it work. But you haven't even started and you're finding I'm being fired. Yeah, totally. But I mean, it's a weird thing. It's not TV where you're on a show for a year and then hopefully you get the second year if you get one. It's like in movies, they fire and hire different writers all the time, and so directors less, but writers, it really is pretty common. I've been on both sides of it where it's like, I used to take it really harder, fired off a movie.You're like, oh my God, did they not like the draft? I did. And usually it's like, no, we liked it, but now there's a director on it and they want to take a different direction. Or Oh, the director has a friend that they want to work with that they work with as a writer. Or other times I've been that guy that a director has brought on to rewrite somebody else, and I always try to be super nice about it. Now that I've seen both sides of it, I always try to reach out to the previous writer and be like, Hey, I just want you to know it's in good hands. Or sometimes if I'm the one that's fired, I reach out, be like, Hey, if you want to know where the skeletons are buried, happy to get in lunch with you. Just to be like, here's the pitfalls to look out for.This is where people don't realize that people on the outside just don't realize what it's actually like when you're the writer. You're a successful working writer. And I think they have a very different vision of the reality of a hundred percent. I didn't know the job was, I thought the job was going to be writing the whole time. Most of the job is it's playing politics with the studio and the executives and the director and Well, what do you mean politics, getting navigating the notes? What do you mean? Yeah, yeah. I mean, it's like the notes, but also the personalities. It's like a lot of the job I feel like is to go in and to make everybody feel comfortable with where you're taking it. Because you walk into a room and sometimes you could feel like, oh, the director thinks they're making a very different movie than the head of development thinks.Then that's different than what the producer thinks. And that's different than what the head of the studio thinks. It's like I've been in a room where it's like Jeffrey Katzenberg is just like, guys, guys, guys, you're all thinking about this all wrong. And you just have to be like, okay, how can I find solutions that makes everybody happy, that make everybody happy? And that's a huge part of the job. I mean, honestly, when I did the Lego rewriting with Phil and Chris, that's what the whole job was, was just like, how do I make Warner Brothers who didn't know what they had? They thought it was a toy commercial. They were very skeptical of the whole thing, Phil and Chris, who wanted to make some beautiful art. And it was cool with cool ideas. And Lego Corporation who wanted to make a toy commercial and Lucasfilm who didn't want their characters to be in it, and DC who didn't know whether they should be or not.And you're just like, how do I get in a room? And and usually if you come up with a great gag or great joke that articulates the, that illuminates the tone of the thing. So they all go, oh, okay. That's the thing. So the round of notes, like you're saying, oh, it's incredible, but for everybody and everyone's got conflicting. I don't even know walking into that job, and all I care about is I don't want my friends, Phil and Chris to think I fucked up their movie because they're trusting me just so I keep it moving. But I would think even for them, it's like, how do I get this movie made when I have so many competing notes and to their credit account, great, but still that is a hundred percent to their credit, they have a genius ability to, not only are they great writers and great directors, I think more than that, they have this sense of how to make everybody in a room think that the ideas came from them.It's like, yeah, they're great at, they'll go into a room, I think sometimes having some ideas in their pocket, but it feels like the room came up with the ideas together, and then everybody's like, yes, we did it. Pat ourselves on the back. And everybody, the executives' seem happy. But sometimes it actually does come out that, I mean, those brainstorm sessions really do create a new idea, and sometimes it's them trusting the process that that's going to work out. And sometimes I think they literally are like, well, we can go this way or this way, but I know it'll be easier if they think they had the idea. So let's go this way for now. And then later they know it's going to change a thousand times anyway in the storyboards, and then they could figure it out for real later. Because all these see people like that.They're very well paid, but in my opinion, they're earning every penny of this a hundred percent. They're earning every, it's not that easy. This job, I feel like I've gotten better over the years where I've taken my ego out of it. I used to have a much bigger ego, you might remember, but I feel like I can be, now, I can just go in a room and be like, I'm just going to try to help. I'm just going to be like, how could I make everybody feel comfortable? How can I make everybody feel like we're on the right page together and create this thing? I know that it's like the process is going to take years and years, and the relationship is more important than the individual story note or whatever. It's like that's what's going to matter over the long term of this project.It's that we all trust each other and that we can make something great together. And that's more important than fighting for a joke or fighting for a story moment or a take, or even exactly, either. It's about fighting the relationship, and I've said this before, it's about the relationship is the most important thing, and sometimes you have to sacrifice what you think is the best story, the best moment for the greater good of the relationship. A hundred percent. A hundred percent. Wow. I feel like this has been eyeopening even for me, and I feel like my eyes are fucking opened. You know what I'm saying?We've done some movie work, but obviously we work mostly in tv, but the movie side, the movie side was never really appealing. I remember because we shared the same agent for our futures, and I remember he gave us a conversation. I was like, I dunno if I want to work in movies again. It's weird. It sounds hard. It's different because in TV you're the boss, right? I mean, when you're the showrunner, you're the boss. Yeah. You've been there for a long time. And in movies, you're never the boss. I mean, I gave up on, I mean, before I worked with you, there was one TV show I ran and I co ran with my friend Tim, and we were the bosses, and I hated it. I did not enjoy it. It was like all the meetings and all the decisions and the budgets and the interpersonal relationships and all that stuff.I was like, I was not good at it back then, and I don't know if I'd be better now, and I just was like, you know what? I just want to be part of a team and I want to be a writer. And it's like in movies, that's what you are. You're just part of this big team in a different way. I mean, I guess when you're a staff writer or coming up through the ranks and tv, you're part of a team too, but you can be like, you're also a much more integral part of the team, the one writer on it at the time. Or in movies, you're like, when you're the writer, you're the writer and they all look to you for that one job. Or if you're on a staff when I'm on a show with you or whatever, you might look to me for one type of, it's very different. I'm a cog in this room.It's never, you never have to be a hundred percent on your A game every day for you can showing it in a little bit coast. Wow. Adam Paval, what an interesting conversation. This is enlightening for me. Very enlightening. Yeah, man. Are you having everybody on from the old days, Brian? Well, I had Alex Berger on a while ago. We talked a little bit about that script that you guys wrote together. Well, there's two things on Glen Martin. You were always pestering me to do a musical. Yeah, I think, I don't know how to write a musical. And you're like, this is why I've work in animated features. I've written three musicals since I, so lemme let you do the movie. I was like, dude, I don't know how to do so go ahead and knock yourself out. That was fun. And then you guys came back with that Christmas episode. I thought you guys both hit it out of the park. I was like, let's shoot it, let's shoot it.I think it took, because that was all second year stuff and it took a little bit of time to figure out tonally what we were doing and then just to get a little crazier. And then, I mean, those episodes were like, yeah, I could be a little bit more myself of writing the weird stuff that I wanted. I mean, the other one I remember fondly is that weird Funshine episode. Was that the musical one or was that, I don't remember. Dude, fun cine was, it was like the planned community in Florida that was basically celebration Florida and they all realized that everybody was on being drugged and were lactating out of their breast and all that. Oh, that's right. Now I remember the guy, there was a scene where there's a pregnant man or something. It was fucking nuts. And I was like, oh, now we're writing the show that I could write.The first year, I think it was a little bit more like I was a little square pa in a round hole where it was like I didn't have a family at the time and it was a family show. It was about a dad and a mom trying to navigate their crazy kids and I was like, I don't know what the fuck. Crazy in that show. It's a shame. We didn't do more seasons. We weren't nuts. It was fun. It was a fun time. For sure. I got some of the puppies right over there, so see, yeah, I got the one you gave me of me that one from the college episode. Oh right, the college episode. That's right. We put you in. You ran the gauntlet I think, didn't you? I think that, yeah, that's exactly right. Funny. Yeah, funny. Adam, Papa, where can people, is there anything want, we can plug people, find you.Are you on social media? Is there anything? I'm not super active. I'm on Twitter. You can find me on Twitter. Adam Papa or Adam or whatever it's called now. X X, I'm on X, but don't really, I'm not super active on it. I don't have anything to plug. Everything's going to come out in four years. Yeah, right. Yeah. Look for Adam Papa in four years when something drops to the movies. That's the process. Dude, thank you again so much for doing this. This was a really interesting conversation. I haven't talked yet, spoken to anybody about this kind of stuff. You are a wealth of information. Alright. Yeah, it's fine. Everyone, thank you so much. Until the next episode drops, which will be next week. Keep writing.Phil Hudson:This has been an episode of Screenwriters Need to Hear this with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.

Boss branding to potężne narzędzie marketingowe, które użyte odpowiednio, przynosi rozpoznawalność Tobie i Twojej firmie.    Dla liderów ważne jest skupienie. To także zadziała w marketingu szefa. Boss branding motywuje foundera do pracy nad dzieleniem się wiedzą, opowiadaniem o budowaniu biznesu i tworzeniem ciekawych treści. Pisanie postów to silna umiejętność, a pod postami są też komentarze, które nierzadko są asem w rękawie bossa. Jeden odcinek podcastu, nagrane video, publikacja czy post foundera ma często ogromne zasięgi i siłę wpływu na branżę. Korzyść? Szybszy rozwój, lepsza wycena firmy, efektywna rekrutacja, przyciąganie talentów. Czasami wystarczy jedna osoba, która przeczyta Twój post, aby biznes ruszył z kopyta.  Jeśli mamy już wtedy odpowiednią rozpoznawalność, markę, siłę przebicia - łatwiej jest wykorzystać szansę. Jak nie dać się pokusie obejścia procesu marketingowego. Co robić, by boss marketing był efektywny? Kogo obserwować, aby uczyć się od najlepszych. Jak podcast wpływa na działania firmy i bossa?    Adrian Gamoń wyjaśnia jak szef firmy może zadbać o marketing marki osobistej i promocję przedsiębiorstwa.      1 - Boss branding (00:01:46) 2 - Ciekawe marki osobiste na Li (00:03:01) 3 - Podcast w marce osobistej i marce firmy (00:08:28) 4 - Marka przekłada się na... (00:11:16) 5 - Jak to robić (00:19:58) 6 - Jak być aktywnym boss marketerem (00:31:40) 7 - Siła aktywności na LI (00:37:03) 8 - Trudne tematy na Linkedinie (00:49:17)   Muzyka: Kevin MacLeod Werq Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License/mix by Jedrzej Paulus https://creativecommons.org/licenses/by/4.0/ Oceń nasz podcast na Apple Podcasts: https://bit.ly/EscolaMobileIT

Conto Erótico - BDSM: Bate Que Eu Gamo. Arielen e seu marido Fer (Homem Trans) adoram BDSM, spanking e afins. Pois em uma certa noite ela decide receber ele amarrada e pronta para uma putaria bem gostosa. Vem saber o que rolou nesse conto erótico.

GTA Contest - New contest will be posted soon.  (terms and conditions apply)  Please visit https://gatewaytoairguns.com/contest/ for more information. Thank You's, and Links:We want to thank all our sponsors.. please visit https://www.airgunweb.com and https://www.gatewaytoairguns.comPlease subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Tonight's show: I recently had the chance to shoot a competition with my daughter Naomi while at Gamo's Squirrel Master Classic.  It was a lot of fun, and it got me to thinking about how fun airguns can be.  It's easy to get lost in the extreme ends of the sport and lose the fun.  So how do we grow in the sport, while taking it seriously, but also having fun?  That's what we'll talk about tonight.  So now "Let's Talk Airguns!"#airgunreview #gamoswarm #gamoswarmfusion #gamoswarmviper #funwithairguns #airgunangie #theairgunexpo #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviewsMan it's a great time to be an airgunner!!! Help Make a Difference! Enlist at https://AirgunArmy.com and Support the Sport!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video, you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.

Thank You's, and Links:We want to thank our sponsor: Airgun Pro Shop, LLC.  Please visit their new website at https://www.airgunproshop.com for great deals and personalized service. Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Tonight's show: OK.. it's TAKE 2 of our show from last week.. Mostly the same topics but with a few new items added in just for fun!!  We want to talk about Gamo's Squirrel Master Classic, which Angie and I just returned from.  The event is more than just a way for Gamo to promote new products; not saying that new products aren't "a" focus; they are just not the ONLY focus.  We'll get into that on the show.  Lastly, we'll talk about some of the gear from SMC and videos coming up on AGW, GRiP, and Modern Airgunner.  It should be a jam-packed show, and we hope you enjoy it!  Now "Let's Talk Airguns!."#Gamoairguns #tgamousaoutdoor #gamoviper #gamousa #gtacontest #contest #fxairguns #shotshow #airgunangie #theairgunexpo #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviews #airgunproshop #pyramydairMan it's a great time to be an airgunner!!! Help Make a Difference! Enlist at https://AirgunArmy.com and Support the Sport!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video, you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.

Thank You's, and Links:We want to thank our sponsor: Airgun Pro Shop, LLC.  Please visit their new website at https://www.airgunproshop.com for great deals and personalized service. Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Tonight's show: Top News! We have a confirmed winner of the UX Air Javelin Pro and we'll be announcing that tonight.  Hopefully you all saw the most recent FX Dreamline Dream-Tact video of me testing H&N slugs.  We got some interesting comments and we'll get into that a little bit tonight.  We also have a new product to demo so that's going to be a lot of fun.   Next, we want to talk about Gamo's Squirrel Master Classic which Angie and I just returned from.  The event is more than just a way for Gamo to promote new products; not saying that new products aren't "a" focus; they are just not the ONLY focus.  We'll get into that on the show.  Lastly, we'll talk about some of the gear from SMC and videos coming up on AGW, GRiP, and Modern Airgunner.  It should be a jam-packed show, and we hope you enjoy it!  Now "Let's Talk Airguns!."#Gamoairguns #tgamousaoutdoor #gamoviper #gamousa #gtacontest #contest #fxairguns #shotshow #airgunangie #theairgunexpo #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviews #airgunproshop #pyramydairMan, it's a great time to be an airgunner!!! Help Make a Difference! Enlist at https://AirgunArmy.com and Support the Sport!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video, you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.

Thank You's, and Links:We want to thank our sponsor: Airgun Pro Shop, LLC.  Please visit their new website at https://www.airgunproshop.com for great deals and personalized service. Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Tonight's show: Tonight we'll talk about our upcoming DAR, FX, and Gamo videos.  Also, Angie and I will go over some of the lessons learned from shooting some new airguns from FX, Daystate, and Western Airguns.  We also want to talk about the Gamo Squirrel Master Classic coming up next week and Gamo's new line up of Gen 3i airguns.  Plus we have a bunch of announcements like what's the next GTA Contest Giveaway starting in a couple of weeks.  It's a jammed packed show and we hope that you'll come along for the ride!  Now "Let's Talk Airguns!."#gtacontest #contest #fxairguns #dynamicairrifles #westernairguns #ftairguns #airgunsofarizona #shotshow #airgunangie #theairgunexpo #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviews #airgunproshop #pyramydairMan it's a great time to be an airgunner!!! Help Make a Difference! Enlist at https://AirgunArmy.com and Support the Sport!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video, you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.

Entrevista con Orlando Gamo, músico cuya trayectoria lo ha llevado a pisar grandes escenarios dentro y fuera del país.

¿Cómo ha sido mi 2022 desde que empecé con Descomplicando Relaciones? ¿Qué espero este año de este proyecto? Os cuento muy resumidamente todo esto. PD: Perdonad mi voz. Han sido unos días demasiado ajetreados y estoy muuuuy cansada pero ¡feliz! Si quieres dejar un comentario puedes hacerlo en instagram @descomplicandorelaciones o a través del correo descomplicandorelaciones@gmail.com

Thema: Jesus modèle partait de l'hospitalité (Jesus als Vorbild der lebendigen Gastfreundschaft Teil 2) Prediger: Nana-Gamo Harnos Das Thema Willkommen und Gastfreundschaft taucht im gesamten biblischen Korpus immer wieder auf. Es findet sich zum Beispiel in mehreren Gesetzestexten des Pentateuch (Dt 10,18-19; Lv 19,33-34; Ex 22,20; Dt 23,16 ua…), oder in Geschichten wie dieser wo Abraham bietet den drei Ausländern seine Gastfreundschaft an (Gen 18,1-15), die von Rahab, der Josuas Kundschafter willkommen heißt und beschützt (Jos 2), oder die von Boas, der Ruth entgegenkommt (Rt 2,8-16). Auch wenn wir davon sprechen, den Fremden aufzunehmen, kommen einem sofort die Worte Jesu in Mt 25,35 in den Sinn: Ich war ein Fremder, und ihr habt mich aufgenommen. Also eine wahre Gastfreundschaft im Haus Gottes beinhaltet lebendige Gemeinschaft erstmal mit Christen, Flüchtlinge, Fremden, Armen Waisenkindern, Ausländern und sogar mit eigenen Feinden denn alle hat Gott liebt und möchte jedem die Chance geben sich zu bekehren und die Gemeinschaft mit ihm durch den tröstenden Geist Jesus zu erleben und zu pflegen. So wie Gott zu uns kommt und die Tür des himmlischen Reiches auftut so sollen wir als Christen wie Jesus ähnlich sein um die Menschen für Gottes Reich durch wahre Gastfreundschaft zu gewinnen damit alle Menschen Teile des Leibes Jesus werden. Gastfreundschaft fasst sich zusammen mit dem Bibel Vers: Denn wo zwei oder drei versammelt sind in meinem Namen, da bin ich mitten unter ihnen. Matthäus 18:20

We'd like to thank our sponsor: Airgun Pro Shop, LLC.  Please visit their new website at https://www.airgunproshop.com for great deals and personalized service. Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Airgun Expo 2022 - Watch it at https://www.theairgunexpo.com GTA Contest: https://www.gatewaytoairguns.com/contestWe are ramping up to share all our live videos from Airgun Expo here on AirgunWeb, so get ready for that! It's going to be awesome.  We also have our GTA Holiday Giveaway to talk about. We'll be giving away a Gamo Magnum GR .22 caliber (check out the videos on the GTA YouTube channel from earlier this year).  So we have a lot to talk about, and we hope you come along for the ride.  Let's Talk Airguns!  #gamousa #gamooutdoors #theairgunexpo #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviews #airgunproshopMan, it's a great time to be an airgunner!!! Help Make a Difference! Enlist at https://AirgunArmy.com and Support the Sport!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video, you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.

Plínio e Baconzitos comentam as notícias bizarras da drag queen confundida pela Lady Gaga e do polígamo. Tem também as notícias do mundo do cinema e entretenimento com Top 5 de Bilheteria do Cinema, da Netflix, HBO Max, Disney+, Star+ e Prime Vídeo. Além disso temos a leitura dos e-mails e comentários dos últimos episódios do QueIssoAssim, CO2 e Reflix.

Coming up this week on The Escape Pod... cast. Jabba's kit is revealed, Gamo gets a new ability and a nomnom, Cassian's nomnom is here as well. We were told there should be a puzzle soon, so we bring the king of speculation, Thad from Going Nerdy on to do just that. All this and breaking news as and if it happened, right here on The Escape Pod... cast. BRING HONDO TO SWGOH: https://www.change.org/p/bring-hondo-to-swgoh Want to donate to the show directly? https://streamlabs.com/paulanthonyslawinski Guest: Thad from Going Nerdy https://youtube.com/c/GoingNerdy Vault 37 Studios: twitch.tv/Vault37Studios Planet Courscant Discord: https://discord.gg/mmyjmBXYmv SWGoH Events Server: https://discord.gg/ueCRbCTcG2 The Nerdy Network: http://www.goingnerdy.com/ We highly reccomend SWGOH Sheets: https://discord.gg/UvgxH3z Join our Discord channel and get access to the hosts and other benefits! - https://discord.gg/7aCczRx The Escape Pod... Recruiting server - https://discord.gg/NA2HHas The Nev - https://www.youtube.com/user/Neilandreweyre and https://discord.gg/YnqCqPz HELPFUL RESOURCES Facebook: https://www.facebook.com/TheEscapePodCastaways/ Twitter: https://twitter.com/TEPCastaways YouTube: https://www.youtube.com/c/TheEscapePodcast To support our channel: https://www.patreon.com/TheEscapePod HotUtils Music bed: The Final Battle Of Superheroes by WinnieTheMoog Link: https://filmmusic.io/song/7418-the-final-battle-of-superheroes License: https://filmmusic.io/standard-license --- Send in a voice message: https://anchor.fm/theescapepodcast/message Support this podcast: https://anchor.fm/theescapepodcast/support

Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Check out The PyramydAir SubOA challenge! - Details here: https://www.pyramydair.com/contest/  It's harder than it looks to shoot SubMOA and we are excited to put some effort into giving it a try.  And, helping you all shoot SubMOA too! We also have some new airguns to talk about and some early test results on the DAR Gen 3 .25 caliber.  It's going to be a great show!We've been talking about the new Gamo Hunter Extreme Pro and tonight, we'll get into that video as well as what it represents to the airgun world.  It's a very awesome throwback to a simpler time in airgunning, but one that deserves some attention.  We hope that other manufacturers will also pick up the challenge. Gamo Hunter Extreme Pro - https://gamousa.com/product/hunter-extreme-pro-22-break-barrel-air-rifle/Let's Talk Airguns! #gamohunterextreme #hunterextreme #gamoutdoors #submoa #pyramydair #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviews #gamousa #gamoarrowpcp #gamoarrowCheck out Airgun Expo coming this October 2022! - https://www.theairgunexpo.comMan it's a great time to be an airgunner!!! Help Make a Difference! Enlist at https://AirgunArmy.com and Support the Sport!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video, you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.

Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 It's been a while since we've had the chance to really kick out some new data on fresh airguns.  But tonight, we'll be talking about the Seneca Dragonfly MKII, .25 cal Gamo Magnum, Gamo G3i, DAR Gen 3, and new to me, and FX Dreamline Tactical Carbon Fiber in .25.  Man, it's a great time to be an airgunner.  Also, we'll talk about PyramydAir's new MOA challenge! - Details here: https://www.pyramydair.com/contest/Let's Talk Airguns! #dragonflymkii #senecaairguns #gamousaoutdoors #gamomagnum #fxairguns #dynamicairrifles #darg3 #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviews #gamousa #gamoarrowpcp #gamoarrowCheck out Airgun Expo - https://www.theairgunexpo.comProducts:Dragonfly MKii - https://www.pyramydair.com/product/seneca-dragonfly-mk2-multi-pump-air-rifle?m=5170#10357Gamo USA .25 Magnum GR - https://gamousa.com/product/magnum-gr-25-break-barrel-air-rifle/Gamo USA Swarm GEN3i - https://gamousa.com/?s=gen3iDAR G3 .25 Caliber - https://www.dynamicairrifles.com/product-page/dar-25-gen-3FX Dreamline Dream-Tact Bottle .25 - https://www.pyramydair.com/product/fx-dreamline-dream-tact-bottle-w-moderator-ar-stock?m=4921#9923Man it's a great time to be an airgunner!!! Help Make a Difference! Enlist at https://AirgunArmy.com and Support the Sport!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video, you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch, and if anyone attempts to charge for this video, notify us immediately.

Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Tonight I'm going to share with you a new find on the compressor front.  I have one in house and we are starting out testing of the unit.  Our hopes is that it will be the bridge between entry level compressors and $3000 scuba compressors.   We'll also be talking more about the Gamo Arrow and what it means for the US Airgun Market. Compressor: https://amzn.to/38f7TibTuxing Amazon Store: https://amzn.to/3yYaNTEGamo Arrow PCP: https://gamousa.com/product/arrow-pcp-22-caliber-rifle/#pcpcompressor #tuxingcompressor #pcpairgun #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviews #gamousa #gamoarrowpcp #gamoarrowCheck out Airgun Expo - https://www.theairgunexpo.comMan it's a great time to be an airgunner!!! Help Make a Difference! Enlist at https://AirgunArmy.com and Support the Sport!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch and if anyone attempts to charge for this video notify us immediately.

Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/THEGatewayToAirgunsLearn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 Hello everyone.  I'm Back! Tonight we'll discuss a new Self-Regulating Carbon Valve that's so advanced it can account for different volumes and pressure automatically!  We'll also talk a little bit about the new Gamo Arrow, a $220 - $230 entry-level PCP.  It's going to be a great night.  Let's Talk Airguns!#pcpairgun #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviews #gamousa #gamoarrowpcp #gamoarrowCheck out Airgun Expo - https://www.theairgunexpo.comMan it's a great time to be an airgunner!!! Help Make a Difference! Enlist at https://AirgunArmy.com and Support the Sport!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch and if anyone attempts to charge for this video notify us immediately.

Gambo and Steve Zinsmeister, filling in for Burns, sift through the already plentiful rumors surrounding who the Suns could bring in this offseason, Gamo tells us there is one thing he agrees with Pat Bev on and they react to Drew Brees odds on landing in AZ.  See omnystudio.com/listener for privacy information.

We are excited to welcome our first NFT artist onto the show. There are countless NFT projects minting everyday that are ingenuine rug pulls, which is why we are proud that our first artist interview is with a person as genuine as Gamo. In this podcast you will hear about his journey setting up his first NFT project - PaperBag Wrld. Read his bio from Time Magazine below: “Gerald Jean Baptiste aka Geregamo or “Gamo” for short, is an artist based in South Florida whose work has been featured in the NFT community (creator of PaperBag Wrld) for having art that emphasizes cultural messages and mental health.” - Time Magazine **This is an educational podcast, not financial advice. Always do your own research before buying anything.**

Burns and Gamo talk about the long-term outlook on the Suns after Book went down, preview the game with Pelicans radio analyst John DeShazier and discuss the NFL Draft.  See omnystudio.com/listener for privacy information.

¿Cómo es la intimidad de un polígamo? Estos nos dijeron algunas personas que tienen varias parejas al tiempo y los consejos que nos dieron a los que todavía no lo creen.También escucha los castigos más comunes cuando íbamos al colegio y por qué hoy en día parece una violación a los derechos humanos.¿Qué haces cuando presencias un robo? Eres de los que va y lo delata, o le echas aguas para que no lo agarren. 

Please subscribe to our NEW GTA YouTube page:https://www.youtube.com/channel/UC764VE4T-i2XihiyISmkJKAGamo holds the Squirrel Master Classic each year outside Taylor Alabama.  The event is held at the Southern Sportsman Hunting Lodge and it's always been a really fun event.  Several teams get out and hunt, the winning team goes home with the coveted SMC Trophy.  That's not really what's important however.  The real fun is getting to meet some great 4H shooters that Gamo brings in from all over.  They get to hunt right alongside TV personalities.  The "unlucky" ones get to hunt with me and the AGW team (just kidding!).  While all of the 4H youngsters are competitive shooters, sometimes they've never been out in the woods on a hunt.  So, we get to take them out and show them the ropes.  Stay tuned for our full video on the event scheduled to release sometime next month.  Gamo USA: https://www.gamousa.comSouthern Sportsman Hunting Lodge: https://southernhunting.com/Learn more about The Gateway to Airguns: https://www.gatewaytoairguns.org/GTA/GRiP reviews on the GTA: https://www.gatewaytoairguns.org/GTA/index.php?board=253.0 #airgunsofarizona #axeonoptics #avsslugs #jtsairguns #jtsairacuda #pcpairgun #targetshooting #outdoorsports #shootingsports #pelletgun #airgunweb #gatewaytoairguns #GRiPAirgunReviews #zerodb #umarxUSACheck out Airgun Expo 2021 - https://www.theairgunexpo.comMan it's a great time to be an airgunner!!! Help Make a Difference! Enlist at https://AirgunArmy.com and Support the Sport!AirgunWeb & AirgunWebTV Content Disclaimer: https://www.airgunwebtv.com/content-disclaimer/************************************AGW / AGWTV Content Disclaimer************************************By viewing or flagging this video you are acknowledging and are in full acceptance of the following:Our videos are strictly for documentary, educational, and entertainment purposes only. Imitation or the use of any acts depicted in these videos is solely AT YOUR OWN RISK. Treat Airguns as FIREARMS and observe all the same safety considerations as such.  Any and all work on airguns should be carried out by a qualified and insured individual. We (including YouTube) will not be held liable for any injury to yourself or damage to your airguns resulting from attempting anything shown in any of our videos. These videos are free to watch and if anyone attempts to charge for this video notify us immediately.

Jak wyróżnić się na LinkedInie, żeby zbudować tam idealny wizerunek i markę osobistą? Jak mądrze i skutecznie rozbudować swoją sieć kontaktów? Jak działa algorytm LinkedIna i jak go wykorzystać do budowania zasięgów? Dowiedz się, jak działać na LinkedInie, żeby osiągać swoje biznesowe cele. Gość: Adrian Gamoń. Pełny opis odcinka MWF 393: https://l.malawielkafirma.pl/p-393 W tym odcinku: 2:14 S. Stahl „Jak myśleć o sobie dobrze?” (recenzja) 4:05 Czy LinkedIn jest interesującą platformą z punktu widzenia mikroprzedsiębiorców? 7:41 Jak powinien wyglądać właściwie stworzony profil na LinkedInie? 16:23 W jaki sposób strategicznie, ale nie nachalnie budować listę kontaktów na LinkedInie? 24:24 Jakie treści na LinkedInie najlepiej działają i warto je publikować? 31:34 Jak budować na LinkedInie wizerunek profesjonalisty, pozostając autentycznym? 37:53 Co zrobić, żeby relacje nawiązywane na LinkedInie pomagały w budowaniu marki osobistej? 42:20 W jaki sposób aktywnie pozyskiwać klientów na LinkedInie? Sponsorem odcinka jest kurs dla podcasterów PodcastPro: https://podcastpro.pl/ Posłuchaj też: 235: Rozwiń skrzydła na LinkedIn | Angelika Chimkowska https://l.malawielkafirma.pl/p-235 158: Sekrety zdobywania klientów B2B na Facebooku | Artur Jabłoński https://l.malawielkafirma.pl/p-158 364: Czy powinieneś spędzać więcej czasu w social mediach? https://l.malawielkafirma.pl/p-364 Bądźmy w kontakcie: Instagram: https://l.malawielkafirma.pl/p-instagram Facebook: https://l.malawielkafirma.pl/p-facebook YouTube: https://l.malawielkafirma.pl/p-youtube Zdobądź dostęp do dodatkowych materiałów! Dołącz bezpłatnie do Klubu MWF: https://l.malawielkafirma.pl/p-klub

En este #ChayanneSeLlamaElmer los muchachos Javier Lara (en Twitter @vzla_apesta) y Doriann Márquez (en Twitter @Hostioso0294), dan respuesta a las inquietudes históricas dejadas por la audiencia por medio de nuestro SENDO BETA, el “Sistema Elmer Nominal para Discusiones Objetivas BETA”. Esta semana traen contenido sobre los tanques Tortuga del Ejército Venezolano, la rebelión del Negro Miguel, los ataques de submarinos nazis contra buques petroleros venezolanos y el proceso penal contra Billo Frómeta acusado de bigamia que lo llevó a la cárcel. Deja tus preguntas para el Chayanne Se Llama Elmer en: https://chayanne.netlify.app/ --- Send in a voice message: https://anchor.fm/coritohistorico/message

We had the great opportunity to come down to South Florida and hunt the invasive green iguana With Gamo USA.  Our guide Harold Rondan with Iguana Lifestyles (www.iguanalifestyles.com). We shot the Gamo Bone Collector Swarm Gen II  and the Swarm Magnum Gen II. Tonight we'll be talking about our hunt with Larry Case from Guns and Cornbread (www.gunsandcornbread.com) and probably some folks from Gamo USA.  It was a great time and I hope you all enjoy the show.

In this episode, we hear it from expert psychotherapists, Dr. Gabby Dy-Liacco and Patrick Gamo, about the psychosocial stressors that affect how we go about life and how the program they crafted along with Bro. Arun, titled “Break-through: Taking Charge Over Anxiety And Fear” can offer some solutions. Live a life full of hope, empowerment and resilience over life's challenges. Breakthrough your life now. Join the program: www.break-through.life/join _____ Arun Gogna has authored many books and his books are available on Shopee and Lazada. Buy from Shopee: podlink.co/eos Buy from Lazada: podlink.co/tir ------ Follow me on social media. Facebook: fb@gognaarun Instagram: @arun.gogna Tiktok: @wackyspeaker --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In this episode, we have the founder of Los Angeles Moto, Content creator, motorcycle influencer, and my good friend Mark Gamo. Mark is a Ride Boundless OG, he was on episode 7 and this is the first time we've caught up since then. We talked about motorcycles, entrepreneurship, and traveling.

On this episode, we chat with Mark Gamo, content creator, influencer and the founder of @losangelesmoto, about his trips through Africa and the motorcycle events that he organizes in Los Angeles.

Are You Missing Out On Life? Do you often feel a fear of missing out? Do you feel a pressure to say “yes” to things, and a sense of guilt or inadequacy about not engaging in the right social engagements, events, and other experiences? Join Dr. Aziz and Confidence Coach Jonathan as they discuss this topic in this humorous and fast-paced episode.

Se estima que entre el 3% y el 7% de los niños en España tienen TDAH, lo que equivale a decir que entre uno y dos niños por aula padecen trastorno de déficit de atención en el aprendizaje. José Ramón Gamo es especialista en neuropsicología infantil. En la línea apuntada por el investigador John Hattie, Gamo destaca que la mentalidad de crecimiento y la perseverancia son las claves para lograr la transformación del aprendizaje. Según Gamo “en el siglo XXI, los chavales no pueden seguir aprendiendo por asignaturas. Tienen que aprender haciendo”.