Podcasts about manam

In this interview with Rula Khoury, an art curator living in the city of Haifa, we talk about the role of Palestinian artists in the movement and how art is leveraged to convey a political message. When is dialogue constructive and when is dialogue destructive? And how do we embody the creative life force? Bio: Rula Khoury is an art curator, historian and critic. In 2011, she received a Masters degree in Art History from Haifa University, and an additional Masters degree in Writing Art Criticism from the New York School of Visual Arts in 2017.Khoury was the General Director of the Arab Culture Association in Haifa. Her curating experience includes: It's as if, O Badr, we never came and never left in Haifa in 2018, Sensorial Immunity in Ramallah in 2017, A Black Hole in the Sun in Jerusalem in 2016. Moreover, Khoury curated a street exhibition in Haifa titled Wisdom of the Crowd. In 2014, while holding her position as the Artistic Director of Khalil Sakakini Culture Center in the same year. Within the Qalandiya International Biennale (2014), she managed and curated two major projects: Manam exhibition in Haifa, and Mapping Procession a happening in the streets of Ramallah. Additionally, Khoury has published critic pieces for Independent Online Art Magazine, Tohu Magazine, Arab 48, and Tribe Photo Magazine. She has also been an instructor and advisor in higher education institutions since 2010, teaching at Bezalel Academy of Art and Design in Jerusalem, International Academy of Art in Ramallah.Are you ready to connect with your creative life force? Schedule a free consultation ⁠⁠⁠here⁠⁠⁠!

Naga Chaitanya, one of the most intriguing actors in Telugu cinema, joins us for an unfiltered conversation, sharing insights into his life, career, and business ventures like never before. From the reality of being a star kid to his views on party culture, film promotions, and business strategies, Chay opens up about aspects of his life that are often misunderstood. This episode goes beyond the usual promotional talks, diving deep into his personal choices, struggles, and philosophies.Being called a star kid comes with its fair share of advantages and disadvantages. Chay explains why he dislikes that label and how he chooses to stay grounded despite the privileges that come with his family name. He addresses the ever-controversial topic of nepotism—does he see it as a problem, or does he believe it's just like any other family profession being passed down? He breaks down his perspective, making an honest case for both sides of the argument.Shifting gears from cinema to business, we dive into Chay's food venture, Shoyu. Where did the idea come from, and why did he choose the cloud kitchen model over a traditional restaurant? He reveals how Hyderabad's culture influenced his decision and the real meaning behind the name "Shoyu," a topic that has sparked several theories. What are the future scaling plans? With only two kitchens in Hyderabad, how does he manage deliveries efficiently? He talks about the challenges and insights that come with running a food business, especially for someone coming from the film industry.As someone who has seen massive financial success through films, how does Chay define a “healthy profit” in business? He reflects on the importance of having a financial escape beyond films and shares what he has learned from his father, Nagarjuna, who is known for his sharp business acumen. We also discuss the common pitfalls that lead many actors' food businesses to fail, and how he managed to avoid them.Failure is an inevitable part of any actor's journey. But how does it feel when a film that an actor has put immense effort into fails at the box office? Chay discusses the emotional and professional toll of dealing with flops, the dilemma of hyping up a film even when its potential is questionable, and how he personally copes with setbacks.Beyond films, Chaitanya has a well-known passion for cars. He reveals how many cars he owns, why he is so deeply connected to them, and how racing serves as a form of meditation for him. He also touches on his idea of vacations as a way to detox from work and social media pressures.Of course, we couldn't skip talking about his upcoming film, Thandel. He shares the concept behind the film, whether the traditional six-to-seven-song format still works, and what it's like working with Sai Pallavi.One of the most emotional segments of this conversation is about Manam and his legendary grandfather, ANR. Chay shares untold stories from the sets, the pressure on the family, and whether it's true that ANR dubbed for his scenes during his last days. He explains why Manam remains such an important film in their family's legacy.Despite being a public figure, Chay is known for maintaining a low profile. Why doesn't he make many public appearances? He talks about the frustratingly dumb questions interviewers ask, his strict diet (why he doesn't consume sugar), and his approach to brand deals—how he decides what to endorse and what to avoid.This conversation is an absolute must-watch for fans and movie buffs alike. Don't miss this deep and raw conversation with Naga Chaitanya!Watch the full episode now and let us know your favorite moments in the comments.

2/2 : Célébrer nos mort.e.s et se souvenir des disparu.e.s Comment célébrer celleux qui ont disparu et leur rendre hommage ? Quel lien entretenir avec elleux et pourquoi ? Comment se réapproprier la mort de manière collective et politique ? Et, surtout, comment la réenchanter ?Alors que les violences vécues par les femmes sont souvent effacées après la mort. Que les secrets de famille pèsent sur les générations suivantes, que les vies des personnes LGBTQIA+ sont précaires, comme si elles comptaient moins, et que les noms des personnes migrantes décédées aux frontières ne sont même pas mentionnés dans les communiqués de presse, il est temps d'imaginer comment faire une place aux mort.e.s dans nos vies. Avec :- Les participant.e.s aux rencontres de la Samain, organisées par le collectif Par la racine.- Magali Molinié, psychologue- Hélène Giannecchini, autrice- Carolina Kobelinsky, anthropologue Textes :« Manam », Rima Elkouri, Les Éditions du Boréal« Le Pieu » , chanson, Version originale en catalan, l'Estaca (1968), par Lluís Llach.Reprise par de nombreuses chorales féministes en version féminisée« Ressac », Laurence Loutre-Barbier Remerciements :À toutes les participantes et organisatrices des rencontres de la SamaïnÀ Hélène Chaudeau Appel à participation :Pour un projet de livre portant sur une histoire queer de la France, Hélène Giannecchini part à la recherche de photographies amateures de personnes queers tout au long du XXème siècle. Vous pouvez lui écrire ou lui envoyer vos photos à cette adresse : helene.gian@proton.me Pour prolonger l'écoute :- Un désir démesuré d'amitié, Hélène Giannecchini ;- Soigner les morts pour guérir les vivants, Magali Molinié ;- Relier les rives, Carolina Kobelinski, Filippo Furri ;- Célébrer les mortes par féminicide, en Belgique ;- The Aids Memorial ;- Voir Calais et mourir ;- Mère Lachaise, Camille Paix ;- Ce qui fait une vie, Judith Butler ;- Que ma mort vous apporte l'espoir, collectif orient XXI ;- Voir de ses propres yeux, Hélène Giannecchini ;- Spiritualités radicales, Yuna Visantin ;- Utopia 56, mobilisation pour les exilés ; Enregistrements : 2-4 novembre 2024, 2025 - Prise de son, montage, textes et voix : Charlotte Bienaimé - Réalisation et mixage : Annabelle Brouard - Lectures : Estelle Clément Béalem - Accompagnement éditorial : Sarah Bénichou - Community Manager : Marie Wrobel - Illustrations : Anna Wanda Gogusey

2/2 : Célébrer nos mort.e.s et se souvenir des disparu.e.s Comment célébrer celleux qui ont disparu et leur rendre hommage ? Quel lien entretenir avec elleux et pourquoi ? Comment se réapproprier la mort de manière collective et politique ? Et, surtout, comment la réenchanter ?Alors que les violences vécues par les femmes sont souvent effacées après la mort. Que les secrets de famille pèsent sur les générations suivantes, que les vies des personnes LGBTQIA+ sont précaires, comme si elles comptaient moins, et que les noms des personnes migrantes décédées aux frontières ne sont même pas mentionnés dans les communiqués de presse, il est temps d'imaginer comment faire une place aux mort.e.s dans nos vies. Avec :- Les participant.e.s aux rencontres de la Samain, organisées par le collectif Par la racine.- Magali Molinié, psychologue- Hélène Giannecchini, autrice- Carolina Kobelinsky, anthropologueTextes :« Manam », Rima Elkouri, Les Éditions du Boréal« Le Pieu » , chanson, Version originale en catalan, l’Estaca (1968), par Lluís Llach.Reprise par de nombreuses chorales féministes en version féminisée« Ressac », Laurence Loutre-BarbierRemerciements :À toutes les participantes et organisatrices des rencontres de la SamaïnÀ Hélène ChaudeauAppel à participation :Pour un projet de livre portant sur une histoire queer de la France, Hélène Giannecchini part à la recherche de photographies amateures de personnes queers tout au long du XXème siècle. Vous pouvez lui écrire ou lui envoyer vos photos à cette adresse : helene.gian@proton.mePour prolonger l'écoute :- Un désir démesuré d'amitié, Hélène Giannecchini ;- Soigner les morts pour guérir les vivants, Magali Molinié ;- Relier les rives, Carolina Kobelinski, Filippo Furri ;- Célébrer les mortes par féminicide, en Belgique ;- The Aids Memorial ;- Voir Calais et mourir ;- Mère Lachaise, Camille Paix ;- Ce qui fait une vie, Judith Butler ;- Que ma mort vous apporte l'espoir, collectif orient XXI ;- Voir de ses propres yeux, Hélène Giannecchini ;- Spiritualités radicales, Yuna Visantin ;- Utopia 56, mobilisation pour les exilés ; Enregistrements 2-4 novembre 2024, 2025 Prise de son, montage, textes et voix Charlotte Bienaimé Réalisation et mixage Annabelle Brouard Lectures Estelle Clément Béalem Accompagnement éditorial Sarah Bénichou Community Manager Marie Wrobel Illustrations Anna Wanda Gogusey

Penn Manam by Ku. Pa. Rajagopalan is a classic Tamil novel that offers a deep exploration of the inner emotional world of women. Through its intricate storytelling, the novel portrays the struggles, desires, and resilience of its female characters as they navigate societal expectations and personal conflicts. Rajagopalan's empathetic portrayal of women's thoughts and feelings gives readers a profound understanding of the complexities of womanhood. Pen Manam is celebrated for its sensitive treatment of gender issues and remains an important work in Tamil literature for its exploration of women's emotional and psychological landscapes.

Manam బాధిత మనస్తత్వం gurinchi telusukundam. 95% mandi ide mentality tho vuntaru.

1- Miara-miady aminao Jehovah 2- Lasopy Ananan39;ambo sy legumes miaro vomanga 3- Ohatrinona 4- Tatitra ny Conf AWR Zambia - Tmg Jeremia Ambatofotsy ( Mampiorina ny finoana ny AWR) 5- Jesosy manam-boninahitra manetry tena

1- Miara-miady aminao Jehovah 2- Lasopy Ananan39;ambo sy legumes miaro vomanga 3- Ohatrinona 4- Tatitra ny Conf AWR Zambia - Tmg Jeremia Ambatofotsy ( Mampiorina ny finoana ny AWR) 5- Jesosy manam-boninahitra manetry tena

1 - Aza mangala tahaka, aza matoky tena 2 - Fampanantenan39;i Jesosy ny Fanahy Masina 3 - Ny mampiavaka ny manam-pinoana 4 - Fahaizana miresaka famintinana 1 sy 2 5 - Miandrasa an39;i Jesosy, fianarana fanampiny

1 - Aza mangala tahaka, aza matoky tena 2 - Fampanantenan39;i Jesosy ny Fanahy Masina 3 - Ny mampiavaka ny manam-pinoana 4 - Fahaizana miresaka famintinana 1 sy 2 5 - Miandrasa an39;i Jesosy, fianarana fanampiny

Stāsta ērģeļbūves meistars Jānis Kalniņš Ērģeļmeistara darbu padomju laikā apgrūtināja vesela virkne ierobežojumu: nebija iespējas iegādāties kvalitatīvus materiālus un detaļas, ērģeles baznīcā pat tika apzināti postītas kā ateisma kampaņas sastāvdaļa – smagākais zaudējums ir Lestenes baznīcas ērģeles; lieli projekti bija jāsaskaņo ar Maskavu, tostarp arī Rīgas Doma Valkera ērģeļu restaurācija, kuru 1984. gadā izcili pabeidza Flentropp firma Nīderlandē. Bet tikai retajam būs zināms, kā tomēr nonāca līdz līguma slēgšanai ar šo firmu… Šo stāstu man atstāstīja mans skolotājs Gunārs Dālmanis. To grūti iztēloties, ka pagājušā gadsimta 80. gados pat LPSR valdībai, nerunājot jau par filharmoniju, nebija iespēju norēķiniem ar ārvalstīm, to visu darīja caur Maskavu. Tāpat arī līgums ar Flentropa firmu varēja tikt noslēgts tikai ar PSRS galvenā ērģeļu lietu kuratora Maskavas konservatorijas profesora Leonīda Roizmana starpniecību. Kaut kādu iemeslu dēļ viņš ļoti kavējās ar atbalstu Rīgas Doma ērģeļu restaurācijai. 1981. gadā viņš kārtējo reizi atbrauca koncertēt Rīgā. Gunārs Dālmanis tovakar dežurēja un tūlīt viņam dzima ideja, kā pastimulēt profesoru ātrāk izlemt. Koncerts sākās ar Johana Sebastiāna Baha prelūdiju un fūgu Mibemol mažorā. Kamēr asistente saslēdz visus reģistrus, tikmēr Dālmanis neuzkrītoši pazūd ērģelēs. Profesors nospiež pirmo vareno akordu uz pilnām ērģelēm ar visām pedāļa bazūnēm – pedālī lielās oktāvas mibemols. Tomēr pirmais akords skan briesmīgi, jo reizē skan arī mazā sekunda – re! Protams, tas ir Dālmanis, kurš ērģeļu iekšpusē parauj attiecīgo skalu. Starpbrīdī ar pilnīgi nevainīgu sejas izteiksmi viņš pienāk pie asistentes un pajautā, kas tur īsti notika. Viņa parausta plecus – droši vien profesoram kāja nošļuka. It kā saprazdams, viņš krieviski teica – nē, nē, es paskatījos, es trāpīju precīzi! Pēc koncerta notika saruna par ērģeļu tehnisko stāvokli un pēc nedēļas līgums bija parakstīts! Cik grūti bija iegādāties pat pavisam parastu inventāru, man atstāstīja mans otrs skolotājs Rimants Gučs. Viļņā 1972. gadā pie Lietuvas valsts restaurācijas uzņēmuma tika nodibināta arī ērģeļu restaurācijas darbnīca. Protams tur vajadzēja gan telpas, gan aprīkojumu. Tā nu sagadījās, ka ērģeļbūvētājiem iedalītā giljotīna beigu beigās bija atdota citiem un Rimants ar lielu sašutumu gāja pie priekšniecības. Priekšnieks bija ar labu humora izjūtu un atvainodamies sacīja, ka dažkārt gadās, ka pašam mazākajam sivēnam pietrūkst pupa. Neko darīt, pēc pusgada viņš kaut kādā ceļā tika pie giljotīnas, bet tad otra problēma – kur iekārtot stabuļu darbnīcu. Viņam blakus bija telpa, kurā atradās ventilatori, kuri nekad netika darbināti, bet tik un tā tiem tur bija jābūt. Rimants visus ventilatorus izmeta ārā un tur tapa lieliska stabuļu darbnīca. Nu bija reize priekšniekam dusmoties un viņš izsauca Rimantu pie sevis. Uzklausījis pārmetumu vētru, viņš ar smaidu sejā atbildēja: "Zini, pa šo pusgadu tas mazais sivēns izauga par lielu cūku!" Grūti bija priekšniekam neizplūst smieklos, tādēļ tika nekavējoties parādīts uz durvīm. Par šo incidentu Rimants tika atalgots ar komandējumu uz Vāciju restauratoru brigādes sastāvā. Bet tomēr bija viens veikals Rīgā, kurā reizēm varēja atrast šo to derīgu arī ērģelēm – uz Ļeņina ielas, tagadējās Brīvības ielas, iepretim Vidzemes tirgum bija veikaliņš “Čaklās rokas”. Tajā uzņēmumi pārdeva visādus ražošanas atlikumus. Tur mēs atradām gan ādas, gan audumus, gan visādas stieples, ar ko tad nu meistarojām, cik labi vien pratām. Vēl tagad izmantoju melhiora stiepli, kuru toreiz nopirku pilnīgi visu, cik bija. Tās laikam pietiks līdz mūža galam! Kad strādāju Jelgavas sadzīves pakalpojumu kombinātā, Sātu baznīcas ērģeļu remontam bija vajadzīgs vara skārds. Kad sagādnieks uzzināja, ko man vajag, viņš smagi noelsās un teica, lai pats braucot uz ministriju un gādājot ko man vajag. Kas tad man, 22 gadus vecam jauneklim, braucu ar'. Sēžot ministrijā gaitenī rindā uz pieņemšanu, sarunājoties ar sagādnieku par ērģelēm, piepeši pienāca klāt jauka sieviete, sakot, ka biedrs ministrs aicina gaiteņa galā sēdošos divus vīriešus ienākt pie viņa. Manam sarunu biedram kājas trīcēja, bet es vēl laikam nebiju čekas iebaidīts. Ministrs Jāzeps Tumovs-Beķis ļoti laipni iesāka sarunu, sacīdams: "Es dzirdēju par jūsu problēmām, ļoti interesanti. Ejiet pie sagādes daļas un pēc tam man izstāstiet, kā jums gāja, man taču jāpārbauda savi darbinieki!" Saprotams, ka mana tālākā runa pie sagādnieka bija ļoti drosmīga un es dabūju visu, ko man vajadzēja!

Manam lesagum maayam purialai - Smt.Saroja Vanji --- Send in a voice message: https://podcasters.spotify.com/pod/show/sowram/message

Banner: Sri Kamakshi Enterprises Cast: Nagarjuna, Anushka, Priyamani, Charmme, Kota Srinivasa Rao, Pradeep rawat, Dev Gill, Brahmanandam,  Dharmavarapu, Supreet, Tanikella Bharani, Raghubabu, Sri Lalitha, Sana, V Nirmala Music: Thaman Cinematography: Sarvesh MurariEditing: Marthand K VenkateshFights: VijayArt: Prakash Story - screenplay - dialogues - direction: Veeru PotlaProducer: D Siva Prasad Reddy Release date: 24 December 2010 Interesting Facts and Context: trailer has no dialogues, its just music. Watched it in theaters on Christmas 2010 and it was houseful. Great experience. Back then it's all about fights and this movie has 8 fights all of them are superb and it was very entertaining. Also listened to the album a lot and love it. Its a classic in my opinion, love all the songs except Ey Pillo Apple Oh. Rewatched it in 2020 and didnt give the same feeling. Felt just average and then rewatched it for the podcast again and gave same feeling but you're never bored at any point which was great.  Nagajruna did Kedi which released Feb 12th and then Bindaas released a week before and destroyed it at the box office. Kedi producer D Siva Prasad Reddy as well Kamakshi banner and then Nagarjuna saw Bindaas and liked Veeru Potla's style and taking so he called him and said I want to do a movie with you and prepare a story for me.  Love stories, families, friendship, devotional genres Nag had done in the recent times and Veeru Potla said I won't write something like that it will be different. He wrote a revenge drama with Rayalaseema backdrop with two heroines with 2010 nativity. He readied the script in a month and narrated it to Nag. He instantly okayed it. Movie title Ragada  Anushkha and Priayamani were selected as the heroines and then Thaman who was just new in the industry was selected as the music director.  Filming was completed in just 4 months and then they also filmed in Jordan at Petra which is one of the famous wonders of the world.  November 29th, 2010 they launched the audio at Shilpa Kala Veda and audio became a super hit such that they did a triple platinum disc launch a day before the release on December 23rd, 2010  Movie released on December 24th amidst much fanfare and the response was average from the audience. Despite all the commercial elements being there, it never really amounted to anything great was their feeling apparently and after watching the movie it makes sense.  That being said it collected 19 crores share at the box office and completed 50 days in 89 centers and ten 100 days in 1 center in Vijaywada Venkateswara Palace theater  If you observe, it's the last all around commercial movie from Nagarjuna in his career. Manam was class, Soggade Chinni Nayana was more supernatural family drama, Oopiri was full class, and since then all duds. hopefully he can make something like this again. 

Phil LaMarr is an actor known for being one of the original cast members of MadTV, Pulp Fiction, and his voice acting roles in Samurai Jack, Futurama, Beavis and Butthead, Family Guy, Teen Titans Go! and a host of other animated series.Show NotesPhil Lamarr on IMDB - https://www.imdb.com/name/nm0482851/Phil Lamarr on Instagram - https://www.instagram.com/phillamarr/Phil Lamarr on TikTok - https://www.tiktok.com/@phillamarrFree 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/watchlistAutomated TranscriptionPhil LaMarr:I was developing an animated show based on a friend of mine's web comic called Goblins. Okay. And my partner, Matt King and I, we are both performers, but we adapted the comic into a script. And I called a bunch of my voice actor friends, cuz we were, we were gonna make a trailer, you know, to bring these, you know, comic characters to life Yeah. In animation. And it was funny cuz Matt and I are actors. We had, you know, written the script and we'd acted out these scenes. And so in our heads, we, we thought we knew exactly how they'd sound. But then we brought in amazing Billy West, Maurice LaMarr. Mm-Hmm. , Jim Cummings. Mm-Hmm. Steve Bloom, Jennifer. And it was funny because when they performed the scenes we had written, they took it to a whole other level. Right. Beyond what existed in our, in our heads. Right. Like, oh my God, they made it so much better than I even imagined it could be.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to Screenwriters. Need to hear this. I, another, another. Cool. I got another cool episode. I, I was so excited about this. I, I tri over my own words. I am here with actor writer Phil LaMarr and this guy. All right. So I'm on his IMDB page cuz he going through his credits. Phil, I'm not joking. It's taking me too long to scroll through IMD,B to get through all your credits. It's nuts how much you work. But, so I'm gonna give you real fast an introduction and then we'll talk more about, what're gonna talk about but okay. So this guy does a lot of, a ton of voiceovers. I guess I think we met on King of the Hill and I know we worked together on Glenn Glenn Martin DDS, but fu you know, him from Futurama.From Beavis and Butthead family guy the Great North. All every single adult animated show, a ton of kids shows Star Bob's Burgers. That's adult, of course. Rick and Morty Bob Burgers, Bob's Burger's movie as well. I mean, I'm going through all your stuff here. It's nuts. You were a writer performer on Mad TV for many years. Mm-Hmm. . And I think the pro, I'm sorry to say this, but the, the coolest role that everyone knows you, that you maybe you get recognized most from. Right. We, you know what it is, is you were, you were in Pulp Fiction and you had your head blown off in the back of the car. And I remember watching like, oh my God, they killed Phil Phil LaMarr:.Michael Jamin:I mean, how awesome was that role? Oh man. But so Phil, thank you for doing this. Welcome, welcome to this. I want to talk all about your amazing career. But now tell me, so how did you get into acting? When did you decide you wanted to be an actor?Phil LaMarr:Well, it's funny because there are a couple of double steps in terms of how I started being an actor. And when I decided to be an actor and when I got into voiceover, both my first time performing was in eighth grade. My school was doing a production of a book that I loved. I didn't consider myself a performer. Right. It was the phantom toll booth. Right. And there's this little character towards the end of the Phantom toll booth. The senses taker who will take your sense of purpose. Your sense of duty, but he can't take your sense of humor. Right. And I wanted that part. So that's why I went and auditioned. But I wound up getting cast as one of the leads.Michael Jamin:Wow. Okay. AndPhil LaMarr:Opened a show alone on stage under a spotlight doing a two minute monologue.Michael Jamin:Okay. AndPhil LaMarr:It flipped a switch in my head. I'm like, oh, I love this. You were, that's what, so I started, you know, being an actor because I liked to bookMichael Jamin:. Right. But then, but okay. But it's one thing to be acting in as a kid in eighth grade and then to commit your career to it. What, what, what happened next?Phil LaMarr:Well, and it's funny because I didn't consider that a career or what I was doing. It's just, it's fun. Yeah. I get to play well, and also I went to an all boys private school. Yeah. So the time you got to see girls was when you did a playMichael Jamin:. Okay. That makes, now you're, makes sense. Now we know why you're being an actor, .Phil LaMarr:And I wound up graduating and I applied to colleges that had, you know, drama programs, Northwestern nor Carnegie Mellon, Yale University. But I wound up deciding not to go to Carnegie Mellon and I went to Yale. I was like, no, no, I just want to go to college. And I did not decide to pursue acting as a career. I just majored in English. It was on the flight back home to LA I said, you know what, maybe I should pursue this acting thing. I mean, I enjoy it. And you know, some people say I'm pretty good at it. I mean, I either gotta do it now or wait till my mid forties when I have a midlife crisis. Yes.Michael Jamin:But this is Yale undergrad. Yes. Yale's really not for the grad school of the school of drama. But youPhil LaMarr:Go back to thing. Cause when you were an actor and you say you went to Yale, people assume, oh, like Moral Streep and Henry Wiggler. It's like, no, no. I didn't know thatMichael Jamin:. But so after you got outta college and you got outta, we went to Yale and there was some pressure on you to are they Princeton over there? We're gonna continue, we'll continue our, we'll set aside our differences long enough to have this conversation. But so, but after college you're like, okay, I got a big fancy Yale degree and I'm gonna become an actor.Phil LaMarr:Right. And, you know, had I decided to be a comedy writer with a Harvard degree, that would've beenMichael Jamin:Yes. That would make sense.Phil LaMarr:A career path that made sense. Right. As a Yale, there were no famous Yales as writers or producers or anything. There were a handful of, you know, drama school actors. Right. But again, I didn't go to that drama school. So I'm like, okay.Michael Jamin:Yeah. There's no connect. People talk about the connections. No, there's no connection. Just because you, there's no inroad. Just cuz you went to Yale, you know, to No,Phil LaMarr:Yeah. No. The the only famous undergraduate actors at that time in the eighties were two women who were famous before they came to Yale, Jennifer Beals and Jodi Foster.Michael Jamin:Right. Exactly. Exactly. All right. So then you made this commitment to, or this, this leap. How long your parents must have been thrilled , how long before you started getting work and how did you start getting work, getting work?Phil LaMarr:Well, and, and this is another one of the double steps, Uhhuh I, when I made this decision, I already had my SAG card.Michael Jamin:How did you get that?Phil LaMarr:Because back in high school, a friend of my mother's worked for NBC Uhhuh. And I think my mother had dragged her to see a couple of my plays. And so she said, Hey, we're doing this cartoon and we're gonna use real kids for the kids' voices. Which back in the eighties was a rare thing. Yeah. And she asked me to, to come in and audition for it. And I got a job on the Mr. T cartoon in the mid eighties.Michael Jamin:Oh, wow. AndPhil LaMarr:That got me my union card. Now I did not, again, did not consider this a career path. I it was just a cool summer job.Michael Jamin:Yeah. Now, the thing is, cause I hear this a lot. People say to me, yeah, I, I can do a million voices and you could do literally a million voices. I, how do I get into you know, voice acting? And it's like, they don't seem to put the connection that it's not enough that you do voices. You have to know how to act. You have to be a trained, you have to, you know, know, be if you're trained or even better. But you have to know how to perform and act. And so yeah.Phil LaMarr:That's, that's what I always tell people who ask me that question. I say, the first thing you need to know is voice acting the term is a misnomer because the acting comes before the voice.Michael Jamin:Yes. Yes.Phil LaMarr:You know, that's why you have amazing people like Cree Summer, who has a really distinctive speaking voice, but she has the acting ability. Right. To make every character completely different and real. It's the same thing like, you know, a a movie star, it's the same face, but it's always a different character.Michael Jamin:But there's something else that you bring, and I say this because you are a consummate pro. You are truly a pro. It's well for what you bring to that other actors, that non-voice actors, I guess, I don't know what you would call 'em, but have, but what I'm directing a voiceover actor, sometimes if they haven't done avo, a lot of voice acting, they don't realize they're using their face or their body . And, and you say, no, no, no. I, I see you're acting the part I see you're playing mad, but I have to hear it in my ear. And so I don't look at them when I'm directing. I wanna hear it. And Right. And so to talk about that a little bit.Phil LaMarr:Yes, yes. I remember, cuz I started out, you know, even though I had that job in high school, I did not consider it a voice acting career. It was just a, a goofy summer job on a cartoon that nobody I knew watched. So I came home after college and pursued on camera acting and stage mm-hmm. . And so a few years later, actually it was after a several years of Mad TV where we did Claymation pieces and it got me doing multiple characters on mic as opposed to just multiple characters on camera, which I was also doing on Mad tv. And I remember I decided to actively pursue the voice acting thing. Cuz at this point, you know, in the post, you know, early nineties era when cable blew up, voice acting became a job. Right. You know, cuz when we were kids, it was just something that six guys that Mel Blanc and five other dudes Right.Voiced every cartoon of our childhood. Right. You know, Mel Blanc, dos Butler, you know, that was it. But in the nineties, once Nickelodeon had 24 hours of children's programming, there was a lot more cartoon voices. And so like, oh, this could be a path now. And I remember one of my early sessions, I fell into my on camera acting face, face acting mm-hmm. . And they said, okay, Phil, stop. Try it again. Do that line again. Angrier, I did it again. They said, hold on, we're gonna play them both back. And they sounded exactly the same. And I realized what you just said. Right. Oh my God, I just made an angrier face.Michael Jamin:Right.Phil LaMarr:And that's one of the, you know, skills of voice acting the same way that you have singers, singers can, you know, put forth feeling or fun or whatever through their voice.Michael Jamin:Right.Phil LaMarr:You know, dancers do it through their bodies.Michael Jamin:Right.Phil LaMarr:You know. ButMichael Jamin:When you perform, let's say you're doing something on camera, how much thought do you give? Do you, is it, is it just second nature to go, okay, now I can use the rest of my body? Or how much thought do you have to go in between different, you know skill sets, I guess, you know?Phil LaMarr:Well, the, the good thing is, you know, you do have to, you know, get a switch in your head because when you're on stage, it's the exact same job bringing this script to life. But you have to do it with different tools. Right, right. And the same thing when you're doing it on camera. And the same thing when you're doing it on microphone. You have to, you have to gauge. Okay. Cuz you know, you read the script, you see the character, you embody it. Yeah. But then it's how do you communicate it to the audience?Michael Jamin:Right,Phil LaMarr:Right. You know, and it's funny because with voice acting, you know, we learned to run the character through our, our ears. You know, when you see in the old days, you see, you know, announcers doing this. Do you know what that is about? No.Michael Jamin:What what is that?Phil LaMarr:It's because all of us, you know, regular people hear our voices from inside our heads. Right. We're not hearing what other people hear. But when you do this, you are channeling your voice.Michael Jamin:That's whatPhil LaMarr:Mouth into your ear. So you hear what your voice sounds like outside your head.Michael Jamin:Oh, I see. I, that's so funny. I thought they were stopping their ear, but they're not. They're just re redirecting the voice Yeah. Into their ear. Yes. Oh wow. I had no idea.Phil LaMarr:So you can hear the subtlety, you know, because if, if you don't do something with your teeth, you don't hear that inside your head. Yeah. It's only what people hear. But that's something you might want with a character. Right. You know, I always, when I teach workshops, I always try to tell people, like, there are things we hear. There's, it's the same thing with your face. Mm-Hmm. when you want to, you know, express anger. You don't just do your face flat. You, you know. And it's the same thing with if, if there's something about a character, let's say I'm doing this character, but then I see the drawing and the guy's got a big beard. Oh, well let me make him sound, let me make him sound beier.Michael Jamin:Right. Right.Phil LaMarr:Which isn't necessarily true, just growing a beard doesn't change your voiceMichael Jamin:Uhhuh.Phil LaMarr:But there are things that when we hear something, we get the sense of it.Michael Jamin:Right. Do you have a preference now, Kami? Cuz do you have a preference? You work so much in voice acting, but do you have a, do you prefer that overlap? You know, like on camera?Phil LaMarr:No, it's funny cuz you know, at Comic-Con, people will ask, what's your, you walk in so many media, what's your favorite? And the truth of the matter is, and this is what I tell them, it's not about the media, it's about the quality.Michael Jamin:Quality. The writing or, or what Yes.Phil LaMarr:Uhhuh Well, the, the, the quality of the writing, the quality of the directing, the quality of the experience. Because to me, the, the cartoon Samurai Jack, which is I consider a work of art that has more in common with pulp fiction. Right. Than it does with, you know, pound puppies or some like goofy little Saturday morning cartoon that's more focused on selling toys than on actually putting out story.Michael Jamin:Yeah. Right, right. But in terms of voice, a I mean, you don't have to get into hair and makeup. You don't have to memorize anything. And that's a whole nother skill as well. Memorizing the, the, the text.Phil LaMarr:Well, but that, that's actually harder because when you work on stage or on camera mm-hmm. , you get time to rehearse.Michael Jamin:Right.Phil LaMarr:You get to practice with a director helping guide you, your people, someone watching you, and you build the character over time. And then you don't have to make it work till the camera says, till they say action.Michael Jamin:Right.Phil LaMarr:But when you're doing voiceover, you're handed a sheet of paper, you're reading words off a page, and you have to bring those to life instantly.Michael Jamin:Yeah, that's exactly. Now do you, cuz when we work together on, on Glen, well we did King Hill first, but on Glen Martin, just so people know you didn't audition, we just, we call you up. Hey, we book you Theor agent, and you come in, you show up, you, you got the job, and you show up. And I remember approaching you saying, okay, Phyllis, the character, I remember the character's name was Rasmus, and the only thing you knew about him was that he had a milky eye. He was like seventies. He had a milky eye. And I go, what voices did you bring ? And you, you, you gave me like three different voices. And I think I said that one a little more gravelly and boom, that was it. You jumped right into it. Exactly. That was it. You're ready to go. . And that was the benefit of direction you got go .Phil LaMarr:Right. See, and we did that in a minute and a half.Michael Jamin:Yeah.Phil LaMarr:Had we been working on a movie, I would've had to go in for wardrobe, had them try on seven different outfits, had them send you the pictures, , you know, over two weeks. Right. While I was memorizing all the lines for us to come to that conclusion.Michael Jamin:But on most of the voiceover judo, is that how it is? It's just basically they book you for the day and you know, unless you're a regular, they just book you, you come on in and you spend an hour or two, and then that's it. Is that how it works for you? Mostly?Phil LaMarr:Well, ho hopefully. I mean, most of the time you get the script ahead of time, so you get to read the story, know the context. Right. But that's just one episode. You don't have the entire, you know, arc of the story. You know, don't know everything about the, you know, if you're playing the villain about the, the hero. So you learn most of it when you come into the session,Michael Jamin:But then there's another thing that you have to bring to the table, which is a whole, like, you okay, you're an excellent actor, but you also have the, the, when you do these voices, they don't sound like they're coming from you. Like, they sound like they're coming from 10 different people. And so the, how do you, like how do you approach that? How do you making voices that don't sound anything like the, any, any other voice that you do.Phil LaMarr:Well, it varies. I mean, there are, it's funny because now over the years, you know, people will bring up some old character. And I realize, okay, that sounds a little similar to that other one. But I realize it's not about, I used to think when I was younger, starting in voice acting, I used to think it was about no, no. Every voice should not sound anything like the other one. Right. You know? But I realize it's more about embodying the character. And the thing is, you know, these characters are all different. So I need them to, I want them to sound different.Michael Jamin:Right. I don't mean like, like when I first got the King of the Hill, I was shocked when you hear the voices that you've been watching the show forever, and then you see the actress playing, you go, whoa, that voice is coming from that person. That, that doesn't sound anything close to their, like, there's a transformation that you're able to do with your voice by, like, that's a different skill. I mean, forget about even, yes, I know embodying the character, but you're really playing with your vocal chords in a way that almost seems impossible to someone like me.Phil LaMarr:Oh, thank you. Well, I mean, in, it's, it's a, it's a skill set that not everybody has. Like I said, some people just like when on Samurai Jack, I worked with Mako Iwatsu Uhhuh, you know, an older Japanese actor who was an icon. He had starred in movies, starred on Broadway, you know, his name was above the title on a Stephen Sondheim musical. Right. But he had a very distinctive, you know, heavy, very textured, heavily accented voice. And I figured, okay, he's just doing his voice. And I remember there was one episode where they cast him as a secondary character mm-hmm. in the episode. And I remember thinking to myself, oh, Jesus, what are they doing? Uhhuh, his voice is so dis. I mean, that's like casting the rock in two characters in a movie. Right. You know, like, nobody's gonna get fooled. But he blew my mind and taught me a masterclass because what he did was, he did not completely transform his voice, but he acted the second character from a completely different perspective. You know, Lowe's dead, you know, complete, he performed it completely differently than he performed Aku the villain, Uhhuh . And I, and when you watch the episode, you can't tell it's him.Michael Jamin:You can Right. You can't tell.Phil LaMarr:Now, part of that has to do with the art, you know, because you're change your changing your voice, but they're also changing the drawing.Michael Jamin:Yeah. That, that's true. But I wonder how much work do you on your own at home? Like, how much do you think about other voice? Do you pra you go, do you hear a voice and you go, Hey, that's an interesting thing. Maybe I should, you know, do you practice at all? Do you, I don't know. Are you, are you constantly trying to invent new, new voices for yourself?Phil LaMarr:Well, I'm, I'm not a singer, but I've always had an ear. Right. For speech. It, I do a lot of impressions. Uhhuh, , you know, comedically and sometimes just job wise. Actually, weirdly, 10th grade, my second year of acting, I got the part in our, one of our high school plays. We did a production of Play It again, Sam.Michael Jamin:Okay.Phil LaMarr:And in 10th grade, I played Humphrey Bogart .Michael Jamin:Okay.Phil LaMarr:And I spent the entire production trying to do my best impression of Humphrey Bogart. If that plane leaves and you are not on it, you'll regret it. Maybe not today, maybe not tomorrow, but soon. And for the rest of your life. And so I watched a lot of, you know, videotapes of Humphrey Bogart. And I, and I also had to learn how to do that impression and projectMichael Jamin:It Right.Phil LaMarr:In a, in a theater cuz there was no microphone. But I think maybe that helped start me right on the, you know, aping People's Voices thing. Which, when I started doing sketch comedy Right. I leaned into that too. Oh, I'm gonna do a Michael Jackson sketch. You know?Michael Jamin:Right. Cause you, so how is that you're talking about, so that, that brings us to Mad tv. So there goes your, I dunno, how, how did you get that that audition? What did you bring, what did you bring to that audition, you know, for yourself?Phil LaMarr:Well, I, when I was in college I was part of a improv comedy group that started and I loved it, you know, having been taught that the, you know, the key to drama is conflict, but then being introduced in your late teens, early twenties to this concept of Yes.Michael Jamin:And, and yes. And yeah.Phil LaMarr:You know, improv is collaborative theater, make your partner look good. Right. Work together, you know, all of this very positive energy. It's like, huh, wow. This isn't just about performance. This is a great life philosophy. Yeah. So after graduation, and I came home to LA and I started taking classes at the Groundlings Theater mm-hmm. , the sketch, comedy and improv group. And, and I did that not for the career, but because I wanted improv back in my life.Michael Jamin:Right.Phil LaMarr:And doing improv that led me into sketch comedy and writing.Michael Jamin:Right.Phil LaMarr:Because that's what the ground wings do. It's like, okay, that's a great improv. Write it down.Michael Jamin:Right. .Phil LaMarr:Yeah. Now do that character again. Come up with another scene for him.Michael Jamin:And so that's what you, you brought to the audition, like what, three different characters or something?Phil LaMarr:Y well, by the time Mad TV came around, I had been doing sitcoms, you know, from the early nineties to the mid nineties. This was 95. Right. So I went to audition for mad TV and the people at Fox had seen me guest on a bunch of shows. Right. And in fact, I went to audition for Mad TV in what they call second place because I had done a pilot for Fox right before Mad. So it's funny because I went in there thinking, no, this pilot is gonna, is amazing. We're gonna be the new Barney Miller. Alright, fine agents, I'll go for this sketch thing, whatever. I've been doing Sketch for six years, but whatever. And so I went in and they said, okay, bring in some, some of your characters.Michael Jamin:What Century is calling ah, . That's your phone from 1970, right?Phil LaMarr:?Michael Jamin:Or is it an alarm clock?Phil LaMarr:Ah, no, it's, I forgot toMichael Jamin:What's your phone? It's your iPhone.Phil LaMarr:It's my agent calling. Oh, you, you don't need to talk to them.Michael Jamin:That's Hollywood.Phil LaMarr:Yes.Michael Jamin:I can't believe your agent actually calls you. Mine doesn't call .Phil LaMarr:Alright, let me, let me go back.Michael Jamin:Yeah.Michael Jamin:We're gonna put all this in. This is all funny. .Phil LaMarr:Well anyway, I went to audition for Mad TV having done several years at the Groundlings and having been voted into the main company of the Groundlings, alongside Jennifer Coolidge. So youMichael Jamin:Were perform Oh, so you were, that's great. So you were performing regularly on stage. Yeah. Okay.Phil LaMarr:So, so sketch comedy was solidly in my backMichael Jamin:Pocket. Yeah.Phil LaMarr:And, you know, I'd been, you know, I'd finally started making a living as an actor. I didn't have to do my day job, you know, just doing guest spots and whatnot. And I went in there without any sense of desperation. I don't need this.Michael Jamin:Right. I'vePhil LaMarr:Already got this pilot. And they said, okay, bring us your characters and a couple of impressions and we'll show you a couple of our sketches. You know, so there were three steps to each audition, Uhhuh. And it's funny because later after I got the job, I talked to the showrunner and he said, oh man, you were so relaxed. We loved it.Michael Jamin:Oh wow.Phil LaMarr:You know, cuz I remember when we had a, a callback and there was somebody from the studio. This woman was sitting there like this. And I said, oh, I'm sorry. Did I wake youMichael Jamin:? And then wow. I mean, good for you. And then, but what became of that pilot, it didn't go to seriesPhil LaMarr:The other. No.Michael Jamin:Boy, had you known that ? IPhil LaMarr:Know. Well, and when we, when we got the call back from Mad tv, I'm like, what the heck? And might have said, yeah. Yeah. somebody at Fox said, don't worry about the second position.Michael Jamin:Right. Oh wow. Wow. . So, right. So you did that for a number of years. And then, and what, what along the way, when did pulp Fiction occur during this?Phil LaMarr:Actually I did Pulp Fiction before Mad tv.Michael Jamin:Okay.Phil LaMarr:It's funny cuz the first episode of Mad TV had a Pulp fiction parody in it. AndMichael Jamin:Did you play yourself?Phil LaMarr:Yes. They pitched me playing myself. OhMichael Jamin:My God, it was so fun. I mean it's such a classic role. I mean, do, do you, and does, do people want to talk to you about that all the time?Phil LaMarr:Not, not really. What I, I find that people only bring up Pulp Fiction around the time when a new Tarantino movie comes out.Michael Jamin:Okay.Phil LaMarr:But I mean, there are some people who, you know, are big fans of it. But the funniest thing is there will be a friend, somebody I've known for several years, but it's the first time they've watched Pulp Fiction since we met.Michael Jamin:Right. OhPhil LaMarr:My God, Phil. I didn't realize that was you.Michael Jamin:That's so great. I mean, so Right. Just to remind people again. So that was a scene was, it was Samuel Jackson and and John Travolta. They, yes. I guess the, the pla that plot line was a bunch of like straight-laced kind of college kids, kind of up, you know, they, you know, good kids who probably made one bad decision. Right. But they weren't troublemakers. They were good kids. And then they owed money and then, and then I guess they, you know, so they shoot, I guess they come into the apartment Right. And they they wind up shooting up the place and they take you, I guess they, they're gonna take you to the big guy, you're hostage and then he, you're in the back of the car and they got a gun trained on you and it hits a bump and they accidentally blow your head off . Right.Phil LaMarr:Well, well actually, the backstory that Quent and I talked about is that cuz my character is Marvin, he's the kid who gets his brains blown out in the back of the car. Right. but we decided that the story was Jules Uhhuh knew somebody who knew Marvin and arranged for Marvin to, that's why Marvin gets up and opens the door.Michael Jamin:Okay. AndPhil LaMarr:Lets them in. He's on their side.Michael Jamin:Oh, is that right? Is that, I should watch that again. I don't, I didn't pick that up at all.Phil LaMarr:And so he's not, they're not taking him as a hostage. Cause actually, Sam's like, how many, because John asked him how many are in there? It's like, well, there's, oh,Michael Jamin:There'sPhil LaMarr:Five plus our guy.Michael Jamin:Oh, I gotta watch that again. I missed that. Okay. It's been a while. Okay. So,Phil LaMarr:So the idea is that Jules knew somebody who knew one of the kids that took Marcellus briefcase. So he made a connection and was like, okay, we figured it out. He's our man inside is gonna open the door for us at 7 45. We're gonna come in, we're gonna get the briefcase. But of course, in my head, the idea is that Marvin didn't realize they were gonna kill everybody.Michael Jamin:Right. Right. He thought theyPhil LaMarr:Were just gonna take the briefcase.Michael Jamin:Right. So he'sPhil LaMarr:Freaked out.Michael Jamin:And so how many days is, were you, how many days of a shoot is that for you? Is that a week or what?Phil LaMarr:I spent about two weeks. There was the car scene and the apartment scene. But the, the most ironic thing was I shot my scene after they had shot the Harvey Kittel cleaning up my body scene.Michael Jamin:Right. So whenPhil LaMarr:I came onto set, everybody was looking at me like they recognized me because they had been see, looking at me dead for two months.Michael Jamin:. But how? Wait, but but when you say looking at you dead was, were there photos or something or what? No, no.Phil LaMarr:They built, they built a dummy. The dummy. Oh. Because there's a se there's a sequence where the Harvey guy tell character comes to clean up Yeah. And then carry the body out of the car into the Tarantino character's apartment. YouMichael Jamin:Know, that must been freaky. SoPhil LaMarr:Everybody been looking at this body in the trunk body, you know, and then when I walked on, they were like, it's, it's the same thing of like, when you walk into a room and you forget you're wearing a name tag.Michael Jamin:Yeah. Did you know how great that movie was gonna be at the time? Yes. I mean, you, you can tell. How can you tell? IPhil LaMarr:Couldn't tell how successful it was gonna be because, you know, reservoir Dogs was really good. Right. But it wasn't, you know, it was a big indieMichael Jamin:Movie. Yes.Phil LaMarr:Right. But when you read the script for Pulp FictionMichael Jamin:Uhhuh,Phil LaMarr:It leapt off the page.Michael Jamin:Right.Phil LaMarr:It's funny because like, when I went to audition for it, after meeting Quentin Tarantino, we did a Groundlings improv show.Michael Jamin:Oh, is that right? BecausePhil LaMarr:He's, he was friends with Julia Sweeney, who was a Groundlings alum. Right. And she invited him to come do a show. I was in the cast. Right. And when he was casting pulp Fiction, he was thinking about Marvin. He told the casting lady, Hey, there's this black guy at the Groundling, he's go find him.Michael Jamin:Right.Phil LaMarr:And I remember preparing for the audition, reading through the scene three times. It jumped into my, I w I had it, I was off book by the time I memorized. Because the way it's written, even though it's not everyday life, every line follows exactly what the one before it would say. And it feels natural, even though it is such a heightened world he's created.Michael Jamin:Yeah. He really is. I mean, you know, he's a master with, with words. He doesn't, does he, he doesn't, I can't imagine allow much improv. I mean, it seems like he knows what he wants, right?Phil LaMarr:Oh, yeah. No, no, no. Yeah. The, the script is like a Rosetta Stone. It is carved, yes. Actually, the, the only two things that changed in the script were one a line of Samuel Jackson's character about porkMichael Jamin:Uhhuh ,Phil LaMarr:Because originally they're talking about a pig and he is like, oh, that's the Kerry Grant of pigs. And Sam was like, no, Manam my guy. I don't think this guy would ever think Kerry Grant was cool.Michael Jamin:Right. So theyPhil LaMarr:Changed it to the, the reference to the the at Albert showMichael Jamin:Oh, oh green Acres. Green Acres, yeah. Yeah, yeah. Right.Phil LaMarr:Yeah. It's like the pig on Green AcresMichael Jamin:. And,Phil LaMarr:And the o and the other moment that changed from the script to what, what we shot was because of what a thought that John had.Michael Jamin:Uhhuh GunPhil LaMarr:Travolta. Yeah. Oh. Because, because this was a low budget indie movie. They made this movie with all those stars for only 8 million.Michael Jamin:Are you kidding me? Really?Phil LaMarr:Yeah. And part of that saving money was we rehearsed the entire movie on stage before we started shooting. Right. And I remember going to a sound stage at, at cul in Culver City on Sony and meeting John Travolta and Samuel L. Jackson for the first time in rehearsal.Michael Jamin:Right.Phil LaMarr:And I remember walking in there and it's like, Quinn's like, oh, hey Phil, this John Sam, this is Phil. And John Tra goes, oh geez, this is a guy. I had to kill this guy. The eyes is gonna hate me.Michael Jamin:That's a pretty good Travolta sound just like him. . Oh, thanks.Phil LaMarr:And he just, I thought he was just joking. But eventually he talked to Quintin. Cuz originally in the back of the car, the gun is supposed to go off accidentally. Yeah. And shoot Marvin in the throat.Michael Jamin:Okay.Phil LaMarr:And then he sits there g gurgling while they go back and forth bantering, oh, dad, what are we gonna do? Right. Well, we can't take him to the hospital. Well, I don't have nobody in the valley. Well, alright. Put him out of his misery. When I, on the count of three, I'll hit the horn. And so John's character was supposed to shoot me the second time on, and John said, no, no. Quentin Quinn. Quinn. If my character kills this kid on purpose, it's gonna ha people won't, won't like him. And he was right. It would've negatively affected his sequence with Umma Thurman.Michael Jamin:That's absolutely right. But do you think he was, Travolta was interested in protecting the character or protecting himself as an actor? You know, like how people saw him? What do you think?Phil LaMarr:I think it was, he had a connection to the audience, which I guess was mostly through him, but also through the character. Because I mean, I mean, I guess, you know, Quintin's could have just said No, no, the character's just, he's a nasty, you know, junky. Yes. He does nasty stuff. But I think John was like, no, no, no. This whole sequence with the girl, he's not nasty.Michael Jamin:Right. So, right. I see. And andPhil LaMarr:Quintin agreed with John Yeah. His take on the character.Michael Jamin:Yeah. That's so interesting.Phil LaMarr:Isn't thatMichael Jamin:Wild? Yeah, that is. See, it's so funny listening to you, you can so hear like how thoughtful you are about acting, how mu how much, how it's not, it's a craft, it's a, you know, you, I really hear that from you, how much you put how passionate you are about the craft of acne. Not just being on stage, not just you know, doing voices, but the craft of it. You know? Exactly. Yeah. How do, do you miss, or do you get a chance to perform on stage a lot? Because that was your original lovePhil LaMarr:Mm-Hmm. . Yes. Thankfully. I'm still holding on to my performance foundation. My friend Jordan Black, who is another Groundlings alum Uhhuh about what, 12 years ago now, created a group. And we do a show monthly live on stage, an improv show at the Groundlings Okay. Called the Black VersionMichael Jamin:Uhhuh. It's,Phil LaMarr:It's an all black cast, and we take a suggestion from the audience of a classic or iconic motion picture, and then we improv the black version of it. ButMichael Jamin:What if you're not familiar with the, the classic?Phil LaMarr:Well that's the tricky part is our director Karen Mariama mm-hmm. , who was one of my teachers at the Groundlings and is now one of my peers, has an encyclopedic knowledge mm-hmm. , she can take a movie from the black and white era and know the entire structure or something that dropped that dropped on Netflix last week. And she knows everythingMichael Jamin:But you, but if you don't know itPhil LaMarr:Well what we do, what she does is she, she, as the director, she guides the scenes Uhhuh . Okay. Alright. Phil, you are gonna play this, you know, like let's say we're doing the black version of Princess Bride. Phil, you'll, you are this you know, swordsman who is incredibly skilled audience, what do you think his name? Okay. In Negro Montoya, that's your name.Michael Jamin:That's funny. AndPhil LaMarr:Like she'll assign the characters Right. And then guide us from scene to scene. But, you know, our choices, you know like when we did the black version of Princess Bride, it was called her Mama and them, and Prince Humperdink was Prince Humpty Hump. Right. You know, and sometimes the choices will change the, the, you know line, line of the story. But she tries to keep us, you know, take us through the iconic scenes.Michael Jamin:Right. And this is once a month you do this.Phil LaMarr:Yes.Michael Jamin:Yeah. That's a big commitment.Phil LaMarr:Yeah. And for 12 years. Yeah.Michael Jamin:Yeah. I mean, you must, you probably took a break during the pandemic for a little bit. Yes,Phil LaMarr:Yes, yes, we did.Michael Jamin:But Wow.Phil LaMarr:And recently we've you know, we've built an audience and a reputation and we've started booking on the road. We've we've played the Kennedy Center in Washington DC twice now.Michael Jamin:So you take it on the, and, and how were you able to sell tickets on the road? I mean, so easily.Phil LaMarr:It's, I I think it's, it's the, the venues and also you know, somewhat just the, those of us in the group. I mean, Jordan was a writer on SNL and part of the guest cast on community Cedric Yarborough from Reno 9 1 1, and tons of other shows. SoMichael Jamin:Just your name. Just your name. So it's kind of just your names people like, Hey, we want, you know, we recognize these names, we wanna go see it. If you, you know this.Phil LaMarr:Yeah. I, I mean, I'm, I'm not exactly sure how we managed to sell out, youMichael Jamin:Know? That's amazing. All overPhil LaMarr:TheMichael Jamin:Place. That sounds like a lot of fun.Phil LaMarr:It's so much fun.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 gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Wow. I mean, is there a limit to how much you can, I mean, just organizing that to get everyone to get the time off. I mean, that's gotta be logisticallyPhil LaMarr:Gotta be hard. Yeah. The, the tours aren't that we don't do them that often because, you know, Gary Anthony Williams from, you know, Malcolm in the Middle and stuff, everybody in our cast works a lot. Yeah. So we can really only guarantee the show once a month. Right. but sometimes when we tour, not everybody goesMichael Jamin:Because Yeah, you have to, I mean, if someone books apart and you're shooting that at night, what, what are you gonna do? That's the way. Right.Phil LaMarr:Or you or you have to fly to Vancouver for six months.Michael Jamin:Yeah. Right. Right. And that's part of, that's, I mean, that's part of the, the plus of, of the do for you for doing a lot of voice acting is that, you know, you probably get to lead a pretty sane in life if for an actor it's, it can be very hard, you know, being onPhil LaMarr:Their Well, and, and it's also one of the wonderful things about the progress that has come since we started the show, because part of the reason Jordan created the show is because those of us in the improv world, you know, who are people of color, oftentimes spent the majority of our time being the one.Michael Jamin:Yeah.Phil LaMarr:But over the years, the, you know, the numbers, the diversity in the improv world, you know, expanded, it used to be a very suburban art form.Michael Jamin:Yeah.Phil LaMarr:But now, you know, I I I credit this mostly to Wayne Brady doing whose lives in anyway.Michael Jamin:Yeah. Right. Yeah. And so that really opens up more opportunities and more of what Yeah. That, that's, that's interesting that, you know, that really has changed a lot. How, how have you seen it change your opportunities in the past, I don't know, whatever, 20 years, 30 years, you know, however long?Phil LaMarr:Well, it's, it's, it's changed be in a lot of ways. One, when I got voted into the Groundlings in 1992, I was the first black person to get voted into the company in its 18 years of existence.Michael Jamin:You're kidding me. Yeah. That's crazy. That's crazy.Phil LaMarr:And now the pool of, you know black people, you know, who are Groundlings has expanded. It's not just one every 18 years.Michael Jamin:Yeah. Right. But, and in terms of more, you know, more opportunities for you even, you know, I mean, everything's, everything's really opened up for you. Right. I mean, I imagine Well,Phil LaMarr:Well, because we have, you know, the, those of us in entertainment have expanded. Yeah. You know, what we consider will work. You know, I was talking my son just graduated from NYU and one of his classmates is the son of the woman who directed the woman king. Okay. At Viola Davis, you know. Right. Action movie. Right. And I remember watching and thinking, oh my god, when I was 18, no studio in the world.Michael Jamin:Right. Would touch that. Right. Would'vePhil LaMarr:Would've, you know, green lit Yeah. A action movie, you know, about black women.Michael Jamin:Yeah. Right.Phil LaMarr:And, and the fact that, you know, it's out there now and is just another big movie. It's, it's not considered, you know you know, a once in a lifetime thing anymore. That's the progress and the fact that we have, you know, middle-aged women mm-hmm. leads of s of TV series. Yeah. You know, back in the old days, the only lead of a TV series was one beautiful person or one famous, you know, hilarious person. Yeah. But now they've opened it up.Michael Jamin:I wonder, is your son planning to going through the arts now that he graduated from nyu?Phil LaMarr:Yes. Yes. He's, he's musician. He oh, writes and sings and dances and raps and produces, and he's part of the Clive Davis recorded music program where they teach them music and the music business.Michael Jamin:Yeah. Wow.Phil LaMarr:One of his teachers was Clive Davis's daughter. Wow. Who's a lawyer.Michael Jamin:And do, I mean, it's, but it's, the music is different from what you do. I wonder, I wonder if you're able to, does it all feel like, I don't know how to help , you know? Yeah.Phil LaMarr:Yeah. There's a lot of that uhhuhMichael Jamin:Like,Phil LaMarr:Dad dead. Because when your kid goes into, you know, show business, you think, well, I've been in show business for 40 years, like, you haven't been in the music business. I'm like, you're right.Michael Jamin:That's true. So interesting. Wow. Wow. And, and, and so what about, I guess, you know what's next for you? Is you just, is it more of the same? Is there more, well, actually I know you have a pilot that you, that you were, you're working on, you know, you're getting into the writing side of the business. Yes.Phil LaMarr:More so. Yes. And that actually over the last couple of years has been a, a slight shift you know, having been performing. Yeah. You know, for so long now, since the eighties. I've also, and I've also been writing since the nineties when I started at the Groundlings. Right. I was writing sketches and I wrote on Mad tv. But just recently, earlier in this year, I took a job as a professional writer on a television show for the first time.Michael Jamin:Right.Phil LaMarr:And it was pretty wild to have 30 years of sitcoms under your belt and then suddenly see it from a completely different angle.Michael Jamin:And what, and what was your impression of that?Phil LaMarr:It, it was wild to cuz like you were talking about the way I look at acting and break it down. Yeah. And, you know, look at all the subtle distinctions. I had never looked at, you know, TV writing that way. Okay. But to suddenly be in a room with people who look at who see it that way for decades, you're like, oh wow. How do I feel like a rookie at 56?Michael Jamin:Yeah. Right. And so there's a lot of catching, a lot of catching up little Yeah. You know, that's so, and, and are, are you enjoying it as much or as much as you thought? Or what do you think?Phil LaMarr:Well it, the challenge part was, was a little bit, you know, tough. Yeah. But it was great to be working on a really good show with great, talented people and to be learning something new. It's like, yeah. Oh, like for me, like when we would write sketches at the Groundlings Uhhuh, you didn't think about anything about like, well, beginning, middle, and end. Right. Three minutes.Michael Jamin:Right, right.Phil LaMarr:You know, but now you have to think about, you know, character arcs and the, you know, okay, well if you introduce the character's father, we have to think about their entire family. Is the mother still a alive? You're like, oh, right. When you write a sketch, you don't have to think about,Michael Jamin:You don't think about any of that. Right. And when you, and when you're acting the part you, you know. Yeah. Yeah. And so it's, it's so interesting cause I always say like, acting and writing are really, they're two sides of the same coin. It really helps to study both whatever you want to do, study both. Exactly. it's all, and so yeah, that, that finding that emotional arc and, you know, it's all, it's all new for you, but yeah. I wonder, you know, but you're enjoying it.Phil LaMarr:Well and, and working alongside, I mean, cuz there were people who, you know, one guy at show run Will and Grace, another guy worked on Arrested Development. I mean like, you know, one guy was showrunner on five other shows to, to watch how they mm-hmm. . Cause for me, I would like, Hey, I would just pitch out a joke. I'm just gonna say something I think is funny. Right. But they had this like s you know, Superman MicroVision where they could take that joke and see Yeah. How it could affect the mm-hmm. the entire scene, the entire episode and the entire season.Michael Jamin:Yeah. Right. It's like, where does that, but offPhil LaMarr:The top of their head.Michael Jamin:Right. And where does it go? Where does that moment go into the script, into the, you know, is it act one or is it Act three? And so that Yes.Phil LaMarr:Yeah. That yes. I mean I'm sure you have that, that x-ray vision too. Yeah. Where you can look at a script and see the act structure Yeah. And you know, and or just even the structure of just the scene. Yeah. Like what does this character, where do they start and where do they finish?Michael Jamin:Yeah, that's right. Well we were, we ran a show for Mark Maron for four years and you know, he was one of the writers in it and he would pitch an idea, cause I wanna say this, and then we'd put up Neck one and then I remember at one point , we were talking about it and we said, mark, I don't think this can go in Act one. Is it okay if we put a neck three? And he'd say, oh, I don't care where you put it is. Right. long as in the script,Phil LaMarr:I'm just thinking about what the character would say.Michael Jamin:Yeah. That Right. I was like, was like, oh, that's a relief. I thought you were gonna get mad for, you know, you didn't care about that. So funny.Phil LaMarr:Right. Yeah. Just cuz as performers we are not looking at the app structure.Michael Jamin:Right, right. You know,Phil LaMarr:Most of us, I, I may imagine there are some people who do like, well I wanna build up from act two to act three, you know? Yeah. But most of us don't. We're just, what is the guy feeling in this scene right now?Michael Jamin:Right. And how to get to that, the truth of that, how difficult is it for you to make yourself vulnerable like that on stage to like, to go there, you know, whatever, maybe it's crying or whatever it is. How difficult it is for you just to allow yourself to go there?Phil LaMarr:Well, it's not necessarily easy. It's definitely something that I had to, you know, a skill set to build Uhhuh . You know, I was not one of those people when I started acting who could make themselves cry on cue, UhhuhMichael Jamin:,Phil LaMarr:You know. But I remember I had to do a scene on a, a Steven Boko show called Philly. And it's like, okay, well this character is really, you know, emotionally, you know, I gotta figure out how to make sure I'm putting that out there. Right. So I thought about something sad and let it, you know, something different than what the character was thinking about mm-hmm. . But it's again, like, you know, with the voice acting like what sounds bey you also have to think about your face, what looks Yeah. Sorrowful and how do you make yourself look sorrowful. Right. You know, although one of the things that helped me learn where to, to try to go was working on Pulp Fiction with Samuel L. Jackson.Michael Jamin:What he what? Go on. He gave you some great advice or what?Phil LaMarr:No, he just, what he showed because you would stand there offset talking to this cool old guy who was amazing, you know? Yeah. He's just talking about golfing or his daughter. But then when the camera started rolling Yeah. The person you were just talking to disappeared. Right on set. I looked over and I was looking into the eyes of someone completely different than Samuel L. Jackson. Right. And I remember standing there in my twenties thinking, oh my God, he transformed himself internally. And so that it shows externally. Yeah. That's like, I gotta learn how to do that.Michael Jamin:And then how did you learn how to do that?Phil LaMarr:Well, I, I'm still haven't gotten to his level , but what I learned is you have to figure out one, how you look and how you get, it's, it's like a map. Mm-Hmm. , you know you know, if you figure out how to guide your internal self to a place where your external self does what's on the page, that's what acting is. You know, otherwise you would just be reading words to be or not to be. That is the question. You know, it's not just about the words. It's how do you express the feeling? And Sam taught me there is a way where you don't have to do nine minutes of to get into character.Michael Jamin:Okay. IfPhil LaMarr:You know the root within yourself, you can do it like that. Right. So I, I realized it was about learning your internal, you know, where do, where do you put your sadness? Where do you put your anger and where's, what's the difference between your anger and this character's anger? Guide yourself there and then, you know, connect the two.Michael Jamin:And do you have moments where you feel like, I I didn't do it. I didn't get there. You know. Well,Phil LaMarr:I mean that's the, the one good thing about on camera work and what we were talking about about the rehearsal Uhhuh is you can find, take the time to find it, but yes, no, there's, there's always, you know, not every job is a home run. Mm-Hmm. , you're like, oh, I wish I had gone a little bit deeper with that. Right. You know and sometimes you feel it there. Yes. Other times you don't realize it until after you see it. And maybe it's, they picked a take that Right. You didn't No. That wasn't the best one. Why didn't they, you know, not nothing is ever perfect.Michael Jamin:Right, right. YouPhil LaMarr:Know,Michael Jamin:And, but do you, like sometimes I'll watch, I'll be on set and I'll watch an actor do something. Usually it's drama and or a dramatic moment. Right. And, and they let it all out. And after you, you'll cut. I'm always like, I wonder if they need a moment alone. You know what I'm saying? It's like Right. I mean, what are your, what's your take on that?Phil LaMarr:Well, I mean, I'm not a, a method guy. I don't put myself into, because Yeah. You, you hear a lot about that, about a guy's like, yeah man, I had to play this character and my girlfriend hated me for a month because when I went home I was still part of that dude. Yeah. You know? And I don't know if it's my improv and sketch background where I take my character off like a hat,Michael Jamin:Uhhuh . IPhil LaMarr:Don't take them home and, you know, I, I try to embody it during the performance, but I don't feel it's, you know, required to have to be the character.Michael Jamin:Right. But if you spend a whole day as a character,Phil LaMarr:It can, it can be draining.Michael Jamin:Yeah. Right. It can be draining. Right. You have to wash yourself up that if, if you don't like that, you know, if you don't like that person, you have to wash yourself of that. Right. And how do you do that?Phil LaMarr:Yeah. Well, I mean that's, that's about, you know, when you leave the set mm-hmm. , you leave those feelings behind, although some actors don't, but you'veMichael Jamin:Just experienced, you spent the whole day experiencing that mm-hmm. that whatever it is, and yes, I understand you left it, but you spent the whole day angry or, or mournful or bitter or whatever it is. Like how do you, you still have to wash yourself from that, don't you? Well,Phil LaMarr:But I mean, the, for me, I'm not fooling myself. I'm not trying to convince myself that the script and the character is real and me. Cuz that's the thing. Like, if you spend all day with your drunken uncle who's nasty on Thanksgiving, that's not fun.Michael Jamin:Right.Phil LaMarr:You know, and then when you leave, you're like, ugh. You can, you can still be right, you know, upset about it, but you're, you're con but because you're connected to that person. For me, it's about, that is fiction. Right. I only, you know, I'm connected to the fiction while performing. I don't feel like I have to be, you know, like when I play Hermes on Futurama, I don't have to speak in a Jamaican accent for the entire season.Michael Jamin:Right.Phil LaMarr:You know?Michael Jamin:But are there moments, and maybe this is less so for a voice acting, but when you're, when you're on, when you're on camera, are there moments when you're like, you're cognizant that, oh, I'm acting now. Mm-Hmm. , you know, and then you, and you have to, oh, I gotta get back. You know, and you're, you're delivering your lines right in the middle of the line, you realize I'm acting.Phil LaMarr:Well, it, it's interesting because I think part of this mental philosophy I have is, you know, comes from watching Sam Jackson Uhhuh because he wasn't method, he wasn't acting like Jules, you know, acting like a gangster, a man with a gun the whole time.Michael Jamin:Right.Phil LaMarr:And he showed me that. And it's funny because while he was doing that, Frank Whaley who had worked on the doors was telling anecdotes about how when Val Kilmer was playing Jim Morrison, he was the exact opposite. Right. He, before they started shooting, he sent out a memo. Everyone is to refer to me as Jim or Mr. Morrison.Michael Jamin:Right.Phil LaMarr:You know, and he had a tent set where he would, you know, work to be in character and would only come on set as Jim Morrison. Right. He was ne They never s they never spoke to Val.Michael Jamin:Right.Phil LaMarr:Right. So, you know, what about, yes. It's definitely difficult for some people if that's their approach. No, no. My approach is I have to live this character.Michael Jamin:Right. You know, so you're, so you, okay, so that's not your problem. You don't have to worry. That's not something you have to Yeah, no. Interesting. I, I'm so interested in the, the actor's approach to the material, you know? Yeah. Because, you know, we write it, but how do you guys do, how do you guys do it? Because there's a difference. There really is a difference. You know, we hear it one way we envision it, but we can't do it. Do you know what I'm saying? Yeah. We can't get it out of our heads onto, into reality, but you can. And so I'm always like, how did you do thatPhil LaMarr:? Right. Well, it was, it was, it was interesting experience, you know, from the writing, acting, you know, crossover. Mm. I worked on a, I was developing an animated show based on a friend of mine's web comic called Goblins.Michael Jamin:Okay.Phil LaMarr:And my partner, Matt King and I, we were both performers, but we adapted the comic into a script. And I called a bunch of my voice actor friends, cuz we were, we were gonna make a trailer, you know, to bring these, you know, comic characters to life Yeah. In animation. And it was funny cuz Matt and I are actors. We had, you know, written the script and we'd acted out these scenes. And so in our heads we, we thought we knew exactly how they'd sound. But then we brought in amazing Billy West, Maurice La Marsh. Mm-Hmm. , Jim Cummings. Mm-Hmm. Steve Bloom, Jennifer. And it was funny because when they performed the scenes we had written, they took it to a whole other level. Right. Beyond what existed in our, in our heads. Right. Like, oh my God, they made it so much better than I even imagined it couldMichael Jamin:Be. Right, right.Phil LaMarr:And it was wild cuz I'd heard writers, you know, express a similar kind of thing. It's like, oh my gosh, you guys did such, such amazing with, and, but to have it, you know, as someone who'd been a performer, to have someone take your and do that miracle with it was an eye-opening experience. Like, ah, butMichael Jamin:There's something else that you do. Cause you know, there's a handful ofri actors, voice of actors, they always work. You're one of them. But pro you call 'em in and it's, it's knowing, especially in comedy, knowing where, how to hit the joke. I mean, we always say, can they hit a joke? And knowing where the laugh falls, not just somewhere, but which word makes it, makes it funny, you know? Mm-Hmm. , you know. And do you think that's your instinct? Or is that just something you've gotten better at?Phil LaMarr:Yes, I think that's something that has grown from performing, especially in the sense of, in the sense of comedy. Because I remember, you know, starting out on stage doing, you know, plays, then doing, doing improv, which is specific comedy cuz when you're doing a play mm-hmm. , the writer has decided which moments are funny, which moments are dramatic, you know. But when you're doing improv, you and the audience are deciding what's funny. Right. And, and I remember coming, you know, back to LA and pursuing acting and then starting to get work on camera and doing comedy. And I realized, huh. Oh wow. I don't have an audience.Michael Jamin:Yes. And youPhil LaMarr:Have, you have to create a gauge in your head for, is this funny? Because when you're on stage and you're doing a funny bit, you're, you know, you can feel from the audience whether, oh, I need to push that up a littleMichael Jamin:Bit. Right.Phil LaMarr:But when you're working on camera, this, the crew is not allowed to laugh outMichael Jamin:Loud. Right.Phil LaMarr:You know, so you have to create an audience inside you, an internal audience in your head to help, you know, is, is this the timing of this?Michael Jamin:Right.Phil LaMarr:And, and it's funny because I've developed that and a couple of years into it, I remember I got a job working on N Y P D, blueMichael Jamin:UhhuhPhil LaMarr:Playing a guy who was being questioned, you know, interrogated in the police station and then gets roughed up by Ricky SchroederMichael Jamin:Uhhuh.Phil LaMarr:But the, the lines, because this guy's on drugs. And I remember like, oh wow, I gotta be careful. This could be funny . Cause he's like, you know, like, you know, cause Ricky Schroeder, you know, sees blood on his, on his clothes, like, take your clothes off. It's like, and the guy take my clothes. What you wanna do? What you ain't gonna put no boom on my ass. Right. And I remembered I have to gauge the funny way to do this and not doMichael Jamin:That. Yes. Right, right. Because,Phil LaMarr:You know, there was, I, and I realize no, no. Pull back the tempo and lean into the anger, not the outrage.Michael Jamin:Right. Right. So, andPhil LaMarr:Then it'll be, then it'll be dramatic, not comedy.Michael Jamin:It's, again, here you are approaching it really from the craft. It's not Yeah. I just wish it's, when I hear people, I want to be an actor. Okay. Take it serious. Are you gonna study? Are you just gonna, do you wanna be famous? Which, what is it you want? You know?Phil LaMarr:Right.Michael Jamin:And well, let's talk about that for a second. What, what's your relationship with, with fame? How do you, you know?Phil LaMarr:Well, that's a very interesting thing because I feel like that has changed mm-hmm. from the generation, like when you're our age, when we were growing up pre-internet mm-hmm.Michael Jamin:Phil LaMarr:Fame only applied to stars.Michael Jamin:Yeah. Right.Phil LaMarr:Now, you know, I mean, nobody knew voice actors, only voice actor anybody knew was Mel Blank.Michael Jamin:Right.Phil LaMarr:You know, people to this day still don't know what Das Butler looks like. Right. But the now anybody who appears on anything, even a YouTuberMichael Jamin:Right.Phil LaMarr:Has some level of fame. Right. You know, and, and it's wild because, because of the internet, the, you know, it now matters what you say. In the old days, if you were a television character actor, like if you were Richard MulliganMichael Jamin:Yeah.Phil LaMarr:It never, nobody was ever gonna post what you said about something.Michael Jamin:Right.Phil LaMarr:It was only if you were Joan Crawford. Right. Or

"Beidzamos piecpadsmit gadus pavasaris ir manējais. Absolūti! Pandēmijas laikā, lai cik tas bija grūts un jocīgs, man tas jauniegūtais ritms tīri labi patika, jo es pirmoreiz mūžā redzēju, kā zied ābeles. Visu pilnu ciklu. Jo parasti bija tā, ka [uz lauku mājām] aizbraucām divreiz mēnesī. Aizbrauc pirmoreiz, tad ābeles ir pumpuros. Tad jau zied. Tad jau ir noziedējušas. Bet pandēmijas laikā skatījos, kā briest pumpuri, kā tie sprāgst vaļā, kā smaržo. Tad manī droši vien dzīvoja tāds Ziedonis, kurš skatās un saka: "Kukainīt, re, kā saule spīd. Iemācies sauli, kukainīt..." Ļoti, ļoti precīzi vārdi. To es varētu novēlēt visiem un vienmēr. Iemācīties sauli. Tas mums noderētu," saka Jaunā Rīgas teātra aktieris un nu jau arī zīmējumu grāmatas autors VILIS DAUDZIŅŠ. Sestdienas rītā "Klasikas" studijā viņu aicinājusi Gunda Vaivode, lai runātu ne tikai par Viļa grāmatu "Pirmie latviešu dziedāšanas svētki bildēs", ko klajā laidis apgāds "Neputns", bet arī par Dziesmu un deju svētku tradīcijas šodienu, teātri un vienkārši dzīvi mums apkārt... Gunda Vaivode: Aprīļa beigās apgādā "Neputns" iznāca tava zīmējumu grāmata "Pirmie latviešu dziedāšanas svētki bildēs", un tā ir īpaša ar to, ka mēs iepazīstam vēl vienu citu tavu talantu, jo zīmējumi ir tapuši skārienjūtīga viedtālruņa ekrānā. Vai tu zini vispār kādu analogu izdevumu? Vilis Daudziņš: Nē, nezinu gan. Domāju, ka noteikti ir zīmēts telefonā un planšetē, bet tad tas arī ir tālāk piedāvāts pasaulei tieši tādā pašā elektroniskā veidā. Vai kāds pēc tam šos zīmējumus ir pārvērtis vecajā analogajā sistēmā, proti, grāmatā, to es nezinu. Tad tu savā ziņā esi tāds inovators! Man patīk domāt par to, ka esmu pionieris. (smejas) Vai atceries savu jelkad uzzīmēto pirmo zīmējumu no pašas bērnības? Domāju, ka tas bija kuģis. Vai laiva ar kaut kādu personāžu iekšā, kas droši vien bija domāts kapteinis. Kā jau puika! Jā, jā, man patika viļņi! Un tad iedomājies to viļņaino līniju un tad tāds kuģītis uzzīmēts. Vai laiviņa. Kaut kā man liekas, ka tas varētu būt mans pirmais zīmējums. Kur pagāja tava bērnība? Rīgā. Mans tēvs ir zvejnieks, un, kas zina, varbūt arī no bērnības ir kaut kādi iespaidi šajā sakarā. Katrā ziņā ļoti labi atceros vienu laivu Jūrmalā. Mūs abus ar brāli vecāmamma veda uz Rīgas Jūrmalu, tur mēs sauļojāmies un spēlējāmies, un tad tur bija tāda laiva, kurā varēja fotografēties. Tāds ērms – atceries, Gunda? Tāds vraks, kurā varēja nofotografēties. (smejas) Un nezin kāpēc man tā laiva ir spilgtā atmiņā. Ir tāda bilde – abi ar brāli stāvam pie tās laivas. Gluži jau tik nevainīgi tas viss nav, jo tu tomēr esi skolots cilvēks arī vizuālajā mākslā. Esmu laimīgs par savu brīnišķīgo skolu – Rīgas Lietišķās mākslas vidusskolu, kuru savulaik beigusi arī mana mamma un arī mans brālis. Tāpēc tad, kad man pienāca brīdis pēc 8. klases kaut kur doties, es nepaliku vidusskolā, bet gāju uz Rīgas Lietišķās mākslas vidusskolas metālapstrādes nodaļu. Brālis bija beidzis tēlniekus, es gāju uz "metālistiem", un tagad manās pēdās ir devies Matīss Daudziņš, mans jaunākais dēls. Un šobrīd jau beidz akadēmiju: drīz viņam vajadzēs aizstāvēt savu diplomdarbu. Tad jau jūs tagad esat mākslinieki nu jau trijās paaudzēs! Jā, mēs esam tādi cilvēki, kuri laikam jūt, ka spēja kaut ko izdarīt ar rokām ir ārkārtīgi svarīga, un tā ir jāturpina, cik vien ilgi var. Te es, protams, nerunāju par savu vilkšanu ar pirkstu pa ekrānu. (smejas) Te es runāju par nopietnākām lietām kā, piemēram, urbšanu, celšanu, krāsošanu un tādām lietām. Mamma daudz ko prata izdarīt arī grūtajos padomju laikos, kad daudz kā nebija un vajadzēja improvizēt, no nekā radot kaut ko. Tāpat arī brālis, es un tagad nu jau redzu, ko visu prot Matīss... Cik patīkami redzēt, ka to, ko Matīss tehnoloģiski dara, es nevarētu izdarīt! Saprotu, ka metālapstrādes jomā, rotu dizainā un arī domāšanā viņš ticis krietni tālāk par mani. Un tā ir ļoti laba sajūta. Bet uz tavas mammas izzīmētajiem zirdziņiem droši vien ir puse Latvijas šūpojusies... Jā, jā, tā runā! Mamma man stāstīja, kā viņa zīmējusi visiem tik labi pazīstamo rakstu uz finiera šūpuļzirdziņa, uz kura daudzi ir šūpojušies. Kāda profila māksliniece ir tava mamma? Mamma mācījās tekstila apstrādi – tā bija auduma apdruka. Rīgas Lietišķās mākslas vidusskolā pēc kara viņa tika beigusi modelētājus. Impulss tavai grāmatiņai nāca no filmas "Zeme, kas dzied". Vai arī tad, ja filmas nebūtu, tu būtu kādā veidā izpaudies? Varbūt, bet man nebūtu ienācis prātā šāds "seriāls" vai tik grandioza tēma, jo arī pirms tam jau šo un to biju uzzīmējis vienkārši prieka pēc un kādam aizsūtījis kā apsveikumu, piemēram, dzimšanas dienā. Bet te pēkšņi aiz gara laika… Manam varonim – Rīgas Latviešu biedrības pirmajam vadītājam Bernhardam Dīriķim – filmas grima māksliniece Beata [Aija Beata Rjabovska –red.] bija radījusi ārkārtīgi komplicētu un neaprakstāmi skaistu grimu, kura uzlikšana paņēma lielu laiku, apmēram pusotru stundu. Nolēmu uzzīmēt, kā tas izskatās, kad man liek galvā parūku. Tad paskatījos pa labi, paskatījos pa kreisi, un ieraudzīju savus kolēģus Aināru Ančevski un Andri Buli, kuri ir tādi pusaizmiguši un kuriem arī līmē bārdas, un uzzīmēju viņus. Un tad es sapratu, ka man jātaisa sava versija par Dziesmu svētkiem! Tas, kā es tos iedomājos. Sāku zīmēt. Droši vien tas ir kaut kas līdzīgs tam, kā režisori zīmē kadru plānu. Tādi ir tie mani zīmējumi. Tu pats esi teicis, ka tās ir tavas fantāzijas, bet šajā grāmatiņā ir arī pavisam reāli tēli. Tur ir minēts – vismaz tekstā – tas, ka pirmie Dziesmu svētki notika Ķeizardārzā, tagadējā Dziesmu svētku parkā. Tur ir Cimze, tur ir Zīle, tur ir viņa suns Dora. Jā, tur ir viņa suns. Bet man nav ne jausmas, vai tam vārdā bija Dora un vai viņam maz bija suns... (smejas) Un vai Bētiņš, piemēram, baidījās no suņiem vai nebaidījās. (smejas) Tā visa ir mana mistifikācija. Man ļoti patīk salikt kopā īstos faktus un īstos uzvārdus kopā ar manis paša izdomātajiem uzvārdiem. Jo man šķiet ļoti svarīgi nosaukt vārdos tos dziedātājus, kas visu šo tradīciju ir atnesuši līdz mūsdienām. Bet mēs viņu vārdus jau tā pa īstam nezinām. Nezinām. Un arī tagad: Dziesmu svētku estrādē stāv divdesmit tūkstoši dziedātāju – cik laika vajadzētu, lai slīdošajā ekrānā izlasītu visus viņu vārdus? Tas ir neiespējami, bet tai pašā laikā tas ir mans veids, kā es gribu paraudzīties uz Dziesmu svētkiem no ļoti, ļoti tuva, detalizēta attāluma. No tāda miesiska attāluma. Humors te, protams, ir klātesošs, un tas viss ir jātver tieši caur šādu prizmu. Fascinē veids, kā esi uzzīmējis, kā tiek veidots "V" burts dziesmā "Nu ar Dievu, Vidzemīte". Kā to līdzskani sauca? Labiodentālais līdzskanis. (..) Tur jāpateicas manai sievai Zanei [aktrise un runas pedagoģe Zane Daudziņa – red.], jo viņa kaut kad pandēmijas sākumā bija uztaisījusi mazu, jauku profesionāļa ieteikumu, kā ierobežot siekalu daudzumu, kas izsprāgst no tavas mutes, lai samazinātu saslimstību. Viņai ir burvīgs maziņš video gabaliņš, un tur tika lietots šis vārds – labiodentālais līdzskanis, kas man likās ļoti jauks. Tev ir brīnišķīga epizode par Ķīvīšu Andreju, kurš visus svētkus pavadījis cietumā, jo bijis kunga prātā. Un vēl mani ļoti aizkustināja, ka koru karošana vienmēr nesusi līdzi emocijas: vai tie mūsu laiki, vai paši senākie, asaras un pārdomas allaž bijušas klātesošas. (..) Kas, tavuprāt, mainījies Dziesmu svētku tradīcijā, ja neskaitām, ka zirdziņu pajūgu vietā nu ir tramvajs, autobusi un kādam arī lidmašīna... Saglabājusies ir vajadzība dziedāt, vajadzība sanākt kopā – tā ir turpinājusies un palikusi. Tam nākusi klāt vēl tāda masveidība, sacenšanās – ka katru gadu vajadzētu aizvien vairāk. Tagad, protams, man ir mazliet bail, jo nu beidzot mums ir milzīga estrāde – izstaigāju to no visām pusēm, un man liekas, ka tas tiešām ir arhitektūras brīnums un, manuprāt, arī ļoti ērts. Bet laiki ir mainījušies: tik daudz cilvēku aizbraukuši projām no Latvijas, tik maz vīru grib dziedāt un ko nu es te daudz runāšu – es jau pats arī nedziedu. Mans vienīgais veids, kā varu piedalīties Dziesmu svētkos, ir šī grāmatiņa, bet ar grāmatiņām vien jau nav līdzēts: ir vajadzīgas arī tās stiprās, lielās balsis! Kāda tā nākotne mums būs? Nezinu. Es vienkārši ļoti, ļoti ceru, ka cilvēki ieraudzīs šīs tradīcijas milzu vērtību – ka tā patiešām ir mūsu identitātes daļa, ko ir vērts turpināt, saglabāt un sargāt. Hm, kā lai to paskaidro… Varbūt kaut kāda kļūda ir tajā, ka tas vienmēr tiek pasniegts ar tādu neaprakstāmu patosu, pārsvinīgumu, pārcildenumu. Bet mēs taču zinām, ka svētkiem ir arī šī otra burvīgā puse: kā toreiz brauca pajūgos, tā tagad brauc autobusos, un tad tā gulēšana tur – sazin kur – skolu sporta zālēs; ņemšanās ap to visu, sajūsma, negulētās naktis un gājiens, pazudušās mantas un tad galu galā nonākšana galamērķī un milzīgais saviļņojums, kas cilvēkiem ir gan skatoties svētkus, gan dziedot – tieši tā, kā Ziedonis to saka: "Viņi atrodas tādā milzīgā enerģijas ķīselī." Tā enerģijas bumba arī ir tā, kas dod spēku, un nenogurst ne skatītāji, ne dziedātāji. Tieši tāpat bija ar mani. Kad skatījos simtgades svētkus, abi ar Zani sēdējām, skatījāmies, un nekas nelikās par garu. Man tas viss ļoti, ļoti patika. Mēs varam būt līdzdalīgi. Mums nav visiem jādzied koros, mēs arī visi nevaram tur būt. Mēs vienkārši katrs darām savu darbu. Savulaik Rolandam Kalniņam vienā no intervijām prasīju, kāpēc viņš iet uz Dziesmu svētkiem. Un viņš atbildēja: "Bet es nevaru neiet, man tur ir jābūt!" Man liekas, ka tā ir arī tāda savstarpējas tolerances veidošana, jo tur satiekas ļoti daudzi un dažādi cilvēki. Tu esi ar ļoti spēcīgu dramaturga talantu un pats esi daudz strādājis pie Jāzepa Vītola Latvijas Mūzikas akadēmija izrādēm. Jaunākā un arī viena no iespaidīgākajām ir "Žižeks. Pītersons. Gadsimta duelis". Ko tu iemācījies pats, pētot šos abus vīrus, un ko tu no šī dueļa esi iemācījies? Droši vien to, ka uzvar inteliģence. Neraugoties uz to, kādu uzskatu pārstāvis tu esi, diskutēt ir jāmāk. Diskusiju kultūra Latvijā ir liela problēma. Spēja diskutēt gan tiešā veidā, gan – vēl jo vairāk – soctīklos. Vai dieniņ, tā mums ir kaut kāda liela, liela nelaime! Ar kategoriskiem viedokļiem, kuri ir otru iznīcinoši. Diskutēt ir jāmācās. Un to var iemācīties vienīgi tad, ja daudz zini un esi empātisks. Ja tu spēj pieslēgties otra domai, otra motīviem, idejai, kāpēc otrs tā domā un kas viņam ir dārgs, jo tev taču arī ir kādas dārgas lietas... Un kā nu tad jūs varat vienoties. Bet ir arī svarīgi nepazaudēt savu viedokli. Arī radio mēs nereti saskaramies ar pārmetumiem, kāpēc atskaņojam to un to, kāpēc skan krievu mūzika, kāpēc padomju laiki. Un tad ir svarīgi nepārspīlēt ar pašcenzūru. Savu domu un viedokli nepalikt zem masīvā ārpuses spiediena. Izeja ir spēja argumentēt. Kāpēc man ir svarīgi, ka te skan, lūk, šīs dziesmas, vai arī - gluži otrādi - kāpēc es tās negribu spēlēt, un kāpēc tās neskanēs. Ir svarīgi spēt argumentēt. Nevis "gribu-negribu". Nevis "tagad tādi laiki". Man liekas, ir mazliet vairāk jāvelta spēki tam, lai tu spētu pastāvēt par savu viedokli un to argumentēt. Jo mēs dzīvojam demokrātijā. Neviens demokrātiju nav atcēlis! Kā jums teātrī ir ar demokrātiju? (smejas) Redz, varbūt teātrī ir mazliet citādāk. Teātrī ir līdzīgi kā uz kuģa, kur ir kapteinis, un nekādi demokrātiski lēmumi – braucam pa labi vai pa kreisi – uz kuģa nevar būt. Tad tas kuģis stāvēs uz vietas. Mākslinieciskajam vadītājam noteikti ir noteicošā loma un vārds par to, kurp mēs virzāmies un kā. Bet kā cilvēki jūs taču drīkstat paust savas pārdomas? Nu, protams! Tā ir tā otra brīnišķīgā puse, uz ko mēs tiekam aicināti un ko vienmēr Alvis mūsos ir provocējis – pašradīšanu. Būt pašiem dramaturgiem. Pašiem meklēt un radīt materiālu. Pašiem likt uz skatuves to, kas pašus interesē. Tā ir drosme - ņemt tēmu no dzīves un pārvērst mākslas faktā. Absolūti demokrātiski. Tas, ko tu vēlies, to tu arī dari. Esat viena no visu laiku spēcīgākajām latviešu teātra trupām. Tu un tavi vienaudži. Alvis kādā intervijā izteicies, ka "Garā dzīve" ir viena no visu laiku labākajām izrādēm, un tā tiešām bija. Tik ilgi spēlēta, turklāt pat vairāk nekā 40 valstīs! Es, starp citu, to redzēju Edinburgā, jo Rīgā nevarēja dabūt biļetes. Vai tev pašam arī ir kāda visu laiku labākā izrāde? "Kaspars Hauzers". Lai cik dīvaini arī nebūtu un ļoti labi par to parunāt tieši "Klasikā", jo tur es spēlēju klavieres, ko īstenībā neprotu. Jēkabs Nīmanis katram no mums bija izdalījis mazu partiju, es vienkārši uzzīmēju visu klaviatūru un tad piezīmēju taustiņu secību: viens, divi, viens, divi, divi, viens. Tā nu pirmo reizi sajutu, kā tas ir – būt orķestrī. Cik šausmīgi tas ir, ja tu kaut ko sajauc, un cik brīnišķīgi, ja nesajauc. Ja tu skani kopā ar citiem.  Jo "Kasparā Hauzerā" mēs bijām ar aizklātām sejām, anonīmi. Mēs bijām leļļu vadītāji un vadījām šos mazos cilvēciņus uz skatuves, vai arī sēdējām pie klavierēm un spēlējām: Debisī "Pēdas sniegā" Jēkaba Nīmaņa pārlikumā. Centrā bija Māris Liniņš, kurš no mums jau sen aizgājis - brīnišķīgs, apbrīnojams, noslēpumains aktieris. Tā vispār bija ļoti noslēpumaina izrāde. Un droši vien, ka neviens cits, izņemot Māri, to nevarētu nospēlēt. Laikam tā man šķiet skaistākā izrāde, kas bijusi Jaunajā Rīgas teātrī. Tagad teātrī ir ienācis jauns kurss un jauna cilvēku kopa. Vai viņi kļūs par tādu "ūdeņraža bumbu", kādi bijāt jūs?  Kas tad to var zināt... Bet lēnām par tādu kļūst. Es pats biju klāt pie "ūdeņraža" ražošanas. Esmu viens no viņu diplomdarbu autoriem. Tie bija "Jaunie latviešu stāsti", kur pirmo reizi biju režisora lomā, faktiski drīzāk – skolotāja lomā, un aicināju viņus meklēt dzīvē sev prototipus un tad mēģināt šos cilvēkus nospēlēt uz skatuves. Tieši tāds pats uzdevums bija toreiz mums. Un ir ļoti interesanti skatīties, ko viņi atrod, kā viņi spēlē un kā ir mainījies laiks. Ir cita tēma, cita skaņa tam, kas skan uz skatuves – ne tikai tāpēc, ka spēlē viņi, bet arī tāpēc, ka prototipi ir jaunāki. Ļoti daudzi no prototipiem bija viņu pašu vecumā. Tā ir pilnīgi cita paaudze, kas nav pieredzējusi Padomju Savienību, kas varbūt krievu valodu nemaz nemāk, kas ir pasaules pilsoņi, kas patiešām citādāk skatās uz dzīvi un uz to, ko viņi darīs šeit vai kur citur pēc daudziem gadiem. Bet tu jautāji, vai viņi kļūs par tādiem pašiem kā mēs toreiz. Katrs laiks ir cits, arī šis laiks ir cits. Mēs esam vecāki, Alvis ir vecāks, viņi ir citi...  Vai viņi neizšķīdīs? Domāju, ka nē. Mums, "vecajiem", ar tiem jaunajiem ir ļoti interesanti, un es ceru, ka viņiem ar mums arī. Tie ir pilnīgi jauni noteikumi, lomas, kurās mēs neesam bijuši – attiecības ar jaunajiem kolēģiem. Šobrīd strādājam pie vairākām izrādēm, kuras mēs paši kādreiz jau esam spēlējuši, un ir ļoti, ļoti interesanti! Piemēram, "Arkādija". Viena no mūsu pirmajām izrādēm, kas kļuva par vienu no pirmajām izrādēm, uz kuru grūti bija nopirkt biļetes. Un tagad mēs atkal to spēlējam. Man ir tā loma, ko toreiz spēlēja Alvis Hermanis, un ir ļoti interesanti skatīties uz jauno kolēģi Ritvaru Loginu, kurš savukārt spēlē manu toreizējo varoni, matemātiķi.  Atkal būs piecas stundas? Kas to lai zina. Caurlaide vēl nav bijusi, neesam visu salikuši vienā gabalā, tā ka redzēsim. Bet ar to es gribu teikt, ka mēs atkal atkārtojam to modeli, kas bija toreiz. Pilnībā to atkārtot nav iespējams, mēs arī nedzenamies pēc kopijas. Mēs gūstam baudu, redzot, kā laiks mūs ir mainījis, redzot, kuras vērtības un idejas ir palikušas nemainīgas, un arī no tā, kas skan citādāk. Ļoti interesanti to vērot. Atceros, kā Imants Ziedonis stāstīja par "Arkādiju" - ka viņš neesot varējis nosēdēt... Noskatījies pirmo cēlienu, tad aizgājis stundu pastaigāties pa pilsētu un atgriezies uz beigām... Viņš arī teicis, ka viņam pavasaris galīgi nepatīk, jo tur visi "murcas, ņemas un spraužas", un neko nevar izdarīt. Bet tev pavasaris... ... ļoti patīk! Kādus pēdējos piecpasmit gadus pavasaris ir manējais. Absolūti. Un, starp citu, pandēmijas laikā, lai cik tas bija grūts, jocīgs un izsita visus no ierastā ritma, man tas jauniegūtais ritms tīri labi patika, jo es pirmoreiz redzēju, kā zied ābeles. Visu pilnu ciklu. Jo parasti bija tā, ka [uz lauku māju] var aizbraukt mēnesī divreiz. Aizbrauc, tad ābeles ir pumpuros, tad jau zied, tad jau ir noziedējušas. Bet pandēmijas laikā es skatījos, kā tas viss briest, kā tas notiek, kā sprāgst vaļā, kā smaržo. Nu jā, tad manī droši vien dzīvoja tāds Ziedonis, kurš skatās un saka: "Kukainīt, re, kā saule spīd. Iemācies sauli, kukainīt..." Ļoti, ļoti precīzi vārdi. To es varētu novēlēt visiem un vienmēr. Iemācīties sauli. Tas mums noderētu.

1 - Fitiavana - fahombiazana - Harena 2 - Ny atao hoe fampiasam-batana 3 - Miomana ho any an-danitra 10 - (Minia tsy handoto ny tena) 4 - Fanomanana ny tanora hiatrika ny hoa avy 2 5 - Tanatran'ny fitiavana tsy manam-petra

1 - Fitiavana - fahombiazana - Harena 2 - Ny atao hoe fampiasam-batana 3 - Miomana ho any an-danitra 10 - (Minia tsy handoto ny tena) 4 - Fanomanana ny tanora hiatrika ny hoa avy 2 5 - Tanatran'ny fitiavana tsy manam-petra

In this episode of Tamilpreneur, Arun Prakash is joining us. Arun Prakash, a graduate of a tier-2 city college in Madurai co-founded a one-of-a-kind learning platform called GUVI along with his wife Sri Devi and friend Bala Murugan. His YouTube tutorial on coding in ‘Tanglish' had hit one million views which encouraged Prakash to start GUVI GUVI's platform offers live classes and self-paced courses across C++, Python, Java, Big data, ML and R programming in major regional languages including Tamil. GUVI was incubated at IIT- Madras's Rural Technology Business Incubator in 2014. HCL has recently acquired a majority stake in GUVI. Both HCL and GUVI are working together to create more skilled tech professionals in India and abroad The complete episode can be accessed at Tamilpreneur Club. Join Tamilpreneur Club - a family of 1000+ Tamil speaking entrepreneurs. You get Exclusive App based Digital Community. Interactions with Startup Founders. Startup Masterclasses in Tamil. Discounts on Sangamam and Workshops. Startup Credits (AWS, Zoho, Freshworks) worth INR 10 Lacs 30+ recorded sessions Join Tamilpreneur Club here - https://tamilpreneur.in/club COUPON CODE - PODCAST

Music: Mani Sharma all day, then DSP and Thaman, SA Rajkumar, Harris Jayaraj, Vivek Sagar Cinematography: KV Guhan: Athadu, Jalsa, parts of Khaleja, Dookudu, Baadshah, SVSC, Aagadu, Naani, and Mister. PS Vinod: debut with Panjaa, Manam, Oopiri, Dhruva, Soggade Chinni Nayana, Hello, Aravinda Sametha, AVPL, Vakeel Saab, Sita Ramam and waiting for SSMB28 KK Senthil Kumar: All Rajamouli movies except Simhadri, Student No1, Vikramarkudu and Maryada Ramanna, also did Golconda high School and Arundhati, only 17 movies, Shyam K Naidu: 15 movies with Puri Jagan Rathnavelu: Arya, Jagadam, 1 Nenokkadine, Rangasthalam, Brahmotsavam, Sarileru, Sye Raa, and Robo. Art Directors/ Production Designers: AS Prakash: Arya, Agnythaavasi, Aagadu, Bommarillu, Dubai Seenu, Kantri, Ready, Kotha Bangaru Lokam, King, Namo Venkatesa, Simha, Don Seenu, Ragada, 100% Love, Dookudu, Bodyguard, SVSC, Mirchi, Baadshah, Balupu, Masala, Aagadu, Mukunda, Srimanthudu, A Aa, Janatha Garage, Nenu Local, Jai Lava Kusa, Agnythaavasi, Aravinda Sametha, F2, Sarileru Neekevvaru, Ala Vaikunthapurramlo, Waltair Veerayya, Veera Simha Reddy, SSMB28 Thota Tharani: Arjun, Athadu, Mass, Leader, Life is Beautiful, Brahmotsavam, Khaidhi No 150, Sivaji the Boss, Ashok Koralath: Indra, Kalisundam Raa, Okkadu, Darling, Arundhati, Takkari Donga, Jayam Mandera, Santosham, Bunny, Varsham, Shankar Dada MBBS, Anand Sai: Brindavanam, Badrinath Temple set in Allu Arjun's Badrinath, Thammudu, Simhadri, Vaasu, Sye, Ashish Vidyarthi's house in Gudumba Shankar, Balu, the Warangal Fort recreated in Mahesh Babu's Sainikidu, Munna, the iconic contemporary mansion of Sanjay Sahu in Jalsa, Parugu, Khaleja, Adhurs, Shakthi, Dhammu, and Yevadu. Raveendar: Magadheera, Nagineedu's house in Maryada Ramanna that Son of Satyamurthy? Bhagamathie Bungalow set which was built in just 29 days Vikramarkudu, Chatrapathi, Okkadunnadu, Rakhi, Pourudu, Goldconda High School, Mr Perfect, Oosaravelli, Sri Rama Rajyam, Oh My Friend, Rajanna, Eega, Attarintiki Daredi in Ramoji Film City, Oohalu Gusagusalade, Nannaku Prematho, Soggade Chinni Nayana, Gentleman, Duvvada Jagganadham, Mahanubhavudu, and Sammohanam, Radhe Shyam Avinash Kolla: Krishagadi veera Prema Ghada, Major, Shyam Singha Roy, Jersey, looking forward to Dasara Chinna: Amma Nanna O Tamil Ammayi, Shivamani, andhrawala, Super, Lakshmi, Pokiri, Yogi, Desamuduru, Chirutha, Bujjigaadu, Neninthe, Anjaneyulu, Ek Niranjan, Golimaar, Nenu Naa Rakshasi, Kandireega, Businessman, Devudu Chesina Manushulu, Cameraman Ganga Tho Rambabu, Ninnu Kori Editors: A Sreekar Prasad is favorite: Annammaya, Nuvve Kavali, Nuvvu Naaku Nachav, Manmadhudu, Okkadu, Arjun, Malliswari, Gowri, Athadu, Jalsa, Khaleja, Panjaa, RRR Navin Nooli: Rangasthalam, Ala Vaikunthapurramlo, first big movie was Govindudu Andari Vadele, Nannaku Prematho, Dhruva, Aravinda Sametha, Jersey, Gang Leader, Krack, Acharya, Bheemla Nayak, SSMB28 Marthand K Venkatesh: Pokiri and Kalisundam Raa, Preminchukundam Raa, Bavagaru Bagunarra, Ganesh, Tholi Prema, Thammudu, Raja, Seenu, Kalisundam Raa, Badri, Ninne Premistha, Aazad, Jayam Manaderaa, Daddy, Takkari Donga, Bobby, Idiot, Raghavendra, Amma Nanna O Tamil Ammayi, Vasantham, Shivamani, Arya, Andharawala, Venky, Nenunnanu, Pokiri, Shankar Dada MMBS, Bhadra, Super, Godavari, Thulasi, Desamuduru, Bommarillu, Munna, Happy Days, Parugu, Kantri, Bujjigadu, Brindavanam, Ragada, Orange, Mr Perfect, SVSC, Yevadu, and Geetha Govindam Fight Masters: Vijayan: Okkadu, Arjun, Pokiri, Takkari Donga, Anbariv: KGF and Vikram Ram Lakshman: Krack fights Vijay: Dookudu, Aagadu, Ragada, Kick, Businessman, Shivamani, Mass, Bheemla Nayak Producers: Aswini Dutt, MS Raju, Dil Raju, S Radhakrishna, Shobu Yarlagadda, Sravanthi Ravi Kishore

Ee community vallani Manam chala chinna chuppu chustham villu humans eyy kada let us also respect them without abusing or insulting This podcast is for giving awareness on LGBTQ. Voice by Abhilash_thummoju. ( Instagram). Follow me on Instagram the__reddy__ Twitter sathvikreddy713 Thanks supporting us signing off Tea Time Stories

Síleskir kvikmyndadagar hefjast hefst í Veröld húsi Vigdísar á morgun. Í Auðarsal verður úrval nýrra kvikmynda frá Síle á hvíta tjaldinu og verða sýnigar fram á laugardag. Markmiðið að sýna það besta úr kvikmyndagerð Síle undan farin ár og Hólmfríður Garðarsdóttir prófessor um málefni Rómönsku-Ameríku segir okkur allt um þessar myndir hér síðar í þættinum. Rithöfundurinn Natasha er frá Rússlandi en hefur verið búsett hér á landi um árabil. Natasha ætlar að vera með okkur reglulega hér í Víðsjá næstu vikurnar, og lýsa fyrir okkur upplifun sinni af stríðinu í Úkraínu. Hvernig tilfinning er að vera rússnesk og fylgjast með innrásinni í Úkraínu úr fjarlægð? Natasha mun í pistlum fjalla um það sem hrærist innra með henni. Í dag fjallar Natasha um reynslu fólks sem flýr frá Úkraínu og þarf að horfast í augu við það að hafa skyndilega öðlast nýtt hlutverk, hlutverk flóttamannsins. Og við höldum líka út á hákarlamið. Íslendingar hafa stundað veiðar á hákörlum um aldanna rás, á 19. öld voru afurðir hákarla afar mikilvægur þáttur í efnahagslífi þjóðarinnar. Þeir sem sóttu á hákarlamiðin voru oft kallaðir hákarlamenn og var lýst sem görpum sem áttu í stríði við ægivald hafsins, hákarla og aðra krafta náttúrunnar á borð við hafís. Dalrún Kaldakvísl segir okkur betur frá þessu hér á eftir. Þar beinir hún einnig sjónum sínum að karllægri menningu hákarlamanna eins og hún kemur fyrir sjónir í skrifum Theodórs Friðrikssonar í bók hans Hákarlalegur og hákarlamenn frá . Söngshópurinn Manam er skipaður átta körlum frá Íslandi og Írlandi og leitast við að tengja saman menningarheima beggja landa. Þeir sækja sér innblástur í náttúru landanna, sögu og ljóð, og nýta sér aldagamlar norrænar hefðir til að skapa hljóðheim sem vill brjótast undan hefðbundnu karlakóramynstri. Manam heldur tónleika annað kvöld í Iðnó og tveir liðsmenn, þeir Þórhallur Auður Helgason og Pétur Oddbergur Heimisson, koma í spjall til okkar á , með tónlist í farteskinu. Umsjón: Halla Harðardóttir og Jóhannes Ólafsson

Síleskir kvikmyndadagar hefjast hefst í Veröld húsi Vigdísar á morgun. Í Auðarsal verður úrval nýrra kvikmynda frá Síle á hvíta tjaldinu og verða sýnigar fram á laugardag. Markmiðið að sýna það besta úr kvikmyndagerð Síle undan farin ár og Hólmfríður Garðarsdóttir prófessor um málefni Rómönsku-Ameríku segir okkur allt um þessar myndir hér síðar í þættinum. Rithöfundurinn Natasha er frá Rússlandi en hefur verið búsett hér á landi um árabil. Natasha ætlar að vera með okkur reglulega hér í Víðsjá næstu vikurnar, og lýsa fyrir okkur upplifun sinni af stríðinu í Úkraínu. Hvernig tilfinning er að vera rússnesk og fylgjast með innrásinni í Úkraínu úr fjarlægð? Natasha mun í pistlum fjalla um það sem hrærist innra með henni. Í dag fjallar Natasha um reynslu fólks sem flýr frá Úkraínu og þarf að horfast í augu við það að hafa skyndilega öðlast nýtt hlutverk, hlutverk flóttamannsins. Og við höldum líka út á hákarlamið. Íslendingar hafa stundað veiðar á hákörlum um aldanna rás, á 19. öld voru afurðir hákarla afar mikilvægur þáttur í efnahagslífi þjóðarinnar. Þeir sem sóttu á hákarlamiðin voru oft kallaðir hákarlamenn og var lýst sem görpum sem áttu í stríði við ægivald hafsins, hákarla og aðra krafta náttúrunnar á borð við hafís. Dalrún Kaldakvísl segir okkur betur frá þessu hér á eftir. Þar beinir hún einnig sjónum sínum að karllægri menningu hákarlamanna eins og hún kemur fyrir sjónir í skrifum Theodórs Friðrikssonar í bók hans Hákarlalegur og hákarlamenn frá . Söngshópurinn Manam er skipaður átta körlum frá Íslandi og Írlandi og leitast við að tengja saman menningarheima beggja landa. Þeir sækja sér innblástur í náttúru landanna, sögu og ljóð, og nýta sér aldagamlar norrænar hefðir til að skapa hljóðheim sem vill brjótast undan hefðbundnu karlakóramynstri. Manam heldur tónleika annað kvöld í Iðnó og tveir liðsmenn, þeir Þórhallur Auður Helgason og Pétur Oddbergur Heimisson, koma í spjall til okkar á , með tónlist í farteskinu. Umsjón: Halla Harðardóttir og Jóhannes Ólafsson

Síleskir kvikmyndadagar hefjast hefst í Veröld húsi Vigdísar á morgun. Í Auðarsal verður úrval nýrra kvikmynda frá Síle á hvíta tjaldinu og verða sýnigar fram á laugardag. Markmiðið að sýna það besta úr kvikmyndagerð Síle undan farin ár og Hólmfríður Garðarsdóttir prófessor um málefni Rómönsku-Ameríku segir okkur allt um þessar myndir hér síðar í þættinum. Rithöfundurinn Natasha er frá Rússlandi en hefur verið búsett hér á landi um árabil. Natasha ætlar að vera með okkur reglulega hér í Víðsjá næstu vikurnar, og lýsa fyrir okkur upplifun sinni af stríðinu í Úkraínu. Hvernig tilfinning er að vera rússnesk og fylgjast með innrásinni í Úkraínu úr fjarlægð? Natasha mun í pistlum fjalla um það sem hrærist innra með henni. Í dag fjallar Natasha um reynslu fólks sem flýr frá Úkraínu og þarf að horfast í augu við það að hafa skyndilega öðlast nýtt hlutverk, hlutverk flóttamannsins. Og við höldum líka út á hákarlamið. Íslendingar hafa stundað veiðar á hákörlum um aldanna rás, á 19. öld voru afurðir hákarla afar mikilvægur þáttur í efnahagslífi þjóðarinnar. Þeir sem sóttu á hákarlamiðin voru oft kallaðir hákarlamenn og var lýst sem görpum sem áttu í stríði við ægivald hafsins, hákarla og aðra krafta náttúrunnar á borð við hafís. Dalrún Kaldakvísl segir okkur betur frá þessu hér á eftir. Þar beinir hún einnig sjónum sínum að karllægri menningu hákarlamanna eins og hún kemur fyrir sjónir í skrifum Theodórs Friðrikssonar í bók hans Hákarlalegur og hákarlamenn frá . Söngshópurinn Manam er skipaður átta körlum frá Íslandi og Írlandi og leitast við að tengja saman menningarheima beggja landa. Þeir sækja sér innblástur í náttúru landanna, sögu og ljóð, og nýta sér aldagamlar norrænar hefðir til að skapa hljóðheim sem vill brjótast undan hefðbundnu karlakóramynstri. Manam heldur tónleika annað kvöld í Iðnó og tveir liðsmenn, þeir Þórhallur Auður Helgason og Pétur Oddbergur Heimisson, koma í spjall til okkar á , með tónlist í farteskinu. Umsjón: Halla Harðardóttir og Jóhannes Ólafsson

Lamyi laman hte lahput nshang machyi yang // health talk.AWR Jinghpaw nsen mahkawn9+3 // AWR Kachin theme songs.Teng man ai mungga // Sermon.

This week on episode #169 of the Bundoran Weekly podcast, Shane Smyth talks to Michael McGlynn, Artistic Director with Anúna and Manam, about his connections with Bundoran. Register for the Bundoran 10 on March 5th 2022 - https://www.discoverbundoran.com/bundoran10 To get in touch with the podcast email podcast@bundoranweekly.com or tweet @bundoranweekly. Also find us on Facebook at https://www.facebook.com/bundoranweekly Follow the Bundoran Weekly on your favourite podcast app, listen to all episodes on demand via https://www.bundoranweekly.com or just ask your smart speaker to “Play the Bundoran Weekly”! Subscribe to the MassCast podcast here or by searching MassCast on your favourite podcast app.Purchase our theme tune - The Man from Bundoran from the Songs of Erne album - https://www.modalcitizenrecords.com All with thanks to https://www.aib.ie

"Under the Tree" is an initiative to re - live the child hood and our lives by relating to stories by great writers of yesteryears. The objective is to rekindle the interest of reading and showcase the Indian authors work which give rebirth to the tradition, culture. Spiritual series that is rich in Indian ethos along with Management aspects increase positivity which is much needed always..

"Under the Tree" is an initiative to re - live the child hood and our lives by relating to stories by great writers of yesteryears. The objective is to rekindle the interest of reading and showcase the Indian authors work which give rebirth to the tradition, culture. Spiritual series that is rich in Indian ethos along with Management aspects increase positivity which is much needed always...

Just a micro-episode this week since we are in the field! The big news items (La Palma, Etna, Aso and Manam!)

பசிக்கு பின் சிறுகதை தொகுப்பிலிருந்து ஒரு சிறுகதை. For feedback and comments please contact jerrydear10@gmail.com --- Support this podcast: https://anchor.fm/jerry0355/support

Stāsta teātra vēsturnieks, Latvijas Kultūras akadēmijas profesors Jānis Siliņš Pirmo nopietno monogrāfiju sarakstīja Paula Jēgere-Freimane, un tā bija 1929. gadā izdotā grāmata par latviešu psiholoģiskā teātra aktrisi Daci Akmentiņu. Nākamajai apjomīgajai monogrāfijai "Eduards Smiļģis un viņa darbs" ir vairāki autori. Šo grezno grāmatu 1937. gadā izdeva Dailes teātris, atzīmējot Smiļģa 30 radošā darba gadus. Par pirmo pēckara monogrāfiju ir uzskatāma "Berta Rūmniece". Paradoksāli, bet figurē fakts, ka to rakstījis Eduards Smiļģis, bet patiesībā tā nav viņa radīta grāmata – autors ir Valts Grēviņš. Un Oļģertam Kroderam veltītajā izstādē Nacionālajā bibliotēkā ir apskatāms šīs grāmatas eksemplārs ar autora ierakstu: "Manam mīļajam draugam Olim. Valts".

Ol stori long program: PNG PM James Marape bai go long bikpla United Nations miting long New York; Vanuatu gavman i lukluk long mekim loa blong olgeta pipal imas kisim Covid-19 sut; ol Manam pipal long PNG Madang provins i wari long kalsa blong ol iwok long lus na; ol pipol blong Ambunti long East Sepik provins long Papua New Guinea igat bikpla intres long groaim vanilla blong mekim moni .

Listen to the Story --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/noobie-stories/message Support this podcast: https://anchor.fm/noobie-stories/support

Manam(yuvatha)thaluchukunte desam katchithamga maarpu chendhuthundhi!!! bayam tho dhaakkokunda dhairyamga yedhuruthirugudhaam!! #desam #Telugupodcast --- Send in a voice message: https://anchor.fm/tarani-media/message Support this podcast: https://anchor.fm/tarani-media/support

Come along and join Fred and his partners as they come to grips with the shadows that move in the trees. Hold on to your seat as you become part of this story. Coming this fall, a new podcast with extended stories will make its debut: Legends and Tales of the Pacific Northwest. This storytelling format will reveal legends and tales of adventure and mystery, many of which are not commonly known. Keep your eyes out for this upcoming podcast and stay tuned for tales of invention, discovery, mayhem, and even a touch of murder. If you enjoyed this episode, don't forget to leave a five star rating and a review which will help these stories get out there. And again, don't forget to subscribe to the podcast, and visit us on Instagram @pnwsasquatchshadows. Help spread the word, and reach out and say hello. The introductory vocal music you heard at the beginning of this episode, “Bitter Wind,” is performed by M'ANAM, and composed by Michael McGlynn of Dublin, Ireland. Visit them on facebook and Instagram @ manam underscore men, and enjoy their videos on YouTube at Anúna-M'anam. You can also learn more at www.anuna.ieTo watch the incredibly moving video of “Bitter Wind,” click below…https://youtu.be/bttWVyAbkb0Check out M'ANAM on Spotify, iTunes, or wherever you get your music. You won't be sorry you did. ”Bitter Wind” is sung in Irish Gaelic, with the following translation:Bitter Is The Wind TonightIt Tosses The Ocean's White HairI Fear Not The Crossing Of A Calm SeaBy The Fierce Warriors From Norway 

Her Shab Manam Futada Ba Girde Saraaye Toh - by Ameer Khusro

Manam chala busy bhai, but trust me. future lo anipisthadi aslau endhuku time spend cheyale ani. SO vini let me know your comments. #Telugupodcast #emzindagiramawa

Fashion Designer Natalie Yaru joined Mark and Nicole for a trendy and fabulously fashionable show.Natalie talked about being a teenage shopaholic, and everyone waxed nostalgic about going to the mall back in the day, how she started her fashion designing by making handmade thongs, how she started her fashion line MANAM which specializes in premium (and soft) leather clothes and "loungerie" just in time for the pandemic. She also goes into a dark time of her life which was immediately followed by a highlight as Wonder Woman herself Gal Godot wore her leather pants on the cover of Rolling Stone.She also has a lot to say about the delights of rope play, which Nicole seems to have introduced her to...This show is brought to you byAudible go to to www.audibletrial.com/dms for a free audiobook, free Audible originals and 30 day free trial to AudibleRaze Energy DrinksGo to https://bit.ly/2VMoqkk and put in the coupon code DMS for 15% off the best energy drinks. Zero calories. Zero carbs. Zero crash.Doomie's Home Cookin' Go to 1253 Vine Street Hollywood California or 1346 Queen Street West, Toronto Canada for the most delicious Vegan food you have ever had  www.doomiesla.com  www.doomiestoronto.com 

MANAM K GOSHAE MAYKHANA KHANQAHE MAN AST by Hafiz Sherazi

MANAM DER KULLE MOJUDAAT PAYDA by Ahmed Jam

love song --- Send in a voice message: https://anchor.fm/vinay-kompally/message

vittu pesungal

This week we're discussing about Manam Virumbuthe song from Nerukku Ner. Lyricist : Vairamuthu For latest episodes: Follow me on Anchor @ anchor.fm/oliyum-variyum Follow me on Twitter @OliyumVariyum For song/lyrics analysis requests: Write to me @ oliyumvariyumwithkadhaa@gmail.com BGM credit: Aakash Gandhi - YouTube Audio Library

Manam oru Kurangu. Raja Kathai in Tamil. This Tamil story is for kids. --- Support this podcast: https://anchor.fm/kathai-arasan/support

Notations -> http://www.shivkumar.org/music/#e Eppadi Manam Ragam: Huseni { 22nd Melakartha Raga Janyam} ARO: S R2 G2 M1 P N2 D2 N2 S || AVA: S N2 D1 P M1 G2 R2 S || Talam: Misra Chapu Composer: Arunachala Kavi Version: Ram Kaushik (https://www.youtube.com/watch?v=WVq566QMaU4 ) Lyrics Courtesy: Meena / Rasikas.org (https://www.rasikas.org/forums/viewtopic.php?t=4974 ) Meaning: (Courtesy: R Shankar, https://www.rasikas.org/forums/viewtopic.php?t=4974#p73450 ) Part of rAmanATakam kritIs of AK, this composition reflects sItA's mental anguish when rAma goes to take leave of her, and asks her to take good care of his mothers. Sahityam: eppaDi manam tuNindadO (deLO) sAmi Meaning: My lord (sAmI/svAmi)! How (eppaDi) did you/your mind (manam) become so daring (tuNiandadO)? Sahityam: vanam pOi varugirEn enrAl idai ErkkumO bhUmi Meaning: How can this earth (bhUmi) accept (ErkumO) this (idai) statement of yours that (enrAl) you are leaving (pOi varugirEn) for the forest (vanam) without me? Sahityam: eppirappilum piriya viDEn enru kai toTTIrE Meaning: Did you not marry me (kai toTTIrE: literally, touched my hand) after promising me that you will not let us (vidEn enru) be apart (piriya), not just in this life, but in any life (eppirappilum)? Sahityam: EzhaiyAna sItaiyai naTTATrilE viTTIrE Meaning: But now, it seems as if you are abandoning (viTTIrE) this hapless woman (EzhaiAna) sItA (sItaiyai) in the middle (naTTu) of an ocean (ATrilE). Sahityam: karumbu murittArp-pOlE shollalAccudO Meaning: You claimed that your word, once given was as unbreakable as a vow, but, unfortunately, am I correct in thinking that your words/speech (shollal) have become (AccudO) as easy to break (murittAr) like (pOlE) sugarcane (karumbu)? Sahityam: orukkAlum piriyEn enru shonna shol pOccudO Meaning: Have (AccudO) the words (shol) that you uttered (shonna) claiming that you will not be separated (piriyEn) from me even by mistake (oru kAlum) become a lie (poi)? Sahityam: varundi varundi dEvarIr vella vArtaiyAl kollAmal kolla Meaning: Even after beseeching (varundi varundi) you (dEvarIr) repeatedly, if you torture (kollAmal kola - killing without actually killing) me slowly (meLLa) with your words (vArtaiyAl), Sahityam: irumbu manadu uNDAccudallavO ennai viTTup-pOghirEn enru sholla Meaning: … your heart (manadu) must have turned (UNDAccudallavO) into stone/iron (irunbu) - especially for you to say (sholla) that (enru) you will abandon (viTTu pOgirEn) me (ennai).

This is a story about Bhaskar who is La.Sa.Ra's friends and one day when he goes to this house he sees how the family treats their servant maid. Please listen to the story fully and share it with all your friends.

Kora - wokalistka zespołu Maanam, który na zawsze zmienił oblicze polskiej muzyki rozrywkowej. Miała trudne dzieciństwo, zbuntowaną młodość, burzliwe życie miłosne i problemy ze zdrowiem. Ale przede wszystkim, była wspaniała.

Manam - thengai

Tu Parto y Nacimiento, como condiciona tu Vida y acción Individual en la Tierra Estudia con Pablo Flores astrología psicológica y evolutiva: https://astroterapeutica.com/formacion-descuento/ Tiempos: Importancia del Parto 0:00 Calcula en tu Carta Natal la información de tu Parto: 23:47 Ascendente Aries o Marte: 39:41 Ascendente Tauro o Venus: 41:41 Ascendente Géminis o Mercurio: 43:21 Ascendente Cáncer o Luna: 44:35 Ascendente Leo o Sol: 46:41 Ascendente Virgo: 47:54 Ascendente Libra o Venus: 49:24 Ascendente Escorpio o Plutón: 50:40 Ascendente Sagitario o Júpiter: 53:03 Ascendente Capricornio o Saturno: 53:50 Ascendente Acuario o Urano: 56:51 Ascendente Piscis o Neptuno: 58:11 Curso de Astrología Infantil, para padres, educadores, terapeutas infantiles y estudiantes de astrología. No es necesario tener conocimientos astrológicos previos. https://astroterapeutica.com/course/curso-astrologia-infantil-luna-4-elementos-y-el-primer-septenio/ Suscríbete a nuestro canal de Spotify. Puedes seguir a Pablo en Instagram donde sube más contenido https://www.instagram.com/pablofloresastrologo/ Cómo contactar a Manam y Jordi https://diamondlogos.org/about-us/ PARA SER ALUMNO DE ASTROTERAPEÚTICA: https://astroterapeutica.com/ PARA REALIZAR UN CURSO GRATIS DE INTRODUCCIÓN A LA ASTROLOGÍA: https://astroterapeutica.com/course/curso-gratuito-introduccion-a-la-astrologia-psicologica-y-evolutiva/ SI QUIERES UNA FORMACIÓN COMPLETA DE ASTROLOGÍA EVOLUTIVA: https://astroterapeutica.com/formacion-astrologia-online/ SITIO PABLO FLORES: https://pablofloresastrologo.com/

A compilation of Tamil short stories by the famous writer Anuradha Ramanan

This is a story about a grandmother and her grandchild sitting and talking about a story of the family that lives opposite to their house. What happens in that family in which the man has 2 wives is the main action. In this story, the main moot point is in the way women and men think and it tries to reveal this point in a beautiful way. Please listen to it and share it with all your friends.

Namaste ! Meluko Telugoda annattu ga, ikanaina Telugu goppathanaanni gurthinchali annadhi naa abhipraayam. Prapancha desa mathru bhashala tho polchi chusukunte manam ekkadoo vunnaam ani meeku ee Podcast vinnaaka thappakunda ardhamavtundi ane aasa tho.... Stay tune to Telugu Ammai Podcast for more interesting stuff. Available on Spotify, Apple Podcasts, Google Podcasts, JioSaavn, Gaana, Anchor and all major Podcast platforms. https://www.instagram.com/ragaleeena/ https://twitter.com/ragapod_podcast --- Send in a voice message: https://anchor.fm/ragaleena/message

Manam daily vade snap manaku entha ganam connect ayyindo kadha and ee podcast ni pakka meer relate avthar..hope you like it❤ --- Support this podcast: https://anchor.fm/teenagertalkswithyashvi/support

Chusara, ennenni cases vastunnayo daily. Manam kuda careful ga vundali kadaa. So, vellainantha varaku intlone vundam. Mask ni thappakunda use cheddam. Manaki chaala masks available lo vunnai. So, denni ela use cheyyali anedhe episode. Another trail of voice changeover. Stay tune to Telugu Ammai Podcast for more interesting stuff. Available on Spotify, Apple Podcasts, Google Podcasts, JioSaavn, Gaana, Anchor and all major Podcast platforms. https://www.instagram.com/ragaleeena/ https://twitter.com/ragapod_podcast --- Send in a voice message: https://anchor.fm/ragaleena/message

Chittikathalu came with another moral story... Listen and comment --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/chittikathalu/message Support this podcast: https://anchor.fm/chittikathalu/support

Mental illness, A wide range of conditions that affect mood, thinking and behaviour. Evaraina manaki low gaa vunnaaru anipiste manam vaallaki oka therapist antha treatment ivvalekapovachu, kani manam maatlade ah rendu maatalu vaallaki dyryaanni istai. Depression nundi baita padataniki sahayapadatayi. Manam vunnam ani vaallaki iche bharosa vaalla manahsakshi ni nilabedutundi. Kanuka evaraina low ga vunnavaaru meeku edhurupaditey navvuthu palakarinchandi, maata kalapandi, badha ni telsukoni parishkarinche margam kosam kalisi vethukudam. Stay tune to TeluguAmmai Podcast. Available on Spotify, Apple Podcasts, Google Podcasts, JioSaavn, Gaana, Anchor and all major Podcast platforms. https://www.instagram.com/ragaleeena/ https://twitter.com/ragapod_podcast --- Send in a voice message: https://anchor.fm/ragaleena/message

Mission encre noire Tome 27 Chapitre 320. Philosophie du Hip Hop, des origines à Lauryn Hill de Jérémie McEwen paru en 2019 aux éditions XYZ. «Got to give us what we want/Gotta give us what we need.» Qui aurait pu croire qu'un jour, cette tirade du Fight the power de Public Ennemy, serait mise en parallèle avec la pensée de Carl Schmitt, le philosophe allemand ? Qui aurait eu l'idée de rapprocher le Fuck the police de N.W.A et l'anglais Thomas Hobbes ? Jérémie McEwen bien sûr, le professeur de philosophie et spécialiste du rap vous offre un essai passionnant en bâtissant des ponts entre la philosophie occidentale traditionnelle et le hip-hop américain. Des ruelles taggées de Montréal aux émeutes de Los Angeles, l'auteur fait un détour par les arcanes ombragées de l'acropole ou des boudoirs humides de l'Europe de l'est pour compléter le tableau d'une aventure rafraîchissante, frénétique et rythmée. Depuis sa naissance du côté du Bronx, du Queens et de Brooklyn à nos jours, le hip-hop a muté. Si son âge d'or remonte aux années 80, La philosophie du hip-hop va vous prouver que ce mouvement social et musical a su se redéfinir. J'invite les novices et les initié.e.s à rencontrer le MC d'un soir, à Mission encre noire, Jérémie McEwen est notre invité. Extrait: «Jusqu'alors, il demeurait encore possible de penser que le hip-hop n'était qu'une mode qui passerait. KRS-One et Rakim, malgré leur poids philosophique imposant, n'ont jamais véritablment percé hors de la communauté hip-hop elle-même. Et malgré leur importance dans l'histoire de la musique populaire, Run-DMC ne représentait aucune menace réelle pour la société américaine, en épousant, sur leur premier grand succès commercial, le rock d'Aerosmith (Walk This way, pièce à laquelle collaborent les deux groupes en 1986). Mais avec Public Ennemy sur la côte est, et N.W.A sur la côte ouest, il devenait manifeste que tout avait changé. Une confrontation sociale devenait inévitable, et le vent du changement soufflait. N.W.A avait décidé de suivre les règles de l'état de nature, comme le commandait la logique des gangs de Los Angeles - j'y reviendrai. Pour Public Ennemy, le but était assez différent: il s'agissait d'investir la sphère politique et de changer les règles de la société établie.» Manam de Rima Elkouri paru en 2019 aux éditions Boréal. Enfant, La Téta de Léa a vu ce qu'un enfant ne devrait pas voir. 1915, est la date du Ermeni Soykırımı le génocide arménien au cours duquel les deux tiers du peuple vivant sur le territoire actuel de la Turquie sont massacrés et déportés. Cette grand-mère, qui a survécu et immigré au Québec en 1957, vient de décéder à Montréal, elle laisse une marque indélébile dans la vie de sa petite fille. Celle-ci décide de retourner sur les pas de ses ancêtres, de ce peuple surnommé atrocement par les turcs, «les restes de l'épée». Accompagnée par Sam, son guide, un cinéaste kurde qu'une amie a rencontré a Istanbul. Institutrice, Léa, après avoir passée une dernière journée avec ses élèves, s'élance vers la ville natale de sa famille, Yalla ! Manam accrochée à flanc de montagne, ses minarets implorant le ciel, lui tend les bras. Voici un premier roman qui coincide étrangement avec l'actualité de ces derniers jours et la répression qui sévit contre le peuple kurde sur la frontière avec la Syrie. Manam, sous la plume vive de son autrice, journaliste reconnue à La Presse, raconte une terrible tragédie qui vous fera suivre de sinistres caravansérails et partager l'exil de force de familles décimées. Pourtant, même si la mort guette à tout instant la mémoire, la vie se passe, avec ses couleurs, ses odeurs de Klichas, et la tendresse du souvenir de Léa pour sa Téta. Rima Elkouri est invitée à Mission encre noire. Extrait: «Le refuge d'hier est devenu brasier. Cent ans plus tard, l'exode se fait dans le sens inverse de celui que mes grands-parents ont connu en 1915. Des réfugiés syriens affluent vers la frontière turque. Et le printemps, le vrai, se fait toujours attendre. Depuis le début de ce conflit, je parcours les nouvelles d'Alep avec effroi. Le souk ravagé par les flammes des combats. Le minarets de la mosquée des Omeyyades qui  s'effondre. Sa cour intérieure transformée en fosse commune. Les morts qui s'empilent dans l'indifférence. Lorsque je regarde mes photos d'Alep, j'ai cette impression d'avoir immortalisé une façade fissurée juste avant qu'elle ne s'écroule. Tous mes souvenirs sont aujourd'hui éparpillés sous des cendres. dans les ruines, à côté des cadavres, ils ont l'air indécents.»  

Mission encre noire Tome 27 Chapitre 320. Philosophie du Hip Hop, des origines à Lauryn Hill de Jérémie McEwen paru en 2019 aux éditions XYZ. «Got to give us what we want/Gotta give us what we need.» Qui aurait pu croire qu'un jour, cette tirade du Fight the power de Public Ennemy, serait mise en parallèle avec la pensée de Carl Schmitt, le philosophe allemand ? Qui aurait eu l'idée de rapprocher le Fuck the police de N.W.A et l'anglais Thomas Hobbes ? Jérémie McEwen bien sûr, le professeur de philosophie et spécialiste du rap vous offre un essai passionnant en bâtissant des ponts entre la philosophie occidentale traditionnelle et le hip-hop américain. Des ruelles taggées de Montréal aux émeutes de Los Angeles, l'auteur fait un détour par les arcanes ombragées de l'acropole ou des boudoirs humides de l'Europe de l'est pour compléter le tableau d'une aventure rafraîchissante, frénétique et rythmée. Depuis sa naissance du côté du Bronx, du Queens et de Brooklyn à nos jours, le hip-hop a muté. Si son âge d'or remonte aux années 80, La philosophie du hip-hop va vous prouver que ce mouvement social et musical a su se redéfinir. J'invite les novices et les initié.e.s à rencontrer le MC d'un soir, à Mission encre noire, Jérémie McEwen est notre invité. Extrait: «Jusqu'alors, il demeurait encore possible de penser que le hip-hop n'était qu'une mode qui passerait. KRS-One et Rakim, malgré leur poids philosophique imposant, n'ont jamais véritablment percé hors de la communauté hip-hop elle-même. Et malgré leur importance dans l'histoire de la musique populaire, Run-DMC ne représentait aucune menace réelle pour la société américaine, en épousant, sur leur premier grand succès commercial, le rock d'Aerosmith (Walk This way, pièce à laquelle collaborent les deux groupes en 1986). Mais avec Public Ennemy sur la côte est, et N.W.A sur la côte ouest, il devenait manifeste que tout avait changé. Une confrontation sociale devenait inévitable, et le vent du changement soufflait. N.W.A avait décidé de suivre les règles de l'état de nature, comme le commandait la logique des gangs de Los Angeles - j'y reviendrai. Pour Public Ennemy, le but était assez différent: il s'agissait d'investir la sphère politique et de changer les règles de la société établie.» Manam de Rima Elkouri paru en 2019 aux éditions Boréal. Enfant, La Téta de Léa a vu ce qu'un enfant ne devrait pas voir. 1915, est la date du Ermeni Soykırımı le génocide arménien au cours duquel les deux tiers du peuple vivant sur le territoire actuel de la Turquie sont massacrés et déportés. Cette grand-mère, qui a survécu et immigré au Québec en 1957, vient de décéder à Montréal, elle laisse une marque indélébile dans la vie de sa petite fille. Celle-ci décide de retourner sur les pas de ses ancêtres, de ce peuple surnommé atrocement par les turcs, «les restes de l'épée». Accompagnée par Sam, son guide, un cinéaste kurde qu'une amie a rencontré a Istanbul. Institutrice, Léa, après avoir passée une dernière journée avec ses élèves, s'élance vers la ville natale de sa famille, Yalla ! Manam accrochée à flanc de montagne, ses minarets implorant le ciel, lui tend les bras. Voici un premier roman qui coincide étrangement avec l'actualité de ces derniers jours et la répression qui sévit contre le peuple kurde sur la frontière avec la Syrie. Manam, sous la plume vive de son autrice, journaliste reconnue à La Presse, raconte une terrible tragédie qui vous fera suivre de sinistres caravansérails et partager l'exil de force de familles décimées. Pourtant, même si la mort guette à tout instant la mémoire, la vie se passe, avec ses couleurs, ses odeurs de Klichas, et la tendresse du souvenir de Léa pour sa Téta. Rima Elkouri est invitée à Mission encre noire. Extrait: «Le refuge d'hier est devenu brasier. Cent ans plus tard, l'exode se fait dans le sens inverse de celui que mes grands-parents ont connu en 1915. Des réfugiés syriens affluent vers la frontière turque. Et le printemps, le vrai, se fait toujours attendre. Depuis le début de ce conflit, je parcours les nouvelles d'Alep avec effroi. Le souk ravagé par les flammes des combats. Le minarets de la mosquée des Omeyyades qui  s'effondre. Sa cour intérieure transformée en fosse commune. Les morts qui s'empilent dans l'indifférence. Lorsque je regarde mes photos d'Alep, j'ai cette impression d'avoir immortalisé une façade fissurée juste avant qu'elle ne s'écroule. Tous mes souvenirs sont aujourd'hui éparpillés sous des cendres. dans les ruines, à côté des cadavres, ils ont l'air indécents.»  

GREETINGS TRUE BELIEVERS AND WELCOME TO ANOTHER PANTHEON M/ THIS ONE IS ALL MUSICAL M/  TODAY YOU'LL BE BANGING YOUR HEADS TO LORDS OF THE TRIDENT , MALAMORTE, MANAM, HOLLOW, MEKA NISM, VISION QUEST, AND MR. GOSHNESS M/ AND I'VE GOT THE NEWS FOR THE BLUES M/ HORNS HIGH !!!!!!!!!!!!!!!!!!!!!!!

Sean Richards talks about the Richard's mission work among the Manam people.

Kas vainas manam datoram? Uz #live jautājumiem par ar datortehnisku saistītām problēmām atbild datoreksperts Kaspars Krumins no Aikotech (Mančestera, UK).

Kas vainas manam datoram? Uz #live jautājumiem par ar datortehnisku saistītām problēmām atbild datoreksperts Kaspars Krūmiņš no Aikotech (Mančestera, UK)

Oon Manam mp3Composed by Arranged by Fariborz LachiniLength: 03:42Year: 2017Genre:SoloPiano,EasyListening