Podcasts about Tav

Berlinale'de Gazze gündemi, Depo'da Ekolojik Yıkıma Karşı belgeseller; 10 Usta 10 Albüm konserlerinde cazın duayenlerinden dinletiler, Paribuart'ta Beyaz Tavşan Kırmızı Tavşan gösterileri, Moda Sahnesi'nde Bir Kadının Kavgaları ve Dönüşümleri. Kent Takvimi etkinlik öneriyle dopdolu.

In this study we will take a look at the women within the Bible. We will look at each one of them and see how their story influences our lives today.In this first study we will start with EveI will begin in Chapter 3 verse 5.We finished up in our study with the serpent assuring Eve that she will not die! This would be Satan's second utterance! A Contradiction of Yahweh's Word in chapter 2:17. Take note the fact that Satan emphasizes his statement with the word ‘surely'. Satan tries to be like Yahweh. 5   opened = were opened [to wickedness] the knowledge attained is neither of happiness, wisdom or power, but of consciousness of sin and its conflict with the will of Yahweh. Next come shame, fear and the attempt to hide.7   Knew = they knew before, but their knowledge now received a new meaning. Adam becomes “naked” by losing something of Yahweh's glorious likeness. Could Romans 8:3 refer to this? “For what the law could not do, in that it was weak through the flesh, Yahweh sending his own Son in the likeness of sinful flesh, and for sin, condemned sin in the flesh:  That the righteousness of the law might be fulfilled in us, who walk not after the flesh, but after the Spirit.” Naked = “ay-ram” from 6191, nudity; 6191 = “aw-ram” to be [or make] bare, but used only in a derivate sense [through the idea of perhaps of smoothness] to be cunning [usually in a bad sense]8  voice = “kole, kole”  meaning to call aloud; a voice or sound: crackling of footstepsIn the Hebrew text we see the Hebrew word ‘eth'. Which is the letters Alph and Tav.Aleph = The original pictograph for this letter is a picture of an ox head representing strength and power from the work performed by the animal. This pictograph also represents a chief or other leader. When two oxen are yoked together for pulling a wagon or plow, one is the older and more experienced one who leads the other. Tav = The Ancient picture is a type of "mark", probably of two sticks crossed to mark a place similar to the Egyptian hieroglyph of, a picture of two crossed sticks. This letter has the meanings of mark, sign or signature.By placing this Hebrew word ‘eth' within this verse, shows us that it is no doubt Yahweh who is calling them.Cool of the day is literally “the breeze of the day.”cool = “ruach” spirit. Since Yahweh is a Spirit, could it be possible that they may have heard the movement of His Spirit going through the garden? 9  where art thou = the first question in the Old Testament come from Yahweh to the sinner, whereas in the New Testament, the first question of the seeking sinner, “Where is He?” Matthew 2:210    I was afraid, because I was naked = See the immediate consequences of sin. 1) Shame, because of the ingratitude marked in the rebellion, and because that in aiming to be like Yahweh they were now sunk into a state of the greatest wretchedness. 2) Fear, because they saw they had been deceived by Satan, and were exposed to that death and punishment from which he had promised them an exemption.11 Hast thou eaten? = An opportunity is given Adam for full confessions and expression of repentance. A sin unconfessed and unrepented is a sin constantly committed.12  the man = eth-ha-adahamthe woman = showing the true nature of a sinful man, always passing the buckthou gavest = Boy, Adam is really showing his colors or nakedness. Now he is passing the buck to the one that created him!Join me as we go Chapter by Chapter, Verse by Verse, Unraveling the Words of Yahweh!Have any questions? Feel free to email me; keitner2024@outlook.com 

Aktieris un režisors Valdis Lūriņš nupat ģimenes un arī kursabiedru vidū nosvinēja savu 75. jubileju. Krasnojarskā dzimušajam puikam i prātā nenāca, ka atgriežoties Rīgā viņš nokļūs vidē, kas saistīta ar no ikdienas tik atšķirīgo teātra pasauli.  Pat savam pirmdzimtajam viņš bija iecerējis teatrālus vārdus – ja puika, tad Proscēnijs, ja meita, tad Kulise. Kādas ir pirmās bērnības atmiņas no Sibīrijas, kādas nejaušības aizveda uz Pionieru pils un Dailes teātri, kāpēc aizliedza izrādi “Žanna d`Arka”, kā sākās Teātra dienu fenomens un kāda ir šodienas kultūras vide - par to sarunā ar Gundu Vaivodi. Kā nonāci līdz aktiera būšanai? Kas tevi pamudināja? Pilnīgi nejauši. Man bija klasesbiedrs, kurš darbojās Rīgas pionieru pils skolēnu teātrī. To vadīja brīnišķīga sieviete - Astrīda Savisko. Viņas laikabiedri, kuri vēl dzīvi, droši vien Astrīdu atceras ar labu vārdu. Nokļuvu tur pilnīgi nejauši, jo Juris teica - atnāc, tur kaut kāds konkurss. Teicu - kāds konkurss, ko es tur darīšu? Viņš saka - pēc tam būs balle. Aizgāju, norunāju, kas jānorunā, pēc tam bija balle, un atradu pilnīgi citu pasauli. Pēc atgriešanās no Sibīrijas, kur kā Miškins esi nonācis no Šveices kalniem un sastapies ar realitāti, kura tev ir ne visai pazīstama. Īpaši, ja esi dzīvojis sieviešu sabiedrībā, kuras tev ir iemācījušas, ka pasaule pamatā ir skaista, kaut gan ir ļoti daudz visādu cūcību. Mani savaldzināja šī citādā pasaule. Domāju, ja es nebūtu uz turieni aizgājis, mans ceļš būtu izvērties pilnīgi neparedzami un droši vien ne visai pozitīvi. Man bija pārsteigums, ka esi sācis spēlēt Dailes teātrī, izrādē “Motocikls”. Jā. Skolēnu teātrī darbojās arī Kārina Pētersone, un Dailes teātrī pēkšņi bija tāda situācija, ka vienam aktierim, kuram bija bezteksta loma Mazdēliņš, pēkšņi bija jāoperē aklā zarna. Izrādei ir jānotiek, un Pēteris Pētersons bija vaicājis Kārinai, vai viņa nezina kādu apsviedīgu zēnu. Viņa bija ieteikusi mani. Tā bija viena no manām brīnišķīgākajām tikšanās reizēm ar Pēteri Pētersonu, kura ilga vairāku gadu garumā. Es kā brīvklausītājs pabeidzu Dailes teātra 4. studiju, kurā bija Lilita Ozoliņa, Aivars Siliņš, Haralds Ulmanis, Nauris Klētnieks Tur droši vien tevī dzima arī režijas gēns? Jā. Režijas gēns varbūt vairāk dzima, mācoties Teātra fakultātē, Alfrēda Jaunušana kursā, jo es intuitīvi sapratu, ka neesmu no Jaunušana TOP aktieriem. Man gribējās kaut ko darīt pašam, pierādīt pašam. Dīvainība bija tāda, ka savam kursam, būdams students, es pasniedzu skatuves kustību. Gala rezultātā, kad beidzām akadēmiju, mēs kopā uztaisījām manis izdomātu (tas ir vājprāts!) horeogrāfiju 15 muzikāliem darbiem. Mēs iestudējām Bernstaina “Vestsaidas stāstu”. Bet ir vēl viens stāsts ar tavām kustībām un tavu izcilu režiju, kas ir “Spartaks” 1977. gadā. Starp citu, visu Upīša traģēdiju triloģiju tu vienīgais esi iestudējis, un tas bija kaut kas īpašs. Izrādās, tas bija ārpusplāna darbs - tu biji gan režisors, gan kustību konsultants. Toreiz vēl sākās skaistā sadarbība ar Zigmaru Liepiņu. Mums radās vēlme pēc lielākas dinamikas teātrī, un tā tas darbiņš mums radās. Tas bija ļoti stilīgi, man jāsaka. Jā. Man bija labi domubiedri - Zigmars Liepiņš un Imants Vanzovičs, ar kuru kopā dienēju “Zvaigznītē” tepat Rīgā. Tā tas viss tapa. Ar skaistu mūziku, kas nu jau ir leģendāra. Jā. Kaut kādā veidā ik pa brīdi mums ar Zigmaru ir izdevies kaut ko uzminēt, vai Zigmaram ir izdevies uzminēt to virzienu, kādu tas darbiņš prasa. Otra Upīša triloģijas daļa bija “Žanna d'Arka”, 1982. gads. Kāpēc šo izrādi aizliedza?  Pirmkārt, tā tapa kā viena no kursa diplomizrādēm, kurā es šim kursam biju arī skatuves kustības pasniedzējs. Te ir vesela priekšvēsture, kas saistās ar Zigmara Liepiņa dziesmām, jo “Žannas dziesmas” kaut kādā veidā tika atskaņotas Zigmara teātra koncertprogrammā, un likās, ka tās ir mazliet par "stipru". Viņš visu laiku mēģināja to neievērot, nobāzt malā. Tas pats notika arī ar mūsu izrādi. Uz skatuves, arī Zigmara koncertizrādē, bija manekeni ar nekonkrētām sejām, bet visi varēja saprast, kas par sejām ir domātas. Tā bija sava veida cīņa par varu, brīvību un nepieciešamību pēc varoņa. Ko jūs toreiz meklējāt šajās izrādēs un stāstos? Tā drīzāk ir vēlme atrast savējos, ja arī tu viņus nepazīsti. Tā ir pilnīgi ģeniāla formula, kas ir iegājusi arī mūzikas vēsturē - savējie sapratīs. Tavā kontā ir arī kaut kas tāds, ko mums šodien vispār ir grūti aptvert - tās ir Teātra dienas, kuru aizsākums lielā mērā ir saistīts ar tevi un kas ir priekšvēstnesis visam, kas sekoja pēc tam - šīm izrādēm. Tās ir 70. gadu beigas. Mēs šodien pat nevaram iedomāties, kā tas ir, kad teātra cilvēki sapulcējas kopā, ir pilns Doma laukums. Atgādini mums par to laiku mazliet! Tas bija laiks, kad notika arī Mākslas dienas Vecrīgā. Kā reiz teica viens no maniem laikabiedriem, kurš aizgājis mūžībā, Viktors Jansons, teātrī ir divas iespējamības - viens, ka tu ar rampu norobežojies no skatītāja, vai otrs, ka teātris nojauc to rampu un iet pie skatītāja. Tas bija tas laiks, kad mums vajadzēja iet pie skatītāja, un tā tas viss radās. Tajā laikā radās arī burvīgas, augstvērtīgas mini programmas, kuras vienu gadu rādījām Dailes teātrī, vienu gadu Anglikāņos, kuri bija pilni, protams. Tā bija tāda vajadzība. Daļa aktieru, protams, burķšēja, kāpēc tas ir vajadzīgs, svētku diena ir tā, kas ir domāta mums. Tas ir 27. marts. Aktierim jau lielākie svētki ir tad, kad viņš ir kopā ar skatītāju. Plašāk - audioierakstā.    

Godināmais bīskaps Fultons Šīns (1895 - 1979) — viens no izcilākajiem 20. gadsimta sludinātājiem, viens no pirmajiem, kurš radio un televīziju izmantoja, lai sludinātu Kristu, ar Evaņģēlija vēsti aizsniedzot miljonus. Šajā gadā bīskapa Fultona Šīna pārdomas dzirdēsi Radio Marija Latvija Gavēņa kalendārā. Patiesa atgriešanās, lūgšana, Euharistija un Kristus upuris — tikai dažas no tēmām, kas Gavēņa laikā iedvesmos Tevi uz dziļāku garīgo dzīvi. Dienas impulss: Ja Tavā dzīvē ir ienācis Jēzus, zini, ka pirmkārt, nevis Tu, bet Viņš Tevi pirmais atrada! Tā bija dievišķā invāzija Tavā dzīvē. Pavadi kādu laiku lūgšanā un Kunga priekšā pamēģini atcerēties un apjaust, kā Dievs ienāca Tavā dzīvē. Kad Tu piedzīvoji šo debesu invāziju savā sirdī? Ja Tev šķiet, ka to neesi piedzīvojis, lūdz, lai Labais Dievs savā žēlastībā un mīlestībā Tevi apmeklē tur, kur šobrīd esi! Izmantotā mūzika: Ola Gjeilo - The Lake Isle ft. Tenebrae

Godināmais bīskaps Fultons Šīns (1895 - 1979) — viens no izcilākajiem 20. gadsimta sludinātājiem, viens no pirmajiem, kurš radio un televīziju izmantoja, lai sludinātu Kristu, ar Evaņģēlija vēsti aizsniedzot miljonus. Šajā gadā bīskapa Fultona Šīna pārdomas dzirdēsi Radio Marija Latvija Gavēņa kalendārā. Patiesa atgriešanās, lūgšana, Euharistija un Kristus upuris — tikai dažas no tēmām, kas Gavēņa laikā iedvesmos Tevi uz dziļāku garīgo dzīvi. Dienas impulss: Ja Tavā dzīvē ir ienācis Jēzus, zini, ka pirmkārt, nevis Tu, bet Viņš Tevi pirmais atrada! Tā bija dievišķā invāzija Tavā dzīvē. Pavadi kādu laiku lūgšanā un Kunga priekšā pamēģini atcerēties un apjaust, kā Dievs ienāca Tavā dzīvē. Kad Tu piedzīvoji šo debesu invāziju savā sirdī? Ja Tev šķiet, ka to neesi piedzīvojis, lūdz, lai Labais Dievs savā žēlastībā un mīlestībā Tevi apmeklē tur, kur šobrīd esi!

L'escudella ha estat la protagonista del F

Torino resta al centro del mondo degli antagonisti in Italia. È così da anni, dalle manifestazioni contro la Tav di vent'anni fa fino a quelle più recenti contro lo sgombero del centro sociale Askatasuna. Ma è una realtà più vasta quella antagonista in Italia ed in Europa.Ne parliamo con Marco Grimaldi, vicecapogruppo alla Camera di Avs e Giovanni Bianconi, inviato del Corriere della sera.

Šonedēļ "Atsperes" viesis ir aktieris Ģirts Krūmiņš. Baudot rīta kafiju, runājam par izrādi "Milzis", kas pirmizrādi Dailes teātrī piedzīvoja janvāra beigās: tajā Ģirts atveido galveno lomu. Protams, uzmanības lokā ir arī vēl citas aktualitātes, kas būtiskas aktiera radošajā ikdienā. Liene Jakovļeva: Tava balss "Klasikā" ir labi pazīstama, jo Latvijas Radio studijā esi ierunājis gana daudz dzejas. Vai tev pašam patīk sevī klausīties un uz sevi skatīties, piemēram, televīzijas ierakstos? Ģirts Krūmiņš: Nē! Un es to nedaru – neklausos un neskatos. (Sirsnīgi smejas.)  Viens no mūsu sarunas pamatakmeņiem ir tava debija Dailes teātrī: tu spēlē Roaldu Dālu izrādē Milzis, ko Dailes teātra Jaunajā zālē iestudējis Gatis Šmits. Vai ar Roalda Dāla grāmatām jau biji pazīstams, pirms nokļuvi pie lugas materiāla? Absolūti nē! Tad, kad man sākumā šo lomu piedāvāja, jautāju – kas ir Roalds Dāls, jo es neizaugu ar viņa grāmatām. Tāpēc šovasar sāku no otra gala: nesāku visa ar lugu, kuru atbīdīju līdz pat pēdējam brīdim, bet gan ar viņa romāniem bērniem, ar viņa sarakstītajiem darbiem, un tas bija ļoti interesanti! Biju pārsteigts. Jo tā ir literatūra gan pieaugušajiem, gan bērniem. Tā ir ļoti dziļa, un vienlaikus – vienkārša. Kad viņam savulaik uzdots jautājums, kam rakstīt vieglāk, viņš atbildējis, ka, protams, bērniem. Jo viņš rakstījis arī pieaugušajiem. Vai iepazinies arī ar viņa personību? Jā gan, skatījos dokumentālos ierakstus, klausījos viņa balsi, intervijas. Ļoti interesanta personība! Vai savā tēlā – piemēram, kustībās – saskati arī kādu vizuālu līdzību ar Roaldu Dālu? Vai arī tam nav izšķirošas nozīmes? Iestudējot lugu, es par to domāju – vai to vajag. Bija svarīgi noķert Dāla būtību; visiem kopā noķert to esenci, kas viņš bija. Bet tik un tā – izrāde ir mūsu versija, jo izejas materiāls ir luga. Varētu arī to nedarīt, varētu par to neinteresēties, varētu tikai spēlēt lugu, bet – mani interesē. Man tas palīdz.  Luga, kuras autors ir Marks Rozenblats, ir faktiski tikko tapusi, un tas ir kolosāli, ka tā jau nonākusi arī pie mums.  Luga ir sarežģīta. Ļoti mānīga, jo tā tikai šķietami ir viegla. Pirmoreiz man ir tik daudz teksta, turklāt – sarežģīta teksta, jo visas lugas garumā notiek dzīva saruna. Viens ir to izlasīt, bet otrs – tajā būt no iekšpuses.  Luga ir traģikomēdija. Lai gan ir arī ļoti smieklīgi brīži, smiekli izvijas cauri ļoti nopietnām tēmām. Jūti reakciju no zāles? Jā, dzirdu, ka cilvēki smejas, dzīvo līdzi. Bet nu – Dālam tā dzīve bijusi piedzīvojumiem bagāta… Sākot no lidmašīnas katastrofas, kurā viņš ir izdzīvojis par kuru viņš pats domā, ka tieši tāpēc viņš ir sācis rakstīt, līdz pat traģiskiem un arī pavisam sadzīviskiem brīžiem. Jo viņam patika gatavot – ir pat brīnišķīga pavārgrāmata ar receptēm, ko viņš ar savu otro sievu kopā sarakstījuši.  Tajā pašā laikā viņš nebūt nav bijis balts un pūkains:  Dāla raksturs bijis diezgan velnišķīgs, un droši vien ar viņu sadzīvot nav bijis viegli. Dāls jau pats kādā intervijā saka, ka par tādiem ierindas personāžiem, kas nav interesanti, nav jēgas rakstīt. Un tas attiecas arī uz viņu pašu. Jābūt spilgtam.  Vai notikumi, kas risinās lugā, un cilvēki, kas tajos piedalās, ir īsti? Visi personāži, izņemot amerikāņu izdevēju Džesiju Stounu, kas ir vienīgais izdomātais tēls, patiešām ir īsti. Arī situācijas un fakti. Protams, tas ir autora daiļdarbs, taču viss, kas ielikts Dāla mutē, visi izteicieni – to viņš reāli ir teicis, tur nav nekā sadomāta. Un izteicieni ir diezgan skarbi. Reizēm, skatoties izrādi, ir jāaizdomājas par to, cik sabiedrībai ir pieņemama Roalda Dāla kritika un viņa nostāja attiecībā pret Izraēlu. Skaties izrādi un saproti: jā, mēs varam par to runāt mākslas valodā, bet pēc tam ar sevi vai saviem līdzcilvēkiem par to strīdēties. Vai arī jums izrādes tapšanas procesā bija daudz jādomā par šīm tēmām, par politisko sajūtu, nostāju, galu galā – tēmas ļoti lielo aktualitāti šobrīd? It kā jā, taču es kaut kā jūtu, ka īstā lugas sāls ir zemtekstos. Tas nav par politiku, tas nav par šiem izteicieniem – tur vēl ir kaut kas. Daudz kas tur ir apslēpts, un man negribas skatītājam atklāt visu, bet tur ir par radošumu, par cilvēka izvēlēm. Kādā brīdi tu nodomā: ko man darīt tālāk, kam uzticēties, kurā ieklausīties, jo tu nesaproti vairs, uz kuru pusi iet. Roalds mūžībā devās 1990. gadā, bet lugā minētie notikumi risinājās 1983. gadā – tātad viņam vairs nebija atlicis daudz. Tobrīd viņš ir slavas virsotnē, viss  jau ir uzrakstīts – ko vēl? Līdz ar to teksts ir viena lieta, bet tam apakšā ir daudz nepateiktā.  80. gadu sākuma elementi ienāk arī iestudējuma vizuālajā pasaulē. Scenogrāfs un kostīmu mākslinieks ir Rūdolfs Bekičs. Vai tev viņa radītā lietu pasaule palīdz? Piemēram, koka tupeles? Ļoti! Sākumā, kad ieraudzīju koka tupeles, nodomāju – nu, nē! (Smejas.) Bet pēc tam sapratu… Sāku šļūkāt, un diezgan ātri kopā ar Rūdolfu piemeklēju kostīmu. Man parasti ir ļoti svarīgi, lai tas nav pēdējā brīdī, bet ir jau mēģinājumos. Arī visādas detaļas, kas ir uz galda un kuras skatītājs varbūt neredz, man ir nozīmīgas. Jebkuram aktierim tas ir nozīmīgi. Un cik nozīmīgi tev ir tas, ka šī izrāde notiek Dailes teātrī? Atceros mirkli, kad no Pļaviņām atnācu uz Rīgu… Aizmuku no Mediņa mūzikas vidusskolas klavieru nodaļas un gāju uz Daili pieteikties, lai mani pieņem par skatuvnieku. Bet nu nepieņēma... Man liekas, biju pārāk sīks. (Smaida.) Beidzu kinoaktieru studiju: pedagogi tur bija Aina Matīsa, Arnolds Liniņš, Pēteris Krilovs, Anna Eižvertiņa, Ērika Ferda un Virdžīnija Cukanova. Visi aktieri, kas bija nonākuši Dailē, vispirms bija izgājuši caur Kinoaktieru studijai, un tas likās tāds – ak! Tāds ir laika nogrieznis: no padsmitnieka – šķiet, tobrīd man bija septiņpadsmit –, līdz tagadējiem sešdesmit. Tāda nu ir mana debija Dailes teātrī – ar Roaldu Dālu. Tavējais bija Daugavpils teātra kurss, bet šobrīd tavas mājas vismaz pagaidām ir Kuldīga. Arī Liepājā tev ir brīnišķīgas pieturvietas un pārsteidzoši notikumi – izrādē "Tēvs klusums" tu diriģē īstu kori! Tad, kad sākās mēģinājumi, jau zināji, ka būs jādiriģē? To es zināju, bet nedomāju, ka tas būs pa īstam... (Smejas.) Domāju, ka tikšu cauri sveikā ar to, ka vienkārši plivināšu rokas un imitēšu kaut ko. Bet tā nenotika! Atceros pirmo mēģinājumu, kurā piedalījās koris "Laiks". Visi cilvēki, kas tajā dzied, man kļuvuši par atbalstu! Biju nenormāli pārbijies. Pirmajā dienā domāju – es to vienkārši neizturēšu! No visiem cilvēkiem plūda tāda enerģija! Un es tajā visā – cilvēks no malas, kurš vispār nesaprot, ko nozīmē diriģēt. Un tad kora diriģente Ilze Balode man atklāja visādus noslēpumus un knifus, izsita mani no klišejām. Pirms izrādēm vienmēr ar Ilzi izejam cauri dziesmām, viņa mani tā kā mazliet piezemē un izsaka aizrādījumus. Tā kā es šobrīd mācos arī diriģēšanu! Vairāk – audioierakstā.

Šonedēļ "Atsperes" viesis ir aktieris Ģirts Krūmiņš. Baudot rīta kafiju, runājam par izrādi "Milzis", kas pirmizrādi Dailes teātrī piedzīvoja janvāra beigās: tajā Ģirts atveido galveno lomu. Protams, uzmanības lokā ir arī vēl citas aktualitātes, kas būtiskas aktiera radošajā ikdienā. Liene Jakovļeva: Tava balss "Klasikā" ir labi pazīstama, jo Latvijas Radio studijā esi ierunājis gana daudz dzejas. Vai tev pašam patīk sevī klausīties un uz sevi skatīties, piemēram, televīzijas ierakstos? Ģirts Krūmiņš: Nē! Un es to nedaru – neklausos un neskatos. (Sirsnīgi smejas.)  Viens no mūsu sarunas pamatakmeņiem ir tava debija Dailes teātrī: tu spēlē Roaldu Dālu izrādē Milzis, ko Dailes teātra Jaunajā zālē iestudējis Gatis Šmits. Vai ar Roalda Dāla grāmatām jau biji pazīstams, pirms nokļuvi pie lugas materiāla? Absolūti nē! Tad, kad man sākumā šo lomu piedāvāja, jautāju – kas ir Roalds Dāls, jo es neizaugu ar viņa grāmatām. Tāpēc šovasar sāku no otra gala: nesāku visa ar lugu, kuru atbīdīju līdz pat pēdējam brīdim, bet gan ar viņa romāniem bērniem, ar viņa sarakstītajiem darbiem, un tas bija ļoti interesanti! Biju pārsteigts. Jo tā ir literatūra gan pieaugušajiem, gan bērniem. Tā ir ļoti dziļa, un vienlaikus – vienkārša. Kad viņam savulaik uzdots jautājums, kam rakstīt vieglāk, viņš atbildējis, ka, protams, bērniem. Jo viņš rakstījis arī pieaugušajiem. Vai iepazinies arī ar viņa personību? Jā gan, skatījos dokumentālos ierakstus, klausījos viņa balsi, intervijas. Ļoti interesanta personība! Vai savā tēlā – piemēram, kustībās – saskati arī kādu vizuālu līdzību ar Roaldu Dālu? Vai arī tam nav izšķirošas nozīmes? Iestudējot lugu, es par to domāju – vai to vajag. Bija svarīgi noķert Dāla būtību; visiem kopā noķert to esenci, kas viņš bija. Bet tik un tā – izrāde ir mūsu versija, jo izejas materiāls ir luga. Varētu arī to nedarīt, varētu par to neinteresēties, varētu tikai spēlēt lugu, bet – mani interesē. Man tas palīdz.  Luga, kuras autors ir Marks Rozenblats, ir faktiski tikko tapusi, un tas ir kolosāli, ka tā jau nonākusi arī pie mums.  Luga ir sarežģīta. Ļoti mānīga, jo tā tikai šķietami ir viegla. Pirmoreiz man ir tik daudz teksta, turklāt – sarežģīta teksta, jo visas lugas garumā notiek dzīva saruna. Viens ir to izlasīt, bet otrs – tajā būt no iekšpuses.  Luga ir traģikomēdija. Lai gan ir arī ļoti smieklīgi brīži, smiekli izvijas cauri ļoti nopietnām tēmām. Jūti reakciju no zāles? Jā, dzirdu, ka cilvēki smejas, dzīvo līdzi. Bet nu – Dālam tā dzīve bijusi piedzīvojumiem bagāta… Sākot no lidmašīnas katastrofas, kurā viņš ir izdzīvojis par kuru viņš pats domā, ka tieši tāpēc viņš ir sācis rakstīt, līdz pat traģiskiem un arī pavisam sadzīviskiem brīžiem. Jo viņam patika gatavot – ir pat brīnišķīga pavārgrāmata ar receptēm, ko viņš ar savu otro sievu kopā sarakstījuši.  Tajā pašā laikā viņš nebūt nav bijis balts un pūkains:  Dāla raksturs bijis diezgan velnišķīgs, un droši vien ar viņu sadzīvot nav bijis viegli. Dāls jau pats kādā intervijā saka, ka par tādiem ierindas personāžiem, kas nav interesanti, nav jēgas rakstīt. Un tas attiecas arī uz viņu pašu. Jābūt spilgtam.  Vai notikumi, kas risinās lugā, un cilvēki, kas tajos piedalās, ir īsti? Visi personāži, izņemot amerikāņu izdevēju Džesiju Stounu, kas ir vienīgais izdomātais tēls, patiešām ir īsti. Arī situācijas un fakti. Protams, tas ir autora daiļdarbs, taču viss, kas ielikts Dāla mutē, visi izteicieni – to viņš reāli ir teicis, tur nav nekā sadomāta. Un izteicieni ir diezgan skarbi. Reizēm, skatoties izrādi, ir jāaizdomājas par to, cik sabiedrībai ir pieņemama Roalda Dāla kritika un viņa nostāja attiecībā pret Izraēlu. Skaties izrādi un saproti: jā, mēs varam par to runāt mākslas valodā, bet pēc tam ar sevi vai saviem līdzcilvēkiem par to strīdēties. Vai arī jums izrādes tapšanas procesā bija daudz jādomā par šīm tēmām, par politisko sajūtu, nostāju, galu galā – tēmas ļoti lielo aktualitāti šobrīd? It kā jā, taču es kaut kā jūtu, ka īstā lugas sāls ir zemtekstos. Tas nav par politiku, tas nav par šiem izteicieniem – tur vēl ir kaut kas. Daudz kas tur ir apslēpts, un man negribas skatītājam atklāt visu, bet tur ir par radošumu, par cilvēka izvēlēm. Kādā brīdi tu nodomā: ko man darīt tālāk, kam uzticēties, kurā ieklausīties, jo tu nesaproti vairs, uz kuru pusi iet. Roalds mūžībā devās 1990. gadā, bet lugā minētie notikumi risinājās 1983. gadā – tātad viņam vairs nebija atlicis daudz. Tobrīd viņš ir slavas virsotnē, viss  jau ir uzrakstīts – ko vēl? Līdz ar to teksts ir viena lieta, bet tam apakšā ir daudz nepateiktā.  80. gadu sākuma elementi ienāk arī iestudējuma vizuālajā pasaulē. Scenogrāfs un kostīmu mākslinieks ir Rūdolfs Bekičs. Vai tev viņa radītā lietu pasaule palīdz? Piemēram, koka tupeles? Ļoti! Sākumā, kad ieraudzīju koka tupeles, nodomāju – nu, nē! (Smejas.) Bet pēc tam sapratu… Sāku šļūkāt, un diezgan ātri kopā ar Rūdolfu piemeklēju kostīmu. Man parasti ir ļoti svarīgi, lai tas nav pēdējā brīdī, bet ir jau mēģinājumos. Arī visādas detaļas, kas ir uz galda un kuras skatītājs varbūt neredz, man ir nozīmīgas. Jebkuram aktierim tas ir nozīmīgi. Un cik nozīmīgi tev ir tas, ka šī izrāde notiek Dailes teātrī? Atceros mirkli, kad no Pļaviņām atnācu uz Rīgu… Aizmuku no Mediņa mūzikas vidusskolas klavieru nodaļas un gāju uz Daili pieteikties, lai mani pieņem par skatuvnieku. Bet nu nepieņēma... Man liekas, biju pārāk sīks. (Smaida.) Beidzu kinoaktieru studiju: pedagogi tur bija Aina Matīsa, Arnolds Liniņš, Pēteris Krilovs, Anna Eižvertiņa, Ērika Ferda un Virdžīnija Cukanova. Visi aktieri, kas bija nonākuši Dailē, vispirms bija izgājuši caur Kinoaktieru studijai, un tas likās tāds – ak! Tāds ir laika nogrieznis: no padsmitnieka – šķiet, tobrīd man bija septiņpadsmit –, līdz tagadējiem sešdesmit. Tāda nu ir mana debija Dailes teātrī – ar Roaldu Dālu. Tavējais bija Daugavpils teātra kurss, bet šobrīd tavas mājas vismaz pagaidām ir Kuldīga. Arī Liepājā tev ir brīnišķīgas pieturvietas un pārsteidzoši notikumi – izrādē "Tēvs klusums" tu diriģē īstu kori! Tad, kad sākās mēģinājumi, jau zināji, ka būs jādiriģē? To es zināju, bet nedomāju, ka tas būs pa īstam... (Smejas.) Domāju, ka tikšu cauri sveikā ar to, ka vienkārši plivināšu rokas un imitēšu kaut ko. Bet tā nenotika! Atceros pirmo mēģinājumu, kurā piedalījās koris "Laiks". Visi cilvēki, kas tajā dzied, man kļuvuši par atbalstu! Biju nenormāli pārbijies. Pirmajā dienā domāju – es to vienkārši neizturēšu! No visiem cilvēkiem plūda tāda enerģija! Un es tajā visā – cilvēks no malas, kurš vispār nesaprot, ko nozīmē diriģēt. Un tad kora diriģente Ilze Balode man atklāja visādus noslēpumus un knifus, izsita mani no klišejām. Pirms izrādēm vienmēr ar Ilzi izejam cauri dziesmām, viņa mani tā kā mazliet piezemē un izsaka aizrādījumus. Tā kā es šobrīd mācos arī diriģēšanu! Vairāk – audioierakstā.

Episode 154: What was everyday life REALLY like in the 1980s? In this episode, we break down the things that would completely shock the younger generation of today — from corporal punishment in school, to hunting down phone booths, to blindly buying albums and hoping they didn't suck.We also pull out classic long-box CD packaging, share hilarious stories, and relive the chaos, freedom, and weirdness that made the 80s unforgettable.If you grew up in the 80s and 90s, this episode will hit you with pure nostalgia.If you didn't — consider this your history lesson.

'Hakikat İçin Söyleşiler': Hrant Dink anısına etkinlikler başlıyor; tiyatro sahnesinde yepyeni bir deneyim vaat eden Beyaz Tavşan Kırmızı Tavşan bugün başlıyor ve 40 gece boyunca farklı bir oyuncu tarafından sahnelenecek; Salon İKSV'nin 2026 programında Makaya McCraven'dan Notwist'e büyük isimler var. Kent Takvimi'yle kültür ve sanat etkinliklerinden notlar yayında.

Billy, Ryan and Cammy give their immediate reaction to Rangers 2-0 win over Aberdeen at Pitodrie. A scandalous goal ruled off, another perfect penalty from Tav and another goal for Thelo Aasgaard. It's as you were in the title race but 5 wins in a row for Danny Röhl's Rangers side.

Breccast torna con la prima puntata dell'anno e come spesso accade è tempo di bilanci e di prospettive. L'anno si è aperto con il grave ferimento di una donna da parte del marito che aveva già denunciato e parleremo in particolare del racconto mediatico che ne è stato fatto, anche con l'aiuto di Barbara Mosconi, operatrice della Casa delle Donne, proprio sull'uso del linguaggio nella violenza di genere.Nella puntata di oggi ci occupiamo del ricorso di Brescia e Rezzato sulla discarica Castella, del report sulla mobilità dei dipendenti del Comune di Brescia, dei progetti infrastrutturali tra provincia (22 milioni a Ponte di Legno per rifugio e seggiovia sul Corno d'Aola) e città (600 nuovi alloggi a Sanpolino, la Tav, il PGT...), il brand Franciacorta che impedisce al comune di Rovato di fare iniziative parlando di Franciacorta... e lungo spazio alla politica cittadina con l'eterno ritorno del ritorno del ritorno dell'ex sindaco Emilio Del Bono. Buon ascolto!

Send us a textEn este episodio entrevistamos a Alejandro Bolaños García-Escribano, profesor e investigador de University College London y traductor de trabajos como «Born in Africa» (National Geographic) o «The Joel McHale Show» (Netflix).Alejandro nos guía por su trayectoria profesional, desde sus primeros pasos en España hasta su experiencia laboral y académica en el Reino Unido. Exploramos las diferencias entre ambos contextos en la concepción, enseñanza y práctica de la TAV, así como los retos y sinergias de compaginar el trabajo como traductor autónomo con la labor investigadora y docente.Hablamos también de las competencias clave que hoy se exigen a los futuros traductores audiovisuales y del profundo impacto que las plataformas de streaming han tenido en el volumen, la diversidad y las exigencias de calidad del sector. El episodio aborda además el papel de la automatización, la inteligencia artificial y la traducción automática en procesos como la subtitulación y el doblaje, reflexionando sobre si representan una amenaza o una oportunidad para los profesionales humanos.Finalmente, repasamos los principales temas tratados en el congreso APTIS celebrado los días 3 y 4 de noviembre.Consulta el episodio subtitulado y accede a la lista de enlaces en nuestro canal de Youtube.En sincronía by Damián Santilli, Blanca Arias Badia & Guillermo Parra is licensed under a Creative Commons Reconocimiento-NoComercial 4.0 Internacional License: https://bit.ly/3jXTwjB

This week on Newsroom Robots, host Nikita Roy is joined by Tav Klitgaard, the CEO of the Danish newsroom Zetland, to unpack the origin story of GoodTape — an AI transcription tool that began as an internal newsroom solution and evolved into a profitable, global product used far beyond journalism.Zetland is an audio-first newsroom in Denmark. But GoodTape wasn't born from an AI strategy or a product roadmap. It emerged from a familiar newsroom pain point of journalists spending hours transcribing interviews, with existing tools falling short, especially in non-English languages like Danish.In this conversation, Tav breaks down how GoodTape went from an internal experiment to a standalone, subscription-based product that quickly became profitable, generated millions in revenue and was eventually divested. He also shares what building GoodTape taught Zetland about AI adoption, organizational learning, and where newsrooms should, and shouldn't, use generative AI.This episode covers:05:50 – How a prototype using OpenAI's Whisper sparked GoodTape08:36 – The moment Zetland realized GoodTape could be a real product12:34 – How journalism's trust and privacy standards became a product advantage13:59 – What actually improves transcription quality beyond the model itself15:27 – How GoodTape became profitable and contributed to Zetland's revenue16:29 – Why Zetland eventually divested GoodTape instead of scaling it internally17:36 – What building an AI product taught Zetland about newsroom AI adoption19:08 – Why Zetland uses AI for productivity, not editorial output28:14 – A real-world example of AI use that forced Zetland to rethink its own guidelines30:34 – Why principles matter more than rigid AI rules in newsrooms

Mattina calda nel quartiere dei Ferrovieri, dove nel primo pomeriggio è si è concluso lo sgombero: un centinaio di attivisti ha costruito barricate, poi una trentina si sono asserragliati all'interno facendo resistenza passiva. Intorno all'una l'azione della polizia, che ha liberato l'area usando lacrimogeni e spostando i giovani uno a uno di peso.

One of the verses in the "Az Yashir" song which our ancestors sang after the miracle of the splitting of the Yam Suf – and which we recite each morning toward the end of Pesukeh De'zimra – is "Mi Chamocha Ba'elim Hashem, Mi Kamocha Ne'edar Be'kodesh." Although both halves of this verse begin with the same two words ("Mi Chamocha"), the pronunciation is not identically the same in both halves. At the beginning of the verse, the correct pronunciation is "Mi Chamocha," whereas in the second half, these words should be pronounced "Mi Kamocha." The phrase "Mi Kamocha" in the second half of the verse marks an exception to a rule of Hebrew grammar. The basic rule is that a Bet, Gimmel, Dalet, Kaf, Peh or Tav at the beginning of a word receives a Dagesh (dot), in which case, in principle, the letter Kaf at the beginning of "Kamocha" should receive a Dagesh, and should thus be pronounced "Kamocha." However, when the previous word ends with a Heh, Vav or Yod – such as the word "Mi," which ends with the letter Yod – the Dagesh is not added. Hence, according to the rules of grammar, the phrase should be pronounced "Mi Chamocha." Nevertheless, the second half of this verse is exceptional, and the Dagesh is, in fact, added to the Kaf, resulting in the pronunciation of "Mi Kamocha." When one recites this verse, he must ensure not to say the words "Hashem Mi Kamocha" rapidly, such that it sounds like he says, "Hashem Micha" – as though declaring that Micha is G-d, Heaven forbid. Micha was the person responsible for creating the golden calf at Mount Sinai, and one must be careful not to imply that he is a deity. Sepharadim make a distinction in their pronunciation between a letter Gimal that has a Dagesh, and a letter Gimal that does not. In the phrase "Am Zu Ga'alta," the Gimal at the beginning of "Ga'alta" receives a Dagesh. According to the rule mentioned earlier, this letter should not receive a Dagesh, because the previous word ("Zu") ends with the letter Vav. The reason why this Gimal nevertheless receives a Dagesh is that without a Dagesh, the word would sound like "Ga'alta" spelled with an Ayin (as opposed to an Alef), which would mean that Hashem is repulsed by Beneh Yisrael, Heaven forbid. Pronouncing the Gimal with a Dagesh makes it clear that the word is "Ga'alta" with an Alef, which means that Hashem has redeemed Beneh Yisrael. A similar exception is made earlier in this verse, in the phrase "Yidemu Ka'aben." The Kaf at the beginning of "Ka'aben" should, in principle, not receive a Dagesh, because it follows a word that ends with the letter Vav. Nevertheless, the Dagesh is added to the Kaf, as otherwise this phrase might sound like "Yidemucha Aben" – "stone silences You," indicating that stone has some kind of power to defeat the Almighty, Heaven forbid. At one point in "Az Yashir," the Egyptians' drowning is described with the words "Salelu Ka'oferet Be'mayim Adirim" – the Egyptians plunged into the water like lead. There is some question as to the implication of the word "Adirim" – "mighty" – at the end of this verse. Several Poskim, including the Mishna Berura, Ben Ish Hai, and Kaf Ha'haim, explain that this word describes the Egyptian warriors who drowned. Accordingly, these Poskim maintain that when reading this verse, one must make a pause between the words "Mayim" and "Adirim," as otherwise it sounds as though one describes the water as being mighty. However, Rav Meir Mazuz (1945-2025) found a poem written by Rav Yehuda Ha'levi (Spain, 1075-1141) indicating that he understood the phrase "Mayim Adirim" to mean "mighty waters," referring to the turbulence of the waters as they descended onto the Egyptians and drowned them. According to this reading, this phrase should be read without a pause between "Mayim" and "Adirim." It is customary to repeat the final verse of "Az Yashir" – "Hashem Yimloch Le'olam Va'ed." One reason this is done is so that we end up mentioning the Name of "Havaya" in this song 18 times, which has special significance. Additionally, the verse is repeated to mark the conclusion of the song. We then recite the Aramaic translation of this final verse ("Hashem Malchuteh Ka'em…") and then the verse immediately following the song – "Ki Ba Sus Pharaoh…"

The heart of the Pesukeh De'zimra section consists of the final five chapters of Tehillim, each of which begin and end with the word "Halleluy-ah." While all five of these chapters are significant, the third and fifth chapters (Psalm 148 & Psalm 150) – "Halleluy-ah Halelu Et Hashem" and "Halleluy-ah Halelu Kel Be'kodsho" – are the most important. Therefore, if a person arrives late, and is unable to recite all five chapters, he should try to recite at least these two. We present here a number of insights into these chapters in order for us to get a glimpse of the unlimited depth and countless layers of meaning underlying the words. In the first of these chapters, we proclaim, "Ahalela Hashem Be'hayai, Azamera L'Elokai Be'odi" – "I shall praise G-d in my lifetime; I shall sing to my G-d while I still exist." The word "Be'hayai" ("in my lifetime") has been understood to mean when we are still healthy and functioning. As long as we are physically capable of speaking and giving praise to the Almighty, we are obliged to do so. Rav Chaim Brim (Jerusalem, 1922-2002) noted the implication of this verse that one of the most important things in life, one of our most central obligations, is to give praise to Hashem. Among the purposes of our existence here in this world is to recognize Hashem's goodness, to express our gratitude, and to sing His praises. If a person would be asked what he would do if, after his passing, he could be resurrected for five minutes, his response should be that he would use this time to praise Hashem. This concept is emphasized further in the next chapter, which begins, "Halleluy-ah Ki Tob Zamera L'Elokenu" – we should praise Hashem because "it is good to sing to our G-d." One of the greatest privileges we have is the opportunity to praise Hashem each and every day. The fourth of these five chapters exclaims, "Shiru L'Hashem Shir Hadash" – "Sing a new song to G-d." This verse uses the masculine term for song – "Shir" – as opposed to the feminine form – "Shira." The difference between the masculine and feminine form is that the feminine form implies succession, that there will be other songs, just as a woman produces children, whereas the masculine form refers to a song that does not produce more songs. The masculine term "Shir" is used in this Psalm because it speaks of the final song, the song that we will sing at the time of Mashiah's arrival. Indeed, the end of this chapter talks about G-d taking revenge from Israel's enemies – "La'asot Nekama Ba'goyim" – as it refers to the final redemption, when our enemies will be vanquished. The final of these chapters, "Halleluy-ah Halelu Kel Be'kodsho" – concludes with the verse, "Kol Ha'neshama Tehalel Y-ah Halleluy-ah" – "Every soul shall praise G-d, Halleluy-ah" – and it is customary to recite this concluding verse twice. One of the reasons given is that by repeating this verse, we end up recite the verb "Hallelu"/"Tehalel" twelve times, an allusion to the custom to recite Hallel on Rosh Hodesh, at the beginning of each of the twelve months of the year. The Arizal taught that the first letters of the words "Kol Ha'neshama Tehalel" – Kaf, Heh and Tav – spell a Name of Hashem associated with protection from danger. Having this intention while reciting these words can help protect a person from harm. It is likewise recommended to recite these words with this intention anytime one fears some sort of danger. The Arizal noted that this also helps protect pregnant women from miscarriage. Rav David Abudarham (Spain, 14 th century) writes that the Pesukeh De'zimra service is constructed in a manner that corresponds to the "Asara Ma'amarot" – the ten pronouncements through which G-d brought the world into existence. Pesukeh De'zimra begins with the blessing of Baruch She'amar, which corresponds to the first pronouncement. It is followed by Mizmor Le'toda – which parallels the second pronouncement, that of "Va'yehi Or" ("There shall be light"), and so on. The chapter of "Halleluy-ah Halelu Kel Be'kodsho" corresponds to the final pronouncement, the creation of Adam, and thus concludes, "Every soul shall praise G-d," emphasizing the point that the human being is the only one among the world's creatures capable of giving praise to G-d. After completing these five chapters of Tehillim, we recite four verses: "Baruch Hashem Le'olam Amen Ve'amen" (Tehillim 89:53); "Baruch Hashem Mi'sion, Shochen Yerushalayim…" (Tehillim 135:21); "Baruch Hashem Elokim Oseh Niflaot Le'bado U'baruch Shem Kebodo Le'olam…" (72:18-19). The first of these verses marks the conclusion of the third of the five books of Tehillim, and the fourth and fifth verses mark the conclusion of the second book. We thus recite these verses as a fitting conclusion to our recitation of Tehillim in Pesukeh De'zimra. Additionally, the first verse has five words, corresponding to the congregation's five-word response to Barechu – "Baruch Hashem Ha'meborach Le'olam Va'ed." The second verse consists of six words, alluding to the six words of the verse "Shema Yisrael Hashem Elokenu Hashem Ehad." Finally, the third and fourth verses contain a total of 19 words, paralleling the 19 blessings of the Amida prayer. The first and final verses conclude with "Amen Ve'amen." The Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909) explains that the word "Amen" is repeated to affirm the eternal truth of our praise of Hashem, both in this world and the next. One should not add other chapters of Tehillim or other verses in Pesukeh De'zimra. For example, if somebody completed Pesukeh De'zimra before the Hazan, he should not add recitations while he waits for the Hazan to finish. Neither should a person repeat any of the text of Pesukeh De'zimra. Even if one realized that he had recited Pesukeh De'zimra without Kavana (concentration), he should not repeat it. (The exception is the verse "Pote'ah Et Yadecha U'masbi'a…" which should be repeated if it was recited without Kavana, as we discussed in a previous installment.)

The heart of the Pesukeh De'zimra section consists of the final five chapters of Tehillim, each of which begin and end with the word "Halleluy-ah." While all five of these chapters are significant, the third and fifth chapters (Psalm 148 & Psalm 150) – "Halleluy-ah Halelu Et Hashem" and "Halleluy-ah Halelu Kel Be'kodsho" – are the most important. Therefore, if a person arrives late, and is unable to recite all five chapters, he should try to recite at least these two. We present here a number of insights into these chapters in order for us to get a glimpse of the unlimited depth and countless layers of meaning underlying the words. In the first of these chapters, we proclaim, "Ahalela Hashem Be'hayai, Azamera L'Elokai Be'odi" – "I shall praise G-d in my lifetime; I shall sing to my G-d while I still exist." The word "Be'hayai" ("in my lifetime") has been understood to mean when we are still healthy and functioning. As long as we are physically capable of speaking and giving praise to the Almighty, we are obliged to do so. Rav Chaim Brim (Jerusalem, 1922-2002) noted the implication of this verse that one of the most important things in life, one of our most central obligations, is to give praise to Hashem. Among the purposes of our existence here in this world is to recognize Hashem's goodness, to express our gratitude, and to sing His praises. If a person would be asked what he would do if, after his passing, he could be resurrected for five minutes, his response should be that he would use this time to praise Hashem. This concept is emphasized further in the next chapter, which begins, "Halleluy-ah Ki Tob Zamera L'Elokenu" – we should praise Hashem because "it is good to sing to our G-d." One of the greatest privileges we have is the opportunity to praise Hashem each and every day. The fourth of these five chapters exclaims, "Shiru L'Hashem Shir Hadash" – "Sing a new song to G-d." This verse uses the masculine term for song – "Shir" – as opposed to the feminine form – "Shira." The difference between the masculine and feminine form is that the feminine form implies succession, that there will be other songs, just as a woman produces children, whereas the masculine form refers to a song that does not produce more songs. The masculine term "Shir" is used in this Psalm because it speaks of the final song, the song that we will sing at the time of Mashiah's arrival. Indeed, the end of this chapter talks about G-d taking revenge from Israel's enemies – "La'asot Nekama Ba'goyim" – as it refers to the final redemption, when our enemies will be vanquished. The final of these chapters, "Halleluy-ah Halelu Kel Be'kodsho" – concludes with the verse, "Kol Ha'neshama Tehalel Y-ah Halleluy-ah" – "Every soul shall praise G-d, Halleluy-ah" – and it is customary to recite this concluding verse twice. One of the reasons given is that by repeating this verse, we end up recite the verb "Hallelu"/"Tehalel" twelve times, an allusion to the custom to recite Hallel on Rosh Hodesh, at the beginning of each of the twelve months of the year. The Arizal taught that the first letters of the words "Kol Ha'neshama Tehalel" – Kaf, Heh and Tav – spell a Name of Hashem associated with protection from danger. Having this intention while reciting these words can help protect a person from harm. It is likewise recommended to recite these words with this intention anytime one fears some sort of danger. The Arizal noted that this also helps protect pregnant women from miscarriage. Rav David Abudarham (Spain, 14 th century) writes that the Pesukeh De'zimra service is constructed in a manner that corresponds to the "Asara Ma'amarot" – the ten pronouncements through which G-d brought the world into existence. Pesukeh De'zimra begins with the blessing of Baruch She'amar, which corresponds to the first pronouncement. It is followed by Mizmor Le'toda – which parallels the second pronouncement, that of "Va'yehi Or" ("There shall be light"), and so on. The chapter of "Halleluy-ah Halelu Kel Be'kodsho" corresponds to the final pronouncement, the creation of Adam, and thus concludes, "Every soul shall praise G-d," emphasizing the point that the human being is the only one among the world's creatures capable of giving praise to G-d. After completing these five chapters of Tehillim, we recite four verses: "Baruch Hashem Le'olam Amen Ve'amen" (Tehillim 89:53); "Baruch Hashem Mi'sion, Shochen Yerushalayim…" (Tehillim 135:21); "Baruch Hashem Elokim Oseh Niflaot Le'bado U'baruch Shem Kebodo Le'olam…" (72:18-19). The first of these verses marks the conclusion of the third of the five books of Tehillim, and the fourth and fifth verses mark the conclusion of the second book. We thus recite these verses as a fitting conclusion to our recitation of Tehillim in Pesukeh De'zimra. Additionally, the first verse has five words, corresponding to the congregation's five-word response to Barechu – "Baruch Hashem Ha'meborach Le'olam Va'ed." The second verse consists of six words, alluding to the six words of the verse "Shema Yisrael Hashem Elokenu Hashem Ehad." Finally, the third and fourth verses contain a total of 19 words, paralleling the 19 blessings of the Amida prayer. The first and final verses conclude with "Amen Ve'amen." The Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909) explains that the word "Amen" is repeated to affirm the eternal truth of our praise of Hashem, both in this world and the next. One should not add other chapters of Tehillim or other verses in Pesukeh De'zimra. For example, if somebody completed Pesukeh De'zimra before the Hazan, he should not add recitations while he waits for the Hazan to finish. Neither should a person repeat any of the text of Pesukeh De'zimra. Even if one realized that he had recited Pesukeh De'zimra without Kavana (concentration), he should not repeat it. (The exception is the verse "Pote'ah Et Yadecha U'masbi'a…" which should be repeated if it was recited without Kavana, as we discussed in a previous installment.)

The section of Ashreh, which we recite three times each day, contains the famous verse, "Pote'ah Et Yadecha U'masbi'a Le'chol Hai Rason" – "You open Your hands and willfully satiate every living creature" (Tehillim 145:16). This verse is especially significant, and, in fact, it is one of the reasons why we are to recite this chapter of Tehillim three times each day (Berachot 4b). It must therefore be recited with concentration, and it behooves us to properly understand its meaning. While the verse's meaning is generally straightforward, the final word – "Rason" – requires explanation. This word means "will," that which a person wishes for. What exactly did King David mean when he said that Hashem satiates all living beings "Rason"? One explanation is that Hashem does not just give us a livelihood – but He does so willfully, lovingly. Just as a parent loves giving to his or her children, and wants to give them as much as possible, Hashem similarly loves us and wants very much to give us a livelihood. It is his pleasure, so-to-speak, to sustain us. Others explain "Rason" as referring to our will, the will of the beneficiaries of Hashem's kindness. He fills our needs and grants us what we wish for. There is also another possible interpretation of the word "Rason" in this verse. Very often, financial success results from a person's likeability, his finding favor in other people's eyes. He earns other people's respect and fondness, and it is because of this that they buy his product or solicit his services. It is not always the product itself which attracts buyers; sometimes it's the seller's character and demeanor. The phrase "U'masbi'a Le'chol Hai Rason" thus might refer to G-d's providing a livelihood by granting a person "Rason" – a certain charm and likeability. Hashem often helps a person succeed by giving him this quality whereby he attracts customers and his products or services are eagerly sought after. The scholars of Kabbalah have unearthed numerous additional layers of interpretations underlying this verse. The Kaf Ha'haim (Rav Yaakob Haim Sofer, Baghdad-Jerusalem, 1870-1939) writes that the vast majority of people should not try to have deep kabbalistic intentions while praying, and should instead ensure to concentrate on the plain, straightforward meaning of the words. Seeking to pray with these deep intentions could lead one to overlook the plain meaning, and the Kaf Ha'haim warns that this could be harmful to the person's Tefila. Nevertheless, there are two relatively straightforward kabbalistic allusions in this verse which are worthwhile for even us to learn and have in mind while reciting it. The first letters of the words "Pote'ah Et Yadecha" – Peh, Alef, Yod – spell a Name of Hashem that is associated with His providing us with Parnasa. Another Name is formed by the final letters of these words – Het, Tav, Chaf. It is recommended, when possible, to have these Names in mind while reciting this verse in the Tefila. If one recites this verse in Ashreh and then realizes that he recited it without Kavana (concentration), then he must repeat it. This is the ruling of the Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909). If the person realized his mistake before he completed Ashreh, then he simply returns to the verse of "Pote'ah Et Yadecha" and continues from there. If he did not realize his mistake until he began the next chapter of Tehillim ("Hallelu-ya Haleli Nafshi"), then he should complete that chapter and then recite "Pote'ah Et Yadecha…" before beginning the following chapter ("Hallelu-ya Ki Tob Zamra"). Meaning, the verse should be inserted in between the subsequent chapters, and not in the middle of a chapter. If a person realized his mistake only later, after Pesukeh De'zimra, then he should ensure to have Kavana when reciting this verse in Ashreh before U'ba Le'sion. And if he failed to have Kavana also at that point, then he should try again while reciting Ashreh at Minha. Some Poskim maintained that one who did not recite this verse with Kavana and realized his mistake only later should repeat it after the Amida, but Hacham Ovadia Yosef ruled that it suffices to ensure to recite it with Kavana in Ashreh before U'ba Le'sion. The Ben Ish Hai and the Hesed La'alafim (Rav Eliezer Papo, 1785-1828) write that when one needs to repeat this verse, he should begin two verses earlier, from "Somech Hashem Le'chol Ha'nofelim." From the Shulhan Aruch and other Poskim, however, it appears that it suffices to recite just "Pote'ah Et Yadecha…" This is the view of Hacham Ovadia Yosef, in Yalkut Yosef. Nevertheless, if time allows, it is recommended to begin from "Somech Hashem Le'chol Ha'nofelim." Some noted the distinction drawn by Halacha between one who recites "Pote'ah Et Yadecha" without Kavana, and one who recites the first blessing of the Amida without Kavana. While one of course must endeavor to concentrate throughout the entire Amida, one must minimally have Kavana while reciting the first Beracha. Nevertheless, the Halacha is that if one did not have Kavana during the first blessing, he does not repeat the Amida, because of the likelihood that he will not concentrate the second time, either. When it comes to "Pote'ah Et Yadecha," however, as we have discussed, one who recited this verse without Kavana is required to repeat it. Two explanations are given for this distinction. First, quite simply, it is far easier to concentrate while reciting a single verse, and so there is little reason to think that one who did not have Kavana while reciting this verse during Ashreh will not have Kavana when he repeats it. Additionally, Halacha is always more careful when it comes to the recitation of Berachot, given the prohibition against reciting a Beracha in vain. Therefore, a person who did not have Kavana during the first Beracha of the Amida is told not to repeat the Amida due to the concern that he will not concentrate the second time, and the blessings of the Amida will then have been recited in vain. When reciting a verse from Tehillim, however, there is no such concern, and thus the person should repeat the verse despite the possibility that he will not concentrate. It is customary to open one's hands when reciting this verse, which speaks of Hashem opening His hands to give us our livelihood. This is done to symbolize our preparedness to receive the blessing that G-d bestows. Of course, we do not need to actually open our hands to receive the Beracha, but we nevertheless perform this action as a visual expression of our desire to receive Hashem's blessings. The Ben Ish Hai writes that one should open his hands horizontally, side to side, without lifting them up in the air. Some stand for the recitation of "Pote'ah Et Yadecha," but this is not our practice. Summary: One must have Kavana (concentration) when reciting the verse "Pote'ah Et Yadecha…" in Ashreh during the prayer service. If one realized during Ashreh that he had recited this verse without Kavana, then he must go back to recite it with Kavana, and then proceed from there. If he remembers after Ashreh, then he should add this verse in between chapters of Pesukeh De'zimra. According to some opinions, if the person did not realize his mistake until after Pesukeh De'zimra, then he should repeat the verse after the Amida. Others maintain that he should just ensure to have Kavana during Ashreh before U'ba Le'sion. If one needs to repeat this verse, it is preferable to begin two verses earlier, from "Somech Hashem Le'chol Ha'nofelim." It is customary to open one's hands while reciting "Pote'ah Et Yadecha." They should be opened only horizontally, side to side, and not lifted in the air.

Retired AV-8B Pilots Capt. Frank “Pugs” Smith and Lt. Col. Luke “Warren” Jacobs take us behind the iconic Jump Jet and its 40-year legacy.We are back with our regularly scheduled podcast! In this episode, they discuss carrier operations, vertical takeoff and landing, the challenges of maintaining the aircraft, and how the fighter performed its missions. The Harrier remains one of aviation's boldest experiments, paving the way for newer V/STOL platforms like the F-35B. This one is going to be cool!Resources:The Harrier Jump Jet (Key Aero)Operation Desert Storm (Air Force Historical Support Division)The AV-8B Harrier II (Wikipedia)Retiring Wings Over the Rockies' Harrier (YouTube)Chapters:(00:00) - Intro (01:36) - Harrier Overview (02:35) - Aviation Beginnings (04:27) - The Jump Jet's 40-Year Journey (05:28) - Like Flying a Dragon (06:25) - The TAV-8 Trainer (07:01) - Flying the Harrier (08:18) - The A-4 Vs. The AV-8B (09:19) - Carrier Operations (10:36) - The V/STOL (14:47) - Vertical Take Off Challenges (17:10) - Dogfight Maneuvers (18:15) - How Loud Was the Jump Jet? (20:04) - Life Below Deck (21:05) - Operation Desert Storm (23:25) - Afghanistan Combat Missions (25:53) - How Harrier Capabilities Evolved (26:54) - Flying in Mixed Packages (28:09) - The AV-8B's Legacy (30:00) - Frank and Luke's Advice (32:35) - Outro

Ra is back! Tav hits the fellahs with his new SCANDAL segment and Ben talks us through the benefits of rabies on holiday Hosted on Acast. See acast.com/privacy for more information.

Ra is still away! SUCKAH! Tav discusses a new Koru lounge but for poor people. All Blacks lose? Surely not! We also dive into the parameters of human + AI love making Hosted on Acast. See acast.com/privacy for more information.

Ra's in Raro so Mconie is back to squash the beef with Tav! Hosted on Acast. See acast.com/privacy for more information.

V oddaji Moja zgodba lahko že drugič prisluhnete vosovskemu likvidatorju Francu Stadlerju Pepetu, ki se je spominjal delovanja varnostno-obveščevalne službe OF med drugo svetovno vojno V Ljubljani. Njegovo pričevanje je komentiral znanstveni sodelavec Študijskega centra za narodno spravo dr. Damjan Hančič. Stadler oživlja spomine na začetke organiziranja VOSa, na atentate ter pomembne operacije, kot so reševanje aktivista Toneta Tomšiča iz italijanskega zapora, sledenje in umor industrialca Avgusta Praprotnika, ter reševanje načelnice VOS Zdenke Kidrič Marjete iz bolnišnice.Citat iz oddaje o umoru Avgusta Praprotnika:Grupa se je odločila, da izvede justifikacijo v Tavčarjevem hramu v bifeju. Avto je bil v Tavčarjevi ulici s šoferem varnostnikom. Streljal je Štefan (Brajnik). Umik je branil Štefan Babnik. Vsi trije so se začeli umikati v avto, ki ga je vozil Pangrc Ludvik. Praprotnik je imel spremljevalca zaščitnika, ki je bil naš agent, ki je potem, ko je avto že krenil streljal, v smeri umika avta in opozoril Italijane, ki so bili blizu sodnije. Videli so, da avto drvi proti Titovi in s puško ustrelili v karoserijo avtomobila. Naboj se je odbil in ranil Štefana Babnika tako, da mu je raztrgal črevesje. Tako je bil prepeljan v Neubergerjevo ambulanto na Vilharjevo cesto. Po akciji sem se sestal s Štefanom Babnikom, da prevzamem pištolo, ki jo je imel Babnik Štefan na akciji. Pri Neubergerju sem našel Štefana ležati na ozki operacijski mizi. Ležal je na hrbtu s skrčenimi koleni v krčih in mukah. Vprašal me je, če je akcija uspela, ali je ta izdajalec padel. Odgovoril sem mu, brez skrbi, da je, sigurno. Dal mi je pištolo, ki je bila na mizi ob njem, da jo odnesem na varno. Bila je to španska pištola. Vprašal sem profesorja Lavriča, (takrat nisem vedel, kdo je. To sem zvedel šele po vojni, ko sem se z njim seznanil. Vedel pa sem, da je naš, ker je bil to naš punkt), naj mi pove, kako je Štefan. Povedal je, da noči ne bo preživel.

Mirando a las obras del TAV

En este episodio, exploramos un tema de vigencia crítica para Puerto Rico: la seguridad alimentaria. La presentadora Mildred Cortés dialoga con los expertos del Departamento de Economía y Sociología Rural del Colegio de Ciencias Agrícolas, Recinto Universitario de Mayagüez (RUM) de la Universidad de Puerto Rico (UPR): el Dr. Julio César Hernández, el Dr. Héctor Simón Tavárez y la Dra. Alexandra Gregory,…

Piše Muanis Sinanović, bere Igor Velše. Filozof Primož Repar nas je presenetil s težko opredeljivo knjižico 77: Osrečenost v času Luke Dončića. Fizično ima delo format in obliko slikanice. Večja dolžina stranice jo razteguje v kvadratno obliko, platnice pa so trde in debele. Tudi notranjost je polna vizualnih podob: fotografij Luke Dončića iz časa Eurobasketa 2017, na katerem je Slovenija osvojila zlato medaljo. Glede na vsebino je omejitev zgolj na to obdobje nekoliko nenavadna. Dončićevo življenje in delo, kakor ju vidi Repar, bi bili na slikovni ravni lahko prikazani v daljšem obdobju, ki bi lahko ponudilo tudi več dramatičnih prizorov. Po drugi strani pa je lahko zgovorna tudi vrnitev na izhodišče, na zgodovinsko točko slovenske košarke, preden je Dončić stopil na parket NBA-jevske košarke, saj poudarja nedolžnost in pristnost, ki sta v središču Reparjevega zanimanja. Njegova filozofska drža je eksistencialistična in izhaja iz Kierkegaardove krščanske misli, pri umeščanju Dončića v filozofsko mišljenje pa se opira tudi na različne sodobnejše mislece in filozofe ter kritike kulture, denimo Baudrilarda in njegov koncept simulakra ter Deborda in njegovo družbo spektakla. Njuni kritiki poblagovljenosti medčloveških odnosov Repar dodaja eksistencialno dimenzijo. V Dončiću, enem najboljših igralcev košarke na svetu, namreč vidi avtentično osebo. V svojem poetičnem slogu, polnem smiselnih, igrivih jezikovnih domislic in asociacij, ki so vzporedni Dončićevim domislicam na parketih, nam sporoča, da je privlačnost Dončića v razkoraku med njegovo odličnostjo in ranljivostjo. Nešablonski košarkar Dončić je velik tudi zaradi svojih neuspehov. Raste s porazi in zgrešenimi meti. Prepriča tudi s svojimi čustvi, jezo in razočaranjem. Reparjevo filozofsko interpretacijo je mestoma mogoče videti kot pretirano. A s tem bi zgrešili poanto. Tudi sam namreč sporoča, da pri njej ne gre za zajetje Dončića »takega kot je«, temveč za njegovo darovanje kot osebe. In ta dar je, če izvajamo, dar filozofu, ki na svojem terenu izvaja tisto, kar naj bi po Reparjevem Dončić izvajal na igrišču. Zato moramo tudi Reparjevo domnevno pretiravanje razumeti kot del igre. Ali eksistencialne revolucije, oživitve pristne osebe, za katero se zavzema. Kot filozof, poet, tisti, ki moli. Besedilo, ki je prevedeno v angleščino, namreč presega meje žanrov in njegovo oblikovno raznolikost je dejansko najbolj smiselno razumeti kot molitev, ekstatično, navdušujoče izrekanje, ki mu uveljavljeni postopki niso dovolj za izraz osebnega eksistencialnega hrepenenja. V tem oziru je Reparjeva knjižica prepričljiva. Vendar pa moramo biti do besedila tudi deloma kritični. Eksistencialni analizi in revoluciji je treba dodati materialistično. Potrošništvo je specifična kulturna faza središča imperija, za katerega je bilo treba žrtvovati ogromno ljudi na periferiji. Poleg tega je nestabilna, saj jo ogrožajo lastni materialni procesi proizvodnje, ki vodijo v krize in manjšajo kupno moč delavcev. Če si želimo omogočiti dostojno življenje vsem, bo treba v praksi, ne zgolj v duhu, doseči radikalne spremembe. Pri tem pa nam eksistencialna revolucija seveda lahko pomaga in pripravi pogoje za kolosalen materialni obrat. Knjigo 77: Osrečenost v času Luke Dončića spremljajo besedila Iva Daneua, Sergeja Tavčarja in Igorja Đurovića. Tavčarjev komentar vključuje rasizirano razumevanje košarke, ki ni strokovno utemeljeno. Kot je v delu športnega novinarstva in popularnega dojemanja košarke v navadi, izpostavlja lažno dihotomijo med močnimi in tehnično podkovanimi igralci ter igralci z inteligenco in kreativnostjo, ki so seveda vsi po vrsti belci: Dončić, Larry Bird in Mirza Delibašić. Pri tem podcenjuje osupljivo košarkarsko inteligenco LeBrona Jamesa, ki je po načinu igre tudi Dončićev vzornik. Romantizirano razumevanje razlik med NBA-jevsko in evropsko košarko ni točno, prva je namreč tudi hitrejša in mentalno kompleksnejša.

On today's program, Episode 185, this is Part 2 of a continued dialogue I had with Andre Roosma of the Netherlands, discussing what is often referred to as Paleo-Hebrew. We will explore the Hebrew language's pictographic roots and fundamental concepts that underlie the earliest known script of the biblical laws and narratives, delving deeper into the pictographic meanings of Hebrew as the language spoken by Abraham, Moses, and David. Today's program will provide an overview of the Hebrew letters from "Heh" to "Tav," including their pictographic forms and meanings. Join me now for my discussion with Andre Roosma as we delve into the rich nuances of biblical texts, exploring their pictographic notions.

Please, feel free to send a text message here and give us feedback. Also, you may send a text msg or leave voicemail (425) 550-6670. Please DO NOT ask questions here because I have no way to respond to your questions. If you have questions, please send an email: questions@cominghome.co.ilOn today's program, Episode 185, this is Part 2 of a continued dialogue I had with Andre Roosma of the Netherlands, discussing what is often referred to as Paleo-Hebrew. We will discuss the Hebrew language's pictographic roots and basic notions that underlie the earliest known script of the biblical laws and narratives, delving deeper into the pictographic meanings of Hebrew as the language spoken by Abraham, Moses, and David. With today's program, we will have a look at the Hebrew letters "Heh" - ה - to "Tav" - ת, their pictographic forms and meanings. Join me now for my discussion with Andre Roosma as we delve into the rich nuances of biblical texts, exploring their pictographic notions. Support the show

According to the Smith's Bible Dictionary, Habakkuk means (embrace). This book would be the eighth, in order, of the Minor Prophets. Of the facts of the prophet's life, we have no certain information.One important aspect of the ancient Old Testament order of the Hebrew Bible is that the 12 prophetic works of Hosea through Malachi, sometimes referred to as the Minor Prophets, were designed as a single book called The Twelve. Habakkuk is the eighth book of The Twelve.Habakkuk lived in the final decades of Judah, Israel's southern kingdom. It was a time of injustice and idolatry, and he saw the rising threat of the Babylonian empire on the horizon. Unlike the other Hebrew prophets, Habakkuk doesn't accuse Israel or even speak to the people on Yahweh's behalf. Instead, all of his words are addressed to Yahweh. The book of Habakkuk tells us about Habakkuk's personal struggle to believe that Yahweh is good when there is so much tragedy and evil in the world.Habakkuk sees the darkness of the world as an invitation to have faith in Yahweh's promise to one day set things right. Living with such faith means trusting that Yahweh loves this world and works to one day eliminate all evil forever.1.   Burden = Same as in Nahum 1:1. Did see! = The Hebrew pronunciation places the chief pause on this verb, to emphasize the fact that the giving of the vision was of more importance than what was revealed by it. A second and lesser pause is placed on "burden", leaving "Habakkuk" as being less important. The verse therefore should read, "The burden or doom which he saw, Habakkuk the prophet".2.  LORD = Hebrew. Yahweh cry = cry for help in distress; as in Psa. 18:6, 41; P22:24. Compare Job 19:7. Jerm. 20:8. Showing that the cry is not personal but made in the name of all who suffered from the evil times. cry out = cry with a loud voice, implying the complaint.3.  iniquity = Hebrew. 'aven.  = From an unused root perhaps meaning properly to pant (hence to exert oneself, usually in vain; to come to naught); strictly nothingness; also, trouble, vanity, wickedness; specifically, an idol:  trouble, having special reference to the nature and consequences of evildoing. grievance = oppression, or injustice. Hebrew. 'amal. toil, that is, wearing effort; hence worry, whether of body or mind: Why do You show me iniquity, and cause me to see trouble? = This was, and is, an excellent question. Why does Yahweh allow us to see iniquity and trouble, in ourselves or in others?4.  the law = the Torahslacked = ‘poog' to be sluggish judgment = justice. the wicked = a lawless one: looking forward from the Chaldeans to the future Antichrist. Hebrew. rasha'.  the righteous = the just one (Art. with Hebrew. 'eth). DON'T OVERLOOK THIS!!Eth = the Aleph and Tav of the Hebrew Alphabet.Iniquity…trouble.… plundering and violence…strife…contention.… the law is powerless…justice never goes forth…perverse judgment proceeds = Habakkuk saw trouble and sin everywhere, from personal relationships to the courts of law. This distressed him so much that he cried out to Yahweh and asked Yahweh why He didn't bring judgment and immediately correct things.5.   Behold = Look ye. This is said for emphasis, introducing the change to Yahweh's answer. This is quoted in Acts 13:41. Join me as we go Chapter by Chapter, Verse by Verse, Unraveling the Words of Yahweh!Have any questions? Feel free to email me; keitner2024@outlook.com 

In this study we will take a look at the miracles that Yahweh performed on the Egyptians, when Israel was held in bondage, during this period in Exodus. We will see that those miracles were against the Egyptian deities or gods that they worshipped. Moses was the prototype of the Christ or Messiah. More importantly, the nation of Israel saw Moses as a prototype and the Bible record illustrates that point. Moses said: ‘And Yahweh said unto me, they have well spoken that which they have spoken. I will raise them up a Prophet from among their brethren, like unto thee, and will put my words in his mouth; and he shall speak unto them all that I shall command him.' (Deut. 18:17-18,).In this study I continue in chapter 8. Verses 20-32    Fourth Plague     Flies20   And the Lord said unto Moses, rise up early in the morning = Of the day following, the twenty eight of Adar, or February, according to Bishop Usher;and stand before Pharaoh = meet him as he comes along, and stop him, and stand before him as having something to say to himlo, he cometh forth to the water =  the river Nile, either to take his morning's walk, and to refresh himself at the waterside, as the Jerusalem Targum21   let = “eth” Aleph = (ox) strength, strong, power, leaderTav = (cross) sign, covenant seal, mark and crossBy placing the “eth” in front of ‘my people' this locks in the fact that it is truly Yahweh/Yahshua Messiah's Elect! There is no mistake that He wants to deliver His people out of bondage!I will send = ‘shâlach' ‘shaw-lakh'' ‘shin-lamed-chet' ‘Aleph-Tav'Shin = (two front teeth) sharp, press, eat, twolamed – (shepherd staff), teach, yoke, to bindChet = (tent wall) outside, divide, halfAleph = (ox) strength, strong, power, leaderTav = (cross) sign, covenant seal, mark and crossYahweh/Yahshua Messiah is pressing the point to Pharaoh, by not letting My People go We will divide the 2 nations in half and with the ‘shepherds' staff' We will bring upon you the flies.Swarm of flies = the word used is generally thought to signify a "mixture", and is interpreted by many a mixture of various creatures or insectsOf = “eth” Aleph = (ox) strength, strong, power, leader Tav = (cross) sign, covenant seal, mark and crossBy placing the “eth” in front of ‘swarms of flies' this locks in the fact that it is truly Yahweh/Yahshua Messiah's performing these miracles! There is no mistake that He wants to deliver His people out of bondage!I read from Thomas Horns book ‘The Gods'I talk about the Bohemin Grove and their ritual22   sever = “paw-law” A primitive root; to distinguish (literally or figuratively): - put a difference, show marvelous, separate, set apart, sever, make wonderfully. Day = ‘yôm' ‘yome' ‘yod-vav-mem' ‘Aleph-Tav'Yod = (arm and closed hand) work, throw, worshipvav = (tent peg) add, secure, hookMem = (water) chaos, blood, mightyAleph = (ox) strength, strong, power, leaderTav = (cross) sign, covenant seal, mark and crossThe Hebrew letter for ‘yod' is a picture of a hand representing work, the Hebrew letter for ‘mem' is a picture of water. Combined these mean "working water". The sea or other large body of water is the place of storms and heavy surf. Back in verse 20, we read that Pharaoh visits the Nile river to worship his gods. By adding ‘Aleph-Tav' Pharaoh will see a greater storm, that even his gods cannot prevent!Have any questions? Feel free to email me keitner2024@outlook.com

The Gemara in Masechet Menahot (43) cites a verse in the Book of Debarim (10:12) in which Moshe Rabbenu turns to Beneh Yisrael and says, "Ma Hashem Elokecha Sho'el Me'imach" – "What does Hashem your G-d ask of you?" Moshe proceeds to explain that Hashem asks that we fear Him and obey His commands. The Gemara, however, comments that the word "Ma" in this verse may be read as "Me'a" – one hundred. This means that we are required to recite 100 Berachot each day, and this is what Hashem wants from us. It seems from the Gemara that source of this obligation is the word "Ma," which is read as though it is written "Me'a." Some commentators, however, understood the Gemara's inference from this verse differently. The Shiboleh Ha'leket (Rav Sidkiya Ben Abraham Ha'rofeh, Italy, 13 th century) noted that this verse contains 100 letters, and thus the Sages found in this verse an allusion to the requirement of 100 daily blessings. In truth, this verse contains only 99 letters, but since the Gemara reads the word "Ma" as "Me'a," which contains an additional letter (an Alef), the total reaches 100. Others explain that this inference is based on the "Atbash" system, whereby a letter can be substituted with its corresponding letter at the opposite end of the alphabet (e.g. Alef is replaced by Tav; Bet is replaced by Shin, Gimmel is replaced by Resh, etc.). In the system of "Atbash," the letters that form the word "Ma" – Mem and Heh – become Yud and Sadi, which have the combined numerical value of 100, alluding to the 100 daily Berachot. Another allusion to this requirement is found in the verse in Tehillim (128:4), "Hineh Ki Chen Yeborach Gaber Yereh Hashem" ("Behold, this is how a G-d-fearing man shall be blessed"). The word "Ki" in Gematria equals 30, and the word "Chen" equals 70, for a total of 100, such that the phrase "Ki Chen Yeborach Gaber" may be read to mean that a man should recite 100 Berachot. As the Gemara inferred this requirement from a verse in the Torah, we might conclude that this constitutes a Biblical obligation, mandated by the Torah. This is, in fact, the view taken by the Ba'al Halachot Gedolot, in his listing of the 613 Misvot. Rav Shlomo Ibn Gabirol, in his "Azharot" poem which lists the 613 Biblical commands following the view of the Behag (and which we customarily chant on Shabuot), makes reference to this requirement ("U'mi'berachot Tasmid Me'at Ha'nigmarim"). By contrast, the Rambam maintained that this obligation was enacted later, by the Sages. The Sefer Ha'yere'im (Rav Eliezer of Metz, France, 1140-1237) similarly maintained that this requirement was instituted by the Ansheh Kenesset Ha'gedola ("Men of the Great Assembly") at the beginning of the Second Commonwealth. According to this view, the inference from the verse in Debarim is meant as an allusion to a law enacted by the Sages, and is not the actual source of this requirement. A third opinion is that of the Shiboleh Ha'leket and others, who maintained that this obligation was verbally transmitted as a "Halacha Le'Moshe Mi'Sinai" – a law taught to Moshe at Sinai, without having been written in the Torah. At first glance, we might question the view of the Behag and Shiboleh Ha'leket based on the Midrash's comment that it was King David who instituted the recitation of 100 Berachot each day. The Midrash relates that a devastating plague ravaged the nation during the reign of King David, killing 100 people every day. David determined that to end the plague, everyone must recite 100 daily blessings. (David later refers to himself as "Hukam Al" (Shemuel II 23:1), which could be read to mean, "the one who established 'Al,' as the word "Al" in Gematria equals 100, an allusion to the 100 Berachot which David instituted.) Seemingly, if this constitutes a Biblical obligation, or a requirement transmitted orally since the time of Moshe Rabbenu, then there would be no need for David to introduce this law. The answer, it would seem, is that the people were lax in their fulfillment of this obligation, and so David ordered the people to be more scrupulous in this regard and ensure to recite 100 blessings every day. A fascinating theory regarding the origins of this obligation was advanced by Rav Aharon Amarillo (1700-1772), in his work Peneh Aharon. He writes that Moshe Rabbenu instituted the requirement to recite 100 Berachot each day at the time of the construction of the Mishkan. The wooden planks that formed the structure of the Mishkan were inserted into "Adanim" – sockets embedded in the ground. In all, there were one hundred sockets, which together formed the base and foundation of the Mishkan. The word "Me'a," Rav Amarillo writes, is an acrostic representing the words "Me'at Adneh Ha'Mishkan" – "the one hundred sockets of the Mishkan." The 100 daily blessings were instituted to correspond to the 100 sockets of the Mishkan. The question naturally arises, what connection is there between the "Adanim" and Berachot? Why are the 100 daily blessings associated with the sockets that formed the base of the Mishkan? We can perhaps answer this question based a discussion by Rav Yosef Salant (Jerusalem, 1885-1981), in his Be'er Yosef, regarding the symbolism of the "Adanim." He writes that the Mishkan itself represents the Misvot that the Torah commands us to observe, and the sockets represent the foundation of it all, the pillar upon which the entire Torah rests. And that pillar, Rav Salant explains, is Emuna – faith in Hashem. Our faith in Hashem as the Creator who governs and controls everything is the foundation upon which all of Torah is based. If so, then we can perhaps understand the association between the "Adanim" and the Berachot that we recite. Numerous times each day, we are required to take a few moments and recite a Beracha, with Kavana (concentration), reminding ourselves of Hashem's involvement in the world and in our lives. Indeed, the word "Beracha" in Gematria equals 227 – the same Gematria as the word "Zecher" – "remembrance." The purpose of Berachot is to remind us of Hashem's existence and control over the world. And, in fact, the verse from which the Gemara derived this obligation tells us that what Hashem asks is "Le'yir'a Et Hashem Elokecha" – that we "fear" Hashem, meaning, that we live with an awareness of His unlimited power and His greatness. Accordingly, the 100 Berachot we recite each day are truly the ''foundation" of Torah life, as they serve to reinforce our Emuna. For good reason, then, the Berachot we recite are associated with the "Adanim," which comprised the foundation of the Mishkan and thus symbolize faith, the foundation of the entire Torah. A number of sources speak of the great reward which one earns through the proper fulfillment of this obligation – reciting 100 Berachot each day with concentration, and pronouncing each word correctly. (For example, one must ensure that the words "Baruch Ata" do not sound like "Baru Chata," and to recite "Melech Ha'olam," and not "Melecholam," skipping the syllable "Ha-.") The Ba'al Ha'Turim (Rabbenu Yaakob Ben Asher, 1270-1340) writes that those who fulfill this Misva are rewarded with long life. Commenting on the verse, "And you who cling to Hashem your G-d, you are all alive today" (Debarim 4:4), the Ba'al Ha'Turim observes the custom followed in some communities to add a crown in the Torah scroll above the letter Kof in the word "Ha'debekim" ("who are attached") in this verse. This crown, he explains, emphasizes that we attach ourselves to Hashem through the 100 blessings we recite each day – as the letter Kof in Gematria equals 100, and the reward for reciting these Berachot is "Haim Kulechem Hayom" – long life. The Seder Ha'yom (Rav Moshe Ben Machir, Safed, 16 th century) adds that when one recites a Beracha properly, the Beracha ascends to G-d in the heavens, and He takes the Beracha and embeds it into His "crown." Hashem's "crown," as it were, is made from the Berachot which we recite properly with Kavana. Rav Shlomo Zalman Auerbach (Jerusalem, 1910-1995) would advise people experiencing hardship to devote themselves to the meticulous observance of this Misva, and try to recite 100 Berachot each day with proper attention and concentration. The verse from which the Gemara inferred this obligation begins with the letter Vav ("Ve'ata Yisrael") and ends with the letter Chaf ("Nafeshecha"), and these letters have the combined numerical value of 26 – the Gematria of the divine Name of "Havaya." The Hida (Rav Haim Yosef David Azulai, 1724-1806) thus writes that the fulfillment of this Misva saves a person from the dreadful punishments described in the section of the "Kelalot" ("curses") in Parashat Ki-Tabo, a section in which the Name "Havaya" appears 26 times. Moreover, this section contains 98 curses, and also includes a warning about "every ailment and every punishment which is not mentioned in this book" (Debarim 28:61) – adding another two curses, for a total of 100. We protect against these 100 curses through the recitation of 100 Berachot each day. Additionally, the Zohar Hadash teaches that we remain in exile because of our failure to properly observe this requirement to recite 100 Berachot each day. It emerges, then, that our commitment to properly fulfill this obligation helps end our long, bitter exile and bring our final redemption. The Arizal taught that the 100 daily Berachot allow us to harness the power of the 22 letters of the Hebrew alphabet – the letters that Hashem used to create the world. The 100 daily blessings are, according to Kabbalistic teaching, associated with the 22 letters, and we thus benefit from the spiritual force of these letters by properly reciting 100 Berachot every day. The Gemara in Masechet Menahot (43b) tells that Rabbi Hiyya went out of his way to purchase special foods for Shabbat and Yom Tob in order to ensure he would recite 100 Berachot. On Shabbat and Yom Tob, the Amida prayer contains far fewer blessings than the weekday Amida prayer, making it more challenging to reach a total of 100 Berachot. Rabbi Hiyya thus made a point of having additional foods on Shabbat and Yom Tob so he would have more Berachot to recite. The Hida, in his work Mahazik Beracha (290), noted the Gemara's implication that this practice marked a special measure of piety on Rabbi Hiyya's part. The Gemara appears to laud Rabbi Hiyya for his piety – indicating that this was not strictly required. The Hida thus suggests that reciting 100 Berachot each day does not constitute a strict Halachic obligation, but is rather a worthwhile practice to follow. The consensus view among the Poskim, however, is that this is indeed a strict obligation. The Petah Ha'debir (Rav Haim Binyamin Pontremoli, Turkey, d. 1872) explains that Rabbi Hiyya was praised for fulfilling the Misva at the highest standard – going out of his way to buy special delicacies, rather than buying simpler foods. But ensuring to recite 100 blessings is a strict requirement, and not just a measure of piety. Hacham Ovadia Yosef adds that there are ways to reach a total of 100 Berachot without actually reciting Berachot, but Rabbi Hiyya chose not to rely on these leniencies, and instead went out to buy food so he could recite 100 blessings on Shabbat and Yom Tob. Indeed, the Shulhan Aruch explicitly rules that one is required to recite 100 Berachot each day. The Poskim indicate that 100 Berachot is a minimum amount, and not an exact amount. Hacham Ovadia notes that from the explanation mentioned earlier associating the 100 daily Berachot with the 100 sockets beneath the Mishkan, one might conclude that we must recite precisely 100 Berachot, and no more, but this is not the Halacha. One must recite at least 100 Berachot, but certainly may recite more. The Rambam, in Hilchot Tefila, brings a custom that some observed to count the Berachot that one recites over the course of the day. This was the practice of Hacham Ovadia Yosef on Shabbat, when it is more difficult to reach a total of 100 blessings, as he wanted to ensure to fulfill this obligation. It is told that the Brisker Rav (Rav Yitzchak Zev Soloveitchik, 1886-1959) would count the Berachot he recited every day, following this custom mentioned by the Rambam.

Konuğumuz Hacettepe Üniversitesi öğretim üyesi Prof. Dr. Çağatay Tavşanoğlu ile doğanın değişen dinamiklerini ve bu değişimlerin canlılar üzerindeki evrimsel yansımalarını 'Ekoloji evrimi nasıl görür?' sorusunu merkeze alarak, bu iki alanın birbirine nasıl temas ettiğini tartışıyoruz. 

Carter Person: co-owner of Cork & Key, and partner in the ATOM hospitality group! Join us for an expansive conversation with seasoned entrepreneur Carter Person. With deep roots in a family dedicated to hospitality and community, Carter shares what it was like growing up in the family business — giving us an honest breakdown of the rewards and challenges of working closely alongside relatives. From catering for the Vikings to unexpected setbacks, our guest shares firsthand industry insight that reflect his career immersed in service, growth, and community. Stay tuned for minute 8:27, where Carter shares the story of one of his earliest infamous moments at family-run Tav on the Ave

See how Jesus Christ relates to us as His Church, universally and locally; as The First and The Last.

See how Jesus Christ relates to us as His Church, universally and locally; as The First and The Last.

See how Jesus Christ relates to us as His Church, universally and locally; as The First and The Last.

See how Jesus Christ relates to us as His Church, universally and locally; as The First and The Last.

See how Jesus Christ relates to us as His Church, universally and locally; as The First and The Last.

See how Jesus Christ relates to us as His Church, universally and locally; as The First and The Last.

See how Jesus Christ relates to us as His Church, universally and locally; as The First and The Last.

See how Jesus Christ relates to us as His Church, universally and locally; as The First and The Last.

See how Jesus Christ relates to us as His Church, universally and locally; as The First and The Last.

See how Jesus Christ relates to us as His Church, universally and locally; as The First and The Last.

Peculiar story of Abraham; Ur to Haran; Hebrew language - written to be read; Latin; Covetousness = idolatry; Family lineage; Name changes; Graft and corruption; Moneychangers; Sacrifice; "Leaven"; Cain and Abel; Altar purposes; Atheists?; Terah the organizer; Alexander the great; Genghis Kahn; Patterns of government; God's way; Gen 17:1; aleph-nun-yod; "walk" = hey+tav+hey-lamad-kof; Jacob walking in the spirit/faith; Covenant with God; Living by faith; Following false Christs; Welfare snares; Minutemen for each other; Choosing your way; "Perfect" offerings; Deut 18:13; Caring for neighbor; Deut 25:15; Dreams; Lk 6:4 Perfect as his master; Laying down your life; Learning to be Israel; Covenant = beit-resh-yod-tav+yod; Spirit and Truth; Daily ministration; Gen 17:4 Explaining to Abram; +hey+mem = Abraham (Father of many nations); "Kings"; Gen 17:7 Establishing the covenant; "Canaan" those following Nimrod; "Samad" destroyer?; "Give" nun-tav-nun - continuous; Repentance; "Seed" vav-lamad-zayin-resh yod kof; aleph-tav = relationship between God and man in faith; Possessing the land; Circumcision; Lev 10:16; of the heart; Knowing what to believe; Moving in Spirit; Divine spark; "token" of the covenant; Sarai to Sarah; Barak - biet-resh-kof = Blessing; Getting back to the light; Sarah model; Understanding bible meaning; "Thummim"; Tav-mem(+yod)-mem faith; Completeness; Abraham's laugh; Knowing by fruits; Physical token; Abraham's new societal structure; Ex 28:30; Double faith; "Urim" light and fire; Awakening; Gathering in tens, hundreds and thousands; What is your corruption?; "Perfect"; Bondage of Egypt; Discovering the solution; Being fruitful; Draw near to God.

POVABILO – LIKOVNI NATEČAJ ZVERINICE Prvi program Radia Slovenija vabi vrtce, šole in posameznike k sodelovanju v likovnem natečaju ZVERINICE Prisluhnite epizodam na našem Podkastu in z malo domišljije narišite svojo zverinico. Risbice nam pošljite na elektronski naslov programzamlade@rtvslo.si ali po pošti na naslov Radio Slovenija, Program za mlade, Tavčarjeva 17, 1550 Ljubljana. Od majhnih do velikanskih, od morskih do kopenskih, od tistih na tleh do tistih v zraku. Kako se prehranjujejo, kako si gradijo zavetje, kdo je glavni, kdo je hiter, kdo počasen? To se o živalih sprašujemo in si hkrati odgovorimo v novi otroški izobraževalno-igrani seriji in podkastu Zverinice. Poslušajte posamezne zgodbe in prepustite otroke njihovi ustvarjalnosti in domišljiji ter jih spodbudite, naj narišejo svojega dolgonogega noja, mogočnega orangutana, velikega slona ali nadležnega komarja. Likovni natečaj poteka do petka, 25. aprila 2025. Najboljše skupine in posameznike bomo nagradili. Namen serije Zverinice je ozaveščati o pomenu biotske raznovrstnosti in otrokom na zabaven način posredovati dragocene informacije o manj znanem živalskem svetu. Serija, ki nastaja v koprodukciji s francoskim radiem, tako odstira živalske pustolovščine, z njimi pa bodo najmlajši tudi z odgovori na vprašanja, zastavljena v oddaji, spoznali njim manj znana dejstva o različnih živalskih vrstah. Ob pomoči serije Zverinice se bodo otroci podali na raziskovanje sveta, ki ga vsak dan srečujejo, vendar ga v resnici ne poznajo dovolj, z likovnim natečajem pa želimo spodbuditi tudi njihovo ustvarjalnost in domišljijo. S sodelovanjem na natečaju dovolite, da so poslani izdelki objavljeni na družabnih omrežjih ali spletnih straneh RTV Slovenija. Najbolj živalske zgodbe za otroke!

This week on The Publisher Podcast by Media Voices, we're joined by Tav Klitgaard, Group CEO of Zetland Media. As well as news publication Zetland, the Danish company also has a book publishing business, an AI transcription startup, and has recently launched a Finnish publication called Uusi Juttu, which has attracted 15,000 paying members within the first two months. Tav discusses the importance of designing products to address user needs, and how that pays back in attracting paying younger audiences, as well as taking their subscriber-first business model to Finland. He also explains why audio has been such a pivotal part of making Zetland successful as a member-driven publisher, and what future he sees for video podcasts. This season of The Publisher Podcast & Newsletter is sponsored by Memberful, a best-in-class membership solution for independent publishers and journalists who want to diversify their revenue stream and connect with their audience.  Memberful is human-first, not software first, so whether you're launching, growing or switching platforms, the team at Memberful are committed to providing exceptional support at every stage of your journey. Take control of your publishing business this new year with Memberful. Visit memberful.com/publisherpod and get started with a free trial.

Before one immerses a new utensil, he recites the Beracha, "Baruch Ata…Asher Kideshanu Be'misvotav Ve'sivanu Al Tebilat Keli." If he immerses more than one utensil on one occasion, then he recites "Al Tebilat Kelim," in the plural form, instead of the singular form of "Al Tebilat Keli." Nevertheless, if one mistakenly recited the Beracha in the plural form for a single utensil, or in the singular form for multiple utensils, he has fulfilled his obligation and does not repeat the Beracha. While reciting the Beracha, one should preferably hold the utensil in his right hand. Furthermore, it is proper to stand while reciting the Beracha, just as one should stand whenever he recites a Beracha over a Misva. Some Rabbis found an allusion for this Halacha in the verse (Tehilim 33:11), "Asat Hashem Le'olam Ta'amod" (literally, "the counsel of God shall always endure"). The letters of the words "Asat" and "Le'olam" are "Ayin," "Sadi," "Tav," "Lamed," "Ayin," "Lamed" and "Mem," which represent the words, "Erub," "Sisit," "Tefilin," "Lulab," "Omer," "Lebana" and "Mila." This verse thus alludes to the fact that when one recites the Beracha over these Misvot, "Ta'amod" – he must stand. This applies to Tebilat Kelim (immersing utensils), as well. Nevertheless, if a person sat while reciting the Beracha before immersing a utensil, he has fulfilled his obligation and does not repeat the Beracha. Tebilat Kelim differs from other Misvot in that it is not an outright obligation; one is not required to immerse a new utensil unless he wishes to use it. As such, there is greater room for leniency, and thus one who mistakenly sat while reciting the Beracha does not repeat the Beracha. One must not speak after reciting the Beracha until he finishes immersing all the utensils he intends to immerse. One may speak in matters related to the immersion, such as asking somebody to bring him another utensil or the scraper to remove stickers. If one spoke in matters unrelated to the immersion after he recited the Beracha and before he began immersing the utensils, he must repeat the Beracha. While immersing a utensil, one should hold it with a loose grip, in order to allow the water in the Mikveh to come in contact with the entire surface of the utensil. Alternatively, one may wet his hands before immersing the utensil, in which case he is allowed to hold the utensil with an average grip during the immersion. Since his hands are already wet, the part of the utensil that he holds will come in contact with Mikveh water by touching his hands. One may even wet his hands with water from a sink for this purpose, as this water will obtain the status of Mikveh water once it enters the Mikveh (due to a Halachic concept known as "Hashaka"). Many people use baskets with holes in the bottom and sides when immersing several utensils at once. They lower the basket into the Mikveh, and the water in the Mikveh enters the basket through the holes and touches the utensils. This is certainly permissible, but on condition that one places the utensils alongside one another, as opposed to on top of one another. When utensils rest on top of one another, the weight of the top utensil might prevent the water from touching the upper surface of the lower utensil. One must therefore ensure that the utensils are lined across, next to one another, without any utensil on top of another. Summary: Before immersing a utensil, one recites the Beracha of "Al Tebilat Keli" (or "Al Tebilat Kelim" for multiple utensils), preferably while standing and while holding the utensil in his right hand. He should not speak in matters unrelated to the immersion until he finishes immersing all the utensils. One should hold the utensil with a loose grip, or wet his hands prior to the immersion and then hold the utensil with an average grip. Perforated baskets may be used to immerse several utensils together, provided that no utensil is placed on top of another.

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