Podcasts about Tika

Tika and Jeremy are into hotwifing, couple swaps and more and they called in to discuss it. Tune in to first hear from Jeremy and then hear from Tika discuss all the details, including their first swinger campsite experience and exactly what went down, including exhibitionism and him getting some. To squirt, how he knew he was always into the hotwife scenario, how and why they're both decided hooking up with guys was what was they both preferred, the hotel parties they went to and their first mff threesome they had, when and why they built a sex room in their house and what goes down in there, her first dvp and exactly what went down and how she felt about it afterwards, how he was open to hooking up with a guy and how she felt about it at first, his first experience sucking a cock and how Tika felt about it, how and why Tika was nervous when they first started hooking up with others, how and why Tika is sometimes jealous of seeing her guy with other women and why sometimes she's not, the orgy they had with two sisters and exactly what went down, how both of them feel their relationship now with each other differs then their first marriages plus a whole lot more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kerusuhan terjadi di Lapas Narkotika Muara Beliti, Kabupaten Musi Rawas, Sumatera Selatan. Narapidana diduga menguasai sejumlah ruangan.

Dibawakan oleh Tika dari Paroki Santo Alfonsus Rodrigues Pademangan di Keuskupan Agung Jakarta, Indonesia. Kisah Para Rasul 6: 8-15; Mazmur tg 119: 23-24.26-27.29-30; Yohanes 6: 22-29PEKERJAAN PERTAMA DARI TUHANTema renungan kita pada hari ini ialah: Pekerjaan Pertama dari Tuhan. Pertanyaanklasik berikut ini ada di dalam komunikasi di antara kita. Yang mana yang lebihtepat: makan untuk bekerja atau bekerja untuk makan? Jawaban yang seimbangialah kalau kita tidak mementingkan salah satunya saja, tetapi menerima danmembenarkan kedua-duanya. Pada saat yang pas, kita perlu makan dahulu baru bekerja.Pada saat yang lain, kita memang harus bekerja dahulu baru kemudian makan. Dalam urusan dengan iman, Yesus Kritus mengajarkan kita tentang pekerjaanrohani pertama dan makanan rohani pertama. Pekerjaan yang pertama itu ialahpercaya kepada Bapa yang mengutus Dia untuk menjadi penebus dunia. Melalui imaninilah, makanan pertama kita terima ialah Firman-Nya yang telah menjadimanusia, yaitu Yesus Kristus dari Nasaret. Pekerjaan pertama ini telah dilakukan oleh semua yang ditunjukkan di dalamkitab suci, mulai dengan Yesus Kristus yang menegaskan bahwa Ia datang untukmelakukan kehendak Bapa yang mengutus-Nya. Bunda Maria dan Santo Yosef jugahidupnya untuk percaya dan melakukan kehendak Tuhan. Abraham dikenal sebagaibapak orang-orang yang percaya. Moses terkenal dengan hukum tauratnya dan paranabi semuanya kualitas imannya tak bisa diragukan. Sosok yang menjadi contoh kita pada hari ini ialah Stefanus, seorang muridTuhan dan saksi kebangkitan Kristus. Ia dipenuhi rahmat dan kekuatan Allah yangmahakuasa sebagai tanda kualitas imannya, sehingga ia berani berhadapan dengantantangan orang-orang Yahudi yang melawan dia. Melalui pekerjaan ini, makananpertama yang dinikmati oleh Stefanus ialah meminum piala penderitaan bersamaYesus Kristus. Mengikuti Kristus merupakan panggilan dasar kita, yang harus diisi denganpekerjaan pertama yaitu iman dan ketaqwaan kepada Tuhan. Alasan yang dimintakepada setiap orang saat hendak dibaptis ialah iman, dan bukan harta benda,posisi, kenikmatan dunia atau nama baik. Setelah pembaptisan barulah sakramenlain diterima. Doa-doa, devosi dan aneka pelayanan di dalam Gereja sangatditopang oleh fondasi iman ini. Keutamaan iman dan ketaatan merupakan kriteriapertama untuk proses menyatakan seorang beriman resmi sebagai santo atau santaoleh Gereja. Jadi pekerjaan pertama kita dari Tuhan ialah rohani, bukanjasmani. Iman, ketaqwaan dan ketaatan membawa kita masuk menjadi anggota Gerejadan akhirnya menjadi jaminan bagi kita masing-masing masuk ke dalam persekutuanpara kudus di surga.Marilahkita berdoa. Dalam nama Bapa... Ya Yesus Kristus, Guru yang baik. Ajarkanlahdan tunjukkanlah kami bagaimana menjadi sempurna berkat iman dan ketaqwaan yangada pada kami. Semoga semangat kebangkitan-Mu memperkuatkan iman, taqwa danketaatan kami kepada-Mu dan setia mempertahankannya sampai ajal kami. Bapa kamiyang ada di surga ... Dalam nama Bapa ...

Mākslas vēsturniece, publiciste, "Piebalgas kultūrtelpas biedrības" vadītāja Elvita Ruka turpina stāstus par aizraujošām piebaldzēnu dzīves epizodēm. Tās tiek smeltas brāļu Kārļa (1904–1990) un Voldemāra (1912–2004) Ruku atmiņās, kas glabājas Jaunpiebalgas novadpētniecības muzejā To, ka piebaldzēni bijuši naski gan priekos, gan darbā, apliecina arī vizuālais mantojums – fotogrāfijas. Slavenākais Jaunpiebalgas fotogrāfs ir Artūrs Dulbe, kurš arodu apguvis Maskavā un savā salonā fotografējis pat tādas zvaigznes kā rakstnieks Antons Čehovs un dziedātājs Fjodors Šaļapins. Maskavā Dulbe draudzējies ar citu piebaldzēnu, arhitektu un operas "Baņuta" libreta autoru Artūru Krūmiņu no Skrāģu kroga, kas atrodas pavisam tuvu Ruku dzimtas "Seviķiem". Artūrs Dulbe 1922. gadā atgriezās Latvijā un Jaunpiebalgā atvēra foto salonu, tāpēc šī pagasta ģimenes, ainavas, kultūras un saimnieciskie notikumi ir tik krāšņi un bagātīgi dokumentēti, ka sniedz pārliecinošu ieskatu brīvvalsts laika piebaldzēnu tikumos. Talkas ir viens no tiem, un savās atmiņās šo tradīciju apraksta arī Kārlis Ruks. "Manā bērnībā "Seviķu" ciemā daudzi darbi tika veikti talkās. Vispopulārākās bija mēslu vešana un labības kulšana. Kartupeļu rakšanas, labības un siena pļaušanas talkas rīkoja tikai ārkārtējos gadījumos (miršana, smaga saslimšana, ugunsgrēks u.c.), kad nelaimi cietušajā saimniecībā darbi aizkavējās. Šīs talkas bija izpalīdzība nedienās nokļuvušam kaimiņam un tās nebija jāatstrādā. Citas gan. Man vislabāk patika mēslu vešana, kas tika gaidīta kā lieli svētki. Uz šo talku ar izlasi aicināja dažus tuvākos kaimiņus, strādīgus radus un draugus. Slaistiem un pļēguriem mēslu talkās nebija vietas – tās bija domātas īstam darbam! Tēvs bija talku organizētājs – sarunājis, cik no katras mājas ieradīsies pajūgu, cik puišu – mēslu mēzēju (krāvēju vezumos), cik sieviešu – mēslu ārdītāju, cik pusaudžu – braucēju. Lai viss ritētu raiti un lai kūtī, uz ceļa vai laukā nerastos sastrēgumi, talcinieku skaits bija ierobežots. Mēslus no pajūgiem ķeksēja tikai tēvs. Viņš tos sadalīja nelielās kaudzītēs – kur vairāk, kur mazāk. Tas bija ļoti atbildīgs darbs. Tēvs teica, ka viņš katru savu zemes asi ēdinot pēc vajadzības un tāpēc visur viss tik labi augot. Sievietes ar vieglākiem sakumiem mēslus izārdīja pēc iespējas vienmērīgi, lai nekas nepaliktu tukšā. Es biju braucējs. Vajadzēja prast vadīt zirgu tā, lai ar mēsliem piekrautie rati neiestigtu kādā dangā vai neieslīdētu grāvī. Atpakaļceļā bija atļauts braukt pilnos rikšos. Goda lieta bija – zirgam skrienot un ratiem pa ceļa grambām lēkājot, uz glumajiem dēļiem noturēties kājās un nepakrist. Tas bija lielisks kāju muskuļu un līdzsvara vingrinājums. Nokrist no kātiem (kājām) vai braucot sēdēt, bija liels kauns. Pat visnelīdzenākajā ceļā es stingri turējos kājās, ar ko ļoti lepojos. Mēslu vešanas talkas vajadzēja atkalpot. Tā ik gadus pabiju vairākās talkās. Tas bija gaidīts un patīkams notikums. Talciniekus cienāja ar dažādiem, galvenokārt gaļas ēdieniem – lai būtu spēks. Slāpju dzesēšanai netrūka arī miestiņa – ar medu saldināta alus. Vīri un puiši, sievas un meitas lielījās ar savu darba tikumu, spēku un veiklību, puikas ar izveicību noturēties kājās pat viskļūmīgākajās situācijās. Tika tērgāts, jokots un dziedāts. Vakarā Gaujā vai pirtī notika lielā mazgāšanās – šķīstīšanās no kūtsmēsliem un to smaržas." Tā Piebalgas pakalnos viss auga griezdamies, talka sekoja talkai, lustes nāca pēc darba, cilvēki nesirga ar vientulību un mācēja pašorganizēties. To lieliski apliecina gan brāļu Ruku atmiņas, gan Artūra Dulbes fotogrāfijas. Dulbe nodzīvoja garu mūžu, no 1883. līdz 1971. gadam, taču fotogrāfa zelta laikus viņš piedzīvoja brīvajā Latvijā. Tas bija laimīgas saimniekošanas periods arī maniem senčiem, taču bilžu trūkst. To nav nedz radu lokā, nedz Jaunpiebalgas novadpētniecības muzejā. Arī atmiņās minēts, ka dažādus notikumus nācis fotografēt Dulbe, piemēram, kad agrā jaunībā miris viens no Ruku ģimenes astoņiem bērniem – ar sociālisma idejām pārņemtais Pēteris. Nav arī citu bilžu, kam dzenu pēdas. Skumjo atbildi par zudušajiem albumiem sniedz Maruta Dravante, kas bērnību vadījusi "Skrāģu" krogā, vietā, kas tagad zināma kā operas "Baņuta" muzejs. Marutas kundze apgalvo: "Bildes iznīcināja krievu zaldāti. Kad viņi ienāca, sākās sirošana. Biju maza. Māsa vēl zīdainis mammai klēpī. Viens ar automātu stāvēja un vaktēja, kamēr otrs izzaga visus skapjus un kumodes. Atceros, kā visu vandīja, lika atdot, rakājās pa papīriem, izņēma dokumentus. Kaut kam pielika špicku. Briesmīgi! Skrāģu krogā, jūsmājās arī. Beigās trīs pajūgi ar salaupīto aizbrauca uz Jēcu pusi. Uz priekšu braucot, mainījuši mantas pret šņabi vai ēdamo." Tāpēc manai dzimtai ir tikai atmiņu stāsti, citiem ir paveicies ar senatnes bildēm, bet pagātnes aina spilgti zīmējas tik un tā. Tajā ir skaista ainava, saimnieciski ļaudis, dzīves spars un savi tikumi, kas darbu līdzsvaro ar lustēm. Arī pēc mēslu talkas seko pirts un muzicēšana, kur savējie apdzied savējos. Kā rāda piebaldzēni – nekādi savrupnieki viensētnieki nav bijuši, un talkošanas tradīcija tam ir spilgta liecība. Vitāla un jēgas pilna.  

Ne vairs ar zirgiem un pajūgiem, kā profesora Jēkaba Prīmaņa laikā, bet gan moderni - ar datoru, 3 D skenēšanu un asinis analīžu paraugu iespējām 2024. gada vasarā uz Piebalgu brauca ārsti un studenti. Tika atkārtota 1936. gadā veikta “cilvēkmērīšanas” ekspedīcija. Un satikti un atkāroti nomērītk pat daži cilvēki, kuri 1936.gadā bija mazi bērni. Bet iegūtie dati pārsteidz gan pētniekus, gan piebaldzēnus!

In this moving mini episode of Untidy, we revisit one of the most powerful moments from our full conversation with journalist, author, and advocate Ali Mau in the episode, ‘No Words for This with Ali Mau’. Ali shares what compelled her to write ‘No Words for This’ — a raw and courageous memoir that dives into the personal alongside decades of work supporting survivors of sexual harm. She speaks about the emotional toll of writing, the breakthrough moment of realising that the compassion she extended to others applied to her too, and how honesty, family, and purpose became the backbone of her healing. It’s an honest, affirming listen for anyone navigating their own healing or supporting others who are. To hear the full conversation with Ali, including her work with the Tika Project and the advocacy that’s changing lives, head to: Listen on Spotify Listen on Apple Podcasts Get the book: No Words for This by Ali Mau published by HarperCollins https://www.tika.org.nz/ Support Tika Email Ali at Tika Follow Tika on Instagram Follow Ali Mau on Instagram Safe to talk — sexual harm helpline 0800 044 334 ACC — Support if you’ve experienced sexual abuse or assault Alison (Ali) Mau is an award-winning journalist, writer, and advocate for equity in Aotearoa. With over two decades anchoring top news and current affairs programmes like Breakfast, One News, Seven Sharp, and Fair Go, Ali is one of New Zealand’s most respected media figures. In 2018, she launched the pioneering #MeTooNZ project with Stuff, revolutionising how the media reports on sexual harassment through a survivor-focused, trauma-informed approach. In 2021, she was named Reporter of the Year at the Voyager Awards. Ali is also the co-founder of Tika, a legal aid charity supporting survivors of sexual harm. If you’re enjoying Untidy, the best way to show your support is by tapping the ‘+ follow’ button in your podcast app and subscribing on YouTube! That way, fresh episodes will always be ready and waiting for you. Help us to keep building this supportive community — share an episode with a mate, and chuck us a 5-star review — it helps more people find our Untidy, unfiltered, and relatable chats. Thank you for listening, contributing and supporting this independent production! We’re grateful to have you here! — Hannah & Matty xx Don’t forget! Untidy is made for YOU — the people right at the heart of this steaming hot mess! Follow the show and DM us on Instagram @untidypodcast or email hello@untidypodcast.com. Your stories and ideas to help shape the show! Find us online at Untidy podcast. Find Matilda at @matootles and get your copy of The Feel Good Guide. Find Hannah at @hannahedavison and her My Big Moments children’s books at @mybigmoments. Enter code UNTIDY at checkout for 10% off your order.See omnystudio.com/listener for privacy information.

In this raw, courageous, and compelling episode of Untidy, Matilda Green and Hannah Davison sit down with award-winning journalist, author, and advocate Ali Mau to talk about her new memoir, ‘No Words for This’. Known widely for her fearless leadership of the #MeTooNZ movement and a 20-year career fronting many of New Zealand’s most notable current affairs shows, Ali opens up about the personal experiences that shaped her career, her advocacy, and her voice. Trigger warning: This episode discusses sexual harm, harassment, and gendered violence. Please listen with care. Links to resources for where to find support are listed in the show notes of this episode. Ali’s memoir is not just a story of a pioneering journalist, but of a woman confronting devastating truths about her past. Her book charts a path through trauma, identity, resilience, and ultimately, the reclamation of voice and purpose. In this episode, the conversation spans Ali’s early years in Australian and British media, the sexism that saturated her career, the moment she broke from silence, and the complex intersection of love, family, abuse, and healing. The hosts explore Ali’s role in leading a national conversation on sexual harm, how society still silences victims, and what it truly takes to be heard. This is a must-listen for anyone seeking to understand the cost and the power of speaking out. Alison (Ali) Mau is an award-winning journalist, writer, and advocate for equity in Aotearoa. With over two decades anchoring top news and current affairs programmes like Breakfast, One News, Seven Sharp, and Fair Go, Ali is one of New Zealand’s most respected media figures. In 2018, she launched the pioneering #MeTooNZ project with Stuff, revolutionising how the media reports on sexual harassment through a survivor-focused, trauma-informed approach. In 2021, she was named Reporter of the Year at the Voyager Awards. Ali is also the co-founder of Tika, a legal aid charity supporting survivors of sexual harm. Link mentioned in the show and resources: Get the book: No Words for This by Ali Mau published by HarperCollins https://www.tika.org.nz/ Support Tika Email Ali at Tika Follow Tika on Instagram Follow Ali Mau on Instagram Safe to talk — sexual harm helpline 0800 044 334 ACC — Support if you’ve experienced sexual abuse or assault If you’re enjoying Untidy, the best way to show your support is by tapping the ‘+ follow’ button in your podcast app and subscribing on YouTube! That way, fresh episodes will always be ready and waiting for you. Help us to keep building this supportive community — share an episode with a mate, and chuck us a 5-star review — it helps more people find our Untidy, unfiltered, and relatable chats. Thank you for listening, contributing and supporting this independent production! We’re grateful to have you here! — Hannah & Matty xx Don’t forget! Untidy is made for YOU — the people right at the heart of this steaming hot mess! Follow the show and DM us on Instagram @untidypodcast or email hello@untidypodcast.com. Your stories and ideas to help shape the show! Find us online at Untidy podcast. Find Matilda at @matootles and get your copy of The Feel Good Guide. Find Hannah at @hannahedavison and her My Big Moments children’s books at @mybigmoments. Enter code UNTIDY at checkout for 10% off your order.See omnystudio.com/listener for privacy information.

In this latest episode I am joined by acclaimed journalist and author Ali Mau, who’s new memoir, No Words for This, has just hit shelves. This powerful and vulnerable conversation covers Ali’s experiences with childhood sexual abuse, the life-changing phone call from her sister and her journey to speaking publicly. We also delve into complex family dynamics and the significant power of knowing you're not alone. Ali also tells us about her game-changing new charity, Tika, the twists and turns of her career, and her way of riding into a better work/life balance. Song credit: Korimako, Performed by Aro, Written by Emily Looker and Charles Looker and published by Songbroker.Support the show: https://greyareas.nz/support

Dans cet épisode sur Fossa FM, découvrez WeeLye, une artiste aux influences soul, pop, jazz et musiques africaines. Née à Kinshasa (RDC) dans une famille de musiciens, elle grandit au rythme de la rumba congolaise avant de tracer sa propre route.Le hasard la mène sur le devant de la scène : lorsqu'une amie annule sa participation à un concert, WeeLye la remplace et c'est le début d'une aventure musicale intense. Direction New York, où elle rencontre les Brooklyn Funk Essentials et partage la scène avec Erykah Badu, Féfé, Keziah Jones… Aujourd'hui, entre Paris et Kinshasa, elle nous offre une musique métissée, entre français et Lingala. Son dernier titre "Tika", chanté en Lingala, est une ode à la liberté et à ses racines. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Stāsta ērģeļbūves meistars un klavieru tehniķis Jānis Kalniņš Lai atceramies Lūciju Garūtu un viņas aizliegtos meistardarbus – Klavierkoncertu un kantāti “Dievs, Tava zeme deg!” Šodien grūti noticēt, ka Pēterim Vaskam bija jābrauc mācīties uz Viļņas konservatoriju, jo Rīgā viņam ticības dēļ durvis bija slēgtas. Daži stāsti šodien skan kā anekdote, par kuru varētu arī pasmieties, ja tajā neslēptos dziļš traģisms. Viens no tiem ir par Emīlu Gilelsu (1916–1984), kurš kļuva slavens agri – viņam bija tikai 17 gadu, kad 1933. gadā viņš uzvarēja pirmajā Vissavienības pianistu konkursā. Baumoja, ka Staļins lika viņam pārcelties uz studijām Maskavā pie Heinriha Neihausa (Heinrich Gustav Neuhaus, 1888–1964). Ne Gilelsam, ne Neihausam nebija izvēles – viņiem bija jāveic līdera griba. Viņi uzreiz nepatika viens otram: Neihauss bija vācietis, izsmalcināts intelektuālis, zināja daudzas valodas, mīlēja glezniecību un literatūru. Gilelss piedzima Odesā ebreju ģimenē, viņa tēvs bija grāmatvedis, māte bija mājsaimniece. Kad Gilelss vēlāk tika publiski saukts par Neihausa studentu, viņš apgriezās un atstāja istabu. Bet viņu attiecībām ir arī otra puse. Par to ir zināms galvenokārt no Maskavas inteliģences mutvārdu stāstiem, kuri vispilnīgākajā versijā ir Grigorija Gordona grāmatā "Emīls Gilelss. Ārpus mītiem" (Maskava, 2007, 152. lpp.). 1941. gadā Neihauss tika arestēts un ieslodzīts. Gilelss vērsās pie Staļina kādā oficiālā pasākumā un lūdza savu skolotāju atbrīvot. Staļins atbildēja: "Ar šo jautājumu pie manis vairs neatgriezties!" Bet Gilelss nebaidījās "atgriezties": viņš atkārtoja lūgumu pieņemšanā, kuru Staļins rīkoja par godu Čērčilam 1944. gadā. Acīmredzot Staļins nobijās, ka Gilelss atteiksies spēlēt pieņemšanā un lika Neihausu atbrīvot. Gilelss ar lielām grūtībām atrada viņu tranzīta cietumā Urālos, un dabūja atļauju izmocītajam Neihausam atgriezties Maskavā. Bet tas neuzlaboja viņu attiecības, un Gilelss nekad nevēlējās runāt par šo tēmu. Otrs stāsts ir no pirmajiem pēkara gadiem. Lai cik dīvaini tas arī neizklausītos, Staļinam esot paticis radio klausīties klasisko mūziku. Tāpēc vakaros Maskavas radio, kam vēl nebija pietiekamas ierakstu kolekcijas, bet bija savs orķestris, organizēja tiešraides no koncertstudijas. Dažus koncertus ierakstīja uz Vācijā salaupītajām iekārtām, bet lenšu trūkuma dēļ ne visus. Kādu vakaru 1948. gadā tika pārraidīts V. A. Mocarta 20. klavierkoncerts reminorā. Pie klavierēm bija Marija Judina (1899–1970), diriģēja Nikolajs Golovanovs. Pēc koncerta visi mūziķi devās mājup. Pēkšņi radio direktora kabinetā atskanēja zvans – Staļins. "Apsveicu, lielisks izpildījums! Ceru, ka esat to ierakstījuši." Protams, ka nekas nebija ierakstīts, bet direktors neuzdrošinājās to pateikt un nomurmulēja, ka ir. "Brīnišķīgi! Sagatavojiet man uz rītdienu platīti." Kas tad sākās! Tūlīt sasauca visu orķestri, studijas tehniķus, Judinu, un ap vieniem naktī sākās ieraksts – bet Golovanovam trīc rokas! Tika izsaukts otrs vadošais Maskavas diriģents – Aleksandrs Gauks, bet arī viņa rokas trīcēja! Tika izsaukts Golovanova palīgs, mazpazīstams diriģents Sergejs Gorčakovs. Mocarta 20. koncerts diriģentam ir vienkāršs, klavieru partija gan ir virtuoza, bet Judina nekļūdījās ne reizi atšķirībā no diriģentiem! Līdz rītam ieraksts bija gatavs, un diktatoram steidzīgi izgatavoja skaņuplati. Šī plate esot bijusi uz atskaņotāja Staļina istabā slepanajā vasarnīcā Kuncevo, kad 1953. gada martā viņš tika atrasts miris. Par laimi, ieraksts ir saglabāts Maskavas radio arhīvā un vēlāk izdots skaņuplatē. Ar šo pašu Mocarta klavierkoncertu saistīts kāds amizants gadījums. Tieši pēc 50 gadiem, 1998. gadā Amsterdamā Marija Žao Piresa (Maria João Pires) piedzīvoja šoku, kad, atskanot orķestra ievadam, atklājās, ka viņa sagatavojusi citu Mocarta koncertu! Īsā laikā viņa spēja pārvarēt šoku, sakoncentrējās un izcili nospēlēja 20. koncertu pēc atmiņas!

Kanādas Liberālā partija izraudzījusies Marku Kārniju par jauno partijas līderi un Kanādas premjerministru. Sīrijā militārās operācijas beigas piekrastes provincēs. Bet pasaules uzmanības centrā otrdien notikušās Ukrainas un ASV sarunas Saūda Arābijā. Ārvalstu aktualitātes iztirzājam kopā ar Latvijas Radio Ziņu dienesta ārzemju ziņu žurnālistu Rihardu Plūmi un Ģeopolitikas pētījumu centra direktoru un Rīgas Stradiņa universitātes asociēto profesoru Māri Andžānu. * Kanādai būs jauns… joprojām premjerministrs Kanādas premjerministram Žistēnam Trudo pietrūka dažu mēnešu līdz apaļiem desmit gadiem valsts galvas amatā. Kļuvis par premjeru 2015. gada novembrī, šī gada janvārī viņš paziņoja par lēmumu aiziet no Kanādas Liberālās partijas un, attiecīgi, valsts vadības. Jau kopš 2022. gada sākuma liberāļu reitingi palēnām slīdēja lejup, un pagājušā gada nogalē galvenie konkurenti – konservatīvie – tos apsteidza pat par divdesmit procentpunktiem. Pēc tam gan nāca straujas pārmaiņas: aiz Kanādas dienvidu robežām varas troni ieņēma Donalds Tramps, kurš „aplaimoja” kanādiešus ar grandioziem ievedmuitas tarifiem, sāka saukāt Kanādu par Savienoto Valstu 51. pavalsti un tās premjerministru par gubernatoru. Kanādiešiem netrūkst nedz valstiskuma apziņas, nedz patriotisma, un ekspansīvā dienvidu kaimiņa izdarības izraisīja sagaidāmu pretreakciju – konsolidēšanos ap savu valdību un, attiecīgi, pie varas esošā spēka popularitātes kāpumu. Šādā situācijā Kanādas liberāļu vadības stūri pēc pirmdien notikušajām partijas vēlēšanām pārņēma sešdesmit gadus vecais ekonomists un finansists Marks Kārnijs. Viņš savulaik ieguvis doktora grādu Oksfordā un divpadsmit gadus vadījis centrālās bankas: vispirms piecus gadus Kanādas Banku, pie tam viņa vadības periods sakrita ar globālo ekonomisko krīzi, pēc tam septiņus gadus – Anglijas Banku. Nav brīnums, ka liberāļiem Kārnijs šķiet īstais vīrs šiem ekonomiski un politiski vētrainajiem laikiem, un partijas vadītāja amatā viņu ievēlēja ar 86 % kongresa delegātu balsu. Jau tuvākajās dienās sagaidāma viņa stāšanās arī premjerministra amatā, un, kā izteicies pats politiķis, tas notikšot ātri un nemanāmi. Tāpat sagaidāms, ka drīz pēc Kārnija kļūšanas par premjeru tiks izsludinātas ārkārtas Parlamenta vēlēšanas, negaidot kārtējo vēlēšanu laiku oktobrī. Savā ievadrunā jaunais līderis nepārprotami lika saprast, ka negrasās kļūt par ASV 51. pavalsts gubernatoru, sacīdams: „Amerikāņi grib mūsu resursus, mūsu ūdeni, mūsu zemi, mūsu valsti. Ja viņiem tas izdosies, viņi iznīcinās mūsu dzīvesveidu.” Džidā – bez liekiem asumiem Pēc februāra nogales skandāla Baltā nama Ovālajā kabinetā un tam sekojušās Savienoto Valstu militārā un izlūkošanas atbalsta pārtraukšanas Ukrainai daudziem Kijivas draugiem visā pasaulē nākotne tēlojās gluži drūmos toņos. Tika spriests, ka jaunā Vašingtonas administrācija nolēmusi panākt mieru par katru cenu, pat ja tā būtu Ukrainas kapitulācija. Izskanēja bažas, ka no amerikāņu mutes ukraiņiem nāksies uzklausīt Kremļa prasības par papildu Ukrainas teritoriju iegūšanu un prezidenta Zelenska atkāpšanos no amata. Šādā noskaņā tika sagaidīta pirmā Savienoto Valstu un Ukrainas pārstāvju sarunu diena Saūda Arābijas pilsētā Džidā. Vašingtonu sarunās pārstāvēja valsts sekretārs Marko Rubio un padomnieks nacionālās drošības jautājumos Maikls Volcs, savukārt Kijivu – Prezidenta administrācijas vadītājs Andrijs Jermaks, ārlietu ministrs Andrijs Sibiha un aizsardzības ministrs Rustams Umerovs. Pirmdien Džidā ieradās arī Ukrainas prezidents Volodimirs Zelenskis, kurš tikās ar Saūda Arābijas kroņprinci Muhammedu bin Salmānu, bet otrdien – ar amerikāņu delegācijas locekļiem, pats gan palikdams ārpus tiešā sarunu procesa. Jāteic, dienas noslēgumā izskanējušie paziņojuma negatīvo gaidu spriedzi mazināja. Labā  ziņa ir noslēguma komunikē paustā Vašingtonas apņemšanās nekavējoties atjaunot pārtraukto atbalstu izlūkošanas un drošības jomā. Kijivai par to nācies piekrist amerikāņu 30 dienu pagaidu uguns pārtraukšanas plānam, atsakoties no līdzšinējās prasības saistīt šādu uguns pārtraukšanu ar drošības garantijām. Amerikāņu puse, savukārt, deklarējusi apņemšanos nekavējoties vērsties ar uguns pārtraukšanas piedāvājumu pie Krievijas. Līdz trešdienas rītam, kad top šis teksts, nekāda oficiāla reakcija no Kremļa vēl nav sagaidīta, taču vairakkārt pēdējos mēnešos tā pārstāvji, Vladimiru Putinu ieskaitot, izteikušies, ka kaut kāda pagaidu uguns pārtraukšana viņus neinteresējot un viņi ir gatavi runāt tikai par pastāvīgu mieru, kas ņemtu vērā Krievijas intereses. Kā telekanālam MSNBC norādīja kādreizējais Savienoto Valstu vēstnieks Maskavā Maikls Makfols, prezidenta Trampa administrācija jau faktiski diktē Ukrainai atteikšanos no iespējamas pievienošanās NATO un līdz šim zaudēto teritoriju atgūšanas, tikām joprojām neizvirzot praktiski nekādas prasības agresorvalstij Krievijai. Slaktiņš Sīrijā Kad pagājušā gada decembrī Sīrijā beidza pastāvēt pusgadsimtu valdījušais Asadu ģimenes režīms, pie varas nākusī pagaidu valdība ar agrāko islāmistu kaujinieku komandieri Ahmedu aš Šarā priekšgalā deklarēja mērķi vienot nāciju uz līdztiesības un dažādu grupu mierīgas līdzāspastāvēšanas pamatiem. Šādas apņemšanās īstenošana valstī, kuru teju četrpadsmit gadus plosījis pilsoņu karš, nav vienkārša. Jau sākotnēji par pastiprinātas spriedzes zonu kļuva Vidusjūras piekrastes rajoni, kur lielā skaitā dzīvo musulmaņu alavītu kopienas pārstāvji. No šīs kopienas nāca diktators Hāfizs Asads un viņa dēls un varas mantinieks, nu jau gāztais Bašārs. Šeit patvērās daudzi bijušā režīma varas struktūru pārstāvji, kuri, pēc visa spriežot, bija ieplānojuši sacelšanos, jo 6. martā masveidā uzbruka policijas iecirkņiem, posteņiem un slimnīcām. Uz piekrastes rajoniem tika nosūtīts valdībai lojāls karaspēks, taču turp devās arī daudzas centrālās varas īsti nekontrolētas bruņotas grupas no kaimiņu provincēm. Šo kaujinieku ieskatā šī bija laba izdevība izrēķināties ar nīstajiem alavītiem, kuri daudzu ortodoksālo musulmaņu acīs ir ticības atkritēji. Un arī valdības spēki, kuru sastāvā jau arī daudzi ir vēl nesenā pagātnē bijuši tādi paši kaujinieki, visai bieži uzsāka vietējo alavītu masu slepkavošanu. Upuru skaita aplēses pamatīgi atšķiras. Telekanāls „France 24” min, ka savstarpējās apšaudēs krituši 125 pagaidu valdības policisti un armijnieki, 148 agrākajam režīmam uzticamie kaujinieki, pie tam nogalināti 745 neapbruņoti civiliedzīvotāji. Tagad centrālā valdība sola slepkavošanas gadījumus izmeklēt un sodīt vainīgos, taču par sekmēm šai ziņā pārliecības nav. Par zināmu jaunās varas panākumu nācijas konsolidēšanas virzienā var uzskatīt vakar noslēgto vienošanos ar valsts austrumdaļu kontrolējošo kurdu grupējumu Sīrijas Demokrātiskie spēki par integrēšanu ar pārējo Sīriju, t. sk. tās bruņotajiem spēkiem. Sagatavoja Eduards Liniņš.

En este capitulo abordaremos uno tema muy importante para todos el 8m, Día internacional de la Mujer., principalmete, la importancia del rol de las mujeres en la sociedad.

Ekonomikai ir sava joma ar tai specifiskiem uzdevuemim un mērķiem, bet tā nedrīkst tikt nodalīta no ētiskiem principiem. Ētika palīdz ekonomiskās struktūras veidot tā, lai tās strādātu visas sabiedrības labumam un attīstībai.

What kind of relationship with sex do we want young people to have? In this episode myself and Tika Sumpter, known for her multifaceted career as an actor and creator, explore this question as parents and as people reparenting themselves. In this episode Tika shares her compelling personal story that shaped her approach to intimacy and education. Growing up in a Christian household, discussions about sex were often avoided or framed solely around negative consequences. This instilled fear and confusion about her own sexuality during her teenage years. In her twenties, Tika found herself navigating relationships without a clear understanding of her body or pleasure, often pretending to have a sexual IQ she hadn't yet developed. Therapy became a turning point, helping her reconnect with herself and embrace her sexual identity. Now, as a mother, Tika is determined to break this cycle for her daughter. On this episode, she opens up about her journey and shares how she is redefining sex and intimacy education in her household. Her goal is to raise her daughter to be a sexually and relationally competent individual, equipped with the tools and knowledge Tika wishes she had earlier in life. Tika is best known for her work on screen but did you know she also makes children's content? She is the creator of The Adventures of Curious Cove, a podcast anchored by the beloved series Ella the Curious. This project reflects her passion for storytelling and education, making complex topics accessible and engaging for young audiences. Thank you Bumble This episode of Lovers is presented by Bumble who encourages you to date your way. There is a world where you can date exactly who you want, however you want. So date now, on Bumble. Thank you Tika https://www.instagram.com/tikasumpter https://podcasts.apple.com/us/podcast/adventures-of-curiosity-cove/id1760587303 Age by Age Sexual Development Guide As per Tika's request… loversbyshan.com/quizzes Join My Mailing List https://www.loversbyshan.com/newsletter Lovers Community If you're interested in joining the Lovers community click here to join the waitlist https://www.loversbyshan.com/community

Stāsta horeogrāfe, dejotāja, baleta pedagoģe, Latvijas Kultūras akadēmijas profesore Gunta Bāliņa. 1950. gada maijā diriģenta Arvīda Jansona (1914–1984) vadībā notika pirmizrāde komponista Ādolfa Skultes (1909–2000) un horeogrāfa Jevgēņija Čangas (1920–1999) baletam “Brīvības sakta”. Mūsu baleta vēsturē tas bija pirmais paraugs, kura sižetā tika izmantoti Raiņa (1865–1929) lugas “Spēlēju dancoju” (1919) motīvi. Tiesa, pārdzīvojot daudzas un dažādas izmaiņas gan libretā un mūzikā, gan arī pašā nosaukumā, kas sākotnēji bija “Lelde” – atbilstoši Raiņa lugas galvenajai varonei, un tikai pašā pēdējā brīdī – “Brīvības sakta” – kā tautas laimes un brīvības simbols. Rezultātu gan slavēja, gan norādīja uz trūkumiem, piemēram, komponists esot pārlieku šķiedies ar izteiksmes līdzekļiem, orķestra krāsu sabiezinājumi novedot pie klausītāja uzmanības nogurdināšanas. Toties jaunajam horeogrāfam tas bija ar visaugstāko atzīmi novērtētais diplomdarbs, un arī komponists bija radījis jauna veida – simfonisko baletu. 1966. gada decembrī pirmizrādi piedzīvoja komponista Jāņa Ķepīša (1908–1989) un horeogrāfes Irēnas Strodes (1921–2013) balets “Turaidas Roze”. Šeit libreta pamatā ir Raiņa luga “Mīla stiprāka par nāvi” (1927), kas jau iepriekš bija rosinājusi komponistu Emili Melngaili (1874–1954), kura paveiktais tā arī nekad nenonāca līdz baleta skatuvei. Šīs Raiņa lugas centrā ir kopš 17. gadsimta vēl aizvien uzrunājošais un traģiskais Maijas liktenis. Maija, kura spēj pārliecināt kareivi Jakubovski, ka viņas dāvātais lakats pasargā no ievainojuma. Lai viņš ticētu lakata brīnumainajam spēkam, Maija apsien to sev un liek cirst ar zobenu. Jakubovskis notic… un Maija mirst. Irēna Strode horeogrāfiju bija veidojusi saskaņā ar klasiskā baleta kanoniem, klasiskās dejas formās ietverot gan liriskās epizodes, gan dramatiskās kolīzijas, veiksmīgi izmantojot arī pantomīmu. 2000. gadā Latvijas Nacionālā opera sagādāja skaistāko dāvanu dzejnieces un dramaturģes Aspazijas (1865–1943) 135. dzimšanas dienas gadskārtā un viņas lugas “Sidraba šķidrauts” pirmizrādes 95. gadskārtā. Komponista Jura Karlsona baletam “Sidraba šķidrauts” horeogrāfiju veidoja Kšištofs Pastors no Nīderlandes, scenogrāfiju un kostīmus – Andris Freibergs, gaismas – Deivids Hārvijs no Lielbritānijas. Tas bija simboliem un alegorijām bagāts iestudējums. Pieturoties pie lugas pamatsižeta, libreta autori bija ieviesuši jaunas epizodes un tēlus: galvenās varones Gunas nākotnes vīzijas, Nāvi ar diviem Eņģeļiem un dziedošo tēlu – Laimu. Tika paspilgtinātas tādas lugas epizodes, kā Gunas prāta aptumšošanās un viņas izšķiršanās starp dzīvību un nāvi. Komponistu un horeogrāfu fantāziju rosinājusi arī Annas Brigaderes (1861–1933) pasaku dramaturģija. 1968. gada janvārī ar “Sprīdīša” pirmizrādi aizsākās latviešu bērnu baleta vēsture. Kā pilnmetrāžas horeogrāfijas autors un iestudētājs debitēja Aleksandrs Lembergs (1921–1985). Baleta melodiskās un izteiksmīgās mūzikas autors bija Arvīds Žilinskis (1905–1993), bet māksliniecisko noformējumu veidoja Biruta Goģe (1926–2008). Skaistai un krāsainai bilžu grāmatai līdzīgā izrāde aizrāva kā bērnus, tā pieaugušos. Skatītāju lutinātais pirmais iestudējums piedzīvoja vairāk nekā 150 izrādes. [1983. gadā notika baleta atjaunojums.] Atzīmējot komponista Arvīda Žilinska 75 gadu jubileju, tika iestudēts “Lolitas brīnumputns”, kura pamatā ir viena no interesantākajām Brigaderes pasakām – par vienkāršo puisi Alni, viņa draugu Sūrmi un brīnumdaiļo princesi Lolitu. Rūdolfa Blaumaņa (1863–1908) varoņi – Kristīne, Edgars, Māte un Akmentiņš. pirmoreiz uz baleta skatuves uznāca 1979. gadā. Viencēliens “Lasot Blaumani” radās komponista Jura Karlsona un baletmeistara Aleksandra Lemberga sadarbības rezultātā. Baleta autori nekonkretizēja nedz laikmetu, nedz arī vidi, kurā risinās psiholoģiskā drāma par mīlestību, kurai nākas brist cauri pelēkajam sadzīves purvam. Uzmanība bija pievērsta galveno personu iekšējiem pārdzīvojumiem. 2018. gadā tika iestudēts komponista Jura Karlsona un horeogrāfa Aivara Leimaņa oriģinālbalets “Antonija & Silmači” pēc Blaumaņa lugas “Skroderdienas Silmačos” motīviem. Piešķirot Dejas balvu kategorijā “Klasiskās dejas iestudējums vai notikums” (2017–2018), žūrija komentēja: „Lielisks komponista veikums. Atzinīgi vērtējams skatuves noformējums, videomākslinieka darbs un kostīmi. Dejotāji ļoti organiski un aktieriski, ar baudu izdejo savas lomas.” Šo lomu atveidotāji bija Elza Leimane, Antons Freimans, Alise Prudāne, Arturs Sokolovs un daudzi citi. Ir gana daudz teiku un traģēdiju, kurām ik pa laikam pievēršas gan horeogrāfi, gan komponisti, izvēloties tēmas savai jaunradei. Arī Raiņa, Aspazijas, Brigaderes, Blaumaņa daiļrade vēl arvien var piedāvāt daudz jaunu horeogrāfisko tulkojumu latviešu baleta skatuvei.

Before she was producing, starring in major films, and building her media empire, Tika Sumpter was a girl from Queens with a dream but no roadmap. In this raw and inspiring conversation, she shares how grit, hustle, and self-belief took her from waiting tables in New York to making it in Hollywood. From a chance encounter that led to her first agent to the game-changing roles that finally put her on the map, Tika gets real about the double standards in the industry, creating her own opportunities, and why betting on yourself is everything. Growing up in Queens and why the borough breeds some of the hardest-working people in the world The hustle of breaking into acting, from cold auditions to booking One Life to Live The Hollywood realities no one talks about race, casting biases, and what it really takes to “make it” Why Tyler Perry saw something in her that others didn't and how he's changed the industry Learning to bet on herself and take control of her career through producing, writing, and launching her own projects Motherhood and personal growth, how raising her daughter, Ella, helped her reparent herself Her latest creative ventures, including her children's podcast and new book, I Got It from My Mama The biggest risk she's ever taken, and why every woman should experience love and adventure in another country at least once This conversation is about trusting your instincts, pushing past rejection, and never waiting for permission. Follow Tika on Instagram here. Grab a copy of he new book I Got It From My Mama here.

On our final episode of Season 1, Mike is joined by Tika Sumpter! Tika talks all about growing up in New York, finding success on the soap opera One Life to Live and being nominated for a NAACP Image Award, being followed by paparazzi during the filming of Gossip Girl, getting to work with Tyler Perry, Oprah Winfrey, Robert Redford, and Chadwick Boseman, playing young Michelle Obama in Southside with You, what it was like producing a project A to Z, finding love, and so much more! Learn more about your ad choices. Visit megaphone.fm/adchoices

Martin heeft genoten van de zege van FC Groningen op NEC (2-1). Hij loopt nog steeds met een glimlach rond. Wel heeft Martin moeite met de reserverol van aanvoerder Leandro Bacuna. Johan Hove vertrekt en dat is prima volgens de mannen omdat het middenveld tegen NEC goed stond met onder meer Stije Resink en Tika de Jonge. De rode kaart van Thijmen Blokzijl is geseponeerd, toch moet de VAR blijven, als ze maar goed worden opgeleid, bepleit Martin. En hoe kan het verschil tussen thuis- en uitduels zo groot zijn? Martin maakte het in het verleden ook mee als speler van FC Groningen. Verder vertelt Stefan hoe de KNVB bij de Euroborg is uitgekomen als gastheer voor de mogelijke interland tegen Malta.

Pasniegtas nacionālās kino balvas "Lielais Kristaps". Par labāko pilnmetrāžas spēlfilmu atzīta "Marijas klusums", bet labākās animācijas filmas gods ticis "Straumei". "Straume" un tās komanda saņēma piecus "Lielos Kristapus", kā arī LSM.lv skatītāju balvu. Ar pieciem "Lielajiem Kristapiem" sveikti arī vēsturiskās drāmas "Marijas klusums" veidotāji, savukārt ar balvu par mūža ieguldījumu ceremonijā godināja režisoru un pedagogu Pēteri Krilovu. Atziņas pēc nacionālas kino balvas "Lielais Kristaps" noslēguma ceremonijas. Sarunas ar laureātiem un starptautiskās žūrijas pārstāvju komentāri. Sarunājas divi starptautiskās žūrijas pārstāvji – pētniece, kuratore un kino kritiķe Zane Balčus un režisors, scenārists, Latvijas Kinorežisoru ģildes valdes priekšsēdētājs un viens no pērnā gada Liela Kristapa laureātiem Staņislavs Tokalovs, kā arī kino kritiķe Kristīne Simsone. Starptautiskā žūrija vērtēja 41 filmu, un tajā līdzās Zanei Balčus, Staņislavam Tokalovam un Dzintaram Dreibergam bija arī divi ārzemju kino profesionāļi: Olivjē Katrans ir franču etnologs, godalgots producents un animācijas eksperts, bet Marteins te Pass no Nīderlandes ir pieredzējis dokumentālā kino eksperts. Pēc ceremonijas uzaicināju viņus uz īsu sarunu par viņu iespaidiem, uz mēnesi iegrimstot Latvijas filmu pasaulē. Ierakstos uzklausām arī balvu ieguvējus. Ceremonija notika Dailes teātrī, tās režisors bija Matīss Kaža un to vadīja aktieris Matīss Budovskis. Tika pasniegtas 25 balvas un balva par mūža ieguldījumu, kā arī vairākas īpašās balvas un atbalstītāju balvas. Plašāk par balvas laureātiem portālā lsm.lv. Klausieties arī sarunu ar balvas par mūža ieguldījumu ieguvēju Pēteri Krilovu.      

26. janvārī Baltkrievijas pašpasludinātais valsts galva Aleksandrs Lukašenko pieskaitīja savam varas ciklam vēl piecus gadus. 27. janvārī Eiropadome lēma vēl uz pusgadu pagarināt agresorvalstij Krievijai noteiktās sankcijas. Kara ekonomika Krievijā. Aktualitātes analizē laikraksta "Diena" komentētājs Andis Sedlenieks un Austrumeiropas politikas pētījumu centra pētniece Elīna Vrobļevska. Sazināmies ar Latvijas Bankas Ģenerālsekretariāta vadītāju, ekonomistu Andri Strazdu. Krievijas ekonomikas spožums un posts Apmēram gadu pēc Krievijas plaša mēroga agresijas sākuma parādījās viedokļi par to, ka Kremlim izdevies visai labi tikt galā ar Rietumu sankciju negatīvajiem efektiem un izveidot kara ekonomikas modeli, kas nodrošinājis nozīmīgāku izaugsmi kā teju jebkurai attīstītajai valstij. Pagājušajā gadā tās iekšzemes kopprodukta pieaugums bija 4%, kamēr Savienotajām Valstīm – 2,7%, bet Eiropas Savienībai vidēji – 0,7%. Kremļa saimnieks Vladimirs Putins turpina plātīties ar savas valsts spožo ekonomikas modeli, kuram nekādas Rietumu sankcijas neko nevarot padarīt. Tomēr pēdējā laikā arvien biežāk parādās brīdinoši viedokļi, un ne viens vien analītiķis un medijs Krievijas sakarā lieto metaforu – „steroīdus salietojies maratonists”. Proti, šī brīža uzrāviens nebūt negarantē kaut cik nozīmīgu ilgtspēju. Aģentūra „Reuters” pagājušonedēļ publicētā materiālā uzskaita, tāsprāt, nozīmīgākos riskus, ar kuriem šogad varētu būt jāsastopas Krievijas tautsaimniecībai. Pirmkārt, tā ir inflācija, kura pagājušajā gadā sasniegusi 9,5% atzīmi. Šo rādītāju dzen augšup dāsnie tēriņi militārajam sektoram un drošības struktūrām, kā arī vispārējais algu kāpums, ko izraisa darbaroku deficīts. Kā allaž, cenu kāpums grauj sociāli mazāk aizsargāto sabiedrības grupu dzīves līmeni. Otrs faktors ir kredītprocentu likmes. Ceļot likmes, Krievijas Centrālā banka mēģina bremzēt inflāciju un pērngad oktobrī noteica 21% likmi. Attiecīgās kredītresursu cenas, kas ir ap 30%, padara tos praktiski nepieejamus daudzām tautsaimniecības nozarēm; problēmas neizjūt vienīgi valsts subsīdijām piepumpētā militārā ražošana. Trešais riska moments ir ekonomikas strauja sabremzēšanās. Valdība paredz šogad lēnāku kāpumu, pamatīgi sakarsētajai ekonomikai atdziestot līdz 2,5% pieauguma rādītājam, tomēr Starptautiskais valūtas fonds lēš daudz pieticīgākus 1,4%. Krievijā varot iestāties stagflācija – izaugsmes apsīkums kombinācijā ar joprojām augstu inflāciju. Papildu ekonomiku bremzējošs apstāklis ir jau pieminētais darbaspēka, sevišķi kvalificēta darbaspēka trūkums. Kā ceturtais aspekts tiek minēts valsts budžeta deficīts. Karš ir dārgs prieks, un pagājušajos trīs gados Kremlis vairakkārt ir izņēmis pamatīgas summas no Krievijas Nacionālās labklājības fonda, nozīmīgākās finanšu rezerves. Rezultātā fonda apjoms sarucis vairākkārt, un ar tajā atlikušo 31 miljardu dolāru var nepietikt, ja tēriņi paliks līdzšinējie. Tad neatliks nekas cits kā palielināt nodokļus. Visbeidzot, piektais – nu jau vairākus mēnešus lejup slīdošais rubļa kurss. Kaut īstermiņā tas palīdz mīkstināt budžeta deficīta problēmu, vidējā termiņā ārzemju preču sadārdzināšanās ir vēl viens inflācijas veicinātājs. Brīvība klusēt 26. janvārī Baltkrievijas pašpasludinātais valsts galva Aleksandrs Lukašenko, kurš tur savu nāciju dzelžainā varas tvērienā kopš 1994. gada, pieskaitīja savam varas ciklam vēl piecus gadus. Tika pasludināts, ka iecirkņos esot ieradušies gandrīz 86% vēlētāju, un vairāk nekā 87% no viņiem nobalsojuši par ūsaino vadoni. Par to, cik šai bildītei sakara ar patieso dzīves ainu Baltkrievijā, kas pirms pieciem gadiem mēģināja izrauties no diktatora dzelžainā tvēriena, stāsta Rīgā trimdā dzīvojošā baltkrievu māksliniece Olga Jakubovska: „Patiesībā izjūta ir dīvaina, jo tu saproti, ka tev pat netika dota iespēja izteikt savu viedokli. Visiem, kuri tā vai cita iemesla pēc atradās ārzemēs, tika liegta iespēja balsot. Šoreiz ārzemēs nebija neviena vēlēšanu iecirkņa. Skaidrs, ka tie, kas bija valstī, visiem spēkiem centās nepiedalīties šajā šovā. Ir savākts milzīgs daudzums informācijas, kas liecina, ka daudzi iecirkņi bija vienkārši tukši. Balsoja tie, kuri ir pilnībā atkarīgi no režīma, un tie, kas režīmu atbalsta, jo par to saņem naudu – spēka struktūras, valsts institūciju darbinieki. Oficiāli strādājošu neatkarīgu žurnālistu Baltkrievijā vairs nav. Tomēr joprojām ir cilvēki, kas sniedz informāciju mūsu neatkarīgajiem medijiem, kuri bijuši spiesti pamest valsti. Šīs informācijas vākšana, protams, notiek katru dienu. Piemēram, „Telegram” platformā var droši nodot ziņas. Tā nu mēs uzzinām uzticamu informāciju no neatkarīgiem Baltkrievijas medijiem. Bet ar ģimeni, ar draugiem es, sazinoties, cenšos par politiku nerunāt, lai viņiem nesagādātu nepatikšanas. Pēc pēdējiem datiem krimināllietas ir ierosinātas pret apmēram 300 žurnālistiem. 300 krimināli vajātu žurnālistu tādā nelielā valstī! Savulaik baltkrievu bija aptuveni 9 miljoni, saskaņā ar dažiem avotiem tagad valsti ir pametuši no 600 tūkstošiem līdz miljonam cilvēku. Medicīnā ir ļoti daudz problēmu, jo cilvēku ir palicis maz, un daudzi turpina aizbraukt. Tagad mēģina piesaistīt augstskolu absolventus darbavietai gandrīz uz 10 gadiem, liekot aizbraukšanas gadījumā maksāt milzīgas summas. Bet tas nelīdz – cilvēki vienalga aizbrauc. Drīz tur paliks tikai vecīši, militārpersonas un miliči, bet tie jau nevarēs ne ārstēt, ne mācīt. Institūtos ir ļoti daudz vakanču, jo veselas katedras ir atlaistas vai aizgājušas no darba. Piemēram, Polockas universitātē tika atlaisti ļoti daudzi, jo viņi publiski uzstājās pret vardarbību. Tagad tie cilvēki – kurš Varšavā, kurš Parīzē – dara savu darbu un, skaidrs, ka sāk visu no nulles. Vesela liela katedra tika vienkārši nogriezta ar sakni, taču režīmam ir uzspļaut. Viņi nedomā par rītdienu. Viņi grib izdzīvot šodien. Politisko ieslodzīto un no represijām cietušo cilvēku skaits ir vienkārši šokējošs. Mums ir cilvēktiesību biedrība “Vesna” („Pavasaris”), kuras vadītājs, Nobela Miera prēmijas laureāts Aless Beļeckis sēž Lukašenko cietumā. Par viņu jau sen nav ziņu. Bet biedrība cenšas strādāt, cik var, un pēc pēdējiem tās apkopotajiem datiem 136 tūkstošus baltkrievu ir tieši skārušas represijas dažādu krimināllietu, administratīvo lietu, īslaicīga ieslodzījuma veidā. Visa represiju mašīna darbojas gandrīz piecus gadus. Bet es zinu, ka cilvēki nav padevušies, nav sākuši domāt citādāk, nav šī visa rezultātā iemīlējuši Lukašenko režīmu. Viņi to kā nevarēja ciest, tā necieš joprojām, taču tagad viņi nevar izteikties. Un viņi dod priekšroku klusēšana, jo klusēšana – tā ir tava brīvība, kādā mērā tā vispār ir iespējama šobrīd Baltkrievijā.” Donalds met ēnu 27. janvārī Eiropadome lēma vēl uz pusgadu pagarināt agresorvalstij Krievijai noteiktās sankcijas. Daudz netrūka, ka lēmums netiktu pieņemts, par ko, kā allaž, gādāja Ungārijas premjers Viktors Orbans. Kā atklāti paziņoja ungāru līderis, kurš labprāt izrādās gan ar Putina, gan Trampa draudzību, viņš paskatīšoties, ko Krievijas agresijas sakarā pasākšot Baltā nama saimnieks, varbūt ka pēc tam sankcijas nemaz vairs nevajadzēšot. Vēl viena Ungārijas prasība bija – lai Ukraina atjauno Krievijas gāzes tranzītu cauri savai teritorijai, ko prezidents Volodimirs Zelenskis noraidīja kā neiespējamu, gan piebilstot, ka pa attiecīgo cauruļvadu varētu piegādāt citu, teiksim – Azerbaidžānas gāzi, ja no tā nepelnīs Krievija. Ungārijas varasvīra kārtējie manevri radīja nepārprotamu nervozitāti Briselē, jo ar vienu veto pietiktu, lai sagāztu trīs gados un piecpadsmit paketēs centīgi būvēto sankciju konstrukciju. Kad nu Tramps ir paziņojis, ka „draugs Vladimirs”, ja daudz spītēsies miera sarunu sakarā, var dabūt no Vašingtonas sankcijas pie jau esošajām, arī Orbana nostāja izrādījusies gana elastīga. Tikām nedienās savu silto attiecību dēļ ar agresorvalsts diktatoru iekūlies vēl viens lētās krievu gāzes kārotājs no Centrāleiropas – Slovākijas premjerministrs Roberts Fico. Pēc tam, kad Ziemassvētku priekšvakarā Fico negaidīti ieradās vizītē Maskavā, kur draudzīgi rokojās ar Kremļa saimnieku, Slovākijas pilsētu ielās izgāja tūkstoši protestētāju, kuriem viņu valsts neformālā Krievijas satelīta statuss nav pieņemams. Kopš tā laika demonstrācijas turpinās, tās ir mierīgas un tikai pieauga mērogos pēc tam, kad premjerministrs Fico paziņoja, ka protesti tiekot organizēti un koordinēti no ārzemēm nolūkā gāzt likumīgo Slovākijas valdību. 24. janvārī galvaspilsētas Bratislavas ielās izgāja 60 000, savukārt otras lielākā pilsētas Košices ielās – 15 000 protestētāju. Paralēli Fico kabinets zaudējis nelielo vairākumu Slovākijas parlamentā. Izveidojot koalīciju 2023. gada oktobrī no divām kreisi populistiskām partijām „Virziens – sociāldemokrātija” un „Balss – Sociāldemokrātija” un nacionālradikāļiem Slovāku Nacionālās partijas – tai Nacionālajā sapulcē bija minimāls vienas balss pārsvars. Tagad nu četri no agrākajiem koalīcijas deputātiem paziņojuši, ka turpmāk balsošanā nepiedalīsies. Netiek izslēgts neuzticības balsojums esošajai valdībai, kas var novest pie ārkārtas vēlēšanām. Sagatavoja Eduards Liniņš.

Stāsta kinokritiķe, Rīgas Starptautiskā kino festivāla (Riga IFF) radošā direktore Sonora Broka. Viss esot aizsācies ar baltvīna pudeli. Volkera Hassemera, Berlīnes senatora kultūras jautājumos, un Berlināles Foruma līdzdibinātājas Ērikas Gregoras pārdomas pie vīna glāzes, kā sniegt lielāku atpazīstamību Eiropas kino, atrada dzirdīgas ausis. Tika nolemts 1988. gadā, ko Eiropas Savienība bija pasludinājusi par Eiropas kino un televīzijas gadu, noorganizēt svinīgu pasākumu “Made in Europe” jeb Eiropā radīta kino godināšanai. 1988. gads ir bijis aizsākums gan Eiropas kino balvai, gan arī Eiropas kino akadēmijai, kas vēlāk pārņēma ceremonijas organizēšanas pienākumus no Berlīnes Senāta. 1988. gada novembrī uz Pirmās Eiropas kino balvas ceremoniju sanākušajai izcilu kino veidotāju grupai radās ideja apvienot Eiropas kino profesionāļus organizācijā, kas pārstāvētu nozari un aizstāvētu tās intereses. Oficiāli Eiropas kino biedrība, kas vēlāk pārtapa par Akadēmiju tika dibināta 1989. gadā. Starp tās dibinātājiem bija Jirži Mencels, Ištvāns Sabo, Kšistofs Zanussi un Kšistofs Kešlovskis, Klods Šabrols, Hanna Šigula, Bernardo Bertoluči, Stīvens Frīrs un citi, bet pirmais Akadēmijas prezidents bija zviedru kino režisors Ingmars Bergmans. Vēlāk kino akadēmijas vadību pārņēma Vims Venderss, Agņeška Holanda, un kopš pagājušā gada rudens – franču aktrise Žiljeta Binoša. Pašā pirmajā balvas pirmajā pasniegšanas gadā uz to pretendēja Vima Vendersa “Debesis pār Berlīni”, Billes Augusta “Pelle iekarotājs”, Luija Malla, Kšištofa Kešlovska, Terensa Deivisa, un citu režisoru filmas. Līdz pat 1997. gadam Eiropas kinoakadēmijas apbalvojumu, tāpat kā pašu balvas statueti oficiāli sauca arī par Fēliksu. Vēlākajos gados statuetes forma tika mainīta –  tagad tā ir sieviete krītošā tērpā, netiek lietots arī kādreizējais balvas nosaukums. Eiropas kino akadēmijā ir ap 5000 biedru, kas ik gadu piedalās balsojumā par Eiropas filmām. Decembra sākumā tiek pasniegtas Eiropas kino balvas 22 kategorijās, ceremonijai katru nepāra gadu notiekot balvas mājvietā, Berlīnē, bet katru pāra gadu kādā citā Eiropas pilsētā, 2014. gadā tā bija Rīga. Līdz šim vislielāko balvu birumu – 8 nomināciju kategorijās – ir saņēmusi Jorga Lantima filma “Favorīte” 2019. gadā. Pagājušā gada izskaņā ceremonija norisinājās 7. decembrī Lucernā, Šveicē. Līdztekus 4 pilnmetrāžas animācijas filmām no Čehijas, Šveices un Spānijas labākās animācijas filmas kategorijā bija nominēta arī Ginta Zilbaloža filma “Straume”, kas kļuva par uzvarētāju, ierakstot šo datumu Latvijas kino vēsturē. Saņemot balvu, Zilbalodis teica: ”Šādu filmu bija iespējams radīt tikai Eiropā. Mums ir iespējas izstāstīt oriģinālus, personiskus stāstus, un to nevajadzētu uztvert kā pašsaprotamu.”  

How did a Montreal winter turn Tika the Iggy into a fashion icon? Thomas Shapiro reveals how Tika's winter sweater led to runway fame and high-profile brand collaborations. 

A man's bizarre reunion with his dog, we were late because of a meeting, Amy Kaufeldt went to New York, the worst neighbor ever, a man gets weird with a horse, the great mattress debate, a $100,000 scam, there are no more donuts, a man sues Disney over Moana, a fake fighterfighter arrested in Los Angeles and so much more!

Stāsta Rīgas ielu pētnieks Edgars Lecis Vecrīgā starp Grēcinieku ielu un Peldu ielu atrodas nelielā Ūdensvada iela. Kaut arī ielas nosaukums vedina domāt par salīdzinoši nesenu pagātni, ielas nosaukumam ir cieša saistība ar Rīgas pilsētas ūdenssaimniecības attīstību 17. gadsimtā. Iela izveidojās 13. gadsimtā kā daļa no senās Trauksmes ielas – tā bija militāras nozīmes iela, kas veda iekšpus pilsētas aizsardzības mūriem (citi šīs senās ielas posmi ir mūsdienu Aklā iela, Trauksmes iela un Trokšņu iela). 1662. gadā, kad Rīga atradās Zviedru Vidzemes sastāvā, no Dancigas (mūsdienu Gdaņska Polijā) tika uzaicināts nīderlandiešu ūdens apgādes un namdaru meistars Jakobs Jostens, kurš 1663. gadā Ūdensvada ielas rajonā izveidoja t.s. ūdensskunsti, kura apgādāja Rīgas pilsētu ar ūdeni turpmākos 200 gadus. Iekārtas izbūves iniciatori bija rātskungi Melhiors Dreilings, Melhiors Fukss un Gothards Fēgezaks. Divi no šiem kungiem atstājuši pēdas arī Rīgas vietvārdos: Melhiora Dreilinga muiža devusi nosaukumu Rīgas Dreiliņu apkaimei, bet Fēgezaku muiža – Vējzaķsalai. Iekārta tika ierīkota Zunderna jeb Grēcinieku tornī, kas atradās mūsdienu Grēcinieku ielas 34 rajonā. Šeit pa speciāli izveidotu kanālu tika pievadīts Daugavas ūdens. Trīs zirgu darbināts sūknis ūdeni pievadīja 243 mucu ietilpīgā tvertnē (1791. gadā tvertnes tilpumu palielināja līdz 850 mucām). No tvertnes pa koka caurulēm ūdens tika sadalīts pa pilsētu. Diemžēl jebkāda ūdens attīrīšana nebija paredzēta... Vēlāk bez zirgiem sāka lietot ar ūdeni un vēju darbināmas dzirnavas. Pēc tam no abām dzirnavām atteicās un zirgu skaitu palielināja līdz sešiem. Ūdensskuntes darbības vajadzībām tika izbūvēti speciāli zirgu staļļi, kuros atradās 20, vēlāk jau 80 zirgi. Šī pilsētas ūdensapgādes sistēma darbojās līdz 1863. gadam, kad tika ierīkota jaunā Daugavas ūdenssūkņu stacija pie Krīdenera dambja mūsdienu Latgales ielā 196. Šī ēka, atšķirībā no ūdensskuntes ēkas, ir saglabājusies līdz mūsdienām. Tika nomainītas arī ūdensvada caurules, atsakoties no koka. Ūdensskunstes dēļ Trokšņu ielas posmu 17. gadsimtā sāka dēvēt par Skunstes ielu, bet 1923. gadā ielas nosaukums tika latviskots par Ūdensvada ielu.  

Raistlin wrestles with the Dragon Orb and perhaps wins out. Caramon wrestles with his feelings for Tika and she definitely loses out. We learn that the twins both lost out when Raistlin took the Test of High Sorcery.  Lord Gunther of Solamnia is visited by Fizban and Tas. We learn a great deal about Gnomes their relationship with the Knights of Solamnia. Most important for this story though is that we learn knights have handed the dragon orb over to the the gnomes for study?! Content warning - drug use, addiction, sexual references You can find us at: Jonathon - https://bsky.app/profile/falselogic.bsky.social Shivam - https://bsky.app/profile/shivambhatt.bsky.social Casual Magic w/ Shivam Bhatt - https://casualmagic.libsyn.com/ Shivam & Wheeler Love Magic - https://sites.libsyn.com/460224 Facebook - https://www.facebook.com/groups/1147877956611082 Discord - https://discord.gg/MM7nEwgmZv We now have a Patreon for those who want to support the podcast! Benefits include seeing the show notes and getting a shout out. Details @ https://www.patreon.com/ChroniclesofDragonlancePodcast Intro/Outro music: Winter Night by Alexander Nakarada

Recording artists Lady2Much has been putting on for L.A. for some time and is ready to make her debut in the music industry. With connections deep in the business world and a work ethic that's unmatched, Lady2Much is on her way to being the next big thing out of Los Angeles.Coming up in L.A., Lady2Much spent a lot of time alone as a child. This isolation helped her hone her skills as a writer, which in turn helped her develop as an artist when she turned those words into songs. Inspired by lyricists like Lil Wayne, Lady2Much has used her music as an outlet for her emotions & aspirations. Now a recording artists and business owner, Lady2Much, also known as “Tika” is on her way to being a staple in the Los Angeles community. She's currently working on her debut EP, awaited by eager audiences nationwide.Follow Lady2Much on Instagram to stay updated on new music from the Los Angeles creator!

Nu de lente is aangebroken in Arendelle heeft iedereen het razenddruk: de gewassen moeten worden gezaaid, de vis gerookt en de rode bosbessen geplukt. Elsa brengt een bezoek aan het koninkrijk Tika... Uitgegeven door Saga Kids Spreker: Arnost Kraus

*) Israel's genocidal war on besieged Gaza enters its 400th day Since October 7, 2023, Israel has killed more than 43,500 Palestinians, 70 percent of them women and children, and wounded over 102,700 others, according to local health authorities. Analysts say the estimate is conservative and the actual death toll could be around or beyond 200,000, as thousands of Palestinians remain missing or buried under the debris of bombed homes and shops. Another 10,000 have been abducted and jailed at Israeli torture sites. *) Stein and Trump gain surprising support among Muslim voters American Muslim voters overwhelmingly backed Green Party's candidate Jill Stein in the 2024 presidential election, with 53.2 percent casting ballots in her favour, according to a new survey. In Michigan, Stein received even stronger support, with 59 percent of 502 Muslim respondents backing her, compared to 22 percent for Trump and 14 percent for Harris, according to the poll. Frustration over the Biden administration's Gaza policy led to a "sharp drop" in Muslim support for Harris compared to Biden's 2020 Muslim voter base, according to CAIR's National Government Affairs Director Robert McCaw. *) US, Canada groups urge leaders to condemn anti-Arab violence in Amsterdam Two prominent Muslim groups have criticised North American leaders and media for ignoring attacks and anti-Arab violence by Maccabi Tel-Aviv fans during a Europa League match. "It has been deeply distressing and disturbing to witness the violence that took place in Amsterdam around the Europa League match last night," The National Council of Canadian Muslims (NCCM) wrote on X, denouncing all forms of intimidation. The Muslim group urged Canadian leaders to address the incidents directly. "If Canadian leaders choose to weigh in on this issue, they must condemn the well-documented attacks on Arabs in Amsterdam," the statement says. *) 2024 to be the hottest year since industrial revolution Scientists say that 2024 might go down in history as the hottest since humans began burning fossil fuels. According to the European Union's Copernicus Climate Change Service (C3S), the global average temperature is expected to exceed the critical 1.5C threshold above pre-industrial levels. This would mark a historic milestone, underscoring the dramatic impact of greenhouse gas emissions and climate crisis. The C3S Monthly Climate Bulletin for October highlights that human activities have created an elevated temperature baseline. An El Nino event also played a role in this year's heating but the climate's complexity is influenced by multiple factors beyond greenhouse gases alone, such as solar radiation, volcanic eruptions, aerosols, and natural climate variability, according to the scientists. *) Turkish first lady attends event on Ottoman sufi poet, heritage in Hungary Türkiye's first lady has attended a special programme in Budapest promoting a book on a 14th-century Ottoman sufi poet and the empire's rich heritage in Hungary. Erdogan visited the tomb of Ottoman Dervish poet Gul Baba — also known as Jafer, or the "Father of Roses" in Hungary — which was restored in 2018 in a collaboration between the Hungarian government and TIKA, the Turkish state aid agency. "I am happy to gather around the legacy of Gul Baba, who came from Anatolia and was laid to rest in this land, on the 100th anniversary of the Türkiye-Hungary Friendship Treaty” she says. "It is truly exciting that six years after TIKA's restoration efforts and the establishment of the cultural centre at the Gul Baba Tomb, this spiritual heritage is now being crowned with a new book," Erdogan wrote in the guestbook at the Gul Baba Tomb.

Explore the rich heritage of Nepal in this in-depth podcast on Tihar festival traditions, cultural meanings, and historical transformations. Join us as we dive into the significance of Bhai Tika, the symbolism of Mha Puja, and the essence of Deusi Bhailo—highlighting how these rituals make Tihar and Deepawali uniquely Nepali. From the Seven-colored Tika and God Laxmi worship to the Newari Mha Puja and Rangoli decorations, discover how each element reflects Nepal's deep-rooted spirituality and cultural traditions. We also explore the Nepalization process, tracing how influences from the Lichhavis and Newars shaped Nepal's identity. Understand the role of Kul Deuta and how ancestral worship can impact family lineage, along with the cultural significance of cows and crows in the Hindu context. This podcast delves into both the mythology and history of Nepal, including fascinating discussions on Yama in Hinduism and the process by which ancient traditions became a part of today's cultural landscape. Whether you're curious about Nepali festival rituals, interested in cultural change in Nepal, or looking to understand the symbolism of Tihar, this episode covers it all. Join us for a journey into Nepal's unique mythology and heritage, and learn how these traditions continue to shape the modern Nepali cultural identity. Don't miss these insights on Nepal's most cherished festival! #TiharFestival #NepaliCulture #BhaiTika #MhaPuja #Nepalization #NepaliTraditions

Pēc rekonstrukcijas Rīgas pilī šajā rudenī atgriežas Latvijas Nacionālais vēstures muzejs. Lai arī ar pilnu jaudu tas darbību atsāks tikai nākamajā gadā, jau šobrīd interesentiem ir iespēja apskatīt rekonstruētās telpas un apmeklēt pasākumus. Par to, ko šīs telpas slēpj vai nu jau jāsaka gluži pretēji - atsedz un kāda ir pati Rīgas pils vēsture, saruna raidījumā. Stāsta Latvijas Nacionālā vēstures muzeja (LNVM) Izglītības un komunikācijas departamenta vadītāja Astrīda Burbicka un LNVM Vēstures departamenta Viduslaiku, jauno un jaunāko laiku vēstures nodaļas vadītājs Imants Cīrulis. Rīgas pils konventa pārbūve un restaurācija (autori: "Rīgas Pils Kastelas projekts" ("MARK Arhitekti", "Sudraba Arhitektūra") bija iekļauta arī to 16 pretendentu klāstā, kas bija izvirzīti Latvijas Arhitektūras gada balvas 2024 finālam. Liecības par laiku pirms Rīgas pils celtniecības Ķieģeļu ceplis, dzirnavas un hospitālis – tādas būves ir minētas rakstītos avotos par laika posmu 13.-14. gadsimtā par vietu, kur šobrīd slejas Rīgas pils. Ko tagad no minētajām celtnēm var aplūkot tagad, stāsta pils atjaunošanas projekta pārstāvis arheologs Mārtiņš Lūsēns.      1330. gadā pēc rīdzinieku cīņām ar Livonijas ordeni, kad pilsētnieki bija nopostījuši pirmo ordeņa pili, kas atradās tur, kur tagad ir Konventa sēta, ordeņa pārstāji kā uzvarētāji lika rīdziniekiem celt jaunu pili, un būvei vieta tika izvēlēta Daugavas krastā pie toreizējās pilsētas robežas. Tika noplēsti vairāki dzīvojamie nami, kas nav minēti rakstītos avotos, bet  ir saglabājušās  ziņas par slimnīcu, dzirnavām un ķieģeļu cepli, kas pirms pils būvniecības te ir atradušies. Kopā ar Mārtiņu Lusēnu, kurš  ilgstoši ir pētījis šīs būves vēsturi, dodamies uz pils pagrabu, kur tagad arī muzeja apmeklētāji varēs paši aplūkot senos mūrus un liecības par laiku pirms pils celtniecības.

During Dashain, a significant festival in Nepal, family members receive "tika" (a mixture of yogurt, rice, and vermilion) on their foreheads along with blessings from elders. The Sanskrit hymn, often recited during the offering of tika, is meant to bestow blessings, prosperity, and protection. But what about Nepalis living in Australia, can they recite the hymn? - दशैँमा आफू भन्दा ठुला व्यक्तिले टीका र जमरा लगाएर दिने आशीर्वादको छुट्टै महत्त्व हुने गर्छ। संस्कृत भाषामा रहेको श्लोकमा हिन्दु धार्मिक ग्रन्थमा रहेका पात्रहरूको उदाहरण दिदै उनीहरूका उत्कृष्ट गुणहरू आउन भनेर आशिष् दिइन्छ। तर परम्परागत रूपमा यो मन्त्र पनि महिला र पुरुषका लागि भिन्न-भिन्न रहेका छन्। अब अस्ट्रेलियामा रहेका केही नेपालीलाई दशैं भन्दा के कुरा याद आउँछ र उनीहरूलाई यो मन्त्र चाहिँ याद छ कि छैन भन्ने बारे सुनौँ।

Katie has been following a hamster on TikTok. It sound ridiculous but when you find out why...it's even more shocking!

Punjab is currently facing a huge water crisis. Where the underground water in Punjab is running out, the remaining underground water is being polluted through Tika borewell. An analysis of last year's flood data released by BBMB shows that these floods could have been prevented or their impact could have been reduced. This News/Article Punjab Water Crisis: Various Aspects, Causes and Solution appeared first on Sikh Siyasat News.

MALAM SERAM, PODCAST CERITA SERAM | BUKAN SEKADAR CERITA SERAMSuka bacaan kisah-kisah seram, sila subscribe ke saluran Malam Seram! Malam Seram LIVE show Isnin hingga Khamis 11 malam dan Jumaat 11.59 malam MALAM SERAM adalah segmen LIVE perkongsian pengalaman seram dan misteri. Anggap ia hanya sekadar perkongsian sahaja. Jangan mudah percaya dan terlalu taksub dengan apa yang anda dengar!MALAM SERAM The Horror Talk Show Bukan Sekadar Cerita Seram.Become a supporter of this podcast: https://www.spreaker.com/podcast/malam-seram--3347472/support.

Vārda vistiešākajā nozīmē par auss tiesu no nopietna dzīvības apdraudējuma šajā nedēļā izvairījās ASV Republikāņu partijas kandidāts cīņā par valsts prezidenta amatu Donalds Tramps. Pret viņu veikts atentāta mēģinājums. Tas noticis vien dažas dienas pirms Republikāņu nacionālā kongresa. Bet uz pirmo plenārsesiju pulcējās jaunais Eiropas Parlamenta sasaukums. Par tā trešo lielāko grupu kļuvuši jaunizveidotie "Eiropas patrioti". Tajā apvienojušies labējie spēki no 12 Eiropas Savienības valstīm, arī no Latvijas. Tie sola pārskatīt Eiropas "zaļo kursu", vērsties pret migrāciju un kopt tradicionālās vērtības. Lai arī ietekmīgu amatu jaunajai grupa parlamentā nav, ar labējo balsi Eiropā tomēr būs jārēķinās. Aktualitātes analizē Ģeopolitikas pētījumu centra direktors Māris Andžāns un portāla "Delfi" žurnālists Toms Ģigulis. Eiroparlamenta jaunās tonalitātes Vakar, 16. jūlijā, Strasbūrā uz savu pirmo plenārsēdi pulcējās jaunievēlētais Eiropas Parlaments. Tā politiskā struktūra ir nedaudz citāda, nekā tika lēsts vēl pirms mēneša. Proti, ir beigusi pastāvēt 2019. gadā dibinātā politiskā grupa „Identitāte un demokrātija”, kas veidoja parlamenta galēji labējo spārnu. Vairumu tās locekļu pie sevis pārvilinājusi jaundibinātā „Eiropas patrioti”, par kuras veidošanu pagājušomēnes paziņoja Ungārijas premjers un partijas „Fidesz” līderis Viktors Orbāns, Čehijas ekspremjers un partijas Neapmierināto pilsoņu akcija jeb ANO 2021dibinātājs Andrejs Babišs un Austrijas Brīvības partijas pārstāvji Herberts Kikls un Haralds Vilimskis. „Fidesz” savulaik bija labēji centriskās Eiropas tautas partijas, Austrijas Brīvības partija – labējās Konservatīvo un reformistu, savukārt ANO 2021 – liberālās „Atjaunot Eiropu!” sastāvā. Tagad šie trīs spēki veidoja platformu, kuras stūrakmeņi ir savienības centrālo institūciju ietekmes vājināšana, t.s. „Zaļā kursa” revidēšana, migrācijas bremzēšana un tradicionālistisku vērtību kopšana. Šim kodolam izrādījās pamatīga gravitācija, un jūlija pirmajā nedēļā tam pievienojās daudzas no līdzšinējām grupas „Identitāte un demokrātija” dalīborganizācijām. Process kulminēja 8. jūlijā, kad „Eiropas patriotos” pierakstījās Francijas „Nacionālā apvienība” un Itālijas „Līga”, attiecīgi – Marinas Lepēnas un Mateo Salvini lolojumi. Līdz ar to šī grupa kļuva par trešo lielāko Eiroparlamentā, atpaliekot tikai no Eiropas Tautas partijas un Sociālistiem un demokrātiem un atbīdot ceturtajā pozīcijā savus mērenākos kolēģus – „Eiropas Konservatīvos un reformistus”. No Eiropas prominetākajiem labējiem populistiem ārpusē pagaidām šķiet palikusi „Alternatīva Vācijai”, kura kopā ar vairākām mazākām partijām veidos Eiroparlamenta mazāko grupu „Suverēno nāciju Eiropa”. Parlamenta pirmais nozīmīgais balsojums bija par parlamenta priekšsēdētāja ievēlēšanu. Ar pārliecinošu balsu vairākumu savu amatu saglabāja līdzšinēja priekšsēdētāja, Maltas Nacionālās partijas pārstāve Roberta Metsola. Tika ievēlēti arī četrpadsmit viņas vietnieki, starp kuriem nav nedz „Eiropas patriotu”, nedz „Suverēno nāciju Eiropas” pārstāvju. Vēsturisks šāviens Pagājusī nedēļa ASV politikā bijusi notikumiem piesātināta. Sestdien, 13. jūlijā, priekšvēlēšanu mītiņā Pensilvānijā notika atentāta mēģinājums pret bijušo ASV prezidentu Donaldu Trampu. Uzbrucējs atklāja uguni pret Trampu, trāpot viņam ausī, kā arī ievainojot vairākus un nogalinot vienu mītiņa dalībnieku. Burtiski daži centimetri šīs lodes lidojumā ietekmējuši vēsturi un daudzi jau steidz pavēstīt, ka šis uzbrukums nobruģējis Trampam ceļu uz Balto namu.  Uzbrucējs bija 20 gadus vecais Tomass Metjū Krukss. Slepenā dienesta aģenti uzbrucēju nošāva, tāpēc informāciju par viņa motīviem izmeklēšanas gaitā būs iespējams iegūt tikai netieši. Šobrīd zināms, ka viņš ir bijis republikāņu atbalstītājs, kas kādreiz ziedojis nelielu summu demokrātu organizācijai, un uzbrukumā izmantojis sava tēva legāli iegādāto pusautomātisko ieroci.  Uzbrukumu Trampam nosodījuši kā citu valstu līderi, tā esošais ASV prezidents Džo Baidens, sakot, ka amerikāņi strīdus risina pie balsošanas urnām, nevis ar lodēm. Pats Donalds Tramps jau pirmdien ieradās Milvoki uz Republikāņu konventu, kur oficiāli pieņēma prezidenta amata kandidāta nomināciju un nosauca savu partneri vēlēšanās uz viceprezidenta amatu – Džeimsu Deividu Vensu. Tieši Vensam iepriekš bija būtiska loma Ukrainas palīdzības likumprojekta kavēšanā ASV Kongresā, un Eiropā jau pieaugušas bažas par to, kā Tramps un Venss varētu ietekmēt atbalstu Ukrainai, ja tiks ievēlēti.  Kamēr Donalds Tramps savā kampaņā izskatās arvien spēcīgāks un, šķiet, gatavs ar paceltu dūri iet līdz pat Baltajam namam, viņa konkurents Džo Baidens turpina galvenokārt cīnīties ar spiedienu atteikties no iespējas kandidēt vēlreiz. Izdevuma „Politico” avoti ziņo, ka arī Nensija Pelosi, bijusī Pārstāvju palātas spīkere, domā, ka Baidenam no cīņas vajadzētu izstāties. Demokrātu rindās Pelosi redz kā pēdējo cerību parādīt Baidenam, ka viņam jāmācās no viņas piemēra un jādod vieta jaunākai demokrātu paaudzei.  Sagatavoja Eduards Liniņš un Ieva Zeiza.

The United Nations hosted Expert Mechanism on the Rights of Indigenous Peoples (EMRIP) 2024 is taking place in Geneva this week, with Aotearoa's Te Kāhui Tika Tangata Human Rights Commission in attendance.  Particularly, the commission will be commenting on Aotearoa's historical approach to indigenous rights in Aotearoa as well as the approach of the current government.  Wire host Castor spoke to Te Kāhui Tika Tangata's indigenous rights governance partner, Dayle Takitimu, about the EMRIP assessment and what it could mean for our current and future governments.

It was an absolute pleasure to have Tika join me this week. We had a relaxed conversation about how to communicate in conversations. Listening to real and natural conversations is a fantastic way to improve your English.

Gājis bojā Irānas prezidents Ibrahims Raisi. Sašauts Slovākijas premjerministrs Roberts Fico. Putins viesojas Ķīnā. Aktualitātes analizē Latvijas Radio ziņu dienesta vadītājs, Latvijas ārpolitikas institūta pētnieks Uģis Lībietis. Sazināmies ar Latvijas Ārpolitikas institūta pētnieku, Delavēras universitātes doktorantu Tomu Rātfelderu un Rīgas Stradiņa universitātes Politikas zinātnes doktorantūras vadītāju, Ķīnas Studiju centra direktori, Latvijas ārpolitikas institūta Āzijas programmas direktori Unu Aleksandru Bērziņu-Čerenkovu. Asiņainā prezidenta pēkšņais gals Vakar, 21. maijā, Irānā tika izsludinātas piecu dienu valsts sēras, pieminot svētdien aviokatastrofā bojāgājušos – valsts prezidentu Ibrahimu Raisi, ārlietu ministru Hoseinu Amiru Abdollahjanu, vēl pāris valdības ierēdņus un avarējušā helikoptera apkalpes locekļus. Prezidenta helikopters avarēja, Raisi esot atceļā no tikšanās ar Azerbaidžānas līderi Ilhamu Alijevu abu valstu pierobežā. Vienas dienas sēras izsludinājušas arī Irānas kaimiņvalstis Pakistāna un Turcija, oficiālu līdzjūtību, cita starpā, izteikusi arī Eiropas Savienība, un tikai Savienotās Valstis nav ievērojušas principu „labu vai neko”. Baltā nama nacionālās drošības pārstāvis Džons Kirbijs raksturojis nelaiķi Raisi kā cilvēku, kam „rokas mirkst asinīs” – starptautiskā terorisma atbalstītāju un represīvu protestu apspiedēju paša valstī. Raksturojums visnotaļ atbilst patiesībai. Lielu daļu savas karjeras bojāgājušais pavadījis islāma režīma tieslietu sistēmā, tai skaitā piedalījies 1988. gada notikumos, kad Irānas cietumos bez tiesas sprieduma tika nogalināti tūkstoši režīma pretinieku. Viņa ievēlēšanu par prezidentu 2021. gadā pamatoti uzlūkoja kā konservatīvo varas tvēriena stiprināšanu laikā, kad valstī pieaug prasības pēc liberālākas kārtības un laiku pa laikam uzliesmo nemieri. Komentētāji visai vienprātīgi atzīst, ka tuvākā perspektīvā šai ziņā neko nemainīs arī prezidenta pēkšņais gals un jūnija nogalē paredzētās vēlēšanas. Lielākā vara Irānā pieder augstākajam vadītājam jeb rahbaram Alī Hāmenejī, kura ietekmē ir arī īpašā atlases padome, kas pirms katrām vēlēšanām no vairākiem simtiem kandidātu atlasa vien dažus. Pēdējās reizēs cauri šim sietam nav ticis neviens salīdzinoši mērens amata kandidāts, un, spriežot pēc vēlētāju aktivitātes, daudzi irāņi atmetuši cerības vēlēšanu ceļā panākt kādas izmaiņas. Taču prezidenta Raisi bojāeja aktualizējusi jautājumu par augstākā varas posteņa tālāko likteni. Rahbaram Hāmenejī drīz apritēs 85, un kā viņa potenciālais sekotājs varas virsotnē līdz šim tika minēts tieši Raisi. Ja notiktu tā, ka dižais ajatolla Hāmenejī dotos mūžībā, bet stabils funkciju pārņēmējs tobrīd vēl nebūtu atrasts, tas potenciāli varētu destabilizēt fundamentālistisko režīmu. Dzejnieks „raksta” ar lodēm Pirms nedēļas atentātā tika smagi ievainots Slovākijas premjerministrs Roberts Fico. Uzbrukums notika Handlovas pilsētā valsts vidienē, kur valdības vadītājs un vairāki ministri bija ieradušies uz publisku diskusiju. Pēc pasākuma, kad Fico piegāja pie ārpusē sanākušajiem ļaudīm, uz viņu no minimāla attāluma vairākkārt izšāva 71 gadu vecais Jurājs Cintula, kurš turpat uz vietas tika aizturēts. Premjerministrs smagi ievainots galvā, krūtīs un vēderā, sākotnēji viņa dzīvība bija nopietnās briesmās, tagad, pēc atkārtotas operēšanas, stāvoklis tiek raksturots kā smags, taču stabils. Par šāvēju zināms, ka viņš ir pensionēts apsardzes darbinieks, kuram ierocis piederējis legāli, un arī vairāku dzejoļu krājumu autors un Slovākijas Rakstnieku savienības biedrs. Pagātnē viņam bijuši sakari ar militarizēto grupu „Slovāku iesaucamie”, kura, savukārt, bijusi saistīta ar Kremļa režīmu aktīvi atbalstošo Krievijas motociklistu klubu „Nakts vilki”. Cintula, cik zināms, bijis krasi negatīvi noskaņots pret migrantu ieplūšanu Eiropas Savienībā, viņa tekstos atrodami nicinoši motīvi Slovākijas romu minoritātes sakarā. Taču, no otras puses, viņš paudis nepatiku pret korupciju un oligarhisku varas sagrābšanu, kas lielā mērā asociējas ar Roberta Fico valdīšanu. Cik var noprast, Cintulas sašutumu izraisījuši premjerministra plāni likvidēt Slovākijas pretkorupcijas prokuratūru un slēgt sabiedriskos medijus, arī viņa īstenotā palīdzības pārtraukšana Ukrainai. Roberta Fico partijas „Virziens – sociāldemokrātija” pārstāvji par galvenajiem uzbrukuma vaininiekiem pasludinājuši liberālos medijus, kuri esot kurinājuši naidu pret valdošo spēku un tā premjeru. Maskavas un Pekinas „bezgalīgā draudzība” Agresorvalsts vadoni Putinu Pekinā pagājušonedēļ sagaidīja ar visu iespējamo pompu un spožumu, demonstrējot, ka šai pasaules daļā kara noziegumos apsūdzētais joprojām tiek uzskatīts par cienījamu valsts galvu un partneri. Neiztrūka nedz militārās parādes, nedz lielgabalu zalvju, nedz sarkanā tepiķa, pa kuru Maskavas viesim pretim laipni iznāca namatēvs – Ķīnas totalitārais vadonis ar prezidenta titulu Sji Dziņpins. Tika pasludināta jauna abu valstu partnerības ēra, piesaucot sadarbību daudzās jomās, starp kurām ir dažādas digitālās, informācijas un telekomunikāciju tehnoloģijas, kosmosa apguve, kā arī „savstarpēja militāra paļāvība un koordinācija”. Viss liecina par to, ka Ķīnas industrija arī turpmāk kalpos Krievijai par atbalstu tās militāro spēju stiprināšanā, piegādājot  t.s. divējādās izmantojamības, respektīvi, arī militāriem mērķiem lietojamus ražojumus. Ne velti Krievijas delegācijā bija gan nesen atstādinātais aizsardzības ministrs Sergejs Šoigu, gan viņa amata pārņēmējs Andrejs Belousovs, gan Krievijas kosmosa aģentūras „Roskosmos” vadītājs Jurijs Borisovs. Kā lēš, Ķīna šobrīd nodrošina Krievijai lauvas tiesu no ieroču ražošanai vitāli nepieciešamā importa: 70% no ievestajām ražošanas iekārtām un 90% no mikroelektronikas izstrādājumiem, un Rietumu ieviestās sankcijas tur maz ko līdz. Unisonā kopējos paziņojumos vizītes laikā skanēja arī Maskavas un Pekinas paļas Vašingtonai, kura turpinot aukstā kara pieeju, izturoties agresīvi visā pasaulē un grasoties militarizēt kosmosa telpu. Krievijas agresijas karam, šajā kompānijā konsekventi dēvētam par „Ukrainas krīzi”, vizītes publiskajā izpausmēs bija veltīta samērā pieticīga vieta. Tika pausts, ka pareizā pieeja esot „politisks risinājums”, ar ko acīmredzot jāsaprot Rietumu palīdzības pārtraukšana Ukrainai, spiežot Kijivu sēsties pie sarunu galda. Kara kontekstā izskanēja arī nosodījums valstīm, kuras piesavinoties citu valstu īpašumu, kas ir nepārprotama norāde uz Rietumvalstu plāniem konfiscēt Krievijas kapitālus vai vismaz peļņu no šiem kapitāliem par labu Ukrainai. Tiesa, kā atzīmē daudzi novērotāji, vienu kārotu guvumu Putins no Pekinas tomēr nepārveda. Runa ir par gāzesvadu „Sibīrijas spēks”, kura izbūvē Ķīna joprojām nav gatava ieguldīt savu līdzfinansējumu. Sagatavoja Eduards Liniņš. Eiropas Parlamenta granta projekta „Jaunā Eiropas nākotne” programma.* * Šī publikācija atspoguļo tikai materiāla veidošanā iesaistīto pušu viedokli. Eiropas Parlaments nav atbildīgs par tajā ietvertās informācijas jebkādu izmantošanu.

Aktuālitāes pasaulē analizē Latvijas Radio ziņu dienesta ārzemju korespondents Rihards Plūme, laikraksta "Diena" komentētājs Andis Sedlenieks un politologs Kārlis Daukšts. Gruzijā turpinās protesti pret "ārvalstu aģentu" likumprojektu Laikā, kad pasaulē pareizticīgie svinēja Lieldienas, Gruzijā turpinājās plaši protesti pret "ārvalstu aģentu" likumprojektu. Šis likumprojekts līdzinās Krievijā spēkā esošam likumam, ar ko tiek apkaroti mediji, nevalstiskās organizācijas un aktīvisti. Protesti turpinās jau kopš 9. aprīļa, kad valdošā partija "Gruzijas sapnis" atkārtoti iesniedza parlamentā šī likuma projektu. Šī partija, neskatoties uz milzīgajiem protestiem, cer to pieņemt maija vidū. Gruzijas prezidente Salome Zurabišvili, kas negrasās to apstiprināt, brīdina, ka Gruzijas sabiedrībai nākamajās vēlēšanās nāksies atbildēt uz eksistenciālu jautājumu – "Eiropa vai Krievija?" Jo, kā viņa uzsvērusi intervijā raidsabiedrībai "Deutsche Welle", Gruzijas problēma nav tikai šis "krievu likums", bet arī Tbilisi "krievu valdība". Zurabišvili atgādina, ka valdošā partija jau pieņēmusi vairākus strīdīgus likumus. Arī likumu, "kas Gruziju padara par ofšoru zonu krievu oligarhiem, kam noteiktas sankcijas”. Viņa aicina Eiropas partnerus spert atbilstīgus soļus, reaģējot uz notiekošo Gruzijā.  Tādejādi paužot, ka ar nosodījumu, ko ir izteikuši gan NATO, gan ES līderi, vien nepietiks. Jāatgādina, ka arī ASV Senāta divpartiju grupa ir nosūtījusi vēstuli Gruzijas premjerministram, brīdinot, ka "ārvalstu aģentu" likuma pieņemšanas gadījumā viņi būs spiesti lūgt mainīt ASV politiku attiecībā uz Gruziju. Izraēla neslēpj nodomu ieiet Gazas sektora dienvidos esošajā Rafas pilsētā Jau ilgstoši gaisā virmoja jauns spriedzes elements, Izraēlai neslēpjot savus tālākos militāros nodomus ieiet Gazas sektora dienvidos esošajā Rafas pilsētā, kur daudzi palestīnieši ir raduši patvērumu, bēgot no kara ziemeļu daļā. Tika izsludināta 100 tūkstoš cilvēku evakuācija, bet starptautiskā sabiedrība aktīvi pastiprināja spiedienu pret Izraēlu, cenšoties apturēt tālāku asinsizliešanu. Tiek ziņots, ka ASV aptur militārās palīdzības kravas, šādi mēģinot iespaidot Netanjahu valdību. Pirmdienas, 6.maija, vakarā pasauli aplidoja ziņa, ka Hamas vadība ir piekritusi Kataras un Ēģiptes  piedāvātajam pamiera plānam, kas izraisīja nelielas spontānas svinības palestīniešu vidū. Tomēr drīz vien kļuva skaidrs, ka Izraēla nav pagaidām gatava piekāpties. Tajā pašā pirmdienas vakarā armijas vadība paziņoja, ka uzsāk ofensīvu, īstenojot mērķtiecīgus gaisa uzlidojumus Rafai. Kā viens no svarīgākajiem uzdevumiem tika nosaukts robežpārejas punkta pārņemšana Izraēlas armijas kontrolē. Mediji šodien, 8. maijā, ziņo, ka to vairs varētu nenodot atpakaļ palestīniešiem, bet kā garants to pārņemtu ASV privāta struktūra. Centieni joprojām apturēt tālāko karadarbību nav rimuši. Kairā ir atsākušās sarunas par iespējamo miera plānu. Ēģiptes un Kataras piedāvājums, saskaņā ar publiskoto informāciju, paredz trīs posmus: pilnīgu Izraēlas karaspēka izvešanu no Gazas josla, kara dēļ pārvietoto palestīniešu atgriešanos un ķīlnieku un gūstekņu apmaiņu ar mērķi panākt "pastāvīgu pamieru". Tomēr, kā skaidro Izraēlas pārstāvji, šis plāns esot tālu no tā, kas apmierinātu Izraēlas pusi, tāpēc sarunas būšot ļoti saspringtas. Putina inaugurācija Otrdien, 7.maijā, piekto reizi cauri Kremlim savā varas apliecinājuma gājienā devās Vladimirs Putins, lai atjaunotu prezidentūru, kurā viņš nodrošinājis sev varu vēl nākamajiem sešiem gadiem. Saskaņā ar Krievijas konstitūciju prezidents drīkst vadīt valsti vien divus termiņus pēc kārtas, bet Putins ir mācējis atrast veidus, kā panākt to, lai spētu noturēties pie varas praktiski visa atlikušā mūža garumā. Tiesa, situācija, kādā viņš uzsāka pirmo prezidentūru pirms 24 gadiem un tagad, ir kardināli atšķirīga. Viņš ir kļuvis par Rietumu izraidīto, ir ievilcis savu valsti karā, kļuvis par lielāko Eiropas draudu un cenšas būvēt alternatīvu pasauli, kuru valda, pirmkārt, varaskāre un ambīcijas. Rietumu valstīm bija jāizšķiras, vai tās piedalās šķietamajā demokrātijas farsā, jo diplomātijā ir ierasts, ka vismaz valstu vēstnieki, ja ne vadītāji un prezidenti, pievienojas inaugurācijas svinībās. Daudzu valstu, tajā skaitā, Latvijas pārstāvji jau laikus paziņoja, ka uz inaugurāciju nedosies. Tomēr sešu Eiropas Savienības valstu pārstāvji pievienojās procedūrai Kremlī, starp kurām bija arī Francija. Tā skaidroja, ka joprojām vēloties atstāt atvērtas durvis sarunām ar Krieviju. Lielais jautājums ir: kas notiks tagad, kad Putins šķietami konsolidējis un nodrošinājis sev varu nākamajiem sešiem gadiem. Vai un kādas izmaiņas būs valdības sastāvā? Kas notiks militārajās struktūrās? Vēl pirms inaugurācijas ceremonijas Krievija paziņoja par militārajām mācībām, kurās tiks izspēlēta iespēja izmantot taktiskos kodolieročus. Rietumi to nodēvējuši par kārtējo šantāžas elementu, tomēr ir skaidrs, ka šo Putina prezidentūru ievadīs militārā pretstāve un draudi visai Rietumu sabiedrībai.   Eiropas Parlamenta granta projekta „Jaunā Eiropas nākotne” programma.* * Šī publikācija atspoguļo tikai materiāla veidošanā iesaistīto pušu viedokli. Eiropas Parlaments nav atbildīgs par tajā ietvertās informācijas jebkādu izmantošanu.

This week Kim and Kate are joined by the beautiful, incomparable Tika Sumpter. Kim and Kate confess their love for her and then they dig into a caller who cannot set a single work boundary to save her life! Kim, Kate and Tika quickly turn things around for her and save her from a life of burn out. Then a voicemail caller asks about how to deal with her nemesis who keeps failing up. Everyone's lives are changed forever and the workplace is improved for all involved. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

New technology available to abuse victims aims to change the figures on unreported sexual assaults.

The Coffee Club from Friday April 19th, 2024.  Guests include Bonnie Amastadi sitting in for Janae and Mary Sem from Legacy Children's Foundation with Student, Tika from Fargo South.  

Pomalá modernizace veřejných služeb, nedostatečná ochrana lidí v krizových situacích a chabá informovanost o tom, jak se v takových situacích chovat. To jsou podle nové výroční zprávy Nejvyššího kontrolního úřadu za rok 2023 jedny z nejdůležitějších zjištění o fungování státu. „Nepropadám beznaději nad stavem naší země, i když – havlovsky řečeno – nevzkvétá,“ napsal v úvodu zprávy prezident úřadu Miloslav Kala.

Allison, Tyler, and Beth are back to quickly recap episode 5 of Survivor 46! We were shocked by tonight's elimination, go over whether or not the Yanu 3 have the same winners edit as the Tika 3, and more before going off topic with things like New Moon. This podcast is NSFW.Support the show

00:27 Legyünk szombaton? Hány neo-Heti Hetes ad ki egy régit? Szerencsére a Pew embargós kutatását még az előfizetőknek sem meséltük el. Műsorunk a fellegvárban. 04:29 Mi és miért van a paywallon kívül és belül? Miért, te szeretsz fizetni? A Vice és a Buzzfeed halála. A II. világháborút sem adták ingyen a rikkancsok.. 09:49 Impakt a paywall mögül. Kommunostoid vagy nem kommunistoid ormánsági vályogviskózni? Haraszti Miklós esete a paywallal. Nem az Orbán bukna bele, hanem a 444. 13:59 Mikor lesz Sulyok Tamás-interjú a 444-en? A befeszült fideszesek. 17:09 Mongol jurta a József körúton. 22:37 Magyar-mongol mennyegző. Magyar-kínai esküvő. Magyar-nigériai frigy. 25:14 Rejtélyes módon népszerű budapesti vendéglátóhelyek. Retro Lángos. Amikor Szijjártó lángosozni vitte a Kínai Kommunista Pártot. The Magic a Hajós utcában.  29:52 Uj Péter: Új kretének a prémiumkontentban. Mocskos táskák, mocskos emberek. Viccesnél viccesebb úszósapkák. 37:06 Mi van a mézsöröddel? Mead Scientist. Mézsörfőzés professzionálisan és házilag. 40:58 Leif Erikson mézsöre. Az etióp mézsör, a tej. Etióp romkocsmák és gasztronómia. Az etióp tatárbifsztek az injera és a böjtök. 45:47 Kezdjük gesztenyemézzel! Mézsör a hálószobában. 49:58 Romkocsma-etimológia: a legújabb kutatások. Pótkulcs, a proto-romkocsma. A savariai Romkert. 53:56 Amikor emberszámba vesznek a kidobók. Akinek a techno tette tönkre a bunyóját: Gálfi Gatto András. 56:09 A Borízű Hang hatása a hokkaidói filmesztétikára.  See omnystudio.com/listener for privacy information.

In today's Hot Topics, the co-hosts take on common Thanksgiving problems, like talking politics at the table, guest faux pas and a new trend of solo-traveling on the holiday. Jojo Siwa stops by and reveals her tattoo dedicated to her time on ‘Special Forces: The World's Toughest Test,' and reflects on her experience growing up in the spotlight. Internet sensation and fashionista Tika the Iggy and her owner Thomas Shapiro discuss her new book featuring some of her 400 outfits, “Tika the Iggy: Lessons in Life, Love, And Fashion.” Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's episode, I discuss the differences between writing for TV versus film and the differences in the development phases. We also go into ways to create your own material and what to really focus on. Tune in for much more!Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:If you write something great, the actors will come out of the word work to be in it, and you don't even have to pay 'em because they're getting footage and they're also being involved in something that could be really great and could blow up and could make their careers. But if the script's no good, you're going to have to beg 'em to do it because what's in it for them other than bad footage that they can't use? It'sListening to Screenwriters. Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to another episode of Screenwriters. Need to Hear this. I'm here with Phil Hudson again. Hello, Phil.Phil Hudson:Hey everybody. Good to be back.Michael Jamin:Hello, everybody. Today we're going to talk about something, well, something I think is very important. How about that? The question is, should you write for film or tv? I think a lot of people, at least from social media when they leave comments, I think a lot of people really aspire to be film writers because they have their story and maybe they think it's more prestigious. Maybe they like the idea of going to walking down a red carpet and seeing their work on a large screen. And so I just thought I talked to you about my feelings about film versus TV and why I greatly prefer working in television. And I think anybody who works in film is crazy. So it's not that they're crazy, but it's just like, wow. I see a lot of advantages for working in film. And to be clear, I am a TV writer, but I have sold a couple of movies and after selling those movies I was like, I don't want to do that again. I'd rather work in television, but I definitely see the appeal that people have. So I thought I may shed a little light on what my perspective is. That sounds good with you, Phil.Phil Hudson:I think this is an exciting topic and we were just talking before we started recording, the industry's changed even since I started studying this craft. Seriously, back then there was a viable feature market and it seems like it's gone the wayside, and I've seen the transition over the last decade with filmmakers and screenwriters coming into tv. I think because the money's better, there's more work, there's more creative freedom, and I'm sure you'll talk about it, but there's that saying of the director runs the film set and the writer runs the TV set.Michael Jamin:Yeah, if you want creative control, we have lots to talk about, but if it's creative control that you want, then you want to be in TV because the writer's in charge. If you want to be in charge in a film, then the director's in charge. Often the writer's not even invited to set. The writer has no say that will be rewritten. The director might hire multiple writers to rewrite. So if you think if it's about your vision, unless you are shooting yourself, forget it. You are really an afterthought. And like you said, they are making far fewer movies now than they were even 15, 20 years ago, probably a third as many. And when you look at the titles being released, you got a lot of remakes. You got a lot of sequels, you got a lot of reboots. Yeah, I mean, so they're makingPhil Hudson:Another, it's largely IP based material too. So it's other books that have blown up and they buy the rights to that. They then make that.Michael Jamin:So it is because they're easier to market, which is why you have Fast and The Furious 13, everyone knows that and it's why you have it, Indiana Jones five, because everyone knows it's just easier to market. And even Barbie, I don't know if it's Greta Go's Dream to make, when she was approached to write Barbie, she's probably Barbie, do I have to Barbie? What about my original idea? So obviously she wrote the Barbie movie and turned it into something very unique and special. But I can't imagine as a child, she grew up thinking, I want to write a movie about Barbie. They came to her with an offer and she turned into something unique and creative, but I don't think she came, maybe I shouldn't speak, but I can't imagine she brought the Barbie idea to them. I think they had to move the ip and yeah,Phil Hudson:I'm certain that's the case, but even then because of the success of Barbie, now Mattel is talking about creating their own cinematic universe,Michael Jamin:Right? Right. So get ready for more gi whatever it is. I don't know. Is that your dream? Now, indie filmmaking, by the way, is a completely different topic. Maybe we can brush on it a little. My area of expertise is definitely not independent filmmaking, but that's a whole different,Phil Hudson:But that's what I went to film school for and that's the Sundance world that I kind of been in. So I'm familiar with that. And there's a bit of a merge there. And we can talk about tko. Waititi is a really great example of that because he came out of the indie film world. He was a Sundance kid, and then he started doing more prolific stuff. And while I was touring for quasi handling social media for the broken lizard guys, that's one of the conversations we had with their, one of the Searchlight VPs of publicity. And she was like, yeah, Tika, he does one for us, we do one for him. You do Thor, you want to do Thor? Awesome. We'll make invisible Hitler. And it's a way for them to incentivize. But I would say Clin Eastwood, I would say even look at Christopher Nolan, that's the way it works. You get this deal at these big studios, I'll make your billion dollar film, and then they let you make the film you want to make, and one is going to make a ton of money, may win some awards, the other one's going to win some awards because they have the talent.Michael Jamin:So if it's your aspiration for me, just the thought of working film, you go, okay, I'll write a film and maybe I can sell it. But then, okay, then how many times are you going to sell a, it is hard to sustain that career. Whereas in television, oh, I know there's a TV show and maybe they have whatever, 10 or 13 episodes a season that sounds like you can make a living that sounds like you're working more steadily. And when I broke in, by the way, it's 22 episodes, so I was like, oh, okay, these people work all the time. And for 10 seasons, that sounds to me that was the lure of a steady paycheck was in television, maybe less so today, but certainly more so than being a filmmaker.Phil Hudson:Yeah, that's fascinating. One thing that's standing out to me from this conversation really just echoes what you've been saying throughout the history of the podcast, and we're approaching two years of this podcast, and that is you have to get out and do it yourself. Nobody's going to do it for you. You can't rely on anybody else. You have to get up and do it. And even the gre Gerwig, the Tiger Boy, tee Tees, they had a name for themselves as filmmakers before the big studio came with the big bag of money. They were the value, and that's where they came to take advantage of them, right? Yeah. Greta Gerwig has the way to make her film stand out in her way and her style, and that's why it's a big hit. I don't think it's largely because it's Barbie, it's because of what she did with Barbie that made it work. But that's something she has honed and developed over years and years and years of hard work before she hit it big.Michael Jamin:And also my friend Chrissy Stratton, who I'm going to have back on the podcast at some point, we had her run before. So I met her on King of the Hill. She's a writer on King of the Hill. But then she went on to a very long career, almost as long as mine, working in various TV shows. She might be just one or two years behind me, pretty much equal. And she works all the time in tv, but she had this film that she's been dreaming about for whatever, 10 or 15 years and then decided, you know what? I'm just going to make a short. And so on her own dime. And she raised the money. She's a successful TV writer, but in film, she's the no one. So she started from scratch and she called in a lot of favors and shot a movie on by raising her own money, real low budget.And we'll talk more about this journey and why she's doing it, but it's not like, even though she's big in tv, she's a no one in film. So it's kind of a level playing field. And one of the thing, well, I know I'm jumping around, but I just so you're aware, as I mentioned about creative control in film, well, lemme tell you about the experiences that I went through. So my writing partner and I, we wrote a writing sample, a feature sample. I was dreaming it was going to get sold, but he was like, it's not going to get sold, whatever. But I was like, maybe it will. We wrote a sample, our agent shopped it around, no one bought it as predicted, but there was a producer who was very interested in working. He's like, this is great. We can't it, but let's try coming up with some ideas together and sell those.And so we worked with this producer and we wound up selling two more ideas, but every step of the way, it was kind of exhausting. We're coming up with ideas, we're writing drafts, we're giving it to him. He's got notes we're not getting, and you're doing, it's called free revisions. You're doing notes after notes. We sold it to the studio, but the producer is basically the gate. So until the producer's happy with the draft, the studio will never see it. And so this is what free revisions is. So you're doing constant rewrites for the producer.Phil Hudson:This is a big deal for the W G A, by the way. It's a very big deal. It's part of the strike too.Michael Jamin:Yeah. I don't know what's going to obviously happen with it. And you're doing a lot of free work, which you're not getting paid obviously, and the studio's not seeing any of it. And then you get finally the producer's happy, you give it to the studio and then the studio has notes and then, okay, now you're again. So they say, do a revision. And again, you go back, you start doing the revision, you've turned into the producer and the producer's like, eh, I don't think it's good enough fellas. I need to do more work and more work. And then finally you turn that revision to the studio. I was at one point producer who I liked quite a bit, really good guy, but he also had development people working under him. So at one point his development person left, he brought in a new one, and now this new person has a new direction that we're going, oh my God.It was like, this is a never ending hell. That's how I felt. It's just a never ending hell because you have to please them. And I understand this is how the game is played, but I was like in tv, it doesn't work this way in tv, if I'm a writer on staff, I turn in my draft to the showrunner. If I'm not the showrunner, the showrunner has notes, great. Turn in another draft, we're done. Shoot, we're going to shoot it. And of course the network will have notes, but it's so much more streamlined because you have a timetable, we have to shoot this thing on Friday, so you can't keep this up in development hell for a year, which is what happens if you're doing film. You could be in hell forever on this. I was like, work done. And that'sPhil Hudson:The term too. It's development health, what you said. That's an industry term for what that is.Michael Jamin:And the money, in terms of the money, I got paid way more in TV than I do in film. SoPhil Hudson:That's what I was about to say. I just said, we talked about the podcast, that experience I had where that guy signed the script, signed the contract to write a script for that thing, and it kind of fizzled out, but the numbers on it were, it's like $160,000 to write a screenplay. Well, the average I understand is about six months to go through the whole process to write a script more than that. But then you have the notes and you have the feedback and you got all that stuff. So you're going to do one, maybe two of those a year. Well, you can go get an M B A and then go get a six figure paycheck that's going to pay you more than that. AndMichael Jamin:Just so you know, the movie's not getting made and it has nothing to do with you or it's just like it's a miracle movies. It's a miracle when a movie gets made. So if you want to see your work on the screen, even if it's been rewritten to death, forget it. Most movies just do not get made. So you're okay, but you used to make a good living writing movies that never got made. Maybe it's less so now because they're making because they're buying fewer. But back in the day, you could be a very successful screenwriter and never have a word of yours onscreen. But in TV it's different.Phil Hudson:One question that comes to mind for me, Michael, when you talk about free revisions and development, hell, you also advocate that writers write and they write for free. And if you don't want to write for free, don't do this because that's what this job looks like.Michael Jamin:Yeah.Phil Hudson:Right. What's the difference between the experience with the free revisions and the notes with the producer versus your definition of free writing?Michael Jamin:I mean, we're talking about two things. We're talking about improving your craft to write, to learn how to write. And so a lot of people just write one script and they think, well, I'm going to sell it and I'm done. Give me a paycheck. And my point is then you put it down and write another one and then write another one. And you'll notice that script number five is vastly better than script number one simply because you're getting better at writing. But the free revisions I'm talking about for these producers, when you become a professional at some point, I got to take home money. This is not a hobby for me. This is how I make my living. So I just didn't enjoy the process. I just thought like, ugh, it is no fun. It takes the joy out of it.Phil Hudson:Yeah, no kidding. So we have to write. We have to write. That's part of writing. Being a writer is writing. But what the WGA is fighting for is that writers should be paid for all of the professional rioting where other people are making money off of the sweat of their back. They're taking advantage of that situation because a bit of a power dynamic there where the producer has control and obviously they want to maintain their relationship and they want to make it as good as they can be. So I'm not saying it's a negative or a nefarious approach to it, but it's still a writers are sitting there not getting paid.Michael Jamin:I understand the producers are protecting their brand and they have a closer relationship with the studio. I get it. But they're not the ones doing all that work for free. So I just like, this is not appealing to me. I'd much rather work in television. Like I said, you have more creative control. You're onset. And again, in features, what would've happened had these two features of ours been made. It didn't come to this and I didn't expect it to, but we sold two features and at both times we're finally done. We give both final drafts to the studio. The studio is happy with it. The studio executive were working with happy. They'd given all our notes and revisions. They were very happy with the script. Now they give it to their boss who has the green light, they have the power to green light. And the boss reads it over the weekend, not interested.It was like, it's over. It's it. It was almost on a whim. Nah, what else you got? And it's like there's no argument. There's no more convincing them, it's dead because they just don't want to make that movie. And often they don't want to make that movie simply because the movie that did well that weekend was an action movie and your movie's a comedy and they want to make more action movies now, or it's as simple as that. Or someone put out a comedy movie that weekend that bombed and forget it. We're not doing comedies anymore. And so it could have nothing to do with the quality of what you wrote. This is what the marketplace suddenly changed and now it's dead. So this is how it is.Unless you are making your own movie. And if you make your own movie, that's great, but do it on a dime. On a dime. I say I had a nice conversation with someone, someone asked me to, it was a couple of days ago, they wanted to book some time with me for a consultation, which I occasionally do. And he really nice guy, but he had self-financed some projects and I was like, you spent too much money on that. Don't put so much money into your own projects in the beginning until you really get spend a couple thousand. That's what you can do it on. That's what I recommend.Phil Hudson:And in the indie film side of things, the goal is to not spend your money. It is actually to find investors. And the question is, why would people invest in an indie film maker who's made no money? A lot of people are looking for tax write-offs and they want to be involved in Hollywood. They want to feel like they are producing being part of that because they probably have that desire, that dream, and they chased the paycheck rather than their art. And so now that they've got the money, they would rather invest in another artist to be a part of that. And so my friend's dad is just this awesome guy, and he just texted me out of the blue two years ago and he had a bunch of stocks vest and he cashed out and he was like, Hey man, if you ever have something you want to make, let me know. I've got some cash lying around. I'd love to put towards that.Michael Jamin:Oh wow.Phil Hudson:But that comes out of a relationship of trust that I have with the guy. It alsoMichael Jamin:Is, and it might come with strings attached. It mayPhil Hudson:Be, and it probably will,Michael Jamin:It may be, and this is not how it works in TV and tv. So in film you might have a ton of executive producers because they help chip in for 5,000 bucks. You can become an executive producer of my movie. People do that and TV doesn't work that way. Tv, that's all financed by the studio. So it's not that kind of model. But in film, you write a check for 5,000, or if you write a bigger check for 50,000 and the person says, I'll give you 50,000 if you cast my daughter as the lead, or if you make these changes to the script, do you want to do it or not? That's up to you. How much do you want that money?Phil Hudson:I think that's really where the question of art versus craft comes into play, because in that situation it might be a little bit more art, it might be a little bit more of your decision. Well, that's going to ruin my vision for what I have or destroy the theme of this piece, and I'm doing it myself because it is an expression of myself, and that is art. And you might turn down the money out of integrity for the art there, but you might also take the paycheck because you've got kids who need diapers,Michael Jamin:Right? And so some people, sometimes people are very naive about the whole thing and they're like, you writers suck, or This is the garbage. Do you know how hard it's to get something made? And do you understand that I also need to make money?Phil Hudson:Oh man, we do the webinars every month and we do, we started to do this v i p q and A after, and we were testing it out, but we had a member of your group she joined and she was telling us about how she has made two or three indie films and she had put up this money and she was going to shoot it in the forest. And the film, the films that got shut down because of wildcat or a cougar, like a mountain lion or something, came in and ruined the whole thing. None of the actors want to come back. And she knew this was a thing that could happen. And so she was asking the question about hobbling together, her footage to make something producible. And it's just heartbreaking because a good story, you can't really do that. The story should mean something.And that's someone who's in there doing it. I think they're doing it on their own dime, and that's just heartbreaking to hear. But I've got other experience where my buddy Rich, he's produced a bunch of any stuff. He's done stuff with Michael Madson, done some stuff with major players, knows a bunch of people, and he was telling me about this film that he was working on for years and years and years. And they shot the whole film and then it got locked down in post because one of the executive producers who wrote the check wouldn't sign off on the final cut. And so it could getMichael Jamin:Final cutPhil Hudson:And it got stuck and they were arguments and they had to work through and it was like five years. And the end result they got out of it was a worst film because the producer had too much say and wanted edits. So understanding story structure, you look at it, it is a hobbled together piece of crap that has a couple big names in it,Michael Jamin:Right? Yeah. I don't even think you need, well, I don't want to talk about big names, but, and I felt bad for this woman in the v I b talk. But here's the thing, I also think you need to figure, be cautious on how producible is this movie you want to make. You didn't have to do a movie, write a movie that take place in the mountains. You could have written a movie that takes place in someone's apartment, and if you think I'm nuts, go watch the whale, which takes place in someone's crappy apartment and was amazing and beautiful because their writing was beautiful and the acting matched it, but the set was ugly. And anyone could have shot that in their own apartment. And that's on you as the writer is like, you don't have to write a movie. I would be cautious about writing anything with kids, because kids are really hard to have on set first of legally. You need to have tutors, you want to bend the rules. Kids can only work a certain amount of hours. And what you do on your independent film, that's your business, but to be up and up, that's the truth. And kids, they get tired, they lose focus, and they want to horse around. So I would be careful about having kids. I'd be careful about doing anything that requires characters getting wet because costume changes are bitch, when you're wet and at exterior locations, the same thing. Back noise, street noise, people being disruptive, a leaf blower.But you can write something very compelling in a controlled set where you don't have to worry about any of this stuff as long as the writing is good. It's all about the writing.Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Phil Hudson:I'm having a flashback. So my thesis film that I did, I took a crew, we rented a van, we took our equipment, we drove to Utah, negotiated all these things because of relationships. I had to get it cheap, shooting in friends' houses, borrowing a friend's truck, doing all of these things. Flew in a couple of indie actors from LA to be in my project. And while we were going through, you just start getting hit with every single thing you have planned, start shifting based off of, there's cloud cover now because you're outside, it's starting to snow. Lots of beautiful things happen. Like we're shooting on a pump jack, which an oil deck, an oil derrick is, what you think about 'em is pump jacks that big swinging arm pump. It's a training school that agreed to let us shoot on theirs that was donated. And there's moving in the background, makes the production value go through the roof, what we had.But then at the same time, while we're driving, a deer jumps out and my friend's truck when my actor's driving hits the deer, and then we're driving the next day to go to the set to shoot the exteriors. And we need that truck. And then it blows part of the engine and we can't use the truck anymore. And I'm rewriting on the fly and my friend's daughter is casting this role using their house, and she's just this sweet little girl and she has two lines and she gets stage fright and she can't do it. And so we have to put her sister in who's too young. And so I have to scrap those lines and rethink how do I get this emotional moment across? And then at the end, when we're done filming, the little girl comes up and says, I'm ready now.Michael Jamin:Yeah, great.Phil Hudson:And they're heartbreaking. Heartbreaking because we're done.Michael Jamin:And that said, whatever, I would take inventory if you decide to do this Indio thing, because as a way of getting discovered, as a way of breaking in, which is great. I would just take inventory of what you have that's in your control. If you're a truck driver and you have a Mack truck, alright, maybe you're shooting the truck. I mean, that's an interesting set.Phil Hudson:Well, it's your life that ties in the right what you know, you can add reality veracity to that.Michael Jamin:If you have a storage locker, the same thing. If you're allowed to shoot there, you're probably not. But what little you have could be interesting. You don't think it's interesting because it's your life, but we think it's interesting. We don't live your life.Phil Hudson:While you were talking, I was just thinking of Robert Rodriguez, who's arguably one of the biggest directors on the planet. And he came from this in world where he did on mariachi. He documents all of this in a great book, the Rebel Without a Crew. And he donated his body to science to fund it. And he went to the small town in Mexico. He went in for clinical trials for a, to get the money, borrowed a camera that didn't have audio. Went to a town in Mexico where he would summer, borrowed friends and family and a best friend to play the roles, did the whole thing. And then stayed up at night in an editing bay at a local TV station to edit his film and did it and blew up because he thought, and all he wanted to do was to sell it to a Spanish language channel and ended up selling it to Sony or whoever, Sony Columbia or something.Michael Jamin:And now you can make it for a fraction. You could edit it all on your laptop, you canPhil Hudson:Edit it on your phone. You shoot the whole thing on yourMichael Jamin:Phone.Phil Hudson:But the story was good. Why did it sell? Why was it a big deal? It's because he knew how to tell a compelling story, and he just used what he had to do thatMichael Jamin:Job. So we're in agreement here. If you want to do an indie film, great. Just don't spend a lot of money. Also, you don't have, if you write something great, the actors will come out of the word work to be in it, and you don't even have to pay 'em because they're getting footage and they're also being involved in something that could be really great and could blow up and could make their careers. But if the script's no good, you're going to have to beg 'em to do it, because what's in it for them other than bad footage that they can't use?Phil Hudson:I dove headfirst into this stuff when I was first starting, and I would write a script, do one version of it, one draft, and then I would shoot it, do a casting call. People would show up, they'd want to be in it. We'd be on set. And they'd very quickly realized I had no idea what I was doing and I didn't, but I just had the gumption to make it happen. And I remember my lead calling me out one time or shooting this shot, and he's like, dude, what are you doing? We're here. You're not even using light to help add subtext and value. And he's talking about how when you're walking up the stairs, well, if you shot it this way through here, there's a cage and a shadow being cast on my face and emotionally, my character's going through this inner turmoil with his relationship and there's all this.And I was like, I have no idea what you're talking about, because I had no clue. And I wasted time and energy and money doing it, and I was a valuable learning experience for me, and I got that lesson out of it. So yeah, your point, do it as cheap as you can because learning, you're just learning. And that is the school of hard knocks, not the school of theory and philosophy. It's get it done. You're going to learn. You're going to make a lot of mistakes. You're not going to sell the first thing. It's probably not going to win any awards. And if you do, awesome, you did it now, but you're most likely not. And that's okay. It's reps, reps, reps, reps.Michael Jamin:Yes. And I have a lot of respect for people who do it. And even if they come up with something terrible and crappy, well, guess what? They did it. Guess what? They put a lot of energy and work into something and their next piece will hopefully be better. And most people just dream of it. And most people will just say, here's my script. Make my dream come true. But the other people say, here's my script. I'm going to make my dream come true. And it may take long, a long process, but it's putting the work in so good for them.Phil Hudson:Yeah. My first class I went in, I had some credit transfer credits from when I was first in college. So when I went to film school, I was up, maybe I was basically a year ahead when I got there, and I had to take a couple of freshmen film classes because they were requirements. And I remember intro to film, film 1 0 1, we're in this big IMAX theater on our campus, and Peter Grendel, our professor my age is teaching. And his big point from the first lesson was the percentage of people who say they want to be filmmakers versus the people who make films is very different. It's like 0.0001% make a film. He said, so even if you put in all the time, energy, and effort needed to make an indie film that does nothing goes nowhere, you have still done something most people will never do. But most people talk about doing, and that's something to take pride in.Michael Jamin:My daughter shot a little scene in college. She got a scene, a little film that someone wrote, and it was just two people. It was short. It was like three minutes of a young woman. She was the girl and a boy sitting on a staircase talking about something, and it was too short to go anywhere. But I was like, that's interesting. You could have done something. It's easy to shoot. You're just two angles and a master on a staircase. If they had spent a little more time with the script, I go, there's something there for sure. It's something compelling about a boy and a girl who are dating and whatever they were talking about. I was like, it's something small. And the writing, it's about the writing. It's not about anything else as far as, and the acting. But yeah, I mean, just as an experiment, can I write something compelling about two people on a staircase talking about something? And we've seen this stuff. Here's a good one. Mount is a good example, but in Pulp Fiction, when Samuel Jackson and Travolta in that car are talking aboutPhil Hudson:The crown royale with cheese,Michael Jamin:That's interesting. That's interesting. Fun dialogue. You still need a story on top of that. But it's rich, and we all remember it because, or the scene or that small little scene, if you had shot that small scene where Samuel Jackson's talking about, he's in that guy's, there's young guy's house. He breaks the first scene where there's five college kids or whatever that they're threatening. They owe them money. And Samuel Jackson's talking about he's clearly a killer, but he's reformed. He's found Jesus, and he's struggling though. He's struggling to do the right thing. If you shot that one scene and it's an apartment building, that's it. You have a couple guy on a couch and a guy and two guys holding fake guns, that one scene is very interesting and compelling. If that's your movie you made, I want to see more. And it doesn't cost a fortune to write that scene. There's no special effects, I guess in the end had some fake bullets or whatever. But that's it, that that's all you need, A thug, a street thug who's a murderer, but he found Jesus and he's trying to do the right thing. Yeah.Phil Hudson:Yeah. That's great. That whole scene is fascinating. And that's for anybody listening, wanting to learn how to write great dialogue or understand characters. The fact that what's so interesting about that cheeseburger conversation is they are killers, and they're not talking about when we get there, we're going to shoot 'em in the face, or here's how we're going to dispose the body. They've done this so many times that this just, we can talk about why they put cheese on a burger. It's stabs quo. And the story's there because they're talking about the wife and the foot massage and all that stuff as they're standing in the hallway and it just happens and they kick the door and they know let's beat thugs. Right? ButMichael Jamin:How easy are both those scenes? I mean, the first one's a little harder in a car, but they're both very easy in terms of shooting, that wouldn't cost neither one of those scenes cost a fortune. It's all about the writing and the acting will support the writing.Phil Hudson:Yeah. I mean, that's Tarantino like Reservoir Dogs. It's a warehouse. It's a warehouse with some flashbacks outside. The whole thing takes you in one room,Michael Jamin:But even let's say reservoir drugs, which obviously was the one that really made him. But the point I'm trying to make is just write, because you don't have to write a whole movie, just write one compelling scene that promises something really on its own. You're like, I'm hooked. And maybe there's more to it.Phil Hudson:That ties back to your fractals podcast too, which has really stuck with me. And I think about it every time I sit down to write, when I'm structuring scenes and acts and I'm structuring my story, if you can't do a scene, well, how could you do a short, well, if you can't do a short, well, how could you do a full blown act or a TV pilot if you can't do that? Well, how can you do a two hour feature?Michael Jamin:We shot that episode, that podcast episode a long time, probably over a year ago, but it was called something about fractals. I think it wasPhil Hudson:Just called fractals.Michael Jamin:Yeah. And the point I was making is anybody who knows anything about fractals, they're patterns that repeat nature. So if you see a tree, it has a trunk in branches, but if you look at the leaf on the tree, the leaf has a trunk in branches, and then if you look at the cells, so it's about these repeating patterns. And so my point is, for movie, you have to want to write a compelling movie, right? But break down the movie into acts, and each act has to be compelling. Then break down each act into scenes, and each scene is compelling. And then each line has to be compelling. And so you're really just repeating patterns over and over, but on a larger scale. And so if you point out, if you can't write a compelling act, if you can write a compelling scene, how are you going to write a compelling act? Just start with writing a scene. That'sPhil Hudson:It. Yeah. Write the scene, write the scene, write the scene over and over and over again. You can churn out scenes. Even if you just took a week and just focused on one scene, how much better is that going to be than taking a week and powering through 50 pages?And I'm not advocating by the way that you shift your writing style, and it's not necessarily what you teach as the process that we do in Hollywood, and we've seen in TV rooms. What I'm saying is as a writing exercise, getting in your reps to practice the craft of writing, you're going to get faster return. Drilling. This thing, and I talk about this all the time, it's Josh Watkin's making bigger, small circles bigger. So how do you pull back and zoom in on something and focus on the detail work inside of that thing? And in Jujitsu's transitions in this, it's how do I get into a scene fast? How to get out of a scene fast? How do I display things through subtext? How do I have people say things without saying things? What's the thematic thing? What's the energy coming in? And the energy come out? That's all the detail. That's just a film condense. So focus, just do that while you're doing the other stuff.Michael Jamin:That's a good point. And I was going to also say, I'm guilty of this too. When I'm writing my, well, I finished my book, but when I was writing it, I'd have a scene in my mind. I wanted to get to the next scene where also some great stuff was going to happen. And then I kind of just got a little lazy in my transitions. And then when I'd read it again, I'm like, what's going on in this transition? Can I make this transition interesting? Do I have to be lazy and sloppy? Is there a goal to be found in the transition? And then I'd realize, oh, that's kind of where there's some interesting stuff is, so I'm guilty of it too. But you have to be aware. It's not just about a race, and you're not just racing to get to the next scene you are whenPhil Hudson:We talk about enjoy the journey and enjoy the process. This is what we're talking about. You have to love doing this because it ends up getting you somewhere better than where you were before. And the other quote, I believe I've said on the podcast who really stood out to me was an interview with Kobe Bryant, and he just said that nothing he does on the court, he hasn't practiced a thousand times, right? So he's in there practicing, practicing, practicing. He shows up, and you hear this all the time in interviews with other players from the Lakers, they say that they would show up their first day and they'd want to show up early to put in the work. And Kobe Bryant was already there practicing free throws, practicing free throws.Michael Jamin:You're talking about the greatest player or one of the greatest players in the N B A hasty was already there, was acting as if he was a rookie who had never taken a shot in a basketball court.Phil Hudson:All the money, all the skills, all the fame, known name, 70 hour work weeks, just putting in the work.Michael Jamin:If the greatest player has to do it, why do you think you don't have to do it?Phil Hudson:LeBron James, he makes what? A hundred million a year off of all of his endorsement deals. I read, I think in Sports Illustrated, it's like 9 million a year goes into taking care of his body just in trainers massage therapy.Michael Jamin:Wow.Phil Hudson:Why? Because that's his tool. That's his instrument. Your tool is your keyboard or your typewriter, your pad and paper and pen, and you don't need, here's the cool thing. You can write a lot of things without needing a fancy computer or fancy software. You can just sit down and practice this with a pad of paper and a Panama napkin.Michael Jamin:What's your commitment to getting better at the craft? And I get why people just want to, they want fast results, but it's not a fast result kind of game. I don't know how we got here from, should you be a TV writer or a film writer?Phil Hudson:Well, I think we're talking about indie film, we're talking about the process of indie film versus features, but all of this relates it's skillset. And I know you talked about for you, you liked TV writing, and I think with the time we have left, I'd love to hear what are the benefits that you found in TV writing? And I think they tie directly into this, which is there's more work, there's more time to sit, and you do this more than writingMichael Jamin:A feature. But not only that, I feel like TV writing, being a TV writer has helped me improve my writing all around because every week, including writing novels. Including writing films, because every week you have to come up with a new story, and it's the repetitiveness, the repetition of, okay, let's break a story. This week we got to break a story. Next week, we got to break a north story next week. And constantly coming up with new stories, even though they're half hour as opposed to an hour and a half. It's that repetition that really makes you really good. And that's why I feel, and I'm not the only one who thinks this way, if you want to watch a really good comedy, you watch tv, you don't turn to film, although there are some really funny films, pound for pound, you go back to tv.It's that action. That's where the good writers really get good. I'll see a comedy. I don't even know how many come. I tried watching one of these streamers, I'm like, oh, comedy, I'll watch this. And it's terrible. This is terrible. From some unknown, have they spent some time in a TV writer's room? They would know, no, this is not acceptable dialogue. That's not an acceptable joke. You just learn so much by being in television, I feel. And then you could go to TV or a film if you have an opportunity. But the learning ground, I feel, is in tv.Phil Hudson:Yeah. Have you seen The Bear?Michael Jamin:I saw the Pilot. I haven't watched the Rest. DudePhil Hudson:Blew my mind, and it feels like one of the most dramatic films, TV shows I've ever seen. It's short form. It's a comedy, it's a sitcom. It's got all the enemies for these comedy, and it makes you laugh, it makes you cry. It's all those notes, and you just look at it, and I looked up the creator and it's like, man, this guy has produced some of the greatest standup comedians in history. Chris Rock, just tons of people. And it's like, yeah, you're learning this from being around and doing the work. And then that translate into what I think is one of the best comedies on tv,Michael Jamin:AndPhil Hudson:It's great.Michael Jamin:I got to watch it. The problem is Cynthia's already seen it, and so I got to watch it alone, make time to watch it alone.Phil Hudson:I get it. I'm married. I understand.Michael Jamin:Yeah. But there it is. I hope that helps. Yeah.Phil Hudson:One thing I just wanted to add to this conversation was when I first got into this, the advice was really centered around, is this a TV IT idea or a film idea? Not necessarily are you a film writer or a TV writer? And I just wanted to get your thoughts on this. I hear this advice all over the place. The question was, is this something that could end or is this something that could continue? Is this the kind of idea that there's a clear defined ending to this, right?Michael Jamin:I feel likePhil Hudson:TV might've changed that now with our long form, eight to 10 minute, like a TV series ends up being a longer form film. But at the same time, I think there's some weight in that, which is something you tie back to in comedy. Your character doesn't really change at the end. They reset. I'd love your on that.Michael Jamin:Yeah. So if you're coming with a film, is this a TV idea or a film idea? If the character goes on a complete journey, Rocky and Rocky finally wins or goes the distance. It's not a TV show because he's not going to go. It's not a fight of the week. It's just like you take a street bum and you turn into, he went the distance, so it's done. That's it. They made sequels. Sure. Each sequel is basically a remake of the first one, and none of them are as good as the first one because you took a character. The only reason they did sequels is because they, Hey, we can squeeze some more money out of this. The story was over, I'm sorry, the story was over. It was a beautiful story, but it's not like a world of Rocky and Nikki and the gang hanging out that would be hanging out at the training facility at the boxing club. That would be sunny. It's always sunny in Philadelphia, which is fine. That's a TV series. They're just hanging out, people hanging out. So is it a world you're creating, or are you taking a character on a full emotional journey?Phil Hudson:Yeah, and that's an interesting, John Wick one is just great. It's great. It's a great film. John Wick two, I kind of like more than John Wick one because we get into the world, but I wouldn't want John Wick two if I hadn't seen John Wick one and felt like it was satisfying at the end, and you're kind of bummed. The other thing, this is just my thing as a writer, I really hate when characters suffer to the nth degree of suffering and just wrecking, this guy just got his life back and now you're going to ruin his life in the second film. It's a bit of a bummer.Michael Jamin:Yeah. But yeah, so that's what I ask, Yousef, are you creating a world, especially in sitcoms, this is your family. I think of it as, cheers. Do I want to hang out with these people week in and week out? Do I want to let them into my living room? Is that what it is? Because I certainly don't want to let some movies, no. Some movies, no, I don't want to The quiet place quiet. I don't don't want to let them into my living room week after week. That's unsettling to me. Great movie, not a TV show.Phil Hudson:Children are men. Children are men. One of the most impactful films I've ever seen. Haven't watched it again, so many,Michael Jamin:Right? It's enough. Right, right, right. GotPhil Hudson:The lesson. Move on.Michael Jamin:Right. Yeah.Phil Hudson:Great answer, Michael. Thank you. Bye. It was great.Michael Jamin:Alright, everyone, thank you so much. Phil and I have more to talk about. We have some exciting stuff to talk about coming up in future episodes, but thank you so much and for what are we going to talk about, Phil? We got to promote, we have a watch list, our newsletter,Phil Hudson:We got all about it. So you can go to michaeljamin.com/newsletter to join the watch list. You can also go to /watchlist. A lot of people know that one, but you've got that. It's a weekly newsletter. You've got the free lesson. It's the first full free lesson. You've broken into three parts. AMichael Jamin:Screenwriting lesson,Phil Hudson:Right? A screenwriting lesson. If you want to learn more about the very first lesson you ever taught me as a mentor about screenwriting, which I think you were taught, and I think you've taught lots of other people, is what is the definition of a story. So go get that michael jamin.com/free. I think we get three to 500 people a week sign up forMichael Jamin:That thing. Oh wow. That's crazy. We also have, we've been doing free webinars and now right now the schedule's up. We're doing it every three weeks instead of every four weeks. So you can come to that michaeljamin.com/webinar and it's free. Come sit in and thenPhil Hudson:Touring for a P orchestra. That's going to be coming up, I think, at some point, right?Michael Jamin:Yeah, hopefully. But we're hoping that our book, my book is going to drop. I'm really happy with the way it's coming up, but we're doing the audio book now, and so maybe we'll talk a little bit more about that. Maybe we will talk more about that in a different episode. Yeah, if you want to come see me on tour or be notified when my book drops as an audio audiobook as well, Michaeljamin.com/upcoming, and the audiobook is really nice. It's really because I got some music. I have a composer on it. We'll talk about it now. I guess. Anthony Rizzo, who is the composer on Maron, well, I'll talk about it in the next episode. We'll open up, talk about that. So go there, michaeljamin.com/upcoming if you want to see me on tour or be notified me the bookPhil Hudson:Drop. And for everybody watching this, this is going to be a bit out of order, so it'll be the next episode that I'm in. Right? Because the next one, I think you got Steve Lemi comingMichael Jamin:Up. Yeah, Lemi is coming up for episode 100 from Broken Lizard. Alright, everyone, thank you so much. Until next time, keep writing. Thank you, Phil.Phil Hudson:Thank you.This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJamin,writer. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music, by Ken Joseph. Until next time, keep writing.

We're BACK!!!! The Survivor 45 cast is OFFICIAL, and we are ready to discuss all 18 castaways. Who is going to win? Who is going to fizzle out? What alliance will we all fall in love with? Will there be another Tika 3? Let us know your thoughts in the comments, and make sure to like the video and subscribe to our channel! Become a patron: https://www.patreon.com/survivorspeci... Also, we're finally on TikTok. Yes, even us old folk can learn new tricks! Follow us for Survivor news and hot takes: https://www.tiktok.com/@survivorspeci... And finally, if you're looking for vacation planning assistance, Phil has joined Main Street 55 Travel as a Travel Advisor. As a lifelong fan of the Disney theme parks, he can help you plan your next Disney vacation at no cost to you. If you've always wanted to visit Disney during the holiday season, now is a great time to contact him. He can also help with Viking River Cruises, Universal Orlando Resort, Royal Caribbean, and all-inclusive such as Sandal and Beaches. Again, services are of NO COST to you. Contact him today: https://mainstreet55travel.com/phil-w...

Purple Pants Podcast | Everybody Has A Plan! We're back for this week's edition of Survivor News! Brice welcomes Netflix: The Circle Season 2 Contestant @JackAtkins21 & Survivor Caayan's @alexis_taylor_maxwell to help break down Survivor 44 Episode Nine! Brice, Alexis, and Jack share their thoughts on swing votes, winner edits, breaking up Tika, and so […] The post Purple Pants Podcast | Everybody Has A Plan! appeared first on RobHasAwebsite.com.

In a Survivor pre-season podcast, Rob Cesternino and Mike Bloom preview the 6 castaways of the Tika tribe from Survivor 44! The post Survivor 44 | Tika Tribe Castaway Preview appeared first on RobHasAwebsite.com.