#Jay reddy awards

[globalbrandsmagazine]

Jay Reddy, Pioneering Leader at the Helm of Global Brands Magazine

Jay Reddy, the CEO behind Global Brands Magazine is an extremely enterprising and highly motivated leader of the industry. Living between Canada and India, Jay keeps himself occupied by successfully running a large organization with offices in Dubai, the United Kingdom, and Canada. In just under 41 years, Jay Reddy quickly grew to become one of the leading CEOs in the global media space.

His career started with his deep-rooted interest in statistics which shaped his academic background as he finished his MBA majoring in statistics. During that time he invested his efforts into his career as an analytics research scholar at the Indian Institute of Management Bangalore (IIMB). 

Jay Reddy later went on the become a certified and trained Six Sigma Master Black Belt and a TRIZ practitioner, with expertise in Reliability, Six Sigma, and Warranty analytics. He has written articles on the AI regulatory body's established order for the moral and safe properties of AI. His research interests lie in writing influential articles on the AI regulatory body's established order for the moral and safe properties of AI.

Strategic Leadership and Global Impact

Jay Reddy is a calm, collected, and thoughtful leader, under whose leadership, Global Brands Magazine rapidly grew to a popular magazine with readers in 190 countries. 

The magazine grew in popularity, garnering notable attention for not only its reader base but also for sponsoring high-profile events at some of the world's most affluent locations. 

Under Jay’s leadership, the company saw an increase in the magazine’s online presence by a staggering 400% increase over the last three years. This naturally has been critical in extending its global audience. Jay was also involved in acquiring a digital analytics firm, which increased the magazine's capabilities in utilizing data to improve content and audience engagement, providing the readers with not only more content but far more accurate results as well.

Achievements and Innovations

Jay Reddy also established and solidified working relations with major news networks which significantly increased their distribution network and brand visibility. His company involvement in the assessment of over 50,000 corporations for the magazine's prestigious award program only underpins a devotion to high standards of excellence in brand recognition.

Jay Reddy's innovative approach is also evident in his initiatives to safeguard operational data. Recognizing the critical importance of data security, he implemented end-to-end encryption for all client data, ensuring that privacy and security are never compromised. Additionally, the introduction of the "BrandSpot" podcast has marked a significant step in diversifying the magazine’s content platforms, providing a new avenue for interactive and engaging discussions on brand development and industry trends.

Leadership Philosophy and Vision

Global Brands Magazine is more than just another business venture for Jay.  To him, Global Brands Magazine is an evolving platform that continually sets the standard for acknowledging and celebrating top brands globally. This is reflected in his approach. Jay firmly believes in not only maintaining the status but constantly pushing the boundaries to ensure that the magazine remains at the cutting edge of the media industry.

Navigating Challenges

He has navigated various challenges, including intense competition in the media sector, complexities in global market dynamics, and ensuring the magazine's sustainability and growth amidst an ever-changing landscape. The emergence of artificial intelligence has also posed significant challenges in media organizations.

Future Goals and Expansion Plans

Jay Reddy already has his sights locked on the next big goal, i.e., further expanding the reach and influence of Global Brands Magazine. He is particularly keen on enhancing the magazine's digital presence, with a target of surpassing 1 million monthly visitors by the end of 2024. He has been working on providing niche content to his readers through newsletters. This plan is built on a solid foundation of smaller strategic discourses including targeting new markets, strengthening digital capabilities, and forging deeper collaborations with industry leaders to promote and recognize leading brands.

Broader Industry Engagement

Outside his busy schedule of running Global Brands Magazine, Jay is also actively involved in setting up business ventures across various other sectors, including construction, agri-tech, AI regulation, architecture, and interior design. His involvement in these diverse fields demonstrates his entrepreneurial spirit and his commitment to applying his expertise in new and innovative ways. 

Adapting to Technological Advancements

Jay Reddy has been proactive in introducing the latest technologies so that Global Brands Magazine stays ahead in this media industry. One of his initiatives involved adopting machine learning and big data analytics to create highly effective content strategies, which helped with audience targeting. By embracing this change, not only was the operational efficiency of the magazine improved, but also increased engagement with readers. By keeping abreast with all the latest trends and being an early adopter of technology, Jay keeps Global Brands Magazine relevant and up-to-date.

Jay Reddy has been leading Global Brands Magazine with great leadership and entrepreneurship skills for several years. His strategic decision-making has set new standards for excellence in the media industry and has also contributed to increasing the magazine's global status. His vision for growth and excellence in new territories and technology is aimed at positioning Global Brands Magazine as a leader in the global branding and media landscape. Through ongoing projects and future aspirations, Jay's role as a transformational leader in this industry and beyond is underscored, making lasting impacts across various sectors.

[prwizard]

Independence 10k Run Celebrates Active Spirit and Camaraderie

Life's A Pitch, a premier sports organization, successfully organized the Independence 10k Run,2023 a vibrant and spirited event held at Necklace Road, Hyderabad. The event witnessed an overwhelming participation of 1500 runners, showcasing their commitment to fitness and community engagement. The Independence 10k Run encompassed a range of categories tailored to suit various preferences and abilities. Participants had the option to compete in the 10K timed run, 5K timed run, or untimed runs of 5K, 3K, and 2K. The event, commemorating the spirit of independence, united runners of all ages and backgrounds. Distinguished Chief Guest, Koleti Damodar Gupta, Chairman of Telangana State Police Housing Corporation, graced the event with his presence. The event was further elevated by the esteemed Guests of Honour, including Jai Kumar, Deputy Commissioner Income Tax; Maxwell Trevor, International cyclist, Selector, Cycling Federation of India; Edwards Aloysius, Former Indian Hockey Captain & Olympian; L.Rajender, Former Indian Baseball Captain; A. Ravinder Reddy, General Manager of Telangana State Forest Development Corporation Ltd.; and Mr. R Rajappa, Chief General Manager of HPCL. The heart of the event was the fierce competition among the runners. The 10K timed run commenced at 6 am, followed by the 5K timed run at 6:30 am, and the 2K and 3K runs at 7:30 am. The runners exhibited their stamina and dedication, resulting in exceptional performances and remarkable feats of athleticism. The Independence 10k Run was not just about personal achievement but also a platform to support meaningful causes. The event partnered with NGO organizations Cardiac Rehab Foundation and Earth Needs You, reaffirming the commitment to health and the environment. Exciting cash prizes totaling Rs. One lakh was awarded to the top three finishers in all age categories for the 10K run, and to the top five winners in the 5K run for both men and women. The winners' list included individuals who showcased exceptional speed, endurance, and determination across various age groups. Nilesh Yadav & Kirti, Directors of Life's A Pitch, Adventure & Sports management company extended their heartfelt gratitude to all the participants, sponsors, partners & Volunteers who contributed to the success of the Independence 10k Run. The event exemplified the essence of unity, sportsmanship, and community engagement, celebrating not only the nation's independence but also the spirit of individuals striving for excellence in their fitness journey.  Kirti, Co-founder & Director  Life's A Pitch  

[richietoaster]

Review/Reaction of IT Chapter Two

Let’s just start right off the bat and let me just say that Bill Hader better get a fucking award for his performance.

Alright. Here we go y’all. im trying to stay in order with what happened but so much happened in the movie that my brain is just all over the place so excuse me while i try to form words

UNDER THE CUT CONTAINS MAJOR SPOILERS

• first opening scene is a fucking LOT okay like i sobbed my eyes out and it was just not cool. adrian and his boyfriend? CUTE AF. Him getting brutally beat up and then killed by Pennywise while Don just watches? NOT CUTE AF

• Mike is a precious boy and I love him so. He cares about his friends so much holy shit. they all get mad at him for lying to them tho.But he only did it to protect them. Mike knew some SHIT(tm) our boy is so smart?? I’m glad they kept to his original storyline

• Older Bill gave himself so much shit this film and i just felt so bad. like we know it isnt ur fault okay?? We know you loved your brother, stop putting yourself down. also?? him becoming protective over dean? please stop my aching heart. 

• Jessica Chastain owns my whole heart and she can kick my ass anyday. She plays Bev so well and captures young bev’s personality so well. her scene with mrs kersh was very weird. i knew the second she ran naked in the hall i’d be seeing some weird fucking shit okay 

• Jay Ryan could kick me and I would personally thank him like?? wow what a man. He immediately recognizes bev when he first sees her and im just?? im happy. so many hidden new kids on the block reference and it had me fucking rolling in my grave

• JAMES FUCKING RANSONE MY DUDE OH LORD okay listen. he gives off young eddie’s panic and chaotic energy so perfectly i felt like i was watching him as an adult, who just never grew up. I think thats what he was going for honestly. He played eddie SO FUCKING WELL 

• I’m so sad about stan. THats all you need to know okay. I’ll talk about his letter later on in this. Stan deserved better. that’s all. 

• if you are not a fan of vomit you’re not gonna enjoy richie tozier. literally any time something bad happens hes just like ah shit here we go again *vomits* and honestly? that made me laugh. like hes just like oh shit something is happening let.. let me just.. no no its fine guys ill catch up.. EHBWFIJHDFSIJ no okay but bill hader stole the fucking show. his acting was phenomenal and,, again,, i’ll add more onto that later. 

• richie scares the shit out of dean. because he thinks hes pennywise. but can you blame him? the kid just. stared at him all creepy and shit. but its so funny. the losers make fun of him bc he doesnt know his own lines from his acts and richies just like “I dont write my own material” and eddies just like “I KNEW IT! I FUCKING KNEW IT” dead. goodbye.

• Young losers were still my favorite part honestly. Eddie kept bouncing that stupid ball in stan’s face in the clubhouse and i was waiting for him to get punched in the face tbh. That didn’t even seem like eddie, that was Jack’s energy bursting through the seams lmfao

• young eddie runs into a fucking box and shrieks and if that isn’t me idk ewhdfiajksjdoi 

• THE FUCKING. HAMMOCK. SCENE. okay listen to me. thats gay. hammocks are now gay. gays only. gay interacts only. the bickering between reddie had me in TEARS. eddie kept kicking at his face and just?? casually??? lays on him when richie wont move?? 

• stan’s fucking shower cap ehfdiujasdiosa and then richie being like “nobodys afraid of spiders stanley okay” and eddie slowly removes his because he cares what richie thinks more than spiders ok

• a flashback from after they defeated IT in the first move with reddie “eddie youve been gone for 24 hours your face is most likely on a milk carton by now” “shut up richie” 

• yong Richie has me weak af this whole movie, like always. just getting on Eddie’s case. HE PINES SO HARD OH Y GOD Like wow my sweet boy is so fucking in love ouch. which?? BRINGS ME TO MY NEXT POINT??

• THE ARCADE SCENE?? he checks out the kid standing next to him and tries to get him to hang out more and then the other kid tells him to stop being weird because he’s not gay, too, and then uses the F slur. richie was just so hurt. paul bunyun scene happens after that and hes just like “I just shit my pants” and i cried. 

• pennywise screaming “lets play truth or dare, you wouldnt pick truth! you dont want them to know your secret” gave off the same energy as eddie’s leper blowjob scene from the book. same energy. do with that as you will. 

• they had some flashbacks that included pennywise and im not sure if this was before or after they had defeated IT in the first movie but i interpreted it as after and if thats the case... hes supposed to be dead. but now thinking back on it, it was probably just more scenes before they put pennywise to rest for 27 years. 

• young richie went to the kissing bridge after that and we ALL KNOW WHAT HAPPENED THERE. fucking.. r + e :((( although we don’t see him carving the E. but reddie is canon so suck toes antis

• stephen king pretty much being like “I know u and ur endings really do suck” to bill when he comes to buy his bike was so fucking funny. it almost felt like a self insert lmfao. ALSO HIM MAKING BILL PAY 300 BUCKS FOR THE BIKE BC HE KNEW HE COULD AFFORD IT? iconic. 

• richie and eddie opening the door to the dog had me laughing. pennywise was just mocking them at that point. they’d be such good dog dads and now im sad

• i was really confused because they added part of stan’s bar mitzvah?? like it wasn’t even the same from the first movie. like they should’ve just put the deleted scene in from ch. 1 and then added that part. thats one of my very few complaints. im slowly hiding them in here. 

• henry bowers was kinda irrelevant in this honestly but thank you eddie for stabbing him and richie for killing him for trying to kill mike yall heroes 

• BEVS BLOOD SCENE ?? CORRESPONDING WITH BENS BURIED ALIVE SCENE? poetic cinema. 10/10

• the big fight really disappointed me in all honesty. but i think thats because andy said he cut so much from there. i expect it to be better with the director’s cut

• eddie saving richie and then immediately being stabbed by pennywise’s claw? IM DEPRESSED.

• “Rich! rich, i did it! i think i killed him!” Our boy was so happy with himself :( 

• eddie’s last words WERE NOT “i fucked your mom”. he was talking to richie and you can hear them talking while the rest are preparing to end pennywise. so im hoping we get that as a deleted scene. 

• richie goes back to help finish pennywise but when he goes to check on eddie.. he’s dead. ://// and bev is like “richie, come on, honey.. im sorry” and richie does not want to believe him. he grabs and hugs eddie so tight i swear i could feel that hug from the audience. 

• another thing im disappointed in and am sliding in is some of the animations? Like. fucking weird. but okay. luckily i didn’t care too much.  

• THE SOB that richie lets out when he holds eddie really hurt my fucking soul jesus christ just kill me

• the losers try cheering him up after and like. thats their friend too but you can just totally tell he’s crying in a different type of grief. THAT WAS HIS FIRST FUCKING LOVE. 

• they all remember after and thats really important to me okay

• stan writes letters and its spoken outloud while the other losers get little montages of what theyre doing with their life after the battle. Richie goes back to the kissing bridge and recarves- YES RECARVES AND YOU CAN CLEARLY SEE THE E BEFORE HE DOES- he recarves the E and while doing it, stan’s voice says “be proud of who you are” and im fucking cry ibg okay

• in the end, i give this movie a 7/10 rating. although some of the animations were weird and some of the flashbacks had pennywise in it (like hes supposed to be currently dead but ok... maybe nightmares??) the actors were PHENOMENAL and the chemistry between older richie and older eddie made me so happy. my ship is canon. but im still sad about stan and eddies death. 

• ignoring canon in 3.. 2.. 1.. now 

[alexanderblackwood]

Squid’s IT 2019 Experience

Ok. So. IT 2019 happened September 14th, at 7:15, with @captain-the-foxx and @shadowydarklight, after watching the first movie together. And OH BOY, my FEELINGS. (Also I’m going to try to stay chronological but my memory is SHIT and I’ve only seen this once, so pls forgive me)

I knew the Adrian and Don scene was coming. And it was still rough. I thought people were playing it up a bit, but nope. Our theater had this atmosphere during the whole scene, and it was uncomfortable (also there were no vocal homophobes, which I’m thankful for)

The CGI when Pennywise bites Adrian is... not great.

I love Bill being a dick in his intro scene 👏 I mean, it’s awful, but I love the book continuity. I wish we could’ve gotten more Audra ://

Eddie crashing his car, proving gays can’t drive. And calling his wife mommy. Poetic cinema

I can relate HELLA to Richie being a nervous puker. Me fuckin too, man. Me fuckin too.

Kid Ben from the miniseries is working with Ben!! I love!!

Our theater cheered when Bev left Tom. It was amazing, and I stan

We knew Stan was going to die. And it still hurted. Him seeing Bill before he dies? HURTED.

Also the transitions at the beginning here? Beautiful. Stunning. Flawless.

The entire Jade of the Orient scene was great. I love the CGI and “monsters”, the chemistry was so much like the kids, all the Reddie, Richie doing a Voice, the eye. Perfect

Eddie and Richie trying to elope leave Derry at the same time

That scene with Vicky(?) under the bleachers was beautiful. Give Skarsgård all the awards. Idc. I’ll be Pennywise’s friend.

Zombie Patrick helping Henry break out. I just. Damn. That scared quite a few people

Mike drugging Bill? Damn man. I loved that whole segment with the tribe, it looked so cool. More nods to birds, which I will always love

Ok so I heard some VERY mixed reactions to the CGI on the kids and their voices. It wasn’t bad at all, I think. I noticed it the most on Finn (Richie) and Jeremy (Ben), but it was also very easy to ignore. Their voices were fine

hdjshdiesjdhsjehe kid!Eddie became so chaotic what happened it’s like him and Richie switched roles

Everyone going into and leaving the townhouse feels like a sitcom tbh and I’m not sure if it was tiring or funny

We got the walking tours, kind of, and I’m so happy!!!! King’s cameo, we still got a “kiss me, fat boy!” the ENTIRETY of Richie’s scene, the leper French Kissing Eddie’s mom (and Eddie strangling IT), and, of course, Kersh. So good.

Stan got his bar mitzvah scene I can’t 😭

Eddie 👏 stabbing 👏 Bowers 👏 and 👏 roasting 👏 him 👏 And I STARTED AN APPLAUSE FOR IT!! Go me, Reddie Rights 😂 (btw Eddie is amazing in this we stan a gay who will throw hands)

Give Mike a break 2k19 feat. Bowers coming to shank him

I, again, relate to Richie vomiting when he gets stressed

YO THEY FUCKIN KILLED DEAN WHAT THE FU—

Ok so I been knew they’d see Stan but like. I wasn’t prepared for them to stab it.

Jay Ryan’s abs. That is all.

Eddie freezing and apologizing hurts ;;-;;

“You’re braver than you think” just. Stabbed me in the chest. I turned to @captain-the-foxx and said “Eddie’s going to be brave, save Richie, then get killed” and it fuckin happened.

ok so like. the cgi on all the monsters just. ain’t it chief. am sorry. I like the designs in theory, but like. Oof.

THEY MADE THE SPIDER COOL THEY FUCKIN MADE THE SPIDER LOOK AMAZING

“That’s not gunna burn” fuckin tell them Eddie

Bill as Pennywise, kinda? Poetic cinema

Benverly 👏

Richie and Eddie leave Derry together and get a Pomeranian that’s canon

“You’re a sloppy bitch!” will be my last sentence

I been knew Eddie was going to die but like. The way Richie and Eddie look at each other and say each other’s names as it happens just. It hurts man

I love that you can just bully Pennywise to death. Also that heterochromia tho

Give Bill Hader all the awards for that scene. Now.

Richie being the only person to not be joking hurt my soul in such a deep way guys

That ending speech just. My fuckin heart, Andy. Stop.

[lookbackmachine]

Disney Afternoon History Part 1

Disney Afternoon Part 1

Transcript of: https://itunes.apple.com/us/podcast/the-look-back-machine/id1257301677?mt=2

[music]

0:00:06 Speaker 1: Arthur Herbert Fonzarelli, The Fonz, was the pinnacle of cool for a generation. The leather jacket, the jukebox and "Ayyy". And in 1981, he hit the cultural height of fame with his own Saturday morning cartoon show. Unlike, say, Mork & Mindy in which Robin Williams was limited by the constraints of reality, there's nothing inherently animated about Happy Days, but that wasn't a deterrent for the Academy Award winning studio Hanna-Barbera, when they created this.

[music]

[video playback]

[music]

0:01:19 S1: The animated Fonz didn't just jump the shark, he time traveled so he could ride a brontosaurus. Jumping the shark seemed baked into the premise of many of the cartoons from this period, because they started as a gimmick and only kept gimmicking. Besides a big hit with The Smurfs, this period, for Hanna-Barbera, was littered with Scooby-Doo knockoffs.

[video playback]

0:01:49 S1: The studio that once produced The Flintstones, Quick Draw McGraw, Huckleberry Hound, Yogi, Snagglepuss and The Jetsons was producing uninspired paint by numbers replicas. The parity was at its peak when the animated Fonz had a supporting role in Laverne & Shirley in the Army. The cartoons essentially amounted to barely animated fan fiction. For years, art and commerce clashed on Saturday mornings and commerce had a far better record. And yet, only four years later, a cartoon would raise the artistic bar for the medium, and strangely, it would be based on the currency of kid commerce, candy.

[music]

0:02:34 S1: Animated television started in 1949, as it should, a talking rabbit wearing a suit of armour, riding a horse toward camera. It was the spectacular opening of Crusader Rabbit, whose other animation wasn't nearly as good as the opening. It was designed, with little to no movement, by Alex Anderson, who was inspired by Baby Weems, from Disney's behind the curtain feature, The Reluctant Dragon. In the Baby Weems segment, there are story boards with a tiny bit of motion included to keep it from being entirely static. There are quick cuts, camera movements, and narration to carry the short all the way to the end. After seeing this, Anderson believed he could use this barebones style to have notoriously expensive animation make financial sense for television. He partnered with Jay Ward and the two created The Crusader Rabbit shorts for NBC. The shorts were successful and ran for several years, which sparked Anderson and Ward to create the cartoons that they were famous for, Rocky and Bullwinkle and Dudley Do-Right. Despite their massive success, their partnership didn't end well. In fact, it got worse, even though Ward was already dead. Alex Anderson, animator.

0:03:45 Speaker 2: I was surprised that... To discover that my 50% equity in the characters had disappeared and was not being honored. Yeah, I went to court, sued, got them to acknowledge that I was the creator. I learned about it at his funeral, when I was doing a eulogy and the names of several of us who were doing a eulogy were indicated, and it said Alex Anderson, creator of Bullwinkle and Rocky. And somebody had scratched it out and said, "An artist who worked for Jay Ward." And I thought, "Well, what's this? Why is this in?" Then I started checking and I found that, indeed, Jay had registered the characters in his name.

0:04:31 S1: The show's limited animation technique was taken by Hanna-Barbera and updated with better animation to produce several hits like Ruff and Reddy, Huckleberry Hound, and eventually the Flintstones, a primetime hit for ABC in 1960. Hanna-Barbera went on to an unprecedented run of hits and non-hits, but when it came to television animation, Hanna-Barbera was in a class of their own. However, things fell off in the 1980s. In those years, The Smurfs were their only big hit. This left a gaping hole in the market that was filled by cartoons based on toys, like GI Joe and He-Man. But their ratings were drooping as well. And then something happened that had never happened before. During the entire history of television animation, from 1949 to 1984, the most famous animation company in the world never produced a single animated television cartoon. That was about to change with a single brunch, but the events leading up to that brunch showed an American titan in peril.

0:05:36 S1: Walt Disney was dead, to begin with, he died in 1966. But he was still running the company from his grave. After all the company's internal motto was, "What would Walt do?" But hypothesizing about what a genius would do is not the same as having the genius actually there. Because when it came to the question of "What would Walt do?" the company wasn't guessing correctly. Even though it was 1984, its last motion picture hit had been The Love Bug, in 1968. And so, because the company no longer had Walt, it figured the next best thing was Ron Miller, an ex Ram quarterback and Walt's son-in-law, who became CEO in 1978.

0:06:16 S1: The best quote to describe Miller's tenure was his own, "Because of Walt, because of his influence, I second-guess myself all the time." Miller wasn't only contending with Walt's legacy, he was also dueling with E. Cardon Walker, who was the chairman of the board. Walker had been one of Walt's right-hand men. He was in charge of advertising and public relations. And in his tenure, Walker launched the Disney Channel, opened Epcot and Disneyland Tokyo, but he also had peccadilloes that were killing the company. Walker was not in favor of a $1 parking fee. "The parking lot is the first thing the guests see. We have to keep our prices low." And despite having been in charge of advertising, Walker did not believe in advertising or marketing. The Disney parks did not run ads or commercials. For some perspective, the first American newspaper advertisement was in 1704. In 1922, Queensboro Corp buys airtime from AT&T to create the first radio commercials in advertising history. The first TV ad was aired for Bulova watches in 1941, which cost $9. Advertising was not new, and yet, E. Cardon Walker wouldn't do it.

0:07:26 S1: In fact, Walker was even stingy on advertising when it came to the motion picture division. Budgets for advertising were growing since the big blockbuster Jaws. ET had cost $10 million in ads alone, but when Disney's TRON came out, they gave it such a minuscule advertising budget that no one knew the film was even out. The film took a $17 million write-down. While all this was going on, there was another heir to the Disney throne who was dubbed the idiot nephew by Uncle Walt himself, who once said, "My nephew will never amount to anything." Thanks to Walt-think inside the studio, Roy Disney was considered the village idiot. It didn't help that he wasn't the most charismatic individual. John Sanford, director, Home On The Range.

0:08:11 Speaker 3: He had this legacy kinda handed to him, and I think he really took it seriously. But on the other hand, he was just a normal guy who happened to have a ton of money. We were in La Verne, California, I think it was, at this movie theater. Doing a preview for Home On The Range, and there was a Bed Bath & Beyond, and Patty suddenly turns to Roy and says, "Oh, Roy, they've got glasses on sale. Do you mind if I go looking?" "Eh, go ahead, Patty." And Patty runs into the Bed Bath & Beyond and he says, "You know, we need to get new glasses. You know, you've got kids and they break all the glasses. And suddenly, it's 20 years later, and you don't have one glass that matches. So Patty wants new glasses." And he's just talking very frankly like that. And I said, "Yeah, I know that. I know how that goes." And then Patty comes running up. "Oh, Roy. They've got a wonderful set of glasses that are on sale. Let's go in and get them." And Roy goes, "Well, I don't wanna carry them all over the goddamn mall." And she goes, "Okay. I guess we'll get them later." [chuckle] It was just fun to watch them, 'cause it was like... Reminded me of watching my grandparents bicker.

0:09:12 S1: Roy didn't like his role at the company, nor constantly being at odds with Miller, so Roy left in 1977, but remained on the board. From afar, he watched the animation division go to hell, which was once the company's crown jewel. On Miller's watch, the Fox and the Hound was almost torpedoed, when soon-to-be-legendary animator Don Bluth left the studio after run-ins with Miller and the executives, and Bluth didn't leave alone, he took 15 animators with him. At the time, Ed Hansen, the head of the animation department, said this, "The whole animation department could have gone under at that time. As it was, we made it, but the release of the film has been delayed, and we lost half of our creative staff." Bluth had his own thoughts. "The thing that would help Disney the most is to have a living profit, not a committee. They need somebody who knows and cares about animation. They won't roll up their sleeves and plunge in like Walt did. They wanna hire somebody to do it. It just doesn't work that way. I think they've found that out now. It was a matter of constantly bumping up against Ron Miller and the older guys, people who wouldn't relinquish authority and who wouldn't make a decision except by committee. It just doesn't work that way. They had some of the best talent in the world there. But if a production head doesn't have talent or push, you won't make it."

0:10:29 S1: In spite of everything, the company did have some good news. Miller had gone against the Disney Brain Trust and was making adult fare with his newly-created Touchstone Pictures, and he had a huge hit on his hands with Ron Howard's Splash, on March 9th, 1984. It just also happened to be the same day that Roy Disney decided to resign from the board. Roy Disney's resignation set off a chain reaction. Corporate raiders tried to take over the company. Miller was forced out. Walker retired. Roy took a vice-chairman and chairman of animation role. Michael Eisner became CEO and Chairman of the Board. Frank Wells became President, and Jeffrey Katzenberg took the role of Walt Disney Studios chairman, and the corporate raiders were turned away. Eisner and Katzenberg had blazed a trail at Paramount and became the talk of the town for their track record and by throwing their names into the press as much as humanly possible. Meanwhile, Frank Wells had been vice chairman of Warner Brothers. They set about using their industry experience to transform a company that was run like a mom-and-pop shop.

0:11:33 S1: The fourth member of their team was assets, and there were assets galore that Disney simply wasn't utilizing to their full potential, or at all. The Walt Disney Company was like the drowning man in the flood who doesn't accept help from a rowboat, motorboat, or helicopter because he believes God will save him. The man dies, and he meets God and asks, "Why didn't you come to my rescue?" God says, "I sent you a rowboat, motorboat and a helicopter. What do you want from me?" Now, Eisner, Wells and Katzenberg would take the rowboat, motorboat and helicopter to the promised land. Under their leadership, the company began advertising its parks. Attendance rose 10%. They raised the price of admission, which led to hundreds of millions of dollars into the company's coffers. Eisner releases Disney classics on home video. It was initially sacrilegious in the company, but money talks. Cinderella alone made $180 million in revenue. Animation was losing money, so they thought about shutting it down. But Eisner didn't wanna piss off Roy, so they kept it around. It was a smart choice because Roy was a little bit more cunning than he seemed. He was no Richard III but he'd just usurped his own brother-in-law. And because Eisner would later fail to keep him happy, Roy would take out Eisner decades later. Roy might have been treated like Fredo, but he was secretly Michael Corleone.

0:12:57 S1: But that was a long way off, now Eisner was simply basking in his good fortune. "Such a bounty has fallen in my lap. Every day a new asset falls out of the sky. The real estate is just gravy, there are 40 unused acres next to Disneyland planted in strawberries." To re-emphasize his life on easy street, he was drinking a milkshake when he said that. And of course, there was another blue-ocean opportunity for Eisner to slurp up, animated television. On Eisner's first day at the studio, he announced he wanted to have a Disney TV cartoon on the air in 10 months.

[music]

0:13:35 S1: Willie Ito, animator.

0:13:41 Speaker 4: We knew internally at Disney that things are gonna start happening. And so, one day, they had all of the Burbank employees meet in the backstage set, we had a big open set area and everyone from the studio was there. And Michael Eisner was introduced and the whole bit. Then he gave us the overall picture as to what to expect in the future now that the new regime is here. And one of the things he commented on was we're going to alt Hanna-Barbera, Hanna-Barbera.

0:14:20 S1: According to the New York Times, he asked someone to find them the six most creative people at Disney to figure out how to make Disney TV animation work, which leads to the aforementioned brunch that started it all. One of the creatives brought to the table was Jymn Magon. Magon had produced story records for Disney music for eight years. Why bring a record producer, with no animation experience, to the table?

0:14:41 Speaker 5: I ask myself that every morning when I wake up, [chuckle] it's a bit amazing. Well, one of the things that Michael Eisner did before he was at Paramount was... I think he was head of ABC children's programming, I think he told me that he was the guy who actually bought the Scooby-Doo franchise from Hanna-Barbera, which of course, is still running after all these years. So, that was very successful, and I think he always had a soft spot for TV animation, and so when he took over the company in '84, one of the first things he wanted to do was to start a TV animation department. So, being new to the company, I think he just looked at different departments and said, 'I wanna meet some of the bright people that are doing things here at the company.' And we had just made a lot of money off of Mickey Mouse disco and a lot of projects that were new at the time in the record business. And so Gary Krisel, who was the president of Disneyland records, and myself, were invited over to Michael Eisner's house on a Sunday morning. Michael Eisner invited a bunch of people... Not a lot, I think there were about 12, in all, that were at this meeting in his living room on a Sunday morning in Bel-Air. And I had never been to Bel-Air, never been invited to someone's house up there, [chuckle] so, it was very fancy-shmancy for me.

0:16:01 S1: And there was also Tad Stones, who began his work at Disney in 1974. He was an uncredited animator on the Fox and the Hound as late as 1981. Now, he too was at the brunch.

0:16:13 Speaker 6: I was in Features, I eventually moved into Story, went to Imagineering and help design rides for Epcot Center, and back in charge of some Epcot Center documentaries that then never happened. Eventually ended up back in Features, I'm not sure they knew what to do with me. And that's about the time management changed, with Michael Eisner coming in and Jeffrey Katzenberg and those guys. And I was... Along my trials through the company, I had done some animation development for the guys over in the merchandising side of things 'cause they felt like the only way to really sell toys is to have some cartoons on TV. You can't wait for these features that come out every four years, or so, 'cause that's what it was at the time. Anyway, those same guys were pitching TV animation to Michael Eisner. I was actually on vacation, but I got a call that said, "We know you're on vacation, we know it's gonna be Sunday, but would you mind coming to Michael Eisner's house to talk about television animation?" So I was like "Yeah [chuckle], I think I can make time." Went there with like 10 people. These were the guys who basically I had worked with before and they were impressed with what I had done. And from the beginning, Michael Eisner felt like Disney is the top in animation, and it should be in every area that animation is in, it doesn't mean that television animation is going to look like feature animation, but it should be the best TV shows in animation on TV.

0:17:39 S1: Jymn Magon.

0:17:40 Speaker 7: Michael revealed that he wanted to start this new department, he wanted us to come up with some ideas and whatnot, and he actually came up with an idea himself, which was his kids who were in the other room eating cereal in the kitchen, in their pajamas [chuckle] on Sunday morning, had just come back from camp and I guess they had told him that they were eating these really cool candies called Gummi bears. And he said, "I just like the sound of that." And he looked at me, which was really weird, 'cause he didn't know me at all, and he said, "Make me a show called Gummi Bears." And I thought, "Why'd he pick me out?" [laughter] And I said, "Oh yeah, cool, great."

0:18:20 S6: So I pitched an old project, Mickey and the Space Pirates, they liked it a lot, but then they said, "No Mickey... We wanna make sure we can pull this off. Mickey is too precious." So there was a lot of respect there going in. No one was prepared to actually pitch shows. I had that artwork left over from stuff I had pitched to the merchandising guys, who were in the room, but it was kind of more feeling what Eisner wanted.

0:18:43 S7: But Tad was at that meeting, and he didn't come over for probably a full season to TV animation, but he eventually did, and thank God he did, because we worked on so many shows over there. But yeah, he was at that initial meeting, and he had a lot of great ideas. But he didn't come join us right away. And afterwards, we all met at a coffee shop, in Brentwood, and I remember us all kind of looking at each other, like, "This guy's crazy. Who wants to do a show about characters that get eaten every week?" [chuckle]

0:19:15 S6: And I remember saying, "Well, he seemed pretty sharp and respectful of animation, except for that idea about Gummi bears, that's like doing pepperoni people, or something. I don't know how to do that".

0:19:25 S7: So I think we all kind of felt like, "He's a busy man. This will all go away". It was about two weeks later I got a call, "So where's my show?" "Well, I'm writing it now", [chuckle] and I typed up something and it was horrendous, but it was the beginnings of development. And so I ended up, at one point, doing two jobs, I was still doing my record producing, but I was also developing two shows, both Wuzzles and Gummi Bears for Disney. And we didn't even have offices for the department back then. I remember we went over to a fellow named Lenny Ripps. Lenny Ripps was responsible for creating Full House and he was under contract at Disney for the time, and Lenny said, "Come on over, let's talk about this." And so there was Gary Krisel, who was going to be the president of the new division. So he was doing double duty at the same time, with records and TV animation. And Michael Webster turned out to be our office manager, and there was me. And that was the four of us sitting there around a card table in Lenny's office kicking ideas around. And that's how that department started, very bizarre and very humble.

0:20:47 S7: I remember having to take pitches from people and we were discouraged from doing that, because Disney became a big company and had deep pockets, and of course, people would come in and pitch, and then say, "You stole my ideas." And so pretty much kept to ourselves and almost all the development was from inside, from people on staff. So we didn't... It was in the time of [0:21:10] ____ and other people pitching their ideas from outside. There was a travel office for Disney across the street from the studio in Buena Vista and it was just a crummy old office building. And I think that's where we put Art Vitello when they brought him in to run Gummi Bears. And they were just sort of makeshift offices, they put some of the artists on the back lots, above the tea room. We were just spread all over. So we all became sort of bastard children.

0:21:41 Speaker 8: This is the great book of Gummi.

0:21:45 Speaker 9: What's in it?

0:21:46 S8: Well, we really don't know.

0:21:49 S6: Well, they actually developed Gummi bears kind of on a candy basis with a villain called Licorice Whip, I think. And they were actually gonna have the Gummi bears give dental hygiene messages at the end of every show. That went nowhere, and they threw it all out and came up with what was on the air.

0:22:06 S1: Instead of candy, the show got a complicated 500-year-old plus mythos. The Gummi bears were descendants of the great gummies, tasked with protecting all things Gummi from human greed and exploitation.

0:22:18 S7: I was very fortune that I got to work with two of my childhood heroes, which were Rocky and Bullwinkle. I found myself staring at Bill Scott a lot because besides doing all the voices of George of the Jungle and Tom Slick and Bullwinkle, he was a fantastic writer, and he had written all of these commercials for Quaker Oats, Quisp and Quake and Cap'n Crunch, and stuff like that. He once said to me, "You know the old story, Jymn, about how do you make a statue of an elephant? Well, you start with a block of granite and you chip away everything that doesn't look like an elephant". He says, but writing a script is different. You start with nothing, and you chip away until you have a story. [chuckle] And I thought, "Oh, that's interesting. You don't even have the rock to work with." [laughter] And I just thought he was a delight. He died after the first season of Gummi Bears and that was just devastating for us.

0:23:16 Speaker 10: Welcome to the land of Wuz, where nobody is like anybody you've seen before. The people who live in Wuz are called Wuzzle, naturally. And as you've probably guessed, Wuzzles are a little bit, you know, different.

0:23:33 S7: I didn't stay on Wuzzles. Once we got the two shows sold, I stayed exclusively on Gummi Bears. But in the early days, we were trying to put together these shows to pitch to the networks. And we had a show called Jumble Isle, the idea was that there were these animals that were jumbled up, and there were two of each animal. And, lo and behold, it turns out Hasbro has... Already has a project called The Wuzzles, which they had plush animals at the time. And, again, I don't know the ins and outs of the business side, but it was decided, "Well, why create these things when they already exist and let's just do a deal with Hasbro to take our development and put it with their characters." which I'm not even sure they had much of a back story. But once the deal was made, then we'd develop them into talking, breathing, and living characters. [chuckle] And so what happened was that Wuzzles then went on to have its own production department, just like Gummi Bears had, but like I said, my involvement at that point, I had dropped out after it sold to CBS.

0:24:39 S1: Besides Wuzzles and Gummi Bears, Disney television animation had one more venture in its early years. Fluppy Dogs was the first animated Disney feature for television. The show revolved around the Fluppy Dogs going through an interdimensional portal to Earth. It got a 5.3 rating on November 27th, 1986. The numbers were so low that it killed off the idea for a television series based on the special, and with that, Fluppy Dogs was over before it even really got started.

0:25:08 S7: Fluppy Dogs was sort of the... I kinda call it the albatross around the neck. [chuckle] It was a cross to bear. And I think everybody in the department worked on it at one time or another. And so what happened was that we were gonna do this Fluppy special and it was going to be the kickoff for a series and it just never took off, it never... It just never happened, and I think we were all kind of glad it didn't go any further. I mean, they were cute, but I just remember it being like, "Oh crap, I don't wanna go on another meeting about Fluppy Dogs." [chuckle]

0:25:49 Speaker 11: We've been to so many worlds. I don't know how long it's been since I've seen my family.

0:25:55 Speaker 12: You can talk!

0:25:56 S1: I wish you wouldn't keep saying that, I've been talking since I was 3.

0:26:00 S1: I'm sorry, but I mean, talking dog? Fluppy, and doorways to other worlds? I just wanna find one world, my world.

0:26:12 S1: Disney was going in cheap in terms of the price for pristine Disney Animation. Disney knew they couldn't afford movie quality animation and expect to make a profit. But Disney still spent $285,000 on each episode of Wuzzles. That was double what Hanna-Barbera would spend. It was so much, in fact, that it was $35,000 more than it was being paid by CBS. Why spend so much? The reasoning was simple, if it looked better than everything else on TV, then the characters could become part of the parks, and because of the success rate of their recent films, Disney needed characters more than ever. Willie Ito, animator.

0:26:51 S4: When I was at Hanna-Barbera, Michael Eisner was the VP of Children Programming at ABC. So when we were doing presentations and they would fly out here to review what we were working on, Joe would ask us to come in on a Saturday, sit at our desk as if we're busy bees and then bring Michael Eisner and his people through, and says, "Hey, here, look, they're all working on the new show idea," and then see the presentation. So I knew of Michael Eisner. And so, when he says he's gonna hop Hanna-Barbera Hanna-Barbera, I'm thinking, "Oh my gosh, I came back to Disney to get away from this rat race, and I hope we're not gonna be all caught up in the middle of it." Well, to make a long story short, a few months later, a fellow named Michael Webster, who I worked with in animation, was hired on to be production coordinator for the newly forming Disney TV Animation. Michael got with me and says, "How would you like to come back to animation?" I said, "Michael. No, please don't, don't do this to me. I'm perfectly happy. I'm actually in my new career back at Disney." And he says, "Well, we're gonna have a little boutique operation. All we're gonna do is be responsible for the scripts and we'll do story boards and maybe character design, but otherwise, everything is going to be farmed off to a production house. So we're just gonna have a little boutique operation and let me dangle this carrot in front of their view."

0:28:29 S4: What it was is, he says, "I know you used to make a lot of trips to Japan and Asia, and you know a lot of the production houses over there. So I wanna send you there and meet with these different companies and talk business." And he says, "Well, we'll be sending you first class. You'd stay at the Imperial Hotel in Tokyo." And then all that. How could I resist? Plus, the fact that there was a handsome increase because of my position, would be like an executive thing. "Michael, I'm gonna give you three months. That's what I could promise you." So, "Okay, that's a deal." I did the pilot storyboard for a two-minute pilot. The soundtrack was recorded. They cut the exposure sheets, and the whole bit, and with those two copies under my arm, I flew to Tokyo. As I was registering, this American gentleman approaches me, "So are you Mr Ito?" I say, "Yeah." And he says, "Oh, hey. I understand you're here to make pilot films for your fledging Disney TV animation." I said, "Yeah, I am. You could talk to me initially, but the decision will be Michael Webster, who will be arriving here in about half an hour."

0:29:50 S4: So we sat in the lobby, having a cocktail, and then Michael shows up and he's at the desk and I said, "Well, there's Michael now." So, well, we flag him over and he says... The fellow talking to us says, "What we wanna do is we wanna throw our hat in the ring. I understand you're gonna be talking to people at Toei Animation in Tokyo, then you're gonna be flying to Korea, and you're gonna be meeting with Steve Hahn at the Korean studio." I said, "Well, we only have two sets of soundtrack, exposure sheets and copies of the layouts and storyboards." He said, "No problem, they can make copies of all that." "So, okay, what do you think, Michael?" And Michael said, "Yeah, sure, why not?" So we awarded them to also do a pilot. Three months later, the three studios submitted their two-minute pilot. So the three pilots came in. We all go in the sweat box, all the executives are there, I think even Roy Disney Jr was sitting in on it, and all of the newly-appointed executives of the newly-formed Disney TV Animation.

0:31:02 S4: So we sit there and, number one, okay, number two, then number three, then the lights go on, and then now we have to say which one we liked, and it was unanimous. We liked this one, say, number two. Well, it turned out that that was produced by a company named Tokyo Movie Shinsha. It had nothing to do with the other two that we submitted, but this one had the rich, full animation and all that. So they got the contracts. So TMS is the producing company. TMS, they later did the Little Nemo in Slumberland feature also, and so they had access to a lot of young Disney animators with full animation training to work on their project. As a matter of fact, even that two-minute pilot, they sort of farmed out some of the animation to Disney animators, that's why it showed such quality and it beat out the Koreans and the Japanese studio.

0:32:08 S4: They cheated, but, in essence, they... Disney kept striving to get the utmost in animation quality, which is good, because that was one of my concerns. If Disney gets into TV animation, are they gonna lose their integrity by just schlocking it on, doing limited animation, and all that, but the quality is there.

0:32:34 S1: Jymn Magon.

0:32:35 S7: I remember we did a lot of tests with other studios. We ended up with... At least for Gummi Bears, we ended up with TMS, Tokyo Movie Shinsha, and I had to remember, when I was really used to looking at hamburger sort of animation, which is you move across the proscenium left to right, the background that keeps repeating, and that's sort of what we grew up with and were used to. And I remember the first episode of Gummi Bears, I saw Sir Tuxford ride his horse into camera. The horse came to camera, he did a full turn around, which you'd never saw in TV animation, it was like, "Holy cow! Look at what just happened!" And it was a real leap in the animation quality, and I remember talking to Karl Geurs, who was working over at, I think he was at FilmNation at the time, and he eventually came over to Disney to do the Winnie the Pooh show. And he said everyone in other studios was talking about, "Did you see what Disney did on Saturday morning? Oh, my God!"

0:33:38 S7: So the quality really raised the bar. Now, true, it wasn't feature animation, but it was a big jump in quality. Finally, they put us all together over at the Cahuenga Building, which was on Cahuenga, near Universal Studios, and it just got bigger and bigger as we added more and more people. So, on the one hand, we weren't on the lot anymore. The sort of good news was, nobody was looking over our shoulders, so that department started and grew and made its success sort of off by itself. Nobody was actually sitting down reading, our scripts, and saying, "Gee, I don't think this is very Disney, or I don't think... " There just wasn't any interference because they had other and bigger fish to fry. We went off and sold our first two shows, Wuzzles and Gummi Bears, to CBS and NBC respectively. And it just took off from there.

0:34:29 S1: Willie Ito.

0:34:30 S4: We had our own growing pains within the studio, getting people together, finding a crew, a good animator, story, bit people. And before that three months was up, I could see the frenetic pace. We were moving from office to office because it was like we move in and then they say, "You know, it's not enough room because we're expanding our staff." And I'm thinking, "What happened to the boutique operation? Now we're gonna have a whole staff. And then am I gonna have to do what I did at Sanrio, is manage this crew of people and all that." So I started feeling the pressure of that position, but in the meanwhile, I went back to Carson. And Carson van Osten, who was my boss in consumer products, and I said, "Oh, Jesus, it's the same old thing. Before I get too caught up into it, can I come back?" So he said, "Oh, yeah, there's always an opening for you to come back." So I came back to consumer products, but I stayed with the Disney TV, as far as merchandise and by-products and whatever else, but I was now out of the production rat race.

0:35:55 S1: Tad Stones.

0:35:56 S6: Anyway, I went back to Features, and pitched some stuff, and actually was considering leaving the company, and maybe just freelancing and then going into more, actually, science fiction short stories and novels. I met one of the guys who was then the head of the TV department that was just starting, and mentioned, "Hey, do you have any freelance opportunities?" And he said, "Oh, I don't know if you wanna do that, why don't you come and visit?" And I came to visit their very small building and he introduced me around, he said, "Yeah, Tad may be coming over here." Actually, he said, "Tad would be coming over here." And I just was quiet. I didn't know what he was talking about, but they ultimately brought me over to be the creative manager of the department, in which I was supposed to take pitches and come up with stories, and actually, I was supposed to take pitches more than come up with stuff, but I wasn't geared that way.

0:36:50 S6: And we had a gong show coming up with Michael and Jeffrey, which is you do like a two cents description of a show and they either like it or not. And I think we pitched 22 ideas. I think 18 of them were mine. And it's not like they were fully developed, it was like, "Hey, Trojan Birds and Legionnaire Cats, the city of Troy is up in trees, like Roadrunner and Coyote," and they gong. Anyway, Gummi Bears had been through two seasons, it was run by Art Vitello and created by Art Vitello and Jymn Magon. And Jymn had had no animation experience before that, Disney just said, "Hey, if you want the show, this is the guy who's gonna do it." So there was always a contentious relationship there. And by the third season, NBC said, "We want to change," and they tapped me and Jymn went on to, I think, DuckTales development at that point. Anyway, so that's how I got to Gummi Bears, it was just kind of like, "Hey, you, over here". And that started me story editing and producing.

0:37:51 S1: Willie Ito.

0:37:52 S4: But the question always was, "Well, how come Wuzzles and Gummi Bears, when Disney has such a stable of great characters that they could work from?" But I think initially, they says, "Well, we're gonna be making cartoons for Saturday morning, and that's a lesser market quality-wise, and we don't want to ruin Disney's image by turning out the limited animation with Mickey Mouse and all that, so let's go with new characters." But then the shows were a hit and it started to see that Disney TV was getting some recognition, and so Roy Disney said, "Well, come on, let's... Let's use some of our own characters, that way the market and the kids will gravitate to it knowing it's a known Disney character." So we did DuckTales.

0:38:52 S1: Jymn Magon.

0:38:53 S7: After two seasons of Gummi Bears, I moved over to work on DuckTales, which was a big deal at the time, we were doing this as a syndicated program as opposed to a network program, and it had already been developed, Tedd Anasti and Patsy Cameron were always creating episodes.

0:39:10 S1: Patsy Cameron-Anasti and Tedd Anasti, writers.

0:39:14 Speaker 13: My career in writing really started when I met my future husband, Tedd.

0:39:19 Speaker 14: That would be me.

0:39:20 S1: I was 18 and I auditioned for Walt Disney's new Mickey Mouse Club as a performer, and Tedd was a writer for Walt Disney and chose me at an audition, and I appeared on the new Mickey Mouse Club singing and performing sign language, and then I fell madly in love with him, Tedd, and started writing him love letters...

0:39:42 S1: Didn't spell my name right, though. So, during a union break, I'm sitting on a bench back when I did smoke cigarettes and the guy from the mail room comes by and goes, "Is your name Ashy?" I went, "No, no, it's Anasti." He goes, "Well, I think somebody's been writing you a bunch of letters, we've got in the mail room, didn't know where to deliver them." I discovered that she has an interest in me.

0:40:08 S1: Yeah, and he said... When he called me, he said, "You're really funny." He thought my love letters were funny, and he said, "I think you could be a writer." And Tedd showed me Micky Mouse Club scripts and taught me how to write scripts, and then I moved up here to Los Angeles and my first job was a freelance for Hanna-Barbera on a show called Casper and the Space Angels, and I freelanced for a couple of years and then became a staff writer on The Smurfs, and I was the first woman staff writer at Hanna-Barbera, as well as their youngest at the time at age 23. And then a little bit later, Tedd started writing for The Smurfs and we became story editors together. Margaret Lush, who approved my very first cartoon episode on Casper and the Space Angels, Margaret Lush, noticed that we had fun together when we wrote, not knowing we were dating or anything. And Margaret, she teamed us up as story editors on The Smurfs and then Tedd and I wrote on The Smurfs for three years, in which it won one Emmy. And then the next show that we did was DuckTales for Walt Disney.

0:41:16 S1: DuckTales was based on the Carl Barks comic book stories about the world adventurer ducks of Duckburg, Scrooge McDuck and his nephews. The comics were a hit back in the 1940s and '50s, and their comic adventure styling seemed a perfect fit for what Disney envisioned for its television programs. Barks was never really consulted, said Tom Ruzicka, associate producer on DuckTales. He continued, "Although the show was initially based on the concept of doing Scrooge McDuck and the nephews, we discovered that a lot of stuff that made wonderful comics wouldn't translate into the '80s, or into animation. So we started evolving new characters and other things to contemporize the show. As we did that, the stories got further and further away from the comics, although a few episodes are lifted right out of them."

0:42:03 S1: We had a meeting with Gary Krisel, where he showed us two projects, DuckTales and a special called Fluppy Dogs, and we chose DuckTales. That was a good choice.

0:42:16 S1: They hired us because they knew it would be a big show with lots of episodes. We got known as people who could do 65 half hours in a season and stuff like that.

0:42:25 S1: Or 90 minutes on The Smurfs. Our first year as story editors, we'd never story-edited before, it was 90 minutes, because it was such a hit, or on DuckTales, it was 65 half hours. People would say, "How come you're not freaking out?" Well, I just knew we would get it done, but Tedd, his energy and his dedication, I credit a lot of it to him.

[video playback]

0:43:18 S1: They were definitely based on the Carl Barks books, but the main thing we had to do was, again, bring the heart, bring heart out.

0:43:26 S1: Well, one day, certain executives said, "You're not following the books very closely." And we said, "We have 65 episodes to do and Carl Barks only wrote 16, and they're not that different from one another."

0:43:41 S1: Jymn Magon.

0:43:42 S7: The idea came up, "Why don't we do a mini-series that we can cut into a movie we can then show as a pilot, a kick off to the series?" So what was really fascinating, for me, anyway, was, even though the show was already in production, was to do the episodes that set the tone for the series. So the first thing that the public was gonna see was this five-parter, and we just had so much fun putting that together, because they had to work as five separate episodes, but it had to work as an overarching big story as well, so that it could be shown as a movie. And I have a picture of Mark Zaslove and Bruce Talkington and I standing in front of this chalkboard, we have this gigantic story outline in front of it of all five episodes. It was like, "Are we gonna be able to do that?" And it turned out spectacular, I was very happy with it.

0:44:32 S1: A lot of the episode went to Japan, the earlier ones, and the animation was just exquisite. It was so exciting to have the films come back, especially the earliest episodes. Wow, dazzling animation, like A-team animation. They had a party and they showed one of the fully realized episodes, it was called Duckman of Alcatraz, it was really, really sensational. But I remember even Tedd saying, "I didn't really realize how good this was." I think that no one really understood that, I don't think I did until the episodes started to come back with all the music, fully-animated, everything, and then when it debuted, it was a really, really big smash.

0:45:16 S1: Meanwhile, the LA Times' Charles Solomon was not impressed by DuckTales. In fact, he found it rather distasteful. "Mickey Mouse, Donald Duck and other Disney cartoon stars owe their popularity and longevity to the fact that they were so well-animated, they ceased to exist as drawings on screen and emerged as clearly recognizable characters. By breaking with that tradition in DuckTales, the new management at Disney Studio is risking far more than the $20 million it has invested into the series. At stake is a name that has been synonymous with the best in animation for 60 years." But the risk of ruining their name in animation was well worth it, because the show was gigantic. DuckTales was big, really big. The series was in 56 countries and seen by 25 million kids each day. It went so far that it doubled the ratings of kids shows that it was in competition with. Even though each episode cost $275,000, Disney more than made its money back, and Disney television animation had finally truly arrived. Tad Stones.

0:46:20 S6: Well, DuckTales was a huge thing, because a Saturday morning show is just... Your first order is 13, and then maybe 10 the second season, and eight, and eight, and then you're lucky if you're still on. DuckTales, suddenly, it was like, "No, we're doing 65 episodes." George Lucas told us once that DuckTales was to syndication as Star Wars was to movies, I mean, it was huge.

0:46:43 S1: Patsy Cameron-Anasti and Tedd Anasti.

0:46:46 S1: We finished DuckTales and they didn't pick up our contract. The figured, find somebody cheaper, I guess, I don't know.

0:46:53 S1: Well, actually no, let me... I would like to differ with that. It was a smash and that was a wonderful thing for our career. They offered us Aladdin, actually, and we... I think we had always wanted to develop, like kind of be in developing new shows, and when Nelvana offered us vice president of development, we took that, and they were just starting out, kind of, they had done some things, but Beetlejuice really was their first big blockbuster. So I think they did offer us Aladdin after that, and then later, The Little Mermaid.

0:47:28 S1: I was sitting in a restaurant and here are the guys from Disney, the executives, end up sitting behind us, and we were with ABC at the time. When the girls from ABC went to the ladies room, the guys from Disney leaned over and said, "We need you back. We need you back on our show 'cause we can't get anybody that's doing a good job." So we went back and...

0:47:49 S1: Yeah, we spent three years on The Little Mermaid, which was, again, a very, very wonderful experience.

0:47:55 S1: They wanted us for five years, but we said, "Well, maybe just one year at a time." So we stayed there for 14 years, just one year at a time.

0:48:02 S1: Jymn Magon.

0:48:03 S7: I know that I was a big Carl Barks fan growing up, just as a kid, reading the comic book, and so we owed so much to Carl Barks, creating the Beagle Boys and Gyro Gearloose and Magica de Spell, and all these characters. And I felt bad that he never got any credit on the series. So one of the episodes I wrote was based on one of his comic book stories, I actually gave him credit as "Story by Carl Barks, script by Jymn Magon." Because I wanted his name in there somewhere on the series. There were two things that were key to DuckTales. One was Scrooge McDuck was torn between the cold, hard cash and the warmth of his heart for his family, his nephews, that's what was always driving the series, was this man caught between the cold and the heat. The second thing was, young children don't understand money, it's just like the coins, built different sizes, and paper, and they honestly don't have a concept of how money works. But Carl Barks was a genius when it came to, "Well, what do kids understand?" Well, they understand the tactile quality of coins. And so to have a money bin full of coins that you were able to dive into and just swim through like a porpoise, just that's what kids could understand and appreciate. And the fact that he gave Scrooge McDuck that childlike quality to be able to enjoy his money in a very tactile way, I think, was a real breakthrough for the character.

0:49:31 S1: Carl Barks, an except from The Duck Man, an interview with Carl Barks, 1975.

0:49:37 Speaker 15: The office, I think, wanted me to do a Christmas story and so I'm casting around for Christmas stories. I began to think of the great Dickens Christmas story, about Scrooge. It is the classic of all Christmas story. All I did was just peep enough to sort of steal some of the idea and have a rich uncle for Donald. Well, he had turned out to be kind of an interesting character in that first story, and so I began thinking of how to use him again. I guess the fact that he was rich was the thing that triggered all further developments, is just how rich, and the showing of his wealth. I found that that was quite a fascinating subject, just piles of money. It seemed to appeal to a lot of people.

0:50:33 S1: And I just gradually made him richer and richer and then I had to develop a place where he could store the money and all the time, there were the Beagle Boys trying to steal it from him. Those things just grew like building brick walls, you just lay one brick on top of another, and finally, you've got a whole thing built. You can't dive into a pile of money like you would into a snowdrift, so he had to have a trick by which he did. And I don't explain that trick because I don't understand it myself. And he can go out in the desert, and he can smell the presence of gold. Other prospectors would have to dig mountains of dirt before they could find any nuggets, but he can smell them. I think he represents something that nearly everybody wishes they could be, some time in their life, just a little bit too rich.

[music]

0:51:25 S1: Disney had another project that was budding at ABC. Disney had a long, strange history with this character, with lawsuit after lawsuit, but the character was about to become part of Saturday mornings in 1988, with an unlikely candidate to help lead it. Mark Zaslove, writer.

0:51:53 Speaker 16: What happened was I went to Cal Berkeley as a eventually theoretical astrophysics person, but I was also writing at the time, and I had a buddy, we were doing live action. So every summer, he was in UCLA, I was at Cal, we'd come back and we'd write a script or something. And then I wrote my first novel over there, and then it was like, "Well, what am I gonna do also for money?" I was doing magazine work, I worked for Larry Flynt for about seven months, meteoric rise and fall on Hustler and a couple of magazines like that, which was fun.

0:52:25 S1: I used to say, though, I was karmically balanced 'cause I did Pooh and Hustler. By the time anybody even asked about it, it was never a big deal, no one cared, I mean, it wasn't like I was posing or anything, or it was gonna come back and bite them. Not that I couldn't have. Oh, sorry. [chuckle] And I got my first gig in animation while I was there as well. But basically, I went, "I got to make some money." It's like, "Oh, yeah, animation. They need writers." My dad said, "Yeah, maybe try that." And it's like... So I went in, not thinking anything of it, really, and it was very easy to do, and so I was doing some freelance work and I had sent in something... Oh, GoBot, a GoBot script to Jymn Magon, and he went, "Oh, my God, it's the only funny GoBot script I ever read." So I went in, and he'd probably tell you better.

0:53:12 S1: I just had this sort of full of himself attitude, not in a bad way, according to him, but I just look back and it was just kind of funny, 'cause he saw it and he went, "This is really good writing." And I was kind of like, "Well, yeah, of course it is." It was like, "Well, it's animation." I never thought much about it. I learned to very much respect it. I always liked the product, but I was never like a fan of animation because I grew up around it, so it was always the discipline. But you have to understand, my dad was an animator/producer/director, so when I was growing up, animators were guys who were drunk on my living room floor. So I get to Disney and they're all teetotallers, except for a few people. I'm like, "You're not animators. I know what animators look like, and none of you are animators." I had gotten some bad raps there that I didn't do, I was always upset later when people say blah, blah, blah, and you were being blah, blah, blah, and I went, "I didn't do that. If I'd just known, I would have done that." I would have been much more obnoxious. I would have actually caused these problems.

0:54:10 S1: I think I could rub certain people the wrong way, although everybody could. But there was one day where, I don't know why, it was just one of those things where maybe we'd been working too hard, too long, and you're near the end of something, and I started taking tape and I started taping across the hallway. And then somebody threw something on it. It became like a giant spiderweb that stopped the hallway up. And then people started throwing items onto it, so it stuck. And so suddenly there's this whole blockade hallway, and people have thrown knickknacks and this and that. And suddenly, Michael Webster or Tom Ruzicka came by and they just look at me, like, "This is your doing, right?" It's like, "Ah, leave it." And then they walked off, 'cause they knew it was a way to blow off steam. But it was one of those almost MASH moments where you start off doing something silly, and the next thing, the entire place is sort of doing it. But I got nailed for things that other people did a lot. Where they were nicer, and I was more like, "Ah, whatever." I was certainly tolerant.

[music]

0:55:08 S1: And I think ABC wanted a Disney show. And then it became, "What do we give them?" And then Pooh, because they had mechanical rights, I guess, was a safe thing to do. So it was above my pay grade, but I remember that it was ABC wanting, but I think the machinations were, "What can we do that's very Disney that we have?" And then it became Pooh, and then it came down to us. It was funny. I knew it could be really good if we didn't screw it up, and they didn't think I should do it, 'cause I was young and I wore long leather jackets before Matrix. I was, theoretically, a dark character. And so they were questioning me. And I remember sitting at a table. I had to do the entire Bible premise pitch in a three-day weekend, and then go have lunch with Gary Krisel and some other people and explain why this show would be great.

0:55:53 S1: I remember going, "Look, I will bet you a year's salary," and fortunately, they didn't do it. "We will win our time slot, be number one, we'll win an Emmy, I guarantee it. I bet you my whole year's salary." And we did. We were the only show to do that at that time. But it was one of those where you just go, "If you don't screw it up, how can you miss?" The designs are good, great characters. Just don't be stupid. Write really well, and it'll be a good show. I never used anything from the books, because it wouldn't have worked for me. It was always, "How can I become Mill?" And then, "How do I expand that?" For whatever reason, they previewed it on the Disney Channel and then it went to ABC. And then ABC changed their order from 13 to 20-something for the first season. So we were all kinda cranking. That was actually a lot of fun. I loved that show.

0:56:41 Speaker 17: Why thank you, Piglet. It's perfect. What is it?

0:56:47 S1: That was the first time I was in charge of anything, and actually had to have responsibility, and scheduling everything. And Karl Geurs, he was very much pro-what I was bringing to the table. And that was a great learning experience. And it was about professionalism, and a way of looking at things that Karl had without being blighted or too jaded about it. Karl was Winnie The Pooh, just had that sort of attitude. As much as people used to say that he'd walk by and we'd be shouting at each other, I don't think we were ever ever ever angry. We were just loud. We'd circle, "What about this? No, this!" And then suddenly, I guess our voices went up. And people would go, "We walk by Karl's office," and it'd be like, "We hear you guys shouting. Is everything okay?" And I'm like, "Yeah, why? What's going on?" But you couldn't ask for a better person to take you in on your first day. We fell through the cracks at that time. They didn't know we were there, really, 'cause DuckTales was getting up to speed, and I remember, Karl telling me vividly, he goes, "You know, if we're a hit, they're gonna suddenly start caring about what we do, and give us all sorts of terrible notes".

0:57:49 S1: And he was right. Suddenly everybody wanted a finger in it the second season, and we got a ton more notes. "Well, we gotta do this. Is this good? Should we do that? We don't understand this." Anytime you try to do something, whether it's cutting edge, or just very truthful, and I thought the Pooh characters we handled extremely truthfully, they weren't just saying gag-lines. They were saying a line because that's what Pooh would say, or that's what Tigger would say, which is the essence of any kind of good writing, is, "Are you telling the truth?" And so we get people who wouldn't necessarily understand that, so we get notes, and then you'd have to explain it. And then that wouldn't necessarily work. And then it would be weird. I always had a really good relationship with standards and practices, but I remember I wanted Gopher to have a huge cask of black powder, 'cause he's a miner, and he digs, and I wanted to blow the side off of a mountain.

0:58:44 S1: And of course, ABC standards and practices says, "No, you can't do that." And I try to explain why, it's like this, and then kids'll do that. And I go, "I don't think they can get all the dynamite, or black powder." And they're like, "Well, you can do it in fire." And so I thought for a while, and just as a joke, I said, "Well, could you use a thermonuclear device?" And they thought for a while, and they go, "Yeah, that's okay." And so then I brought it to Karl, and Karl thought for a while. And he went, "You know we can't make the bomb look Pooh-ish, so we can't use it." But at least I feel like, "Okay, I got a thermonuclear device approved of for Winnie The Pooh."

0:59:15 S1: There's only one thing left to do.

0:59:18 Speaker 18: You mean?

0:59:20 S1: Yes, Rabbit. We must give Piglet a "staying inside" party. It's like a going away party, only different.

0:59:31 S1: While Pooh was doing well at ABC, DuckTales remained the number one kids show for two years. Luckily for Disney, when the show was finally toppled, it was by Disney's Chip 'n Dale: Rescue Rangers.

0:59:44 S5: We didn't know this at the time, but I think in Eisner's mind, or whoever was in charge of that, felt like, "Let's see how the department goes first, before we start putting our flagship characters on the television." Because when you look at characters like Mickey, and Donald, and Pluto, and Chip and Dale, and whatnot, they were always on the big screen. So to suddenly take them and put them on the small screen, I think it's, you know, "Woah, we've got a big star. Let's not put them on TV, let's put them in movies," kind of thing. So yeah, we needed papal dispensation just to put Donald into DuckTales as a cameo to explain why he wasn't in the series, [chuckle] because he went off to join the Navy and left the nephews with his uncle. I remember we had to get permission to put him in to explain that.

1:00:29 S1: Tad Stones.

1:00:30 S6: I pitched Miami Mice 'cause Miami Vice was on the air. They liked that a lot because of the name. We called it Metro Mice and did a script for it, never went past that, although the villain of the script was a character called Fat Cat. We brought back and the idea of mice detectives came back as Chip and Dale's Rescue Rangers.

1:00:49 S5: We had two characters, two little mice called Kit Colby and Colt Chedderson. They were the original rescue rangers. And every time we would meet with Eisner and Katzenberg, they'd say, "That just is not a home run yet."

1:01:01 S6: And then later on, it was like, "Okay. DuckTales is a huge success. Are there any other Disney classic characters that we should be developing for?" And Mickey was still too precious. Donald made an appearance in DuckTales, he's very hard to animate. Goofy, yes, Goofy has always been the every man, definitely develop a bunch of things for Goofy." And then when they got to Chip 'n Dale, it was Michael Eisner who said, "Put those guys in that show," and Jeffrey said, "Home run." And that was Chip 'n Dale's Rescue Rangers.

1:01:29 S5: And that sort of broke the ice for, "Oh, now we can start to put other characters."

1:01:35 Speaker 19: I guess there's only one thing to say then. Rescue Rangers, away!

1:01:41 S6: I felt like, on Rescue Rangers, we lost a lot from script to screen because, one, we were working way too fast, throwing things together and not being able to follow up on stuff. The schedule was the same. The problem was, on the story side, there was just two of us editing. I literally was working 13, 14-hour days, except for Saturday, it was an eight-hour day, and then Sunday, my day off, was four hours. Those hours were at the studio. It wasn't like working at home.

1:02:10 S6: There was this particular point of contention that when it came time to do the multi-part pilot, we were told that we had slipped the schedule in some way, that we had less time to do the four episodes that were supposed to kick off the show than doing any given four episodes, which made no sense to me. It means we were rushing through the most important thing. So we took our shot at it, and we did what we could. And then they took me off the show and I said, "You know what? That's fine. There's only 15 episodes to go. I got to do the pilot, to set things up, so that's good." But then it turned out they were having people rework the pilot, rewrite it, and they were being given more time to rewrite the pilot than we were given to write it the first time, and that was too much for me, and I was out the door. [chuckle] Disney had certain landmarks in your career, give you a plaque or a ring or a statue. And the two statues I really wanted were Mickey as the Sorcerer's Apprentice and Tinkerbell. And Mickey was at... Hold on, I have it right here... I wanna say 15 years. Yes, I was about to get that. I was two months away from it, and it was like, that was somehow stupidly enough to make me calm down, and went back to work.

1:03:29 S1: Jymn Magon.

1:03:30 S7: It was a very strange time. I was busy trying to develop TaleSpin and we got this call that Buena Vista Television wanted someone to look at the pilot show that he had done. I think it was a four or five parter, just like what we'd done on DuckTales. I think they wanted someone to come in with fresh eyes and punch it up or do whatever, and it was like, "Well, I'm in the middle of doing TaleSpin and whatnot." Okay. So I said to Mark, "Look, I'm not gonna be here to help with TaleSpin. This'll go a lot faster if you help me." So he and I both jumped in and kinda reedited the pilot movie. And then I think we edited a couple of individual episodes that had been in the works during that time. And finally, just threw our hands up and said, "Look, we gotta get back on our project." And I think it went to Ken Koonce and David Wiemers next. So our time on Rescue Rangers was very brief. But, again, I never understood why Tad didn't follow through on that. I think it was some decision high above our heads, and I'm not sure why, so it was just like, shrug, "Okay."

1:04:32 S1: By the year 1990, Disney had invested $150 million in television animation, and by 1995, had plans to invest $400 million more. At this point, the output of television animation was prolific. Katzenberg was quoted as saying, "Each year, we are now producing as much animation as was done in the years 1920-1950 when all the classic Disney cartoons were made." These television animation shows had 22,000 full-painted cels per episode. Other shows at the time, of good quality, were averaging 15,000. Once Chip 'n Dale was another bona fide hit, Disney put plans in motion for television domination. And that plan was simple. It would have a two-hour block of cartoons when kids got home from school. Gummi Bears, DuckTales, Rescue Rangers, and their newest offering, TaleSpin. The shows were expensive, and yet, Disney wasn't even charging the networks for the shows. Instead, the deal was that Disney would retain the six minutes of advertisements to sell themselves. And this worked like Gang Busters. Despite the cost of production and advertising, the Disney Afternoon earned the company $40 million a year for a period of time. But this incredible run almost didn't happen because of one pitch. Jymn Magon.

1:05:46 S7: It didn't last long, but we had a process by which Tad would be developing a show and I'd be producing the show. And then I'd be done, so I'd go into development and he would go into production, and we would sort of flip flop as to what our duties were at TV animation. I was at a point of development, and we were creating this show called B players, and B players, I thought was kind of a clever idea. Came out at the time of Roger Rabbit. So the idea of all these cartoon characters mingling with live action people was popular at the time, so we said, "Well, who's the one character who is a star in motion pictures and then never worked again?" It was Baloo, so he said, "Oh, here's a guy who should be doing more movies, and he's not, he's stuck on the back lot. And along with him, is this kid who turns out to be a nephew, I think, of Mickey Mouse, his name was Ricky Rat, and Ricky had stars in his eyes, he wanted to be as big as his cousin or his uncle, whatever it was. And so the stories were all about Baloo and Ricky trying to convince the powers to be, specifically Michael Eisner, as a character in the show. "But it's too Western. Hey, let us do a space show. Hey, let us... " And then every week, they would be... Try in some way to get into the next gig, in that part of the cast, where all of these other people that weren't working anymore, like Horace Horsecollar, and Clarabelle Cow, and whatnot.

1:07:07 S7: Everytime we pitched it, it just never seemed to stick. And, at one point, Kaztenberg said to me, "If you say B players one more time, I'm gonna throw you out the window."

[chuckle]

1:07:18 S7: Well, it's like, "Well, I guess that project's dead." Everything I'd pitched there had pretty much gone. And so we were thinking, "This is gonna go", but it didn't, we'd stopped dead, and we were stuck, as we had to pitch the next series to all the department heads in Florida, and we had no show. And we had to get into production for the next 65 episodes. And on top of which, it was going to be the linchpin of the Disney Afternoon. And I remember Michael Webster, who was not a fan of mine, poked his head in my room and he said, "You better come up with a new show real quick or it's gonna be Tumbleweed City around here," meaning, we're gonna fire everyone."

[music]

1:08:01 S7: And I thought, "How did this fall on my shoulders, that everyone's future depends on me? Am I that important? And if so, let's see a bigger paycheck, [chuckle] if I'm that important." So it was like, "Oh, scratch head, scratch head, what am I gonna do?" And one of the guys that I had hired at TV animation was Mark Zaslove, and Mark had gone onto fame and fortune by story-editing the Winnie The Pooh Show. And so Mark and I did a lot of talking, a lot of collaboration on ideas and whatnot, and I said "Mark, come in here, I have an idea that I wanna chat with you, I wanna use you as a sounding board. "So what had happened was during DuckTales, one of the early ideas about Launchpad McQuack was that he had a courier service, and that he would fly anything anywhere overnight, or something like that, was his slogan, and so, Scrooge McDuck would use him to send things to crazy places like, 'I need a whale sent to Sea World', [chuckle] in Dubai, or something.

1:09:01 S7: And that never went anywhere, because, eventually, Launchpad became Scrooge's private pilot. So I said, "What if we took Baloo from B players, who's a really good character, I believe in him, and we took this air cargo service of Launchpad McQuack's and kind of glued them together so that Baloo is the pilot and he's got this company, and it's failing because he's a jungle bum bear, and he's got this kid, the typical Disney orphan, like Mowgli, who he's gotta look out for." I said "Now, we're starting to get the dynamic of what drove Jungle Book so well, which was here's a guy who is torn between being a big kid himself, and being a father figure." And I said, "I think there's something there." And so Mark and I kicked it around and we had some drawings made up. And in three days, we had TaleSpin. And we went and pitched it, and it was like home run. [chuckle] So whereas we could pull our hair out over B players for weeks and months, TaleSpin came together really very quickly. And so Mark and I ended up as the producers on that show.

[music]

1:10:12 S1: Mark Zaslove.

1:10:13 S1: He had pitched B players and that got shot down and they didn't have that fourth show to put on, which became The Disney Afternoon. I gather it was a $2 billion pitch, eventually, that's what they made off of it, off of TaleSpin. I remember walking in sort of in the middle of something, on Pooh, or on a break or something, and it was like, "Yeah, try this. What can we do with these characters?" And then, three days later, we had TaleSpin.

1:10:35 S1: Tad Stones.

1:10:36 S6: Gummi Bears, it was just... I mean, it was cool. We were a very small team, we were still trying to figure out things. It was just a lot of camaraderie in the studio, there was only... I wanna say like, two shows going, or on a special like, Fluppy Dogs and gummies and Wuzzles had just one season, and development was going on, so it was a very small group and a lot of energy. It was a lot of fun. And then when we got into the Disney Afternoon, it was even better because we didn't have to have network approval for anything, it was basically, if we could sell Michael and Jeffrey on an idea, we then did it. [chuckle] Buena Vista Distribution had to take it, they didn't have any input, and we got a lot of close scrutiny for the first three scripts from our president, who was Gary Krisel, of TV animation, and then he had stuff to do. So you were on your own. You'd come up with anything and then when first footage came back, there was kind of like a little more scrutiny, 'cause is it going the way we expected? How is it looking? What adjustments do we have to do? You went back to doing whatever you wanted, until it's about time to go on the air.

1:11:41 S6: At which time, it'd either be good times or panic, depending on what they thought of your show. I couldn't have done Darkwing Duck and had the show we ended up with under any other situation, because I was just trying all sorts of crazy, goofy things.

1:11:57 Speaker 20: I've just gone crazy!

1:11:58 Speaker 21: Come on, dad! It's not that complicated. Cabbages from outer space are duplicating everybody in the world, so they can take over the planet. And this cow, who's really an alien, has come here to recapture them. Just deal with it.

1:12:13 S6: It started as Jeffrey saying, "Hey, you did this episode of DuckTales called Double-O-Ducks. I want a show called Double-O-Duck." Again, I thought it's just a spy parody, there's no Disney heart to it, but boss said I gotta do it, and that's all I presented to him, and he said the same thing, he says, "There's no Disney heart to this. Do it over. Thank goodness. [chuckle] He should have said, "Get me somebody else, " but instead, I went into, "Okay, what about the Shadow and Doc Savage had a team of guys who worked in secret?" And ideas like that bubbled around Silver Age of comics and he really turned into more of a superhero, a non-super superhero than a spy, but you could look at that pitch and really do a normal show, [chuckle] I guess. And then, as we got into it, it was like, "No, I'm pitching, what if you take Warner Brother shorts and gave them heart in 22 minutes instead of seven minutes of just gags?" And that's what I was chasing, and some hit it better than others.

1:13:10 S6: When I was doing development, they wanted a new character, so I came up with Double-O-Duck, who, at the time, wasn't much more than... Visually, was Donald Duck, white tuxedo mask and a little hat. But, anyway, when we were developing him, Launchpad was not in it. In my head, was Doc Savage, who had a team of guys who worked with him, who were specialists, and then that shrunk 'cause it was like too many people. And for a while, he had a sidekick who was a little guy who wore derby, so it wasn't until Gosalyn entered the picture that we really had a show based on the idea that what if Batman had a little girl who refused to stay at home? Although I don't think we said it that concisely at the time. And we still felt like we needed a guy for Darkwing to talk to. And Launchpad, because he had been there in the beginning, and we knew him, just seemed like that personality is great. So we brought him on to Darkwing, but really changed his design and subtracted many an IQ point from him. [chuckle] So he's a lot dumber in our show.

1:14:10 Speaker 22: I got a whole scrapbook, a few newspaper clippings. Of course, it's not a very big scrapbook.

1:14:16 Speaker 23: Wouldn't it be easier to fly if we were facing the other way?

1:14:20 S2: Oh, yeah, sorry. [chuckle] I sometimes have trouble with that.

1:14:25 S6: The real pilot for Darkwing Duck is an episode I wrote called, "That Sinking Feeling", with Moliarty as the villain, this guy who is based on the mole man, basically, except he really was a mole, stealing objects from the surface, bringing him down to the center of the Earth where he'd reconstruct them into this giant ray that was going to pull the moon out of orbit to block the sun so it would be darker on the surface, and Moliarty and his minions could all live on the surface. That was the first one written, and the first one boarded that we went into and act three of that, for no reason at all, they're in a baseball stadium, and suddenly, everybody's in... Except for the villain, is in baseball outfits. It was that thing where Bugs Bunny would go off screen, come back with a whole new costume.

1:15:07 S6: We actually didn't get that level of breaking reality in the show a lot, although we went crazy in different ways, but that was the one that was testing out everything, it really set up Gosalyn's relationship with Darkwing Duck and how close they were and her relationship to Honker. So that was our pilot. That's the first thing through. Then what everybody considers the pilot, which is the four part, Darkly Dawns the Duck, that story, again, became a little straighter. But the main thing is, everybody always asked about the origin of Darkwing Duck, and I said, "You know, he's basically a Batman, what am I gonna do? Have him sitting in his mansion and a duck breaks through a window and he goes, 'That's it, an omen, I shall become a duck'"? Wait. There was nothing to tell there. I certainly wasn't gonna kill his parents, and have him have this life of seeking revenge. So, I said, "No. Let's address the heart, let's bring Gosalyn." This is the story of how he adopted Gosalyn, and then that story got a little darker, dealing with what happened to her parents. But that's what made you really care about her, so... And care about her predicament.

1:16:17 S2: Yeah, once again, saved by my buzzsaw cufflinks.

1:16:21 S6: Some of the things with Darkwing were very not formulaic, but I had orders for my editors, and I said, "Every show, he has to say, 'Let's get dangerous'". The secondary thing was, "Suck gas, evildoers" when he used his gas gun, and too many people didn't hear the G, and it just didn't come up as much, that one kinda fell away. Originally, he just had one thing that he said, he said, "I'm the terror that flaps in the night." And I, frankly, forget the second line, it was like the third script in, it was an episode where Launchpad had to play the part of Darkwing, and he could never get the line right. He said, "I am the road salt that rusts the underside of your car." He continually screwed up throughout the episode, and we all thought it was hilarious. And I said, "You know what? Rewrite the scripts we've already got done. Let's give that to Darkwing. That's too good to just leave on this one episode," and that became his ongoing thing.

1:17:15 S2: I am the terror that flaps in the night. I am the jailer who throws away the key. I am feeling really stupid. Boy, I hate it when I'm early. You'd think criminal masterminds would be more punctual.

1:17:35 S1: Dean Stefan, writer.

1:17:37 Speaker 24: So, throughout the entire office, everyone from secretaries to producers and everything, they ran a contest. "Name this character", "Name this star" "Name this guy", and out of all the names, out of all... You know, we each put in dozens. They picked Darkwing Duck, and of course, it was Alan Burnett, who came up with the name and he got the 500 bucks. I would never conceive the name "Darkwing Duck", it just doesn't make sense. But now, how could it be anything else. Actually, Wiemers and Koonce, who were my story editors, who by now, had left Disney to seek their fortune in sitcoms, they sued Disney because they said they had written that Double-O-Duck episode of DuckTales and they thought they should be recompensed or whatever the word is.

1:18:19 S2: Of course, anything to do with Disney, they own anyway, but they did see some kind of settlement, I believe. I don't think it was huge. Then they later came back to Disney, so I guess there's no huge bad blood, or maybe that was part of the deal. Tad really had the whole thing down first, he was really into Twin Peaks at the time. I remember our first meeting, where we all go in to pitch stories and stuff, he had two bagels or donuts in front of everyone, which was like a thing from Twin Peaks. I wasn't a fan, so I didn't really know, but I knew it was sort of an iconic thing and he was very into the whole Twin Peaks thing, and very artsy stuff. And I would later make fun of him, because he would... I guess, it became such a big deal, the show, that he would start giving notes.

1:19:05 S2: Everybody would write out notes and give it to the story editors and stuff, like, he would start cassette-taping his notes like from some undisclosed location, like Howard Hughes, or something, and then the cassette would arrive at the story editors, and then they would play the cassette for you, and I would put this cover under... A lot of that may have been because of his hours, he liked to get there like five in the morning and leave at two or three in the afternoon, 'cause he had kids, and he was an early guy. Most people like me, I'm probably the worst case, but before 10:00 AM, forget it. So I never worked directly under him, where I had to report to him directly as a story editor, but he liked to run a tight ship, I think. But the cassette notes were a bit much.

1:19:49 S2: I am the thing that goes bump in the night. I'm the neuroses that requires a $500 an hour shrink!

1:19:55 S6: I know, when we started Darkwing, they wanted to do a Darkwing Duck movie, and the studio in Paris, that later went on to work on features, they did a bunch of development that was totally ignoring what the show was. I took one stab at it. Again, this is the opposite of being left to do whatever you want. I had to pitch this, and it didn't go, and I just said, "You know, I can't do both. I can't do a movie and get this show up and running. So I'm just gonna do the show". I only found this out recently, they thought that maybe that should be a musical. Jymn Magon was actually gonna have meetings with Barry Manilow, ended up having meeting with another big music guy, not a name you would know as a star, but that was just crazy. And that really showed that, man, they don't understand what Darkwing Duck is, so thank goodness that didn't happen.

1:20:41 S2: I am the terror that flaps in the night. I am the weirdo who sits next to you on the bus. I am the swan prince?

1:20:52 S1: With the Disney Afternoon well on its way, it was time for the first of the fab five to get his own vehicle.

[music]

1:21:02 S5: I think they were going to originally do it as a scout troop to the show, and that's why it's called Goof Troop. I was not there for that development, but when it finally came around who... Goofy's gotta live in Spoonerville, and have a next door neighbor, Pete, that's when we developed the show in earnest. We looked at those old cartoons of Mr. Geef or Goof, or whatever his last thing was supposed to be, and he was always... Lived in the suburbs and would wave bye-bye to his wife, as she would get in a car and drive off, and he was in charge of the kid for the day. Goofy would make mistakes, and the son would just go along with it, and I remember thinking, "Well, we've gotta kinda make it more interesting than that." And you look for the key to the series. And the key to Goof Troop, for me, was, "I don't wanna grow up to be my dad," and I think we felt like, "Yeah, that's what we want. We want this guy who's a single dad trying to raise his kid right, and was next door to this bad influence, Pete and his family." That, to us, was where all the comedy gold was to mine, skateboards and school and working in town, and commuting, and stuff like that.

1:22:11 S5: My forte was always in the comedy [1:22:15] ____ is in Rescue Rangers and TaleSpin kinda thing. Goof Troop was more of a sitcom, [chuckle] more Laverne & Shirley, that kind of thing. Feels like adventure to me because Goofy found a way to mess everything up.

1:22:30 S1: Michael Spooner, artist.

1:22:32 Speaker 25: I was a principal layout designer on the project. We decided to go with the style of 101 Dalmatians, where it was line art, the painter would actually do a watercolor under a cell line, so my line art would be transferred to Xerox to cel, like traditional animation was, and then they would do a watercolor. I had done so much design on the town in which he lived. The studio decided to name it Spooner though.

1:23:00 S1: Jymn Magon, original pitch for syndicators to buy Goof Troop.

1:23:05 S7: So, I wanna introduce you to Goof Troop. And, in it, Goofy is now a man of the 90s. He's a single dad living in suburbia, with his three phones, two TVs, one cat, and a very contrary 11-year old son. Let me take you through a day in the life. An alarm fire goes off. It belongs to good old Goofy, that good-natured klutz whose motto is, "A day without sunshine is like night!" Goofy embraces the dawn like every other obstacle in his life, with boundless and fondling enthusiasm. Now I wanna show you the difference, here is his son Goofy Jr, or Max, as he likes to be called, because he hates being silent with an adjective, like his father. Anyway, as you can tell from Max's enthusiasm, this is a school day. Now, Max loves Bo Jackson, Goofy thinks he's one of the Jackson Five.

[laughter]

1:23:50 S7: Max loves Mario Brothers, Goofy's pretty sure they'd beat him off in the third grade. Max loves his VCR. Goofy can't spell VCR.

[laughter]

1:23:58 S7: Anyway, Goofy heads downstairs to make a nutritious breakfast, or more to the point, a nutritious mess. "Junior, food's on!" Well, Max heads downstairs, shaking his head, wondering, "How does such a radical kid like me end up with such a goof for a father?" And so it would appear that the fruit seldom falls far from the tree. However, this is a curse that Max is determined to break. He desperately wants to swim out of the deep end of his father's gene pool. But you know, through all these crazy escapades, the one thing that Max learns is, "Just when you're convinced your folks are totally useless, they're there for you when you're totally useless." So relax, Max, your father ain't so bad. He's just Goofy. Hell, let's face it, kid, you're a little goofy. Welcome to the Goof Troop, kid.

1:24:47 S7: Yeah, I had done an episode called 'Have Yourself A Goofy Little Christmas', which the idea of the father-son going off and father wants to do one thing that's traditional and the son wants to do something different. That, to me, felt the most like a booby, and kind of set the tone. And, at one point, we were gonna do, I think, a two-parter, that was Goofy and his son on vacation, and somehow, that two-parter turned into the idea to do another... Well, it was called "Movie Tunes" at the time, when we did the DuckTales movie, and that was driven pretty much by Mr. Katzenberg, who told us a really interesting story about how he was losing touch with his daughter, and he decided "We're just gonna take time off and she and I are gonna get the car and just go somewhere." And he says, "I don't know where it happened or how it happened, but we connected on that trip, being trapped in a car together. That became the gist of The Goofy movie, which was father wants it the one way, the son wants it another way, then they finally find each other along the way. That was very rewarding for me, to be able to move from the TV show into a feature film.

1:25:57 S7: Well, I sat by myself for a long time, and then they finally brought in Kevin Lima. Kevin just had a whole plethora of people he trusted, and they were great. The film took off from there, and I think, of all my experiences in animation, that was the most... I want to make sure I say this right, kind of the most disconcerning, because it was so different from writing for episodic television, 'cause in episodic television, the writer becomes king. I'm not sure that that's the correct position for the writer, but just because of the time limitations, you had to have something written and, basically, directed on paper, and then everybody followed it. That's whether you could get it done in time. But when it came to a movie, it was a very flexible thing, and lots of people are involved, and they're changing their sequence, and that sequence is so powerful that it changes that sequence. And suddenly, the writer's, "Huh? I think I recognize one of my lines in here." [chuckle] I think Moss Hart said that. I would come into work and I had written a sequence and then it would be storyboarded, and I look at this and say, "This is genius! I wish I had written this!" [chuckle]

1:27:05 S7: It was terrific. It was such a new way of working for me. So it was disconcerning from the standpoint that, gee, I don't have the kind of control over the project that I used to have on TV, but that's not to say that they weren't doing spectacular work and that I was such a lucky guy to be a part of it. While I feel like I brought the essence of 'I don't wanna grow up to be my dad', I really feel like so much of all the clever little things and the sort of Kelly moments, that was Kevin and his team coming in there with their stuff, and it was just such a delight to work with them, and that's why I think I was upset, because I didn't get to follow through on the movie. I was told in... Go over here and work on DuckTales. We went to lunch as I was leaving the series, we went to Sizzler, of all places, and I just said, "I feel so bad, Kevin, because I wanted to be so helpful and such an important part of this and I feel like so much of what I did didn't end up on the screen." And he said, "But Jymn, we wouldn't be doing what we're doing, if we weren't standing on your shoulders", and it was like, "Oh yeah, I guess so" [chuckle] Made me feel better. That's just a part of the creative process. The first link in the chain sometimes doesn't look like the last link in the chain [chuckle], it's painted a different color along the way.

1:28:33 S1: After the company had dabbled in its most famous IPs, the next show would be a wholly original character, well, sort of. Bonkers was loosely based on the idea of Roger Rabbit, he was a former cartoon star who had fallen on tough times after his show had been cancelled, and became a cop, teamed with a human partner. But its production was mired in reboots and dissatisfaction. Greg Weisman, creator, Gargoyles.

1:29:00 Speaker 26: Well, I mean, Bonkers is complicated. Bonkers was a show that I developed, and got Duane Capizzi, the producer, story editor, Bob Hathcock was chosen to be the director, producer on it. We had real high hopes for it, but, unlike Gargoyles, that was a show where I got it up and running and then I walked away from it, and other people were supposed to be paying attention to it, and the very first two or three episodes that came back didn't look very good, from an animation standpoint, not sure that, initially, the show's art directed very well. We had humans and quote unquote "toons", even though the whole thing was animated.

1:29:37 S2: And I think there should have been a distinct, more kind of realistic art style, not Gargoyles, necessarily, but something, even from a color palette standpoint, that felt a little less cartoony, so that the quote unquote "toons" on the show, like Roger Rabbit, and Jitters Dog really pop, because they were toons in a human world, and I don't think that art direction ever quite came off, but I think we had a really smart show which featured Bonkers partnered with Miranda Wright as a cop. Bonkers drove her crazy but he was her partner, so she'd back him no matter what, and ultimately, they were friends, and we did a lot of smart sort of clever things about what it would be like in a Roger Rabbit vein to live in a world with toons and humans.

1:30:25 S2: And then I think, honestly, that some of the executives, when the first stuff came back and didn't look very good, overreacted. There were certainly problems, maybe even some problems with the writing, but I don't think the problems were quite as problematic as some people thought, and I think, frankly, most of it could have been fixed by fine-tuning the art direction. But I wasn't in charge and I was also in the process of trying to move over to Gargoyles and all this stuff is sort of happening simultaneously. I did get dragged back into it, and at some point, it became clear that... To Gary, that he wanted some real wholesale changes here and neither Duane nor Bob were giving him that, so both of them wound up getting booted off the show, and a guy named Bob Taylor, who had done Goof Troop, was brought in, and Bob made some very drastic and, I think, unnecessary changes to the show.

1:31:19 S2: He did get the art direction better, but Bob didn't think girls were funny, so he ditched Miranda and put in a character who, in essence, was Pete from Goof Troop, and was voiced with Pete's voice by Jim Cummings, and Jim is great. Jim voiced Bonkers. I love Jim. But it was just a dynamic that we had seen before. The story lines were, I thought, way less interesting, and I was really not happy with the change in direction on the show. And then, of course, they wanted this stuff first, so it all got very rushed and they couldn't throw away the dozen or so episodes that featured Miranda, so even though that stuff was made first, it aired last, and they actually created an episode where Piquel joins the FBI and moves away, and Bonkers is partnered with Miranda for the last dozen episodes, which again, were the dozen or so that were made first. But they created a new pilot and basically played it as if the Piquel stuff was first, and the Miranda stuff was second, when it was really the other way around. And so, it became a show of...

1:32:31 S2: It makes me sad, [chuckle] but... 'Cause I think a lot of potential was squandered there, and I think a lot of the changes were unnecessary, and, to be fair, Taylor and I didn't really see eye to eye on anything, and I finally just begged off, and asked Gary to take me off the project, 'cause I didn't think I was helping Bob, 'cause we agreed on almost nothing. And so I was just in his way, and Gary had gone with Taylor, and it was his show now, so I had to let it go, and so Gary said, "Okay." And I sort of stepped away from the project, and had very little involvement with all but the first couple Piquel episodes, which I didn't care for, which doesn't mean they're bad, it just wasn't the show I had developed, and wasn't the show that I wanted to make.

1:33:30 S1: Bonkers hit the air in 1993. It had almost been a decade since the brunch that started it all. In that time, Disney television had gone from nonexistent to the standard that everyone else had to chase. The problem was, by the time Bonkers hit the air, other networks had already caught up and would even take the lead, and now Disney television animation would have to decide if they were going to chase by rebranding, or stick with the girl who brought them to the days.

1:34:00 S2: Here were all these people from different studios, there were people like me that had never worked for any studio, in animation. I was a record producer. So I think it was [1:34:09] ____ and I, we're talking, and we said, "Are we doing this right? Are we doing a Disney TV show correctly?" And then we realize, there's never been a Disney TV show, at least a Saturday morning style TV show. And therefore, because we work for Disney, and we're making these shows, we are Disney [chuckle], what we're doing is Disney. And that, whatever we were doing, whether it was right or wrong, would be a Disney show.

[music]

Subscribe: https://itunes.apple.com/us/podcast/the-look-back-machine/id1257301677?mt=2

[larryburns]

How very, very nice of Jai Reddy at LifeLab Kids presenting me with The first annual Bow Tie award. And on Bow Tie Friday! A great partnership! Onward! (at LifeLab Kids Foundation) https://www.instagram.com/p/CD4y7hJDWX7/?igshid=z45xx2hm7943

[cuatropelos-blog]

Jay Day! Hudson River Valley Ramble!

The Hudson River Valley Ramble and JAY DAY! are coming up soon! Follow NY’s Path Through History to our front door in Rye, NY.

The Jay Heritage Center (JHC) will host JAY DAY! on Sunday, September 24th from 11am – 3pm celebrating American culture and traditions. Highlights include live music, book signings and activities with children’s authors, period dance performance, a farmers market, craft vendors, pony rides, a petting zoo, historical house tours and much more.

We’re over the moon happy to share news that #1 New York Times best-selling children’s book creator Robert Sabuda will be joining us this year at Jay Day. In addition to signing his gorgeous books, Robert will conduct a hands on art workshop for families at the Jay Estate.

Robert is a graduate of Pratt Institute in New York City. He has also been an associate professor at Pratt, where he began a program in Paper Engineering that continues to encourage the next generation of paper artists. He is a two-time recipient of the New York Times Best Illustrated Book Award and has over five million books in print translated into 26 languages worldwide. Robert appears regularly on the TV programs The Today Show and Good Morning America, and travels the world extensively to share his enthusiasm for creativity, children’s book art and literature.

Also bringing her child friendly horticultural lessons from the New York Botanical Garden’s Edible Academy is Rye’s favorite school garden creator, Anne Mottola. She and her sister Maria Mottola, a deft illustrator and graduate of the Art Students League, have launched their first trio of children’s books with NYBG Press, collectively called "Wonders in the Garden." Anne will read from these engaging and whimsically drawn books and teach kids why kohlrabi is one of the coolest vegetables they can grow!

Don’t miss the sights and tastes of autumn in New York’s Hudson Valley! Sample bites from the Meltmobile, Boxcar Cantina, Lobstercraft, Jimmy’s Soft Serve and Reddi Rollin Rooster. Purchase fresh offerings from our farmers market and vendors like The Cheese Guy, Chez Hedwige, La Talaye Catering, Coffee Labs Roasters, Arlotta Foods, John the Baker and Willie Mitchell Designs. Treat the kids to facepainting or dive into garden activities. We are grateful to Reeds, Inc. for providing " the Best Sodas in the World, Naturally" for all our JAY DAY volunteers.

Help us continue the transformation of the historic Jay Estate into a 23 acre educational park full of fun and exciting outdoor and indoor experiences!

Admission is $40 per Family; $10 Individual For more info contact us at (914) 698-9275 or jayheritagecenter@gmail.com

Jay Heritage Center 210 Boston Post Road Rye, NY 10580 (914) 698-9275 Email: jayheritagecenter@gmail.com

NEW WEBSITE! www.jayheritagecenter.org

Follow us on Twitter @jayheritage Follow us on Instagram @jayheritagecenter

Find updates on Facebook www.facebook.com/jayheritagecenter

Posted by Jay Heritage Center on 2017-08-31 09:29:18

Tagged: , Jay , Heritage , Center , Must See Destination , Hudson Valley , destination , tourism , Must See , Top Historic , #1 , Arts & Culture , Rye History , Westchester History

The post Jay Day! Hudson River Valley Ramble! appeared first on Good Info.

[siva3155]

300+ TOP GENERAL AWARENESS Objective Questions and Answers

GENERAL AWARENESS Multiple Choice Questions :-

1. .......... Temple is a Buddhist temple located in Nanjing, Jiangsu province in China. A) Alxxca B) Qixia C) Qixxia D) Alxca 2. ............ set up the Mahatma Gandhi Sewa Ashram to rehabilitate dacoits and was awarded the Rajiv Gandhi National Sadbhavana Award in 2003. A) Saatvik Baba B) Ram Shankar C) K K Jaitely D) S. N. Subba Rao 3. The Saraswati Samman award for 2012 was given to ...... A) Manoj Das B) Sunil Gangopadhyay C) Rohit Gautam D) None of Above 4. .......... was the 10th President of South Korea. A) Lee Myung-bak B) Roh Moo-hyun C) Oh Se-hoon D) Yoon Jeung-hyun 5. Dadasaheb Phalke award for year 2011 was given to ............... A) Dilip Kumar B) Kishore Kumar C) V. K. Murthy D) Soumitra Chatterjee 6. The professional body representing horticulturists in Great Britain and Ireland is the Institute of Horticulture (IOH). A) True B) False 7. The first ULIP was launched in India in ............ A) 1978 by ULIP Trust B) 1969 by SBI C) 1971 by Unit Trust of India D) 1981 by ICICI Bank 8. The Saraswati Samman for outstanding prose or poetry literary works in any Indian language was instituted in 1991 by the ........ A) Radha Swamy Foundation B) Tata Group Foundation C) Govt. Of India D) K. K. Birla Foundation 9. Digital Subscriber Loop is a technology that provides Internet access by transmitting digital data over the wires of a local telephone network. A) True B) False 10. Which of the following is an horticulture crop in India? A) cabbage B) brinjal C) onion D) tomato

GENERAL AWARENESS MCQs 1. .............. was the first state to ban Burqa in public places. a) Belgium b) London c) Illinois d) Kerala 2. Market Economy Status was given to Vietnam by ............ a) US b) USSR c) Japan d) India 3. Special drawing rights (SDR) is also known as A) Paper Platinum B) Paper Gold C) FDR D) CKY 4. A hard drive is non-volatile storage. a) True b) False 5. Libya's Airbus jet crashed when it tried to land in Tripoli, killing 103 people on board, most of them dutch. An 8-year-old Dutch boy was the sole survivor. a) True b) False 6. ............. refers to a low power mode for electronic devices such as computers, televisions, and remote controlled devices. a) Hibernation b) Power down c) Sleep mode d) Non-Awk mode 7. An additional interest rate is given on retail domestic term deposits of .......... A) Women B) SC / ST C) Farmers D) Senior citizens 8. The first SAARC summit was held in ......, Bangladesh on 7–8 December 1985. a) Dhaka b) Assam c) Nepal d) Sri Lanka 9. ............. (born April 27, 1937) was a former Union Minister and Karnataka's Congress President. a) Jail Singh b) Prabhu Vicky c) Keshav Tiwari d) Janardhan Poojari 10. SEPA stand for ................... a) Super Electronic Purchase Agency b) Single Euro Payments Area c) Single Electronic Processing Agency d) Single Exchange Processing Agency e) None of these Answers 1) a, 2) d, 3) b, 4) a, 5) a, 6) c, 7) d, 8) a, 9) d, 10) b 1. In monopolistic conditions, marketing and selling are very important in order to earn higher profits. A) True B) False 2. Market .............. is dividing the market into groups of individual markets with similar wants or needs that a company divides into distinct groups which have distinct needs, wants, behavior. A) Fragmentation B) Sub-Division C) Segmenting D) Sub- Strategy 3. The ..................... Dam is a gravity dam currently under construction on the Brahmaputra River in the Tibet Autonomous Region of China. A) Zangdmu B) Zangmnu C) Zangmu D) Zandmu 4. ............... were the first formal institutions established to provide credit to rural India A) Rural Cooperative Banks B) Rural Banks C) Development Banks D) Regional Banks 5. The Nationalist Socialist Council of Nagaland (NSCN) is a Naga nationalist extremist group operating in Northeast India. The main aim of the organization is to establish a sovereign state ............... A) Nagalin B) Nagal C) Nagalim D) Naga 6. On April 23, ..................... was arrested on corruption charges of Rs 2 crore to recognise a college in Punjab. A) Dr. Amit Kumar B) Dr. Katan Desai C) Dr. S. D. Chaudhary D) Dr. K. T. Talwar 7. The practice of building ties to customers based on a salesperson's attention and commitment to customer needs over time is A) Selling to Relatives B) Tele Selling C) Knowledge Selling D) Relationship Selling 8. ........................................ acquired 26 percent stake of Krishna Godavari basin of deep sea block of Oil and Natural Gas Corporation (ONGC) in November 2012. a) Zenzo Exploration b) Cosmo Company c) Inpex Corp d) Maruzen 9. Odisha slapped a fine of .................. on Tata Steel for illegal mining in the month of November 2012? A) 6000 crore rupees B) 5000 crore rupees C) 4000 crore rupees D) 3000 crore rupees 10. ........................ recently tied up with ICICI Bank for launching its Mobile Payment Services. a) Airtel b) Idea c) Vodafone d) Aircel Answers 1) b, 2) c, 3) c, 4) a, 5) c, 6) b, 7) d, 8) c, 9) a, 10) c 1. Nokia's mobile map services in the Indian market is known as ............ a) NMaps b) NokiaMAPS c) DIRECT d) HERE 2. ............. operates in 20 countries across South Asia, Africa and the Channel Islands. In 2010, it acquired the African operations of the Kuwait based Zain Telecom. A) Vodafone B) Bharti Airtel C) Aircel D) Virgin 3. Penguin Books has tied up ................. for release of its books at the latter's selected cafes across the country. A) Café Coffee Day B) Hot Millions Coffee C) Barista Lavazza D) None of Above 4 ................... become the Chief Minister of a State in India third time consecutively. a) Vishwanath Pratap Singh b) Mamta Banerjee c) J. Jayalalitha d) Nitish Kumar 5 ................. was an Indian independence activist and political leader, remembered especially for leading the opposition to Indira Gandhi in the 1970s. The airport of Patna is also named after him. A) Devraj Pandhi B) Saran Kumar C) Jayaprakash Narayan D) M K Gandhi 6 ................. got Man Booker International Prize in 2011. A) Philip Roth B) Herman Roth C) Lucy Nelson D) Linda Samuel 7. NEFT means A) National Emblem and Fund Token B) Negotiated Easy Fund Transfer C) National Econimic Fund Transfer D) National Electronic Funds Transfer 8. ............. remained under the President's rule under President Pranab Mukherjee from 18 Janruary,2013. A) West Bengal B) Karnataka C) Jharkhand D) Orissa 9. During the April-June 2010 period, Personal computer sales in India touched ________units. a) 2.69 million b) 2.37 million c) 4.76 million d) 3.25 million 10. Which of the following is / was not an Airline in India A) Club One B) Air India Regional C) GoAir D) Club All Answers 1) d, 2) b, 3) c, 4) d, 5) c, 6) a, 7) d, 8) c, 9) b, 10) d 1. On 1 November 1956, the state of Kerala was formed by the States Reorganisation Act merging the Malabar district, The state of kerala was formed on ......... A) 1 November 1956 B) 1 November 1966 C) 1 November 1952 D) 1 November 1949 2. Banda Singh Bahadur (1670–1716), a military commander, was also known by the name of A) Hira Lal B) Hira Gupta C) Laxman Das Bhardwaj D) Laxman Das Gupta 3. Which of the following city is not in Punjab. A) Amritsar B) Ambala C) Jalandhar D) Ludhiana 4. ............. also categorized as a wetland, is the largest fresh water lake in Kerala, A) Jheluman B) Punnamadda C) Munroethuruth D) Sasathamkotta Lake 5. Godavari river originates near Trimbak in Nashik District of Maharashtra state. A) True B) False 6. In the 2009 general elections, the Congress party emerged as the single largest party (in the Lok Sabha) with .......... of its candidates getting elected to the 543-member house. A) 204 B) 205 C) 206 D) 207 7. A Union Territory, unlike the states of India, which have their own elected governments, are ruled directly by the ..................... A) President of India B) Central govenrnment C) State government D) Federal government 8. Shri Dharma Sastha temple is a Hindu temple located in ......., India. A) Tamil Nadu B) Kerala C) Port Blair D) Calcutta 9. The law created by a legislature is called ................. A) Common law B) Statutory law C) Civil law D) Socialist law 10. In 1966, during Indian states reorganization, the Lakshadweep islands were organized into a separate union territory for administrative purposes. A) True B) False Answers 1) a, 2) c, 3) b, 4) d, 5) a, 6) c, 7) , 8) b, 9) b, 10) b 1. Slogan of "Jai Jawan Jai Kisan" ("Hail the soldier, Hail the farmer") was given by ...... A) Lal Bahadur Shastri B) Mahatma Gandhi C) Jawahar Lal Nehru D) Lala Lajpat 2. The India Today (an Indian English language weekly magazine) was established in ........., by VV Purie owner of Thompson Press. A) 1973 B) 1974 C) 1975 D) 1976 3. Indira Gandhi was the .......... Prime Minister of India. A) Sixth B) Fifth C) Fourth D) Third 4. S. H. Kapadia was sworn in as the Chief Justice of India by the President Pratibha Patil on .......... A) 29 Sep 2012 B) 12 May 2010 C) 12 May 2009 D) 29 Sep 2011 5. Newspaper "The Hindu" was founded in Madras on ................. as a weekly by four law students. A) 23 September 1878 B) 22 September 1878 C) 21 September 1878 D) 20 September 1878 6. The 2008 Mumbai attacks ........... was the only attacker who was captured alive. A) Umar Muhammad B) Ajmal Kasab C) David Headley D) Agmal Kasab 7. Manmohan Singh is the only Prime Minister since Jawaharlal Nehru to return to power after completing a full five-year term. A) True B) False 8. ............. is one of the architects of the Rs 1 per kg rice scheme announced by the Kiran Kumar Reddy government recently, in Andhra Pradesh. A) Kumar Manaalam B) NK Tripathi C) Chandrababu Naidu D) Sridhar Babu 9. In contrast with a state's Vidhan Sabha (Legislative Assembly), the Legislative Council is a permanent body and can be dissolved. A) True B) False 10. .........., a senior congress MLA, won as MLA in the last 2009 general elections in a tough contest by defeating his once aide turned rival Putta Madhu of the erstwhile Praja Rajyam Party (PRP) by a margin of over 13000 votes. A) T K Patil B) Sridhar Babu C) Sri Ram Gupta D) T N Sharma Answers 1) a, 2) c, 3) d, 4) b, 5) d, 6) b, 7) a, 8) d, 9) b, 10) b 1. In August 1982, Bhindranwale and the .......... launched the Dharam Yudh Morcha. A) Congress B) Akali Dal C) BJP D) SJP 2. Panipat Refinery is an oil refinery located in ...... village, Panipat, India. A) Bhadai B) Majra C) Jind D) Baholi 3. President's Rule was imposed in Jharkhand (a state in eastern India) on ......, 2013. A) January 18 B) January 19 C) January 20 D) January 21 4. Jamshedpur is the first planned industrial city of India, founded by the late ........... It is also known as Steel City or TataNagar. A) Jamshedji Wasabi B) Jamshedji Jhunjhunwala C) Jamshedji Nusserwanj D) Jamshedji Narrerwanj 5. ................ was conferred with Arjuna Award, India's second highest sporting award in the year 2012 by President of India Pranab Mukherjee. A) Deepika Kumari B) Deepika Popat C) Deepika Sahai D) Deepika Ghai 6. Indian Oil Corporation Limited, or IndianOil, is an Indian ........ oil and gas corporation with its headquarters in New Delhi. A) center-owned B) state-owned C) Public-owned D) Private-owned 7. Haryana state in India was formed on .............. A) 1 November 1965 B) 1 November 1966 C) 1 November 1967 D) 1 November 1968 8. PSU companies are divided into three categories: Maharatna, Navratna, Miniratna CPSEs. A) True B) False 9. .............. first novel A Case of Exploding Mangoes was shortlisted for the 2008's Guardian First Book Award and also longlisted for the 2008 Man Booker Prize. A) Salman Rushdie B) Mohammed Khalid C) Meera Nair D) Mohammed Hanifs 10. Pranab Kumar Mukherjee is the ......... President of India, in office since July 2012. A) 11th B) 12th C) 13th D) 14th Answers 1) b, 2) d, 3) a, 4) c, 5) a, 6) b, 7) b, 8) a, 9) d, 10) c 1. Former name of Grand Trunk Road was ....... A) UttaraPatha B) Shah Rah-e-Azam C) Sadak-e-Azam D) Badshahi Sadak E) All of Above 2. National Bank for Agriculture and Rural Development (NABARD) is an apex development bank in India having headquarters based in ........... A) New Delhi B) Mumbai C) Hyderabad D) Bangalore 3. The RBI is not a member bank of the Asian Clearing Union. A) True B) False 4. Notable coal-mining areas in India include: A) Andhra Pradesh B) Maharashtra C) Haryana D) Jharkhand 5. ................ is the 22nd and current Governor of Reserve Bank of India, serving under Prime Minister Manmohan Singh. A) S. Jagannathan B) M. M iyer C) Duvvuri Subbarao D) None of Above 6. ............was the second Chief Minister of West Bengal in India A) Bidhan Chandra Roy B) Buddhadeb Bhattacharya C) Jyoti Basu D) Mamata Banerjee 7. The concept of IITs was first introduced in a report in the year 1945 by ............., then member of Education on Vicerory's Executive Council. A) Sh. R. M. Sharma B) Sh. K. K. Boparai C) Sh. P. C. Nanda D) Sh. N. M. Sircar 8. Nabha was founded by the great-grandson of Phul in ....... A) 1753 B) 1754 C) 1755 D) 1756 9. ........... is an Indian self-taught artist, famous for building the Rock Garden of Chandigarh. A) Nek Chand Sharma B) Nek Chand Saini C) Nek Chand Sundar D) Nek Chand Kundra 10. Bombay Stock Exchange, commonly referred to as the BSE is a stock exchange located on Dalal Street, Mumbai, India. It is the ....... largest stock exchange in the world by market capitalization. A) 10th B) 11th C) 12th D) 13th Answers 1) e, 2) b, 3) b, 4) a,b,d, 5) c, 6) a, 7) d, 8) c, 9) b, 10) a 1. Which of the follwoing is the Sarala Puraskar awardee: A) Hrusikesh Dhall B) Hrusikesh Gupta C) Hrusikesh Panda D) Hrusikesh Sharma 2. The longest women's tennis match (by time) took place at a tournament in ........... in 1984, when Vicki Nelson took 6 hours, 31 minutes to defeat Jean Hepner 6–4, 7–6(11–9). A) Seattle B) Richmond C) Las Vegas D) San Diego 3. ......... is a third generation "Fire-and-forget" anti-tank missile developed in India by the Defence Research and Development Organisation. A) Nagesh B) Nag C) Aag D) Nishana 4. .......... is a Hindu folk–deity of Rajasthan in India. He was a Rajput ruler of the fourteenth century, said to have miraculous powers who devoted his life for the upliftment of poor people of the society, and revivalism of Hinduism (which were marginalized by invaders). A) Ramdeo Pir B) Krishna C) iyer Guru D) Raja Jadeja 5. .......... is a city and a municipality located in Jaisalmer district in the India. It served as the test site for India's first underground nuclear weapon detonation. A) Ramsinghpur B) Mundawar C) Hamirgarh D) Pokhran 6. Indira Awaas Yojana (1985) was related to A) Housing for the rural poor B) Rice for the rural poor C) Wheat for the rural poor D) Farming for the rural poor 7. The postal service is under the ................, which is part of the Ministry of Communications and Information Technology of the Government of India. A) Department of Communication B) Department of Affairs C) Department of Posts D) Department of Service 8. ........................... would give an opportunity to the income tax/ wealth tax defaulters to disclose their undisclosed income at the prevailing tax rates. This scheme was launched on June 18, 1997 A) VDIS B) VVS C) VRS D) VRIS 9. The ................. of India is an authority, established by the Constitution of India under Chapter V, who audits all receipts and expenditure of the Government of India and the state governments. A) CAG B) CCG C) CDG D) CDD 10. Who among the following was chief 'justice of India and was also the sixth Vice-President of India. A) Raja Ram Kumar B) V. V Giri C) Mohammad Hidayatullah D) C.K Pradhan Answers 1) c, 2) b, 3) b, 4) a, 5) d, 6) a, 7) c, 8) a, 9) a, 10) c 1. The current CAG of India is .........., who was appointed on 21 May 2013. He is the 12th CAG of India. A) Shashi Kumari Bhallla B) Jyoti Mishra C) Shashi Kant Sharma D) R. N. Sharma 2. A ......... is a written document prepared by police organizations in Bangladesh, India, Pakistan and Japan when they receive information about the commission of a cognizable offence. A) CGR B) FIR C) TTR D) MKR 3. The ............... is an agency within the United States Department of State charged with investigating and creating programs to prevent human trafficking both within the United States and internationally. A) Office to JMP and Combat Trafficking in Persons (J/TIP) B) Office to Joepardy and Combat Trafficking in Persons (J/TIP) C) Office to Joint and Combat Trafficking in Persons (J/TIP) D) Office to Monitor and Combat Trafficking in Persons (J/TIP) 4. Sunil Gavaskar held the record of 34 Test centuries for almost two decades before it was broken by .......... in December 2005. A) Rahul Dravid B) M. S Dhoni C) Sachin Tendulkar D) Yuvraj Singh 5. The highest post office in the world is in .......... Himachal Pradesh, India at a height of 15,500 ft. A) Rohtang Pas B) Manali C) Shimla D) Hikkim 6. ............... The largest cricket stadium in India and second-largest in the world by seating capacity, it is widely acknowledged to be the most iconic cricket stadium in India. ...... has been called "cricket's answer to the Colosseum". A) Eden Gardens B) Feroz Shah Kotla C) Wankhede Stadium D) JSCA International Cricket Stadium 7. .............. is a cricket franchise representing Kolkata in the Indian Premier League and owned by Bollywood actor Shah Rukh Khan's company Red Chillies Entertainment in partnership. A) Chennai Super Kings B) Kolkata Knight Riders C) Mumbai Indians D) Rajasthan Royals 8. ............ was the Parliamentary Affairs Minister of India in the government of Prime Minister Manmohan Singh until October 27, 2005, when he was appointed as the Chief Minister of Jammu and Kashmir. A) Farooq Abdullah B) Sheikh Abdullah C) Ghulam Nabi Azad D) None of Above 9. The ........................ Party is a state political party in Jammu and Kashmir (founded in 1999) by the former Union Home Minister, Mufti Mohammed Sayeed. A) National Conference B) Indian National Congress C) Jammu and Kashmir National Conference D) Jammu and Kashmir People's Democratic 10. The Vice President of India is the second-highest office in India, after the President. A) True B) False Answers 1) c, 2) b, 3) d, 4) c, 5) d, 6) a, 7) b, 8) c, 9) d, 10) a GENERAL AWARENESS Questions and Answers pdf Download Read the full article

[brookstonalmanac]

Events 9.2

44 BC – Pharaoh Cleopatra VII of Egypt declares her son co-ruler as Ptolemy XV Caesarion. 44 BC – Cicero launches the first of his Philippicae (oratorical attacks) on Mark Antony. He will make 14 of them over the following months. 31 BC – Final War of the Roman Republic: Battle of Actium: Off the western coast of Greece, forces of Octavian defeat troops under Mark Antony and Cleopatra. 1192 – The Treaty of Jaffa is signed between Richard I of England and Saladin, leading to the end of the Third Crusade. 1649 – The Italian city of Castro is completely destroyed by the forces of Pope Innocent X, ending the Wars of Castro. 1666 – The Great Fire of London breaks out and burns for three days, destroying 10,000 buildings including St Paul's Cathedral. 1752 – Great Britain adopts the Gregorian calendar, nearly two centuries later than most of Western Europe. 1789 – The United States Department of the Treasury is founded. 1792 – During what became known as the September Massacres of the French Revolution, rampaging mobs slaughter three Roman Catholic Church bishops, more than two hundred priests, and prisoners believed to be royalist sympathizers. 1806 – A massive landslide destroys the town of Goldau, Switzerland, killing 457. 1807 – The Royal Navy bombards Copenhagen with fire bombs and phosphorus rockets to prevent Denmark from surrendering its fleet to Napoleon. 1811 – The University of Oslo is founded as The Royal Fredericks University, after Frederick VI of Denmark and Norway. 1833 – Oberlin College is founded by John Jay Shipherd and Philo P. Stewart in Oberlin, Ohio. 1856 – The Tianjing incident takes place in Nanjing, China. 1862 – American Civil War: United States President Abraham Lincoln reluctantly restores Union General George B. McClellan to full command after General John Pope's disastrous defeat at the Second Battle of Bull Run. 1864 – American Civil War: Union forces enter Atlanta, a day after the Confederate defenders flee the city, ending the Atlanta Campaign. 1867 – Mutsuhito, Emperor Meiji of Japan, marries Masako Ichijō. The Empress consort is thereafter known as Lady Haruko. 1870 – Franco-Prussian War: Battle of Sedan: Prussian forces take Napoleon III of France and 100,000 of his soldiers prisoner. 1885 – Rock Springs massacre: In Rock Springs, Wyoming, 150 white miners, who are struggling to unionize so they could strike for better wages and work conditions, attack their Chinese fellow workers killing 28, wounding 15 and forcing several hundred more out of town. 1898 – Battle of Omdurman: British and Egyptian troops defeat Sudanese tribesmen and establish British dominance in Sudan.- 1901 – Vice President of the United States Theodore Roosevelt utters the famous phrase, "Speak softly and carry a big stick" at the Minnesota State Fair. 1912 – Arthur Rose Eldred is awarded the first Eagle Scout award of the Boy Scouts of America. 1939 – World War II: Following the start of the invasion of Poland the previous day, the Free City of Danzig (now Gdańsk, Poland) is annexed by Nazi Germany. 1945 – World War II: Combat ends in the Pacific Theater: The Japanese Instrument of Surrender is signed by Japanese Foreign Minister Mamoru Shigemitsu and accepted aboard the battleship USS Missouri in Tokyo Bay. 1945 – Vietnam declares its independence, forming the Democratic Republic of Vietnam. 1946 – The Interim Government of India is formed, headed by Jawaharlal Nehru as Vice President with the powers of a Prime Minister. 1957 – President Ngô Đình Diệm of South Vietnam becomes the first foreign head of state to make a state visit to Australia. 1958 – United States Air Force C-130A-II is shot down by fighters over Yerevan in Armenia when it strays into Soviet airspace while conducting a sigint mission. All crew members are killed. 1960 – The first election of the Parliament of the Central Tibetan Administration, in history of Tibet. The Tibetan community observes this date as Democracy Day. 1963 – CBS Evening News becomes U.S. network television's first half-hour weeknight news broadcast, when the show is lengthened from 15 to 30 minutes. 1968 – Operation OAU begins during the Nigerian Civil War 1970 – NASA announces the cancellation of two Apollo missions to the Moon, Apollo 15 (the designation is re-used by a later mission), and Apollo 19. 1984 – Seven people are shot and killed and 12 wounded in the Milperra massacre, a shootout between the rival motorcycle gangs Bandidos and Comancheros in Sydney, Australia. 1985 – Sri Lankan Civil War: Sri Lankan Tamil politicians and former MPs M. Alalasundaram and V. Dharmalingam are shot dead. 1987 – In Moscow, the trial begins for 19-year-old pilot Mathias Rust, who flew his Cessna airplane into Red Square in May. 1990 – Transnistria is unilaterally proclaimed a Soviet republic; the Soviet president Mikhail Gorbachev declares the decision null and void. 1992 – The 7.7 Mw Nicaragua earthquake affected the west coast of Nicaragua. With a Ms–Mw disparity of half a unit, this tsunami earthquake triggered a tsunami that caused most of the damage and casualties, with at least 116 killed. Average runup heights were 3–8 meters (9.8–26.2 ft). 1998 – Swissair Flight 111 crashes near Peggy's Cove, Nova Scotia; all 229 people onboard are killed. 1998 – The UN's International Criminal Tribunal for Rwanda finds Jean-Paul Akayesu, the former mayor of a small town in Rwanda, guilty of nine counts of genocide. 2009 – The Andhra Pradesh, India helicopter crash occurred near Rudrakonda Hill, 40 nautical miles (74 km) from Kurnool, Andhra Pradesh, India. Fatalities included Y. S. Rajasekhara Reddy, the Chief Minister of the Indian state of Andhra Pradesh. 2013 – The Eastern span replacement of the San Francisco–Oakland Bay Bridge opens at 10:15 PM at a cost of $6.4 billion, after the 1989 Loma Prieta earthquake damaged the old span.

[jayparknetwork]

17.02.17

jparkitrighthere: 어덕ㅈㄴ깨알같네~ #aomg #followthemovement

jparkitrighthere: #mood

jparkitrighthere: 펌킨형 표정여기서 몬가맘에안듬..ㅋㅋㅋㅋ #aomg#followthemovement

jparkitrighthere: 2016년에 내가 냈던/ 참여했던 곡/ 뮤비들 (Scene stealers Ep 6곡이고 Everthing you Wanted LP 19곡 참고하세요) ㅋㅋㅋㅋ 그리고 후보까지오른상들 🙏🙏 2017년도 레츠기릿 Song / MVs I put out/ was apart of in the year of 2016 plus awards i was nominated for For my MUSIC 🙏 2017 lets get it [ALBUM] - Single [사실은 (The Truth Is)] - EP [Scene Stealers] with Ugly Duck - Single [CITY BREEZE] with 기린 - Single [Me like yuh] - Single [곁에 있어주길 (STAY WITH ME)] - LP [EVERYTHING YOU WANTED] - [FEATURING] - Reddy – 생각해 (Feat. 박재범) - Mr. Capone-E – A Boss Do (Feat. Twista, Jay Park & Mr. Criminal) - Raz Simone – Afraid Of Me (Feat. Jay Park) - Sik-K – 알콜은 싫지만 주면 마실 수밖에 (Feat. 박재범) - BewhY – Day Day (Feat. 박재범) (Prod. by GRAY) - Josh Pan & Dumfoundead – Banned From The Motherland (Feat. Simon D, Jay Park and G2) - Fat Joe & Remy Ma – All the Way Up (Asian Remix) (Feat. Jay Park, AK-69, DaboyWay, SonaOne, Joe Flizzow) - ELO – Tattoo (Feat. 박재범) - Avater Darko – Never Comin’ Down (Feat. Jay Park) - DJ Wegun – Our Lives (Feat. 박재범 & Ugly Duck) - 권진아 – 다 알면서… (Feat. 박재범) - Far East Movement – SXWME (Feat. 박재범) (Prod. By MNEK) - 효린 – One Step (Feat. 박재범) - Hoody – Your Eyes (Feat. 박재범) - [SOUND CLOUD] - ALL I WANNA DO PROD. BY CHA CHA MALONE - 니가 알던 내가 아냐 (Jay Park Ver.) - I Don’t Disappoint PROD. BY CHA CHA MALONE - 전화기를 꺼놔 REMIX (TURN OFF YOUR PHONE REMIX) (Feat. ELO) PROD. BY CHA CHA MALONE - HULK HOGAN (ROUGH) (PROD. BY WOOGIE) - [VIDEO] - Reddy – 생각해 (Feat. 박재범) - 박재범 – 사실은 (The Truth Is) - Sik-K – 알콜은 싫지만 주면 마실 수밖에 (Feat. 박재범) - 로꼬, GRAY – GOOD (Feat. ELO) - 박재범 – All I Wanna Do (UNOFFICIAL MV) / AOMG US TOUR bts - 박재범, Ugly Duck – 우리가 빠지면 PARTY가 아니지 - 박재범, Ugly Duck – ㅎㄷㄷ (PUT’EM UP) - 박재범, 기린 – CITY BREEZE - 박재범 – Aquaman - 박재범 – Aquaman (Dance Version) - 박재범 – Replay - 박재범 – DRIVE (Feat. GRAY) - Far East Movement – SXWME (Feat. 박재범) (Prod. By MNEK) - 박재범 – Me Like Yuh - 박재범 X 1MILLION – All I Wanna Do (K) (Feat. Hoody, Loco) - 박재범 X Workmanship – 곁에 있어주길 (Stay With Me) (Live Ver.) - 박재범 X Prepix X Purplow – Me Like Yuh (K) (Feat. Hoody) - pH-1 -

17.02.18

@JAYBUMAOM: Thank You Lord 

[vsplusonline]

15 Years of Tamannaah Bhatia: How she found fame in the showbiz | The Times of India

New Post has been published on https://apzweb.com/15-years-of-tamannaah-bhatia-how-she-found-fame-in-the-showbiz-the-times-of-india/

15 Years of Tamannaah Bhatia: How she found fame in the showbiz | The Times of India

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15 Years of Tamannaah Bhatia: How she found fame in the showbiz | The Times of India

TIMESOFINDIA.COM | Last updated on – Mar 4, 2020, 21:00 ISTShare fbsharetwsharepinshare

01/6Tamannaah Bhatia’s successful journey in cinema so far

Tamannaah Bhatia tasted her first major commercial success with Sekhar Kammula’s Happy Days in 2007. Since then, the actor slowly and steadily started climbing the ladder of success, proving her naysayers wrong at every step with her box-office records. Tamannaah has completed 15 years of her cinema career today. The long journey has in the showbiz has been a sensational hit for the actress. On this occasion today, let’s take a look at Tamannaah Bhatia’s successful journey in cinema so far.

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02/6With her toned physique and natural beauty

Fondly referred to as Milky Beauty, the powerhouse performer enjoys a huge fan following thanks to her phenomenal versatility as an actress, good looks and graceful personality. The actress, who is an avid user of social media, has been taking to Twitter and Instagram regularly and sharing glimpses of her personal and professional life with her fans and followers. The actress is known for her toned physique, her natural beauty and of course, her killer dance moves.

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03/6​Tamannaah made her successful silver screen debut

Tamannaah made her big-screen debut with the Hindi film Chand Sa Roshan Chehra which hit the screens on March 4, 2005, and became a commercial success. Her first Telugu film was Sri, starring Manchu Manoj in the lead. In the subsequent years, she went on to star in popular films in various languages such as Happy Days, Kalloori, Konchem Ishtam Konchem Kashtam, Ayan, Thillalangadi, Siruthai, 100% Love, Endukante… Premanta!, Baahubali, to name a few. And, needless to say, this worked wonders for her career.

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04/6​Impactful roles in her career

In 2015, she was seen in the epic action-drama Baahubali: The Beginning. The film’s success opened up new avenues for her. The following year, she acted in the hits Oopiri and Dharma Durai and continued her dream run. F2 – Fun and Frustration was one of the Tamannaah’s blockbuster hits. Directed by Anil Ravipudi, the film also starred Venkatesh, Varun Tej and Mehreen Pirzada. Next significant role of Tamannaah was Lakshmi from Sye Raa Narasimha Reddy directed by Surender Reddy. The film is inspired by the life of Indian independence activist Uyyalawada Narasimha Reddy from the Rayalaseema region of Andhra Pradesh.

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05/6​Tamannaah becomes a synonym for success

Tamannaah is arguably one of the most celebrated actresses in Telugu cinema today. She has starred in some well-received Telugu films and has helped her establish herself as a synonym for success. So far, Tamannaah has appeared in special songs Labbar Bomma from Alludu Seenu, Bachelor Babu from Speedunnodu, Mandara Thailam from Jaguar, Swing Zara from Jai Lava Kusa, Jokae Nannu from KGF Chapter 1, and most recently Daang Daang from Sarileru Neekevvaru.

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06/6​Feathers in her cap

In her career, Tamannaah worked in more than 55 films and has won B Nagi Reddy Memorial Awards, two South Scope Awards, two Santosham Film Awards and three TSR – TV9 National Film Awards. She has been voted by the audiences as the Hyderabad Times Most Desirable Woman Of 2012. She has been placed at the second spot in the Most Desirable List in 2013. She was last seen in the special song Daang Daang from Sarileru Neekevvaru alongside Mahesh Babu. At present, she has Bole Chudiyan, Seetimaarr and That Is Mahalakshmi in her kitty.

We congratulate Tamannaah Bhatia on her extraordinary achievement and hope that she has a good year ahead.

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[celebsbooks]

Kiara Advani is a popular Indian actress and model. She is stylish, beautiful actress who is also a fitness freak and loves to visit gym frequently. Kiara Advani is a commercially-successful actress from Bollywood. She played the character of cricketer MS Dhoni’s wife, Sakshi Dhoni, in M.S. Dhoni: The Untold Story opposite Sushant Singh Rajput.

(adsbygoogle = window.adsbygoogle || []).push({}); She did her schooling from the Cathedral and John Connon School, Mumbai and pursued her graduation from Jai Hind College for Mass Communication, Mumbai. Her Zodiac/Sun Sign is Leo. She was born as Alia Advani but changed her name to Kiara before her debut in Bollywood. She wanted to be an actor. She was good at studies and scored 92% in Class 12. After graduation, she did short term acting courses with Anupan Kher and Roshan Taneja.

Also Read - Rakul Preet Singh Biography, Family, Affairs, Age, Height, Weight & Many More.

EDUCATIONAL QUALIFICATION

School                            Cathedral and John Connon School, Mumbai

College                            Jai Hind College for Mass Communication, Mumbai

Educational Qualification       Graduate

(adsbygoogle = window.adsbygoogle || []).push({}); CAREER

She got her first acting break in Kabir Sadanand’s comedy-drama film “Fugly ” that came in the year 1914. Though the film got mixed reviews, she got positive reviews for her performance and was praised as a versatile actor.

FUGLY 2014

She appeared in the biopic of the Indian Cricketer Mahendra Singh Dhoni, “M.S. Dhoni: The Untold Story” as her wife, Sakshi Dhoni. The film was a huge commercial success.

MS DHONI...THE UNTOLD STORY

She played the lead role in Abbas Mustan’s film “Machine.” Kiara made her debut in Telugu Political Drama “Bharat Ane Nenu.” She cast opposite Ram Charan in Vinaya Vidheya Rama (a Telugu Film).

BHARAT Ane NENU

Kiara was also praised for her role in the Netflix anthology “Lust Stories.”

LUST STORIES

She is also known for her performances in the films- Kalank, Kabir, and Good News, etc.

(adsbygoogle = window.adsbygoogle || []).push({}); KIARA ADVANI FAMILY

Kiara Advani Father Name is Jagdeep Advani, a businessman and her mother name is Genevieve Jaffrey, a teacher. She has a younger Brother name Mishaal, who studies in USA. Her Great Grandfather is Late Saeed Jaffery, an actor and Late Ashok Kumar, an Actor. Kiara Advani Did Schooling From Cathedral and John Cannon School, Mumbai and Completed Graduation From Jai Hind College for Mass Communication, Mumbai. 

Also Read - Hina Khan Biography, Family, Affairs, Age, Height, Weight & Many More.

PHYSICAL APPEARANCE

Kiara Advani Age 26 Year, Bobby 5 ft 5 in (165 cm) and Weight 55Kg (112bs). Her Body Measurements are 34-24-35 Inches. Her Bra Size 34B, Waist Size 24 Inches and Hip Size 35Inches. She Wear 8 (US) Shoe Size and 7 (US) Dress Size 6(US). She has Black Color Hair and also Dark Black Color Eye. 

KIARA ADVANI FAVORITE THINGS 

  Favorite Actors – Salman Khan, Aamir Khan, Leonardo DiCaprio

Favorite Color – White

Favorite Food – Dosa, coffee

Favorite Destination – New York

Favourite Attire – Athleisure

KIARA ADVANI LATEST NEWS 

She appeared as Vasumathi in the film and also achieved the award “Zee Cine Awards Telugu” under the category “Best Find Of The Year” in 2019. In 2018, she appeared as a shy bride in the Netflix anthology movie “Lust Stories”.

In 2019, she also acted opposite actor Ram Charan as Seetha in the movie “Vinaya Vidheya Rama”. She gave a special appearance in the Kalank movie song “First Class” as herself. She has also featured in a music video “Urvashi” alongside Shahid Kapoor.

Her upcoming Bollywood movies are “Good News” and “Kabir Singh”. She plays the lead female role of “Preeti” opposite Shahid Kapoor in “Kabir Singh”, which is a Hindi-language remake of the Tollywood movie “Arjun Reddy”.

KABIR SINGH 21ST JUNE 2019

KIARA ADVANI ADVERTISEMENT

The House of Rose, a talcum powder brand

KIARA ADVANI TRIVIA

Actress Juhi Chawla is her aunt.

Her grandfather (maternal) was late actor Saeed Jaffrey.

Her great grandfather (maternal) was late actor Ashok Kumar.

KIARA ADVANI CONTROVERSIES

Bharat Ane Nenu Payment Controversy

KIARA ADVANI QUOTES

“I have no mindblock when it comes to genres. In fact, I want to experiment. I keep hoping that something different comes my way. My first three films were so different from each other. I am opting for scripts where my role will challenge me as an actor. But yes, if I am offered a romantic comedy, I will say yes for sure. I really want to be part of a romcom.”

On women sexuality on screen

“I feel now it is becoming normal and natural and people are talking about it, eventually they will think, why make a big deal of it? It will take time. Not every person is going to be ok. For instance, kissing scenes were considered a huge deal but not today.”

SOME LESSER KNOWN FACTS ABOUT KIARA ADVANI

She Loves to watch American TV Serials. 

Her mother, Genevieve is of half-British and half-Indian ancestry

Kiara’s Aunt Shaheen Jaffrey, a model who dated Salman Khan in their 20’s

She was very good at her studies and also scored 92% in class 12th

She is a fitness freak and goes to the gym regularly

She is a huge fan of Hollywood actor Leonardo DiCaprio

She has achieved “Asia Vision Award” for Emerging Star of the Year (2019)

KIARA ADVANI IMAGE GALLERY

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[todaybharatnews]

via Today Bharat nbsp; TNM spoke to ecosystem players, who say there should be better access to funding for startups in their initial stages of growth, assistance in various forms, and more. When KT Rama Rao, Sircillarsquo;s MLA and the son of Telangana Rashtra Samithi K Chandrasekhar Rao became the Minister for Information Technology in 2014, he placed a lot of focus on making Telangana mdash; and more specifically Hyderabad mdash; a startup hub. Various initiatives such as an IT and startup policy, the establishment of startup engine T-Hub, Research and Innovation Circle of Hyderabad (RICH) and a state innovation cell helped put Telangana on the global startup map. Through these initiatives, the startup activity in Hyderabad and Telangana accelerated, and even saw some global flagship events such as the Global Entrepreneurship Summit come to the country for the first time. But now with TRS back in power, the question of how the government will work to further improve the startup ecosystem of the state remains. TNM spoke to a few entrepreneurs in the ecosystem players to understand what they hope will happen during the TRS governmentrsquo;s second term. Funding Mukesh Chandra, the co-founder and CEO of Paymatrix, says that there is a need for more awareness to be created on the availability of funding opportunities for startups in their initial stages of growth. ldquo;While significant funds are earmarked for investments into startups, many of the startups don't know the right channel to reach them. In many cases, the application process is cumbersome and exclusive, so the majority in need are left out. Better presentation of information on the Fund of Funds and the available fundraising opportunities can help,rdquo; he says. Meghana Kambham, founder of health-tech startup CarenGrow shares a similar view. She says that while the government has helped startups in a big way in terms of exposure and mentoring opportunities, funding matters at the end of the day. ldquo;The government should invest directly in startups, rather than just promote them. Promotion helps on a very superficial level. Similar to the Andhra Pradesh innovation society, which invests directly in startups, the Telangana government also needs to invest in startups directly, which will help a great deal in their growth,rdquo; she says. Market access Ashok Reddy, CEO of coupons and deals marketplace GrabOn, differs. He says that the government has given startups access and liberty with respect to funds, which has helped the state grow into one of the countryrsquo;s biggest technology startup hubs. ldquo;In the coming years, we hope there are more startup policies that are helpful in bringing out new ideas that will lead towards more innovation and economic growth,rdquo; he says. Ramesh Loganathan, Professor of Practice (co-innovations) at IIIT-Hyderabad, who was also the interim Chief Innovation Officer for Telangana before RedBus founder Phanindra Sama took over, also echoes that the government needs to come up with specific initiatives to aggressively enable promising startups in order to ensure market success and rapid growth, as it been sufficiently targeted so far. It will also ensure that many Hyderabad-based startups march towards becoming unicorns. According to CarenGrowrsquo;s Meghana, one of the ways to ensure startups have market access is for the government is award more tenders to startups. ldquo;The government promised this, but it hasnrsquo;t been done enough. It still comes down to competing with large companies such as Microsoft which makes them a better option, given there is a criterion of a certain amount of revenue. The government needs to relax this and award more projects to startups and help them work with schools and companies. This gives startups a better reach to the market,rdquo; she says. Umesh Thota, founder of cybersecurity startup Authbase holds the same opinion, and says that there should be a startup inclusion program. ldquo;Most startups would love to have government as a customer, except for the fact that the process of putting up a tender is very new and time consuming for them. It would be helpful if there is a startup inclusion program or an open house of startups, where they can showcase solutions for issues that the government or the industry is facing. The rest of the process also should either be fast-tracked or well assisted,rdquo; he says. Availability of talent Jay Krishnan, partner at Sri Capital and former T-Hub CEO, says there is a need to ensure that there is sufficient supply of quality talent, especially in the tech space. From a startup point of view, Mukesh from Paymatrix says that most startups still spend a significant amount of time in hiring talent. ldquo;The key challenges in the process are finding the right channel to hire and cost associated with hiring. We do believe that there is great talent in Tier-1 and Tier-2 towns too (apart from the cream talent in the esteemed colleges) who donrsquo;t have access to the opportunities floated by the startups,rdquo; he says. Mukesh believes the reasons for this can be the lack of a proper open channel or a knowledge gap. ldquo;Any initiative by the government to democratise the talent repository and sharing easy access to the same to all employers including startups can open up opportunities. There have been initiatives in this regard, but none have manifested into the right model and nor have they got the scale,rdquo; he adds. Assistance Mukesh also wants the government to assist startups in the safeguard of intellectual property and patent registration. He says that central government initiative Startup India registration at the Department of Industrial Policy and Promotion (DIPP) offers a waiver on the application of patents, but the application fee is a very minor amount in comparison to the other charges involved in the patent application process including patent search, consultant fees and re-application fees. ldquo;Even a discussion with patent consultants reveals that benefit to startup in real terms is limited. Streamlining the process, especially with a zone-wise listing of patent consultants and a comprehensive benefits to the latter linked to the completion of patent application and grant, will help,rdquo; he adds. Speaking of assistance, Jay also brings up the issue of angel tax, that is currently a mammoth issue plaguing the startup industry. ldquo;One of the key ingredients in any startup ecosystem is to ensure policies that assist the growth of innovation. Currently, if the draconian angel tax mdash; albeit a central government issue mdash; is not addressed, it will ensure that startups flee India. Given Indiarsquo;s income tax lens through which startups are penalised and the need to improve tech talent, Irsquo;d urge the TRS government to assist startups in these two issues,rdquo; he says. IIIT-H Professor Ramesh also says that while there have been several domain-specific initiatives and national visibility for the startup ecosystem in the state, the next five years will be about creating some deep and visible results from this foundation. ldquo;I feel two areas hold the opportunity to help us become a hub of deep IP and research-based innovation. First is to have some serious initiatives and incentives to seed startups coming out of research, directly from researchers or through support from researchers. With over 25 central government-funded research labs and over five academic institutions of national prominence, we will have amazing startups if there can be some mechanism created to connect this with entrepreneurs and incentivize creating market connected products,rdquo; Ramesh says. nbsp;

[hotspotsmagazine]

What’s Hot South Florida: June 28 –July 4

Thursday, June 28

The Hospitality Council of the Miami-Dade Gay & Lesbian Chamber of Commerce (only active members of the Chamber can participate) presents a Hospitality Council Meeting from 10-11am at 1 Homes South Beach (2341 Collins Ave, South Beach). This group was established to guide the Chamber in all matters relating to: Advocacy and industry trends &analysis, LGBT tourism trends and tracking, Pink Flamingo Hospitality Certification Program, and Marketing Greater Miami and Beaches as a premier LGBT travel destination. Admission is free.

My TropiXXX is featuring their monthly Ruby Member Sale, where Rub y Members get 40% OFF in the store only. The sale starts today, and goes to Sunday, July 1.

Friday, June 29

The Museum of Contemporary Art North Miami (MOCA… 770 NE 125th Street, Miami) is celebrating Caribbean Heritage Month with a unique performance by Julio Montalvo as part of its monthly “Jazz at MOCA” series. Montalvo is a leading trombonist from the island of Cuba. Inspired by his island roots, Montalvo blends Afro-Cuban rhythms with elements of modern jazz to create his original style – New Latin Jazz. This event is free and open to the public. For more information, visit mocanomi.org, call 305-893-6211.

GLAAD, the world’s largest LGBTQ media advocacy organization, today announced a first-of-its-kind, three-hour broadcast called “Pride Live,” which will stream live from 3-6 p.m., on GLAAD’s YouTube channel. The brainchild of award-winning comedian and GLAAD board member Hannah Hart, the interactive variety program will harness the power of celebrities and social media to raise $50,000 for LGBTQ youth. Musicians, performers and beloved online personalities will converge at YouTube Space LA for the event, hosted by Hart, YouTube Space, BuzzFeed and INTO. One-hundred percent of proceeds raised will go toward GLAAD’s youth initiatives, including their Amp Your Voice campaign which empowers LGBTQ young people to speak up, speak out, register to vote, and then take the issues that matter most to them to the polls on November 6th. The multi-stage event will include performances by country artist Brandon Stansell, The Voice finalist Stephanie Rice, soul singer Shea Diamond, YouTube sensation Sam Tsui, and more.

The Pub presents their monthly event (last Friday of every month) starring Electra at 9:30pm, and if you know Electra, you never know who she will show up as.

Starting today and going through Sunday, July 8, The Club Fort Lauderdale is offering a 50% off special on a six month membership. The price drops from $40 to only $20.

Saturday, June 30

Noche Latina Saturdays inside the Ivy Dance Room and Patio at the Manor Complex is featuring a Luau Party in honor of summer. The night will star Champagne Bordeaux and Sasha Lords as well as resident DJ Larry Larr and sexy Latin Go-Go Papi’s in Hawaiian skirts. Saturdays at the Manor are from 11pm to 4 am and there is no cover before midnight (FL Res) and only $7 after midnight for members and $10 for non-members (18-20 $12 all night long).  

Sunday, July 1

Flip Flops Dockside Eatery presents their monthly T Dance (first Sunday of the month) from 4 to 7p.m., hosted by Amanda Austin with DJ Robert Lavalle spinning and this month’s special guests: Marci Mogul, Melissa Hilton and Miss Florida F.I. at Large 2018, Noel Leon.  

Tuesday, July 3

Johnsons, who is normally closed on Tuesdays, will be open tonight to celebrate Independence eve, and there present to the community…No Cover! Johnson’s will be closed on Wed July 4, so if you want to have fireworks for Independence Day with their dancers, you need to stop by tonight!

Georgie’s Alibi/Monkey Bar presents “IndepenDANCE Party” from 9pm to 2am starring DJ AJ Reddy with no cover.

Quick wit takes on a whole new meaning when a group of fiercely funny, emerging comics take the mic for a series of 15-minute stand-up sets, filmed live in front of an intimate crowd at Atlanta’s historic Terminal West. The eclectic mix of comedians bring fresh takes on life’s issues, big and small, in a series of solo sets. The Comedy Lineup: Part 1 includes Michelle Buteau, Phil Wang, Taylor Tomlinson, Ian Karmel, Jak Knight, Sam Jay, Sabrina Jalees, and Tim Dillon. The Comedy Lineup: Part 1 will premiere today on Netflix.

Wednesday, July 4

The Pub presents Brut Bears Independence with DJ Barry Huffine and sexy bear dancers.

This is Hot

It’s the last week of Pride month, so I figured I would focus on one more fabulous Pride product…Barefoot Wine, an ally to the LGBTQ community since 1988, is launching its “Barefoot Bestie Labels,” allowing wine lovers everywhere to customize Barefoot wine labels for them and their best friends to enjoy. Now through September 8, anyone looking to celebrate their best friend or “sole mate” can choose from three varietals – Pinot Noir, Rosé, or Pinot Grigio – to customize their own special rainbow labels through the “Barefoot Bestie Labels” website found at barefootbestielabel.com. Barefoot fans can craft their own special message or select one of six fun compliments for their bestie such as, “You always leave a little sparkle wherever you go” and “You’re made of 100% best friend material.”

Barefoot, America’s most awarded wine and bubbly brand, has been a long-standing ally to the LGBTQ community, making its first donation to an LGBTQ charity in 1988 and proudly sponsoring more than 200 LGBTQ events around the globe each year. For every “Barefoot Bestie Label” ordered, Barefoot will donate $1 to Outfest, the leading organization in promoting equality by creating, sharing, and protecting LGBTQ stories on the screen. Proceeds will be used by Outfest to continue building community by connecting diverse populations to discover, discuss, and celebrate stories of LGBTQ lives.

“At Barefoot, we believe that wine is better when we’re together, and we continuously celebrate inclusivity, authenticity and community,” said Anna Bell, Senior Director of Marketing at Barefoot. “We’re thrilled to partner with Outfest to support its many initiatives that celebrate and share Barefoot’s similar values.”

from Hotspots! Magazine https://hotspotsmagazine.com/2018/06/27/whats-hot-south-florida-june-28-july-4/

[tamilrockersnews-blog]

Vijay Sethupathi Age Wife Son Family Movies Twitter

Vijay Sethupathi is now a well-known name in Tamil cinema. He is an actor, Producer, Writer and lyricist, a multi task man. He was an accountant and started acting in films as a background actor. He did this work for as long as 5 years in many films. But now it was his turn. It was his year - 2010. He did the lead role in the film Thenmerku Paruvakaatru under Seenu Ramasamy's direction. But year 2012 made him so popular as all his 3 film releases were hit success.He is also known by "Makkal Selvan" in Tamil Nadu.

Vijay Sethupathi

Vijay Sethupathi Wiki Biography

Vijay Sethupathi Age

Vijay Sethupathi was born on 16th January 1978 in Madhurai and grown up in Rajapalayam, Tamil Nadu. His age as on 11th Nov 2017 is 39 years and 10 months and presently living in Chennai, Tamil Nadu.

Vijay Sethupathi Height

Vijay Sethupathi height in centimetres is 175cm i.e 1.75m. As in inches, it is about to 5 feet 9 inches i.e above average height on men.

Vijay Sethupathi Family

Vijay Sethupathi family comprises of her Father - Kalimuthu Sethupathi and Mother - Saraswathi. Vijay Sethupathi also has three siblings. One brother is elder and other is younger. He also has one younger sister. He is married to a beautiful Wife Jessie in the year 2003 and is the father of 2 gorgeous Children's.

Vijay Sethupathi Son

Vijay Sethupathi has one son and daughter. The name of the boy is Surya and name of a daughter is Shreeja.

Vijay Sethupathi Wife Name

Vijay Sethupathi Wife Name is Jessie Sethupathi. She is from Kollam, Kerala. They fall in love and got married in the year 2003.

Vijay Sethupathi Caste

Vijay Sethupathi is from Maravar Community.

Vijay Sethupathi First Movie

He began his career in 2004 by playing minor uncredited roles in films, before his first lead role in Thenmerku Paruvakaatru (2010). But his first film with the minor role was Pudhupettai.

Vijay Sethupathi Movies

Year Film Role Director Notes 2004 M. Kumaran S/O Mahalakshmi Boxing spectator Mohan Raja Uncredited role 2006 Dishyum/Pudhupettai Anbu's henchman Sasi/Selvaraghavan 2007 Lee Arathiyar University footballer Prabhu Solomon 2008 Anjathe Mysskin 2009 Vennila Kabadi Kuzhu Paper Mill kabaddi player Suseenthiran 2010 Naan Mahaan Alla Ganesh Suseenthiran Bale Pandiya Pandiya's brother Siddharth Chandrasekhar Thenmerku Paruvakaatru Murugan Seenu Ramasamy 2011 Varnam Muthu Raju S. M. 2012 Sundarapandian Jegan S. R. Prabhakaran Tamil Nadu State Film Award for Best Villain Pizza Michael Karthikeyan Karthik Subbaraj SIIMA Award for Best Actor BIG FM Most Entertaining Actor of the Year Nominated—Filmfare Award for Best Actor – Tamil Naduvula Konjam Pakkatha Kaanom Prem Kumar Balaji Tharaneetharan Edison Award for Best Male Rising Star Norway Tamil Film Festival Award for Best Actor Vijay Special Jury Award Nominated—Vijay Awards for Best Actor 2013 Soodhu Kavvum Das Nalan Kumarasamy Vijay Special Jury Award Nominated—Vijay Awards for Best Actor Idharkuthane Aasaipattai Balakumara Kumaravel ("Sumar Moonji" Kumar) Gokul Vijay Special Jury Award 2014 Rummy Joseph K. Balakrishnan Pannaiyarum Padminiyum Murugesan S. U. Arunkumar Nominated - SIIMA Award for Best Actor Jigarthanda Himself Karthik Subbaraj Special appearance Kathai Thiraikathai Vasanam Iyakkam Himself R. Parthiepan Special appearance Thirudan Police Vinayagam Caarthick Raju Special appearance in "Ennodu Vaa" Song Vanmham Radhakrishnan Jai Krishna 2015 Bench Talkies - The First Bench Mahesh Karthik Subbaraj Featured in shortfilm "Neer" directed by Karthik Subbaraj Purampokku Engira Podhuvudamai Yamalingam S. P. Jananathan Orange Mittai Kailasam Biju Viswanath Nominated - SIIMA Award for Best Actor Naanum Rowdy Dhaan Pandian ('Pondy' Pandi) Vignesh Shivan 2016 Sethupathi Ka. Sethupathi S. U. Arunkumar Kadhalum Kadandhu Pogum Kathir Nalan Kumarasamy Iraivi Michael Karthik Subbaraj Dharma Durai Dharmadurai Seenu Ramasamy Aandavan Kattalai Ganthi Arumugam M. Manikandan Rekka Shiva Rathina Shiva 2017 Kavan Tilak K. V. Anand Vikram Vedha Vedha Pushkar-Gayathri Puriyatha Puthir Kathir Ranjit Jeyakodi Katha Nayagan Dr. Phoenix Raj Tha. Muruganantham Special appearance Karuppan Karuppan R. Panneerselvam 2018 Super Deluxe Films that have not yet been released Rukku @super deluxe Thiagarajan Kumararaja Filming 96 Films that have not yet been released Karthik Shanmugham Prem Kumar Filming Oru Nalla Naal Paathu Solren Films that have not yet been released Yaman Arumugakumar Filming Seethakathi Films that have not yet been released Ayya Balaji Tharaneetharan Filming Idam Porul Yaeval Films that have not yet been released Pandi Seenu Ramasamy Completed Sye Raa Narasimha Reddy Films that have not yet been released Kondarami reddy /Ashok kumar Surender Reddy Debut Telugu Film Junga Films that have not yet been released Junga Gokul Filming Source:- Wikipedia

Vijay Sethupathi Twitter

#Junga shooting at @domainechambord pic.twitter.com/woI6PK2kO8 — Vijay Sethupathi (@i_vijaysethu) October 4, 2017 Twitter - @i_vijaysethu

Vijay Sethupathi Facebook

You can follow Vijay on his official fan following page which has about 3 million plus followers on the page. For updates related to his films you can visit Facebook - @VijaySethupathi.Official

Vijay Sethupathi Instagram

From sep1 #puriyathaputhir A post shared by Vijay Sethupathi (@vijaysethupathi) on Aug 30, 2017 at 8:07am PDT Instagram - @vijaysethupathi

Vijay Sethupathi Family Photo

Vijay Sethupathi Family Photo

Vijay Sethupathi Wife Photo Jessie

Vijay Sethupathi Wife Photo Jessie

Vijay Sethupathi Marriage Photos

Vijay Sethupathi Marriage Photos

Vijay Sethupathi Unknown Facts

He is the owner of film production house "Vijay Sethupati Productions". He has done 3 songs as a singer and lyricist. He has produced 2 films and written a film name Orange Mittai. He has also won numerous Best Actor awards for his films. He has also done one television show name, Penn. In the year 2010, he did a lot of short films too named Thuru, Neer and much more. He was a below average student in school. He never had any interest in sports activities. He doesn't smoke but drinks. To earn his pocket money he has done many jobs like a salesman at a retail store, cashier at food point zone and also a phone booth operator. After his college, his first job was an accountant assistant at cement business company. He moved to Dubai, UAE for 2 years as they paid him 4 times more than here in India. In 2004 he joined Chennai-based theatre group Koothu-P-Pattarai as an accountant and there observed actors performing. I am sure we would have shared an ample information about Vijay. If still we are left with some information, please let us know about it. As we keep on updating the posts for our records. Read the full article

[drtangellasivaprasadreddy]

TRRPS(5/5/2017 historic day on 2 counts) salutes Indian Scientists & ISRO-Sriharikota for launching "South Asian Satellite (Indigenous-milestone) as promised by India & Hon'ble PM For Sabka Vikas/ All Round Development in Core Areas in all SAARC Countries with celebrations all over except Pakistan".. TRRPS expresses it's gratitude to "Judicial Activism" in India as atlast 4 Rapists in "Nirbhaya" ( hope her soul rests in peace)case awarded death sentence by Delhi HC is upheld by SC. "Our Women Folk should be given their pride of freedom to enjoy their lives"- Jai Hind-Dr T .Siva Prasad Reddy-President & Sr Jrnlst,9440465339.