#yogi should resign

[eclecticthingcrusade]

Hillsong founder Brian Houston resigns as head of megachurch

It is better to admit your addictions than to hide them At least that way you can get treated professionally for them . Talking about things you can't see like holy spirit means YOU'RE MENTAL and can't be trusted 5o take judicious decisions.

Alcohol is a sexual stimulant as is talking more than you should. It makes you (us) feel awesome but it doesn't make others feel that way about us necessarily. And this is what all wanna be fodmen and yogis need to know - your beliefs serve you your illusions - your illusions are dangerous when they make you believe you're a god. That's when hasha busha it all falls down

[kisansatta]

योगी आदित्यनाथ इस्तीफा दो

नई दिल्ली। हाथरस गैंगरेप की घटना को लेकर भाजपा पर निशाना साधते हुए, कांग्रेस ने भाजपा की महिला नेताओं की “चुप्पी” पर सवाल उठाया। केंद्र और राज्य सरकार पर विपक्षी पार्टी का हमला यूपी के हाथरस की 19 वर्षीय दलित महिला की मंगलवार सुबह दिल्ली के सफदरजंग अस्पताल में चार पुरुषों द्वारा कथित रूप से बलात्कार के बाद मौत के बाद हुआ।

यह भी पढ़ें:- हाथरस कांड :पीएम ने पत्र लिख सीएम से की कठोर कार्यवाही की मांग

महिला कांग्रेस प्रमुख सुष्मिता देव ने इस घटना पर मुख्यमंत्री आदित्यनाथ को पत्र लिखा और उनके इस्तीफे की मांग करते हुए कहा कि, उन्हें राज्य में “बिगड़ती” कानून व्यवस्था की नैतिक जिम्मेदारी लेनी चाहिए और राष्ट्रपति शासन लगाया जाना चाहिए। एक संवाददाता सम्मेलन में, कांग्रेस के प्रवक्ता सुप्रिया श्रीनेट ने आरोप लगाया कि आठ दिनों तक इस मामले में गैंगरेप के किसी भी आरोप को दबाया नहीं गया था और यूपी के मुख्यमंत्री के सूचना सलाहकार और आगरा पुलिस इस घटना को “फर्जी खबर” कह रही थी।

उन्होंने उच्च न्यायालय के एक न्यायाधीश की अध्यक्षता वाली समिति द्वारा घटना की जांच की मांग की।

श्रीनेट ने केंद्रीय महिला और बाल विकास मंत्री स्मृति ईरानी पर भी हमला किया, जो राज्य की एक सांसद हैं, उन्होंने उनसे इस मुद्दे पर “स्पष्ट मौन” तोड़ने के लिए कहा। यूपी कांग्रेस के प्रमुख अजय कुमार लल्लू ने भी आदित्यनाथ के सीएम पद से इस्तीफे की मांग की और पूछा कि, यूपी की राज्यपाल आनंदीबेन पटेल इस घटना पर चुप क्यों थीं?

पीड़िता को न्याय दिलाने की मांग को लेकर दिल्ली के विजय चौक पर कांग्रेस ने भी विरोध प्रदर्शन किया। पार्टी ने कहा कि, उसके नेताओं पी एल पुनिया, उदित राज, अमृता धवन सहित अन्य को विरोध करने के लिए मंदिर मार्ग पुलिस स्टेशन में हिरासत में लिया गया। पार्टी के नेताओं और कार्यकर्ताओं ने सफदरजंग अस्पताल और यूपी में कई स्थानों पर कैंडल मार्च निकाला था।

कांग्रेस नेता राहुल गांधी ने इस घटना पर सरकार पर हमला करते हुए कहा कि, यूपी के “वर्ग-विशिष्ट जंगल राज” ने एक और युवती की जान ले ली है। हिंदी में ट्वीट कर लिखा –

UP के ‘वर्ग-विशेष’ जंगलराज ने एक और युवती को मार डाला।

सरकार ने कहा कि ये फ़ेक न्यूज़ है और पीड़िता को मरने के लिए छोड़ दिया।

ना तो ये दुर्भाग्यपूर्ण घटना फ़ेक थी, ना ही पीड़िता की मौत और ना ही सरकार की बेरहमी। pic.twitter.com/0Ew5BoIVQK

— Rahul Gandhi (@RahulGandhi) September 29, 2020

महिला एवं बाल विकास मंत्री स्मृति ईरानी पर हमला करते हुए श्रीनेट कहा, “मैं उनसे अपेक्षा करती हूं कि वह अपनी चुप्पी तोड़ें और इन मुद्दों पर बोलें। आप सिर्फ यूपी की सांसद नहीं हैं, आप बाल और विकास मंत्री भी हैं। यह आपकी नैतिक जिम्मेदारी है। खुले में बाहर आना और इन मुद्दों के बारे में बात करना, क्योंकि मौन आपको इन जैसे अपराधों से रूबरू कराता है। “

https://kisansatta.com/yogi-adityanath-resigns/ #HindiNews, #HindiSamachaar, #JungleRaj, #NarendraModi, #PriyankaGandhiVadra, #RahulGandhi, #Shrinate, #YogiShouldResign hindi news, hindi samachaar, jungle raj, narendra modi, priyanka gandhi vadra, rahul gandhi, shrinate, yogi should resign In Focus, State, Top, Trending #InFocus, #State, #Top, #Trending KISAN SATTA - सच का संकल्प

[ashestoashesjc]

A Necromancer & His Zombie Boyfriend On A Couple's Retreat

Short Story 1/2/(3)/4/5/6/7/8/9/10

"RrRRrrrr... grrr? <Hey, uh, babe... seen my arm anywhere?>" rang Sett's voice throughout their cigar box of a house as he rummaged through closets, opened cabinets, overturned couch cushions. 

Shutting and latching the front door behind him, Ulrick began flipping through the stack of envelopes clutched in his right hand. "Huh? Oh…”

“Okay, so… don’t get mad,” Ulrick began, as meekly and guilt-tinged as one can make a shout. “But... there was this huge, I mean HUGE silverfish…” 

“GRrrr! Rrrrr. <Dude! Not cool,>” could be heard as Sett stomped his way to the foyer. 

“I know! I’m sorry! I’m weak!” moaned Ulrick. 

Sett sighed as he entered the cove and laid his single remaining hand on Ulrick’s left shoulder, the other sleeve draped flaccidly at his side. “Grrrr. <Well, yeah.>” he said. Ulrick snickered. 

“You know, having your boyfriend kill a bug for you is exceedingly normal,” Ulrick said, separating the bills from the letters that weren’t bills. There were very few that weren’t bills. “Almost conventional.” 

“Rrr. <True,>” Sett replied. “Rggrrrr. <Probably while the arm’s still attached, though.>”

“A mere quibble.” 

“Rrrrgrrr? <So, where is it now?>” Sett asked. 

“Ugh. Still getting cozy with the silverfish, I’d imagine,” Ulrick admitted, guilt creeping back into his voice. He covered his eyes with his free hand and shuddered. “In… the shower.”

Sett sucked air through his teeth in a compassion-filled cringe. 

“Yeah,” Ulrick sighed, resigned to his trauma. 

“Grrrr. <Don’t worry,>” said Sett. “Rraarr. <I got it.>” 

Ulrick slid his hand down his face with a grateful groan. “God, I love you.” Sett pulled him forward by his collar and pecked his forehead.

Continuing to sort through the mail, Ulrick came to a red envelope and, seeing it addressed to Sett, handed it over. “Looks important.”

Confusion clouded Sett’s eyes for the first few, slow moments spent undoing the envelope’s seal flap, until suddenly, a surge of realization like lightning drove him to violently tear the crimson paper away.

As he scanned the contents of the letter contained within, words failing to do his emotional state justice, Sett began to fist pump wildly, God help anyone in the flight path of his singular elbow. Ulrick looked on in entranced bewilderment.

“Was there itching powder in that envelope?” asked Ulrick.

Sett shoved the creased letter in Ulrick’s face, his manic energy not yet dissipated. Ulrick took it and held it out at arm’s length until his eyes brought the words into focus. 

“A couple’s retreat?” he wondered aloud, lowering the paper enough to peer over the top at Sett.  

“Grrgrrrr. <An all-expenses paid couple’s retreat.> Rrrrrr. <At a swanky resort.> GrrrrRr. <Complete with water skis.>”

“This is from a contest?” he asked, rotating and inspecting the sheet. “When did we enter a contest?”

“Rrggrrrr? <You know those entry slips we’re getting in the post all the time?>”

“The ones I’m always throwing away? I’m familiar.” 

“RrrRrrrrr ggrrrr. <Well, your aim could use some work, because some of them wind up in the mailbox,>” said Sett, with a shrug.

The sound that next filled the room, colored with exasperated mirth, was one Sett was used to Ulrick making, though one that never stopped bringing a flush of heat to the place where his heart used to be. 

He grabbed Ulrick by the hips and the two began to sway back and forth. “Rrrrrr. <Just imagine it,>” he purred dreamily. “GrrrRRrrrr rrrrRrrr grrr...arrrr? <Massages, rock-climbing, a luau. And… did I mention waterskiing?>”

Swaying still, Ulrick looked up with his head cocked. "I've... never heard you mention waterskiing before."

"GrrRrrrrrr. <I enjoy a lot of things I don't talk about.> Rgrrrrgrrr. <Like country music, or bad chick lit,>" Sett said before twirling and dipping Ulrick in a blur. "Rraarrrr. <I'm a multi-layered zombie.>"

Breaking clumsily away from the songless dance and squeezing the bridge of his nose, Ulrick set down the remainder of the mail on the side table by the entrance and looked his boyfriend over. “It’s totally free?”

“Grrarrr. <It’s totally free,>” confirmed Sett. 

Ulrick raised an eyebrow. “No catch?” 

“Rrr… <Well…>”

-

“And streeetch! That’s right! Streeetch!” 

At the front of Meadow Grove Resort’s famed yoga studio balanced - one foot planted on the ground, the other hooked deftly behind her neck - Chrysanthemum Smith, a remarkably limber 60-year-old instructor, urging her out-of-shape contest winning students to achieve the same feats of flexibility.   

All around Ulrick and Sett, a pretzel factory’s soon-to-be-discarded collection of heinous, gnarly undesirables had been given life in the form of sweaty middle Americans. 

That pretzels went through a less agonizing process being baked at 500 degrees was a fact Ulrick was both confident in and envious of. His legs were angled in a way he was sure he’d feel for weeks to come. 

Sett, on the other hand, had apparently been a contortionist in a past life, the way he bent himself into poses, well, a pretzel would gawk at, holding each position stoically before moving gracefully on to the next. It also helped that he couldn’t feel what would leave most tendons shredded rags.

Ulrick gave up the pursuit of dislocating his pelvis and instead went to poke Sett in the cheek. Through his mask, Sett made a chomping motion at the finger, though remained otherwise totally still. "Okay, but this kind of bites, right?" Ulrick signed. 

"A little. And not in the fun way," Sett signed back.

On a pair of blue, rubber mats to their left were two women - one in a biker's jacket and tattered, patched jeans, short red hair tied into a haphazard ponytail; the other a dark woman donning a shaved head, flower-patterned maxi dress, and combat boots - the former of whom suddenly grabbed Ulrick's attention with a nod. 

"You're telling me," she signed. 

And in an instant, they were no longer alone in the hazy, secluded sphere that made their reality.

So taken aback was he that he blurted aloud, "You sign?" 

The yoga instructor shushed him from her place at the head of the wide room, leading him to duck down sheepishly. With the forced inclusion of an overly casual air, he said more than asked, "You sign."

"Oh, yeah," the woman chuckled gruffly. "Mom's Deaf." 

Taking a sudden interest in the conversation, Sett's head swiveled to the leather jacket-clad woman. "Shit yeah!" he signed with fervor, eliciting a harsh snort from the woman. The instructor's head whipped around to glare her way, but went ignored. 

Sett's hands jumbled for a moment before he continued. "I mean, I'm sure that must have been very difficult for your family and--"

She gave a dismissive wave of the hand. "Nah, don't worry about it. She's capital 'D' Deaf. A congenital thing. Whole family's been signing forever."

Her wife - Jen, they later learned - chimed in with, "Di does it at home, too. She's taught me half the lyrics to Boys for Pele." 

"Wow!" Ulrick said with teeth-clenching enthusiasm. "That's so great! Isn't that so great, Sett?"

The mask did nothing to conceal Sett's raised, beaming features. "That's so great!" he signed. 

"I'm sorry!" bellowed the lithe yogi, shattering all delusions of serenity. "Am I boring you?" 

Several overlapping voices came to the general consensus of "Christ, yes."

One of the husbands, portly and somewhat resembling the famously affable capybara, asked, somewhat less affably, why they were being stretched into taffy when they should be outside taking one-on-one lessons with the beach volleyball instructor. He was joined by a few surly “yeah!”s. 

They were met with an unimpressed crossing of the arms. Though it should be noted Smith’s foot was still being held comfortably behind her head. 

"I would suggest, in the future, that you more closely scrutinize contest entries," Yogi Smith advised in as calm a manner as it seemed she could now manage, though with an unmistakable edge to her voice. "In order to partake in our facility’s more... physically involved activities, you’ll first need to align and cleanse your mental, emotional, and spiritual energies.”

This provoked a studio-wide groan, with the exclusion of Jen, who seemed just eager enough to cancel out the cloud of grim impatience encircling her. 

“Unless, of course,” Smith said, shifting poses to something favoring the letter ‘G’, “you’d prefer to construct your own schedules. In which case, a full price admission to Meadow Grove Resort remains available.”

She sleekly extended her right leg, pointing its foot pin-straight toward the sliding studio doors. “Don’t, as the masters of yore were wont to say, let the door hit ya.” 

When no one moved and the room went quiet enough to hear an acupuncture needle drop, Smith resumed a standing position and bowed three times to each division of the studio. “Namaste. Namaste. Namaste.” 

Chrysanthemum Smith had in no way undersold how ‘aligned and cleansed’ couple’s therapy and its airings of dirty laundry and subsequent ferocious dissolutions of decades of marriage; couple’s pottery, the same thing but with clay vases; and couple’s finger-painting, a bonding exercise in shared humiliation, would make their minds, emotions, and souls through sheer gut-rending hilarity.

Ulrick almost didn’t want to stop watching people who, hours ago, seemed all confidence and bravado, now being brought to tears by an instructor’s criticism of their macaroni art lacking ‘depth.’ 

But their confinement was over and they were free to roam the grounds as they saw fit and Sett, without even feigning to look for a map of the resort, made a beeline for the largest body of water (and the largest gathering of humans) he could sniff. Ulrick was still surprised at times by how agile Sett could be on his feet when on the hunt for blood - or recreational watersports - and struggled to keep up. 

Their long-awaited waterskiing adventure began almost as soon as they arrived at the lakeside, the instructor needing a volunteer at that instant to man the skis while he lectured another guest on the controls of the boat. At nearly a head taller than anyone else present, Sett didn’t need much more than a raised hand to stand out. 

Things were going great; Sett mounted on skis as long as he was tall, the boat revving greedily for take off. At Sett’s thumbs up, the runabout hammered off in a thunderous roar. And then, all at once, things were going wrong. 

The envisioned majesty of skimming the motionless calm of the crystal river was halted abruptly with a leaden Sett stumbling mid-lake in his skis, trying and failing to correct himself, going feet-over-head, and sinking like an anchor to the agitated silt of the riverbed below. 

Ulrick, though he jumped with concern at the first hint of a misstep, expected a brief swim back, perhaps slowed a bit - but not much - by Sett's stoney limbs. He’d been the star diver of his local swimming hole as a teen and still maintained some of the underwater dexterity, though nowadays tended to lurk the floors of bodies of water like a carnivorous bottom-feeder; eating habits included.

But then a few minutes passed, and nothing. A lifeguard and two of the more experienced swimmers among the guests plunged into the river and searched for fifteen minutes, cracking the surface now and again for a gulp of air, all to no avail. The water was too cloudy with sediment to see past a certain depth, and the orange-purples of dusk were beginning to settle in. They'd need to return in the morning with a diving team.

It'd now been forty-five minutes, and three of the resort’s other guests were consoling Ulrick, one herself on the verge of waterworks. They'd just witnessed a man - someone's significant other - torn tragically from life's teat, and in front of the man he loved, no less. 

Ulrick, for his part, was positively miffed. 

"When I get my hands on him..." Ulrick started, before one of the grievers tossed him a teary-eyed questioning look. "Er, that is... would that I could only put my hands on him... again..." he corrected. 

Just as Ulrick had begun mentally reviewing the basics of the Arts of Throttling, a movement, barely noticeable, shook the surface of the lake. Then bubbles, then the full break of the water as a head rose into view. Then the screams of onlookers as, in the fading light, a ghastly lake monster began its murderous approach. Then screams of a different kind as people began to make the connection proper. Then there was weeping, fainting, more than one declaration of faith renewed. It was a miracle!

Later, after insistences for medical attention were politely but firmly refused and the religious stragglers begging for just a smell of Sett’s waterlogged clothes were shooed away, Ulrick asked why he waited so long to resurface, to which Sett said, "GrrrrRRrr. <Well, at first I was just sort of embarrassed.> RrrrrrrGrrrRrrr? <Then I thought, "How often do these people see miracles?>"

"Oh, sure," groaned Ulrick. "A man comes out of a lake after half an hour and it's a miracle. A man comes out of a grave after a few months and it's "Grab the torches and pitchforks, everyone!""

"Rrrr. <Babe.>"

Ulrick gave a pouty grumble. "I'm just saying. One's a little more miraculous, is all." 

Sett pulled Ulrick's head into his chest and stroked his hair. "GrrrRrrrRrrr. <Shh, I know, dude, I know.>" His heavy, soaked clothes and lack of body heat didn't chill Ulrick as much as they should have, and though a fine coating of sand covering him from head to toe gritted against Ulrick's cheek, it only made Ulrick rub his face in rebelliously. 

"Okay," Ulrick said, resting his fists on Sett's chest and gazing up into his eyes. "What's the next activity? I think we’re... due-au for a luau?" The moment the words left his lips, his face collapsed into disgusted regret.

“Rgrrr... <Actually…>” Sett said, wrenching off his mask and shaking the excess water from his hair, teasing a blush out of Ulrick. “GgrrrRrrrr? <Doesn’t watching the stars by the lake sound pretty relaxing?>”

Ulrick grinned and took a seat on the shoreline, running his hands through the tufts of ryegrass stretching out in waves around him. He tapped a spot to his right and Sett, half-cocked smile in tow, came lumbering over to take it. 

Hours flurried past, changing nothing about the image of the intimately silent pair but the number of stark white pinpricks in the sky they beheld. 

They threatened to sit silently basking in each other forever. 

And then Sett said, “GRrrrrgrrr, rrgrrr, graargrr. <So, Diane and Jen gave me their number, and they want to plan an outing.>” 

Unease shot through Ulrick’s veins, but he held his tongue in search of the correct words. “O-oh?” 

“Grrr? Rrgrrrrr. <Isn’t that cool? People want to spend time with us,>” said Sett, ensorcelled with the twinkle of every new star. “Rrrrr. <With me.>”

“That might be…” began Ulrick, before noticing the glimmer in Sett’s eyes and faint lift at the corners of his mouth as he stared up towards a great unknown. He sighed. “It’s going to be great.” 

Sett rested his hand on Ulrick’s, their fingers interlocking. He smiled, and the two gazed into an ever-darkening firmament, speckled with a thousand stars and a thousand futures. 

[newstfionline]

Tuesday, August 31, 2021

Hostile school board meetings have members calling it quits (AP) A Nevada school board member said he had thoughts of suicide before stepping down amid threats and harassment. In Virginia, a board member resigned over what she saw as politics driving decisions on masks. The vitriol at board meetings in Wisconsin had one member fearing he would find his tires slashed. School board members are largely unpaid volunteers, traditionally former educators and parents who step forward to shape school policy, choose a superintendent and review the budget. But a growing number are resigning or questioning their willingness to serve as meetings have devolved into shouting contests between deeply political constituencies over how racial issues are taught, masks in schools, and COVID-19 vaccines and testing requirements. In his letter of resignation from Wisconsin’s Oconomowoc Area School Board, Rick Grothaus said its work had become “toxic and impossible to do.” “When I got on, I knew it would be difficult,” Grothaus, a retired educator, said by phone. “But I wasn’t ready or prepared for the vitriolic response that would occur, especially now that the pandemic seemed to just bring everything out in a very, very harsh way. It made it impossible to really do any kind of meaningful work.”

California fire approaches Lake Tahoe after mass evacuation (AP) A ferocious wildfire swept toward Lake Tahoe on Tuesday just hours after roads were clogged with fleeing cars when the entire California resort city of South Lake Tahoe was ordered to evacuate and communities just across the state line in Nevada were warned to get ready to leave. The popular vacation haven normally filled with tens of thousands of summer tourists emptied out Monday as the massive Caldor Fire rapidly expanded. Vehicles loaded with bikes and camping gear and hauling boats were in gridlock traffic, stalled in hazy, brown air that smelled like a campfire. Police and other emergency vehicles whizzed by. “It’s more out of control than I thought,” evacuee Glen Naasz said of the fire that by late Monday had been pushed by strong winds across California highways 50 and 89, burning mountain cabins as it swept down slopes into the Tahoe Basin.

Hurricane Ida traps Louisianans, shatters the power grid (AP) Rescuers set out in hundreds of boats and helicopters to reach people trapped by floodwaters Monday, and utility repair crews rushed in, after a furious Hurricane Ida swamped the Louisiana coast and ravaged the electrical grid in the sticky, late-summer heat. People living amid the maze of rivers and bayous along the state’s Gulf Coast retreated desperately to their attics or roofs and posted their addresses on social media with instructions for search-and-rescue teams on where to find them. More than 1 million customers in Louisiana and Mississippi—including all of New Orleans—were left without power as Ida, one of the most powerful hurricanes ever to hit the U.S. mainland, pushed through on Sunday and early Monday before weakening into a tropical storm. As it continued to make its way inland with torrential rain and shrieking winds, it was blamed for at least two deaths. But with many roads impassable and cellphone service knocked out in places, the full extent of its fury was still coming into focus. The governor’s office said damage to the power grid appeared “catastrophic.” And local officials warned it could be weeks before power is fully restored, leaving multitudes without refrigeration or air conditioning during the dog days of summer, with highs forecast in the mid-80s to close to 90 by midweek.

Heavily armed criminal group ties hostages to getaway cars after storming Brazilian city (Washington Post) A heavily armed group of bank robbers wreaked havoc across a southeastern Brazilian city early Monday, striking several banks, setting fire to vehicles and tying hostages to their getaway cars, in an assault that left at least three people dead, officials say. Even in a country long accustomed to random spasms of violence, Brazilians reacted with shock and fear. The group stormed Araçatuba, a city of 200,000 in São Paulo state, around midnight to strike several city banking agencies. Gunshots punctured the early-morning quiet. Authorities asked residents to stay inside. Images on social media and local news reports showed at least 10 people clinging to getaway cars, apparently strapped there to deter fire from police. The hostages were reportedly released after the group escaped. The raid bore the characteristics of what criminologists have called a growing pattern: nighttime assaults on midsize Brazilian cities—often elaborate bank heists, intricately planned, well choreographed and executed by well-financed criminal groups equipped with the weaponry and gadgetry of war. The group flew a drone over Araçatuba during the raid, according to local reports, to track movements throughout the city.

EU travel restrictions (AP) The European Union recommended Monday that its 27 nations reinstate restrictions on tourists from the U.S. because of rising coronavirus infections there, but member countries will keep the option of allowing fully vaccinated U.S. travelers in. The EU’s decision reflects growing anxiety that the rampant spread of the virus in the U.S. could jump to Europe at a time when Americans are allowed to travel to the continent. Both the EU and the U.S. have faced rising infections this summer, driven by the more contagious delta variant. The guidance issued Monday is nonbinding, however. American tourists should expect a mishmash of travel rules across the continent since the EU has no unified COVID-19 tourism policy and national EU governments have the authority to decide whether or how they keep their borders open during the pandemic.

Italy’s record droughts (La Stampa) The earth is cracking in Italy’s northwest region of Piedmont: the crops and the animals suffer. Italy has been ravaged by fires and storms, like Greece, Turkey and much of Southern Europe. Italy has recorded 1,200 “extreme” meteorological events—a 56% increase from last year. Wildfires ravaged the southern regions of Sardinia, Calabria and Sicily. The town of Florida, in Sicily, is thought to have recorded the hottest temperature ever recorded in Europe: 48.8 °C. Meanwhile, heavy rainfall devastated other parts of the country. Coldiretti, Italy’s largest agricultural association, has just summed up the bill for this Italian summer: The damages to agriculture, it says, amount to €1 billion. Wheat yields have fallen 10%; cherries 30%, nectarines 40%. Tomato and corn crops have also suffered heavy losses. Giovanni Bedino, a 59-year-old Italian farmer, has been working the land since he was 15. “I love this job, but a year like this takes away your love,” he told Turin daily La Stampa. “We couldn’t water the fields and nothing came down from the sky. I remember, the summer of 2003 was a very difficult one—but it wasn’t even close to this year. I have never seen such a drought.”

In India, a debate over population control turns explosive (Washington Post) Yogi Adityanath, a star of India’s political right wing, stood before television cameras in his trademark saffron tunic and dramatically introduced a bill pushing for smaller families—two children at most. In previous decades, this measure by the leader of the country’s most populous state might have been uncontroversial. Over the past month, it’s been explosive. Critics saw a veiled attempt to mobilize Hindu voters by tapping into an age-old trope about India’s Muslim population ballooning out of control. As India barrels toward a pivotal election in Uttar Pradesh early next year, population bills introduced by the ruling Bharatiya Janata Party (BJP) have become a new flash point in the national debate, vividly illustrating how the issues of religion and identity, spoken or implied, form the most powerful undercurrent in the country’s politics. Since 2011, when official census figures emerged showing Hindus dipping to 80 percent of India’s population compared to 84 percent in 1951—Muslims increased from 10 percent to 14.2 percent during that same period—the question of how to maintain “demographic balance” has gained urgency for the Hindu movement’s leaders. A 2016 national survey finding that Indian Muslim women had, on average, 2.6 children compared to 2.1 for Hindus provoked more concern.

North Korea appears to have restarted Yongbyon nuclear reactor, U.N. body says (Washington Post) North Korea appears to have restarted its main nuclear reactor at Yongbyon in July, a “deeply troubling” sign that the country may be on track to expand its nuclear program, according to a new report by the United Nations’ atomic agency. The finding adds another challenge to the Biden administration’s goal of denuclearizing North Korea. Although Yongbyon is not the only site where North Korea has produced highly enriched uranium, its role at the heart of Pyongyang’s nuclear ambitions made the facility a bargaining chip in previous negotiations. In 2008, North Korea ceremoniously blew up the reactor’s cooling tower in a largely made-for-TV event amid nuclear talks between the United States and former leader Kim Jong Il. (A new cooling tower was built after the negotiations fell through.)

Last troops exit Afghanistan, ending America’s longest war (AP) The United States completed its withdrawal from Afghanistan late Monday, ending America’s longest war and closing a chapter in military history likely to be remembered for colossal failures, unfulfilled promises and a frantic final exit that cost the lives of more than 180 Afghans and 13 U.S. service members, some barely older than the war. Hours ahead of President Joe Biden’s Tuesday deadline for shutting down a final airlift, and thus ending the U.S. war, Air Force transport planes carried a remaining contingent of troops from Kabul airport. Thousands of troops had spent a harrowing two weeks protecting a hurried and risky airlift of tens of thousands of Afghans, Americans and others seeking to escape a country once again ruled by Taliban militants. In announcing the completion of the evacuation and war effort. Gen. Frank McKenzie, head of U.S. Central Command, said the last planes took off from Kabul airport at 3:29 p.m. Washington time, or one minute before midnight in Kabul. He said a number of American citizens, likely numbering in “the very low hundreds,” were left behind, and that he believes they will still be able to leave the country. The final pullout fulfilled Biden’s pledge to end what he called a “forever war” that began in response to the attacks of Sept. 11, 2001, that killed nearly 3,000 people in New York, Washington and rural Pennsylvania.

Afghanistan’s ‘Gen Z’ fears for future and hard-won freedoms (Reuters) Almost two third of Afghans are under the age of 25, and an entire generation cannot even remember the Taliban, who ruled Afghanistan from 1996 until it was toppled by Western-backed militia in 2001. During that time they enforced a strict interpretation of Islamic law, banning girls from school, women from work and carrying out public executions. Since 2001, the militants fought an insurgency in which thousands of Afghans died. Since re-taking power, the group has been quick to reassure students that their education would not be disrupted, also saying it would respect the rights of women and urging talented professionals not to leave the country. But used to a life with cellphones, pop music and mixing of genders, Afghanistan’s “Generation Z”—born roughly in the decade around the turn of the millennium—now fears some freedoms will be taken away, according to interviews with half a dozen Afghan students and young professionals. “I made such big plans, I had all these high reaching goals for myself that stretched to the next 10 years,” said Sosan Nabi, a 21-year-old graduate. “We had a hope for life, a hope for change. But in just one week, they took over the country and in 24 hours they took all our hopes, dreams snatched from in front of our eyes. It was all for nothing.”

They made it out of Afghanistan. But their path ahead is uncertain. (Washington Post) As the United States winds down its evacuation operation in Afghanistan, the Biden administration is accelerating efforts to resettle Afghans on U.S. soil, where they will be expected to apply for visas or humanitarian protection that could put them on a path to legal residency and citizenship. But the chaotic nature of the enormous airlift means that much is unknown: Officials have not said precisely how many Afghan evacuees have made it into the United States or whether all will be allowed to stay. More than 117,000 people had been evacuated from Afghanistan on U.S. and other flights as of Saturday, and Pentagon officials said the vast majority are Afghan citizens. Thousands have arrived in the United States, while thousands more are waiting in “transit hubs” in Europe and the Middle East. They are a mix of brand-new refugees and families with existing immigration applications that have been pending for months or years. Where the evacuees will end up is “a hard question to answer,” said Mark Hetfield, president and CEO of HIAS, one of the refugee resettlement agencies operating in the United States. “I don’t really know where they stand,” Hetfield said in an interview. “It’s chaos.”

[yogacertification42-blog]

Exactly what is Yoga?

click on this web-site for more understanding The word pilates can often be interpreted as "union" or maybe a method of self-control from the Sanskrit concept "yuj" (to yoke or even bind). A males practitioner or healthcare provider is called a yogi, a female practitioner, any yogini. The Postures....

Typically the fashionable western approach to be able to yoga is absolutely not based in any particular idea or perhaps religion, however Yoga exercises does indeed has its beginnings inside Hinduism and Brahmanism. Pilates was developed by seers or ascetics living generally in the southern pieces of China. The seers observed mother nature and enjoyed as in close proximity as many people could to the the planet, studying the many features of dynamics, the wildlife and their selves. By seeing and emulating the distinct postures and behaviors connected with the animal kingdom these folks were able to develop style, toughness and wisdom.

The idea was via these incredibly disciplined day-to-day lives that typically the practice of the meditation postures were developed. It turned out necessary to develop some sort of series of forme for you to keep the body lithe as well as able to manage long periods associated with quietness when in meditation. Often the Writings....

Brahmanism dates rear to help containing sacred scriptures referred to as "the Vedas". These kind of scriptures contained instructions and also incantations. It was throughout the oldest text message "Rg-Veda" from the scriptures the fact that word Yoga first seemed, this was nearly 5k a long time ago. The fourth wording called "Atharva-Veda" contains largely spells to get magical règles and health and fitness cures quite a few of which use medicamentoso plants. This text given the average person together with the spells along with incantations to use in all their everyday activities and this train of "Veda" can nevertheless be seen in often the pavement of India currently. The actual Bhagavad-Gita, another early improve spiritual life represents themselves as a yoga exercise treatise, while it uses the actual word Yoga for a faith based means. It was because of this literature that Patanjali's "eight limbs of yoga" were being developed. Yoga Sutra's are generally primarily concerned with getting the particular "nature of typically the mind" i will reveal more of this kind of with the next section.

The particular Range....

The vratyas, a new group of libido priests who worshipped Rudra, lord of the wind will attempt to imitate often the sound on the wind by means of their vocal skills. They observed that they may make the sound through the actual control over their breath in addition to by way of this practice regarding breath of air control was made "Pranayama". Pranayama is the particular practice of air handle in yoga.

Typically the Walkways....

The Upanishads, some of the holy revelations of historical Hinduism developed the two martial arts disciplines of karma yoga, the road of action and jnana yoga, the path involving knowledge. Often the paths ended up developed to support the scholar liberate from hurting as well as eventually gain enlightenment. The actual teaching from the Upanishads differed from that connected with the Vedas. The particular Vedas demanded external attractions in order to the gods in get to have an enormous, content life. The Upanishads by the practice of Karma yoga focused on typically the internal give up of often the ego in order to be able to free from suffering. On the other hand of the lose associated with crops and pets or animals (external) it was the forfeit of the inner confidence which would become the essential philosophy, so yoga evolved into known as the way regarding renunciation.

Yoga gives you a number of characteristics also with Yoga that can be tracked back via history. While in the sixth centuries F. C., Buddhism in addition worries the importance of Introspection along with the practice of actual physical poses. Siddharta Gautama seemed to be the initially Buddhist for you to actually study Meditation.

What exactly is Yoga Sutra and also the did the Philosophy involving Yoga develop?

Yoga Sutra is a compilation connected with 195 statements which in essence supply an ethical guide with regard to lifestyle a moral existence and also incorporating the scientific disciplines of yoga exercises into that. An Indian sage identified as Patanjali was shown to have got collated this through 2200 years ago and the idea has end up being the cornerstone regarding classical pilates philosophy.

Typically the word sutra suggests basically "a thread" and is particularly employed to denote a special way of written and verbal transmission. Because of the actual brusque style the particular sutras are written from the university student must rely on the guru to interpret typically the philosophy contained within each. The meaning within each one of the sutras could be tailored to often the present student's particular needs.

Often the Yoga exercise Sutra is any system of meditation even so there is not some sort of single brief description of a new posture or asana within it! Patanjali developed information for living the suitable lifestyle. The core associated with his / her teachings is the actual "eightfold way of yoga" or "the eight arms and legs of Patanjali". These usually are Patanjali's suggestions for dwelling a better life by means of yoga exercise.

Posture and breathing command, the two regular practices regarding yoga tend to be described as your third along with fourth limbs inside Patanjali's eight-limbed path to self-realisation. The third practice involving the posture make right up today's modern yoga exercises. If you join a pilates class you may come across that is everything you should fit with your lifestyle.

The nine limbs of yoga

one The yamas (restraints),

These are definitely like "Morals" you dwell your lifetime by: Your societal carryout:

o non-violence (ahimsa) : To not injure a living person

to Truth and reliability (satya) - To not are located

o Nonstealing (asteya) rapid To not steal

a Nonlust (brahmacharya) - keep away from incomprehensible sexual encounters instructions small amounts in sex in addition to all stuff.

o Nonpossessiveness or non-greed (aparigraha) -- don't set, free by yourself from avarice and content desires

minimal payments niyamas (observances),

These are the way we cure ourselves, our intrinsic willpower:

o Purity (shauca). Reaching purity through the exercise of the five Yamas. Your body as the temple and looking out after the item.

o Peace of mind (santosha). Come across happiness about what you get and what you accomplish. Have responsibility for everywhere you are, find enjoyment in the moment as well as tend to grow.

o Austerity (tapas): Develop self control. Indicate discipline in entire body, dialog, and mind to help prefer a higher psychic purpose.

e Study connected with the sacred written text (svadhyaya). Education. Study guides specific to you which really encourage and teach you.

i Living alongside an awareness associated with the Divine (ishvara-pranidhana). Possibly be devoted to whatever is the best god or whatever anyone find as the work.

3. asana (postures) :

These are the particular mine of yoga:

to To help create a supple physique as a way to sit for any lengthy time and continue to the mind. If you actually can control the system a person can also control typically the mind. Patanjali and different ancient yogis made use of asana to prepare the human body intended for meditation.

Just often the practice with the yoga forme can benefit your well being. It can be commenced every time and any grow older. As we grow aged most of us stiffen, do an individual remember a final time anyone may have squatted up to pick something up and exactly how you felt? Imagine because you age into your 50's, 60's, seventies and about being able to nonetheless touch your toes or maybe balance on one limb. Did you know the majority regarding injuries sustained by aged are from crumbles? Most of us tend to lose each of our sense of balance as we raise older and to training an issue that will help that is surely a bonus.

The actual fourth limb, breath management is a good auto to use when you are attracted in learning meditation and also relaxation.......

4. pranayama (breathing) - the control involving inhale:

inhalation, retention connected with breath of air, and exhalation

a The particular practice of inhaling helps to ensure profound results to concentrate along with meditate. Prana is the actual energy in which exists everywhere you go, it is the lifetime force that flows by way of each of us by all of our breath.

5. pratyahara (withdrawal of senses),

e Pratyahara is a resignation of the feels. The item occurs during relaxation, breathing in exercises, or the process of yoga postures. After you master Pratyahara you will probably be able to concentrate in addition to concentrate and not possibly be distracted by outward physical.

6. dharana (concentration), rapid teaching the mind in order to focus.

i When take up there is no impression of time. The are directed is to even now the particular mind e. g. solving the mind on 1 object as well as pushing almost any thoughts. Accurate dharana is definitely when the head can certainly concentrate effortlessly.

6. Dhyani (meditation), - your deep breathing

o Concentration (dharana) sales opportunities to the state associated with meditation. With meditation, one particular has a heightened good sense of awareness and is actually a single with the market. It is staying uninformed of any distractions.

main. samadhi (absorption), - definite bliss

o Absolute paradise is the ultimate purpose regarding meditation. This will be a state involving institute with yourself and your own personal jesus or the devine, this is when you actually and the universe are usually just one.

All eight hands or legs join hands: The first all 5 are with regards to the body and also brain- yama, niyama asana, pranayama, along with pratyahara instructions these are typically the skin foundations of yoga and gives some sort of platform for a non secular life. The last several are generally about reconditioning often the mind. These folks were developed to be able to help the doctor for you to attain enlightenment or oneness with Spirit.

How complete you find the type connected with yoga right for a person?

Any type of yoga you pick out to practice is usually altogether an individual preference therefore why we are hunting into the following to guide you start. Some forms hold the postures extended, many move through these individuals quicker. Many styles concentration on body place, other individuals differ in the groove and selection of poses, yoga and spiritual acknowledgment. Each is adaptable to the actual student's bodily situation. You actually therefore ought to determine precisely what Yoga style of your unique psychological and actual desires. You may just wanna vigorous workout, want to help consider developing your mobility as well as balance. Do an individual want more provide for introspection or just the wellbeing areas? Some schools coach comfort, some focus with strength in addition to agility, as well as others are more exercise.

I suggest you test a few several sessions in your area. My partner and i have observed that even concerning teachers with a certain model, there can be locations how the student relishes your classmates. It is critical to find a professor you feel comfortable using to truly enjoy and as a consequence create longevity in what exactly anyone practice.

Once you actually start finding out the posture and establishing them to get your body you could really feel to do train at home likewise! All of yoga types include sequences that can be applied to the office different parts associated with your body. To A new 16 minute practice throughout the morning could possibly be your personal start to the morning. Your entire body will feel robust and lithe within not any time and with know-how, the choice is at this time there for you to build your own routines.

The Important Programs of Yoga

Typically the two important systems regarding yoga usually are Hatha and also Yoga Hendidura Yoga. Rajadura yoga draws on the "Eight Limbs involving Yoga" formulated by Pananjali inside Yoga exercises Sutras. Raja is definitely element of the classical American native indians Approach to Hindu Philosophy.

Hatha meditation, also Hatha vidya is often a particular system connected with Yoga created by Swatmarama, a yogic sage associated with the 15th centry with India. Swatmarama produced the particular "Hatha Yoga Pradipika", which will introduced the system regarding Hatha Yoga. Hatha yoga exercise is derived from a new number of different practices. It is about from the heritage of Yoga which include things like the Hinayana (narrow path) and Mahayana (great path). It also comes by typically the traditions of Tantra together with Sahajayana (spontaneous path) along with Vajrayana (concerning is important involving sexuality). Within Hatha yoga exercises there are a variety of branches or kinds of pilates. This form of meditation works through the real medium sized of the system using mine, breathing physical exercises and detoxification practices.

Often the Hatha Pilates of Swatmarama differs from Raja Meditation of Patanjali in this it focuses on Shatkarma, "the purification of often the physical" as a course leading to "purification connected with the mind" and "vital energy". Patanjali begins having "purification of the imagination in addition to spirit" and in that case "the body" through forme and air.

[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

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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.

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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.

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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.

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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

[opusperfectum]

@yogi-is-annoying

Akari sighed heavily as he opened his communication device. He knew that the orders he was about to administer would be exceedingly difficult for his new protege to follow. 

But he must follow them. He has to know what being in the field truly entails. 

Shaking his head in resignation, he waited for Gareki to answer, impatiently drumming his fingers against his desk. He didn’t have to wait long. Unlike the rest of the incompetents that worked under him, Research Tower’s newest combat medic was alert and sincere.

“Gareki-kun,” he began. “Please listen carefully. You and I will be investigating the crash site of the Third Ship. Meet me in the Kuppi hangar in 30 minutes. Bring your on-field kit and tell no one else where you’re going. If anyone should ask, I have summoned you to inquire after Nai’s favored locations.” 

He hung up the phone, knowing his new employee would follow without question. 

Yes, Akari thought, but will he be the same when we return?

[intelligentindia-blog]

How a faceless ‘Yogi’ took ‘control’ of the life & office of NSE CEO & MD Chitra Ramakrishna…

Who could he be, what’s CBI looking for…

This story is epic. A former MD and CEO of NSE, one of the world’s biggest exchanges, was sharing confidential data and taking advice on sensitive business issues from a yogi up in the Himalayas. Via email! A SEBI probe has revealed the tip of this iceberg. Now what?

And the Indian Express takes the story ahead. You will find the email ID of the yogi in the Himalayas here. Some techie should check out where exactly the mails came from.

And now Mint reports EY had conducted a forensic audit confirming that the yogi up in the Himalayas sending her emails was none other than her own COO, Anand Subramanian who reported to her. And he was allowed to just resign and go. This is how India’s biggest exchange operates.

And now edit page of Times of India, the story gets key position:

The CBI on Friday questioned former CEO of National Stock Exchange #ChitraRamkrishna in view of fresh facts emerging in connection with its ongoing probe into the alleged abuse of co-location facility in the NSE, officials said.

CBI questioning former NSE CEO Chitra Ramkrishna at her house in Mumbai. The CBI also issued look out circulars against her along with Ravi Narain and Anand Subramanian, preventing them from leaving the country.

SEBI's investigation into NSE has exposed major governance lapses, including a blatant money making scheme run by Former NSE MD & CEO Chitra Ramkrishna & her Advisor Anand Subramanian. The NSE board kept this under wraps.

#NSEscam

[amodagiriyoga]

As per yoga there are seven "privileged insights" of life span

1. Appropriate actual work

Practising the body consistently is fundamental, especially in this day and age when actual work is as of now not a vital part of day to day existence as it used to be previously. A great many people's lives are inactive with little if any actual effort. Individuals sit in their vehicles while heading to work, sit in the workplace the entire day, get back via vehicle and regularly go through a few hours before the TV or PC once they return home. Absence of activity and actual dormancy, as we probably are aware, causes various diseases. Thus it is basic to add light exercise to your every day schedule. Exercises, for example, strolling, running, moving or sports won't just exercise your body yet additionally produce energy and keep a sound mental state.

2. Hitting the hay when one feels tired

With all the incitement we are continually presented to from PCs, telephones, tablets and other electronic contraptions, the regular wake/rest cycle has been seriously endangered. We are continually presented to electrical lights and the night can undoubtedly be transformed into a day. Our organs are confounded and are at this point not ready to caution us (by means of chemicals)that the time has come to resign. Both yoga and ayurveda prescribe to rest around evening time and remain alert during the day. Dozing during the day and staying alert around evening time is exceptionally hindering to our wellbeing and it is notable that such a way of life causes infection. Espresso is an enormous guilty party and is taken by many individuals so they can study or work around evening time. Ultimately remaining up the entire evening or till until quite a bit later turns into a propensity which is hard to change. It is unnatural and abbreviates life expectancy. As per yoga treatment such a way of life is one of the significant reasons for malignant growth, henceforth it ought to be kept away from no matter what.

3. Eating when one feels hungry

It sounds direct yet it isn't. This is so on the grounds that individuals eat for such countless reasons. Now and again the purpose of mingling, or in light of the fact that it is a sure time, so I should eat.

4. Ordinary fasting

Fasting is perhaps everything you might at any point manage for your wellbeing. It detoxes your whole framework and gives rest to your stomach related organs.

5. Bathing before rest

In addition to the fact that it is a privilege to rest at the right time as per the normal cycles, however it likewise assists with chilling off a portion of the significant body parts like our lower arms and hands, calves and feet, privates, neck and face.

6. Normal reflection

The discoveries of present day science demonstrate what yogis have known for centuries – that reflection has a significant recuperating impact. Neuroscience has found that standard contemplation causes changes at the cell level and that it can even adjust DNA.

7. Asana Practice

You might be asking why asanas are not recorded under exercise. The response is basic and clear: asanas are not exercises, yet rather innercizes. We call them innercizes on the grounds that their impact on the internal body, the inward organs, organs and particularly the chakras is undeniably more significant than their impact on the muscles and joints.

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[marseducation]

*Samyukta Kisan Morcha Press Release*

312th day, 04th October 2021

*Protests organised all over India as citizens express their anger at BJP leaders' impunity and violence, after the massacre of farmers in Lakhimpur Kheri in Uttar Pradesh yesterday - Memorandum addressed to President of India submitted - An independent journalist also killed in Lakhimpur Kheri's incidents yesterday - SKM appeals to all citizens to maintain peace and order*

*Agreement reached between protesting farmers and the administration, which paved the way for final rites of martyred farmers - Meanwhile, Uttar Pradesh's BJP government puts in place numerous undemocratic and authoritarian measures to prevent swelling support to the protesting farmers, and to protect the culprits - SKM condemns the undemocratic behaviour of Yogi government strongly*

*Samyukt Kisan Morcha clarifies once again that it has never approached Supreme Court or other Courts on matters related to the current agitation or the 3 farm laws - SKM believes that the matter with regard to the 3 laws is that of Constitutionality but also about ramifications on farm livelihoods which is in the ambit of the Union Government to resolve*

*PM Modi attacking Opposition political parties will not resolve the farmers' agitation - SKM reminds Mr Narendra Modi and BJP of their stand in the past, and asks for fulfillment of farmers' rightful demands without any further delay*

On Samyukt Kisan Morcha's call last night, asking for protests from 10am to 1pm today all over the country to press for four key demands, protests have been organised at DC/DM offices and other locations in many places. Reports have come in from Punjab, Haryana, Uttar Pradesh, Uttarakhand, Odisha, Bihar, Jharkhand, Rajasthan, Karnataka, Telangana, Tamil Nadu, Madhya Pradesh, Maharashtra, West Bengal and other states about these protests. There was also a silent protest march organised at Singhu Border also. Citizens who participated in these protests questioned the impunity and violence with which BJP leaders are operating, and their anti-farmer attitude and behaviour. They demanded immediate dismissal of the Union Minister of State for Home Affairs, immediate arrest of the Minister's son and his accomplices, a probe by a sitting judge of the Supreme Court, and also the resignation of Haryana CM Manohar Lal Khattar. Reports indicate that FIRs have been lodged against Ashish Mishra Teni and 15 others. However, no arrests have been made. SKM has appealed to all citizens to maintain peace and non-violence, as is the norm of the farmers' struggle, and asked protestors not to fall into the trap being laid by BJP to derail the movement by violence and communal politics being brought in.

There were spontaneous protests in response to the unfortunate developments in Lakhimpur Kheri from last night itself when candlelight marches and rallies were taken out in some locations like Ambala, Kurukshetra, Chandigarh and other places. In Puranpur and other locations, highways were jammed by protesting farmers. Thousands of farmers poured into Tikunia today, at the site of the violent incidents, where the bodies of the martyrs were kept, and negotiations held with the administration.

Today, an agreement was reached between SKM leaders along with local protesting farmers and families of the deceased, and the state administration, which paved the way for the final rites to be performed of the martyred farmers, after postmortem is performed. The bodies of the four farmers had been kept in an overnight vigil by hundreds of farmers and their families in Tikunia's college ground. The Government will give 45 lakh rupees each and a government job each to the families of the farmers who were killed yesterday. The injured will be given 10 lakh rupees each. FIR has been registered against Ashish Mishra Teni and 15 others under Sections 302, 120B and other charges, and the government said that it will arrest all the accused within a week. A case has been registered against Minister Ajay Mishra Teni also, under Sections like 120B. The Government has also agreed to get a retired High Court judge to probe the matter. The demand with regard to Ajay Mishra Teni's dismissal from the Union Government is pending, of course.

Eye witness accounts reveal how the murderous attack seems to be pre-planned, facilitated by the UP police. It is reported that Police removed barricades to allow the vehicles of the Minister's son, who himself was driving the Thar vehicle, to mow down protestors indiscriminately, and the farmers retaliated thereafter. The Police protected Ashish Mishra Teni in escaping from the scene, and it is reported that he fired as he escaped. The specific targeting of SKM leader Tajinder Singh Virk was narrated in eye witness accounts.

Reports through the day indicated that the Uttar Pradesh government tried numerous undemocratic ways of preventing various people going to Lakhimpur Kheri, whether it was social activists, or political leaders. Sec.144 was imposed, and internet services were suspended. UP Government went to the extent of disallowing certain people from arriving into, and leaving from particular airports, and had also written to Punjab government, asking that no person from Punjab should be allowed to enter Lakhimpur Kheri. At the time of release of this press note, reports indicate SKM leaders like Gurnam Singh Chaduni and Buta Singh Burjgill were being prevented from reaching Lakhimpur Kheri by the UP Police. In fact, it is reported that Gurnam Singh Chaduni has been arrested in Meerut. The prevention of leaders of the Opposition, including the former Chief Minister of Uttar Pradesh and two sitting Chief Ministers (of Punjab and Chattisgarh), and disallowing the landing of a Deputy Chief Minister clearly shows that the UP Government has something to hide, and is protecting the culprits. Such draconian measures are unprecedented and raise numerous valid questions. SKM condemns all these undemocratic measures of Uttar Pradesh BJP government.

Samyukt Kisan Morcha clarifies once again that it has never approached the Supreme Court or any other Court for resolution of the core issues of the farmers' agitation - about the 3 anti-farmer central laws or MSP statutory guarantee. SKM has always believed that the three central laws which reflect the anti-farmer policy directions adopted by the Union Government have to be repealed by the government itself. Towards this, SKM has also written to the President and the Prime Minister asking for dialogue to be resumed and demands to be fulfilled. SKM did not approach the Court even on the constitutionality matter - while it is important that state government's constitutional authority over agriculture has to be restored and strengthened, it is equally important to realise that the issues with the farm laws are not just about constitutionality, or lack thereof. It is about the implications of the farm laws on farmers and the death blow to their fragile livelihoods. While the laws might have been suspended from implementation for now, SKM realises that the Stay can be lifted any day. Therefore, the movement has insisted on a full repeal of the laws. When it came to organising a Kisan Sansad at Jantar Mantar too, SKM did not have to knock on the doors of any court, and fulfilled fully the conditions with which it obtained Delhi Police's permission and cooperation for organising the same. Therefore, there is no question of the farmers' movement entering the Courts and seeking justice, and protesting at the same time. The petitioner in this case has got nothing to do with SKM. On the matter of blocking the highways, it is reported that the Supreme Court has issued notice to 43 leaders. Samyukt Kisan Morcha has always maintained that farmers did not put up any barricades or blockades on the roads. It was the Haryana, UP and Delhi Police which did so. Farmers have in fact kept the roads clear for traffic on both sides at the morcha sites. Public inconvenience if any is being caused by the police which has barricaded the highways. Farmers have also maintained that the agitation can be resolved, if the Union Government does not behave in this egoistic, adamant and unjustifiable manner. The resolution is clearly in the hands of the Modi Government which has not been able to give any convincing evidence as to why it will not repeal the anti-farmer laws, or why it will not enact a legislation for guaranteeing remunerative MSP for all produce and farmers.

Reports indicate that Prime Minister Mr Narendra Modi criticised opposition political parties sharply in an interview, alleging that the opposition parties are indulging in political deceit and moral dishonesty when they oppose the farm laws. He has reportedly said that parties who promised certain reforms in their election promises and even their manifestos, have taken a u-turn later on and did not have the boldness to carry through their promises. Samyukt Kisan Morcha would like to remind the Prime Minister that these so-called "reforms" are not beneficial for farmers, irrespective of which party is proposing these. These "reforms" are meant to facilitate the business of agri-corporations at the expenses of millions of farmers in the country. Farmers did not ask for such reforms. Moreover, SKM would like to remind Mr Modi and BJP that what the farmers are demanding today is very much in line with promises made by the BJP itself, and perspectives supported by Mr Modi and BJP in the past. It was in 2011 when Mr Modi was the Chief Minister of Gujarat and as the Chairperson of a Working Group that he recommended that MSP enforcement should be mandated through statutory provisions, in the "Report of the Working Group on Consumer Affairs" of the Government of India. Further, earlier to this, it was in 2002 that the Atal Bihari Vajpayee government obtained a report of its "High Level Committee on Long Term Grain Policy" that recommended that CACP should go strictly on the basis of C2 cost of production. The Committee also recommended that MSP should have statutory status. This Committee was asked to set out principles and guidelines for long term grain policy by the then BJP government. It is also well known that Mr Narendra Modi and BJP canvassed for the party's election campaign in 2014 on the MSP plank, promising improvements for farmers. In 2018, the Modi government in fact made a commitment on the floor of the Parliament that MSP will be made a reality for all farmers. None of this materialised. It is high time that BJP looked into its own political dishonesty in making direct promises to farmers and reneging on them. More importantly, it is important that farmers demands be met in the current agitation, since the implications of not doing so are a matter of life and death of millions of anna daatas of the country.

The Champaran-Varanasi Lokneeti Satyagraha Padayatra that started in Champaran on Gandhi Jayanti, is on its third day of journey. After spending the night at Kotwa last night, the yatra will reach Rampur Khajuriya tonight, after passing through Belwa. The yatra is receiving a very positive response throughout its route with locals extending their support and hospitality.

*Issued by -*

Balbir Singh Rajewal, Dr Darshan Pal, Gurnam Singh Charuni, Hannan Mollah, Jagjit Singh Dallewal, Joginder Singh Ugrahan, Shivkumar Sharma 'Kakkaji', Yudhvir Singh, Yogendra Yadav

*Samyukta Kisan Morcha*

Email: samyuktkisanmorcha@gmail.com

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The Joint Action Council (JAC) Statement

“We, the various Ambedkarite student organizations across the country, unequivocally condemn the brutal rape and murder of Dalit woman in Hathras and the violent casteist actions of anti-Dalit Ajay Bisht’s government that works in the interests of Thakurs alone,” a joint statement reads.

Chief Minister of Uttar Pradesh Ajay Singh Bisht aka Yogi Adityanath must resign immediately, they said.

Read the unedited text of the joint statement:

The Khairlanji massacre perpetrated by Maratha Kunbis of Khairlanji village, 14 years back, on 29th September 2006 in Maharashtra, has over the years, become a textbook example of caste-based horror for the mainstream Savarna academia, media, and activists. In Khairlanji, the Kunbis raped the women of the Bhotmange family over a land dispute and paraded them naked around the village and then hacked four members of the Bhotmange family to death. The incident was not even reported on national television until Dalits raised the issue and protested in Nagpur. It has been 14 years since the Khairlanji massacre and the Upper caste and dominant caste sexual violence against Dalit women remains unchecked. Bhaiyalal Bhotmange, the lone person alive in the family, died in 2017 without due justice, and even till his death, the Supreme Court had not recognized the incident as a caste atrocity. Post-Khairlanji, there have been multitudes of caste-based sexual atrocities across the country, just that these didn’t catch the eye of the Savarna mainstream. An atrocity against a Dalit woman does not elicit similar kind of outrage by both the Savarna Brahmanical media and the Savarna activists, as that of the violation of Savarna women. According to the National Crime Records Bureau (NCRB) data, out of the total 32,033 reported rape cases in the year 2019, 11% i.e., 3524 rapes were that of Dalit women. On a daily basis, around 10 Dalit women get raped in India! The data also states that the rape vulnerability of women has increased by 44%, and more so for Dalit women, in the last decade. This is a direct reflection of the Brahmin masculinity project that has been waging furiously in the last few years. What we see is a growing sense of impunity for the Upper and dominant castes with the protection from caste police-state-media nexus.

On 14th Sept. 2020, a 19-year-old girl from the Valmiki community (still considered as ‘untouchable’ by the caste Hindus) was raped and brutalized in Hathras, Uttar Pradesh. The victim had gone with her mother to collect fodder in a nearby field, where 4 Thakur men — Sandeep Singh, Lavkush, Ravi Singh, and Ram Kumar — from the village grabbed her, dragged her aside by her neck with her dupatta, and gang-raped her. Her tongue was cut and she was strangled because of which she suffered gruesome injuries on her neck and spine, which rendered her body paralysed. Despite the brutal injuries, the victim was somehow able to give her statement to the police where she narrated the entire incident.

The victim was being harassed by the Thakur rapists for a long time, and there has been a history of atrocities being committed on the victim’s family by the rapists’ families. After battling her grave injuries, the victim died 15 days later, at Safdarjung Hospital. If the atrocities committed by the rapist-murderers were not enough, the State government led by Ajay Singh Bisht, also known as Yogi Adityanath, made sure that the victim was not given even a shred of justice. The accused were not arrested for 10 days, even after the crime was reported, and they were taken into custody only after massive public outrage by Dalits. The victim was also denied adequate medical attention. Despite the gruesome injuries to her spine, abdomen, and mouth, the victim was not given proper medical facilities. She was kept in a normal ward in the District Hospital and was then shifted to Aligarh’s Jawaharlal Nehru Medical Hospital. Given her grave injuries, she was referred to AIIMS Delhi, but for undisclosed reasons, she was brought to Safdarjung Hospital (Delhi) on 28th September, where she died the next day.

The police manhandled and arrested the angry protestors and secretly took her body out of the hospital and brought her body to her village in Hathras in the middle of the night. When the body reached her village, the victim’s mother cried and wailed on the bonnet of the ambulance, begging that her daughter’s body be handed over to the family so that they could take her home for one last time. But the police and the administration did not listen. Instead of giving her body to her grieving family members, the monstrous district administration forcefully cremated her. For the Yogi-Modi regime, Dalits have no dignity even in death. Forcibly, her body was cremated at 3 AM, while her family was locked up in their house.

After this tragedy that was unleashed upon the family, first by the rapist- murderers, and then by the State machinery, the forensic report has now declared that the victim was not raped. This is a deliberate ploy to protect the rapist Thakur men by the State led by the CM Ajay Bisht, a Thakur himself. Instead of ensuring justice to Dalit woman and her family, the Ajay Singh Bisht government has put a price on her body and life — 25 lakhs, a house, and a government job; and is systematically putting the family members of the victim through humiliation, by announcing that they would be put through a lie detection test! . In the midst of this tragedy, yet another Dalit girl has been raped and killed in Balrampur. All this while, the Prime Minister of the country, and his Cabinet Ministers have maintained complete silence. The Union Home Minister Amit Shah and the Union Minister for Women and Child Development, Smriti Irani, have been equally irresponsible. Their unusual silence is, in itself, caste violence.

The media, the so-called fourth pillar of democracy, has also exposed its own casteist nature. More interested in sensational news, a gruesome rape and murder of a Dalit woman was not considered worthy of reporting or coverage by them. There are only a handful of media channels that have covered the crime properly and have tried to ask the right questions. Yet, even among these handful, there are many who refused to acknowledge the ‘upper caste violence angle’ or only focused on the gory violation of Dalit women’s bodies. Not even a dead and brutalized Dalit woman can evoke empathy and responsibility from the casteist media. Instead of asking questions to the government and the administration, Savarna journalists were found asking Dalit leaders and protestors questions about ‘disturbing peace’.

There has been a rising trend of violence against Dalits across the country and specifically in Uttar Pradesh, the state ruled by Thakur Chief Minister Ajay Bisht. According to the National Crime Records Bureau, a total of 45,935 cases were registered under atrocities against Scheduled Castes, amounting to roughly 126 atrocity cases every single day, with Uttar Pradesh recording the highest incidence of crimes against Dalits. Thakur-Rajput dominance and impunity have been on the rise in the state, and the instruments of the Administration, including the bureaucracy and the police, are being systematically used to protect the “upper” caste aggressors. This phenomenon is a clear manifestation of Ram Rajya and Hindu Rashtra – both of which are conceptions that uphold and glorify the caste-based hierarchy of the Hindu Varna system.

We, the various Ambedkarite student organizations across the country, unequivocally condemn the brutal rape and murder of Dalit woman and the violent casteist actions of anti-Dalit Ajay Bisht’s government that works in the interests of Thakurs alone. We request all social, political, and cultural organizations who are involved in fighting for the rights of Dalits and who consider themselves part of anti-caste movements, to unite and rise in rage against the rising Hindutva supremacy.

We rise together and we shall not stop until there is absolute justice and an end to “Upper” Caste Hindutva supremacy and impunity!

A “Joint Action Council (JAC) of Ambedkarite Student Organizations against Caste Violence on Dalits” was formed in the context of this incident. The JAC aims to bring together Ambedkarite Student Organizations across the various educational institutions of the country, to organize the struggle against Caste violence perpetrated by the savarnas on Dalit bodies. In the present context, we aim to keep the struggle for Justice for Dalit woman alive and co-ordinate our efforts towards this objective.

We put forward the following demands:

Chief Minister of Uttar Pradesh Ajay Singh Bisht aka Yogi Adityanath must resign immediately

District Magistrate, Hathras, Praveen Kumar Laxkar and Superintendent of Police, Hathras, Vikrant Vir must be terminated from service immediately

Charges of SC/ST Atrocities Act must be pressed and action must be taken against District Magistrate, Hathras, Praveen Kumar Laxkar, Superintendent of Police, Hathras, Vikrant Vir, and the Chief Minister of Uttar Pradesh Ajay Singh Bisht

Withdraw the NARCO test announced by the Ajay Bisht government on the victim’s family members

Supreme Court monitored investigation with majority of representatives from the Scheduled Caste community, to be conducted

An enquiry committee must be set up to investigate the Doctors involved in the case and those involved in the post-mortem of the deceased

Land should be provided to the victim’s family, and the family members should be ensured government jobs

Complete protection and security should be ensured by the government until the time the family is no longer susceptible to threats by the Thakurs of the village, or for lifetime, whichever comes first

Fast-track courts for redressal of SC/ST atrocities must be set up and made functional in all districts of India

Reservation for Dalits in Media, with priority to Dalit women

We, the Joint Action Council of Ambedkarite Students’ Organizations against Caste Violence on Dalits, on behalf of all the signatories listed here in this statement, appeal to the various anti-caste organisations and like-minded individuals, to join us for a nationwide peaceful protest on 10th of October, 2020 to register our dissent against the caste based sexual violence on Dalit women.

Signatories and Endorsements (in alphabetical order):

Adivasi Chhatra Sangh, Jharkhand

Ambedkar Students’ Association, Central University of Kerala, Kerala

Ambedkar Students’ Association, Hyderabad Central University, Telangana

Ambedkar Students’ Association, Maharashtra

Ambedkar Students’ Association, Pondicherry University, Puducherry

Ambedkar Students’ Association, Punjab University, Punjab

Ambedkarite Students’ Association, TISS (Mumbai), Maharashtra

Ambedkar Students’ Association, Wardha, Maharashtra

Ambedkarite Students’ Collective, IIT-Bombay, Maharashtra

Ambedkarite Students’ Organization, FC Pune, Maharashtra

Bahujan Collective, TISS (Hyderabad), Telangana

Bahujan Sahitya Sangh, JNU, New Delhi

Bahujan Students’ Front, Hyderabad Central University, Telangana

Birsa Ambedkar Phule Students’ Association, Central University of Gujarat, Gujarat

Birsa Ambedkar Phule Students’ Association, Chattisgarh

Birsa Ambedkar Phule Students’ Association, Gujarat University, Gujarat

Birsa Ambedkar Phule Students’ Association, Hemchandracharya North, Gujarat University, Gujarat

Birsa Ambedkar Phule Students’ Association, JNU, New Delhi

Birsa Ambedkar Phule Students’ Association, Maharaja Krishnakumarsinhji Bhavnagar University, Gujarat

Birsa Ambedkar Phule Students’ Association, Veer Narmad South Gujarat University, Gujarat

Birsa Ambedkar Phule Students’ Association, West Bengal

Dalit Art Archive

Dalit Students’ Union, Hyderabad Central University, Telangana

Dalit Queer Project

Dalit Women Fight

Dr Babasaheb Ambedkar National Students Federation, Nagpur, Maharashtra

Jai Bhim Foundation, Mumbai, Maharashtra

North East Collective, IIT Bombay, Maharashtra

North East Students Forum, JNU, New Delhi

Radical Students’ Forum, Puducherry

Republican Student’s Federation, Chandrapur, Maharashtra

Tribal Students’ Forum, Hyderabad Central University, Telangana

Source: Maktoob Media

In solidarity. Redistribution of land and secured jobs for victim’s family over punitive justice like police ëncounters

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Hathras case: Priyanka Gandhi again demands CM Yogi’s resignation, said – what will happen if suspension of pieces New Delhi, Oct 3 Congress General Secretary Priyanka Gandhi Vadra on Friday said after suspension of some officials in Hathras' alleged gang rape case that what would happen by suspending 'moharas', Chief Minister Yogi Adityanath should resign.

[newsoutbursts]

Priyanka Gandhi Asks Yogi Adityanath To “Resign” Over Hathras Rape Case The chief minister should not back off from his responsibility, says Priyanka Gandhi. New Delhi: After the Hathras Superintendent of Police and four other cops were suspended over the gangrape-murder case of a Dalit woman, Congress leader Priyanka Gandhi Vadra on Friday asked what difference suspending "some pawns" would make and demanded Uttar Pradesh Chief Minister Yogi Adityanath's resignation.

[headlineenglish]

Hathras and Balrampur Rape Case: Mayawati demands to impose President rule in UP Mayawati said that CM Yogi Adityanath should resign immediately. http://www.headlineenglish.com/politics-news/hathras-and-balrampur-rape-case-mayawati-demands-to-impose-president-rule-in-up/?feed_id=12747&_unique_id=5f772e6bba1f1 #balrampurgangrapecase #cmyogiadityanath #hatrasrapecase #mayawati #presidentrule #uttarpradesh

[news-express]

CM Yogi Adityanath’s big statement on Hathras case resolves to set unprecedented example as punishment The opposition parties are targeting the Yogi government regarding law and order. Congress General Secretary Priyanka Gandhi is seeking resignation from CM Yogi, while BSP supremo Mayawati is saying that he should go to Gorakhpur and run the monastery.

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Send Yogi Adityanath back to Goraknath: Mayawati on Hathras rape case

Send Yogi Adityanath back to Goraknath: Mayawati on Hathras rape case

By: Express Web Desk | New Delhi | October 1, 2020 12:47:20 pm

Mayawati added that the Yogi Adityanath government has failed to ensure law and order in the state. (ANI)

BSP chief Mayawati on Thursday slammed Yogi Adityanath, saying he should resign if he cannot ensure the safety of the women in Uttar Pradesh. The BJP should send him back to the Gorakhnath Math, where he belongs, she added.