So, you want to start a podcast. You've come to the right place.
My name is Steven, and I produce and host Legal Marketing Radio, our podcast here at LaFleur Marketing. When I started creating our podcast, I knew little about podcasting or audio recording in general, so I jumped online and dove into research. I found way too many podcasting guides containing way too much confusing terminology.
In this article, I'm going to try and give you the antidote to those way-too-in-depth "beginner" podcasting guides. I've written a straightforward, plain-language checklist that you can use to come up with a plan, buy the basic equipment you need, and get your podcast on the digital airwaves.
This guide assumes you're already set on podcasting and committed to producing a show on an ongoing basis. If not, you should read our LaFleur blog article on the pros and cons of podcast marketing. I wrote it with attorneys in mind, but the key points in that article will apply to any business type.
RELATED BLOG ARTICLE: Should You Add a Podcast as Part of Your Legal Marketing Strategy?
From here on, I'll assume that you know why you're podcasting and focus on showing you how. First, we'll talk about planning and execution and then we'll get into gear. The gear section will be a bit longer since that's the part of podcasting most people find confusing, but keep in mind that without a strong plan, the best equipment in the world won't bring in listeners or revenue.
You may think of your podcast as an advertising avenue, but listeners won't come to learn about your company and your products. If you treat your podcast as a series of advertisements and just plug away at your products and services each episode, your podcast will be dead in the water.
At most, you can include a quick plug for your company and website during the intro or outro of your show. Anything else is too much of an ask; listeners aren't going to go through the work of downloading your show and queueing it up on their device just to get beaten over the head with advertising messages. Instead, your show should display thought leadership and explore interesting and informative topics that tangentially relate to your company's products and services.
On our show, Legal Marketing Radio, we do the exact opposite of pitching our legal marketing services to listeners. Instead, we give law firms tips, strategies, and solutions they can use to improve their marketing campaigns on their own.
Why do we do this? If we can help law firms grow on their own, they may reach a size where it makes sense to hire an agency for help, and they're likely to consider us. Also, getting pieces of our expertise can make a potential client realize just how much an agency like LaFleur has to offer.
Regardless of what direction you take with your show and what topics you decide to tackle, the most important advice we can give you is to think about what matters to your potential customers or clients. Consider what questions are on their minds, what topics they're searching for on the internet, and what issues they need solved — and put their needs first when crafting your show's content.
Most successful podcasts use a content calendar to plan out their shows several months in advance. Without a long-term plan, it's easy to lose track of where you want your show to go and may end up repeating yourself or feeling like you're out of ideas. Maintaining a schedule for your show that stretches a few months out can help make sure you tackle a diverse range of topics within your podcasting niche, and it will also keep you from missing episodes because you're at a loss for a topic when it's time to record.
You can't record a podcast in a noisy environment with construction work and car alarms blaring away outside the window and expect to come away with usable audio. Try to record in a small room with minimal reverberations (or "reverb," as it's called in the audio world), away from street noises and office hubbub. Rooms with tile or hardwood floors and minimal furniture are the worst choices for podcast recording because all the hard, sound-reflecting surfaces create reverb.
Lots of successful home podcasters choose their bedrooms for recording, and for good reason: the small room size and soft surfaces in most bedrooms help minimize unwanted reverb. While reverb can be a beautiful thing when recording music, it's almost always bad for podcast audio since it makes you sound distant and takes away the sense of cozy intimacy that people enjoy when listening to their favorite podcasts.
Doing endless monologues into the microphone gets lonely, and unless you're an especially magnetic speaker, it can easily bore your listeners. You should aim to host guests on your podcast as often as possible. Reach out to peers in your field and ask them if they'd like to join you on the show to discuss their area of expertise or an issue they're particularly focused on right now.
At first, you may want to stick to people you know personally, but once you get a few episodes published and feel more confident in your podcasting skills, try reaching out to peers and thought leaders you admire whom you haven't met before. You'll be surprised how often they appreciate your interest and jump at the chance to discuss a topic they're passionate about.
Whether you're recording by yourself or with a guest, hitting the record button and letting your consciousness stream away is a recipe for a shambling, boring show. (In fact, there's a popular podcast where the host does exactly this, and it's designed to put people to sleep.) Even if you think you're good at speaking off-the-cuff, pressing "record" has a surprising tendency to wipe the mind clear and leave you at a loss for words.
While you don't need to write out every word of your show in advance, try to at least come up with a general outline that lists the broad topics you want to tackle and details a few key points within each topic. Having some sort of structure sketched up in advance will keep you on track and harness your thoughts.
Especially with guests, I only use my show outlines as loose guidelines, and I tend to let the conversation go wherever it seems to want to flow. However, I always keep the outline up on my computer screen during the recording. Sometimes I stick to the outline fairly closely, and other times I barely glance at it. Either way, it gives me confidence knowing that I have it and can fall back on it if I can't think of where I want to go next.
Adding a bit of music to the beginning, ending, and transitional moments of your show can add a gleam of professionalism to your podcast. If you choose the right theme song and use it consistently, it can even set a mood and help loyal listeners get in their "headspace" for your show each time they queue it up. Lots of websites offer royalty-free music you can use for your podcast; on Legal Marketing Radio, we use music purchased from Audio Jungle. You can use your audio recording and editing software (see the gear checklist below) to mix this audio in seamlessly with the recordings of your monologues or interviews.
Once you've got audio recorded, you'll need somewhere online to put it. Lots of sites exist that will let you upload your podcast, host your files online, and send your show out to popular podcast directories like the iTunes store so potential listeners can find it. Some of these sites offer a small amount of storage for free, but if you publish shows consistently over time, you'll run out of free storage space and end up having to pay for hosting.
So why do you need to rely on a paid hosting service rather than just uploading your MP3s on, say, Google Drive? Well, the paid hosting services will provide an RSS (Really Simple Syndication) link for your show that will allow podcast directories like iTunes to access your show and display episodes. There's no way to upload your episodes to iTunes directly; providing an RSS link is the only way to get iTunes to notice your show, and the same is true for many other directories.
For a long time, we published Legal Marketing Radio only on SoundCloud and then used the RSS feed from SoundCloud to offer the show on the iTunes store as well. Now, we have a subscription to Libsyn, and we use Libsyn to send the show out to multiple podcast directories including iTunes, SoundCloud, and Google Play all at once.
Why it's important: You can't record sound without it.
How to choose one: Your microphone is the most important element of your setup, so this is the area where cutting corners can hamstring you the most. As you shop for vocal microphones, you'll find that they come in two main varieties: condenser and dynamic.
Condenser microphones are what professionals use to record voices, but these mics are extremely sensitive and pick up all sorts of background noise, which makes them unsuitable for use outside of a recording studio. (Our first few episodes were recorded using a condenser microphone we had laying around, and trying to capture clear audio in our noisy office with it was an absolute nightmare.) Stick with a dynamic microphone unless you have a soundproof, acoustically-treated room where you can record.
You'll also see microphones labeled "USB" microphones. These microphones can plug directly into your computer and record audio using the computer's USB ports.
If you buy a non-USB microphone, the microphone will only transfer sound through an XLR cable, which won't plug into your computer. Instead, you'll need a separate device to amplify the microphone's signal and then send it out to the computer via USB output.
Note that almost all USB microphones also have XLR outputs, which means you can use them as you would a traditional microphone too. The USB output just gives you the additional option to bypass the amplification device and plug directly into your computer.
What we use: When we first started Legal Marketing Radio, I picked out four Audio-Technica ATR2100-USB Dynamic Microphones. (I wanted our show to feature roundtable-style discussions with our staff and guests, so I needed multiple microphones.) These microphones have served us well, and I still use them for recording guests. However, their output is on the quiet side, which means you have to turn the volume levels way up when you use them. Turning the volume up high while recording generally creates more white noise in the background of your sound, so it's not ideal.
You can use a device called a preamplifier (or "preamp") to boost the signal from a quiet microphone without creating additional noise; many preamps are surprisingly expensive, but for Legal Marketing Radio we use the relatively budget-friendly Simply Sound SS-1.
Why it's important: You could argue this doesn't deserve "essential" status, since many USB microphones (including the Audio-Technica ATR2100s that we use) come with some sort of small tripod that stands the microphone up. However, these tripods are usually small, flimsy, and awkward, and they require you to hunch over the microphone to record. You could also hold the mic while you talk, but while this works well for spitting a few hip-hop verses, you'll get tired of it quickly when recording a podcast episode.
A boom stand will suspend your microphone in front of your face and let you and your guests maintain a natural, relaxed posture while you record. You can buy boom stands that stand on their own or that clamp to the edge of a table; I prefer the clamp-down variety since you can't knock them over, but either type should work.
What we use: Our podcast setup includes four Neewer Boom Stands, each clamped to one side of a square table. These budget-priced stands are fairly humble and probably wouldn't stand up to much of a beating, but they're made of metal, so unless you travel with them regularly or otherwise put them through abnormal rigors, I can't see them letting you down. These stands' metal springs do make a cacophony whenever you touch the stand, so make sure to keep your hands off while you're recording.
Why they're important: At some point, you'll want to listen to the audio you're recording, and you'll need headphones to do it.
What we use: I use a pair of Sony MDR7506 over-ear headphones for Legal Marketing Radio. However, while a pair of high-quality over-ear headphones will certainly help you pick up extra detail in your audio recordings, don't let an inability to afford expensive headphones stop you from getting your podcast going. I've more than once forgotten my fancy headphones at home and mixed an episode of Legal Marketing Radio using garden-variety earbuds, and we're all still here.
Why it's important: Audio software records your audio signal and lets you save it on your computer as a digital file, and it also lets you edit the audio (delete and rearrange sections, adjust volume, and so on). Once you're finished editing, the software can export your episode as an MP3 that you can upload to a podcast hosting website.
What we use: I record Legal Marketing Radio using Audacity, which is a completely free piece of software. We actually have access to a more professional-grade program, Adobe Audition, but I'm comfortable with Audacity and haven't gotten around to learning Audition yet.
Learning to use any audio recording program — even the relatively simple Audacity — will take time, but there's a wealth of resources and answers available online. YouTube will be your best friend here.
Why it's important: Traditionally, to record audio using a microphone, you had to plug an XLR cable into the microphone and plug the other end into a device that would amplify the microphone's signal to a useable level, then send another cable out from the amplifier to a recording device. A powered mixer was (and remains) a popular choice for an amplifier since these devices not only provide amplification but also lets you adjust aspects of the audio signal. However, as we discussed above, USB microphones let you plug the mic directly into your laptop and eliminate the need for a mixer (or any other amplification device).
But plugging a USB microphone directly into your computer comes with limitations and drawbacks. First, you can't plug multiple USB microphones into your computer's USB ports and record them all at the same time — at least, not using any method that I know of. So, if you want to bring a guest onto the podcast, plugging directly into your computer will limit you to sharing one microphone. Sharing a single mic between you and your guest can get awkward and tiresome, although it's certainly possible.
Second, when you plug a USB microphone directly into your computer, your computer's sound card is taking the place of the amplification device in a traditional microphone setup. I don't have the technical knowledge to tell you why, but I've experienced occasional headaches in terms of weird noises and "sound artifacts" when recording with a USB microphone plugged directly into my computer that I couldn't diagnose or fix. I suspect these issues have to do with using a consumer-grade sound card that wasn't designed for audio recording.
Regardless of why it happens, it's annoying, and I've never experienced these problems when recording through a USB mixer. I've vowed never to record directly from a USB microphone to my computer again.
Besides solving those issues, a mixer gives you more control over your audio recording process. For example, you can tweak volume levels for each microphone input to adjust for guests with softer and louder speaking voices and even adjust the bass, treble, and midrange frequencies of your recording to get the clearest sound. Besides the additional degree of control, a mixer will also let you listen to your sound signal live through headphones. This way, you can identify audio issues and fix them on the spot rather than discovering them later during playback.
One downside of mixers is that they can easily intimidate and overwhelm a podcasting beginner with their massive array of knobs and switches. Don't worry — they're easier to get the hang of than you think, and most of the more complicated features and applications aren't important for podcasting. The instruction manual is your friend here, and heck, you can even email me if you have any questions.
Whatever you choose, make sure the description lists it as a "USB mixer." Not all mixers have the capability to send an audio signal out to a computer via USB.
What we use: I record Legal Marketing Radio on a Behringer Xenyx 1204USB four-channel mixer. Its four microphone inputs mean I can record four separate channels at once, which is perfect when I want to host a roundtable-style discussion with a few of our staff members.
If you're reasonably sure you'll only be recording yourself and an occasional guest, then a smaller two-channel mixer like this Behringer Xenyx Q802USB will work just fine, and it's a bit simpler to get the hang of as well.
Why it's important: Anyone who's ever used a computer (especially a Windows computer) knows that computers tend to crash at the worst possible time. If your computer crashes while you're recording an episode and before you save, there's likely no recovering that audio. Similarly, if your computer's hard drive fails and you haven't uploaded your audio files to the cloud, they're probably gone for good.
Digital audio recorders are much simpler devices than personal computers, and they're very unlikely to crash. By sending one of the auxiliary outputs from your mixer to a digital audio recorder like this Tascam DR-05, you can create a backup MP3 file that you can use if something happens to your computer.
What we use: Nothing. So far, I've recorded directly from our USB mixer onto my laptop. However, I already lost one entire episode because I forgot to select the correct recording input in my audio recording software, and I also suffered several minutes of panic and embarrassment when my computer's sound card suddenly stopped working at the exact moment a guest called in. (A computer restart thankfully fixed the issue.) A backup digital audio recorder would have prevented both issues.
What we use: Nothing at all. While a pop filter does its job well, it's also one more thing to deal with, and I don't like the idea of a black circle of fabric hanging in front of my face while I talk. To solve plosives without a pop filter, I just use my boom arm to hang the mic off to the side of my face at about a 45-degree angle, and I do the same for my guests. If you don't talk into the mic head-on, you'll find plosives aren't nearly such a problem.
Plosives also aren't as much of a dealbreaker in the podcasting world as they are when, say, recording audio for television commercials. Some of the podcasts I listen to regularly feature occasional plosives in the audio that you can easily detect if you listen for them. Don't lose sleep over small plosives as long as they aren't distracting.
That's it for our quick-start podcasting guide, but you're interested in launching a podcast but still feel a little overwhelmed, don't worry. We're happy to speak with you about building a podcast for your business, as well as any other digital marketing needs you may have — including content marketing, video production, and website design.
To find out how LaFleur can help you grow your business and promote your brand with efficient, affordable digital marketing solutions, give us a call at (888) 222-1512 or fill out our convenient contact form. We look forward to hearing from you!


While a body of literature exists on protracted crises, particularly in Africa, this tends to be circulated and discussed by those who consider themselves to be working on either 'conflict' or 'crises', and is largely non-existent in mainstream discussions on DRR and disaster risk governance. Despite both dealing with risk management, there remains a hesitancy to explore the relationship between disasters and conflict. This report seeks to understand why this hesitancy remains.
Interviews with experienced DRR policy-makers, donors and practitioners revealed a wide range of challenges, including the confines of institutional mandates; the lack of an evidence base to guide policy and programming; fear of the unknown; lack of funding for experimentation and trialling new or unproven approaches; practical concerns around accessibility and operational security; and a tendency to prioritise peace and security over DRR in fragile and conflict-affected contexts.
Infographics showing links between disasters and fragile or conflict-affected states, and the funding shortages for Disaster Risk Reduction in such areas.
Why the disaster risk reduction community should be doing more to prevent disasters in fragile and conflict-affected contexts.


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The Photographs of John Thomson
Edinburgh-born John Thomson (1837-1921) was one of the great names of early photography. His photographic legacy is one of astonishing quality and depth.
Thomson's images of China and South-East Asia brought the land, culture, and people of the Far East alive for the 'armchair travellers' of Victorian Britain.
He was one of the pioneers of photojournalism, using his camera to record life on London's streets in the 1870s. As a society photographer he also captured the rich and famous in the years before the First World War.
These pages present a brief introduction to Thomson's work, with examples drawn from the National Library of Scotland's collections.
Arts & Humanities | Asia | China | Culture | English | Image | John Thomson | Journalism | London | National Library of Scotland | Photography | Photojournalism | Text | United Kingdom | Photography
http://digital.nls.uk/thomson/index.html
Harrison Brown - The Sian Incident and Beyond
HARRISON BROWN The Sian Incident and Beyond "Harrison Brown: The Sian Incident and Beyond" is a chronicle of author and journalist Harrison Brown's voyage to China between 1936 and 1937, and the events that unfolded during that time in what has become known as 'The Sian Incident'. The events are presented largely through the eyes of Harrison Brown himself - 'H.B.' as his friends called him - through the journals that he kept during his trip, the photographs he took, and the articles and manuscript that he wrote during and after his journey. You may browse through a collection of 137 of H.B's photos, his 22-chapter manuscript "On the Trail of a Freelance", his original hand-written journal pages, and much more.
Arts & Humanities | Author | British Columbia | Canada | China | China | English | Harrison Brown | Image | Journalism | Manuscript | Photography | Simon Fraser University | Text | Writer | Biography | Literature & Poetry | Social Sciences
http://edocs.lib.sfu.ca/projects/Harrison-Brown/
The Life and Work of Edward R. Murrow
Edward R. Murrow (1908-1965) is best known as a CBS broadcaster and producer during the formative years of U.S. radio and television news programs from the 1930s to the 1950s, when radio still dominated the airwaves although television was beginning to make its indelible mark, particularly in the US. Over the decades, numerous publications have portrayed Murrow as one of the architects of U.S. broadcast news, but in the political climate of recent years, he is increasingly viewed as a defender of rights against McCarthy-type witch hunts. The Life and Work of Edward R. Murrow is an online exhibit featuring Murrow's career from his student days to his work for USIA.
Audio | Biography | Broadcast news | Broadcasting | Edward R. Murrow | English | Image | Journalism | Massachusetts | News | Radio broadcast | Television | Text | Tufts University | United States | Biography | Internet & Multimedia | News & Current Events | Business & Reference | Social Sciences
http://dca.lib.tufts.edu/features/murrow/exhibit/index.html
About Historic Oregon Newspapers Welcome to Historic Oregon Newspapers. On this site you can search and access complete content for historic Oregon newspapers that have been digitized as part of the Oregon Digital Newspaper Program (ODNP) . Soon you will also be able to read historic essays about each of the featured newspapers and view sample lesson plans to help K-12 Educators integrate historic newspapers into their classroom strategies. We hope to keep adding new titles and more pages, so please check back periodically for content updates. The ODNP was also created to help facilitate the digitization of Oregon newspapers by outside organizations/individuals and include in this open state-wide resource for Historic Oregon Newspapers online.
Digital newspaper | English | Entertainment | Historic newspaper | Image | Journalism | Mass media | Newspapers | Oregon | Publishing | Text | United States | University of Oregon | News & Current Events | Publishing | Business & Reference
http://oregonnews.uoregon.edu/
About The Oregon Daily Emerald (ODE) Archives is a full text searchable database of past ODE issues. The current collection began with issues in September 2005. At this time, there are no plans to digitize older issues of the Oregon Daily Emerald. An Oregon Daily Emerald Photograph Archives is coming soon. ODE Photographs can be purchased from ODE at http://reprints.dailyemerald.com . All material is copyrighted by Oregon Daily Emerald Publishing Co., Inc. Visit the Oregon Daily Emerald website. Last revision: 10/09/2011 1501 Kincaid Street, Eugene, OR 97403-1299 | T: (541) 346-3053 | F: (541) 346-3485
Current affairs | English | Image | Journalism | Letterpress printing | Newspaper | Oregon | Oregon history | Publishing | Text | United States | University of Oregon | News & Current Events | History & Historiography | Business & Reference | Social Sciences
http://oregondigital.org/digcol/ode/
Running for Office - Cartoons of Clifford K. Berryman
The National Archives and Records Administration Clifford K. Berryman: Political Cartoonist Extraordinaire In 1886 at the age of 17, Clifford K. Berryman moved from Kentucky to Washington, DC, to work at the U.S. Patent Office, where he used his self-taught talents to draw patent illustrations. He left the Patent Office in 1891 to become a cartoonist's understudy for the Washington Post. Within five years, Berryman was chief cartoonist, a position he held until 1907 when he became the front-page cartoonist at the Washington Evening Star. Berryman drew political cartoons for the Star until his death in 1949 at the age of 80. Washington political circles embraced Berryman's cartooning.
Arts & Humanities | Cartoons | Clifford K. Berryman | English | Ephemera | Image | Journalism | Maryland | Mass media | Political campaigns | Politics | Pulitzer Prizes | The U.S. National Archives and Records Administration | United States | Graphic Arts | Political Science & Politics | Social Sciences
http://www.archives.gov/exhibits/running-for-office/
Helen Muir Papers
Helen Muir Papers Helen Muir wrote for the Universal Service Syndicate and reported for newspapers such as the Miami News and the Miami Herald. The Helen Muir Papers consist of Mrs. Muir's personal and professional correspondence, and features correspondence with Robert Frost, his daughter Leslie, and attorney general Janet Reno, among others. The collection also includes drafts of Muir's writing and research files, photographs, and clippings that relate to her career, which began when she moved to South Florida in 1934. Muir's devotion to Miami and its history can be gleaned from the numerous books she authored on the city, including Miami, USA and Biltmore: Beacon for Miami . The collection consists of twenty-nine boxes that span the years 1934 through 1995.
English | Florida | Helen Muir | Image | Journalism | Mass media | Miami | Newspapers | Publishing | Text | The Miami Herald | The Miami News | United States | University of Miami | News & Current Events | Business & Reference
http://merrick.library.miami.edu/specialCollections/asm0471/

redpajama_set_name: RedPajamaCommonCrawl


Bring Your VEGGIE Dreams to FRUITion; Open Every Day for U-Pick Vegetables & Apples.
DEAR FARMKETEERS: A little rain does a lotta good. Oh sure, it slakes the crops and softens your lawn underfoot. But water from the sky magically… alchemically… turns one thing into another. Behold the transformation.
Just last week, you saw this pokey old door swinging in the summer wind. You weren't sure if it was okay to go through.
A few nights of summer rain and voila! THE PRODUCE PORTAL. Open for business. Come pick your vegetable haul. The tomatoes are about to go supernova.
Now Picking: Apples (yellow transparent and pristine); raspberries (first come first find); zucchini and yellow squash; Swiss chard; eggplant (although a gentleman picked 60 pounds so the patch is bouncing back); sweet peppers and hot peppers; tomatoes (we are picking it heavily to supply the stand but the patch is going to go BOOM with radical ripeness very soon); herbs of 7 varieties; flowers galore. Now Stocking: melons, nectarines, blueberries, peaches, tomatoes, peppers, eggplant, potatoes, onions, garlic, scapes, syrup, honey. Yep.
So this week is basically rinse and repeat — vegetables, fruits, herbs, and flowers. As always be vigilant, for the signage team is up to their old tricks.
A place to park your arse and swing. Cut a bouquet of flowers to take home.
One more thing to tell you all this week. You are unswerving and steadfast 'Creekniks. We see it and we know it. For your loyalty, you deserve the best in life. Don't let anyone tell you different. Poo poo on them that poo poo you. We got your back. A token of our appreciation? This diamond doorhandle on the Produce Portal. We spared no expense.
The vegetables appreciate you. The fruits appreciate you. Come feel appreciated. Hope to see you at The 'Creek.


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Greatest Film Scenes
and Moments
Truly Madly Deeply (1990)
Title Screen Movie Title/Year and Scene Descriptions Screenshots
Truly Madly Deeply (1990, UK)
In director Anthony Minghella's romantic ghost fantasy:
the scene in this fantasy drama in which devoted boyfriend and cellist Jamie (Alan Rickman) returned from the dead as a 'ghost' to join his inconsolable, bereaved lover Nina (Juliet Stevenson), an interpreter, and speak to her
he gave an explanation for his return: ("I dunno, maybe I didn't die properly. Maybe that's why I can come back. It was like standing behind a glass wall while everybody else got on with missing me. It didn't hurt. And you know, I'm very sensitive to pain. It really didn't hurt")
after they kissed, he spoke about her pain on the back porch: (Jamie: "Thank you for missing me." Nina: "I have. I do. I did." Jamie: "I know. But the pain, your pain, I couldn't bear that.")
his description of a local neighbor girl who died - a story about how parents should lovingly embrace their children: ("There's a little girl. I see this little girl from time to time. Alice, who's three, three and a half. And she's great. Everybody makes a big fuss, but she isn't spoiled. Well, she wasn't spoiled. She was knocked over and she died. And her parents and her family and her friends from kindergarten. Well, she used to go to this park. And she was telling me, they made an area in the park, gave the money for swings and little wooden animals. And there are these plaques on each of the, on the sides of the swing, the bottom of the horse, from Alice's mum and dad: 'In loving memory of Alice, who used to play here.' And, of course, Alice goes back there all the time. You see parents take their child off the swing and see the sign. And then they hold onto their son and daughter so tightly, clinging on for dear life. And yet the capacity to love that people have. What happens to it?")
the scene of their lengthy proclamation of their love for each other: (Nina: "I love you." Jamie: "I love you." Nina: "I really love you." Jamie: "I really, truly love you." Nina: "I really, truly, madly love you." Jamie: "I really, truly, madly, deeply love you." Nina: "I really, truly, madly, deeply, passionately love you." Jamie: "I really, truly, madly, deeply, passionately, remarkably love you." Nina: "I really, truly, madly, deeply, passionately, remarkably, uhmm... deliciously love you." Jamie: "I really, truly, madly, passionately, remarkably, deliciously... juicily love you...." Nina: "Deeply! Deeply! You passed on deeply, which was your word, which means that you couldn't have meant it! So you're a fraud, that's it!...(They hug) You're probably a figment of my imagination. (pause) Juicily?")
their singing of "The Sun Ain't Gonna Shine Anymore" (accompanied by his playing on the cello) and then their joining together in a piano duet
toward the end of the film, Jamie recalled the first night that they spent together when Nina asked him to describe it: "What did we do?" - he remembered: ("We talked...Well, talking was the major component. You played that piano. Then I played, then we both played. Something, duet. Something, I can't remember. And then you danced for about three hours, until I fell asleep. But you were fantastic. And then we had some cornflakes. And when we kissed which was at about 11 o'clock the following morning, we were trembling so much, we couldn't take off our clothes")
later, he recited Pablo Neruda's Spanish poem La Muerta to Nina (which she translated line by line from Spanish to English) when she was beginning to decide that she was ready to move on from Jamie: ("Forgive me...If you are not living...If you, beloved, my love, if you have died... All the leaves will fall on my breast... It will rain on my soul all night, all day... My feet will want to march to where you are sleeping... But I shall go on living.") Jamie then asked Nina: "Do you want me to go?" She tightly hugged him: "No, never, never, never."
however, Jamie's fellow ghosts came to him and asked if he was going to leave Nina if she was ready to move on to a new relationship - with art therapist-psychologist Mark (Michael Maloney). One asked: "Well?", and Jamie responded: "I think so. Yes."
Ghosts Asking If Jamie Was Going to Leave Nina
Jamie's Response to Ghosts: "I think so. Yes"
in the next scene, Nina admitted to Mark: "I think I am free. I did love someone very much, you see. Very much. But he died. He died. And I found it quite hard to get over it"; that night, she would be sleeping over at Mark's house after purchasing a toothbrush at a pharmacy
Nina to Mark: "I think I am free"
Sleeping Over at Mark's Place, With Her Toothbrush
the next day, Nina cleaned up her apartment knowing that she was moving on in life; that evening, the ghosts with Jamie watched from her upstairs apartment window as Nina kissed Mark at her front gate and left for good to be with Mark from now on
Ghostly Jamie (with Other Ghosts) Watching Nina
Nina Kissing Mark at Her Front Gate
Jamie's Final Goodbye While Watching Nina and Mark Leave
"Maybe I didn't die properly"
Kissing - And Then Telling Her on the Back Porch: "Your pain, I couldn't bear that"
Story About Neighbor Girl Who Died
Lengthy Proclamation of Their Love
Singing "The Sun Ain't Gonna Shine Anymore"
Nina Listening as Jamie Recalled Their First Night Together
Jamie Reciting Pablo Neruda's Spanish Poem
Hugging Tightly After He Asked - "Do you want me to go?"
100's of the GREATEST SCENES AND MOMENTS
Greatest Scenes: Intro | What Makes a Great Scene? | Scenes: Quiz
Scenes: Film Titles A - H | Scenes: Film Titles I - R | Scenes: Film Titles S - Z


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O Hotchkiss Anjou foi um sedã de luxo oferecido entre 1950 e 1954, pela marca automotiva francesa Hotchkiss et Cie. Esta empresa era uma tradicional produtora de armas e carros de combate do século XIX e XX.

Anjou
Hotchkiss Anjou
Hotchkiss Anjou

redpajama_set_name: RedPajamaWikipedia


100%54°47°Showers with a high of 54 °F (12.2 °C) and a 35% chance of precipitation. Winds SSW at 14 to 17 mph (22.5 to 27.4 kph).Night - Mostly cloudy with a 30% chance of precipitation. Winds variable at 6 to 14 mph (9.7 to 22.5 kph). The overnight low will be 48 °F (8.9 °C).
Today - Showers with a high of 54 °F (12.2 °C) and a 35% chance of precipitation. Winds SSW at 14 to 17 mph (22.5 to 27.4 kph).
Tonight - Mostly cloudy with a 30% chance of precipitation. Winds variable at 6 to 14 mph (9.7 to 22.5 kph). The overnight low will be 48 °F (8.9 °C).