Jarl varg \"rape her\"😂(Norsemen) funniest Viking epic fail \"NO ERICTION...yes a great!\"[4k] from indian and frindctress rape seance Watch Video

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Glasgow Jazz Festival has unveiled its programme for 2024, with performances from some of the biggest names in jazz set to be hosted in the city this summer. Taking place between Wednesday 19th - Sunday 23rd June 2024, there are over 20 captivating events confirmed across Glasgow.<br/>This year sees Glasgow Jazz Festival return to well-loved venues including the Mackintosh Church<br/>and Òran Mór in the West End, the City Centre’s Nice n Sleazy, Saint Luke’s in the East End and The Glad Café in the Southside.<br/>The Glasgow Jazz Festival 2024 line-up showcases everything from the legendary to the up-and- coming, and promises an electrifying line-up that festival audiences have come to expect of the world-renowned event.<br/>At the East End’s iconic Saint Luke’s, the spotlight will shine on jazz luminary Bobby Watson and his Quartet. Making a triumphant return to Glasgow after a hiatus of over a decade, the esteemed US saxophonist is best known for his unparalleled improvisational prowess. Having graced the Glasgow Jazz Festival stage as Artist in Residence exactly 30 years ago, in 1994, Watson’s long-awaited comeback is sure to be a highlight of this year's five-day festival.<br/>Spiritual jazz act Mama Terra will recreate songs from the classic album 'Head Hunters' by Herbie<br/>Hancock in their own sound, while kitti's Caledonian Songbook pays homage to songs in the Scots tradition from Robert Burns right up to Paolo Nutini. Winner of 2023 BBC Radio Scotland Young Jazz Musician of the Year, pianist Ben Shankland also performs an afternoon show, as well as Glasgow Improvisers Orchestra who reunite with Orphy Robinson, one of the most engaging and influential<br/>voices in British jazz. <br/>Across the city in Òran Mór, a diverse array of jazz virtuosos takes centre stage – from the smooth, intricate melodies of the Jim Mullen Trio to the funky rhythms of original member of the Average White Band Hamish Stuart and his band. International sensations Kyoto Jazz Massive will transport listeners on a mesmerising journey, blending Japanese and French influences into a harmonious fusion of sound.<br/>The Mackintosh Church will present the inimitable Fergus McCreadie Trio. Fresh off their nomination for the prestigious Mercury Prize and crowned winners of the Scottish Album of the Year in 2022, this Scottish ensemble will showcase their captivating compositions and virtuosic<br/>performances alongside tracks from their new album ‘Stream’.<br/>The Nice n Sleazy stage will showcase the dynamic duo of Scottish saxophonist Norman Willmore and drummer Corrie Dick. Having graced stages at festivals across the UK, they will bring their<br/>electrifying energy and infectious rhythms to the heart of Glasgow. BLACKSABBATHMODE is a collaboration between nu-jazz duo BIGHEADMODE and distinguished multi-instrumentalist Plumm<br/>inspired by the legendary rock band, Black Sabbath. Scottish protest musician Kapil Seshasayee fuses R&B, Indian classical and jazz fusion with contemporary electronica.
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Madness ensues when a 'Player' in the world of romantic relationships finds a girl who's a worthy opponent. Tu Jhoothi Main Makkaar is a film that believes Love is a battle of wits.<br/>Mickey, a carefree businessman and womaniser, helps couples break up. However, things change for him when he falls for Tinni, a witty and beautiful chartered accountant.<br/>Cast: Ranbir Kapoor, Shraddha Kapoor, Anubhav Singh Bassi, Dimple Kapadia, Boney Kapoor<br/><br/>In a normal universe, Tu Jhoothi Main Makkaar is about a ‘boy’ and a ‘girl’ who fall in love only to realize that they want different things from life. Breaking up is a problem because they’re not Gen Z enough to ghost each other. At most, they hang around in the relationship until the love dissipates. Anything to not have “the talk”. In this normal universe, the film is certainly not called Tu Jhoothi Main Makkaar, or anything on the lines of Sonu Ke Titu Ki Pyaar Ka Punchnama. But in Luv Ranjan’s universe, this same story is a bitter battle of sexes between a good-looking boy and a gorgeous girl who tries to leave him because – horror of horrors – she likes her independence and his family is too overbearing.<br/><br/>You can’t say Ranjan isn’t trying. If anything, this is him reacting to the criticism – that is, the (correct) accusations of casual misogyny bubble-wrapped in crowd-pleasing comedy – of his previous movies. You see, the women in those movies (Pyaar Ka Punchnama, Sonu Ke Titu Ki Sweety) were scheming, conniving caricatures who forced their boyfriends to choose between bromance and romance. Love was a messy war of ownership. But here, the conflict is centered on the woman’s inability to be cruel and manipulative; she is too evolved to be the quintessential Luv Ranjan heroine. (Coincidentally, actress Shraddha Kapoor’s breakout film, from 2011, was called Luv Ka The End). Her Nisha in this film is so nice that, rather than force poor Rohan (Ranbir Kapoor) to choose between his family and her, she attempts to do the nobler thing: Gaslight him into believing he’s the issue. Nisha would rather have Rohan reject her than the other way around. You see, her dishonesty is merely an expression of compassion. This is Luv Ranjan being progressive.<br/><br/>Never mind that Rohan, like his Kartik Aaryan-esque predecessors, decides to turn her predicament into a game. At stake is the incorruptible Indian idea of marrying not just the person, but also the family. In the pink corner lies Rohan’s courage to go from cold Casanova to heartbreaking martyr, and his pride of being a Momma’s Boy. In the blue corner lies Nisha’s reluctance to sacrifice her own ambitions at the altar of Rohan’s Barjatya-shaped love. There can be only one winner. At one point, he subjects Nisha to a sexist rant about women and jobs – except that he’s only pretending to be a horrible man. He’s pretending to be a Kabir Singh so that nobody blames her. For a moment, I was almost impressed by Luv Ranjan’s self-awareness to use toxic masculinity as a smokescreen.
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