Podcasts about indians

On Wednesday's Mark Levin Show, there's deep frustration, shared by many Americans, over government officials who voice concerns about figures like Abdul El-Sayed, and Hasan Piker yet take no real action against them. We're not discussing freedom of religion but rather individuals who seek to destroy the country, promote violence, attack the Constitution and Declaration of Independence, and undermine the system—primarily first- and second-generation Islamists, some of them naturalized citizens or children of birthright citizenship (like Piker). The Washington ruling class lacks the will to defend law-abiding American patriots, with Democrats protecting such individuals for their votes and others remaining intimidated by accusations of Islamophobia. Later, a Democrat nobody's heard of, Rep Johnny Olszewski, declares that impeachment of President Trump a top priority if Democrats take the House. Democrats are weaponizing impeachment for pure politics against a president who won a record popular vote, Electoral College total, and every swing state, rather than addressing genuine constitutional violations. Also, NYC Mayor Zohran Mamdani opposes a private Manhattan event featuring the leader of India's Hindu nationalist group (the RSS, ideological parent of the ruling party and linked to Prime Minister Modi). This is part of a pattern of his hostility toward Jews, Italians, and now Indians.  Mamdani a bigot who trashes PM Modi the same way leftists trash PM Netanyahu.  Later, Hasan Piker's recent remarks linking American Jews' support for Israel to potential violence against them, while blaming AIPAC for Democratic backlash, have drawn condemnations from several Democratic lawmakers. AIPAC is a transparent American PAC funded by Americans—unlike foreign influence from places such as Qatar or Turkey. Finally, Sen Dan Sullivan calls in to discuss his Senate election against Mary Peltola, who is a far-left liberal whose two terms in Congress produced zero bills signed into law. Sullivan called Alaska's ranked-choice voting system a manipulable scam put on the ballot to elect liberals - don't fall for it. Learn more about your ad choices. Visit podcastchoices.com/adchoices

They just can't keep my name out of their mouths. After an Indian heritage restaurant owner decided to verbally attack me online, a group of mostly Indians decided to hold a forum to trash me even further. Luckily, I'm everywhere, even in their Spaces chat, where they accuse me of being a racist, inciting violence, and spreading hate. They love calling me “racist” for the smallest reasons, including my dislike of Indian food. Strong accusations coming from people who have said some atrocious things. I did some digging on the ringleaders of the Spaces chat, and what they say is beyond hypocritical — it's horrifying. A Democrat running for Congress in Texas was BUSTED spending hundreds of donor dollars on cookies. Leftists have no issue spending money freely when it's not their own. Congressional nominee Brandon Herrera (R-Texas) joins the show to dish the dirt on his opponent, Katy Padilla Stout (D-Texas). No surprise that liberals immediately turned the heartbreaking loss of Dolly Parton into a political argument. Even in a moment meant to honor a country music icon, they can't resist dragging Trump into it. ► Watch my video where I call out the restaurant owner who threatened me:  https://youtu.be/wJs08ognDBs   ► Catch up on my H-1B visa investigations:  https://www.youtube.com/playlist?list=PLkJEwf2wliqrtNlYs9D78nmE_Gnja_PpC    ► Email me at saratips@blazemedia.com if you have uncovered potential fraud in your area.   ► Subscribe to my second YouTube channel: https://www.youtube.com/@SaraGonzalesTX?sub_confirmation=1    ► Patriot Mobile Use promo code SARA for a FREE MONTH of service. PatriotMobile.com/SARA Timestamps:  00:00 - They're Calling ME Racist? 25:43 - Exposing Their Racist Posts 34:04 - Cookie Spending Spree 42:51 - Libs Politicize Dolly Parton's Death Learn more about your ad choices. Visit megaphone.fm/adchoices

THE Bassem Youssef joins the show! + Kris Fade casually hung out with Will Smith and has all the goss + We talk babies and diapersSee omnystudio.com/listener for privacy information.

India's finance minister wants public sector banks to get "cool" for Gen Z. With yoga vouchers, youth kiosks, awareness campaigns. But the numbers tell a different story. PSBs are losing young Indians as both depositors and borrowers, while, at the same time, fintech lenders capture 57% of India's small-ticket loan market. Some, even at interest rates as high as 600%. On this episode, host Rachel Varghese asks why India's public banks misdiagnosed the problem, what it's actually costing young borrowers, and whether the tools to fix it, like cheaper credit, and faster underwriting, that already exist can be pointed in this demographic's direction.Daybreak is produced from the newsroom of The Ken, India's first subscriber-only business news platform. Subscribe for more exclusive, deeply-reported, and analytical business stories.

Set the context for a joyful, exuberant day with a short, powerful message from Sadhguru. Explore a range of subjects with Sadhguru, discover how every aspect of life can be a stepping stone, and learn to make the most of the potential that a human being embodies.  Conscious Planet: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.consciousplanet.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sadhguru App (Download): ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://onelink.to/sadhguru__app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Official Sadhguru Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://isha.sadhguru.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sadhguru Exclusive: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://isha.sadhguru.org/in/en/sadhguru-exclusive⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Inner Engineering Link: isha.co/ieo-podcast Yogi, mystic and visionary, Sadhguru is a spiritual master with a difference. An arresting blend of profundity and pragmatism, his life and work serves as a reminder that yoga is a contemporary science, vitally relevant to our times. Learn more about your ad choices. Visit megaphone.fm/adchoices

SUPPORT KELLY P: https://www.gofundme.com/f/support-kellys-fight-against-cancer-and-hardship  For the FULL EXPERIENCE head to: https://www.patreon.com/c/timbutterly Stopping by the hideaway as he lays in wait of an upcoming child LUKE TOUMA talks with us about Indians stepping on a certain sacred secretion. The boys talk other Indian stuff but you'll have to get in here to find out about it. Butterly and Luke also breakdown a news story about a man who was trapped in a billboard. This ep is good, This ep is great, put this ep upon your plate. Check out more Luke Touma: https://www.youtube.com/@UCkbBxMvRTbumWisBwPPLH0g  UPCOMING SHOWS AT https://timbutterly.com  Catch the show live AND new eps of Metal Girl Solid live - https://www.twitch.tv/timbutterly Live Better Longer with BUBS Naturals. For a limited time, get 20% off your entire order with code TBS at http://Bubsnaturals.com #adventure If you're 21 or older, get 30% OFF your first order @ IndaCloud with code BUTTERLY at https://inda.shop/BUTTERLY #indacloudpod

Set the context for a joyful, exuberant day with a short, powerful message from Sadhguru. Explore a range of subjects with Sadhguru, discover how every aspect of life can be a stepping stone, and learn to make the most of the potential that a human being embodies.  Conscious Planet: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.consciousplanet.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sadhguru App (Download): ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://onelink.to/sadhguru__app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Official Sadhguru Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://isha.sadhguru.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sadhguru Exclusive: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://isha.sadhguru.org/in/en/sadhguru-exclusive⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Inner Engineering Link: isha.co/ieo-podcast Yogi, mystic and visionary, Sadhguru is a spiritual master with a difference. An arresting blend of profundity and pragmatism, his life and work serves as a reminder that yoga is a contemporary science, vitally relevant to our times. Learn more about your ad choices. Visit megaphone.fm/adchoices

Two stories featuring one of the more rage-addicted pitchers of all time (no, not Johnny Allen, but good guess), one in which he overestimated a Hall of Famer's rigidity and got ejected for it, another when he had simply had enough and removed himself from the situation—a self-destructive impulse that, in select circumstances, it might well be liberating to emulate. Plus: We revisit a segment on Tommy John, who passed away this week, and an occasion when his pitching arm was badly hurt—no, not that time. Another one! The Infinite Inning is a journey to the past to understand the present using baseball as our time machine. America's brighter mirror, baseball reflects, anticipates, and even mocks the stories we tell ourselves about our world today. Baseball Prospectus's Steven Goldman shares his obsessions: history from inside and outside of the game, politics, stats, and Casey Stengel quotations. Along the way, we'll try to solve the puzzle that is the Infinite Inning: How do you find the joy in life when you can't get anybody out?

Updates on the forum while away, a gay black British professor self sudokus after being found out a fraud, Indians leak GTA 6, Elaine Miller and her doxing friends break up, DSP opens more Pokemon cards, Mr. Obvious goes ape, IDUBBBZ refuses to denounce Redditors, and Chris Hanson gets banned from Roblox.

This week on Sinica, I sit down with the writer Pallavi Aiyar — at her own dining table in Beijing, where in recent months I've been the lucky beneficiary of her and her husband Julio's legendary hospitality. Pallavi first arrived in Beijing in 2002 to teach at the Beijing Broadcasting Institute and went on to spend the better part of a decade as The Hindu's China correspondent — for much of that time, the only Chinese-speaking Indian foreign correspondent in the country. That period produced Smoke and Mirrors: An Experience of China, still one of the very few sustained attempts to look at China through Indian eyes. After 16 years away — years spent in Brussels, Jakarta, Tokyo, and Madrid — she's back in Beijing, and turning her gaze inward with her latest book, Travels in the Other Place: Pursuing the Self in Eight Acts. She writes the wonderful Substack The Global Jigsaw, which I recommend without reservation.Our conversation is built around her recent essay for Noema Magazine, “The Real Problem Underlying India-China Tensions,” which argues that the deepest problem in the relationship isn't the border or the trade imbalance but the distorting lenses through which each side reads the other: China reads India through the lens of colonial subordination, while India reads China through the lens of betrayal. We talk about the ugly etymology of an ethnic slur, the partial historical memories each country mistakes for the whole picture, her serialized interviews with the Chinese India-watcher Mao Keji, the aporia-inducing impossibility of explaining either country to outsiders — and how her answer to the question she first posed in 2008, “Would I rather be born Indian or Chinese?”, has changed, painfully, in the years since.4:35 – Beijing, 2002: an ad in That's Beijing, gandhi@hotmail.com, and becoming The Hindu's correspondent10:03 – “Beijing and I grew up together”: the aughts as a shared coming-of-age12:16 – The asymmetry of obsession: why India watches China, but not the reverse16:39 – The unacknowledged third vertex: Western discursive power in the India-China relationship18:08 – Back after 16 years: the Liangma River, blue skies, and the panopticon21:35 – Walks in the park and the “buddy system”: what access looks like now25:43 – Where did all the foreigners go?29:59 – The scene at CCG: candor, offense, and the register of truth33:10 – “Asan”: the etymology of a slur, Sikh policemen, opium fortunes, and China's colonial lens40:10 – 1962 and India's betrayal lens42:15 – Aporia: the foolhardy task of explaining India or China47:22 – Shame and indignation: explaining a place you love versus a place you merely know52:29 – The big question, 2008: born Indian or Chinese?55:44 – The 2026 answer: “It hurts”1:00:08 – Kaiser pushes back: cherry-picked comparisons, and can this essay's very existence complicate its conclusions?1:04:43 – Twin nations of the exam1:06:57 – Cognitive empathy: what it would take for ordinary Indians and Chinese to actually see each otherPaying It ForwardYaqi Li, a young Chinese international relations scholar recently returned to China after a year in Singapore — Pallavi admires the rare self-reflectiveness of his memoir-inflected IR writing on his Substack, New China Literacy, and notes that he makes an interesting case for AI-assisted writing as a way for second- and third-language English speakers to find their voice.RecommendationsPallavi: Flashlight by Susan Choi — a novel spanning Japan, the U.S., and North Korea, built around the North Korean abductions of Japanese citizens in the 1970s. Also This Is Where the Serpent Lives by Daniyal Mueenuddin — the first novel from her favorite Pakistani writer, a sprawling, Chekhovian portrait of feudalism and politics in modern Pakistan.Kaiser: Crossing to Safety by Wallace Stegner — beautiful at the sentence level, painted on a small canvas: two couples who meet as young academics at the University of Wisconsin–Madison, and their friendship across the decades. Emotionally rich despite the absence of grand drama.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this episode, Razib talks to Daniel Di Martino, a Venezuelan-born economist, speaker, and fellow at the Manhattan Institute, where his research centers on immigration policy, including selection, assimilation, and high-skilled migration. Born in 1999 and raised in Venezuela, he witnessed firsthand the impacts of socialism, including hyperinflation and shortages, which prompted him to immigrate to the United States in 2016. He earned a BA in Quantitative Economics from Indiana University and a PhD in Economics from Columbia University. He writes for publications such as City Journal, and USA Today, and serves on the board of advisors for Young America's Foundation while sitting on New Jersey's advisory committee to the U.S. Commission on Civil Rights. First, they talk about the economic and social impact of socialism in Venezuela under Hugo Chavez and Nicolas Maduro. Di Martino describes the country's decline, including hyperinflation, shortages, and corruption, leading to a significant emigration of 30% of the population. Di Martino also discusses the potential for Venezuela's freedom under the Trump administration and his ongoing work on immigration and economic policy. He advocates for a selective, high-skilled immigration policy in the U.S., emphasizing its economic benefits and the need for a moral approach to enforcement. They discuss Di Martino's report, The Fiscal Impact of Immigration, and how Indians in America fit into that picture more precisely.

Coach Lovell opens the final hour of the show by talking about the early days of Indiana Sports Talk. Indianapolis Indians broadcaster Howard Kellman joins a little later than usual, but for good reason – the Indians played a wild game against the Nashville Sounds, with Joshua Palacios delivering in extra innings. Mike Maahs, the voice of the Fort Wayne TinCaps, hops onto the show to talk about what happened in the team's doubleheader on the road against the Quad Cities River Bandits. Gold and Black’s Alan Karpick joins Coach Lovell to give an update on Purdue football as Barry Odom's Boilermakers search for their first Big Ten win since 2023. Brendan King, the voice of the South Bend Cubs, joins coach to talk about a reality check that his team has faced during their series against the Great Lakes Loons. Coach closes the show with Caleb Zuver, previewing Sunday's pivotal game between the Fever and the Atlanta Dream and other upcoming events on the local sports slate. See omnystudio.com/listener for privacy information.

Use Code “PKA” for 10% off your entire Lock and Load order! https://gorillamind.com/products/lock-and-load-pka-collaboration-1/?rfsn=6138256.b4345dbGo to https://painkilleralready.com and use ‘PKA10' for 10% off NEW PKA merch!Support PKA on Patreon: https://www.Patreon.com/PKAPKA on iTunes: http://bit.ly/PKAOniTunesPKA on Spotify: https://open.spotify.com/show/0PmbMyemYMbHVg4v9JVjz6?si=4d7da95c5b1244d0

A.M. Edition for Aug. 14. Meatpacking giant Tyson Foods is planning to close a major beef processing plant, its latest bid to cut costs as the industry tries to cope with a yearslong cattle shortage. Plus, President Trump turns to tariffs to try and reshore drone production. And WSJ South Asia bureau chief Tripti Lahiri takes us inside the frantic scramble for work in India, where thousands of young people are competing for each new job. Luke Vargas hosts. Sign up for the WSJ's free What's News newsletter. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

As India marks its 80th Independence Day, this special vox pop explores what freedom means and the responsibilities that come with it. Voices from the Indian diaspora in Australia and people in India, including students, entrepreneurs, community leaders and journalists, share their views on freedom, family, community and society. Tune in to hear what independence means to Indians today.

In this episode of Sports the NEMO Way we bring the best athletes of Cleveland to the table for discussion. Just want to throw this out there that I have never been to Cleveland so I don't really have anything bad to say about the town except for the fact that Lebron James is from Ohio. Other than that there are some actually good athletes that I like that come from Ohio.... Like Mark Price, Jim Thome, Jim Brown, I like Drew Carey I know he's not an Athlete but he was a Marine so I gotta show love for that. Anyway before I go crazy on a tangent to where I bash Lebron James for like the one millionth time I'll be good and stop where I'm at. Have a great day guys, and we'll see you all next week... Peace.

On the occasion of India's 74th Independence Day, Sadhguru urges Indians to use the nation's phenomenal diversity as an engine for the nation's growth and development. Conscious Planet: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.consciousplanet.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sadhguru App (Download): ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://onelink.to/sadhguru__app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Official Sadhguru Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://isha.sadhguru.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sadhguru Exclusive: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://isha.sadhguru.org/in/en/sadhguru-exclusive⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Inner Engineering Link: isha.co/ieo-podcast Yogi, mystic and visionary, Sadhguru is a spiritual master with a difference. An arresting blend of profundity and pragmatism, his life and work serves as a reminder that yoga is a contemporary science, vitally relevant to our times. Learn more about your ad choices. Visit megaphone.fm/adchoices

How do you carry the monumental weight of one of Indian classical music's most revered lineages while fearlessly forging your own contemporary artistic voice? In this episode of TRUST ME I KNOW WHAT I'M DOING, host Dr. Abhay Dandekar sits down with Grammy-nominated Sarod master, composer, and performer Alam Khan. As the son of legendary maestro Ustad Ali Akbar Khan, Alam inherited the keys to the iconic Maihar Gharana tradition. In this deep and intimate conversation, Alam reflects on performance rituals and perfectionism, taking the Sarod into modern landscapes, navigating the "Jedi-like" responsibility of preserving legacy, and why true music must always serve as the "sound of unconditional love."If you enjoy deep dives into culture, identity, and artistic excellence within the South Asian diaspora, please LIKE, SHARE, and SUBSCRIBE to join our growing community!--------------------------CHAPTERS:00:00 - Introduction03:02 - Overcoming Stage Fright & Performance Anxiety05:44 - Breaking Free from Perfectionism: "Perfectly Imperfect"08:48 - Maintaining a Growth Mindset in High-Stakes Artistry11:22 - Evolving Relationship with the Sarod: Classical vs. Contemporary15:01 - Meaningful Collaboration vs. "Confusion" Music16:07 - Classical Music as a Spiritual "Lighthouse"18:28 - Sponsor Break: Travelopod and Lotus Lane Coffee19:28 - Preserving Ali Akbar Khan's Legacy & Finding Space22:55 - The Anatomy of Musical Storytelling & Emotion25:15 - Listening to Ali Akbar Khan's Music Over Time28:44 - Teaching at the Ali Akbar College of Music32:17 - The "Jedi Order" Responsibility & Personal Legacy35:27 - Creating from a "World Between Worlds"38:35 - Connecting Audiences to Peace, Power, and Solace40:33 - Episode Outro & Community Shoutouts--------------------------EPISODE HIGHLIGHTS & KEY TAKEAWAYS:• Embracing the "Perfectly Imperfect": How to quiet physiological anxiety on stage and get out of your own way.• The Classical Lighthouse: Why classical foundation provides the creative anchor when exploring contemporary genres.• True Collaboration: Avoiding superficial fusion by ensuring projects resonate deeply and create timeless art.• Spreading the Sonic Gospel: Interpreting teachings for new generations at the Ali Akbar College of Music.--------------------------GUEST & HOST RESOURCES:

Hall of Famer Dennis Eckersley, class of 2004, sits down with Jon Paul Morosi to discuss his unconventional journey to Cooperstown. Eckersley details how, after 12 years as a starting pitcher, he became one of the most dominant closers in baseball history, why giving up the game-winning home run to Kirk Gibson in Game 1 of the 1988 World Series turned out to be one of the "proudest" moments of his career and which home run was more "painful" than Gibson's memorable trip around the bases. Visit the National Baseball Hall of Fame - BaseballHall.org Follow the National Baseball Hall of Fame on Twitter/X - @BaseballHallFollow the National Baseball Hall of Fame on Instagram - @BaseballHall Follow Jon Paul Morosi on Twitter/X - @jonmorosi Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Send us Fan MailApparently, Trinidad and Tobago has been having some trouble with words lately — so this week, we're putting our vocabulary to the test.After somehow producing a 30,788-word conversation with KES, I go searching for some of the wordiest and best-written calypsos of all time, with classics from Relator, Mighty Spoiler, Lord Blakie, David Rudder, The Mighty Sparrow and more providing the soundtrack to the conversation.But as always, the music leads us into some bigger discussions.We revisit the debate surrounding the new police and army posts at Eddie Hart, and why supporting increased security shouldn't mean we stop asking questions about process and accountability.I also respond to some of the feedback from last week's discussion about Emancipation and share my experience at Attillah Springer's Roots & Rights Emancipation Concert — an experience that made me think differently about the connection between Emancipation, the Canboulay Riots, culture, business and the enormous tourism potential of what we already have in Trinidad and Tobago.Then there's Benjai.His controversial social media post about Indians, soca and Emancipation — and his subsequent apology — leads into a wider conversation about race, division and why I refuse to believe that what we see online represents how most Trinidadians actually feel about one another.We also get into the Caroni Bird Sanctuary, eco-tourism, the return of the Independence Day parade, the Queen's Park Savannah and why Trinidad and Tobago may have one renewable resource we'll never run out of:Vibes.And through it all, we celebrate the extraordinary ability of our calypsonians to use words — to tell stories, make us laugh, challenge society and somehow fit more lyrics into four minutes than I thought humanly possible.This is not about having all the answers. It's about starting the conversation.Tell me where you agree, where you disagree, and most importantly:What is the wordiest calypso of all time?━━━━━━━━━━━━━━━━━━━━━━

On the occasion of India's 74th Independence Day, Sadhguru urges Indians to use the nation's phenomenal diversity as an engine for the nation's growth and development. Conscious Planet: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.consciousplanet.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sadhguru App (Download): ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://onelink.to/sadhguru__app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Official Sadhguru Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://isha.sadhguru.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sadhguru Exclusive: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://isha.sadhguru.org/in/en/sadhguru-exclusive⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Inner Engineering Link: isha.co/ieo-podcast Yogi, mystic and visionary, Sadhguru is a spiritual master with a difference. An arresting blend of profundity and pragmatism, his life and work serves as a reminder that yoga is a contemporary science, vitally relevant to our times. Learn more about your ad choices. Visit megaphone.fm/adchoices

Indians make around 24 billion UPI (Unified Payments Interface) transactions a month. The combined value of these payments is nearly Rs30 trillion. UPI is at the heart of India's digital public infrastructure. The best thing about UPI payments: they are free. But now this could change. The government recently passed the Taxation and Other Laws (Amendment) Bill, 2026, in the Lok Sabha. This Bill, among other things, amends the Payment and Settlement Systems Act, 2007, which had ensured that no charge can be levied on UPI transactions. But now, this is no longer the case. The government has claimed that this charge, known as the Merchant Discount Rate (MDR), may only be applied on transactions above a certain threshold, that too only on merchants, and not on consumers. But analysts believe the costs will be passed on to the consumers. Why is MDR needed for UPI payments? Does it have anything to do with US pressure in the context of trade deal negotiations, as alleged by Opposition leaders? Is UPI really ‘free of charge' even as it stands today? Guest: L Srikanth from Cashless Consumer, a consumer collective Host: G Sampath, Social Affairs Editor, The Hindu Producer: Jude Weston Learn more about your ad choices. Visit megaphone.fm/adchoices

On a hot Thursday evening in Delhi, people are queuing outside India's first Olive Garden. Some found it on Instagram. Others wandered over from the business park next door. Almost all have waited at least half an hour.Bharti Group wants 10 Olive Gardens in three years, and 125 total restaurants — more than double what it runs today. Indians are dining out more than ever, and serious money is following.But the most successful restaurants in India have deliberately stayed small. The ones that tried to scale mostly didn't. And Bharti's confidence rests entirely on a simple observation: that Indians are dining out more than they ever were.Daybreak is produced from the newsroom of The Ken, India's first subscriber-only business news platform. Subscribe for more exclusive, deeply-reported, and analytical business stories.

On Meta, Abhinandan Sekhri asked whether the platform has the bandwidth to process takedown requests in India at that scale, or whether “it's actually a phase where it's the Wild West”. Independent tech journalist Abhishek Baxi agreed with that characterisation and explained that Meta's automated moderation system – a response to takedown requests in India doubling year on year – was behind the technical glitch that pulled down PM Modi's video from Facebook. Meta's global affairs chief had to fly down to apologise to IT minister Ashwini Vaishnaw directly.Manisha Pande pointed to a recent instance where an interview with a CJP protester, conducted by Priyanshi Sharma, a journalist with Peak TV, was repeatedly taken down from Instagram and reinstated without explanation, alongside three of Newslaundry's own videos that are restricted in India. “I don't think these platforms are going to fight the freedom of speech fight for us,” she said. “They want to continue doing business here.”On the ruling establishment's inability to figure out Instagram like they did WhatsApp, Shardool added that it was “a sad fact that a government governing 1.4 billion people doesn't understand Instagram” and that “it takes one conversation with creators to understand how the platform works, but instead every viral trend is seen as a conspiracy.”Abhinandan went on to argue that US tech giants “don't have our interest in mind at all”, and would readily compromise on user protections if it meant preserving profit and market access, leaving Indians caught “between two [powers] who basically don't have your interest in mind.”Subscribe to watch the entire discussion. Check out previous Hafta recommendations, references, songs and letters. Produced by Amit Pandey with production assistance from Sourav .Sound by Anil Kumar . Hosted on Acast. See acast.com/privacy for more information.

Hindu nationalism is transforming India as an increasingly dominant ideology and political force. But it is also a global phenomenon, with sections of India's vast and influential diaspora drawn to, or actively supporting, right-wing Hindu nationalism. Indians overseas can be seen as an important, even inextricable, aspect of the movement. This is not a new dynamic—diasporic Hindutva has grown over many decades. Hindu Nationalism in the Indian Diaspora: Transnational Politics and British Multiculturalism (Oxford University Press, 2024) explores how and why the movement became popular among India's diaspora from the second half of the twentieth century. It shows that Hindutva ideology and its plethora of organizations have a distinctive resonance and way of operating overseas; the movement and its ideas perform significant, particular functions for diaspora communities.Edward T.G. Anderson argues that transnational Hindutva cannot simply be viewed as an export: this phenomenon has evolved and been shaped into an important aspect of diasporic identity, a way for people to connect with their homeland. He also sheds light on the impact of conservative Indian politics on British multiculturalism, migrant politics and relations between various minority communities. Sachin Nikarge has extensively worked in consultative capacity with prominent foreign/diplomatic missions across both ‘hard' as well as ‘soft' power domains. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Hindu nationalism is transforming India as an increasingly dominant ideology and political force. But it is also a global phenomenon, with sections of India's vast and influential diaspora drawn to, or actively supporting, right-wing Hindu nationalism. Indians overseas can be seen as an important, even inextricable, aspect of the movement. This is not a new dynamic—diasporic Hindutva has grown over many decades. Hindu Nationalism in the Indian Diaspora: Transnational Politics and British Multiculturalism (Oxford University Press, 2024) explores how and why the movement became popular among India's diaspora from the second half of the twentieth century. It shows that Hindutva ideology and its plethora of organizations have a distinctive resonance and way of operating overseas; the movement and its ideas perform significant, particular functions for diaspora communities.Edward T.G. Anderson argues that transnational Hindutva cannot simply be viewed as an export: this phenomenon has evolved and been shaped into an important aspect of diasporic identity, a way for people to connect with their homeland. He also sheds light on the impact of conservative Indian politics on British multiculturalism, migrant politics and relations between various minority communities. Sachin Nikarge has extensively worked in consultative capacity with prominent foreign/diplomatic missions across both ‘hard' as well as ‘soft' power domains. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Hindu nationalism is transforming India as an increasingly dominant ideology and political force. But it is also a global phenomenon, with sections of India's vast and influential diaspora drawn to, or actively supporting, right-wing Hindu nationalism. Indians overseas can be seen as an important, even inextricable, aspect of the movement. This is not a new dynamic—diasporic Hindutva has grown over many decades. Hindu Nationalism in the Indian Diaspora: Transnational Politics and British Multiculturalism (Oxford University Press, 2024) explores how and why the movement became popular among India's diaspora from the second half of the twentieth century. It shows that Hindutva ideology and its plethora of organizations have a distinctive resonance and way of operating overseas; the movement and its ideas perform significant, particular functions for diaspora communities.Edward T.G. Anderson argues that transnational Hindutva cannot simply be viewed as an export: this phenomenon has evolved and been shaped into an important aspect of diasporic identity, a way for people to connect with their homeland. He also sheds light on the impact of conservative Indian politics on British multiculturalism, migrant politics and relations between various minority communities. Sachin Nikarge has extensively worked in consultative capacity with prominent foreign/diplomatic missions across both ‘hard' as well as ‘soft' power domains. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/indian-religions

Hindu nationalism is transforming India as an increasingly dominant ideology and political force. But it is also a global phenomenon, with sections of India's vast and influential diaspora drawn to, or actively supporting, right-wing Hindu nationalism. Indians overseas can be seen as an important, even inextricable, aspect of the movement. This is not a new dynamic—diasporic Hindutva has grown over many decades. Hindu Nationalism in the Indian Diaspora: Transnational Politics and British Multiculturalism (Oxford University Press, 2024) explores how and why the movement became popular among India's diaspora from the second half of the twentieth century. It shows that Hindutva ideology and its plethora of organizations have a distinctive resonance and way of operating overseas; the movement and its ideas perform significant, particular functions for diaspora communities.Edward T.G. Anderson argues that transnational Hindutva cannot simply be viewed as an export: this phenomenon has evolved and been shaped into an important aspect of diasporic identity, a way for people to connect with their homeland. He also sheds light on the impact of conservative Indian politics on British multiculturalism, migrant politics and relations between various minority communities. Sachin Nikarge has extensively worked in consultative capacity with prominent foreign/diplomatic missions across both ‘hard' as well as ‘soft' power domains. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

What began as outrage over a senior judge's comments has become one of the most striking youth protest movements India has seen in years. Gideon talks to Professor Mukulika Banerjee of the London School of Economics about why so many young Indians have taken to the streets, what the "cockroach movement" says about the country's economic and educational pressures, and whether it poses a genuine challenge to Narendra Modi's government.Clip: BBCFree links to read more on this topic:Abhijeet Dipke, the face of India's victorious ‘cockroach' protestsIndia's ‘Cockroach' Gen Z has had enoughIndia should listen to its frustrated youthWhy India's student protests are differentIndia's ‘cockroach' movement halts protests after minister quitsSubscribe to The Rachman Review wherever you get your podcasts - please listen, rate and subscribe.Presented by Gideon Rachman. Produced by Clare Williamson. Sound design is by Breen TurnerFollow Gideon on Bluesky or X @gideonrachman.bsky.social, @gideonrachmanRead a transcript of this episode on FT.com Hosted on Acast. See acast.com/privacy for more information.

Why is Gen Z choosing loans over credit cards in India? Younger Indians are changing how they borrow, spend and enter the formal credit system, with phone loans, consumer finance and personal loans increasingly becoming their first experience with credit.In this episode of The Core Report Weekend Edition, Financial Journalist Govindraj Ethiraj speaks with Bhavesh Jain, MD & CEO, TransUnion CIBIL, about why Gen Z is choosing loans over credit cards, the rapid growth of consumer credit in India and what changing borrowing behaviour tells us about the Indian economy.India's credit-active population has risen sharply over the past decade. But an equally important shift is taking place in how Indians borrow. Younger consumers are increasingly entering the credit market through phone financing and consumer durable loans rather than credit cards. UPI has also transformed how Indians make everyday payments, while personal loans and point-of-sale financing have given borrowers more alternatives to traditional cards.So are credit cards losing relevance with younger Indians?The conversation looks at why India's credit card market has recently seen slower growth in cardholders, why existing users are accumulating multiple cards and why accessibility and convenience are reshaping consumer finance.Govindraj and Bhavesh also examine the extraordinary rise of gold loans, growing participation by women borrowers, rising formal credit in Uttar Pradesh, Bihar and Madhya Pradesh, and how India's MSMEs are increasingly using working capital loans.They also discuss the bigger economic question behind India's borrowing boom. Credit can fuel consumption, entrepreneurship and economic growth, but what happens when leverage among younger borrowers rises too quickly?Watch the full conversation for a data-driven look at Gen Z borrowing, credit cards in India, consumer loans, UPI, CIBIL scores, gold loans, MSME credit, financial inclusion and the changing Indian economy.Chapters(01:22) The Biggest Credit Trends of the Last Decade(02:13) Why 28% of Indians Are Now Credit Active(02:41) Credit Growth and India's Economic Expansion(03:22) The Shift From New-to-Credit to Existing Borrowers(04:27) Gen Z Is Reshaping India's Credit Market(05:07) Why Young Indians Finance Phones Before Homes(05:55) Business Owners Are Borrowing Personally(07:04) Gold Loans: India's Fastest Growing Credit Segment(08:11) Why Women Are Using Gold Loans for Business(08:38) Women, Gen Z & Credit-Mature Borrowers(09:30) Why Checking Your CIBIL Score Matters(10:36) Credit Growth Beyond India's Metro Cities(11:36) Uttar Pradesh Emerges as India's Credit Leader(13:39) Inside India's MSME Credit Story(14:14) Why 88% of MSME Credit Goes to Small Businesses(14:49) How MSMEs Improved Credit Quality After COVID(16:45) Why Working Capital Loans Are Dominating(17:31) Banks Are Rewarding Low-Risk Borrowers(17:56) India's Massive MSME Credit Opportunity(19:30) Retail Credit Health: Delinquencies & Debt(21:57) Has Credit Growth Become Too Aggressive?(24:10) The Rise of Digital Lending & AI Underwriting(26:59) Why UPI Is Transforming India's Credit Ecosystem(28:13) The Future of Consumer Lending in India(31:00) Can India Reach Developed-Market Credit Levels?(33:00) Building a Credit-Fit India(36:14) Advice for Every MSME OwnerWhy is Gen Z choosing loans over credit cards in India? Govindraj Ethiraj speaks with Bhavesh Jain of TransUnion CIBIL about Gen Z borrowing, consumer credit in India, personal loans, UPI, digital lending, CIBIL scores and changing borrowing behaviour. Watch The Core Report for insights on credit cards in India, financial inclusion and the Indian economy.#GenZ #CreditCardsIndia #ConsumerCredit #DigitalLending #TheCoreReport #TheCore

India is getting fatter, sicker and more diabetic every year.And now, one injection promises to change everything.GLP-1 drugs like Ozempic are being called a medical breakthrough. They can reduce appetite, accelerate weight loss and help patients control obesity and diabetes.But critics believe these drugs could become a capitalist disaster. One that profits from unhealthy lifestyles while exposing millions of Indians to risks we still do not fully understand.So, is Ozempic a miracle drug or a dangerous shortcut?On one side is Jitendra Chouksey, Founder of FITTR. He believes obesity must primarily be tackled through lifestyle changes and questions the safety, regulation and long-term use of GLP-1 drugs.On the other side are Dr Muffazal Lakdawala, one of India's leading bariatric surgeons, and Arjun Garewal, a fitness consultant. They believe GLP-1 can transform lives when prescribed to the right patients and combined with proper nutrition, exercise and medical supervision.One drug. Two opposing sides. A decision that could affect millions of Indians.Miracle or disaster? Watch the debate and decide for yourself!

Photo: Lifer inmates at Salem's Oregon State Correctional Institution connect with culture, family, and healing during the annual Many Nations Pow Wow. (Brian Bull) The power of a Pow Wow has been described as a collective heartbeat that draws people together. Celebrants often say they feel unity and freedom as they dance in a circle. Those elements are especially vital for those serving time at the Oregon State Correctional Institution in Salem, Oreg., but as Brian Bull of Underscore Native News and KLCC reports, for one day each year, inmates get to move to the rhythm of a rawhide drum with friends and loved ones. A soft breeze rustles the frills on Anthony Salazar (Apache)'s regalia. He describes its colors, as his wife, Stephanie, helps with final adjustments. “Colors are white, black, red, and yellow, which is the colors of the four directions. The green represents Mother Earth. All the regalia is connected to nature somehow.” Drummers gather in a circle, while other dancers fix their bangles and beadwork. A man with a microphone greets the crowd of visitors with a smile. “We're so glad you guys were able to make it. We are about to prepare to do our Grand Entry.” At first, you'd think this was just any other Pow Wow getting underway. However … “I’m in here for two counts of murder, and I got a life sentence. I’ve been in 24 years.” Salazar, like everyone else preparing to dance or drum, is a “lifer” at this medium-security, all-men's prison. “This is actually the first “Pow Wow where I've actually dressed up in regalia, and I'm going to dance.” He is thrilled to be part of the Pow Wow – and that his wife Stephanie is here. “This is my first one that I've been able to come to, very fortunate to be here. Means a lot.” As dancers gather for the grand entry, a red-tailed hawk soars above. It is a simple, but powerful symbol of freedom in a place where guard towers and checkpoints remind everyone this is a prison. Emcee Shawn Jeffers-Monro says it is great having his wife and other loved ones here once a year. “My mother was dying of cancer three years ago, and I was able to have this ceremony with her and these last rites, and be able to say goodbye to her. So this is that one time of year that we get to be together as a community, as a family, and kinda be free in a way.” One of the guests for this Pow Wow is Aliza Kaplan, a professor at Lewis and Clark Law School in Portland. She says she and some of her students have been invited to this event about five times. “Because we aim to really get to know our clients and what matters to them, and see them as more than people who have committed crimes.” No one here glosses over the fact that they are behind bars for serious crimes, and may not ever step foot beyond the prison gates, but many see the Pow Wow as a way to hold on to tradition and find worth, says inmate Nestor Diaz-Miller (Cow Creek Band of Umpqua). “I've dealt with suicidal thoughts and actions in my past, and being able to focus on this inipi, this sweat lodge and that drum, literally saved my life. It's given me something to believe in, something to hope in. It's such a special feeling, I can't describe it other than special.” The Senate Committee on Indian Affairs is advancing several bills aimed at settling tribal water rights and funding water infrastructure across the West. During a legislative hearing last week, senators considered measures affecting the Yavapai-Apache Nation in Arizona and the Agua Caliente Band of Cahuilla Indians and the Pechanga Band of Luiseño Indians in California, along with legislation to strengthen the federal Indian Water Rights Settlement Completion Fund. Supporters say the bills would help fulfill the federal government’s trust responsibilities while providing greater certainty for Tribal Nations and neighboring communities. The measures now await further action by the committee and Congress. Get National Native News delivered to your inbox daily. Sign up for our daily newsletter today. Download our NV1 Android or iOs App for breaking news alerts. Check out today’s Native America Calling episode Thursday, August 6, 2026 — Testing the limits of religious freedom

Senate Committee on Indian Affairs Roundtable titled “Tracking Prediction Markets' Exponential Growth: Tribal Implications and Beyond.”

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. For this episode of “Obbligato,” a show dedicated to AAPI classical musicians, composers, and scholars, host Isabel Li interviews Indian American composer Reena Esmail, who blends Hindustani musical themes with western classical compositional styles. Music in this episode: – This Love Between Us “Prayers for Unity”: II. [Sikhism] – Lacrimosa (from Malhaar: a Requiem for Water) – Terra infirma: IV. roaming the ghost forest Transcript Isabel Li: I'm Isabel Li, here for a new edition of “Obbligato,” which explores the AAPI community in the classical music world. Today, we're featuring the Indian American composer Reena Esmail and her unique compositions that blend Hindustani music with Western classical styles and how she writes music about religion, spirituality, and even environmentalism. Welcome, Reena, to Apex Express. Reena Esmail: Hey! It's so great to be here. IL: My first question for you is one that's probably a little bit loaded, but how do you identify and what's your story? RE: I don't know, it's interesting because I work in many different situations, and I think I always identify as the thing that isn't whatever the dominant situation is that I work in. Right? So it's like when I'm in America, I identify as an Indian American. When I'm in India, I identify as an American. When I'm working in Western classical music, I'm the person who knows stuff about Hindustani music. When I'm working in Hindustani music, I'm the person who knows stuff about Western music. So really. Actually, I think of identity not as a fixed thing, but as how you, um, delineate yourself, how you're unique in the situation you're in. You know, it's interesting because especially in the case of Asian Americans, Asia is such a broad thing, right? There are so many more East Asians in Western classical music than there are South Asians. Certainly in my generation. You know, I was surrounded by Chinese, Korean, some Japanese people who were always, you know, playing the piano when I was playing the piano. And, um, there really was not many other Indian people. And, you know, I'll, I'll actually say that even within India, um, you know, if you look at me in America, I'm just Indian. If you look at me in India, I have a very unusual lineage, which is that my dad is from the region of Gujarat and his family is Muslim. My mom is from the region of Goa and her family is Catholic. And so because of that, when I was expressing interest in music, My mom was the one who had more of kind of a musical knowledge in her family, even though there's no professional musicians in her family. So because Goa was colonized by Portugal, there is this element of Western classical music in Goan culture. And so because of that, my mom was like, oh, let's give her guitar lessons, let's give her piano lessons. And so that's how I landed up in Western classical music as opposed to doing Indian classical music. Um, so yeah, I kind of went through the Western classical scene. I was very interested in being a pianist. And, you know, I'm glad that I'm glad I'm a failed pianist in all honesty, because I see what my colleagues who are real, you know, professional pianists have to go through. And I just don't think I have what it takes to do that. It's really an intense job. Um, but when I was in high school, um, one of my theory teachers kind of said, hey, you know, you might be a composer. It seems like you think like a composer thinks, why don't you try composing and why don't you try writing things down? and one thing led to another. And basically a year and a half to two years after studying, I got one of a very few spots in the undergrad program in composition at Juilliard. And that was a point where my parents kind of said, okay, you know, we don't know a lot about the music world, but it seems like if she got into Juilliard, she's probably like somewhat good at this. Maybe we should kind of see how this goes. And, you know, from there on, I pursued composition. IL: And when and why did you start to study Indian classical music, which is a big element in your compositions now? RE: Yeah, absolutely. So I think it's interesting because in every generation, I've seen so much change in how the diaspora views itself. And certainly when I was growing up, you know, I know this is hard to believe, but there were not if you were an Indian going to school, you were kind of the only one. If you were an Indian music, you were kind of the only one. So there was this element where when I went to Juilliard, um, there were I to my knowledge, two Indians in the entire school, me and an actress who had actually come from Calcutta. And so people were trying to, you know, make conversation with me and they'd be like, well, you know, do you do stuff with Indian classical music? And I would just be like, no, I'm trying so hard to even write music for orchestra and, you know, string quartet and all the things that my peers are trying to do. Like, is that not enough? Because I'm Indian, I also have to be doing all this other stuff. And so I resisted it for a long time because I was just trying so hard to do one thing well. But then, you know, I think what, what made me kind of unique is that, you know, I stood out, I was Indian and then, you know, when I was young, that felt really cool. The older I got, the more I thought, well, you know, I know I'm from this culture that has incredible music and I know it when I hear it, I know nothing about it, and maybe I should actually pursue it. And so I really separately kind of started meeting Indian musicians who lived in New York, and I would just ask them questions, and I got to know them. And I realized that while we didn't share a type of music, we did share a culture and we did share a love of music because it is interesting that the culture of Indian classical music is actually quite similar to the culture of Western classical music. You know, you study with a teacher over a really long period of time. You're practicing for hours a day. The kind of personality that would love Western classical music would also love Indian classical music. And so I just made friends with some of these Indian classical musicians. And of course, being a composer, I thought, why don't I put them in my music? You know, how do I do that? And so it was really just curiosity that led me down that path. And for many years, that path was very separate. Because again, I know it's very hard to believe now, but there was a time where people really did not want these cultures to be combined, and people just really looked down on cultures that were not, you know, the dominant Western European classical culture. And so I kept them really separate. And even when I started combining them, people were like, oh, that's sweet. She does stuff with Indian music, you know? And it was really not taken seriously. It's only really in the last decade that people have been embracing other musical cultures. And I mean, how glad I am that that's happening. But it was very, very hard fought and very separate at first. IL: And on that note, how do you navigate the unique challenges of composing with both these cultures in mind, but also being situated in the United States, where people come from all different backgrounds? And how do you as a composer approach that in this context? RE: I mean, I think it's interesting because first of all, I am musically bilingual now, so I can. I went to India, I studied Indian classical music. Seriously. I still work with Indian classical musicians very closely. And so, you know, I can be working on a piece that has Indian classical musicians in it, and I can turn to them and immediately speak in their language and their musical language. And then I can turn to the Western musicians and speak in their musical language. So every single piece I write, especially the ones that involve Indian classical musicians. There is a way through those pieces, both through the Western lens and through the Indian lens. And so I think I'm working in a position where I actually do know how to speak both those languages. And when you do speak both those languages, you know, just the way that if you speak any two, you know, verbal languages, you would know that there are sounds that are cognates. And so you're like, oh, I say the sound. So maybe and it means one thing in one culture and one thing in another culture. But you know that that sound is the same. And so with musical language, you can actually use those musical cognates to connect across cultures by saying, just listen for this thing. And when you listen for this thing, interpret it through the lens of your own culture. So that's certainly how I work. But, you know, I mean, again, I want to say that's not the only way to work. I don't think that you have to be, you know, I mean, again, there's probably most people who are listening to this probably have one musical culture and then maybe they know much less about the other musical culture. That is also fine. You know, you don't need to be an expert in order to want to explore and, and love a thing that's just, you know, where I am because it's the, the center of my musical practice. IL: Well, let's hear a selection from Reena Esmail's oratorio, “This Love Between Us.” This is the second movement titled Sikhism. David Hill conducts Juilliard415 with the Yale Schola Cantorum. [MUSIC: This Love Between Us “Prayers for Unity”: II. Sikhism] IL: That was Sikhism, the second movement from the oratorio This Love Between Us by Reena Esmail, who is here in conversation with me today on KPFA for APEX Express. Something that I really found interesting in especially your work — and I'm sure this has been asked many times, but This Love Between Us: Prayers for Unity. This oratorio that you wrote, beautiful work where you use words from the seven major religions of India. And each movement of the choral work is also named after a different religion. In what ways did you adhere to or challenge norms of spiritual music? Because religion is so religion and music are so deeply tied together. How did you challenge those norms or how did you express those norms when you wrote this work? RE: You know, I think it's interesting because my own spiritual background is very kind of multi spiritual multi-faith. But like I said, my, my father is, is my father's side of the family is Muslim. My mom's side of the family is Catholic. My husband is Hindu. All of them grew up in a very singular practice in each of their religions. But for me, I grew up, you know, around my mom and my dad and then, you know, my husband later. And just there's a part of me that takes in the essence of each of these spiritual traditions. And, you know, I'm trying to kind of find what feels true to me in each of those places. And so to me, you know, this love between us is, is a place where I'm trying to essentially say, yes, we express things differently through whatever cultural, uh, history, that language or that that religion emerged through. And yet we're all trying to get at that same numinous thing. And, you know, I mean, I'm not saying, oh, all religions are the same. Definitely not. You know, there's, there's many different ways to practice things. And, you know, your unique way into your spirituality is your own. And that's, that's amazing. But also, we all kind of our cultures form religions for a certain reason, and it's because we want to try to understand things that are beyond ourselves. And so that's essentially what the piece is saying. So I know I'm sure there are purists who are like, you shouldn't be combining these things, but, you know, there's always going to be purists who do that and there's a role for that. But that's not really my role. So, I mean, I picked the pieces and I picked the religion specifically because of the numbers of people who practice that religion currently within India. And so it is like the largest, um, populations, you know, like Hinduism, Islam, Buddhism, all, all of those things. And then there's one little tiny religion, Zoroastrianism. And while they are not, there's not many of them within India. They are the ones who are practicing Western classical music in India. So people like Zubin Mehta and all, they are Parsis that are Zoroastrians. So I thought, you know, it's important to include them too, because it's a piece that involves a lot of Western classical musicians. IL: I'm wondering now, as a composer who's working with music of different languages and religions and origins and also evoking a lot of these spiritual truths that are pretty universal in nature. What is your view on the function of music? There's the platitude that music is a universal language. Do you how to what extent do you agree with that? RE: You know, yeah, it's hard to, to, um, to think of music as a universal language. But I think sometimes we, how can I say this? It's such a broad question. When we are working in a form that isn't completely narrative, it gives us a little more chance to get at things that don't have to follow logically after one another. They're just feelings that we're able to feel. And I like working even when there are words, you know, there are certainly words in all of these, these, uh, pieces in this love between us. But I feel like sometimes we just feel something within us. And, you know, I experience this a lot when I have a piece performed, people will come up to me and say like, oh, this made me feel like this. And then the next person will come up to me and say, oh, this made me feel exactly the opposite thing. And I, I really love that we can have those experiences. And, you know, recently it's been really interesting because people have been asking these questions like interviewers, you know, before performances will be like, well, what do you want the audience to feel? And I'm like, oh, I don't want to answer that question. I want you to feel whatever you feel. There's nothing right to feel. And often, I mean, I'm not the one to ask. I'm so close to the music because when I'm listening, I'm thinking like, okay, was that C sharp in tune? Okay, you know, that's what I'm feeling. And I certainly don't want them to feel that. So I don't know. I think it's, it's just exciting to see how when we get out of these, what we should do this and this is the right thing to do. And this is the only way to do it. Um, how do we behave? And there are so few spaces left where if we don't say exactly the right words at the right time to the right people, you know, if we don't have exactly the right opinions that everyone around us has, We are so condemned and music might be one of the last places that we're allowed to feel whatever's inside of us. IL: Mhm. That's really interesting to think about. I think art in general is very beautiful because it allows people to interpret it in many different ways. I think for your music, you really draw on cultural specificity in terms of Hindustani music. What advice would you give to other young composers or also maybe artists of different mediums in creating that balance between specificity and universality? RE: Yeah, I think the thing is that the way into a deep practice is specificity. You know, I know people have asked me like, oh, you've done stuff with Indian music. Are you going to do stuff with other music? And I'm like, gosh, there's still so much to explore. I could have like three lifetimes and still not explore everything I want to explore just in the relationship between Indian and Western classical music. I mean, goodness knows I have four degrees in Western classical music, and I still am barely scratching the surface of it. Right. So I kind of feel like specificity is important because it allows you to access depth. And yet, you know, when you are specific about a certain thing, um, like for instance, like a scholar who only speaks Italian, I mean, they're going to know more than someone who maybe speaks five words of each language, right? So they can transfer over at a higher level and make more sophisticated points and understand the world with a more universal lens if they've gone really deep on one thing. So I would say, you know, to young composers, to young musicians, pick one practice and know it really, really well and deeply become go as far as you possibly can and then, you know, try to see if you can find relations between your primary practice and a different practice. Um, and I mean, some people, you know, I know in this generation that's coming up, that's like in their teens and twenties, there are South Asian, uh, kids who are here whose parents have come from India that are learning Indian and Western classical music side by side. And I think that's great. I mean, that's awesome. But I would also say make sure you don't just learn halfway. Both of those things, you know, if you're going to learn them, if at least with one thing, try to go as absolutely far as you can. IL: Let's hear another example of Reena Esmail's bilingual musicality with her work, Malhaar: A Requiem for Water, which was recorded fairly recently. The vocalist is Graycen Gardner with the choir conducted by Amy Fogerson. [MUSIC: Lacrimosa (from Malhaar: a Requiem for Water)] IL: Composer Reena Esmail used Indian classical instruments in that work, titled Malhaar: A Requiem for water. The vocalist was Graycen Gardner, with the choir conducted by Amy Fogerson. Percussionist was Rohit Panchakshari. I'm Isabel Li in conversation with composer Reena Esmail on this edition of Apex Express here on KPFA 94.1 FM. So when you integrate Hindustani classical Hindustani music, Indian classical music and those instruments into your scores, did you happen to did you have to develop a way to translate the notation of those notes in Western classical music notation, or vice versa? RE: Yeah, it it begs the greater question of what is notation for? Right? Because notation is essentially a way for Western musicians who read notation to look at a thing and be able to associate sounds with that thing. And so when I'm notating for Western classical musicians, I'm saying, okay, what is a cellist typically seeing and what are they doing based on what they're seeing? And then how can I take that language that they know really well that they play in Bach suites, that they play in Elgar, Cello Concerto, whatever it is, how can I take that language and just move it, you know, a couple degrees outward so that they're able to express different things, right? And so it's very much a psychological thing. You know, it's not a science the way that we think of it as and we learn it as this, oh, you know, eighths and sixteenths, and they divide this way. There's a lot you can do just to make someone feel a certain way with notation. On the other hand, if I'm writing for a sitar or tabla, the question is what? What is the role of the notation? Because the role of the notation for tabla player who has only Hindustani training and doesn't read music. It's certainly not for the tabla player that I'm doing the notation. Usually what I'll do is sit down with the tabla player in a, you know, more Hindustani style and say, hey, this is what I want. I want you to have like six overtones of teental. It should be at this tempo, blah, blah, blah. And they're like, oh, got it. I see what you want me to do. Right? And so all you need to figure out is the alignment points with the Western classical musicians. And so then the notation I put in the score is not really for them. It's for a conductor, for the Western musicians to be able to understand what they are doing and to be able to cue them in and help them kind of be in dialogue to one another. So it's interesting because, I mean, these days now I'm finding that there are tabla players who are both Indian and Western classical trained, and they want a part, but parts are not a thing. When I first wrote This Love Between Us, there were no parts for the tabla and sitar player. I actually had a cue sheet that I would actually point to as they were going, so that they knew, you know, what the different cues were because a part, you know, counting rests and stuff is not going to help them at all. So I think it's mostly trying to understand how is someone perceiving something and how can you give them the information they need in the most seamless way possible so that you can express what you want to express? IL: I love how technical that entire rundown was. I also wanted to talk a bit about your work, Terra Infirma, which is pretty recent. I had the honor of attending the premiere of Terra Infirma, a harp concerto that you composed based on your experiences with the Los Angeles fires in January of 2025. Um, it was such a wonderful work. I personally really loved hearing how you musically depicted the progression of a wildfire from despair to hope. It's also not the first environment based piece that you've written. YYou've written, for example, Earth Speaks in 2015. How do you approach composing works that are so rooted in environmentalism? And of course, have, have the undertones of speaking to the larger climate crisis at hand? RE: The thing that is interesting is, you know, someone was asking me about that piece, you know, you, you're, they're asking like, how do you kind of deal with activism in your work? And I was saying like, you know, I don't really think of myself as an activist because I think these issues are so fundamental to all of us, right? It's like you turn on your tap and you're just afraid that there's only going to be so long before water stops coming up. That's not, um, it doesn't feel like activism. It just feels like, you know, fear and it feels like we're tapping into these human emotions where people are so worried about what's going to happen. We don't really know what to do. And I think, you know, with anything, most people who have fear about things, you're going to just clam up if you feel that it's too, um, too much to deal with. And it is I mean, the environmental crisis is so huge that I think most people are just clamming up. And I guess, you know, what is our role as musicians? I think it's maybe to have some moments where we're not just like on our phones, seeing pictures of things burn down and freaking out where we can actually take some time to just reflect and be with one another. Because if we're going to solve this, it's going to be together and we need to come to some kind of like calm understanding of what is happening. And so a lot of my pieces are not accusatory. They're not, you know, pointing a finger. They're not supposed to rile people up. They're supposed to actually depict that experience of what it feels like to really sit with a hard thing for a long time and come to terms with it and then figure out how to move forward. And that's certainly the case with Terra Infirma and certainly the case with my Requiem. Certainly the case with curiosity, like you were saying, it's from Earth Speaks, which is many years ago. And that piece actually talks about the, the Pasadena institution's. It was actually for an organization called Pasadena Master Chorale. They commissioned the work many years ago. And what's so funny is I now live in Pasadena. I live in Altadena, up in the hills. So it's I wasn't living here at the time, but it is, you know, a place where many scientific institutions like the U.S. Geological Survey, you know, JPL, Caltech, all these places that are really exploring the environment in important ways are based. And so the piece kind of honors that and honors how we can interact positively with our environment. We can get data, we can find ways to do things that are, I mean, beyond my understanding, you'd have to ask a scientist, but but I just love that that we're in this place that sees the environment as something to understand more deeply instead of something that's just going to turn on us at a certain point. IL: Certainly. And I'm really curious, because Terra Infirma is also a work that was paired with multimedia animation and performance. Was there anything in your compositional process that differed when you're collaborating across these different mediums? RE: Yeah. So it's interesting because so the, there was, there were projections that were happening. And also in addition to that, it was a harp concerto, but a harp concerto where the harpist was also playing percussion. And so there were some elements that were so different than what would be typically like if harpist was like, I want a concerto. You would just be like, okay, you know, she sits there, she plays these notes. They're in that one position. That's all fine. Um, there was so much more, you're right with this piece than with, um, with my normal pieces. Um, and to me it's both, how can I say this? There's, there's such a different way I have to think about it, but I think that way starts with collaboration. So Yolanda Kondonassis, the incredible harp player, and Camilla Tassi, who was the production designer. These are people I know well and I've had multiyear relationships with. And so when you're thinking about how to build something, you're totally aware of what their work is like. I knew kind of the not even what Camilla's projections were going to look like, but the way that they interact with things. We've done projects together before. And so I pretty much had the sense of how she was going to respond. And I knew what she needed to know in order for her to do her work and make things kind of match up with one another. And then also with Yolanda, a lot of the stuff I put in that was like harp and percussion together. It wasn't something that I was making her do, right? It were things that we came up with together. We've spent so long workshopping things in percussion studios in, um, you know, we've met in all these different cities and we're basically like banging things against a harp and doing, you know, just so much experimentation. So for every technique you see in the concerto, you, um, you basically there's like ten things that we didn't do that didn't put in. So you're really only seeing the best of all the kind of crazy stuff that we tried. So I do think the thing is that when you're trying to invent something new and you're trying to invent new styles and new techniques, I mean, you can think of anything, but you're trying to find the things that A practically work and B allow the performers and the artists to really express themselves. So I found that I was actually choreographing the piece before I was composing it, um, that I had to figure out, okay, where are these percussion setups going to be? What are the instruments that I want? Okay. Are these chimes going to be like over her head? Or is she going to have to reach really far to get them? Are they going to be near the low end of the harp? Things like that that seem so practical. But the difference between having to reach out far and slowly versus having to like, quickly swat something near your ear, right? It makes a different choreography. And so I thought that way first. And then I kind of put the notes and rhythms and melodies and stuff in. IL: Let's now hear a selection from Reena Esmail's Terra Infirma. This is the fourth movement titled “Roaming the Ghost Forest.” Yolanda Kondonassis is the harpist with the Interlochen Center for the Arts Orchestra. [MUSIC: Terra infirma: IV. roaming the ghost forest] IL: The harpist was Yolanda Kondonassis with the Interlochen Center for the Arts Orchestra, playing the fourth movement of Terra Infirma by composer Reena Esmail. I'm Isabel Leigh, and in this episode of Apex Express, I'm joined by Reena Esmail, the composer, in conversation about her music and her approach to making art. Something else that I really was fascinated with on your on your Instagram account. You actually made a post a while back that I found to be very powerful. It's pinned as the letter to the young artists' immigrant parents. It's such an empathetic message that I also really relate to as a daughter of immigrants in the arts. And you kind of argue that these children's pursuit of the arts is a tribute to their parents immigrant struggles. Um, what motivated you to write this letter? RE: You know, I'm so glad you asked about that because so much has changed since I wrote that letter in a really good way. You know, first of all, I will say that when I wrote that letter, if you weren't a child of, you know, like Asian immigrant parents, you. And actually, I think this is true for most immigrant parents who, you know, have kind of given up everything to move to America so that their kids can explore all these opportunities they wouldn't get in their country of origin. When I first wrote this letter, it was really just, I felt like I was saying something really new. And now I think what's really interesting is that we have both parents who understand this and, um, kind of almost this parody way of seeing what Asian parents are like. Right. For me, one thing that I, that just makes my heart sing is the comedy of Zarna Garg. I don't know if you know who she is, but she is like an Indian American comic and she plays this role of being like this very typical Indian parent. And I will say, my parents weren't really like this because again, they were two different religions and married one another. So they were already quite open minded. But like 99% of Indian parents and even my parents, sometimes they have this thing of like, well, ‘why are you going into this?' Like you should make money, you should do this stuff. And I feel like, um, since Zarna's comedy came into the world, it's such an easy way to just point a finger at that and say, hey, this is what we're really dealing with as Indian immigrants. And, you know, we all just laugh at it. And I find that, you know, sometimes my friends who are just, you know, white Americans who have been in this family has been in this country for many generations. They don't get it. But like anyone who's a child of immigrant is like, oh yes, I completely understand what she's saying. So we have that. And I think that's really healthy and awesome. And she's very talented. Um, and on the other hand, I found that when I was first going into music and I mean, I, you know, when I was 18 and I was going to go to Juilliard, my parents were certainly supportive and curious and wanted me to do whatever they thought I might be good at enough to make a living and didn't want to optimize for, oh, you need to earn the most money or you need to, etc. but most other Indians around us were like, oh my God, she's so smart. Why is she like wasting her life doing music? You know, that was kind of the dominant narrative. And so I had to become very good at explaining why. And imagine my complete disbelief when I would go to conservatory and meet people whose parents had encouraged them to do music. I was like, what is happening? Like, we're like, there'd be four siblings and all of them would be in the arts. And I was like, oh wait, you're not the black sheep of your family. Like, I mean, half of my family, I don't think really knows what I do still even. Right? And so to me, it was so important to provide some kind of context. And like you said, it's like to, to come to this country and be an immigrant and to come with a lot of skills, but to have to just work in silence for so many years with no congratulation, with no one just constantly propping you up. That is what being an artist is. And you know, it's only maybe the past 10 years of my career that I've even been visible to people. Before that, it was just me doing my thing and like, no one cared about it. It was not not glamorous at all. And for me, that's what built the kind of strength in me to be able to sustain the career that I have now. And so I think if it had been a little too easy, I don't know that I would be able to handle, um, the, what I have now. So I think what's great though is that the Indian parents of kids who are teenagers and in their twenties nowadays are not coming to me being like, oh my God, what do I do with this kid who wants to be a musician? I've failed as a parent. Which again, for those of you who are not Asian, this is totally a true thing out there. They will come to me and say, hey, look, my, my child doesn't wants to be a musician. I want to help them. I can't tell like, are they good at this? Where should they be? Can you help me understand things? And that is really what my parents did. And I will, you know, kind of go further to say — PBS did a special on me a number of years ago, and I insisted on putting my parents in this special because I wanted people to see what it looked like to have really encouraging Indian parents who, again, they weren't going in blind. They were. They would go to my teachers and be like, well, I mean, is she good? Can she do this? We don't know what these answers are. Can you help us understand? And they really relied on the right people to be able to help me get to places that they couldn't get, but they also weren't just immediately dismissive of it. And that's what allowed me to kind of have a massive advantage, because I didn't have to also go back to school and do a medical degree. Or like most of my my peers of my age actually did. So I wanted to put them on that special to actually show that that is possible. And I'm seeing more and more that it is. There are many more parents like that now. And oh my goodness, I love every one of them. IL: That's wonderful. When you look back at your compositional career and how everything has changed since then, how do you think your work has evolved? RE: Oh, so you mean like since I began being a composer? IL: Yeah. Or maybe in the past ten years, even. RE: Yeah. It's interesting because I think one of the big inflection points in my work was when I did my Fulbright in India. So before that, I really didn't know very much about Indian classical music. And then the year before that, I really started to get deeper and started to integrate my Indian and Western classical world with one another. And then, you know, I from 2011 to 2012, I went to India and what was so different was actually seeing the music in its culture and actually getting to participate as an Indian in India, studying Indian classical music. Right. Because there's no filter. You're not going through a Western filter. You're just there in this culture. And I know that many of my Indian teachers, they kind of had this attitude of like, look, we don't know what kind of music you were doing before, but we're so glad you're here and studying your own music. And this is great. And so there wasn't this sense of having to go through another culture to get to their, their music. And to me, that really changed things because I don't see myself as writing music. That's one through the conduit of the other. I just see it as two streams that are equally incredible and equally independent, and they just meet each other in these interesting places. IL: And looking ahead into the future, is there an ensemble or an artist who you haven't worked with before that you'd love to work with? Ooh. It's interesting because, like, almost everyone who comes to mind is not a musician. Um, I've worked with so many. I mean, truly, I've been so lucky to work with musicians like Gil and Orli Shaham. Yolanda Kondonassis. I'm writing a piece for Hilary Hahn and Matthias Goerne right now. It's I mean, just like literally anyone who I could ever ask to work with, I have. I don't know. I mean, to me, it's like, gosh, someone like Misty Copeland would be amazing. Like, you know, there are so many actors like the world of Indian/South Asians in comedy and in drama and stuff like that is just incredible. People like Mindy Kaling who have done incredible things to me, people like that are just going outside of just music would be fascinating to me. IL: Absolutely. And I will put a link to your website, as well as the links to the music that will also be aired on this in this episode on KPFA.org, so our listeners can learn more about you and your wonderful work. Well, Reena, thank you so much for your time and thank you for talking to me today. RE: Absolutely. The post APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail appeared first on KPFA.

In place of our regular Hudson Mohawk Magazine programing, today we share this episode of The Aunties Dandelion podcast called “Auntie Betty Osceola, Miccosukee, Panther Clan." Betty Osceola (Miccosukee, Panther Clan) grounds us in the spectacular land and life of the Everglades in this visit with host Kahstoserakwathe. She explains how the region's natural filtration system protects fresh water for millions, carries cultural memory for the Miccosukee Tribe of Indians of Florida, and sustains plant, animal, and water relatives. Betty is well known for her prayer walks that became especially urgent when the cruelty of the “Alligator Alcatraz” outdoor immigrant detention camp surfaced last summer on traditional homelands in South Florida, and her research is instrumental in ongoing lawsuits around the facility. She says our struggle for equitable treatment cannot be separated from the health and well-being of the natural world. Betty spent decades living what environmental justice looks like from an Indigenous perspective: caring for water as kin, community mobilization as a responsibility, and finding joy in walking, guiding, laughing, and listening. She asks us to consider how we reconnect to our own sources of care and to show up when the land says it needs us. This conversation is a clear invitation to walk our lands and raise our voices to protect the natural world and the humanity of our hearts. Stay to the end for her cute stories about mama ‘gators and their babies.

Leo Martin of the Jenney Museum and One of the nation's leading experts on the history of the Pilgrims refutes the leftist lie that the Pilgrims stole the land from the Indians.  Remarks were made at the Pilgrims to Patriots event in Plymouth, MA August 1, 2026Camp Constitution is a New Hampshire based charitable trust.  We run a week-long family camp, man information tables at various venues, have a book publishing arm, and post videos from our camp and others that we think are of importance. Please visit our website www.campconstitution.net

With King Philip's War going badly, Massachusetts turns on their Christian Indian subjects. Join the ⁠⁠⁠⁠⁠⁠⁠⁠Mailing List⁠⁠⁠⁠⁠⁠⁠⁠! Join the ⁠⁠⁠⁠⁠⁠⁠⁠Patreon ⁠⁠⁠⁠⁠⁠⁠⁠House of Lords for ad-free episodes! Go to AirwaveMedia.com to find other great history shows. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr. Kristen Tegtmeier Oertel's Seeking Freedom in Indian Country: Slavery, Sovereignty, and Resistance within the Five Tribes, 1790–1861 (LSU Press, 2026) is the first comprehensive study of African chattel slavery within the Five Tribes: the Cherokee, Chickasaw, Choctaw, Muscogee (Creek), and Seminole Nations. Dr. Oertel examines how chattel slavery functioned among all Five Tribes before and during the removal process, how the tribes reconstituted slavery post-removal in Indian Territory, and how enslaved Black people promoted freedom-seeking strategies at each stage. Furthermore, her work considers how the conflict over slavery in Indian Territory contributed to the larger national debate over slavery's fate on the eve of the Civil War. Historians have examined how the practice of African enslavement emerged within one or two tribes, how forced migration affected slavery within particular nations, and how the debate over slavery divided multiple Indigenous nations. Dr. Oertel, however, is the first to examine Indian Territory as a whole, its significance to the sectional debates, and its role as an incubator of emancipation policies in the United States. Knitting together these individual tribal narratives and supplementing them with extensive primary research on how slavery functioned across Indian Territory, she integrates Indian country into the antebellum march toward the Civil War. Seeking Freedom in Indian Country joins a rising chorus of studies that integrate southern and western history, which, by default, also pulls together the history of the so-called Indian Wars with the Civil War. Dr. Oertel suggests that we cannot fully understand the causes of the Civil War without also considering the changes brought about by the forced removal of Indians. She argues that settler colonialism and the expansion of African chattel slavery together set the stage for sectional conflict to explode in the West. Ironically, both Indigenous resistance to settler colonialism and Black resistance to slavery challenged white supremacy in ways that foretold the end of slavery but also furthered the settler colonial project. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Dr. Kristen Tegtmeier Oertel's Seeking Freedom in Indian Country: Slavery, Sovereignty, and Resistance within the Five Tribes, 1790–1861 (LSU Press, 2026) is the first comprehensive study of African chattel slavery within the Five Tribes: the Cherokee, Chickasaw, Choctaw, Muscogee (Creek), and Seminole Nations. Dr. Oertel examines how chattel slavery functioned among all Five Tribes before and during the removal process, how the tribes reconstituted slavery post-removal in Indian Territory, and how enslaved Black people promoted freedom-seeking strategies at each stage. Furthermore, her work considers how the conflict over slavery in Indian Territory contributed to the larger national debate over slavery's fate on the eve of the Civil War. Historians have examined how the practice of African enslavement emerged within one or two tribes, how forced migration affected slavery within particular nations, and how the debate over slavery divided multiple Indigenous nations. Dr. Oertel, however, is the first to examine Indian Territory as a whole, its significance to the sectional debates, and its role as an incubator of emancipation policies in the United States. Knitting together these individual tribal narratives and supplementing them with extensive primary research on how slavery functioned across Indian Territory, she integrates Indian country into the antebellum march toward the Civil War. Seeking Freedom in Indian Country joins a rising chorus of studies that integrate southern and western history, which, by default, also pulls together the history of the so-called Indian Wars with the Civil War. Dr. Oertel suggests that we cannot fully understand the causes of the Civil War without also considering the changes brought about by the forced removal of Indians. She argues that settler colonialism and the expansion of African chattel slavery together set the stage for sectional conflict to explode in the West. Ironically, both Indigenous resistance to settler colonialism and Black resistance to slavery challenged white supremacy in ways that foretold the end of slavery but also furthered the settler colonial project. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Dr. Kristen Tegtmeier Oertel's Seeking Freedom in Indian Country: Slavery, Sovereignty, and Resistance within the Five Tribes, 1790–1861 (LSU Press, 2026) is the first comprehensive study of African chattel slavery within the Five Tribes: the Cherokee, Chickasaw, Choctaw, Muscogee (Creek), and Seminole Nations. Dr. Oertel examines how chattel slavery functioned among all Five Tribes before and during the removal process, how the tribes reconstituted slavery post-removal in Indian Territory, and how enslaved Black people promoted freedom-seeking strategies at each stage. Furthermore, her work considers how the conflict over slavery in Indian Territory contributed to the larger national debate over slavery's fate on the eve of the Civil War. Historians have examined how the practice of African enslavement emerged within one or two tribes, how forced migration affected slavery within particular nations, and how the debate over slavery divided multiple Indigenous nations. Dr. Oertel, however, is the first to examine Indian Territory as a whole, its significance to the sectional debates, and its role as an incubator of emancipation policies in the United States. Knitting together these individual tribal narratives and supplementing them with extensive primary research on how slavery functioned across Indian Territory, she integrates Indian country into the antebellum march toward the Civil War. Seeking Freedom in Indian Country joins a rising chorus of studies that integrate southern and western history, which, by default, also pulls together the history of the so-called Indian Wars with the Civil War. Dr. Oertel suggests that we cannot fully understand the causes of the Civil War without also considering the changes brought about by the forced removal of Indians. She argues that settler colonialism and the expansion of African chattel slavery together set the stage for sectional conflict to explode in the West. Ironically, both Indigenous resistance to settler colonialism and Black resistance to slavery challenged white supremacy in ways that foretold the end of slavery but also furthered the settler colonial project. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Dr. Kristen Tegtmeier Oertel's Seeking Freedom in Indian Country: Slavery, Sovereignty, and Resistance within the Five Tribes, 1790–1861 (LSU Press, 2026) is the first comprehensive study of African chattel slavery within the Five Tribes: the Cherokee, Chickasaw, Choctaw, Muscogee (Creek), and Seminole Nations. Dr. Oertel examines how chattel slavery functioned among all Five Tribes before and during the removal process, how the tribes reconstituted slavery post-removal in Indian Territory, and how enslaved Black people promoted freedom-seeking strategies at each stage. Furthermore, her work considers how the conflict over slavery in Indian Territory contributed to the larger national debate over slavery's fate on the eve of the Civil War. Historians have examined how the practice of African enslavement emerged within one or two tribes, how forced migration affected slavery within particular nations, and how the debate over slavery divided multiple Indigenous nations. Dr. Oertel, however, is the first to examine Indian Territory as a whole, its significance to the sectional debates, and its role as an incubator of emancipation policies in the United States. Knitting together these individual tribal narratives and supplementing them with extensive primary research on how slavery functioned across Indian Territory, she integrates Indian country into the antebellum march toward the Civil War. Seeking Freedom in Indian Country joins a rising chorus of studies that integrate southern and western history, which, by default, also pulls together the history of the so-called Indian Wars with the Civil War. Dr. Oertel suggests that we cannot fully understand the causes of the Civil War without also considering the changes brought about by the forced removal of Indians. She argues that settler colonialism and the expansion of African chattel slavery together set the stage for sectional conflict to explode in the West. Ironically, both Indigenous resistance to settler colonialism and Black resistance to slavery challenged white supremacy in ways that foretold the end of slavery but also furthered the settler colonial project. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/native-american-studies

Dr. Kristen Tegtmeier Oertel's Seeking Freedom in Indian Country: Slavery, Sovereignty, and Resistance within the Five Tribes, 1790–1861 (LSU Press, 2026) is the first comprehensive study of African chattel slavery within the Five Tribes: the Cherokee, Chickasaw, Choctaw, Muscogee (Creek), and Seminole Nations. Dr. Oertel examines how chattel slavery functioned among all Five Tribes before and during the removal process, how the tribes reconstituted slavery post-removal in Indian Territory, and how enslaved Black people promoted freedom-seeking strategies at each stage. Furthermore, her work considers how the conflict over slavery in Indian Territory contributed to the larger national debate over slavery's fate on the eve of the Civil War. Historians have examined how the practice of African enslavement emerged within one or two tribes, how forced migration affected slavery within particular nations, and how the debate over slavery divided multiple Indigenous nations. Dr. Oertel, however, is the first to examine Indian Territory as a whole, its significance to the sectional debates, and its role as an incubator of emancipation policies in the United States. Knitting together these individual tribal narratives and supplementing them with extensive primary research on how slavery functioned across Indian Territory, she integrates Indian country into the antebellum march toward the Civil War. Seeking Freedom in Indian Country joins a rising chorus of studies that integrate southern and western history, which, by default, also pulls together the history of the so-called Indian Wars with the Civil War. Dr. Oertel suggests that we cannot fully understand the causes of the Civil War without also considering the changes brought about by the forced removal of Indians. She argues that settler colonialism and the expansion of African chattel slavery together set the stage for sectional conflict to explode in the West. Ironically, both Indigenous resistance to settler colonialism and Black resistance to slavery challenged white supremacy in ways that foretold the end of slavery but also furthered the settler colonial project. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Westerns and Crime on a SundayFirst,  a look at this day in History.Then, Dangerous Assignment starring Brian Donlevy, originally broadcast  August 2, 1950, 76 years ago,  Vienna Mystery.   Steve Mitchell is sent to the U.S. consulate in Vienna to recover documents that have been stolen.Followed by Confession, originally broadcast August 2, 1953, 73 years ago, Esther Phillips.  A bored housewife goes to the racetrack and gets a little too interested in another better.  Then, Gunsmoke starring William Conrad, originally broadcast  August 2, 1954, 72 years ago, No Indians.  Matt commits cold-blooded murder four times to kill off members of a gang scalping settlers and blaming the Pawnees. Followed by Have Gun Will Travel starring John Dehner, originally broadcast August 2, 1959, 67 years ago, High Wire. Paladin goes to Salamander Springs to persuade a girl to leave her acrobatic boyfriend. Finally, Claudia, originally broadcast August 2, 1948, 78 years ago, Gertrude Departs.   Kathryn Bard and Paul Crabtree star.Thanks to Brian for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.html

In this episode I speak with David Silverman and we discuss:- The truth about what Indian life was like before the colonists arrived- How race and religion impacted colonist and Indian relations- Did The United States commit a genocide against the Indians?- A historians perspective on the future of AmericaGet My Free Calorie Calculator Here ► http://bit.ly/freecaloriecalcGet 10% off at Marek Health ► https://marekhealth.com/syattHow to Be a Personal Trainer Podcast ► https://bit.ly/48kp3GUSign up for my email list ► http://bit.ly/jordansyattlistGet My Diet & Workout Program ► https://www.sfinnercircle.com/David's Book "The Chosen and The Damned" ► https://a.co/d/028nFQ4RDavid's Book "This Land Is Their Land" ► https://a.co/d/0ewS6NOHDavid Treuer's Book ► "The Heartbeat of Wounded Knee" https://a.co/d/02b8KKoWContact David ► djsilver@gwu.edu

This week, Will and Rahul speak to business correspondent Arunoday Mukharji in Delhi about how India's youth unemployment crisis helped force the resignation of the country's Education Minister and why it could mark a turning point for India's Gen‑Z. Exam leaks and a shortage of opportunities have sparked some of the biggest youth protests in years, raising difficult questions for the government. Nearly two-thirds of Indians are under 35, and more young people are graduating than ever before. But many can't find jobs. Can India create enough jobs for a generation with rising expectations? And what happens if it can't?Presenters: Will Bain, Rahul Tandon and Arunoday Mukharji Producer: Rebecca SmyllieYou can email the team: businessdaily@bbc.co.uk

Narendra Modi's 12 year rule of India has never looked so fragile.Weeks of protests have engulfed the country following the leak of a medical entrance exam paper, which forced nearly two million students to resit the test. Protestors hailed victory from the resignation of the education minister Dharmendra Pradhan on Saturday.On today's podcast, Hugh asks our contributor in New Delhi, Rahul Bedi, to explain the significance of the movement.What had fanned the flames, he said, was the description of unemployed young people as “cockroaches” by one senior government minister.Then, out of the ootheca hatched the Cockroach Janta Party (CJP), a satirical movement that has channelled the frustrations of millions of young Indians who, in the words of Bedi, believe the country is increasingly dominated by corruption, privilege and vested interests.They're not alone.Farmers have again been protesting at the state of the rural economy. And another campaign has emerged against the government's ethanol-blended fuel policy, with some motorists arguing that petrol containing 20% ethanol reduces fuel efficiency and may damage engines.Bedi explains what these large movements mean for the strength and future of the Narendra Modi administration. Would you like to receive daily insights into world events delivered to your inbox? Sign up for Denis Staunton's Global Briefing newsletter here: irishtimes.com/newsletters/global-briefing/ Hosted on Acast. See acast.com/privacy for more information.

Send us Fan MailMark Shapiro is an American-born Canadian baseball executive, born April 3, 1967, in Cambridge, Massachusetts. Shapiro joined the Cleveland Indians in 1991, rising from an entry-level role to general manager (2001) and then team president (2010). During his 24 years there, the Indians won six division titles and two AL pennants. He was named Sporting News Executive of the Year twice, in 2005 and 2007.In 2015 he became president and CEO of the Toronto Blue Jays, succeeding Paul Beeston. He hired Ross Atkins as GM, oversaw renovations to the Dunedin player development complex and Rogers Centre, and signed a five-year extension in December 2025. Under Shapiro, the Blue Jays have reached the postseason five times, including their first AL pennant in 32 years in 2025.He's also served on several MLB committees, helping introduce the Automated Ball-Strike System, instant replay, and the pitch clock. Personally, he's a dual US-Canadian citizen, has two children, and was portrayed by actor Reed Diamond in the 2011 film Moneyball.A Few Quotes From This Episode“Don't worry about being charismatic. Worry about caring deeply. Don't worry about being a super decision maker. Obsessively focus on the best process and prioritization and understanding leverage.”"The best leaders lead a decision-making process. I'm very rarely making a decision, and if I am, we have a good chance to make a bad decision.”“If you had to say what is the single most important value to building an elite, best-in-class organization, I would say open-mindedness, is where you have to start.”ResourcesBook: Team of Teams: New Rules of Engagement for a Complex World by General Stanley McChrystal Book: Good to Great by Jim Collins About The International Leadership Association (ILA)The ILA was created in 1999 to bring together professionals interested in studying, practicing, and teaching leadership. Attend The Global Conference in Toronto, October 28-31.About  Scott J. AllenWebsiteWeekly Newsletter: Practical Wisdom for LeadersMy Approach to HostingThe views of my guests do not constitute "truth." Nor do they reflect my personal views in some instances. However, they are views to consider, and I hope they help you clarify your perspective. Nothing can replace your reflection, research, and exploration of the topic.♻️ Please share with others and follow/subscribe to the podcast!⭐️ Please leave a review on Apple, Spotify, or your platform of choice.➡️ Follow me on LinkedIn for more on leadership, communication, and tech.

Published in the Alzheimer's & Dementia Journal, the study said that even though India's ageing population faces a ‘dementia burden', data on what its risk factors actually are is still quite limited.

Mike Recine and Brandon Collins join Zac Amico and discuss the scariest monsters in movies, Courtney Stodden accusing Jason Alexander of being inappropriate with her as a teenager, Rose O'Donnell being told to lose weight, Indians vs, man vs ostrich, a Taco Bell diarrhea update, the woman thrown from a rollercoaster and so much more! Air Date: 07/22/26Support our sponsors!BodyBrainCoffee.com - Use promo code: ZOO15 to get 15% off!Zac Amico's Morning Zoo plug music can be found here: https://www.youtube.com/watch?v=oMgQJEcVToY&list=PLzjkiYUjXuevVG0fTOX4GCTzbU0ooHQ-O&ab_channel=BulbyTo advertise your product or service on GaS Digital podcasts please go to TheADSide.com and click on "Advertisers" for more information!Submit your artwork via postal mail to:GaS Digital Networkc/o Zac's Morning Zoo151 1st Ave, #311New York, NY 10003You can sign up at GaSDigital.com with promo code: ZOO for a discount of $1.50 on your subscription and access to every Zac Amico's Morning Zoo show ever recorded! On top of that you'll also have the same access to ALL the shows that GaS Digital Network has to offer!Follow the whole show on social media!Mike RecineInstagram: https://instagram.com/MikeRecineComedyBrandon CollinsTwitter: https://twitter.com/AmericanCollinsInstagram: https://instagram.com/frodo_blackinsZac AmicoTwitter: https://twitter.com/ZASpookShowInstagram: https://instagram.com/zacisnotfunnyDates: https://punchup.live/ZacAmicoSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hall of Fame Cardinals manager Whitey Herzog gets stuck in the Yankees system—and the Army—leading to a discussion of social responsibility when it comes to risking the lives of citizen-soldiers (whether Herzog or Ted Williams in the Korean War years or something closer to the present day). Then we visit the win-or-go-home American League playoff game between the Red Sox and the Indians, a contest famously mishandled by Joe McCarthy, another future Hall of Famer. What went into his thinking that day, and are the legends of pitchers ducking the job true? With stops along the way at an eight-man rotation, the A's 1929 surprise starter, virus versus host, and so much more! The Infinite Inning is a journey to the past to understand the present using baseball as our time machine. America's brighter mirror, baseball reflects, anticipates, and even mocks the stories we tell ourselves about our world today. Baseball Prospectus's Steven Goldman shares his obsessions: history from inside and outside of the game, politics, stats, and Casey Stengel quotations. Along the way, we'll try to solve the puzzle that is the Infinite Inning: How do you find the joy in life when you can't get anybody out? Short vibraphone melody (loop) by xkeril