Podcasts about calcutta

Full Text of Readings Twenty-second Sunday in Ordinary Time Lectionary: 124 The Saint of the day is Saint Jeanne Jugan Saint Jeanne Jugan's Story Born in northern France during the French Revolution—a time when congregations of women and men religious were being suppressed by the national government, Jeanne would eventually be highly praised in the French academy for her community's compassionate care of elderly poor people. When Jeanne Jugan was three and a half years old, her father, a fisherman, was lost at sea. Her widowed mother was hard pressed to raise her eight children alone; four died young. At the age of 15 or 16, Jeanne became a kitchen maid for a family that not only cared for its own members, but also served poor, elderly people nearby. Ten years later, Jeanne became a nurse at the hospital in Le Rosais. Soon thereafter, she joined a third order group founded by Saint John Eudes. After six years she became a servant and friend of a woman she met through the third order. They prayed, visited the poor, and taught catechism to children. After her friend's death, Jeanne and two other women continued a similar life in the city of Saint-Sevran. In 1839, they brought in their first permanent guest. They began an association, received more members, and more guests. Mère Marie of the Cross, as Jeanne Jugan was now known, founded six more houses for the elderly by the end of 1849, all staffed by members of her association—the Little Sisters of the Poor. By 1853, the association numbered 500 and had houses as far away as England. Abbé Le Pailleur, a chaplain, had prevented Jeanne Jugan's reelection as superior in 1843; nine years later, he had her assigned to duties within the congregation, but would not allow her to be recognized as its founder. In 1890, the Holy See removed him from office. By the time Pope Leo XIII gave her final approval to the community's constitutions in 1879, there were 2,400 Little Sisters of the Poor. Jeanne died later that same year, on August 30. Her cause was introduced in Rome in 1970. She was beatified in 1982, and canonized in 2009. Reflection Jeanne Jugan saw Christ in what Saint Teresa of Calcutta would describe as his “distressing disguises.” With great confidence in God's providence and the intercession of Saint Joseph, she begged willingly for the many homes that she opened, relying on the good example of the Sisters and the generosity of benefactors who knew the good that the Sisters were doing. They now work in 30 countries. “With the eye of faith, we must see Jesus in our old people—for they are God's mouthpiece,” Jeanne once said. No matter what the difficulties, she was always able to praise God and move ahead.Saint of the Day, Copyright Franciscan Media

Description: Why did Lord Cornwallis leave Tipu Sultan on the throne of Mysore in 1792 after bringing him to his knees? In this episode, Ramjee Chandran debunks the notion that the British lacked administrative capability, proving instead that the decision to leave half a kingdom intact was a calculated move driven by strategic geography, coalition politics, and legal constraints. Discover how Cornwallis secured British interests by shutting off key military passes into the Carnatic while carefully balancing the Maratha Confederacy and operating within strict parliamentary limits. Key Details from the Script: Refuting the "Administrative Incapacity" Myth: Some historians suggest the East India Company was purely a military force incapable of administering the plateau. Ramjee Chandran dismisses this: the British were expert bureaucrats with established Presidencies in Calcutta and Madras. Having already administered Bangalore and secured local palegars, they possessed the immediate capacity to run territories like Baramahal and Salem. Reason 1: Defensive Frontiers Over Territorial Conquest: The primary war goal was eliminating Mysore's capacity to invade the Carnatic—a fear rooted in the disastrous British defeat at Pollilur (1780). Cornwallis strategically annexed Baramahal, Salem, Coorg, and Malabar. These were not chosen merely for wealth, but because they controlled all mountain passes and coastal routes into British territory, effectively trapping Tipu on the interior plateau. Reason 2: Coalition Mechanics & Managing Allies: The Third Anglo-Mysore War was a joint effort with equal partners: the Maratha Confederacy and the Nizam of Hyderabad. Unilateral annexation by the Company would have sparked intense "violent jealousy," especially from the formidable Maratha Confederacy, who would demand their equal share of the entire kingdom. Reason 3: Mysore as a Buffer State: Completely dismantling Mysore would create a long, direct, unprotected frontier between British territories and the powerful Maratha Confederacy. A weakened, residual Mysore served as a vital strategic buffer state between the two powers. Reason 4: Parliamentary Mandates (Pitt's India Act): As a chartered corporation, the East India Company operated under strict standing instructions from the British Parliament prohibiting offensive territorial expansion. Cornwallis could justify the war in London as a "defensive necessity" that paid for itself, but outright annexation of a defeated kingdom could not be legally defended. We gratefully acknowledge the support of the Prestige Group, that makes this podcast possible. Follow The History Of Bangalore on social, here: Instagram: https://www.instagram.com/historyofbangalore/ Facebook: https://www.facebook.com/HistoryOfBangalore Twitter: https://twitter.com/HistoryOfBLR YouTube: https://youtube.com/@HistoryOfBangalore?si=mnH3BsYfI4BUU234 iHeartRadio: https://www.iheart.com/podcast/1323-the-history-of-bangalore-163453722/ Follow Ramjee Chandran on Instagram and Twitter: @ramjeechandran The theme music for the show was composed by German-Indian Koln based percussionist, Ramesh Shotham. Ramjee Chandran's photos by Asha Thadani. RESEARCH AND SOURCES: All our episodes are based on published research and archive records. To request information about our sources, write to hob@explocity.com. Let us know if you are a researcher (either institutional or independent) and also provide some information about why you need this information. Researchers will get priority. We only have time to engage serious, academic queries so please understand if we do not respond to casual requests.

If you've spent any real time with the Enneagram, you've probably felt Chris Heuertz's influence whether you knew his name or not. Chris is the author of seven books, including The Sacred Enneagram (foreword by Richard Rohr) and The Enneagram of Belonging, with an eighth on pilgrimage coming from Simon & Schuster. But the books came out of a life: nearly three decades of humanitarian work across 70 countries, years in the anti-trafficking movement, time serving alongside Mother Teresa in Calcutta.We recorded this a couple of weeks before his wedding, and I wanted it out in the world before he walks into that new life. We talk about learning to tell stories on a word processor in India, burying 700 of the women and children he served and what that does to a person, the end of a twenty-year marriage and the strange welcome into the human family on the other side of it, rewriting sloth for the Nines, what Eights actually feel under the armor, and why the detours are sacred and the arrival is a myth.The difficulty in life is the choice.Show-note links:* Chris's site: chrisheuertz.com* The Sacred Enneagram and The Enneagram of Belonging (Bookshop.org)* Chris's Substack: Sacred Detours* Instagram: @chrisheuertz* Subscribe to The Difficulty: chadprevost.substack.com* Listen on Apple Podcasts or Spotify.* The press where it all makes sense: crossroadspublishing.group* Chad's site: chadprevost.com This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit chadprevost.substack.com

Mpumalanga police are offering a R100,000 reward for information that could lead to the arrest and successful conviction of wanted murder suspect Phumulani Ezekiel Matsane.Matsane is allegedly linked to the shooting deaths of two men at a tavern in Marite, within the Calcutta policing precinct, on 15 May 2023. Police say they cannot rule out his possible involvement in other similar cases under investigation. Police say Anyone with information about Matsane’s whereabouts can contact Detective Lieutenant Colonel Madala Ndashe on 076 244 8577 or Lieutenant Colonel Freddy Magagula on 082 780 6815. Police have warned the public not to approach Matsane, as he is considered armed and dangerous. All information will be treated confidential. Colonel Mavela Masondo is Mpumalanga saps spokesperson

Luke Grant chats with National Property Editor at Domain, Alice Stolz, about all the latest happenings on the Sydney and Brisbane Real Estate Markets. For all the latest listings and real estate news go to www.domain.com.au NSW: 31 Rembrandt Drive, Middle Cove NSW 2068 3 bed, 2 bath Topline property information: Designed by renowned architect Neville Gruzman in 1960 and completed in 1962, Holland House is a mid-century modern masterpiece. North-east rear aspect and uninterrupted bush and water views. Wraparound walls of glass, a dramatic sunken lounge, with light-filled living and dining areas positioned to capture the views. Three private courtyards, sun terraces and beautifully established gardens providing outdoor living spaces. QLD: 223-225 Shore Street North, Cleveland QLD 4163 4 bed, 4 bath Topline property information: Prized position atop Cleveland Point, overlooking 55m water frontage on a rare 847m² double-title allotment. The property includes a Western Red Cedar sauna, heated spa, 14m heated swim-jet lap pool, landscaped gardens and expansive decking to relax on. Temperature-controlled wine cellar, 4.2m marble island bench and butler’s pantry. Concrete and steel construction complements timeless limestone, zinc and Calcutta marble finishes, custom oak cabinetry, engineered timber flooring and a statement staircase See omnystudio.com/listener for privacy information.

Did an Egyptian princess really travel across the ancient world and give Scotland its name? In Episode 207 of Ninjas Are Butterflies, we dive into the bizarre legend of Scota, the mysterious figure some ancient traditions connect to Egypt, Ireland, and the origins of Scotland. But that's only the beginning. We investigate the horrifying story of the Black Hole of Calcutta and ask how much of the version passed down through history actually happened, before uncovering the unbelievable story of Captain Henry Every — the pirate who pulled off one of the greatest scores in history, became one of the most wanted men on Earth, and then seemingly vanished without a trace. Ancient bloodlines, disputed history, buried treasure, missing pirates, and mysteries that somehow get stranger the deeper you go. This is Ninjas Are Butterflies. Thanks to Monarch for partnering with this show. Go to https://monarch.com and use code NINJAS to get 50% off your first year of Monarch Core. #ad This show is sponsored by BetterHelp. Visit Betterhelp.com/ninjas today to get 10% off your first month.  #ad Download Cash App Today: https://click.cash.app/ui6m/5ay8eqzk #CashAppPod. Cash App is a financial services platform, not a bank. Banking services provided by Cash App's bank partner(s). Prepaid debit cards issued by Sutton Bank, Member FDIC. Cash App Visa® Debit Flex Cards issued by Sutton Bank, Member FDIC, and The Bancorp Bank, N.A., pursuant to a license from Visa U.S.A. Inc. See terms and conditions for the Sutton prepaid card, Sutton debit flex card, and Bancorp debit flex card. Savings provided by Cash App, a Block, Inc. brand. Visit cash.app/legal/podcast for full disclosures.  #ad Get MORE Exclusive Ninjas Are Butterflies Content by joining our Patreon:  https://www.patreon.com/NinjasAreButterflies NEW EPISODES EVERY FRIDAY @ 11:15AM EST! Ninja Merch: https://www.sundaycoolswag.com/ Start Your Custom Apparel Order Here: https://bit.ly/NinjasYT-SundayCool Learn more about your ad choices. Visit megaphone.fm/adchoices

Sitarist Partha Bose brings the sounds of Indian classical music to Caffe Lena in Saratoga Springs this Sunday. Bose began playing music as a child in Calcutta and has since built an international career, performing across five continents and introducing audiences around the world to the beauty and improvisation of Indian music.His concerts combine centuries old musical traditions with the spontaneity and energy of a live conversation between musicians and audiences. Sunday show is part of Caffe Lena's Global Voices series, which brings music and traditions from around the world to Saratoga and does so this Sunday, August 16th at 7 p.m.

Every single school morning, millions of kids across India stand up and sing the same fifty-two seconds of music without ever really asking where it came from. Today on Kidacity, I'm going all the way back to a winter night in Calcutta in December 1911, when a poet named Rabindranath Tagore first heard his own song performed in public — and into the controversy that followed almost immediately, when people accused him of writing it for a king instead of for his country. I found his own written defense of the song, word for word, and I'm reading it to you. Then I'm fast-forwarding almost forty years, to the actual Constituent Assembly vote that made this song India's official national anthem, and asking why we still don't talk about the fact that it was written in a language built to be understood everywhere, on purpose. Counting down to Independence Day, August 15th, on Kidacity — where kids learn, share, and grow together.Instagram: @samarthchittaTwitter: @samarthchittaEmail: samarth.chitta@gmail.com

#10MinuteswithJesus ** Put yourself in the presence of God. Try talking to Him. ** 10 minutes are 10 minutes. Even if you can get distracted, reach the end. ** Be constant. The Holy Spirit acts "on low heat" and requires perseverance. 10-Minute audio to help you pray. Daily sparks to ignite prayer: a passage from the gospel, an idea, an anecdote and a priest who speaks with you and the Lord, inviting you to share your intimacy with God. Find your moment, consider you are in His presence and click play.

Msgr. John Esseff reflects on Peter walking on water and St. Teresa of Calcutta as a witness to the living faith that trusts Jesus enough to get out of the boat. The post Why Did You Doubt? Growing in Faith and Trust in Jesus – Building a Kingdom of Love with Msgr. John Esseff – Discerning Hearts Podcast appeared first on Discerning Hearts Catholic Podcasts.

Msgr. John Esseff reflects on Peter walking on water and St. Teresa of Calcutta as a witness to the living faith that trusts Jesus enough to get out of the boat. The post Why Did You Doubt? Growing in Faith and Trust in Jesus – Building a Kingdom of Love with Msgr. John Esseff – Discerning Hearts Podcast appeared first on Discerning Hearts Catholic Podcasts.

College football season is almost here, and DJ and Kelsey are not holding anything back. This week on the High Low Sports Podcast: the Akron Zips are letting a season ticket holder script the opening drive of their home opener — and DJ has a 16-play, 9-minute clock-killing masterpiece ready to submit. Kelsey is going halfback dive, play-action all-go, and keeping the rest a secret. The dream scenario: fan scores on the first drive, real OC gets shut out for the rest of the game.   Then it's straight into the NCAA Top 25 rankings, broken down in chunks of 10 with zero filter. Notre Dame bailed on their bowl game and somehow got five first-place votes — Kelsey wants a preseason ranking ban and isn't shy about it. Indiana won the national championship undefeated, kept their coach, and is sitting at six while Texas is collecting first-place votes off pure reputation. LSU should be at 10 the moment Brian Kelly is gone. Tennessee has no business being ranked with a true freshman at quarterback in the SEC. Alabama is in a rebuilding year and Kalen DeBoer is not Nick Saban — take the pill. Missouri is starting Brady Cook, who lost his job at Ole Miss. Utah's Devin Dampier might be a Heisman dark horse that nobody's talking about yet.   They close out with a major announcement: Belly Up Sports is partnering with Degen Club — one platform for all your pick'ems, survivor pools, Calcutta auctions, and prediction contests. No more spreadsheets. No more chasing your friend for his buy-in. NFL Predictions Month kicks off next week.   Sharp, unfiltered, and very much not an Alabama fan club.  

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.

On this episode, we kick off a two-part miniseries, Dark August Knights! That's right, we're focusing on Batman and Batman-adjacent stories during the month of August! And first up is the introduction of the Dark Knight's iconic villain Ra's al Ghul – as seen in 1971's Batman #232 and 1972's Batman #243-244, by the titanic team of Denny O'Neil and Neal Adams, published by DC Comics! After Robin the College-Aged Boy Wonder is kidnapped, Batman is visited by the mysterious Ra's al Ghul, whose daughter, Talia, has also been abducted! The trail takes the World's Greatest Crime-Fighter and his enigmatic new acquaintance to Calcutta and the Himalayas, where a showdown with the lethal Brotherhood of the Demon awaits! Later, the Dark Knight Detective and a team of allies travels to the Swiss Alps to take down this international crime lord – who turns out to be immortal! Can Batman defeat the Head of the Demon in a desert duel to the death? And can this trio of tales infiltrate that mountaintop lair of villainy known as … The Comics Canon? Also in This Episode: Batman, International Man of Mystery Sit, Ubu, sit! The Caped Crusader's implausible detecting skills Spider-Man: Brand New Day Dungeon Crawler Carl, narrated by Jeff Hays Taking work from cat actors Join us in two weeks as we wrap up Dark August Knights with a look at Gotham Central #1-5! Until then:Please consider donating to the Comic Book Legal Defense Fund Impress your friends with our Comics Canon merchandise! Rate us on Apple Podcasts! Send us an email! Hit us up on Facebook or Bluesky! And as always, thanks for listening!

Chris Hall joins Stephanie Rousselle to reflect on the practice of delighting in God, especially during life's later chapters or grief-laden season. The conversation weaves through wisdom gained in the “winter of life,” the significance of gratitude, and the centrality of God's relational nature.Chris Hall begins by honestly discussing aging, recognizing the “gift of years,” and learning acceptance—particularly of life's inherent limitations and future partings. Acceptance, he says, is not resignation, but a posture of gratitude and detachment from what's fleeting, allowing deeper attachment to what matters most: God's loving presence and the relationships He's given us.Daily, Chris Hall and his wife pray, focusing on thankfulness. Even in uncertainty or suffering—as exemplified by their grandson with Down syndrome—gratitude centers their hearts on God's mercy. “Lord, have mercy” becomes a foundational prayer, acknowledging deep dependence and God's persistent goodness.The journey hasn't always been simple. Chris Hall shares that, particularly through experiences as a deputy coroner and witnessing immense suffering in places like Los Angeles, Calcutta, and Rwanda, he's grappled with whether God is truly good. Encountering pain and tragedy forced honest questions: “Are you good or not?” But with time and spiritual wrestling, he's emerged with a hard-won conviction of God's steadfastness.In today's culture, delight is often confused with self-focus—“you have to love yourself first.” Chris Hall counters this, insisting that genuine delight is secondary, a “byproduct” of being drawn out of ourselves by something beautiful (the character of God, deep friendships, acts of love). This self-forgetfulness mirrors the Trinity—God's relational essence—and is central to spiritual formation.Using friendship as an example, Chris Hall speaks of the deep grief that attends the loss of his best friend—grief is the “tax we pay for loving.” Yet, grief and joy are intertwined. The richness of a 50-year friendship is the soil from which delight blooms; our relationships (rooted in God's relational nature) are the stage for both love and loss.For anyone struggling to delight in God, Chris Hall gently advises: “Lead with beauty.” Recognize the goodness around you—even in small ways. Beauty draws us out of our self-absorption into a posture of wonder, gratitude, and worship. He encourages practices like meditating on the Psalms and savoring passages from John's, Romans, and Hebrews to nourish this vision.Delight in God is neither sentimental nor shallow—it's a mature joy forged in gratitude, beauty, courage, and faithfulness through all seasons. It invites us to accept limitations, let go of self-preoccupation, and savor God's goodness, even amidst suffering. As Chris Hall and Stephanie Rousselle remind us, delight is tasted, seen, and deeply known—not chased for its own sake, but discovered in God Himself.MORE ABOUT "AWAKEN DELIGHT" BY STEPHANIE ROUSSELLE"Delight yourself in the Lord, and he will give you the desires of your heart." This is God's promise to you in Psalm 37:4. But many believers quietly assume it's just a poetic suggestion, or it doesn't really work here on earth.In Awaken Delight, Stephanie Rousselle invites you to rediscover what Scripture actually means by delight in God. It's not emotional hype or religious performance, but a steady satisfaction rooted in who God is.Through biblical theology and practical rhythms, you'll learn how delighting in Godreshapes sufferingquiets restless strivinganchors your identity in God's unshakable delight of youLearning to delight in God is the quiet revolution that reshapes how we endure pain, love others, and understand our own hearts.Awaken Delight is a theologically grounded spiritual formation book for thoughtful believers who feel spiritually fatigued and are ready to embrace the reality of Psalm 37:4.More at https://www.gospelspice.com/awakendelightDISCOVER THE BOOK BEHIND THE PODCAST | "Awaken Delight" by Stephanie Rousselle"Delight yourself in the Lord, and he will give you the desires of your heart." Psalm 37:4 isn't a poetic suggestion — it's a promise. But many believers quietly assume it doesn't really work, or it's not really possible here on earth.In Awaken Delight, Stephanie Rousselle invites you to rediscover what Scripture actually means by delight — not emotional hype, not religious performance, but a steady satisfaction rooted in who God is.Delight in God isn't a mood to manufacture; it's a relationship to receive.Through biblical theology and practical rhythms, you'll learn how communion with God reshapes suffering, quiets restless striving, and anchors your identity in something unshakable.Delighting in God isn't sentimental optimism. It's deeply rooted in Christ, Jesus.It's the quiet revolution that reshapes how we endure pain, love others, and understand our own heart.Awaken Delight is a theologically grounded spiritual formation book for thoughtful believers who feel spiritually fatigued and are ready to embrace the reality of Psalm 37:4.More at https://www.gospelspice.com/awakendelight Purchase the book, "Awaken Delight" by Stephanie Rousselle: https://a.co/d/0bqhUb5JKind words from Jennifer Rothschild, Bible teacher, Author, Speaker, Podcast Host, Founder, Fresh Grounded Faith: “Stephanie helps us awaken to and experience true delight. It is a rich mix of God's delight in you and your delight in him. This is the life you were made for, the life your soul deeply longs for. So, the table is set. Pull up a chair and let your heart sit alongside Stephanie. As your delight in God wakes up and becomes fully realized, you'll find a satisfaction in Christ that makes you want more and more.”Kind words from Amanda Jenkins, Lead creator of THE CHOSEN's literary content: "I have yet to meet another person quite as eager to intimately know Jesus as Stephanie is. Her enthusiasm for the beauty found inside a thriving relationship with her Savior is downright contagious. Indeed, Stephanie's joy and faith and commitment to growth—along with her love for really good food!—will implant themselves in the hearts of readers. Lucky readers."Kind words from Os Guinness, Theologian, Social critic, Author, The Call:  "Stephanie addresses one of the greatest needs of Christians today. Knowing God is not knowing about God, but knowing Him genuinely and with desire and delight. She does so practically and helpfully, and in a style that sparkles with a verve and joy that is distinctively French."Kind words from Pippa Gumbel, Pioneer, The Alpha Course; Author, The Bible in one year with husband Nicky: "Stephanie's love of God is inspiring and infectious. Her book is an invitation to share in that delight and to come to know God in new and wonderful ways."More at https://www.gospelspice.com/awakendelight Purchase the book, "Awaken Delight" by Stephanie Rousselle: https://a.co/d/0bqhUb5JSupport us on Gospel Spice, PayPal and Venmo!

In addition to filling in more background knowledge from a scholarly article that I did find on this tale by Jamel Eddine Bencheikh, as well as some musings on the formation of the discipline of Anglophone Japan studies under the influence of Francophone Arabology, we explore this same tale in the nineteenth-century colonial-era British-Indian edition of the now much expanded and more textually baroque version known as Calcutta II. There, we find the first-person narrative interludes removed, or at least refocused away from the process of establishing a secure communication channel between the worker go-betweens, on behalf of the elite patrons. That process also becomes top-down rather than bottom-up, as the negotiation of the connection much more clearly follows an elite commission rather than arising on the initiative of the workers themselves. Meanwhile, textual change has obscured some storytelling choices we saw in the post-1450 version, sometimes strengthening the story but also often leaving loose ends dangling and vestigial inconsistencies that only make sense if we know what the passage used to say. In the way, the text of Calcutta II embodies the growth of oriental despotism or decadence precisely in the time of occidental colonization, both in its form and in its content. Hosted on Acast. See acast.com/privacy for more information.

Member states of the International Criminal Court have voted to remove its chief prosecutor, Karim Khan, by an overwhelming majority. The court's oversight body concluded in June that he had committed serious misconduct in connection to allegations of sexual abuse. Mr Khan has repeatedly denied all the allegations against him. Also: Ukraine opens a probe after a deadly Russian ballistic missile attack at a defence event near Kyiv that had been heavily promoted, despite the risks. Israeli settlers attack several Palestinian villages in the occupied West Bank following a major confrontation that left six people dead. Hundreds of thousands of people have been evacuated across France and Spain as intense wildfires continue to burn across Europe. Student protests in India spread beyond Dehli to other cities with thousands marching for education reform in Mumbai and Calcutta. A special report looking at the human cost of South Korea's ultra-convenient overnight deliveries. Canada withdraws invitation of US dignitaries to a joint bridge-opening celebration after Donald Trump's latest tariff threat on Ottawa. And how the book genre "romantasy" went from a niche online interest to one of publishing's biggest commercial success stories.The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight. Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment. Get in touch: globalpodcast@bbc.co.ukPhoto: An exterior view of the International Criminal Court (ICC) in The Hague, the Netherlands. Credit: LINA SELG/EPA/Shutterstock

Tobias Beckwith used to manage Jeff McBride and Marco Tempest, just to name a couple “names” in our magic community. He has worked on Broadway with some of the most iconic plays such as “Oh, Calcutta” and “The Fantastiks” among others. He was one of the early staff teachers at the McBride Mystery School as it was formed and of course, was close friends with Eugene Burger, among others. Tobias has authored several books on production and direction and are well worth you inspection. View fullsize View fullsize View fullsize View fullsize This week, Tobias shares some stories about the formation of the Mystery School, plus working behind the scenes of many of the great magic shows over the past few decades. He discusses the differences between being an agent and a manager, and why magicians should consider getting one. Managing Expectations Scott Wells with Tobias Beckwith Download Download this podcast in an MP3 file by Clicking Here and then right click to save the file. You can also subscribe to the RSS feed by Clicking Here. You can download or listen to the podcast through Pandora and SiriusXM (formerly Stitcher) by Clicking Here or through FeedPress by Clicking Here or through Tunein.com by Clicking Here or through iHeart Radio by Clicking Here. If you have a Spotify account, then you can also hear us through that app, too. You can also listen through your Amazon Alexa and Google Home devices. Remember, you can download it through the iTunes store, too. See the preview page by Clicking Here.

This week we read a gripping article on a man whose ministry, despite sorrow and ill-health, was faithful and blessed—in Perth, Scotland, as well as Calcutta, India.    Featured Resources:  David Campbell, 'John Milne: "A flower of rare beauty and sweetness of odour"' Banner of Truth Magazine, Issue 754 (July 2026).    Buy the book:  Horatius Bonar, The Life of John Milne of Perth   Explore the work of the Banner of Truth: www.banneroftruth.org  Subscribe to the Magazine (print/digital/both): www.banneroftruth.org/magazine  Leave us your feedback or a testimony: www.speakpipe.com/magazinepodcast

In 1914 the British-built and Japanese-owned steamship Komagata Maru left Hong Kong for Vancouver carrying 376 Punjabi migrants. Chartered by railway contractor and purported rubber planter Gurdit Singh, the ship and its passengers were denied entry into Canada and two months later were deported to Calcutta. In Across Oceans of Law: The Komagata Maru and Jurisdiction in the Time of Empire (Duke University Press, 2018) Renisa Mawani retells this well-known story of the Komagata Maru. Drawing on "oceans as method"—a mode of thinking and writing that repositions land and sea—Mawani examines the historical and conceptual stakes of situating histories of Indian migration within maritime worlds. Through close readings of the ship, the manifest, the trial, and the anticolonial writings of Singh and others, Mawani argues that the Komagata Maru's landing raised urgent questions regarding the jurisdictional tensions between the common law and admiralty law, and, ultimately, the legal status of the sea. By following the movements of a single ship and bringing oceans into sharper view, Mawani traces British imperial power through racial, temporal, and legal contests and offers a novel method of writing colonial legal history. The conversation also covers how the book, published in 2018, has shaped the author's more recent work as well as how historical methods and approaches have evolved in the years since publication. Helen Dewar is an historian of the Atlantic World and French colonization in North America in the 17th and 18th centuries. She is a professor of history at the Université de Montréal (Québec, Canada) and the author of Disputing New France: Companies, Sovereignty and Law in the French Atlantic, 1598-1663 (McGill-Queen's University Press, 2022). Helen's institutional website 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

In 1914 the British-built and Japanese-owned steamship Komagata Maru left Hong Kong for Vancouver carrying 376 Punjabi migrants. Chartered by railway contractor and purported rubber planter Gurdit Singh, the ship and its passengers were denied entry into Canada and two months later were deported to Calcutta. In Across Oceans of Law: The Komagata Maru and Jurisdiction in the Time of Empire (Duke University Press, 2018) Renisa Mawani retells this well-known story of the Komagata Maru. Drawing on "oceans as method"—a mode of thinking and writing that repositions land and sea—Mawani examines the historical and conceptual stakes of situating histories of Indian migration within maritime worlds. Through close readings of the ship, the manifest, the trial, and the anticolonial writings of Singh and others, Mawani argues that the Komagata Maru's landing raised urgent questions regarding the jurisdictional tensions between the common law and admiralty law, and, ultimately, the legal status of the sea. By following the movements of a single ship and bringing oceans into sharper view, Mawani traces British imperial power through racial, temporal, and legal contests and offers a novel method of writing colonial legal history. The conversation also covers how the book, published in 2018, has shaped the author's more recent work as well as how historical methods and approaches have evolved in the years since publication. Helen Dewar is an historian of the Atlantic World and French colonization in North America in the 17th and 18th centuries. She is a professor of history at the Université de Montréal (Québec, Canada) and the author of Disputing New France: Companies, Sovereignty and Law in the French Atlantic, 1598-1663 (McGill-Queen's University Press, 2022). Helen's institutional website 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

In 1914 the British-built and Japanese-owned steamship Komagata Maru left Hong Kong for Vancouver carrying 376 Punjabi migrants. Chartered by railway contractor and purported rubber planter Gurdit Singh, the ship and its passengers were denied entry into Canada and two months later were deported to Calcutta. In Across Oceans of Law: The Komagata Maru and Jurisdiction in the Time of Empire (Duke University Press, 2018) Renisa Mawani retells this well-known story of the Komagata Maru. Drawing on "oceans as method"—a mode of thinking and writing that repositions land and sea—Mawani examines the historical and conceptual stakes of situating histories of Indian migration within maritime worlds. Through close readings of the ship, the manifest, the trial, and the anticolonial writings of Singh and others, Mawani argues that the Komagata Maru's landing raised urgent questions regarding the jurisdictional tensions between the common law and admiralty law, and, ultimately, the legal status of the sea. By following the movements of a single ship and bringing oceans into sharper view, Mawani traces British imperial power through racial, temporal, and legal contests and offers a novel method of writing colonial legal history. The conversation also covers how the book, published in 2018, has shaped the author's more recent work as well as how historical methods and approaches have evolved in the years since publication. Helen Dewar is an historian of the Atlantic World and French colonization in North America in the 17th and 18th centuries. She is a professor of history at the Université de Montréal (Québec, Canada) and the author of Disputing New France: Companies, Sovereignty and Law in the French Atlantic, 1598-1663 (McGill-Queen's University Press, 2022). Helen's institutional website Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

In 1914 the British-built and Japanese-owned steamship Komagata Maru left Hong Kong for Vancouver carrying 376 Punjabi migrants. Chartered by railway contractor and purported rubber planter Gurdit Singh, the ship and its passengers were denied entry into Canada and two months later were deported to Calcutta. In Across Oceans of Law: The Komagata Maru and Jurisdiction in the Time of Empire (Duke University Press, 2018) Renisa Mawani retells this well-known story of the Komagata Maru. Drawing on "oceans as method"—a mode of thinking and writing that repositions land and sea—Mawani examines the historical and conceptual stakes of situating histories of Indian migration within maritime worlds. Through close readings of the ship, the manifest, the trial, and the anticolonial writings of Singh and others, Mawani argues that the Komagata Maru's landing raised urgent questions regarding the jurisdictional tensions between the common law and admiralty law, and, ultimately, the legal status of the sea. By following the movements of a single ship and bringing oceans into sharper view, Mawani traces British imperial power through racial, temporal, and legal contests and offers a novel method of writing colonial legal history. The conversation also covers how the book, published in 2018, has shaped the author's more recent work as well as how historical methods and approaches have evolved in the years since publication. Helen Dewar is an historian of the Atlantic World and French colonization in North America in the 17th and 18th centuries. She is a professor of history at the Université de Montréal (Québec, Canada) and the author of Disputing New France: Companies, Sovereignty and Law in the French Atlantic, 1598-1663 (McGill-Queen's University Press, 2022). Helen's institutional website Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1914 the British-built and Japanese-owned steamship Komagata Maru left Hong Kong for Vancouver carrying 376 Punjabi migrants. Chartered by railway contractor and purported rubber planter Gurdit Singh, the ship and its passengers were denied entry into Canada and two months later were deported to Calcutta. In Across Oceans of Law: The Komagata Maru and Jurisdiction in the Time of Empire (Duke University Press, 2018) Renisa Mawani retells this well-known story of the Komagata Maru. Drawing on "oceans as method"—a mode of thinking and writing that repositions land and sea—Mawani examines the historical and conceptual stakes of situating histories of Indian migration within maritime worlds. Through close readings of the ship, the manifest, the trial, and the anticolonial writings of Singh and others, Mawani argues that the Komagata Maru's landing raised urgent questions regarding the jurisdictional tensions between the common law and admiralty law, and, ultimately, the legal status of the sea. By following the movements of a single ship and bringing oceans into sharper view, Mawani traces British imperial power through racial, temporal, and legal contests and offers a novel method of writing colonial legal history. The conversation also covers how the book, published in 2018, has shaped the author's more recent work as well as how historical methods and approaches have evolved in the years since publication. Helen Dewar is an historian of the Atlantic World and French colonization in North America in the 17th and 18th centuries. She is a professor of history at the Université de Montréal (Québec, Canada) and the author of Disputing New France: Companies, Sovereignty and Law in the French Atlantic, 1598-1663 (McGill-Queen's University Press, 2022). Helen's institutional website Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Homilies by Cardinal Blase Cupich. Magnifica Humanitas. Saint Mother Teresa of Calcutta.

Jennifer sits down with her friend and travel companion Kirsten Dickerson, founder of Artist & Nomad, in Kirsten's garden flat in London. Kirsten opens up about the moments that quietly rearranged her life: a family that lost nearly everything, a mother she wasn't sure she could hold onto, and a faith that kept nudging her toward the next unlikely yes - from the sorority halls of Baylor University to the bustling streets of Calcutta. What emerges is the origin story behind the life Kirsten has built. “Noticing leads to wonder. Wonder leads to gratitude.” - Kirsten Dickerson

Celebrated writer and thinker Amitav Ghosh explores rebirth, regeneration and the cycles of life with host Dr Sreedhevi Iyer. Originally presented on Wednesday 27 May by The Wheeler Centre in partnership with RMIT University. Amitav Ghosh is one of India’s most celebrated writers. With a career effortlessly spanning fiction, non-fiction and reportage, his work is characterised by big picture thinking with an unwavering drive to bring the climate crisis into stark focus. These qualities are on display in his captivating new novel, Ghost-Eye, a story that begins in mid-century Calcutta, with a child who claims to remember a past life and leaps to contemporary Brooklyn, where a middle-aged antiquarian is drawn into investigating a family mystery. As the two seemingly unrelated stories converge, Ghosh crafts a narrative that offers a powerful meditation on fate, meaning and the awakening of wonder. Ghosh sits down with Sreedhevi Iyer to discuss his latest novel, what it means to write about the climate breakdown and his remarkable career to date. Featured music is 'No One There' by Ava Low.The official bookseller was Readings.Support the Wheeler Centre: https://www.wheelercentre.com/support-us/donateSee omnystudio.com/listener for privacy information.

The Author Events Series presents Amitav Ghosh | Ghost-Eye In Conversation with Brooke O'Harra Past and present collide in a novel about a girl who might just be a "case of the reincarnation type." Varsha Gupta wants fish for lunch. Her family is shocked; the three-year-old has never tasted fish in her life. The Guptas are strict vegetarians and don't allow it inside their Calcutta mansion. But Varsha claims she can remember another life, in a mud house by a river where she caught and cooked fish with a different mother. Perplexed, the Guptas turn to Dr. Shoma Bose, a psychologist who has been investigating what are known as "cases of the reincarnation type" for years. But her understanding of the world is changed forever by Varsha's revelations. Half a century later, Varsha's case file catches the attention of a group of environmental activists, and Shoma's nephew Dinu is drawn inexorably into their plans. As Dinu finds himself caught up in the search for Varsha, buried memories of his own past begin to surface. Traveling between late 1960s Calcutta and present-day Brooklyn, Amitav Ghosh's Ghost-Eye is an urgent and expansive novel from one of our greatest living storytellers, about family, fate, and our fragile planet. Amitav Ghosh is the author of the bestselling Ibis Trilogy, composed of Sea of Poppies (short-listed for the Man Booker Prize), River of Smoke, and Flood of Fire. His other novels include The Circle of Reason, which won the Prix Médicis étranger, and The Glass Palace. He is also the author of many works of nonfiction, including The Great Derangement, The Nutmeg's Curse, and Smoke and Ashes. In 2018, Ghosh became the first English-language writer to win the Jnanpith Award, India's highest literary honor. He lives in Brooklyn, New York. Brooke O'Harra (she/her) is a professional director, artist and writer. Brooke and Amitav collaborated with musician Ali Sethi in May 2022 to stage a musical performance of Ghosh's book Jungle Nama. Brooke O'Harra is a queer autuer theater director who often works in collaboration with poets, writers, composer and musicians. O'Harra's current projects include the upcoming performance of Be Holding, to be performed at 59th Carnegie International in Pittsburgh 2026. O'Harra (director) co-created the project with poet Ross Gay, composer Tyshawn Sorey, and the new ensemble Yarn/Wire.  She is also commissioned to develop an original performance work with the museum docents for the 59th Carnegie International. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night! All tickets are non-refundable. (recorded 6/16/2026)

Full Text of Readings Wednesday of the Eleventh Week in Ordinary Time Lectionary: 367 The Saint of the day is Saint Joseph Cafasso Saint Joseph Cafasso's story Even as a young man, Joseph Cafasso loved to attend Mass and was known for his humility and fervor in prayer. After his ordination, he was assigned to a seminary in Turin. There he worked especially against the spirit of Jansenism—an excessive preoccupation with sin and damnation. He used the works of Saint Francis de Sales and Saint Alphonsus Liguori to moderate the rigorism popular at the seminary. Joseph Cafasso recommended membership in the Secular Franciscan Order to priests. He urged devotion to the Blessed Sacrament and encouraged daily Communion. In addition to his teaching duties, Joseph was an excellent preacher, confessor, and retreat master. Noted for his work with condemned prisoners, he helped many of them die at peace with God. Joseph Cafasso urged one of his former pupils—Saint John Bosco—to establish the Salesians congregation to work with the youth of Turin. Joseph died in 1860, and was canonized in 1947. His liturgical feast is celebrated on June 23. Reflection Devotion to the Eucharist gave energy to all Joseph's other activities. Long prayer before the Blessed Sacrament has been characteristic of many Catholics who have lived out the gospel well: Saint Francis, Bishop Fulton Sheen, Cardinal Joseph Bernardin, and Saint Teresa of Calcutta among them.Saint of the Day, Copyright Franciscan Media

Kathryn was born in the Himalayas. However, both her parents were English and had the same desire of "going out to India, spreading the Gospel message and serving the poor," explains my guest. Living in Vienna as a young girl, Kathryn remembers her parents taking in refugees who were seeking political asylum and it was normal to have refugees sleeping on their floor regularly. These memories had a profound effect on Kathryn and she was certain that this is how her interests in helping the less fortunate  came to be.  Kathryn shares that her mother was not warm and fuzzy but she was from the generation of tough and strong women. Kathryn always felt very loved. Ruby was a teacher and taught her daughter and other children from the Embassy. Ruby was determined that Kathryn would not be spoiled. Kathryn was soon sent to boarding school because her parents were working and traveling regularly. "A little pencil in God's hand" is how Mother Teresa would refer to herself. She never wanted credit  or accolades for her work. "She could be a tough cookie," Spink reflects however, "she was difficult to deal with sometimes, because God was so definitely on her side and that could make things tough. Mother Teresa was so determined, nothing could get in her way." "Poverty saddened Mother Teresa the most according to Kathryn,  "I don't think it angered her not in relation to God. Waste most likely angered her the most but never with God." Mother Teresa was always seeing the presence of God in the poor and it helped her persevere.  "Tolerance was deeply ingrained in Mother Theresa" explains Ms. Spink. "Mother Teresa believed that God was at work in every soul, so it wasn't up to her to try and convince others of the 'correct/best religion." My guest remarks "Mother Teresa used to say "come to Calcutta and I'll put you to work".  This is what this demure but mighty  woman believed with her whole body, mind and spirit. Kathryn even shared stories of the similarities between Mother Teresa, whose birth name was Agnes, and her mother Drana. "The family that prays together, stays together" was one of Drana's favorite expressions according to Spink. Caring for the sick was a common thread for the two woman.  "It's not always about the physical suffering, but the whole process of being abandoned by people" was one of the toughest things for Mother Teresa to comes to terms with, comments Spink. Mother Teresa founded the order, "The Missionaries of Charities." She wanted to give shelter to  abandoned babies and to help the poorest of the poor. In 1979 she received the Nobel Peace Prize and after her death was canonized as Saint Teresa.  I could have listened for hours to my guest share her stories of all of these selfless women. Mother Teresa was known as 'Mother' because when a nun/sister is appointed to a superior position within  the church, they are known as 'Mother.' INFORMATION: Kathryn Spink is the author of several books on the work of Mother Teresa and her coworkers, as well as other inspiring contemporary figures, including Brother Roger of Taize, Beede Griffiths, Dominique LaPierre, Prince Charles' and Lady Diana Spencer and more.  My guest is also the chronicler of the “South African Women's Human Rights Organization.”  https://www.kathrynspink.com/ https://www.harpercollins.com/blogs/authors/kathryn-spink-20167212026170   "Should Have Listened To My Mother" is an ongoing conversation about mothers/female role models and the roles they play in our lives. Jackie's guests are open and honest and answer the question, are you who you are today because of, or in spite of, your mother and so much more. You'll be amazed at what the responses are.Gina Kunadian wrote this 5 Star review on Apple Podcast:SHLTMM TESTIMONIAL GINA KUNADIAN JUNE 18, 2024“A Heartfelt and Insightful Exploration of Maternal Love”Jackie Tantillo's “Should Have Listened To My Mother” Podcast is a treasure and it's clear why it's a 2023 People's Choice Podcast Award Nominee. This show delves into the profound impact mother and maternal role models have on our lives through personal stories and reflections.Each episode offers a chance to learn how different individuals have been shaped by their mothers' actions and words. Jackie skillfully guides these conversations, revealing why guests with similar backgrounds have forged different paths.This podcast is a collection of timeless stories that highlight the powerful role of maternal figures in our society. Whether your mother influenced you positively or you thrived despite challenges, this show resonates deeply.I highly recommend “Should Have Listened To My Mother” Podcast for its insightful, heartfelt and enriching content.Gina Kunadian"Should Have Listened To My Mother" would not be possible without the generosity, sincerity and insight from my guests. In 2018/2019, in getting ready to launch my podcast, so many were willing to give their time and share their personal stories of their relationship with their mother, for better or worse and what they learned from that maternal relationship. Some of my guests include Nationally and Internationally recognized authors, Journalists, Columbia University Professors, Health Practitioners, Scientists, Artists, Attorneys, Baritone Singer, Pulitzer Prize Winning Journalist, Activists, Freighter Sea Captain, Film Production Manager, Professor of Writing Montclair State University, Attorney and family advocate @CUNY Law; NYC First Responder/NYC Firefighter, Child and Adult Special Needs Activist, Property Manager, Chefs, Self Help Advocates, therapists and so many more talented and insightful women and men.Jackie has worked in the broadcasting industry for over four decades. She has interviewed many fascinating people including musicians, celebrities, authors, activists, entrepreneurs, politicians and more.A big thank you goes to Ricky Soto, NYC based Graphic Designer, who created the logo for "Should Have Listened To My Mother".MORE INFORMATION ABOUT SHLTMM PODCAST:Link to website and show notes: https://shltmm.simplecast.com/ and https://www.jackietantillo.com/Or more demos of what's to come at https://soundcloud.com/jackie-tantillo Listen wherever you find podcasts: https://www.facebook.com/ShouldHaveListenedToMyMotherhttps://www.facebook.com/jackietantilloInstagram:https://www.instagram.com/shouldhavelistenedtomymother/https://www.instagram.com/jackietantillo7/LinkedIn:https://www.linkedin.com/in/jackie-tantillo/YOUTUBE: https://www.youtube.com/@ShouldHaveListenedToMyMother

Fr Peter George Flynn continues through the Acts of the Apostles, following Paul through two years of indefinite custody under the governor Felix — a delay that Fr Peter compares to the Black Hole of Calcutta and Hamlet's lament over the law's delay. The discussion continues through Paul before a new governor, Festus, invoking his […] L'articolo Catechesis – St Paul and Hamlet's Lament – Fr Peter George Flynn OFMConv proviene da Radio Maria.

Fr Adrian presents a programme on deepening our relationship with God, moving through humility, anger, contentment, and prayer, drawing on St Teresa of Calcutta, St Francis de Sales, Sr Lucia, and St Teresa of Avila. There is one story that crowns the whole episode: the day St Francis de Sales was verbally attacked in a […] L'articolo Catechesis – Five Minutes and Twenty-Five Years – Fr Adrian Crowley proviene da Radio Maria.

“Be optimistic about the boom, but don't buy the stock.” — Liaquat Ahamed on the AI bubble Yesterday, Alexander Starritt argued that the 2008 financial crash ruined the lives of his generation. But compared with the great crash of 1873, 2008 looks like a tremor. The Pulitzer Prize-winning economic historian Liaquat Ahamed has a new book out today, 1873, which presents this 19th century economic crash as the first truly global financial crisis. In 1870, three globalising infrastructure projects were completed in quick succession: the US transcontinental railroad, the Suez Canal, and the Trans-India railroad linking Bombay to Calcutta. Into this newly integrated global economy, the Franco-Prussian War injected a trillion-dollar-equivalent indemnity that the Rothschilds helped France raise — and the resulting dramatic capital flows produced three simultaneous bubbles in Berlin, Vienna, and New York. A French journalist named Jules Verne worked out that for the first time, you could circumnavigate the globe in less than eighty days. Around the world in one global economic crisis. The lesson for posterity, Ahamed warns, is that the authorities made a catastrophic error by doubling down on the gold standard, producing decades of deflation that triggered an anti-semitic and anti-globalist populism, and ultimately led to the Great Depression of the 1930s. So what does that tell us about today's AI boom, which is about to be rocketed by three trillion-dollar IPOs? Be optimistic about the boom, the wise Ahamed says. But don't buy the stock. Five Takeaways •       Jules Verne and the First Global Economy: In 1870, three iconic infrastructure projects were completed: the US transcontinental railroad, the Suez Canal, and the Trans-India railroad linking Bombay to Calcutta. A French newspaper noted that for the first time, a traveller could circle the globe in less than eighty days. Jules Verne read the article and found his next novel. The point for Ahamed: this moment marked the creation of a genuinely integrated global economy for the first time in history. And with global integration came the first global financial crisis. The boom of the 1850s and 1860s was not irrational. It reflected real economic growth. The crash came from what happened next. •       The Trillion-Dollar Indemnity and Three Simultaneous Bubbles: Under the peace treaty ending the Franco-Prussian War, France was required to pay Germany an indemnity worth the equivalent of $1.2 trillion in today's money. With the help of the Rothschilds, France raised this sum in six months. The resulting capital injection caused the Berlin and Vienna equity markets to rise 200–300 percent. Simultaneously, European capital fleeing the war flowed into US railroad construction, inflating that bubble further. A third bubble formed in foreign borrowing on the London capital markets, as money chased yield in countries that should never have been given credit. Three bubbles, one crash. •       The Wrong Lesson from 1873: Gold Standard Orthodoxy: When the crash came, the authorities made a catastrophic error: they concluded that the gold standard had worked because the 1850s and 1860s boom had happened under it. They failed to see that the crash itself was partly produced by the gold standard's rigidities. The resulting decade of deflation crushed farmers, debtors, and ordinary people across Europe and America, fuelling anti-globalist populism. The same orthodoxy — applied by Montagu Norman and others in the 1920s — helped cause the Great Depression. We always fight the last war. •       The Rothschilds: Scapegoated Despite Being Innocent: The Rothschilds were at the centre of the 1873 boom as the world's leading bond underwriters. Presciently, they kept a low profile during the most speculative phase of the bubble. When the crash came, they were viciously scapegoated — part of the wave of antisemitism that swept Europe in the wake of the depression. Ahamed's irony: the Rothschilds were blamed for a crisis they had been cautious enough to partially avoid. The story of 1873 is, among other things, a story of how financial panic turns into political persecution. •       The AI Boom: Be Optimistic, Don't Buy the Stock: Andrew's final question: should we buy Anthropic and OpenAI when they go public? Ahamed's answer, via the lesson of every bubble from 1873 to 1929 to the dot-com era: bull markets are usually driven by real fundamentals — until the last phase, when they become untethered. The 1920s were rational until 1927; the dot-com era was rational until 1997. The dilemma: the last irrational phase may still produce 40 percent gains. Ahamed's advice: be optimistic about the AI boom. It reflects real productivity growth. But don't buy the stock. About the Guest Liaquat Ahamed is a financial historian and investment manager. He graduated with degrees in economics from Cambridge and Harvard, worked at the World Bank in Washington, D.C., and had a twenty-five-year career as a professional investment manager based in London and New York before turning to writing. He is the author of 1873: The Rothschilds, the First Great Depression, and the Making of the Modern World (Penguin Press, June 2, 2026) and Lords of Finance: The Bankers Who Broke the World (winner of the 2010 Pulitzer Prize, the Council on Foreign Relations Arthur Ross Gold Medal, and the Financial Times Best Business Book of the Year). He lives in Washington, D.C. References: •       1873: The Rothschilds, the First Great Depression, and the Making of the Modern World by Liaquat Ahamed (Penguin Press, June 2, 2026). •       Lords of Finance: The Bankers Who Broke the World by Liaquat Ahamed (Penguin Press, 2009) — the Pulitzer Prize-winning predecessor, referenced throughout. •       Episode 2928: Alexander Starritt on Drayton and Mackenzie — directly referenced at the opening; the 2008 companion. •       James Surowiecki, “Why Stocks Keep Going Up,” The Atlantic — referenced in the final exchange. About Keen On America Nobody asks more awkward questions than the Anglo-American writer and filmmaker Andrew Keen. In Keen On America, Andrew brings his pointed Transatlantic wit to making sense of the United States — hosting daily interviews about the history and future of this now venerable Republic. With nearly 2,900 episodes since the show launched on TechCrunch in 2010, Keen On America is the most prolific intellectual interview show in the history of podcasting. WebsiteSubstack

This week's Alabama Saltwater Fishing Report covers a wide-open early summer bite across the Alabama Gulf Coast, from trout and redfish in the Mississippi Sound to surf fishing around Gulf Shores and Orange Beach, plus a strong red snapper opener nearshore. Butch Thierry is joined in studio by Capt. Branden Collier of Capt. Collier's Charters, who helps co-host the episode and later breaks down a hot red snapper bite, Calcutta pole snapper fishing, early triple tail signs, flounder on rocks and flooded grass, and quality speckled trout around mullet and grass flats. Capt. Shane Traylor of Bona Fide Inshore checks in with a report from his new 224 Blackjack, explaining how popping corks, live shrimp, Vudu shrimp, wind-blown banks, slicks, and shallow structure have been producing trout, redfish, black drum, and flounder in the Sound and Mobile Bay. Chris Vecsey of J&M Tackle brings the Orange Beach and Gulf Shores report, covering surf trout, redfish, Gulf flounder, ladyfish, bluefish, Spanish mackerel, grass issues, rough-water tactics, weedless plastics, twitch baits, fly fishing, and wake baits over shallow grass. It's a strong episode for anglers trying to make sense of early summer conditions, fish through wind and grass, and pick the right tactic whether they're wading, fishing the surf, working the flats, or running just offshore for snapper. Make Wake Marine Deep South Cranes CCA Alabama Dixie Building Supply / Baker Metal Works Foster Contracting Black Buffalo Slip Ski Solutions Admiral Shellfish Company Coastal Connection Fiber Plastics Inc Hilton's Offshore Charts / Realtime-Navigator McCoy Outdoor Company Ricciardone Dentistry  Midway Lumber Sales Coastal Brew Baits Pure Flats EMS / Endeck Camper City Mobile

C'è sempre stata una cosa che ha reso Francesca Michielin diversa dagli altri artisti della sua generazione: la capacità di cambiare continuamente senza mai sembrare costruita. Dalla vittoria a X Factor fino ai grandi palchi, passando per Sanremo, l'Eurovision e collaborazioni con artisti come Fedez, Måneskin, Calcutta, Fabri Fibra ed Elisa, Francesca ha costruito un percorso unico nella scena italiana, fatto di scrittura, ricerca e continua trasformazione. Negli anni ha alternato pop, elettronica, cantautorato e sperimentazione, arrivando oggi a una nuova fase artistica con “Magia Bianca”, il suo ultimo album, un progetto che unisce mondi diversi e racconta ancora una volta la sua evoluzione. Al BSMT abbiamo parlato di musica, identità e cambiamento, ma anche della pressione di crescere sotto gli occhi di tutti, del bisogno di rallentare e di cosa significa restare fedeli a sé stessi dentro un'industria che cambia continuamente. E poi della sua storia personale: la fragilità, la sensibilità, il rapporto con il corpo, con il giudizio e con quella continua ricerca di equilibrio che attraversa anche la sua musica. Una chiacchierata autentica, delicata e piena di sfumature. Perché Francesca Michielin non ha mai avuto paura di cambiare… pur restando sempre sé stessa. Buona visione! ___________________ 00:00 INTRO 07:29 LA PASSIONE PER LA F1 E LA GESTIONE DELLE PRESSIONI 11:25 LA CULTURA NERD E LA SCELTA DI DIGIUNO DAI SOCIAL 16:28 IL NUOVO ALBUM TRA TECNICA E STRUMENTI MUSICALI 22:55 DIRIGERE A SANREMO E CRESCERE SOTTO I RIFLETTORI 28:44 IL MERCATO DISCOGRAFICO, LO STREAMING E I NUMERI 36:19 I GRANDI CAMBIAMENTI E SANREMO 2025 42:44 IL POST-FESTIVAL E IL LIVE ALL'ARENA 47:35 L'INNO A MONZA, FERNANDO ALONSO E IL VALORE DEI CLUB 51:28 IL VIAGGIO DI X FACTOR 2011 E IL RITORNO A SCUOLA 1:00:08 IL PRIMO SANREMO, L'EUROVISION E LA PROFEZIA SUI MÅNESKIN 1:05:36 LA BUFERA PER LA GAFFE A X-FACTOR 1:21:57 IL RAPPORTO CON LA PROPRIA MUSICA 1:29:39 L'AMORE CON DAVIDE E IL SUPPORTO NELLE DIFFICOLTÀ DELLA VITA 1:31:57 IL RAPPORTO CON IL PUBBLICO E LA MALATTIA AL RENE 1:34:35 IL MITO DI DEL PIERO 1:41:20 SALUTI FINALI Learn more about your ad choices. Visit megaphone.fm/adchoices

What can one little individual do that could positively impact all of humanity? What mindset has silently shaped, distorted, and even destabilized our institutions, our economies, and even our sense of self? What is our relationship with money—and how can we align it with the deepest longing of our souls? Are we living inside an inherited story that no longer serves us—and if so, what would it take to author a new one? And in a time of collective fracture, could the real revolution be ontological—a shift not in what we have, but in who we are?Find out from Lynne Twist, exclusively in conversation with Dr. Hitendra Wadhwa on Intersections Podcast.Lynne Twist is a globally recognized humanitarian, author, and visionary who has spent more than forty years working to end hunger, empower women and girls, advance social justice, and protect the Amazon rainforest. As a senior leader and global fundraiser for The Hunger Project, she worked in more than 50 countries—from Mother Teresa's mission in Calcutta to refugee camps in Ethiopia—gaining profound, firsthand insight into the human experience of scarcity and sufficiency. She later co-founded The Pachamama Alliance at the invitation of the Achuar people of the Amazon, forming a unique partnership that safeguards rainforest ecosystems, supports Indigenous sovereignty, and offers global education programs that cultivate ecological awareness, spiritual responsibility, and collective action. She is also the founder of the Soul of Money Institute, which has worked with over 100,000 people to transform their relationship with money and align financial resources with purpose and integrity. Her best-selling book The Soul of Money is considered a classic in conscious leadership, and her newest book, Living a Committed Life, distills her decades of activism into a guide for finding freedom and fulfillment in service of a larger purpose.In this episode, Lynne reveals:- The greatest experiment one visionary thinker undertook- The mindset at the root of all human misery—and how to transcend it- The hidden architecture of our relationship with money—and how to realign it with the soul- The inherited story shaping our institutions, identities, and destinies—and what it would mean to rewrite it

Will need to get a few things ‘ticked off' by legals, but we could be onto something here. A Koa Calcutta or Sweepstakes, for charity of course. We catch up with supercoach Caroline Steffen from Port Mac to chat about her Cairns experiences and training in Europe.  With the beer mile on ice for a few years, its time to push into a new activation, who's in? Comment below. Join the Tribe www.koasports.com.au

Will need to get a few things ‘ticked off' by legals, but we could be onto something here. A Koa Calcutta or Sweepstakes, for charity of course. We catch up with supercoach Caroline Steffen from Port Mac to chat about her Cairns experiences and training in Europe.  With the beer mile on ice for a few years, its time to push into a new activation, who's in? Comment below. Join the Tribe www.koasports.com.au

"At the hour of death we are going to be judged on what we have been to the poor, to the hungry, naked, the homeless."Mother Teresa lived this truth with radical simplicity and unwavering love. From the streets of Calcutta, she dedicated her life to serving the poorest of the poor, restoring dignity to those the world had forgotten. Today, her legacy continues through the Missionaries of Charity, whose work reaches the most vulnerable across the globe.In this episode, we explore the life and witness of Mother Teresa, reflecting on the foundations of her sanctity: deep prayer, devotion to the Eucharist, joy and cheerfulness, the embrace of suffering, and a life poured out in self-giving love.This podcast relies 100% on the generosity of listeners. If you have found these episodes helpful and would like to support the future of Crash Course Catholicism, please consider donating via the following links:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Donate via PayPal⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support us on Patreon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Contact the podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.caitlinwest.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/crashcoursecatholicism/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠References and further reading/listening/viewing:Come Be My Light: The private writings of the "Saint of Calcutta"Something Beautiful for God (book)Something Beautiful for God (documentary)Mother Teresa's Nobel Prize Acceptance Speech Acceptance Speech VIDEOBishop Barron on Saint Teresa of Calcutta (Mother Teresa)Bishop Barron on Mother Teresa and Her SistersAscension: How Mother Teresa Set the World on Fire3 Life-Changing Lessons We Learn from Mother TeresaMother Teresa's Special Message for Mothers Everywhere

She was one of the most admired women in the world - Mother Teresa, that angelic woman who devoted her life to the least of the least in the slums of Calcutta, India. The world's greatest leaders wanted to meet her and to experience her love and her moral authority. And actually, she was just a diminutive woman who made such a difference in the world. Some years ago, a young man wrote a letter to Mother Teresa, asking her how he could make his life count as she had with hers. He waited six months for a reply from this very busy lady. When it came, it was just a postcard with just four words on it - four very powerful words - "Find your own Calcutta." I'm Ron Hutchcraft and I want to have A Word With You today about "A Life That Matters." If you do just what comes naturally, you'll live the kind of life most people do - self-focused, self-centered, self-serving. But a life that's only as big as you are is too small to live in. And you might be feeling an emotional and spiritual claustrophobia right now. Business as usual just isn't satisfying that restlessness in your heart is it? Your life is full, but not really fulfilling. Find your own Calcutta. Find some people who need you and start pouring your life out for them. The lid will come off your life. Jesus gave us an immortal, indelible picture of the two ways to live life in His classic story of the Good Samaritan. It's in Luke 10, beginning with verse 30, our word for today from the Word of God. "A man was going down from Jerusalem to Jericho, when he fell into the hands of robbers. They stripped him of his clothes, beat him and went away, leaving him half dead. A priest happened to be going down the same road, and when he saw the man, he passed by on the other side" - as, by the way, did another religious leader who came by next. Jesus goes on: "But a Samaritan...came where the man was; and when he saw him, he took pity on him. He went to him and bandaged his wounds... He put the man on his own donkey, took him to an inn and took care of him." Then Jesus went on to say that the Samaritan paid all the expenses of the beaten man's recovery; and that this Samaritan was the kind of neighbor He expects all of us to be. And there in that simple story is a picture of two lifestyles - you can be all about yourself, ignoring the needs of people in your path... or stopping for people's needs, bearing the burdens of a bleeding world. I was really touched by a news report about a man whose choice might help you step up to a life that makes a far greater difference. It actually happened right after September 11th and it said that "David Townsend's perspective changed profoundly on September 11th." It says, "From that moment forward, (Here's what he said.) I realized that we are not going to live forever. I feel an even greater sense of urgency; feel compelled to leave my mark on the world. It has changed my outlook totally and shaken me to the core." So, apparently, according to the story, Townsend left his job to work in social services with the homeless and with urban churches. Here's his quote, "September 11th reinforced in me the need to live a life that matters." I think that's the kind of life you want isn't it? So learn to wake up each morning and ask yourself, "Who needs me today?" not "Who can meet my needs today?" There are people in your personal circle - people in your community - who desperately need someone to care, to be there for them. And remember, there is no greater difference you can make in anyone's life than to introduce them to Jesus Christ and take them to heaven with you! That's an eternal difference! With however many years or few years you have left (who knows?), live to make the greatest possible difference with the rest of your life!

Professor Daniel Reynaud on the incredible true story of an assuming vicar who turned out to be the most decorated military chaplain in Australian history, who had at one point lived his life on the edge.During World War Two, a self-effacing man named Walter Dexter served as the vicar of a church in West Footscray.Walter was in his 60s and his attempts to take up a career as a farmer and a teacher had failed, and so he'd returned to his earlier vocation as a clergyman.His children regarded their father as apathetic and unambitious, who left a lot of half-completed projects around the house. But the people who knew Walter when he was younger, called him "terribly brave" and "larger than life" as Walter's earlier life was full of adventure, travel and great danger.Walter's adventures began when he first boarded a ship at 14 years old.By the end of the 19th century, and still a teenager, he'd seen Calcutta, New York, South Africa, Bombay and Tierra del Fuego.Then, during World War One, Walter's courage and compassion under fire made him the most decorated military chaplain in Australian history.Historian Daniel Reynaud has set the record straight about the improbable life of this unassuming vicar, known by the soldiers who loved him as 'The Pinching Padre'.Sailor, Soldier, Vicar, Farmer: The Improbable Life of Anzac Chaplain Walter Dexter is published by Simon & Schuster.This episode of Conversations was produced by Meggie Morris. Executive Producer is Eliza Kirsch.It explores military history, war, ANZAC Day, Dawn Service, military ethics, world war three, Egypt, Middle East, France, Europe, Germany, travel, sailing, maritime history, fathers, religion, Christianity, Church, biography, books, writing, Australian history, modern history, farming, agriculture, books for father's day.To binge even more great episodes of the Conversations podcast with Richard Fidler and Sarah Kanowski go the ABC listen app (Australia) or wherever you get your podcasts. There you'll find hundreds of the best thought-provoking interviews with authors, writers, artists, politicians, psychologists, musicians, and celebrities.

3 Shocks by Calcutta High Court to Mamata | TMC's Intimidation Plan Fails | Sanjay Dixit

The Gospel Readings this coming week are from the Gospel of John, Chapter 6 where Jesus calls on His followers to eat His body and blood. The Son of God humbles himself to become our food. Fr. Kubicki contemplates the words of St. Theresa of Calcutta on today's reflection.

Ambient Songs:By CoAghttps://www.youtube.com/@co.agmusic1823Intro Theme by Swift Junai:https://www.instagram.com/swiftjunai/?hl=enhttps://www.youtube.com/channel/UC6hf5nMJ8s6LJJfFR4OQ3lghttps://open.spotify.com/artist/1PoG2b18MHocWZA8zQgWjOWriters and researchers: Jay Adamshttps://instagram.com/jayadamsdigital?igshid=MzMyNGUyNmU2YQ==

India is not a country that eases you in gently. It doesn't really do gentle. It's a place of somewhere between 1.4 and 1.5 billion people, the most populous nation on earth, having overtaken China in 2023, and it carries that scale in everything: the noise, the colour, the traffic, the sheer press of human life happening all around you at once. It is the world's largest democracy, has a space programme, a film industry that dwarfs Hollywood, and somewhere in excess of twenty official languages. It's not a country so much as a civilisation that happens to have borders around it. In this special, we go to two cities. Kolkata, in the east, formerly Calcutta, and Varanasi, on the Ganges, which may well be the oldest continuously inhabited city in the world and which confronts you, very directly, with questions about life and death that most of us spend considerable energy avoiding. Into all of this walked eight photographers, Anne, Bill, Fraser, Lloyd, Mercedes, Nicola, Owen and Peter, along with my travelling partner, in The Journey Beyond Lynn Fraser, and our Indian mentors and guides: Shivam, Shubh, Mohit and Arvind. What you're about to hear is an India special edition of the Photowalk Podcast, and honestly, as you'll hear, it affected us in ways we weren't expecting. It's a long episode, and for that I make no apology… but I hope that, with the music, the characters, the surprises, and the scenes described, you will feel you have photowalked there with us. Read more about our photographic adventures on our photography travel website, The Journey Beyond. Links to all guests and features will be on the show page, my sincere thanks to our Extra Milers, without whom we wouldn't be walking each week and Arthelper.ai, giving photographers smart tools to plan, promote, and manage your creative projects more easily. WHY: A Sketchbook of Life is available here.

On today’s episode, Jason discusses UCONN's thrilling buzzer-beating win over Duke in the Elite Eight round of the NCAA Tournament, why the Blue Devils made need to reconsider their philosophy of prioritizing five-star high school prospects over more mature players in the transfer portal, why it's unfair to place the blame for this tournament meltdown solely at the feet of Duke head coach Jon Scheyer, whether Dan Hurley should be favored to upset Illinois in the Final Four en route to his third national championship in four seasons, what needs to happen for J-Mac to win both the lucrative Calcutta and the FOX Sports Radio bracket challenges, and much more! #OddCouple Follow Jason on Twitter and Instagram. Click here to subscribe, rate and review all of the latest Straight Fire with Jason McIntyre podcasts!See omnystudio.com/listener for privacy information.

Today’s podcast begins back home in Malaysia, then picks up in Calcutta (3:58), followed by dispatches from both Agartala (12:22) and later Siliguri. After making fun of North Korea and China’s national “elections” (15:50), we take a deeper look at China and India’s relationship (25:52), followed by China’s efforts to (literally) silence the languages of the minorities in China (43:51). Lastly, our brief look at this week’s Pray for China cities happens to include (without prior planning) a call to pray for Tibet (55:17). Welcome to China Compass on the Fight Laugh Feast network! I'm your China travel guide in exile, Missionary Ben. Follow me on X (@chinaadventures) where I share a new Chinese city or county to pray for every single day. Feel free to write anytime: chinacompass@privacyport.com. All my books, substack, patreon, and everything else can be easily found at PrayGiveGo.us! The Autobiography of John G. Paton (JohnGPaton.com) Borden of Yale: The Millionaire Missionary (BordenofYale.com) Unbeaten: Arrested, Interrogated, and Deported from China (Unbeaten.vip) Who Won North Korea’s Recent “Elections”? https://www.ndtv.com/world-news/kim-jong-un-wins-99-93-votes-in-north-korea-parliamentary-elections-remaining-0-07-went-to-11236508 China’s dispute with India over Arunachal Pradesh https://www.lowyinstitute.org/the-interpreter/china-s-dispute-india-over-arunachal-pradesh Tibet in India’s China Calculus https://www.orfonline.org/research/tibet-in-india-s-china-calculus China’s new language law could prove fatal for minority tongues https://www.theglobeandmail.com/world/article-putonghua-china-common-language-law/ China Requires Minorities to Learn Mandarin https://www.bbc.com/news/articles/cp9meeek051o Now let's take a look at this coming week's Pray for China (PrayforChina.us) cities… https://chinacall.substack.com/p/pray-for-china-mar-22-28-2026 Thank you for listening! Subscribe + leave a review on your preferred podcast platform! If you’d like to support our China ministry, that, and everything else can be found @ PrayGiveGo.us. Luke 10, vs 2: the harvest is plentiful but the workers are few, so let's ask the Lord for more!

PREVIEW FOR LATER TODAY Guest: Sadanand Dhume. Dhume reports on the India-EU trade deal after 21 years of negotiations, especially the provisions allowing Indian nationals to work in the EU.1865 CALCUTTA