Podcast appearances and mentions of David Hill

In this episode, Lois Lee, MD, MPH, FAAP, and Wanda Barfield, MD, MPH, FAAP, discuss why they're running for AAP President-Elect. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, ask the candidates about the pressing challenges facing pediatricians today and their vision for the future of the AAP. For resources go to aap.org/podcast.

In this episode, David Turner, MD, FAAP, discusses the American Board of Pediatrics' proposed changes to pediatric fellowships. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Mario Morales, PhD, about bullying, suicidality and opioid-specific risks in U.S. adolescents. For resources go to aap.org/podcast.

Andy Kroll joins the podcast to talk about Brighton Ruby, the impact AI is having on software development, and how the changing technology landscape is affecting everything from conference budgets to engineering teams. Andy shares how tools like Claude Code have changed his day-to-day work, making previously neglected projects more achievable while putting even more emphasis on code review, judgment, and maintaining a sustainable Rails application. They also dig into one of the harder questions created by AI: how do you interview software engineers when take-home coding exercises and traditional technical tests are increasingly easy to hand off to a model? Andy explains how CoverageBook is approaching hiring by focusing on product thinking, decision-making, real-world code review, and conversations that more closely resemble actually working together. The conversation also turns to the challenges of organizing Brighton Ruby, why Andy is taking a year off from the conference, David's interest in someday organizing a Ruby conference of his own, and why keeping financial risk under control may be the most important lesson for a first-time conference organizer. Finally, they look ahead to Rails World and reflect on one of the biggest reasons conferences still matter: getting Ruby developers out from behind their screens and into a room with people who understand what they do. Sponsor Judoscale: https://judoscale.com/

In this episode, Elizabeth Zmuda, MD, FAAP, discusses the role of the pediatrician to promote effective approaches for child and adolescent nutrition in schools. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Elizabeth Kuhn, MD, MSHP, about capacity strain in U.S. children's hospitals. For resources go to aap.org/podcast.

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.

Rails Foundation Executive Director Amanda Perino joins David to preview Rails World 2026, the conference's first year in the United States. Amanda shares how the team is bringing Austin's personality into the event through live music, barbecue, sponsor experiences, a mechanical bull, the returning Buzzsprout podcast booth, and Rails World's biggest lightning-talk stage yet. She also discusses the opening keynote livestream, the lightning-talk CFP, ticket availability, and what attendees should expect as the conference approaches. The conversation then turns to the Rails Foundation itself. Amanda explains how the rapid growth of AI has forced the organization to reconsider how it executes its mission across events, marketing, documentation, and education. They also discuss the challenge of building a conference program that serves developers interested in AI without neglecting everything else happening in Ruby and Rails. Finally, Amanda surprises David with an extra ticket to Rails World—and they decide to give it away to a podcast listener. Enter the Rails World ticket giveaway: https://forms.gle/LoLvTfJ2BFavpox69 Sponsor Judoscale: https://judoscale.com/

AI search optimization is rewriting how buyers find businesses, and SEO alone no longer gets you in the answer. Callum Kennard, Head of Sales at ClickSlice, joins David Hill to unpack the difference between SEO, GEO, and AEO — and what it takes to get recommended by ChatGPT, Claude, and Gemini. Most people think AI killed SEO. It didn't. SEO became the infrastructure layer underneath a much bigger system, and the businesses figuring that out right now are getting a first-mover advantage in a $750 billion market. Three things you'll take away: Why SEO didn't die — it became the foundation AI search is built on How reviews, content, and reputation drive whether an AI names your business The first-mover window that's open right now, and what to do inside it Small brands are already outranking household names like Argos and IKEA in AI recommendations. Callum explains how — and what you can do this week without a multi-year timeline or a seven-figure budget. CONNECT WITH CALLUM KENNARD ClickSlice: https://www.clickslice.co.uk/ LinkedIn: https://www.linkedin.com/in/callum-kennard/ GET 14 DAY GO HIGH LEVEL TRIAL https://www.gohighlevel.com/?fp_ref=david-i-hill-training25 CONNECT WITH DAVID Website: https://www.davidihill.com Facebook: https://www.facebook.com/davidihill/ LinkedIn: https://www.linkedin.com/in/davidihill Instagram: https://www.instagram.com/davidihill X: https://twitter.com/davidihill TikTok: https://www.tiktok.com/@davidihill YouTube: https://www.youtube.com/c/DavidHillcoach SUBSCRIBE & REVIEW https://podcasts.apple.com/us/podcast/the-persistent-entrepreneur/id1081069895 #SalesTraining #AISearchOptimization #PathToSalesMastery #DavidIHill #ThePersistentEntrepreneur #PersistentEntrepreneurPodcast #SalesLeadership #lessonsfromthemat

In this episode, Rachel Moon MD, FAAP, associate editor of blogs for Pediatrics, offers a rundown of the August issue. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Valencia Walker, MD, FAAP, about social inequities in high-risk neonatal care delivery. For resources go to aap.org/podcast.

Making new Ruby Friends is one of my favorite parts of attending conferences. Neha Abraham joins me to chat about RubyConf, Mental Health, Data Aggregation, and being my Nemesis

In this episode, Jackie Powers, MD, MS, FAAP, discusses the prevention and treatment of iron deficiency in infants, children and adolescents. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Daniel Smolyak, PhD, about built environmental factors linked to fatal motor vehicle collisions among U.S. children. For resources go to aap.org/podcast.

While at RubyConf, I caught up with several attendees and volunteers to discuss their experiences. These quick interviews have been collected for this episode. Our Guests Charles Nutter Miguel Filho Cameron Dutro Nico Roulston

In this episode of the special series, "Generational Health," hosts David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, interview Cheryl Tolliver, MD, FAAP, and her daughter, Dr. Destiny Tolliver, MD, FAAP. They discuss what inspired them to pursue careers in pediatrics and their commitment to providing care to underserved populations. For resources go to aap.org/podcast.

In this episode, Andrea Cruz, MD, MPH, FAAP, deputy editor for Pediatrics, offers a rundown of the July issue. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also interview Karen Puopolo, MD, PhD, FAAP, on how to talk about Vitamin K. For resources go to aap.org/podcast.

David Hill reviews Dogs of the World by Craig Turner-Bullock, published by Furtography in association with Sherlock & Co. Publishing.

With AI seeming to generate more code every day, we need better tools to verify that it hasn't broken something. Maybe mutation testing can help us get there. Markus Schirp chats with us about the mutant gem and mutation testing. Show Notes https://github.com/mbj/mutant Sponsors Lots of teams out there are still overpaying for their hosting and getting tripped up by traffic spikes. If you're on one of those teams, you need a better autoscaler. Judoscale uses better metrics, gives you more control, and reacts faster than any other autoscaler. Learn more at https://judoscale.com/

David talks about the debates over who should join with who under government directed amalgamation plans, the funding that's been continued for the Mayor's Taskforce for jobs, paying forpublic transport and the success of Kaikoura's Project BlueBird and the hatching of its first Little Blue penguin chick. David Hill is a Local Democracy Reporter with North Canterbury News.

he Persistent Entrepreneur Podcast with David Hill Guest: Norman Hardeman, Hardeman Homes Team — Columbus, Georgia In this episode, David Hill flips the script and lets top real estate agent Norman Hardeman take the wheel. Norman interviews David on one of his most powerful tools for building a real estate team: the DISC behavioral assessment. They break down each personality type, how to identify them in clients and team members, and how to adapt your communication style to close more deals and build a stronger team. What You'll Learn: What DISC is and how it differs from Myers-Briggs and StrengthsFinders A breakdown of each DISC type (D, I, S, C) and their real estate applications How to use DISC when hiring and placing team members in the right roles How to identify a prospect's personality type within seconds of answering the phone Why the wrong approach with an S or C personality can cost you a listing How David uses DISC alongside John Maxwell's leadership principles A live role-play of a for-sale-by-owner cold call using DISC in real time Norman's firsthand experience as a high-C agent building a listing-focused business Resources Mentioned: DISC Assessment + 45-min consultation with David: davidihill.com/disc ($297) GoHighLevel free 2-week trial: davidihill.com Connect with David on all socials: @DavidIHill All tools, webinars & AI resources: davidhill.link Connect with Norman Hardeman: Hardeman Homes Team, Columbus, GA Get your own DISC: www.davidihill.com/disc Get 2 Week Trial of Go-High-Level https://www.gohighlevel.com/?fp_ref=david-i-hill-training25 #RealEstateTeam #PersistentEntrepreneur #DavidHill #NormanHardeman #BehavioralAssessment #RealEstateSales #ListingAgent #TeamBuilding #SalesTraining #JohnMaxwell #RealEstatePodcast #EntrepreneurMindset #ForSaleByOwner

Watch the full livestream: https://youtube.com/live/aM9pps7qZH4?feature=shareBig news and fun reflections on our A.R.S. Spring Workshops last week in Austin, Texas. Frater R.C. returns to Canada after 10 days in Austin, Texas, describing the city as lush, vibrant, and friendlier than Vancouver, and announces he has signed a multi-year lease there so his business is now based in Austin. He demonstrates a new two-camera setup, gifts channel memberships, and promotes free/paid offerings including HermeticMysterySchool.com and the Enochian course (enochiangrimoire.com), plus a planned live Enochian operation. He recaps Arcane Research Society production upgrades (multiple 4K cameras, expanded AV team), thanks collaborators like Jason Louv, and outlines upcoming events: the annual spring Austin event renamed “MagiCon” (April, broad “art of magic” focus, aiming to grow into a castle venue), and the biggest “EnochiaCon” yet in Austin in November with expanded in-person workshops (e.g., Terry Burns, Craig Williams, Dr. David Hill, Temple Louv, and his LBRP masterclass), plus Prague in 2027.He contrasts U.S. vs. Canadian costs (especially groceries), discusses major improvement in long-term psoriasis via a strict no-sugar/no-carb diet, weight loss, and reluctance to take immune-suppressing medications, and reflects on how illness affected his social life. He addresses critiques of Liam Christopher's Golden Dawn-related material as a different system that can confuse students, while not wanting to “trash” him. The stream includes an Austin souvenir (a lapis lazuli heart lamp), a book haul and reviews—highlighting M. David Litwa's Hermes (including deluxe editions), a JPS Hebrew-English Tanakh, William James's Varieties of Religious Experience, Frazer's Golden Bough, Pico's Oration, a rare Yeats Shadowy Waters manuscript study, and a Vampire: The Masquerade encyclopedia gift—plus brief Yeats readings, roleplaying discussion, and closing plans for future streams and a DruidCraft tarot session.Support this podcast at — https://redcircle.com/magick-without-fears-frater-r-c-hermetic-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

A semi-anonymous group, BecomePeacemakers.org, is asking candidates to sign their "Love your enemies" pledge. Most of the people who have signed it are the very people have said some really nasty things about their political opponents.  Perhaps it wasn't the intent of the pledge but the real question is how it will be used--and that is a typical Redcoat tactic.   David Hill Joins the program to talk about his race for HD50.  The audio is a little choppy in the beginning but you can follow it once I had David call in to the program.

Blue Ridge Ruby made a comeback in 2026 and Jeremy Smith joins the podcast to talk about how it went Show Notes https://blueridgeruby.com/ Sponsors Lots of teams out there are still overpaying for their hosting and getting tripped up by traffic spikes. If you're on one of those teams, you need a better autoscaler. Judoscale uses better metrics, gives you more control, and reacts faster than any other autoscaler. Learn more at https://judoscale.com/

In this episode, Eva Catenaccio, MD, FAAP, discusses gender pay equity in pediatrics. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Lauren Chernick, MD, FAAP, about minor consent laws, adolescent knowledge and STI testing. For resources go to aap.org/podcast.

David Hill reviews Cape to Bluff Vol. 2 by Simon Devitt and Andrea Stevens, published by Simon Devitt Photography.

Travis Dockter wanted a Ruby conference closer to home, so he made one. Today we chat about the ups and downs of putting together a brand new conference. Show Notes https://www.blastoffrails.com/ https://rubyconferenceproject.com/ https://game.blastoffrails.com/ Sponsors Lots of teams out there are still overpaying for their hosting and getting tripped up by traffic spikes. If you're on one of those teams, you need a better autoscaler. Judoscale uses better metrics, gives you more control, and reacts faster than any other autoscaler. Learn more at https://judoscale.com/

Hire Better, Sell More & Communicate Better with DISC What if you could instantly understand how someone thinks, communicates, and makes decisions — before you ever pitch them, hire them, or lead them? In this episode, David Hill breaks down the DISC behavioral assessment and how mastering it will transform the way you sell, hire, and connect with everyone around you. David shares his own DISC profile (DCI), walks you through each of the four behavioral styles — Dominant, Influential, Steady, and Compliant — and reveals how recognizing these patterns in others (and yourself) is the single biggest lever you can pull to become more effective in business and life. Episode: Hire Better, Sell More & Communicate Better with DISC Host: David Hill — Maxwell-certified trainer, coach & speaker | 36 years in sales | 20 years studying & teaching DISC What You'll Learn in This Episode: What the DISC assessment is and why it matters in sales, hiring, and leadership The four DISC behavioral profiles: D (Dominant), I (Influential), S (Steady), C (Compliant) How to recognize each style's patterns so you can communicate more effectively Why 85% of your success comes from people skills — not technical skills (Carnegie Institute study) How David went from being a high-D, task-focused top producer to a well-rounded communicator Real-world examples: elevator test, vacation packing, checklists, and more How to use DISC in your hiring process before bringing someone onto your team What Shark Tank's Robert Herjavec revealed about how they choose who to invest in A walkthrough of David's actual DISC assessment results The history of behavioral profiling — from ancient philosophers to William Marston (1940) Key Quotes: "I would rather have the ability to deal with people than any other ability at all." — John D. Rockefeller "9 out of 10 times on Shark Tank, they pick based on the person, not the project." — Robert Herjavec Resources & Links Mentioned:

In this episode, the late John Routt Reigart, MD, FAAP, discusses generic and biosimilar prescribing in children and adolescents. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Christina Rostad MD, FAAP, about the use of maternal vaccinations and monoclonal antibodies for the prevention of RSV. For resources go to aap.org/podcast.

Rachael interviews the new host of the show, David Hill, to discuss his history with Ruby, his love for podcasting, and how much he loves meetups and conferences. Show Notes https://www.odetorailsconf.com/ http://rubygemspodcast.com/ https://www.remoteruby.com/ Sponsors Lots of teams out there are still overpaying for their hosting and getting tripped up by traffic spikes. If you're on one of those teams, you need a better autoscaler. Judoscale uses better metrics, gives you more control, and reacts faster than any other autoscaler. Learn more at https://judoscale.com/

In this episode, Lisa Kafer, MD, FAAP, discusses nonemergency acute care delivered outside of the medical home. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Lara McKenzie, PhD, MA, FAAHB, about cleaning product-related injuries treated in U.S. emergency departments. For resources go to aap.org/podcast.

In this episode of The Persistent Entrepreneur Podcast, David Hill sits down with Glenn Rudin, "The Message Master," a high-energy sales and marketing coach, business strategist, and branding expert with more than 40 years of experience. Glenn breaks down why confused messaging is one of the biggest reasons businesses struggle to attract clients and grow revenue. You'll hear practical tips you can use right now to sharpen your message, communicate your value more clearly, and position your business for faster growth. https://www.linkedin.com/in/glennrudin/ www.davidihill.com/online https://www.gohighlevel.com/?fp_ref=david-i-hill-training25

In this episode, Alex Kemper, MD, MPH, MS, FAAP, editor-in-chief of the journal Pediatrics, offers a sampling from the June issue. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Robert Murray, MD, FAAP about the crucial role of recess in school. For resources go to aap.org/podcast.

David discusses how amalgamation plans are unfolding in North Canterbury, a funding boost for a new road, astrotourism in Kaikoura and the compulsory audit fees being questioned by several councils.

In this episode, Rohit Shenoi, MD, FAAP, discusses prevention of drowning. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Robert Vinci, MD, FAAP, about an initiative to address pediatric workforce shortages. For resources go to aap.org/podcast.

In this episode, Patricia Cantrell, MD, FAAP, discusses preparation for pediatric emergencies in the office. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Joey Skelton, MD, MS, FAAP, about a family-focused approach to weight management. For resources go to aap.org/podcast. 

Wisconsin football recruiting is heating up in a BIG way as Luke Fickell and the Badgers continue building momentum in the 2027 recruiting class. On today's episode of The Bucky Report, we break down the FIVE newest Wisconsin commits and dive into what makes this class feel different from previous years.We take a detailed look at new Badgers commits Jack Sorgi, DJ Davis, David Hill, Will Zaccagnino, and Keaton Wollan — including film breakdowns, recruiting rankings, and what each player could bring to Wisconsin football in the future.We also watch film on 4 wide receivers who have visits scheduled! Chanin Harris, Steele Harris, Tavares Powell, Tajeh WatsonCould this end up being Luke Fickell's BEST recruiting class at Wisconsin?We discuss:

David Hill reviews Out of the Blue: Essays on Artists from Aotearoa New Zealand 1985-2021 by Christina Barton, published by Te Herenga Waka University Press.

David Hill is the co-founder and Executive Director at a startup called Toha Network. In October 2024 they launched an environmental restoration project in Tairawhiti on the East Coast. Landowners are paid to regenerate native forests and wetlands using a digital funding system based on tokens called MAHI. He chats to Jesse. [picture id="4OXSBZ6_copyright_image_65588" crop="16x10" layout="full"]

In this episode of The Persistent Entrepreneur Podcast, host David Hill sits down with Jake Stahl — communication strategist, behavioral psychology specialist, and creator of the Strata Framework. Jake shares how a personal battle with opioid addiction 16 years ago forced him to rebuild the way he connected with people, ultimately inspiring a powerful methodology that blends behavioral psychology, social psychology, and neurolinguistic programming. Together, David and Jake break down the biggest communication mistakes entrepreneurs make, why 80% of communication is non-verbal, and how to read people in real time to close more deals — without pressure or manipulation. Whether you're a founder, sales professional, or anyone looking to own the room, this episode is packed with real, actionable takeaways. Connect with Jake @owntheroomwithjakestahl www.thejakestahl.com    Connect with David  www.davidihill.com Get 14 Day Go-High-Level Trial https://www. .com/?fp_ref=david-i-hill-training25 Facebook:  https://www.facebook.com/davidihill/ LinkedIn:  https://www.linkedin.com/in/davidihill YouTube: https://www.youtube.com/c/DavidHillcoach Youtube: ringleader-ai-crm TicTok: www.tiktok.com/@davidihill Instagram: https://www.instagram.com/davidihill X: https://twitter.com/davidihill RING LEADER AI DEMO CALL 617-882-7788 www.davidihill.com/crm  PODCAST SUBSCRIBE & REVIEW https://podcasts.apple.com/us/podcast/the-persistent-entrepreneur/id1081069895   #DavidHill #DavidIHill #PathToSalesMastery #ThePersistentEntrepreneur #PersistentEntrepreneurPodcast #SalesTraining #SalesCoach #SalesLeadership  

In this episode, Rachel Moon MD, FAAP, associate editor of blogs for Pediatrics, offers a rundown of the May issue. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Evelyn Berger-Jenkins, MD, MPH, FAAP, about a framework for approaching healthy mental and emotional development in pediatrics. For resources go to aap.org/podcast.

In this episode of the special series, "Generational Health," hosts David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, interview Adam Ratner, MD, MPH, FAAP, and his daughter Samantha Ratner. They discuss Adam's career and why Samantha was inspired to pursue medical school and a future in pediatrics. For resources go to aap.org/podcast.

A Special Forces soldier who helped plan the capture of Venezuelan President Nicolas Maduro was indicted for allegedly using classified information about the raid to make prediction market bets. It is raising new concerns about insider trading and the need for regulation. Amna Nawaz discussed more with Liz Landers and David Hill, who writes about gambling for Rolling Stone and American Gambler. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

David talks to Susie about the impact of fuel prices on household budgets in North Canterbury, the local regional council calls for fairer transport funding for the South Island, the Hurunui and Kaikoura Mayors' Job Programme Taskforce punches above it's weight despite cutbacks and a Kaikoura waterfront proposal cops criticism.

In this episode, Kate Remick, MD, FAAP, discusses pediatric readiness in the emergency department. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Joseph Wright, MD, MPH, FAAP, and Elyse Portillo, MD, MPH, FAAP, about operationalizing equity in clinical guidance. For resources go to aap.org/podcast.

In this episode of the special series, "Generational Health," hosts David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, interview David's father, John Hill, MD, FAAP. They discuss what drew Dr. John Hill to pursue a career in pediatrics, how his career influenced his son and what inspires both Drs. Hill about each other.  For resources go to aap.org/podcast.

In this episode, Andrea Cruz, MD, MPH, FAAP, deputy editor for Pediatrics, offers a rundown of the April issue. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Hans Kersten, MD, FAAP, about the diagnosis and management of faltering weight. For resources go to aap.org/podcast.

In this episode of the Persistent Entrepreneur Podcast, host David Hill sits down with Erik Huberman — founder and CEO of Hawke Media and marketing expert who has helped scale over 5,000 brands including Red Bull, Verizon, and Crocs. Erik shares his unfiltered perspective on what it takes to survive (and thrive) as an entrepreneur after six years of unprecedented volatility. From navigating inflation and geopolitical instability to leveraging AI without falling for the hype, Erik breaks down the mindset and strategies that separate the businesses that endure from those that fold. Key Takeaways: Businesses only fail for two reasons: getting underwater financially or leadership giving up The entrepreneurs who've survived the past six years built a "figuring it out" muscle AI should be used to do more with the same, not more with less — cutting costs is a race to the bottom Don't get shiny object syndrome with AI; just staying on top of it puts you ahead of most competitors Content flooding (10-12 posts/day per channel) is being rewarded right now, but authenticity still matters Using generative AI to replace real marketing breaks trust — it looks fake and sets the wrong tone The Hawke Method's three pillars: Awareness, Nurturing, and Trust Build a business you love to run — that's the real key to persistence.  Hawke Media — hawkemedia.com The Hawke Method (book) — Available on Amazon & Barnes and Noble Hawke Fest — October 1st, Santa Monica Pier Erik Huberman on social: @ErikHuberman www.davidihill.com Get 14 Day Free GHL Trial https://www.gohighlevel.com/?fp_ref=david-i-hill-training25 SOCIALS: Facebook: https://www.facebook.com/davidihill/ LinkedIn: https://www.linkedin.com/in/davidihill YouTube: https://www.youtube.com/c/DavidHillcoach TicTok: www.tiktok.com/@davidihill Instagram: https://www.instagram.com/davidihill X: https://twitter.com/davidihill  RING LEADER AI DEMO CALL 617-882-7788 www.davidihill.com/crm PODCAST SUBSCRIBE & REVIEW https://podcasts.apple.com/us/podcast/the-persistent-entrepreneur/id1081069895 EntrepreneurMindset #ThrivingInUncertainty #AIForBusiness #MarketingStrategy #PersistentEntrepreneur

In this episode of the special series, "Pathways to Pediatrics," hosts David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, interview Diana Montoya-Williams, MD, FAAP. Dr. Montoya-Williams talks about moving to the U.S. from Colombia as a child and how this influenced her research in the immigrant health experience. For resources go to aap.org/podcast.

March Madness is in full swing, and it's that time of the year when even those of us not inclined to gamble might just toss a few dollars into the office pool, hoping to pick just the right upset and land a big payout. On our "Settle In" podcast, Geoff Bennett spoke with journalist and author David Hill. He's covered sports betting for Rolling Stone and in his upcoming book. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

Americans legally bet close to $167 billion on sports last year, a dramatic increase since states began to broadly legalize it in 2018. Author and journalist David Hill speaks with Geoff Bennett about the rapid rise of sports gambling and prediction markets — and where regulation is falling short. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

Americans legally bet close to $167 billion on sports last year, a dramatic increase since states began to broadly legalize it in 2018. Author and journalist David Hill speaks with Geoff Bennett about the rapid rise of sports gambling and prediction markets — and where regulation is falling short. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy