Podcasts about Festival

In this episode of Mining the Comments, Coach Daniel (sleep physician turned sleep coach) explores the Whack-a-Mole Stage — a common and confusing part of recovery where our minds keep finding “new threats.” You'll learn: ✅ Why anxiety about sleep can shift to other symptoms (like frequent urination) ✅ What “tokenization” means and how it keeps insomnia alive ✅ How to befriend wakefulness — and yourself — to move toward peaceful sleep ✅ Why this shifting anxiety is actually a sign of progress Plus, Coach Daniel shares the story behind his unexpected eye patch incident

Nous prenons ce matin 2 minutes pour comprendre la crise inédite qu'est en train de vivre le mythique Festival international d'Angoulême. Depuis une semaine, le monde de la bande dessinée a décidé de mener une fronde contre les organisateurs.. Auteurs, éditeurs tous menacent de boycotter la 53ème édition prévu du 29 janvier au 2 février prochain. A tel point qu'on parle aujourd'hui d'un festival en "danger de mort."Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Nous prenons ce matin 2 minutes pour comprendre la crise inédite qu'est en train de vivre le mythique Festival international d'Angoulême. Depuis une semaine, le monde de la bande dessinée a décidé de mener une fronde contre les organisateurs.. Auteurs, éditeurs tous menacent de boycotter la 53ème édition prévu du 29 janvier au 2 février prochain. A tel point qu'on parle aujourd'hui d'un festival en "danger de mort."Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Největší a nejstarší soutěžní přehlídka audiovizuální tvorby dětí a mládeže v ČR Festival Animánie slaví 20 let. Kulaté výročí připomíná výstava i koncert kapely DVA. Festivalové centrum Moving Station zaplní od 20. do 23. listopadu program plný soutěžních i nesoutěžních filmů, počítačových her českých tvůrců nebo dílen pro veřejnost.

Ants Johanson vestleb folklooriklubi Maatasa eestvedajate Halliki Pihlapi ja Helin Pihlapiga. Sõna sekka ütleb Meelis Pihlap. Eetris laupäeval, 15. novembril kell 13:05. "Folgialbum" kordub kolmapäeval kell 21.

Nous prenons ce matin 2 minutes pour comprendre la crise inédite qu'est en train de vivre le mythique Festival international d'Angoulême. Depuis une semaine, le monde de la bande dessinée a décidé de mener une fronde contre les organisateurs.. Auteurs, éditeurs tous menacent de boycotter la 53ème édition prévu du 29 janvier au 2 février prochain. A tel point qu'on parle aujourd'hui d'un festival en "danger de mort."Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Mumot, André www.deutschlandfunkkultur.de, Rang 1

Největší a nejstarší soutěžní přehlídka audiovizuální tvorby dětí a mládeže v ČR Festival Animánie slaví 20 let. Kulaté výročí připomíná výstava i koncert kapely DVA. Festivalové centrum Moving Station zaplní od 20. do 23. listopadu program plný soutěžních i nesoutěžních filmů, počítačových her českých tvůrců nebo dílen pro veřejnost.

Největší a nejstarší soutěžní přehlídka audiovizuální tvorby dětí a mládeže v ČR Festival Animánie slaví 20 let. Kulaté výročí připomíná výstava i koncert kapely DVA. Festivalové centrum Moving Station zaplní od 20. do 23. listopadu program plný soutěžních i nesoutěžních filmů, počítačových her českých tvůrců nebo dílen pro veřejnost.Všechny díly podcastu Náš host můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Nous prenons ce matin 2 minutes pour comprendre la crise inédite qu'est en train de vivre le mythique Festival international d'Angoulême. Depuis une semaine, le monde de la bande dessinée a décidé de mener une fronde contre les organisateurs.. Auteurs, éditeurs tous menacent de boycotter la 53ème édition prévu du 29 janvier au 2 février prochain. A tel point qu'on parle aujourd'hui d'un festival en "danger de mort."Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In this episode of the No Film School podcast, GG Hawkins and Ryan Koo dig into the often‑murky world of film release strategy and distribution from multiple angles—and then sit down with acclaimed filmmaker Ruben Fleischer to trace his path from indie start to big‑budget studio productions. In this episode, No Film School's GG Hawkins, Ryan Koo, and guest Ruben Fleischer discuss… GG's journey with her micro‑budget feature I Really Love My Husband: festival strategy, light theatrical run, and streaming rollout The importance of marketing and audience‑building even for indie films (“the extra 50% of effort after picture‑lock”) Festival submission strategy: premium “buyer's festivals” vs regional festivals, world‑premiere constraints, and timing decisions Tools and tactics: creating trailer/sizzle assets, leveraging sales & festival reps, doing the reference‑check on distributors Real‑world rejection: extracting learning from “pass” notes and small deals, how to choose between flashy name vs partner who will work for you The one‑to‑one interview with Ruben Fleischer: his early career, moving from shorts/commmercials to features, how he handles large‑scale shoots, visualising scenes, leading big crews, and navigating reshoots Ruben's key pieces of advice for emerging filmmakers: making things now, learning by doing, honing your craft by continuing to create A bonus deep‑dive into how even locked‑picture films still require a lot of narrative strategy, deliverables, and business savvy in order to land distribution Memorable Quotes: “If you are going to bend over backwards, invest all this time, energy, and effort into making a film, but you're not going to do the same for getting the word out there … you are setting yourself up for failure.” “Submitting to a film festival is like getting down on one knee and asking someone to marry you, but then you have to wait months for the response.” “I always go in with an intention of how I would imagine blocking the scene… but I'm also very flexible in working with actors.” “The only real way to direct stuff is to go out and do it.” Guests: Ruben Fleischer Resources: Shoot in Three Months – No Film School Filmmaker's Guide to SXSW – No Film School A First‑Timer's Guide to the Cannes Film Festival – No Film School Microbudget Filmmaker Podcast – No Film School Why Indie Film Distribution Is About to Go Punk Rock – No Film School Where to watch I Really Love My Husband: Apple TV: I Really Love My Husband Amazon: I Really Love My Husband Google Play: I Really Love My Husband Where to watch Amateur (Ryan's first feature): Netflix Ryan's podcast series First Feature – a case study about the making of Amateur: SoundCloud – No Film School Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)  

The Festival of Hungry Ghosts is upon us – and today on Script Apart, we're betting it all on black. Ballad Of A Small Player is the casino-set new drama from director Edward Berger and writer Rowan Joffe, adapted from the novel of the same name by author Lawrence Osborne. It follows Colin Farrell as a character who introduces himself as Lord Boyle – an aristocratic charmer, who we soon come to learn is seriously, existentially adrift amid the slot machines and baccarat tables of Macau's gambling houses. As Boyle's true self – and name – is revealed, we tumble with him down a neon-splashed, teal-and-red rabbit hole of addiction and emptiness. And it was this emptiness I was particularly eager to discuss when I sat down recently with Edward and Rowan, across two separate conversations. Rowan is the creator of the TV show Tin Star, and the writer of films like 28 Weeks Later and Before I Go To Sleep, which he also directed. He's also, as tells me in this conversation, a recovering alcoholic, sober for many years. Edward, meanwhile – well, if you've followed the Oscars and indeed this show over the last few years, Edward needs little introduction. Conclave, his 2024 drama about the election of a new pope, and All Quiet On The Western Front, his 2022 Best International Picture-winning war epic, have seen him rocket to modern cinema's top table in terms of respected auteurs.In the midst of that success, though, Edward has described finding himself plagued by an empty feeling. And in this episode, he tells me how that informed this latest story. We get into the curiosity that drives his storytelling and also clear up something I read long ago about Ed's love of rollerskating – and I also hear from Rowan about what it is that he thinks casinos represent in our culture; the capitalist tendencies they act as temples to.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Hosted on Acast. See acast.com/privacy for more information.

(Part 1) Patricia and Christian talk to Dr Phil Armstrong about the upcoming UK budget, and Green Party leader Zack Polanski's positive views of MMT.   Full conversation here: https://www.patreon.com/posts/142975558   Please help sustain this podcast!  Patrons get early access to all episodes and patron-only episodes: https://www.patreon.com/MMTpodcast     All our episodes in chronological order: https://www.patreon.com/posts/43111643   All our patron-only episodes: https://www.patreon.com/posts/57542767   LIVE EVENT! Scotland's Festival of Economics (Edinburgh and online)  19th - 21st March 2026: https://www.scoteconfest.org/#learnmore   JOIN PATRICIA'S MMT ACTIVIST NETWORK (MMT UK): https://actionnetwork.org/forms/activist-registration-form   JOIN THE MMT UK DISCORD SERVER TO CONNECT WITH OTHERS LOOKING TO PROMOTE MMT AND ECOLOGICAL ECONOMICS IN THE UK!: https://discord.gg/S3UbxFe4FR   MMT: THE MOVIE! "Finding The Money", a documentary by Maren Poitras featuring Stephanie Kelton is now available worldwide to rent or buy: https://findingthemoney.vhx.tv/products/finding-the-money Updates on worldwide screenings of "Finding The Money" can be found here: https://findingmoneyfilm.com/where-to-watch/ To arrange a screening of "Finding The Money", apply here: https://findingmoneyfilm.com/host-a-screening/   STUDY THE ECONOMICS OF SUSTAINABILITY! Details of Modern Money Lab's online graduate, postgraduate and standalone courses in economics are here: https://modernmoneylab.org.au/   Relevant to this episode: "Universal Basic Income or a Job Guarantee?" The Gower Initiative for Modern Money Studies: https://gimms.org.uk/fact-sheets/universal-basic-income/ "Comparing Post-Keynesianism and Modern Monetary Theory: The Importance of Ontology and Sociology" (2025) By Neil Wilson and Phil Armstrong: https://papers.ssrn.com/sol3/papers.cfm?abstract_id=5337254  "Should we favour a Job Guarantee over a Universal Basic Income as a means of achieving a more socially just society?" by Catherine Armstrong: https://gimms.org.uk/2023/07/08/should-we-favour-a-job-guarantee-over-a-universal-basic-income-as-a-means-of-achieving-a-more-socially-just-society/ For more on the endogenous money view (the non-fringe, very mainstream view that bank loans create deposits, not the other way around), listen to episode 126 - Dirk Ehnts: How Banks Create Money: https://www.patreon.com/posts/62603318 and episode 43 - Sam Levey: Understanding Endogenous Money: https://www.patreon.com/posts/35073683 Order the Gower Initiative's "Modern Monetary Theory - Key Insights, Leading Thinkers": https://www.e-elgar.com/shop/gbp/modern-monetary-theory-9781802208085.html For more on the (Liz) Trussageddon, listen to Episode 147 - Dirk Ehnts: Do Markets Control Our Politics?: https://www.patreon.com/posts/episode-147-dirk-72906421 "How to Fight Back Against the False Idea that the Government is at the Mercy of Financial Markets" by Sheridan Kates: https://thealternative.org.uk/dailyalternative/2025/3/10/scotonomics-monetary-autonomy "There is no need to issue public debt" by Bill Mitchell: https://billmitchell.org/blog/?p=31715 Episode 148 - Pavlina Tcherneva: Why The Job Guarantee Is Core To Modern Monetary Theory: https://www.patreon.com/posts/episode-148-why-73211346 Quick read: Pavlina Tcherneva's Job Guarantee FAQ page: https://pavlina-tcherneva.net/job-guarantee-faq/   For an intro to MMT: Our first three episodes: https://www.patreon.com/posts/41742417 Episode 126 - Dirk Ehnts: How Banks Create Money: https://www.patreon.com/posts/62603318   Quick MMT reads: Warren's Mosler's MMT white paper: http://moslereconomics.com/mmt-white-paper/ Steven Hail's quick MMT explainer: https://theconversation.com/explainer-what-is-modern-monetary-theory-72095 Quick explanation of government debt and deficit: "Some Numbers Are Big. Let Me Help You Get Over It": https://christreilly.com/2020/02/17/some-numbers-are-big-let-me-help-you-get-over-it/     For a short, non-technical, free ebook explaining MMT, download Warren Mosler's "7 Deadly Innocent Frauds Of Economic Policy" here: http://moslereconomics.com/wp-content/powerpoints/7DIF.pdf     Episodes on monetary operations:  Episode 20 - Warren Mosler: The MMT Money Story (part 1): https://www.patreon.com/posts/28004824 Episode 126 - Dirk Ehnts: How Banks Create Money: https://www.patreon.com/posts/62603318 Episode 13 - Steven Hail: Everything You Always Wanted To Know About Banking, But Were Afraid To Ask: https://www.patreon.com/posts/41790887 Episode 43 - Sam Levey: Understanding Endogenous Money: https://www.patreon.com/posts/35073683  Episode 84 - Andrew Berkeley, Richard Tye & Neil Wilson: An Accounting Model Of The UK Exchequer (Part 1): https://www.patreon.com/posts/46352183 Episode 86 - Andrew Berkeley, Richard Tye & Neil Wilson: An Accounting Model Of The UK Exchequer (Part 2): https://www.patreon.com/posts/46865929    For more on Quantitative Easing: Episode 59 - Warren Mosler: What Do Central Banks Do?: https://www.patreon.com/posts/39070023 Episode 143 - Paul Sheard: What Is Quantitative Easing?: https://www.patreon.com/posts/71589989?pr=true    Episodes on inflation: Episode 7: Steven Hail: Inflation, Price Shocks and Other Misunderstandings: https://www.patreon.com/posts/41780508 Episode 65 - Phil Armstrong: Understanding Inflation: https://www.patreon.com/posts/40672678 Episode 104 - John T Harvey: Inflation, Stagflation & Healing The Nation: https://www.patreon.com/posts/52207835 Episode 123 - Warren Mosler: Understanding The Price Level And Inflation: https://www.patreon.com/posts/59856379 Episode 128 - L. Randall Wray & Yeva Nersisyan: What's Causing Accelerating Inflation? Pandemic Or Policy Response?: https://www.patreon.com/posts/63776558   Our Job Guarantee episodes:  Episode 4 - Fadhel Kaboub: What is the Job Guarantee?: https://www.patreon.com/posts/41742701 Episode 47 - Pavlina Tcherneva: Building Resilience - The Case For A Job Guarantee: https://www.patreon.com/posts/36034543 Episode 148 - Pavlina Tcherneva: Why The Job Guarantee Is Core To Modern Monetary Theory: https://www.patreon.com/posts/episode-148-why-73211346 Quick read: Pavlina Tcherneva's Job Guarantee FAQ page: https://pavlina-tcherneva.net/job-guarantee-faq/   More on government bonds (and "vigilantes"): Episode 30 - Steven Hail: Understanding Government Bonds (Part 1):https://www.patreon.com/posts/29621245 Episode 31 - Steven Hail: Understanding Government Bonds (Part 2): https://www.patreon.com/posts/29829500 Episode 143 - Paul Sheard: What Is Quantitative Easing?: https://www.patreon.com/posts/71589989?pr=true Episode 147 - Dirk Ehnts: Do Markets Control Our Politics?: https://www.patreon.com/posts/episode-147-dirk-72906421 Episode 144 - Warren Mosler: The Natural Rate Of Interest Is Zero: https://www.patreon.com/posts/71966513 Episode 145 - John T Harvey: What Determines Currency Prices?: https://www.patreon.com/posts/72283811?pr=true   More on bank runs banking regulation:  Episode 162 - Warren Mosler: Anatomy Of A Bank Run: https://www.patreon.com/posts/80157783?pr=true Episode 163 - L. Randall Wray: Breaking Banks - The Fed's Magical Monetarist Thinking Strikes Again: https://www.patreon.com/posts/80479169?pr=true Episode 165 - Robert Hockett: Sparking An Industrial Renewal By Building Banks Better: https://www.patreon.com/posts/81084983?pr=true MMT founder Warren Mosler's Proposals for the Treasury, the Federal Reserve, the FDIC, and the Banking System: https://neweconomicperspectives.org/2010/02/warren-moslers-proposals-for-treasury.html     MMT Events And Courses: More information about Professor Bill Mitchell's MMTed project (free public online courses in MMT) here: http://www.mmted.org/ Details of Modern Money Lab's online graduate and postgraduate courses in MMT and real-world economics are here: https://modernmoneylab.org.au/     Order the Gower Initiative's "Modern Monetary Theory - Key Insights, Leading Thinkers": https://www.e-elgar.com/shop/gbp/modern-monetary-theory-9781802208085.html   MMT Academic Resources compiled by The Gower Initiative for Modern Money Studies: https://www.zotero.org/groups/2251544/mmt_academic_resources_-_compiled_by_the_gower_initiative_for_modern_money_studies   MMT scholarship compiled by New Economic Perspectives: http://neweconomicperspectives.org/mmt-scholarship     A list of MMT-informed campaigns and organisations worldwide: https://www.patreon.com/posts/47900757     We are working towards full transcripts, but in the meantime, closed captions for all episodes are available on our YouTube channel: https://www.youtube.com/channel/UCEp_nGVTuMfBun2wiG-c0Ew/videos     Show notes: https://www.patreon.com/posts/143438983?pr=true

In this video, Coach Daniel, a former sleep physician turned sleep coach, explains why thinking of insomnia as a “disease” can actually keep you stuck—and how peaceful, effortless sleep returns once you stop trying to fix it. You'll learn:

durée : 01:07:23 - Club Jazzafip - À l'occasion de la sortie de son intégrale des Etudes de Philip Glass, nous recevons la très éclectique pianiste rennaise et directrice artistique du Festival de Chambord, qui prend les rênes de notre programmation musicale. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

We started talking and realized its gonna be the 30th anniversary of the greatest movie year of all time, 1999.  Thanks for being awesome, we love you. Email: afterworkpod@gmail.com  

Gobierno reafirma su compromiso con maestras y maestros  Uruapan exige intervención urgente ante ola de violencia  ONU condena ataque racista de colonos en CisjordaniaMás información en nuestro Podcast

En Aragón Cultura celebramos los 30 años del Festival de Cine de Zaragoza, uno de los grandes referentes del cortometraje en España. Del 20 al 29 de noviembre, el FCZ regresa con más de un centenar de cortos de 53 países, proyecciones especiales, retrospectivas, actividades educativas y una programación marcada por el lema Bodas de Perla. Hablamos con su director, José Luis Anchelergues, para descubrir las claves de esta edición, su evolución a lo largo de tres décadas y lo que nos espera en esta celebración tan especial del cine.

"The Festival" is a short story by H. P. Lovecraft written in October 1923 and published in the January 1925 issue of Weird Tales. INSTAGRAM Facebook Apple

Avustralya'daki Alevi toplumu bu yıl 32'nci yaşına giren ve kısaca Alevi Festivali olarak bilenen Abdal Musa Anadolu Alevi Festivali için yine Coburg Lake Reserve'de bir araya gelecek. Avustralya Alevi Bektaşi Federasyonu Başkanı Suzan Saka 11'den 18'e kadar devam edecek festival hakkında bilgi verdi.

Jennifer Newton, deputy royal editor at the Daily Mirror, is joined by Charlotte Foster to look at how the Royals paid tribute to veterans across Remembrance Day events in the UK. They discuss the significance of Prince George's attendance at the Festival of Remembrance, and the emotional reaction of King Charles and Queen Camilla at the events. Jennifer and Charlotte also ask whether the controversy around Prince Harry and Meghan Markle attending a Kardashian family party on Remembrance Sunday is all that it seems. Image: Yui Mok/PA Wire Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we run through festival line ups in the UK, America and more. RIP your bank balance as these line ups are EPICFollow us:IG/Twitter: @wewearblackpod Email: wewearblackpod@gmail.com SophieIG/X: @iamsophiek Tiktok: @iamsophiekx YasmineIG: @yasminesumman X/TikTok: @yasminesummanx Special thanks to:Nova Twins for the intro/outro musicWargasm for the screams Hosted on Acast. See acast.com/privacy for more information.

Join us for a special episode of Talking Insomnia, featuring Claire, who shares her personal journey with postnatal insomnia and anxiety. Claire discusses the struggles she faced after the birth of her son, including sleepless nights, anxiety, and the eventual steps she took to improve her sleep. Learn about her discovery of insomnia education, the role of compassion in her recovery, and how she managed to return to a healthier sleep routine. This heartfelt and informative episode offers valuable insights for anyone dealing with similar challenges. If you're new here and curious to learn more, our FREE video course, The Festival of Understanding, is the perfect place to start. Head over to https://www.thesleepcoachschool.com and click the link at the very top of the page to begin your journey. If you're ready to leave insomnia for good, check out our coaching options. Head over to www.thesleepcoachschool.com and click on GET SLEEP in the menu. The Insomnia Immunity program is perfect if you like learning through video and want to join a group on your journey towards sleeping well. BedTyme is ideal if you like to learn via text and have a sleep coach in your pocket. The 1:1 Zoom based program is for you if you like to connect one on one with someone who has been where you are now. Do you like learning by reading? If so, here are two books that offer breakthroughs! Tales of Courage by Daniel Erichsen https://www.amazon.com/Tales-Courage-... Set it & Forget it by Daniel Erichsen https://www.amazon.com/Set-Forget-rea... Would you like to become a Sleep Hero by supporting the Natto movement on Patreon? If so, that's incredibly nice of you

Bad Rep Festival - Pride & Industry LIVE Promo Part 1 by Level Vibes

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

Watch on YouTube: youtube.com/watch?v=g1HlHidp4Is Follow Vik4S: Website: djvik4s.com Instagram: instagram.com/djvik4s

As memórias de quem viveu um centenário e presenciou o bombardeio a Hiroshima ultrapassam fronteiras de tempo, espaço e linguagem, mas ganharam forma sensível e poética no curta-metragem  'Alma Errante - Hibakusha'. O documentário mergulha no imaginário de Takashi Morita, sobrevivente da bomba atômica, ex-soldado da Guarda Imperial japonesa e ativista pela paz, que faleceu no Brasil, em 2024, aos 100 anos. Dirigida pelo cineasta Joel Yamaji, a produção fez sua estreia internacional no 26º Festival de Cinema Asiático de San Diego, na Califórnia, no domingo (9). Cleide Klock, correspondente da RFI em Los Angeles O projeto começou há quase três décadas, quando o cineasta conheceu a família Morita em São Paulo, em 1996. Desde lá, Yamaji acumulou horas de imagens e depoimentos até encontrar a forma que desejava. Mais do que um registro histórico, o filme é um poema visual. “Não queria explorar o sofrimento em forma de espetáculo. Queria um filme sobre a paz, sobre aqueles que passaram pela guerra e continuaram. É sobre a superação", conta o diretor. Yamaji define o curta como uma obra que ultrapassa o documentário tradicional, mistura gerações em uma metáfora de convivência. “Eu sempre acho que a poesia no cinema é necessária, ainda mais num mundo em guerra. O Sr. Takashi sempre professou a paz, então quis fazer um filme que fosse um poema, não uma denúncia", diz Yamaji. A herança da memória e a mensagem de paz A filha do Sr. Takashi, Yasuko Morita, veio a San Diego para a apresentação de 'Alma Errante - Hibakusha'. Ela acompanha a trajetória do filme, do legado e das memórias dos pais que ouvia desde criança, ambos sobreviventes de Hiroshima. “Além deles serem um casal muito unido, eram companheiros da mesma lembrança. Eu e meu irmão crescemos ouvindo essas histórias. Eles eram vítimas de uma mesma tragédia, mas unidos pela esperança. Meu pai nunca falou mal de ninguém. Quando perguntavam se ele tinha raiva dos Estados Unidos, ele dizia: ‘Não. Eu tenho raiva da guerra', contou Yasuko. Ela relembrou ainda que seu pai dedicou a vida a campanhas sobre a paz e à Associação de Sobreviventes da Bomba Atômica no Brasil, criada por ele para garantir assistência médica e promover campanhas de conscientização. “As nossas campanhas pela paz sempre foram voltadas aos jovens, para entenderem que a bomba atômica não pode andar com a humanidade. Meu pai dizia: ‘Hiroshima foi a primeira. Nagasaki tem que ser a última", disse ela. Yasuko reforça o simbolismo de trazer o filme agora aos Estados Unidos, país que lançou a bomba e que há poucos dias o presidente Donald Trump falou em retornar os testes nucleares. Ela relembra a última conversa que teve com o pai. "As últimas falas do meu pai antes de falecer me tocaram bastante. Ele falou assim: 'A gente não fez o suficiente, olhe como está o mundo agora'. Eu disse: 'Mas o senhor fez o que podia. E o resto tem que ficar para outras pessoas continuarem.' Depois de dois meses que ele tinha falecido, uma entidade de sobreviventes lá do Japão, com quem nós tínhamos bastante contato, foi premiada com o Prêmio Nobel da Paz. Eu pensei, papai, o senhor iria ficar tão orgulhoso!", finaliza.

In today's passage, Jesus feeds 5,000 people with five loaves and two fish. Those who received this free meal begin looking for Jesus, not because of the sign itself but because of what they can get out of it. Here, Jesus begins teaching strange things, saying that his disciples must eat his flesh and drink blood, and after hearing this, many abandon Jesus. Later, during the Festival of Shelters, Jesus goes to Judea to preach and teach even though some of the Jews were trying to kill him. The crowd is divided about whether or not he is the Messiah. When Jesus calls God his Father and says “before Abraham was, I am.” they pick up stones to kill him.John 6 - 1:07 . John 7 - 12:12 . John 8 - 19:58 .  :::Christian Standard Bible translation.All music written and produced by John Burgess Ross.Co-produced by Bobby Brown, Katelyn Pridgen, Eric Williamson & the Christian Standard Biblefacebook.com/commuterbibleinstagram.com/commuter_bibletwitter.com/CommuterPodpatreon.com/commuterbibleadmin@commuterbible.org

Buenos días, soy Yoani Sánchez y en el "cafecito informativo" de este miércoles 12 de noviembre de 2025 abordo estos temas: - Segunda jornada de juicio contra el ex ministro Alejandro Gil - ChatGPT, el nuevo médico de la familia en Cuba - Se acerca el Festival de Cine de La Habana, que atraviesa su peor momento - Documental ‘Centinela de la Libertad' Gracias por compartir este podcast y te espero para el programa de mañana. Suscríbete a este canal de YouTube para no perderte ni un solo programa: https://www.youtube.com/@YoaniSanchezPeriodista

Disney Parks Podcast Show #899- Disney New For The Week Of November 10, 2025 In today's show, we have news about the Grand Floridian Lobby Refurbishment, EPCOT DISNEY ON BROADWAY Performers Announced for 2026 Festival of the Arts, and so much more on today's Disney Parks Podcast. The post Disney Parks Podcast Show #899- Disney New For The Week Of November 10, 2025 appeared first on Disney Parks Podcast.

Vous aimez notre peau de caste ? Soutenez-nous ! https://www.lenouvelespritpublic.fr/abonnementUne conversation entre François Aymé et Philippe Meyer, enregistrée au studio l'Arrière-boutique le 24 octobre 2025.Dans ce premier épisode, François Aymé retrace les origines et les principes du Festival international du film d'histoire de Pessac, de quelles personnalités il est redevable et de comment on peut (et on doit !) composer un jury de prix, en mélangeant « épées », « bonbons » et « petits pois » … Une subtile cuisine à maîtriser …Chaque semaine, Philippe Meyer anime une conversation d'analyse politique, argumentée et courtoise, sur des thèmes nationaux et internationaux liés à l'actualité. Pour en savoir plus : www.lenouvelespritpublic.frHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Send us a textMusicGary Mofilker Hanak - We Dared To Dream - I Never See The Rainhttps://garyhanak.bandcamp.comWild Mercy - Own True Way - Summer Stormhttp://wildmercy.comBatya the Toon - Creatures of Dream - Subversive Ciphershttps://dangerously.bandcamp.com/album/subversive-ciphersCourt and Country - It Was a Lover and His Lasse - Both Kinds of Musickhttps://courtandcountry.bandcamp.comApryl Knight - 8 Arms To Caffeinate You - One Nerdy Knighthttps://aprylknight.bandcamp.comBramblebush - Swing The Cat (Meg Davis) - Songs From The GladeBen Newman - The Secret of the Festival of Sandcastles - Upload Some Stuff 1https://bnewman.bandcamp.comCandles Enough - Wavesong - Fire On The Hillhttps://candlesenough.bandcamp.comAdam Stemple - Fool's Gold - 3 Solid Blows to the Headhttps://www.adamstemple.comKraken Not Stirred - Poyekhali! (Light This Candle) - Songs From A Pale Blue Dothttps://krakennotstirred.bandcamp.comDeath Ingloria - Nuke The Site From Orbit - Death Ingloria II Death By Adminhttps://www.deathingloria.comhttps://deathingloria.bandcamp.comSilent Nightmare - The Piper - Awakeninghttps://silentnightmare.comDandelion Cornerhttps://dandelion-corner.com/https://live365.com/station/Dandelion-Corner-a18657Wôks Print Cataloghttps://woksprint.com/product-category/musicFundraisersSusan Urbanhttps://www.gofundme.com/f/help-susan-urban-restore-her-visionMy Mother's Savage Daughter needs our helphttps://www.gofundme.com/f/my-mothers-savage-daughter-needs-our-helpConventionsGaFilk - Jan 9-11https://gafilk.orgContabile 36 (Norfilk Con 2) - Jan 30-Feb 1 2026https://www.contabile.org.uk/c36FilkConbobulated - June 26-28https://filkconbobulated.orgOnline FilkEurofilk CircleNovember 1318:00 Central European TimeFestival Of The Living Rooms Festival of the Living Rooms - December 12-14Friends Of Filk BytesTBABandcamp waives their fees Friday Dec 5All money goes directly to the artist!Get on the MASSFilc email listhttps://www.massfilc.orgFilk InformationFriends Of Filkhttps://friendsoffilk.orgFilk Newshttps://liberal.city/@filknewshttps://liberal.city/@filknews.rssGeekspin Podcasthttps://geekspinpodcast.castos.com/Filk Questhttps://www.youtube.com/c/vanceamaniaVintage Filk Preservationhttps://www.youtube.com/channel/UC0EXmacvKF3MDrKZbzmux6gNational Suicide Prevention LifelineHours: Available 24 hours. Languages: English, Spanish.800-273-8255Links to the Podcasthttp://filkcast.comhttp://facebook.com/groups/FilkCasttiedyeeric at filkcast.comFor a searchable list of everything played on FilkCasthttps://filkcast.blogspot.com/2021/07/the-complete-list_25.htmlIntro Music - Following Our Dreams - Lawrence Dean

durée : 00:15:13 - Journal de 8 h - De grands éditeurs (Dargaud, Dupuis) refusent de participer au célèbre festival de la bande dessinée à Angoulême, prévu fin janvier. Casterman n'a pas encore tranché. La société organisatrice de l'événement est pointée du doigt.

This week we head to Florida to play the Panama City songwriters festival! Have a great week!

Good Vibrations Festival 2011 – Roots Tent Mixtape by Samrai (BEAST MODE)

Miriam Garlo es una artista multidisciplinar: doctora en Bellas Artes, fotógrafa, artista plástica y actriz. También es sorda desde los siete años. Una palabra cuya sombra mantuvo oculta durante casi dos décadas, pero que ahora reivindica y abraza a través de su papel de Ángela en la película Sorda, dirigida por Eva Libertad, por el que ha recibido, entre otros reconocimientos, la Biznaga de Plata a la Mejor Interpretación Femenina en el Festival de Málaga.

Esta madrugada hemos invitado a 'El Faro' al cineasta Guillermo Galoe para hablar del inminente estreno de su última película, 'Ciudad sin sueño'. A Galoe ya le conocimos con 'Aunque es de noche', un cortometraje galardonado con un Goya en el que retrataba la realidad de la Cañada Real. Su nueva película, premiada también en el Festival de Cannes, vuelve a poner el foco en el que es el mayor asentamiento irregular de Europa, donde viven unas 8.000 personas que llevan más de 40 años pidiendo unas condiciones de vida dignas. En su sección de los martes, Alejandro Pelayo nos ha traído un recopilatorio de las canciones que más se pide tocar a los pianistas. Y la 'Gataparda' esta madrugada ha sido la artista multidisciplinar Miriam Garlo, protagonista de la película 'Sorda', dirigida por Eva Libertad. 

durée : 00:15:13 - Journal de 8 h - De grands éditeurs (Dargaud, Dupuis) refusent de participer au célèbre festival de la bande dessinée à Angoulême, prévu fin janvier. Casterman n'a pas encore tranché. La société organisatrice de l'événement est pointée du doigt.

En ARAGÓN Cultura viajamos hasta Zuera para descubrir ‘Al son de ellas', el nuevo Festival de Mujeres Jóvenes que celebra su primera edición este 15 de noviembre. Un encuentro musical que nace con un objetivo firme: dar visibilidad al talento femenino nacido y crecido en Aragón. Cinco artistas —Ixeya, Ester Vallejo, Pilar Almalé, Bea Almar e Irene Gómez— compartirán escenario, estilos y sensibilidades para cantar a la tierra, a las raíces, a las experiencias vitales y también al feminismo.

durée : 00:15:13 - Journal de 8 h - De grands éditeurs (Dargaud, Dupuis) refusent de participer au célèbre festival de la bande dessinée à Angoulême, prévu fin janvier. Casterman n'a pas encore tranché. La société organisatrice de l'événement est pointée du doigt.

di Matteo B. Bianchi | Realizzato in collaborazione con Festival DiPassaggio | In questa nuova puntata di Copertina andiamo a Valencia a conoscere Gabriele Nero della libreria e casa editrice El Doctor Sax. Per stare sempre sulle coste mediterranee, ci siamo fatti raccontare da Silvia Moresi la rivista Arabpop, da lei co-fondata e dedicata ad arti e letterature arabe contemporanee. Chiudiamo questo tour con la scrittrice Giulia Caminito che ci consiglia un classico da riscoprire, e con una lettura suggerita da Francesca Conte, ideatrice del festival DiPassaggio di Genova. E proprio Copertina sarà ospite del Festival giovedì 27 novembre alle 21:00 al Palazzo Ducale di Genova, con tanti ospiti tra scrittori, musicisti e traduttori. Tutti i dettagli su dipassaggio.com e sui profili social di Storielibere. Learn more about your ad choices. Visit megaphone.fm/adchoices

Notes and Links to Jeff Pearlman's Work     Jeff Pearlman is the New York Times bestselling author of ten books. His subjects include the '80s Los Angeles Lakers (Show­time), the 1986 New York Mets (The Bad Guys Won), the '90s Dallas Cowboys (Boys Will Be Boys), and NFL legends Walter Pay­ton (Sweetness) and Brett Favre (Gunslinger). HBO adapted Showtime into the dramatic series Winning Time, produced and directed by Adam McKay. A former Sports Illus­trated senior writer and ESPN.com colum­nist, Pearlman is the host of the Two Writers Slinging Yang podcast and blogs regularly at jeffpearlman.com. Buy Only God Can Judge Me: The Many Lives of Tupac Shakur   Jeff's Website   NPR Coverage of Only God Can Judge Me: The Many Lives of Tupac Shakur At about 3:15, Jeff talks about writing against hagiography and how he doesn't “bring bias” into his writing, whether about Tupac or sports At about 5:25, Pete compliments the structure of the book, as it examines each of the places that shaped Tupac's life At about 5:55, Rapid-fire questions! *Best Tupac collab? Best movie role? At about 8:45, A beautiful shout-out to friend Curtis Dorsey and Jeff's dad, Stan At about 10:20, Jeff shouts out some favorite lines from Tupac's songs At about 10:50, Pete and Jeff discuss Tupac's “layering songs” and wondrous laugh  At about 12:55, Jeff responds to Pete's question about Jeff's “in”/entry point for writing about someone who has been written about so much  At about 15:45, Jeff expands on writing his biography of Tupac as a type of "layering" and the importance of specificity   At about 17:00, Jeff talks about how interviewing 652 people for his Tupac book is actually something that “[he] is supposed to do” At about 19:55, Jeff reflects a bit on book promotion and book release  At about 21:25, Jeff shouts out Dusty Baker as “maybe the coolest human being who's ever walked the planet” At about 22:20, Pete asks Jeff about Set Shakur's quote that Tupac died “alone”; Jeff reflects on the “isolation” of fame  At about 24:00, Jeff talks about Suge Knight and his indifference and his intriguing story At about 25:45, Jeff talks about Tupac's connection or lack thereof to the Mob Piru gang  At about 26:45, Pete gives an incomplete and rambling answer to the best Tupac song At about 28:10, Davonn Hodge and his mother reuniting due to great work by Jeff Pearlman and Michelle Soulli is discussed, as Jeff gives the background on the reunification  At about 30:20, Jeff gives background on Afeni Shakur's hometown, Lumberton, NC, and he gives a shoutout to Howard Bryant's book on Ricky Henderson At about 31:30, Jeff recounts a story about going to Lumberton to use the microfiche, but wound up seeing Tupac's grave At about 32:10, Jeff gives background on Afeni Shakur's amazing life and highlights her accomplishments and travails  At about 33:30, Jeff and Pete discuss “Dear Mama” as aspirational and the sadness of Afeni's substance abuse and how Tupac dealt with this horrible disappointment and “trauma” At about 35:15, Jeff talks in awe of Afeni's defending herself in the “Panther 21” trial At about 36:20, Jeff discusses Tupac's name origins At about 37:45, Jeff responds to Pete's question about Tupac's dad Billy Garland and male role models At about 39:40, The two discuss horrible athletic performances in movies and Tupac's unfortunate basketball shooting motion At about 41:00, Jeff gives some background on Tupac's birth name At about 41:40, Jeff talks about the impression that New York made on Tupac, musically and personally At about 43:00, The two discuss Tupac's time in Baltimore and at the Baltimore School for the Arts, and Tupac as an actor and singer; Jeff calls Baltimore his “favorite Tupac era” At about 45:10, The two talk about Tupac's Baltimore time and struggles and how “shapeshifter” didn't quite fit him At about 47:10, Jeff traces the Shakurs' move to Marin City and connections to Geronimo Pratt and his family At about 48:15, Jeff shares a profound statement from Set Shakur about moving vs. “relocating” At about 48:50, Jeff talks about Marin City and recreating the Marin City of when Tupac lived there  At about 50:50, Jeff expands on similarities between Tupac's time in the creative worlds of performing arts high schools in Baltimore and Marin City/ and his mother's downward spiral At about 51:55, The two discuss the significance of Marin City's Festival on the Green 1992 and further reporting on the tragedy as a “turning point” At about 55:50, Jeff responds to Pete's observation about Tupac's first albums not being highly-received and focuses on the changes that led to his second album being disappointing for Tupac At about 57:20, Jeff traces an almost parallel life for Tupac as a revolutionary leader in Atlanta At about 58:45, Jeff talks about the awkward time with Tupac working to become a community leader  At about 1:00:20, Jeff responds to Pete's question about the reactions from people who were wowed by Tupac's raps in person At about 1:03:00, Jeff shares what he learned in his interviews about Tupac the actor At about 1:06:00, Jeff shares his thoughts on the alleged second sexual assault by Tupac At about 1:08:15, Pete and Jeff discuss the “fan[ning] of the hip hop media/media and Tupac's  At about 1:09:35, Pete compliments the skillful ways in which the last hours and days (the “banal”) were rendered in the way  At about 1:11:10, Pete asks Jeff about how much Death Row changed Tupac/brought out tendencies in him At about 1:12:55, Jeff shares information from the book on two or three parallel universes where Tupac almost avoided being in Las Vegas   At about 1:13:55, Jeff reflects on Tupac as a 54 year old      You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode.       Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. His conversation with Hannah Pittard, a recent guest, is up at Chicago Review.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, DIY podcast and extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    This month's Patreon bonus episode features an exploration of flawed characters, protagonists who are too real in their actions, and horror and noir as being where so much good and realistic writing takes place.    Pete has added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.     This is a passion project, a DIY operation, and Pete would love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 309 with Amber Sparks, the author of the short story collections And I Do Not Forgive You and The Unfinished World. Her writing has appeared in The Paris Review, Granta, Slate, and elsewhere. Her book Happy People Don't Live Here was published in October 2025.    The episode drops on November 18.    Please go to ceasefiretoday.org, and/or https://act.uscpr.org/a/letaidin to call your congresspeople and demand an end to the forced famine and destruction of Gaza and the Gazan people.

In this episode of Screw It Just DO It, my friend Jeannette Linfoot sat down with Juliet Barratt, co-founder of Grenade, in a fireside chat recorded live at the Festival of Entrepreneurs. Juliet shares how she went from being a teacher who hated structure to building one of the UK's fastest-growing performance nutrition brands and selling it to Mondelez for £200 million.Juliet is honest, practical, and refreshingly self-aware. She talks about the reality of starting with no money, working from a freezing warehouse, and learning through mistakes. She explains why branding matters more than hype, how hiring the right people transforms a business, and how to know when to let go.This episode is packed with real advice for founders who are scaling, thinking of exiting, or simply trying to find their next move. Juliet reminds us that success isn't about the number in the bank but the freedom to choose how you spend your days.Key Takeaways:Build a brand, not just a product: Identity creates longevity.Hire for attitude, not just skill: The right mindset drives growth.Remember why you started: Belief carries you through the hard days.Prepare for the exit emotionally: Purpose matters after the sale.Define success on your own terms: Freedom is the real goal.

Len Testa and Jim Hill continue No Negative November with a look at Zootopia's new 4D adventure, listener trip-planning wisdom, and the surprising book that inspired Disneyland's first mountain. NEWS Zootopia: Better Zoo-gether debuts at Animal Kingdom — The Tree of Life theater gets a major refresh with a new story, water gags, and a charming Benjamin Clawhauser animatronic. Holiday highlights return — Tree of Life Awakenings now plays nightly thanks to early sunsets, and the beloved Merry Menagerie puppet experience returns November 14. Storytime with Santa Deadpool — A holiday twist hits Avengers Campus, complete with meta Christmas jokes and Greek Orthodox canon accuracy. Listener questions answered — From the best Bay Lake Tower villas for New Year's Eve fireworks to whether it's time for Tables in Wonderland to return. Disney's shrinking parades — Why the Festival of Fantasy looks lighter on dancers and floats—and how Disney's still managing two parades a day at Magic Kingdom. FEATURE The Making of the Matterhorn — Jim shares the wild story of how a 1950s family film led Walt Disney to send a postcard from Switzerland that simply said: “Build this.” How Banner in the Sky and Third Man on the Mountain inspired Walt's alpine obsession. Why the Matterhorn nearly became a luge-style attraction (yes, really). The creative legacy of director Ken Annakin, whose films also led to Swiss Family Treehouse and Sleeping Beauty Castle. Full show notes available here: Show Notes HostsJim Hill — X/Twitter: @JimHillMedia | Instagram: @JimHillMedia | Website: jimhillmedia.comLen Testa — BlueSky: @lentesta.bsky.social | Instagram: @len.testa | Website: touringplans.com Support the Show Love what we do? Support The Disney Dish on Patreon for exclusive bonus shows and early access: patreon.com/jimhillmedia Follow Us Facebook: @JimHillMediaNews | YouTube: @jimhillmedia | TikTok: @jimhillmedia Produced by Edited by Dave Grey Produced by Eric Hersey — Strong Minded Agency Sponsor This episode is brought to you by Unlocked Magic, powered by DVC Rental Store. Save up to 10% on Disney park and event tickets, including Mickey's Very Merry Christmas Party and Jollywood Nights — only at unlockedmagic.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Len Testa and Jim Hill continue No Negative November with a look at Zootopia's new 4D adventure, listener trip-planning wisdom, and the surprising book that inspired Disneyland's first mountain. NEWS Zootopia: Better Zoo-gether debuts at Animal Kingdom — The Tree of Life theater gets a major refresh with a new story, water gags, and a charming Benjamin Clawhauser animatronic. Holiday highlights return — Tree of Life Awakenings now plays nightly thanks to early sunsets, and the beloved Merry Menagerie puppet experience returns November 14. Storytime with Santa Deadpool — A holiday twist hits Avengers Campus, complete with meta Christmas jokes and Greek Orthodox canon accuracy. Listener questions answered — From the best Bay Lake Tower villas for New Year's Eve fireworks to whether it's time for Tables in Wonderland to return. Disney's shrinking parades — Why the Festival of Fantasy looks lighter on dancers and floats—and how Disney's still managing two parades a day at Magic Kingdom. FEATURE The Making of the Matterhorn — Jim shares the wild story of how a 1950s family film led Walt Disney to send a postcard from Switzerland that simply said: “Build this.” How Banner in the Sky and Third Man on the Mountain inspired Walt's alpine obsession. Why the Matterhorn nearly became a luge-style attraction (yes, really). The creative legacy of director Ken Annakin, whose films also led to Swiss Family Treehouse and Sleeping Beauty Castle. Full show notes available here: Show Notes HostsJim Hill — X/Twitter: @JimHillMedia | Instagram: @JimHillMedia | Website: jimhillmedia.comLen Testa — BlueSky: @lentesta.bsky.social | Instagram: @len.testa | Website: touringplans.com Support the Show Love what we do? Support The Disney Dish on Patreon for exclusive bonus shows and early access: patreon.com/jimhillmedia Follow Us Facebook: @JimHillMediaNews | YouTube: @jimhillmedia | TikTok: @jimhillmedia Produced by Edited by Dave Grey Produced by Eric Hersey — Strong Minded Agency Sponsor This episode is brought to you by Unlocked Magic, powered by DVC Rental Store. Save up to 10% on Disney park and event tickets, including Mickey's Very Merry Christmas Party and Jollywood Nights — only at unlockedmagic.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

456 - Discover why the holidays are THE BEST time to visit Walt Disney World! In this comprehensive Disney vacation planning episode, Disney travel experts and Creating Magic Vacations owners Rob & Kerri Stuart share insider tips for experiencing Christmas at Disney World, from free resort hopping to exclusive holiday events. Let us take the stress away for planning - START HERE Want to join our team - START HERE What You'll Learn in This Episode:

The Platform 583 features the Dallas, Texas resident, Alexx K! He's played all over at venues like Greenlight Social in Dallas, Tao in Chicago and even played in Las Vegas. Aside from playing live, he's been featured on shows like FAED University on Diplo's Revolution, Club Killers and more. He's got an hour of heat lined up with plenty of his own remixes showcased throughout the set and a bunch of his favorite tracks right now. Head over to Club Killers or BPM Supreme to download his latest edits and remixes or check out his SoundCloud where he's always dropping new gems. Follow Alexx K on his socials to see all his upcoming gigs, subscribe to my Patreon to see full track lists from the mixes, take a look at my top tracks of the week and get a look into what I'm playing out in my sets. Now turn those speakers up and let's get into it with Alexx K's latest right here, on The Platform. Alexx K: https://www.instagram.com/djalexxk/ Podcast: www.youtube.com/@theplatformmix Patreon: www.patreon.com/djdexmke Artwork by Michael Byers-Dent: www.instagram.com/byersdent/

Join us this week as we discuss all the latest Call to Arms information or lack of it, Renegades weapons and armor trailer, the D2 secret content creator summits and fallen Guardian surveys. Plus This Week At Bungie for the 6th November 2025 and the recent Update 9.1.5.4. We go over the upcoming weeks rotations, for the tenth week of Ash & Iron., with a few more video recommendations for you to check out. 00:02:36 - Welcome to the Future 00:04:00 - Happy N7 Day 00:07:59 - Returning Eververse Items 00:11:55 - Please Let Us Know the Week Before 00:14:06 - Festival Talk 00:19:39 - Campaign Skip 00:26:26 - No Friends to Enjoy It With & Players Survey 00:34:06 - Toad Nap 00:50:48 - Repeated Weapons in Call to Arms 01:00:52 - Back to Renegades & Secret Summit 01:05:51 - This Week At Bungie: November 6th 2025: Call to Arms Preview 01:14:28 - This Week In Destiny: Ash & Iron Update - Edge of Fate - Week 18 01:21:30 - So… Renegades 01:29:56 - Veterans Day at Bungie 01:32:20 - Cosplay Cosmodrome Returns 01:33:23 - Last Week of the Festival, Festival Fashions & Festival Sale Extension 01:36:18 - Peroty's Player Support Report 01:40:02 - End of the TWAB & Other News 01:43:53 - Update 9.1.5.4 01:46:15 - Video Recommendations 01:50:32 - Patreon & End of the Show 01:53:57 - Fin Two Titans and a Hunter YouTube Channel Two Titans and a Hunter Twitch Two Titans and a Hunter Discord Two Titans and a Hunter - Patreon Two Titans and a Hunter Ko-Fi The100 io – GH/GD/2TAAH Group Email: twotitansandahunter@hotmail.com Two Titans and a Hunter Twitter Two Titans and a Hunter – Facebook Artwork by @Nitedemon Xbox Live: Nitedemon, & Peroty End credits theme song by Elsewhere - YouTube Channel Plus as always, thank you to Alexander at Orange Free Sounds & www.freesound.org for all the sound effects used in our podcast.  Required Stuff: Bungie - This Week at Bungie November 6th 2025 Bungie - Update 9.1.5.4 Bungie - Renegades Weapons & Gear Trailer LUCKYY10P - Bungie's Secret Summit Destiny Fun Police - This Stasis Auto Rifle is Ridiculous Cheese Forever - Finally a Roadmap Update Duddits II - Farm This Gear Now CammyCakes Gaming - Lethal Abundance 0.67 TTK Reddit - Star Wars X Destiny Destiny Rising - Discord Link Destiny 2 - Tier 5 Report Destiny 2 Armor 2.0 Cleaner Destiny 2 - Way Back Machine Link Twitch - GuardianDownBot Raid Checkpoints Twitch - IceBreakerCatty. Engram.Blue Link

 On this episode, we are taking on the EPCOT's Festival of the Holidays, and the Main Street dish is still in charge. We're overhauling some festival booth menus and we are creating a holiday dream booth from scratch. Click here to vote for your favorites!Support us on Patreon:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support our show on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow The Main St Dish on Social Media:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Theme Song By The Disneylanders:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Disneylanders on Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Disneylanders on Instagram

U 68. epizodi Njuz POPkasta, Nenad, Viktor, Jelisaveta i Marko zaranjaju u najnovija dešavanja iz sveta pop kulture. Da li serija "House of Guinness" zaista ima najgori kraj sezone ikada? Analiziramo i mučni triler "Prisoners", napeti "House of Dynamite" i francusku seriju "Nero The Assassin". Pričamo i o dugo očekivanom domaćem filmu "Yugo Florida" koji stiže na Festival autorskog filma, ali i o knjigama koje su nas prodrmale – od "Apotekara iz Aušvica" do nostalgične "Lusi". Za kraj, preslušavamo brutalno iskren novi album Lily Allen i hvalimo novi zvuk benda Astronoid.