Podcasts about Gil

On this episode, Glenn, Cat & Jennifer & talk about streaking.

1 SEPTIEMBRE - SAN GIL, BENEDICTO EREMITA

In this introductory episode to the sixth biblical book, we learn that it was written to provide the Maccabees with a biblical past they could say they were restoring Watch the view from Gezer Watch the view from Hadid Watch the geographical parallels between the conquests of the Maccabees and those of Joshua A bit of info and pictures of the geography of the Holy Land Join our tribe on Patreon!To give Gil a one-time donationThe podcast is written, edited and produced by Gil Kidron

Gil Rosen joins the conversation to discuss his book Alien vs. Decoding Genesis and his interpretation of Genesis through the original Hebrew text. He argues that many familiar biblical stories — especially the creation story, the serpent, the Nephilim, and the flood — have been flattened by translation and tradition. Throughout the episode, he connects Genesis to ancient astronaut ideas, the book of Enoch, global mythology, megalithic structures, and modern questions about AI and consciousness. gilrosen.net https://alienverses.info/ Gil's main argument is that Genesis reads very differently in Hebrew than in English. He believes the text points to multiple divine beings, not just a purely singular God. The serpent in Eden is framed as a bringer of knowledge rather than a villain. Genesis 6 and the Nephilim are presented as evidence of a hybrid experiment. Gil connects biblical stories to myths from other cultures around the world. The episode also explores whether advanced beings, consciousness, and AI could be connected. Gil sees this as a moment where science, spirituality, and history are starting to overlap again.   To gain access to the second half of show and our Plus feed for audio and podcast please clink the link http://www.grimericaoutlawed.ca/support. For second half of video (when applicable and audio) go to our Substack and Subscribe. https://grimericaoutlawed.substack.com/ or to our Locals  https://grimericaoutlawed.locals.com/ or Patreon https://www.patreon.com/grimericaoutlawed   https://www.skool.com/audiobooks THE GRIMOIRE Audiobook Club and Library https://pegsandjokers.ca/ Family and Friends Cards and Pegs Boardgame online https://www.simulationmaps.com/#products Disaster Maps, Volcano Sim, Asteroid Sim, Shipwreck Map, UFO Map etc Support the show directly: https://open.spotify.com/show/2punSyd9Cw76ZtvHxMKenI?si=ImKxfMHgQZ-oshl499O4dQ&nd=1&dlsi=4c25fa9c78674de3 Watch or Listen on Spotify https://grimerica.ca/support-2/ Our Adultbrain Audiobook Podcast and Website: www.adultbrain.ca Check out our next trip/conference/meetup - Contact at the Cabin www.contactatthecabin.com Join the chat / hangout with a bunch of fellow Grimericans Https://t.me.grimerica grimerica.ca/chats  Discord Chats Darren's books www.acanadianshame.ca Sign up for our newsletter http://www.grimerica.ca/news InstaGRAM https://www.instagram.com/the_grimerica_show_podcast/ Purchase swag, with partial proceeds donated to the show www.grimerica.ca/swag ART - Napolean Duheme's site http://www.lostbreadcomic.com/ MUSIC Tru Northperception, Felix's Site sirfelix.bandcamp.com   Timestamps 0:00 — Introduction and book overview 1:00 — Gil's background and how he started questioning Genesis 5:00 — Elohim, plural language, and divine beings 10:00 — Narrative shaping and early mental programming 17:00 — Adam, Eve, the serpent, and the fruit of knowledge 24:00 — Jehovah, the Garden, and the physical nature of Genesis 33:00 — Enoch, the Nephilim, and Genesis 6 41:00 — The book of Enoch and forbidden knowledge 49:00 — Global mythologies and shared symbols 58:00 — The book's timing and current disclosure conversations 66:00 — Gil's simplified thesis of Genesis 70:00 — Sodom and Gomorrah and Abraham's negotiation 76:00 — Light weapons and declassified reports 81:00 — Ancient engineering and megalithic structures 86:00 — AI, consciousness, and the soul 94:00 — Closing thoughts and where to find Gil                    

Bento Gil, uno de los 12 nietos de Gilberto Gil, publica con 21 años su primer disco, 'Silêncio azul', con canciones como 'No meio do luar', 'Tardes de janeiro', 'A onda quebra', 'Quem vem pra beira do mar' -de Dorival Caymmi- o 'Menina de branco'. Uno de los hijos de Gilberto Gil -tiene 8- José y dos de sus nietos, Francisco y João, forman Gilsons y publicaron su primer disco, 'Pra gente acordar', en 2022 con canciones como 'Vem de là', 'Des', 'Proposta' o 'Duas cidades'. Con sus hijos, nietos y bisnietos, se rodó la serie documental 'Em casa com os Gil' en la que la familia unida canta 'Palco', 'Touche pas à mon pote' o 'Realce'. De la gira de dos años de Gil por ciudades de Brasil, que documentan los dos volúmenes de 'Tempo rei', las canciones 'Eu vim da Bahia' y 'Back in Bahia'/'Bat macumba'.Escuchar audio

LE CHAPITRE SUIVANT : GILQue deviennent les invités de On The Verge une fois le micro éteint ?Avec Le Chapitre suivant, je reprends contact avec d'anciens témoins du podcast pour découvrir ce qui s'est passé depuis leur épisode : les changements, les remises en question, les nouvelles étapes de vie… Parce qu'une histoire ne s'arrête évidemment pas à la fin d'un enregistrement.Pour vous faire découvrir ce format, je vous propose exceptionnellement sur le flux public cet épisode avec Gil, initialement réservé aux abonné.e.s Patreon.

My conversation with Gil starts at 35 minutes after headlines and clips Subscribe and Watch Interviews LIVE : On YOUTUBE.com/StandUpWithPete ON SubstackStandUpWithPete Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. This show is Ad free and fully supported by listeners like you! Please subscribe now for as little as 5$ and gain access to a community of over 750 awesome, curious, kind, funny, brilliant, generous souls Get "The Nerd Reich" Silicon Valley Fascism and the War on Democracy The Nerd Reich is a newsletter about tech authoritarianism, billionaire extremism, the Network State and the meta politics of California. While this publication mostly focuses on the San Francisco Bay Area, it will also cover these topics wherever they occur. This newsletter started as my public notes on what's happening as tech billionaires and propagandists attempt a takeover of local politics. Longer explanation here. Gil Durán was born in Tulare, California, in 1976. The grandson of Mexican immigrant farmworkers, he got his first taste of work in the fields, but took an interest in journalism after winning the local newspaper's "My Mom Is the Best" contest in the fifth grade. In the tenth grade, his family moved from California to Kentucky, where he dropped out of high school for a year, then returned and befriended an English teacher who encouraged him to apply to college. He graduated DePauw University in 1998 and started his journalism career at the San Jose Mercury News. As the newspaper industry hit turbulence, he pivoted to politics and spent ten years as an advisor to politicians including Jerry Brown, Dianne Feinstein, and Kamala Harris. In 2018, he returned to journalism as California opinion editor of The Sacramento Bee, and then became editorial page editor of the San Francisco Examiner. Now an independent journalist, he publishes two newsletters: The Nerd Reich, focused on extremist tech politics, and FrameLab, focused on political language. Listen rate and review on Apple Podcasts Listen rate and review on Spotify Pete On Instagram Pete on Blue Sky Pete on Threads Pete on Tik Tok Pete on Twitter Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll  Gift a Subscription https://www.patreon.com/PeteDominick/gift Send Pete $ Directly on Venmo  

Substack subscribers can dive into exclusive, extended conversations from this podcast! To join the adventure, head to BumpInTheRoad.Substack.com. Follow Bump on YouTube @BumpInTheRoadPodcast! Life presents us with challenges. How we respond is up to us. My own personal saying is "when th going gets tough, the tough go traveling" and Gila Melamed is a woman after my own heart. After a deeply challenging period, Gila decided to follow her heart into the unknown. In her minivan. And she's still traveling. Gil's journey has offered her a healin found in nature, friendship in unexpected places, and a new creative passion for glass fusion art. Her journey is about far more than travel—it's about forgiveness, self-discovery, and having the courage to create a life that feels authentically your own. This is for everyone who has entertained the notion of just hitting the road. The road, that is, outside your "normal" life. To coloring outside the lines and making it all work! It's an Award Winning, Amazon best selling book! What they're saying: "This is a beautiful book about life, its imperfections, its challenges, and its joys. It is a book of hope and wisdom for all of us facing a bump in the road." –Pragito Dove "Pat has woven together beautiful stories of life setbacks that have been transformed into spiritual growth. This book is a gift and a must-read for souls experiencing pain and yearning for growth." –Gary Hensel Learn more at BumpInTheRoad.us Follow Bump on: ➡️ Twitter ➡️ Facebook ➡️ Substack ➡️ Instagram ➡️ YouTube

Bill talks to journalist Gil Duran about his book, The Nerd Reich: Silicon Valley Fascism and the War on Democracy, arguing that a tech-driven oligarchy already wields outsized power through figures like Mark Zuckerberg, Peter Thiel, Jeff Bezos, and Elon Musk, including political donations to Donald Trump and lucrative government contracts. Duran describes the rapid expansion of AI-fueled data centers as a visible flashpoint driving bipartisan local backlash over land use, water, pollution, and electricity costs. He focuses on Thiel's long-running anti-democratic worldview, influenced by Thiel-backed thinker Curtis Yarvin into mainstream politics, including “Freedom Cities.” Duran warns crypto has become a “weapon of mass corruption,” criticizes Washington's reluctance to confront these forces, and calls for public organizing, curbing billionaire power, and resistance movements targeting surveillance and contractors like Palantir and Flock. You can get your copy of Gil's prescient book at Bookshop.org. Or paste this link into your browser: bit.ly/4qxH9gy .Today, Bill reminds of how important certain Senate races are to retake control of the government from Trump's unfettered corruption. Best way to help is donations to these Democratic candidates through the great Democratic fundraising platform, ActBlue.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

De regresso a Portugal, Carvalhão Gil defende-se e choca os investigadores. Garante que não se vendeu aos russos e que nem sequer sabia que o homem com quem foi detido trabalhava para o SVR. Para ele, era só um parceiro de negócios. Mas as buscas às casas do espião contam uma história diferente: a PJ encontra milhares de euros escondidos em casacos, gavetas e envelopes e pilhas de documentos secretos da NATO. Enquanto em Lisboa as autoridades se preparam para uma batalha judicial inédita, a diplomacia russa pressiona Itália para libertar Pozdnyakov. See omnystudio.com/listener for privacy information.

De regresso a Portugal, Carvalhão Gil defende-se e choca os investigadores. Garante que não se vendeu aos russos e que nem sequer sabia que o homem com quem foi detido trabalhava para o SVR. Para ele, era só um parceiro de negócios. Mas as buscas às casas do espião contam uma história diferente: a PJ encontra milhares de euros escondidos em casacos, gavetas e envelopes e pilhas de documentos secretos da NATO. Enquanto em Lisboa as autoridades se preparam para uma batalha judicial inédita, a diplomacia russa pressiona Itália para libertar Pozdnyakov. See omnystudio.com/listener for privacy information.

De regresso a Portugal, Carvalhão Gil defende-se e choca os investigadores. Garante que não se vendeu aos russos e que nem sequer sabia que o homem com quem foi detido trabalhava para o SVR. Para ele, era só um parceiro de negócios. Mas as buscas às casas do espião contam uma história diferente: a PJ encontra milhares de euros escondidos em casacos, gavetas e envelopes e pilhas de documentos secretos da NATO. Enquanto em Lisboa as autoridades se preparam para uma batalha judicial inédita, a diplomacia russa pressiona Itália para libertar Pozdnyakov. See omnystudio.com/listener for privacy information.

In this final Torah summary, we go over things we missed and recap how we found the biblical authors of the Torah and academia didn't. Our list of biblical authors and the texts they wrote Join our tribe on Patreon!To give Gil a one-time donationThe podcast is written, edited and produced by Gil Kidron

Recorded live from BIO 2026 in San Diego, Gil sits down with Sam Chung, Senior Vice President of Government Relations and External Affairs at California Life Sciences (CLS), to examine a stark and urgent question: Is America's leadership in biomedical innovation still a given? Against the backdrop of NIH funding cuts, a 34% drop in San Diego venture capital, California's post-2030 R&D tax credit rollback, and China's explicit, government-backed commitment to dominating the global life sciences sector, Chung delivers a data-driven, candid, and at times sobering assessment of the headwinds threatening what he calls the "crown jewel" of the California economy. The conversation covers clinical trial timelines, IP migration, talent flight, and what policymakers at both the state and federal level must do to preserve American biomedical leadership before it becomes a historical footnote. To stream our Station live 24/7 visit www.HealthcareNOWRadio.com or ask your Smart Device to “….Play Healthcare NOW Radio”. Find all of our network podcasts on your favorite podcast platforms and be sure to subscribe and like us. Learn more at www.healthcarenowradio.com/listen

This talk was given by Gil Fronsdal on 2026.08.20 at the Sati Center in Redwood City, CA. ******* One of the most remarkable and original teachings of the Buddha is found in 7th discourse in the Middle Length Discourses. Couched in a short, fun story, this text describes insight and the unfolding of the path in naturalistic terms that are as relevant today as in the time of the Buddha. We will slowly read and discuss this short text so that it comes alive for our modern times. No familiarity with the Buddha's discourse or teachings necessary. A translation and Gil's study guide on the discourse will be sent out a week before the class. ******* Video of this talk is available at: https://www.youtube.com/watch?v=jaTo1Hb5xa8. ******* A machine generated transcript of this talk is available. It has not been edited by a human, so errors will exist. Download Transcript: https://www.audiodharma.org/transcripts/24825/download ******* For more talks like this, visit AudioDharma.org ******* If you have enjoyed this talk, please consider supporting AudioDharma with a donation at https://www.audiodharma.org/donate/. ******* This talk is licensed by a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License

This talk was given by Gil Fronsdal on 2026.08.20 at the Sati Center in Redwood City, CA. ******* One of the most remarkable and original teachings of the Buddha is found in 7th discourse in the Middle Length Discourses. Couched in a short, fun story, this text describes insight and the unfolding of the path in naturalistic terms that are as relevant today as in the time of the Buddha. We will slowly read and discuss this short text so that it comes alive for our modern times. No familiarity with the Buddha's discourse or teachings necessary. A translation and Gil's study guide on the discourse will be sent out a week before the class. ******* Video of this talk is available at: https://www.youtube.com/watch?v=jaTo1Hb5xa8. ******* A machine generated transcript of this talk is available. It has not been edited by a human, so errors will exist. Download Transcript: https://www.audiodharma.org/transcripts/24825/download ******* For more talks like this, visit AudioDharma.org ******* If you have enjoyed this talk, please consider supporting AudioDharma with a donation at https://www.audiodharma.org/donate/. ******* This talk is licensed by a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License

A cult of fascist ideology has gripped Silicon Valley, and the tech industrial complex is threatening US democracy. Gil Durán joins Paris Marx to discuss the radical billionaire cabal that is hellbent on the consolidation of corporate and political power, including the visions they have for the future and the strategies they're using to drive us there.Gil Durán is the author of The Nerd Reich: Silicon Valley Fascism and the War on Democracy and writes The Nerd Reich newsletter. The podcast is made in partnership with The Nation. Production is by Kyla Hewson. Support the show on Patreon.Also mentioned in this episode:Click here to get your first month of Proton Mail for just $1.Gil has written about Paulina Borsook's prescient warning about tech libertarians from more than twenty years ago.Gil has written the foreword for the new edition of Cyberselfish.Balaji Srinivasan has moved his commune project to Kazakhstan after being booted from Malaysia. Shout-out to friend of the pod Quinn Slobodian, who's work you can find here. Paris recently talked to Quinn, check out that episode here if you missed it.Support the show

“We can have billionaires or we can have democracy. We cannot have both,” Gil Durán says. In this episode, Gil and Kelly discuss the bizarre fixations and political fantasies of tech billionaires like Peter Thiel, and how those ideas are being translated into real-world governance. Durán and Hayes also discuss Silicon Valley's Christian cosplay, and how traditional Christian ideas are being used as wrapping paper for the pursuit of AI-first, corporate fiefdoms. Music: Son Monarcas and Dusty Decks

On this episode of Bulture podcast:Papoose sends Remy Ma a cease and desists for dissing him and Claressa and demands that she delete the song immediatelyCongratulations, Karl-Anthony Towns and Jordyn Woods are officially husband and wife.Claressa Shields makes history, becoming the first woman to headline a boxing event at State Farm Arena while extending her perfect record to 19-0.Season 3 premiere of “Lioness” hit 7.1 million viewers in its first seven days of streaming. That total, which comes from Paramount's internal data, puts the Aug. 2 episode significantly above the audience Season 2 reached with its debut in 2024. It's funny how most Americans don't want to be police and probably wouldn't serve in the military, but we love to watch good tv shows and movies about both.High school teacher broke down in tears in class after realizing his students couldn't read or write.Big Chicken: A Fast-Food Conspiracy is a 2026 Netflix documentary hosted by British comedian Mo Gilligan. Released on August 5, 2026, the 96-minute film follows Gilligan as he eats a fried chicken diet for 28 days across the UK and US to investigate the global fast-food industry, worker exploitation, and health impacts.Kenyon Martin checks Westbrook retirement hater Skip Bayless & goes off on former Gil's arena host.Ray Daniels calls Charlamagne the Jay Z police after getting donkey of the day for saying Hov's album is done.DaBaby surprised his daughter with a fluffy French bulldog reportedly worth $30k for her birthdayConstruction workers uncover $10.4 million worth of gold bars and coins while installing a sewer under a former brewery.LeBron James is officially a YouTuber now, after starting his own life/golfing YouTube channel.LeBron James officially unveils his 24th signature shoe, the Nike LeBron 24, expected to cost $200 and be the lightest LeBron shoe ever.Yung Miami says the broke thing she's ever done was getting “taken down” on a mattress on the floor.ESPN's Black Talent Purge sends alarming message to the black sports community. ESPN is showing us the viewers it wants and how it will attract them.The National Association of Black Journalists gives Stephen A. Smith the “Thumbs Down” award for his “recurring public pattern of disparaging public commentary directed at prominent Black women across politics, sports and media.”Super Bowl LXI — the first time in NFL history that the championship game will be played on Valentine's Day — takes place six months from today.Spike Lee is launching a Film Festival in New York and classically, it's all about Brooklyn.This is just horrible take Tubi has a better catalog than most streaming sites, especially Netflix.Cardi B allegedly films secret tiny desk set with strict no-phone policy.The final $12.5 million on Brandon Clarke's Grizzlies contract is expected to be paid in full through a life insurance policy, according to new reporting that clears up earlier confusion over whether the money was protected after his death.Plies weigh in on Jayden Daniels' LSU dispute, says 2 great years and a Heisman shouldn't be enough to have your jersey retiredTyrese Haliburton said he was shocked his return game from his Achilles injury is against the Pelicans in New Orleans.Russ joins an elite group of players that ended their careers without a ring.The Wizards and Kings wanted Russell Westbrook to play for them this season, but Russ decided to “step away from the game on his own terms.It's been almost 4 months since two gunmen in masks stopped a fully loaded Brink's truck in Philly and ran off with $1.8 million, with no arrests made yet and police saying they have no clue who did it.

Silicon Valley's overlords have completely lost their minds. Gil Durán, Kamala Harris' former communications director and now a journalist, says Elon Musk, Peter Thiel and the rest of the tech oligarchs have a severe case of “billonaire psychosis” – where unchecked wealth and influence detach them from reality. Now democracy itself is getting in the way of their own bizarre, apocalyptic visions. Are we stuck with their vision of the future? Is pushing back against them futile? Will a vote for the Democrats make this all go away? And is money really the root of all evil? Gil joins Emma Kennedy to discuss his new book The Nerd Reich: Silicon Valley Fascism and The War on Democracy, and how we got here. • Buy Gil's book The Nerd Reich from our affiliate bookshop and you'll help fund the podcast by earning us a small commission for every sale. Bookshop.org's fees help support independent bookshops too.• Back us on Patreon – www.patreon.com/bunkercastWritten and presented by Emma Kennedy. Producer: James Liddell. Audio production: Robin Leeburn. Managing Editor: Jacob Jarvis. Group Editor: Andrew Harrison. Music by Kenny Dickinson. THE BUNKER is a Podmasters Production.www.podmasters.co.uk Hosted on Acast. See acast.com/privacy for more information.

Gil Hough, Executive Director of TenneSEIA, discussing the upcoming TenneSEIA Valley Solar Plus Storage Conference scheduled for September 2nd and 3rd in Chattanooga, Tennessee. Gil explained that the conference has been moved earlier in the year and will feature Sean as the featured trainer for a full-day training session on Thursday. They discussed the significant growth in solar and energy storage projects in the Tennessee Valley region, including utility-scale projects, local power company initiatives, and residential installations. Gil highlighted the new TVA Integrated Resource Plan (IRP) that will be approved in August and its potential impact on the market, as well as the booming energy storage market, particularly with local power companies implementing substation-level storage projects. The conversation covered various industry topics including manufacturing growth in the region, data center development, and quantum technology applications, with a special panel planned on quantum technology and its connection to solar and storage.   Topics Covered TenneSEIA Conference Energy Storage Growth Residential Solar Market TVA Federal Structure Rare Earth Materials Conference Registration Training Track Solar Manufacturing Data Centers Quantum Computing US Competitiveness TVA = Tennessee Valley Authority EPB = Electric Power Board Manufacturing Tours IRP = Integrated Resource Plan Local Power Companies RFP = Request for Proposals   Reach out to Gil Hough here: LinkedIn: www.linkedin.com/in/gilhough/ Website: www.tenneseiasolar.com/ Email: execdirector@tenneseiasolar.com Learn more at www.solarSEAN.com and be sure to get NABCEP certified by taking Sean's classes at www.heatspring.com/sean www.solarsean.com/esipexam

A perseguição pelas ruas de Roma vai acabar no insuspeito Café Number One. Enquanto Carvalhão Gil está sentado à mesa com o seu contacto russo, os inspetores enfrentam o dilema: avançar já ou esperar?See omnystudio.com/listener for privacy information.

We all know networking is important, but how often do you use "I don't have time" as an excuse for failing to build your professional relationships? In this archive episode of Connected Leadership Bytes, Andy Lopata sits down with global entrepreneur and networking expert Gil Petersil. Gil challenges the traditional, polite rules of networking, offering a blunt and radical approach to managing your time, your energy, and your connections. If you are serious about growth, Gil argues, you must be willing to do the uncomfortable work: conducting a brutal audit of your current relationships and making the difficult decision to cut ties with people who no longer serve your life's destiny—even if you've been friends for 30 years. Discover the concept of "co-elevation," the "Networking Angel," and why the most successful people treat their networks like a carefully cultivated garden. What you will learn from this episode: The "No Time" Myth: Why telling yourself you don't have time to network is an excuse, and how to instantly reclaim hours in your week by auditing your solo activities. The Networking Angel: How busy executives use their assistants not just for scheduling, but as trained "Networking Angels" who manage and nurture crucial relationships on their behalf. The Necessity of Cutting Ties: The uncomfortable truth about why holding onto old friends who do not inspire or "co-elevate" you is holding back your career and depleting your energy. The Mastermind Meeting Protocol: How to transform wasteful 90-minute meetings into 45-minute masterclasses by enforcing strict presentation rules and cutting out aimless discussion. The Permaculture of People: What a bamboo plant can teach you about the absolute necessity of building a diverse network outside of your own industry bubble. Actionable Insights: Conduct a 7-Day Networking Audit: Look back at your calendar for the last seven days. Who did you give your time to? How much time did you spend alone (driving, scrolling)? Identify areas where you are wasting energy on low-priority relationships or solo tasks, and redirect that time toward high-value connections. Evaluate for "Co-Elevation": Write down the 5 to 10 people you spend the most time with. Are you helping them grow, and are they helping you grow? If the relationship lacks harmony and mutual inspiration, you need to create space and distance yourself to make room for new, more aligned connections. Train Your "Networking Angel": If you have an assistant or a team, stop using them just for admin. Train them to take over the initial stages of relationship building: managing your inbox, handling basic follow-ups, and organising themed dinners or group meetings so you can connect with multiple key people at once without burning through your calendar. SELECTED LINKS FROM THE EPISODE Connect with Andy Lopata: Website | Instagram | LinkedIn | X/Twitter | YouTube Connect with Gil Petersil: Website |LinkedIn | The Financial Times Guide to Mentoring Episode Featuring Gil Petersil

A perseguição pelas ruas de Roma vai acabar no insuspeito Café Number One. Enquanto Carvalhão Gil está sentado à mesa com o seu contacto russo, os inspetores enfrentam o dilema: avançar já ou esperar?See omnystudio.com/listener for privacy information.

A perseguição pelas ruas de Roma vai acabar no insuspeito Café Number One. Enquanto Carvalhão Gil está sentado à mesa com o seu contacto russo, os inspetores enfrentam o dilema: avançar já ou esperar?See omnystudio.com/listener for privacy information.

The epics of the Odyssey and the Bible have a lot in common. Rutger Vos joins Gil to discuss the new Christopher Nolan movie Join our tribe on Patreon!To give Gil a one-time donationThe podcast is written, edited and produced by Gil Kidron

Featured on WGN Radio's Home Sweet Home Chicago on 08/15/26: Gil Wagner, Operations Manager at Doornbos Heating and Air Conditioning, talks about their Cooling with a Cause campaign with funds supporting Project Fire Buddies and children battling serious illnesses. Gil also shares essential fall tips for comfort, safety, and home health including duct cleaning, furnace maintenance, […]

Welcome to the second episode of AFLW Inside Out! Laura Spurway & Meg McDonald are joined by their inaugural guest on the podcast, none other than the former CEO of the AFL, Gil McLachlan. Gil chats about the challenge of launching the AFLW competition, the business side of football, and how he thinks women’s footy is perceived in Australia. See omnystudio.com/listener for privacy information.

a steal seals the W for the Aces; Kawhi and the Clippers get accused of stealing; a King steals the show in the HOF preseason game; RBs pile money in their go-yard bags; will Aaron Donald steal another year of greatness; is Shedeur scamming the Browns?; Luka and Gil vs ex-fiancee; & more. We certainly won't agree so let's argue ... oops, we mean debate! #BallHogSportsTalk! #SpendDat! #SongOfTheSummer #Scamming #GoYardBag #Aces #WNBA #CaitlinClark #AjaWilson #ChelseaGray #KawhiLeonard #LAClippers #SalaryCap #Daktronics #SponsorshipDeal #NFL #FootballisBack #PreseasonGame #HOFgame #LukeKuechly #JahmyrGibbs #BijanRobinson #JonathanTaylor #DetroitLions #AtlantaFalcons #IndianapolisColts #SeanMcVay #AaronDonald #LARams #Retirement #OneMoreYear #ShedeurSanders #PerfectTiming #Luka #GilsArena #ExFiancee #ChildSupport #Custody #35OutOf35 #StedmanBailey #MohamedCoulibaly

Lathan "Laytin" Gil delivers the news on Donald Trump avoiding a possible assassination attempt, a US Federal Judge blocking a Trump order to block mail-in voting, and the earthquakes in Columbia. On 8/12/2026.

Depois de uma pausa para a Copa do Mundo, Fabio Porchat volta com o "Que História É Essa, Porchat?" num programa inédito e ao vivo. Na roda, o apresentador Gil do Vigor e as atrizes Isis Valverde e Luana Martau. Gil lembra de uma viagem às escondidas, com um problemão intestinal. Isis conta como o seu amor pelos animais virou uma aventura de risco. E Luana revela um constrangimento com colegas de novela. Na plateia, Camila relembra um passeio de bicicleta que provocou uma cirurgia.

Carvalhão Gil voa para Roma e as autoridades estão determinadas a não o deixar escapar. Entre manobras de contra-vigilância e trocas de hotel não há dúvidas: vai haver novo encontro. Resta saber onde.See omnystudio.com/listener for privacy information.

Carvalhão Gil voa para Roma e as autoridades estão determinadas a não o deixar escapar. Entre manobras de contra-vigilância e trocas de hotel não há dúvidas: vai haver novo encontro. Resta saber onde.See omnystudio.com/listener for privacy information.

There are many expressions in Hebrew and English derived from the Bible. Garry Stevens from the History in the Bible podcast joins Gil to compare Join our tribe on Patreon!To give Gil a one-time donationThe podcast is written, edited and produced by Gil Kidron

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Recorded live from BIO 2026 in San Diego, Gil captures a conversation with Craig Martin, Founder and CEO of Orphan Therapeutics Accelerator and Amber Freed, Founder & CEO of the Non-profit, SLC6A1 Connect that is equal parts heartbreak, science, economics, and stubborn optimism. Gil engages two of the rare disease world's most energized advocates immediately following a panel they participated in together on ultra-rare diseases. What emerged was a wide-ranging discussion about the gap between breakthrough science and patient access, the systemic failures that leave life-saving molecules on a shelf, and the personal cost of building a movement from grief.

Gil Fronsdal explores how Vipassana practice helps us embrace change and release attachment, transforming the way we experience ourselves and the world.Today's podcast is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/beherenow and get on your way to being your best self.This week on the BHNN Guest Podcast, Gil Fronsdal shares:Change as the heart of Vipassana practiceDelusions of permanence and having an ‘upside down' perception of realityThe freedom in holding things more lightly The juxtaposition of perfection with room for improvement Breaking down our attachment to the way things are supposed to be Being challenged in the dharma and questioning our identity Individual culture versus collective culture Watching thoughts arise and pass awayThe problem with retrospective thinking This recording was originally published on DharmaseedAbout Gil Fronsdal:Gil Fronsdal is the co-teacher for the Insight Meditation Center in Redwood City, California; he has been teaching since 1990. He has practiced Zen and Vipassana in the U.S. and Asia since 1975. He was a Theravada monk in Burma in 1985, and in 1989 began training with Jack Kornfield to be a Vipassana teacher. Gil teaches at Spirit Rock Meditation Center where he is part of its Teachers Council. Gil was ordained as a Soto Zen priest at the San Francisco Zen Center in 1982, and in 1995 received Dharma Transmission from Mel Weitsman, the abbot of the Berkeley Zen Center. He currently serves on the SF Zen Center Elders' Council. In 2011 he founded IMC's Insight Retreat Center. He is the author of The Issue at Hand, essays on mindfulness practice; A Monastery Within; a book on the five hindrances called Unhindered; and the translator of The Dhammapada, published by Shambhala Publications. You may listen to Gil's talks on Audio Dharma. “People tend to see permanence in what is impermanent. They tend to find self in what is not self. They tend to find happiness in things that are not really that happy. The path of practice is to perceive things in a way that things aren't distorted. The task of mindfulness practice is to break through distortions so we can see more directly.” –Gil FronsdalSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

After that unhinged Wicker trailer sent the whole internet into a spin, we're deep diving the fictional characters we were never supposed to find attractive… and yet. We're talking a gruff saber-tooth tiger with a heart of gold, the Marvel villain whose fan fiction was so unhinged it earned him a spinoff, and the wettest of wet-blanket sitcom romantics who somehow ages into a green flag. Plus the Twilight nobody we should've been rooting for the whole time, a brooding Finding Nemo fish the internet has turned into a full-blown daddy, and the Bear character with the most beautiful arc on TV. No notes. Just vibes we can't explain. TAKE THE WEEKLY SPILL QUIZ HERE Become a Mamamia subscriber and get an all-access pass to everything we make, including exclusive podcasts and early listening, subscriber-only articles, monthly giveaways and our home workout app, MOVE.THE END BITS Find and follow us on socials: Instagram: https://www.instagram.com/thespillpodcast/ TikTok: https://www.tiktok.com/@thespillpod Facebook: https://www.facebook.com/thespillpodcast/ Support independent women's mediaGet access to Very Peri, Mamamia's exclusive perimenopause series, for just $59. 25 world-leading experts, over 20 on-demand sessions, available now. We’ve sorted through the noise so you don't have to. Go to veryperi.com.au and join me today. You hot? Same. Buy today and save 40% Want to join the conversation? Have feedback or a topic you want us to discuss? Send us a voice message or email us at thespill@mamamia.com.au and we’ll get back to you ASAP! Executive Producer: Monisha Iswaran Audio & Video Producer: Michael Kean Mamamia acknowledges the traditional owners of the land on which we have recorded this podcast.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

LeBron sells out in Philly, the WNBA all-star game sells out in Chi-Town, Baker feels sold out in Tampa, the Eagles sold the farm for Jalen Carter's new contract, Big Baby 'sold' against The Big Ticket, did Gil sell out the Arena?, ND sold real estate on its jerseys, Plaxico sells his Jets, AE was not for sale in Minnesota, & more! We certainly won't agree so let's argue, oops we mean debate! #BallHogSportsTalk! #LeBron #LeBronJames #Philly #76ers #WNBA #WNBAallstargame #ChiTown #SummerTimeChi #BakerMayfield #TampaBayBucs #BakerBakerTouchDownMaker #Eagles #BirdGang #BigBaby #TheBigTicket #ArmWrestling #GilbertArenas #GilsArena #RashadMccants #NotreDame #ND #WEareND! #RealEstate #CloseTheDeal #PlaxicoBurress #NYjets #AnthonyEdwards #AE #TWolves #TonyRomo #JeremyShockey

What if business and labour actually agree on more than they admit? Following our August 5 conversation with Edmonton Chamber CEO Doug Griffiths, Alberta Federation of Labour president Gil McGowan weighs in on the "Norway model" a system where business, labour, and government work together to minimize work stoppages while protecting collective bargaining. Gil pushes back where it counts, but winds up finding (surprising?) areas of agreement, in our feature interview (6:20) presented by Mercedes-Benz Edmonton West.  THIS EPISODE IS PRESENTED BY HANSEN DISTILLERY. ROOTED IN PRAIRIE GRIT AND A REBELLIOUS SPIRIT, HANSEN IS KNOWN FOR AUTHENTIC, SMALL-BATCH WHISKY AND OTHER SPIRITS CRAFTED WITH LOCAL ALBERTA INGREDIENTS. LEARN MORE: https://hansendistillery.com/ WATCH THE GRIFFITHS INTERVIEW: https://rtrj.info/080526ECC 1:34:00 | Real Talkers have a lot to say about strikes, wages, and more in our Live Chat powered by Park Power. SAVE on INTERNET, ELECTRICITY, and NATURAL GAS: https://parkpower.ca/realtalk/ 1:45:45 | Don calls out Jespo's flippant comment about separatists claiming the "old" Canada flag, Joe from Alliston calls out Danielle Smith's interference, Mr. T says there's a double standard in Alberta, Ryan sticks up for the Ag industry, Claire says big corporations are killing local Ag producers, and Mark riffs on our August 6 interview about the Vulcan County AI data centre. It's The Flamethrower proudly presented by the DQs of Northwest Edmonton and Sherwood Park!  WHEN YOU SWING BY A DQ IN PALISADES, NAMAO, NEWCASTLE, WESTMOUNT, OR BASELINE ROAD FOR MIRACLE TREAT DAY ON AUGUST 13, BE SURE TO LET 'EM KNOW REAL TALK SENT YOU!  REAL TALK'S LIVE STREAM IS PRESENTED BY CALIFORNIA CLOSETS. BOOK YOUR FREE CONSULTATION: https://californiaclosets.ca/ REAL TALK HIGHLIGHTS ARE PRESENTED BY KUBY ENERGY AND CANADIAN GREEN TECH, YOUR TRUSTED SOLAR PROVIDERS. LEARN MORE AT https://kuby.ca/ or in-store at Costco. SIGN UP for YEGplus, CANADA'S FIRST AIRPORT REWARDS PROGRAM: https://yegplus.com/realtalk SAVE 10% on ONLINE MEN'S CLOTHING PURCHASES at THE HELM with promo code REALTALK: https://thehelmclothing.com/ FOLLOW US ON TIKTOK, X, INSTAGRAM, and LINKEDIN: @realtalkrj & @ryanjespersen JOIN US ON FACEBOOK: @ryanjespersen REAL TALK MERCH: https://ryanjespersen.com/merch RECEIVE EXCLUSIVE PERKS - BECOME A REAL TALK PATRON: patreon.com/ryanjespersen THANK YOU FOR SUPPORTING OUR SPONSORS! https://ryanjespersen.com/sponsors The views and opinions expressed in this show are those of the host and guests and do not necessarily reflect the position of Relay Communications Group Inc. or any affiliates.

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

We sit down with Gil Chan, founder of CraftedStays, about what it takes to build a direct booking website for a STR. We cover the gap between a generic template and an expensive agency build, the new AI tool Aria, and why owning a few direct bookings changes a host's leverage across platforms: What a direct booking site actually replaces for an Airbnb-only host? The 2 options hosts face for a website, and why neither worked? How Aria reads a portfolio and reviews before writing a single word? What OTA fees really add up to over a year of bookings? Why this isn't about leaving Airbnb, and what it's really about? Gil's story is a good reminder that owning your guest relationship matters as much as owning your listing. Subscribe to the show, leave a review, and share it with another host who is tired of renting shelf space on someone's platform. Check out our videos on YouTube: https://www.youtube.com/@ShortTermRentalRiches Grab your free management eBook: https://strriches.com/#tools-resources Looking to earn more with your property (without the headaches)? Chat with our expert management team: https://strriches.com/management-services/  

Gil wants to Beat Migs! Tune in to play along.

A Polícia Judiciária mergulha na vida dupla de Frederico Carvalhão Gil e descobre um padrão de gastos em dinheiro vivo que as suas contas bancárias oficiais simplesmente não explicam. Entre idas diárias a bares de striptease e relações com mulheres da Europa de Leste, o espião mantém uma fachada de respeitabilidade como membro ativo da maçonaria. Mas um encontro clandestino na Eslovénia, filmado secretamente pelas autoridades locais, revela o seu contacto russo: Sergey Pozdnyakov. Enquanto a CIA propõe uma armadilha agressiva, Portugal decide montar a sua própria operação. "A vida dupla do espião traidor" é o novo Podcast Plus do Observador. É narrado por Ivo Canelas e tem banda sonora original de Bruno Pernadas. Pode ouvir semanalmente os episódios de "A vida dupla do espião traidor" na playlist própria do podcast na Apple Podcasts, Spotify, Youtube ou outras plataformas de podcast. Os assinantes standard e premium do Observador têm acesso exclusivo e antecipado a todos os episódios em observador.pt. Pode assinar aqui.See omnystudio.com/listener for privacy information.

In 2019, Bill Mauro and Marcus Laurence sold their home in the beautiful woodlands of Pennsylvania's Pocono Mountains and boarded a plane to Portugal with just six suitcases. They initially settled in Lisbon but soon realized they missed the slower pace of country life. That led them to purchase a home in the rural town of Salgueiro da Lomba, in Central Portugal. We first spoke with Bill and Marcus about their new life in Portugal in May 2022 on Episode 83 of Retire There. Seven years after making the move, they still love calling Portugal home. Along the way, they've helped countless others navigate the process of buying a home in Central Portugal. What began as a passion for helping fellow expats has since evolved into a new career as real estate agents. To learn more about purchasing a home in the region surrounding Salgueiro da Lomba, tune in to Episode 226 of Retire There with Gil & Gene. To contact Bill and Marcus about real estate Central Europe, email them at BillAndMarcus@KWPortugal.pt. They are part of the JPVA Real Estate Group. The couple created the Bears and Friends Retiring in Europe Facebook group and their Instagram page is @CasaDaLomba050. #retirethere #portugal #salgueirodalomba #casadalomba #coimbra #bearsandfriendsretiringineurope #centralportugal Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Gil chooses his favorite verses from the first five biblical books: some are beautiful, others are personal and some are funny Join our tribe on Patreon!To give Gil a one-time donationThe podcast is written, edited and produced by Gil Kidron

In episode 2099, Jack and Miles are joined by co-hosts of Good Science, Gil Ozeri and Anthony Atamanuik, to discuss… As RFK Catches Sh*t From Trump--America Breaks New Health Record (For Measles), Are The Thousands Of 9/11 Families Who Want Mamdani Banned From The 25th Anniversary In The Room With Us Right Now? White House COKErespondents Dinner? And more! Measles Cases Hit New Record in U.S., as Vaccination Rates Wane US measles cases reach 35-year high Marking the 25th anniversary | National September 11th Memorial & Museum Jon Stewart and Pete Davidson Plan Another All-Star Comedy Event to Benefit 9/11 Charities, 25 Years After the Attacks 9/11 tribute tour 'Steel Across America' makes stop in Salt Lake City Steel beam from World Trade Center makes stop in San Francisco ahead of 9/11 25th anniversary A 9/11 Charity Provides a Financial Safety Net to a Giuliani Firm The truth about the viral 9/11 petition targeting Mamdani Families of 9/11 victims want to ban Mamdani from sacred 25th anniversary ceremony at Ground Zero: ‘unwelcome guest’ Petition from 9/11 families asks NYC Mayor Zohran Mamdani not to attend remembrance ceremony 9/11 families demand NYC Mayor Mamdani be banned from memorial Mamdani Responds To 9/11 Victims' Families Wanting Him Barred From Tribute Elite class solidarity looks like Kristen Welker laughing it up with white nationalist Stephen Miller. LISTEN: Butter by Apollo BrownSee omnystudio.com/listener for privacy information.

Gareth, Jake and Gil Ozeri make sense of the biggest penis they've ever seen. Then, they make an appeal to the crows.You can follow Gil on IG @tallgilozeri and listen to his podcast Good Science @GoodSciencePod.Dirk - https://www.patreon.com/heretohelppod/posts/uncensored-from-165185129 See images from the episode here: https://www.heretohelppod.com/post/episode-311 Want to call in? Email your question to helpfulpod@gmail.com.PATREON: https://patreon.com/heretohelppodMERCH: heretohelppod.comINSTAGRAM: @HereToHelpPodIf you're enjoying the show, make sure to rate We're Here to Help 5-Stars on Apple Podcasts.Advertise on We're Here to Help via Gumball.fmSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Spider-Man is about to have a brand new day so it only felt right to go back and revisit his darkest hour. Gil returns to help me review the disastrous follow up to The Amazing Spider-Man. This time there's more villains, more romance, and more storylines. Some don't even get resolved! Watch and find out how bad it was!https://youtu.be/jtIPu7evsLwhttps://rumble.com/v7depz0-the-amazing-spider-man-2-is-the-worst-spider-man-movie-hack-the-movies.html