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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.

Yarin Gaon is an entrepreneur, investor, and founder of Fractional Partners. He launched his first business at 14 and later built and sold Israel's largest e-commerce platform for military goods before moving to the U.S. After serving as an Entrepreneur-in-Residence at a venture capital firm helping turn around distressed startups, he has mentored more than 400 founders through SCORE and the University of Chicago's Polsky Center. Today, Yarin helps $1–20 million businesses gain strategic clarity, scale profitably, and build stronger, more valuable companies. Click here to access the Growth Decisions Canvas™.

What if we told you that Bombay food isn't as local as you think?In this episode, Tara sits down with writer and journalist Pronoti Datta, author of In the Beginning There Was Bombay Duck, to unpack the delicious and deeply layered history of Bombay's food.Pronoti and Tara trace the city's culinary journey, from the Koli fishing communities and early tiffin rooms to colonial clubs, Irani cafes, Goan bakers, Udupi restaurants, and the rise of Indo-Chinese food. Along the way, they explore how migration, colonialism, urban planning, and even real estate have shaped what ends up on your plate today.They also get into why “Bombay cuisine” is actually a mashup of many different cultures, the surprising origins of everyday ingredients like potatoes and chillies, how Goan cooks shaped elite colonial kitchens, the disappearing food cultures you won't easily find in restaurants and so much more!This conversation will make you hungry. Order something before you hit play.Books Mentioned in This Episode:Taj Mahal Foxtrot: The Story of Bombay's Jazz Age by Naresh FernandesCity of gold: the biography of Bombay by Gillian Tindall‘Books and Beyond with Bound' is the podcast where Tara Khandelwal and Michelle D'costa uncover how their books reflect the realities of our lives and society today. Find out what drives India's finest authors: from personal experiences to jugaad research methods, insecurities to publishing journeys. Created by Bound, a storytelling company that helps you grow through stories. Follow us @boundindia on all social media platforms. 

Píosa ómóis don Dr Joe Mulholland as Bealach Féich ó dhúchas, iar-Stiúrthóir Bainistíochta Teilifíse agus iar-Cheannasaí Nuachta RTÉ agus duine de bhunaitheoirí Scoil Samhraidh Mhic a'Ghoill atá le cur i gcré na cille inniu.

"I used to be very possessive of my recipes. I didn't want to give them away until a senior chef told me, "Listen, even if you give the recipe, everybody's hand is different; it will not be the same." Then, as time went on, I said, actually, some of these recipes should be preserved and if my children are not going to carry it on then at least other people in the community should know about them. Some of the things that I ate as a child have been totally forgotten. That's when I decided to start writing this book" - Crescentia Scolt Fernandes, author, Tale of Two Kitchens, Talks to Manjula Narayan about the similarities between the Cochin Anglo Indian food of her family and the Goan food of her husband's, the Dutch, Portuguese and, of course, Malayali influences on the food she ate as a child, memories of Vypin island in the mid-20th century, the lost Creole that her parents spoke, and how she and her husband ran the highly successful Bernardo's, the only authentic Goan restaurant in the National Capital Region.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Actor James Lance joins Spooning With Mark Wogan this week.James opens up about starring in this year's Beyond Paradise Christmas special and reflects on where it all began, treading the boards in a school production of Joseph and the Amazing Technicolor Dreamcoat. He talks candidly about his career journey, including his time on Ted Lasso, and shares the moments, missteps and lessons that have shaped him along the way. Plus, James reveals his wildly unconventional favourite sandwich (featuring white chocolate mice and cola bottles), while Mark attempts to persuade him to rethink his long-held dislike of fennel.Homeslice Pizza: Margarita with Salami with Hot HoneyTV Reference: Goan CurryGuilty Pleasure: Ben and Jerry's Phish Food and white chocolate mice and cola bottlesSpoon One: Dark chocolate with cheeseSpoon Two: Fennel Ham and Cheese in White WineYou can see Beyond Paradise Xmas special on The BBC Iplayer now.Follow Spooning With Mark Wogan on Instagram and TikTok @spooningwithmarkwoganSenior Podcast Producer: Johnny SeifertVisual Producer: Adam BradleySocial Media Producer: Panos Kalaroutis This is a News Broadcasting production Hosted on Acast. See acast.com/privacy for more information.

Potrivit unei cercetări recente realizate de Institutul de Investigare a Crimelor Comunismului și Memoria Exilului Românesc (IICCMER), peste jumătate dintre români consideră că regimul comunist a fost „un lucru bun”. Două treimi consideră că Nicolae Ceaușescu a fost „un lider bun”, iar aproape jumătate sînt convinși că „se trăia mai bine” înainte de 1989. Aceste percepții sînt puternice mai ales în rîndul tinerilor, care nu au memoria directă a perioadei comuniste. Cum se naște, așadar, nostalgia comunistă? Ce rol joacă factori precum deziluzia față de prezent, inegalitățile sociale ori incertitudinile economice și cum pot fi manipulați oamenii pornind de la aceste sentimente? O cercetare despre fenomenul nostalgiei pro-totalitare în mediul online, realizată de Didona Goanță, consultant de comunicare strategică și colaborator al IICCMER, ne arată cum funcționează aceste mecanisme de manipulare. Autoarea studiului a analizat 200 de postări care promovează figura lui Ceaușescu drept un lider autentic și mare patriot și vorbesc despre realizări ale regimului comunist și a descoperit că doar aceste 200 de postări au avut 130 de milioane de vizualizări. Didona Goanță: „În analiza mea am plecat de la două teme mult dicutate în spaţiul public. Prima este sondajul pe care l-aţi aminit, realizat de ICCMER. Dacă pentru segmentul de vîrstă 60+ putem găsi nişte argumente legate de nevoia lor de a adera la astfel de ideologii, ne-am întrebat cu toţi ce se întîmplă cu tinerii. De ce persoane care nu au trăit în comunism ajung să fie interesate de astfel de materiale de propagandă totalitară? Am fost interesată să văd dacă există în mediul online astfel de materiale şi cum se raportează tinerii la ele. A doua temă a fost cea legată de războiul hibrid. Nu ştiu cît de mult conştientizăm, dar cel puţin în ultimul an, social media a devenit un cîmp de luptă unde dezinformarea, manipularea, fake news au un singur scop: acela de a remodela mentalul colectiv şi de a distorsiona percepţiile în rîndul tinerilor. Nu întîmplător am analizat TikTok-ul. Mi-au mai atras atenţia nişte statistici, alarmante şi ele. În România avem cel mai mare număr de conturi de TikTok pe cap de locuitor. Avem 9 milioane de conturi, dar este interesant că acest număr a crescut brusc. În 2023 aveam 7 milioane, un an mai tîrziu ne-am trezit cu 9 milioane. Avem cel mai slab nivel de competenţe digitale din UE. Media este undeva la 76%, noi avem 46%. 90% dintre aceste conturi sînt înregistrate cu vîrsta între 13 şi 35 de ani – aşadar tineri care nu s-au născut, nu au crescut în comunism. Şi statisticile legate de timpul petrecut pe aceste reţele spun că în medie 2 ore şi jumătate se stă pe aceste reţele şi segmentul principal de vîrstă este undeva la 18-24 de ani. Dacă punem toate aceste elemente cap la cap, vorbim de o pepinieră importantă de tineri care sînt predispuşi la tot ce înseamnă manipulare, propagandă, fake news.”Cum poţi concura pe rețelele de socializare cu conturile crescute artificial, cum poţi să ajungi la oamenii deja expuşi la manipulare şi fake news?Didona Goanță: „Cu fermele de trolli şi de boţi nu prea poţi concura, ele cred că există în orice societate. Dar alte ţări au înţeles cît de periculos este acest fenomen şi au încercat să le izoleze. Noi pînă acum nu am făcut nimic. Cred că putem să vorbim în primul rînd de educaţie. Dar educaţia şi educarea nu se fac de la o zi la alta, avem nevoie de enorm de mult timp. Mai este o problemă: noi vedem aceste 130 de milioane de vizualizări dar nu ştim cum au fost ele internalizate de public. Corect ar fi să începem ample studii sociologice care să segmenteze exact acest public de 13-35 de ani, ca să înţelegem cum s-au raportat ei, ce au preluat din aceste mesaje şi apoi să începem să ajungem, cu informaţia, ţintit, către ei.”Apasă PLAY pentru a asculta interviul integral! O emisiune de Adela Greceanu și Matei Martin Un produs Radio România

Blauw-zwart boven in de Premier League! Igor Thiago legt met Brentford Man. United over de knie met twee doelpunten, terwijl Rode Duivel Maxim De Cuyper Stamford Brigde het zwijgen oplegt met een beslissende treffer in de extra tijd. Ook Liverpool blijft achter met lege handen tegen Crystal Palace, dat blijft verbazen en al achttien wedstrijden ongeslagen is. Arsenal neemt in extremis wel de drie punten - en de handdoek van Nick Pope - mee uit Newcastle en bij Man. City blijft Jérémy Doku uitblinken. Komen verder aan bod: The Real Housewives, iemand tackelen met een pint in de hand en een bezoekje van Filip Joos.00:00 Intro05:08 Potter geeft het (tover)stokje door aan Nuno bij West Ham10:28 Tottenham – Wolves15:40 Crystal Palace – Liverpool22:39 Newcastle – Arsenal36:17 Aston Villa – Fulham40:42 3-1-Piano in Brentford - Man. United47:12 Chelsea – Brighton50:36 Man. City – Burnley54:10 Forest – Sunderland57:49 FPL en naftpompchallenge01:01:26 Uitsmijters01:08:40 Outro

You can find our The Lost Biker Stories book, tool rolls, stickers and prints here: https://www.thelibertatia.com ______________ Please do leave a comment and share your thoughts. If you've got a story, insight or pictures to share, you can also email hi@tuesdayatdobbs.com Instagram: www.instagram.com/@tuesday_at_dobbs My other YouTube channel: @FreddieDobbs The bikes discussed: Triumph Rocket TFC Indian Chief Classic Scotland on a BMW R12 NineT A dream garage with a Royal Enfield Classic 350 125,000 on an Indian Pursuit 50,000 miles in one year on a Royal Enfield Himalayan Triumph Thruxton 400 Royal Enfield Goan

To celebrate not one but TWO exciting Shakespeare productions in Dublin Theatre Festival this year, I've teamed up with DTF to bring you a sneak preview of the delights that await. This time: Druid Theatre Company presents Macbeth, introduced by festival artistic director Róise Goan. Macbeth is at the Gaiety Theatre from September 25 - October 05, at tickets are available from Ticketmaster. The Making of Pinocchio is at the Samuel Beckett Theatre and tickets are available from dublintheatrefestival . ie

To celebrate not one but TWO exciting Shakespeare productions in Dublin Theatre Festival this year, I've teamed up with DTF to bring you a sneak preview of the delights that await. First up: a production of Hamlet from Peru, introduced by festival artistic director Róise Goan. Hamlet is at the O'Reilly Theatre from September 25-27, at tickets are available from dublintheatrefestival . ie

Ki Savo: Vilna Goan's "Scary" Tefilin

Róise Goan, CEO and Artistic Director of the Dublin Theatre Festival was the latest inductee into the Culture Club where she discussed her favourite music, film, TV, books and of course, theatre.To catch the full conversation, press the 'play' button on this page.

Róise Goan, Artistic Director and CEO of Dublin Theatre Festival;

This episode is brought to you by www.thebikeaffair.comIf you are in search of a one-stop destination that caters to all your cycling needs, our today's sponsor, The Bike Affair, is the perfect place to check out! With over 14 years of experience, The Bike Affair has established itself as a trusted source offering honest advice and exceptional service. They are offering a special treat for the listeners of this podcast. You can enjoy a 10% discount on your first order by using the code 'BIKEYVENKY' on their website. Visit their bike store in Hyderabad or shop online by using the link www.thebikeaffair.com In this episode I talk to Anjali Ranwade. Anjali is a promising talent in women's cycling. She is a medalist at school nationals and Indian cycling nationals. Her aspiration is to do well at Asian level in cycling and is working towards that. She won the women's category at the Goan Classic stage race where I met her and sat down for a small chat. She rode like a champ that she is and did way better than many of us men. This conversation is in Hindi as she is not comfortable in English. I hope you enjoy this interaction with a promising talent in women's cycling. 0:00:00 Intro0:03:30 Start of cycling 6 years ago0:04:50 Medaling in School nationals and at Indian cycling nationals0:06:10 Her weekly training schedule, indoor vs outdoor cycling0:07:20 Her most memorable cycling event and silver at Nationals0:08:30 Studies vs cycling and the support of parents0:10:10 Asian Championships aspirations, On bike nutrition, recent race performances0:14:40 Goan Classic race experience 0:17:30 ClosingAbout the podcast:The working athlete podcast is a podcast with and for working athletes from all walks of life and various sports. The goal is to provide inspiration, training tips, mental hacks, time management and life-style advice through conversations with some of the best in sport, from athletes to coaches. If you think you can benefit from this, please consider subscribing and hitting the bell icon so that you don't miss the weekly episodes in future. Who is a working athlete? Someone working fulltime/part-time, entrepreneur or anyone who has to work to make ends meet and doesn't let being busy to stop him/her from pursuing an active lifestyle is a working athlete. I consider stay at home moms/dads who pursue a sport, as working athletes because homemaking is a full-time job.If you like this, please hit the like button and share with friends who could be interested.

When Portuguese traders arrived on India's western shores in the early 1500s, they brought more than religion, colonial ambition, and a lust for spice - they also carried with them a tiny, crimson fruit that would set Asia ablaze. In part two of their deep dive into the scorching history of chili peppers, John and Patrick trace the pepper's path across India, China, and Korea, where it would come to define cuisines, ignite revolutions, and even ward off evil spirits.From its humble beginnings in Goan gardens to the fiery markets of Guntur, from Sichuan's numbing heat to the fermented jars of kimchi on Seoul's rooftops, this episode follows the trail of Capsicum as it infiltrates empires and reshapes entire culinary traditions. Along the way, we'll meet Buddhist monks, Portuguese conquerors, imperial skeptics, Communist revolutionaries, and, of course, Wilbur Scoville—the mild-mannered American pharmacist who gave us a way to measure the madness.Join John and Patrick for the sizzling second act of this global saga—a tale of heat, history, and the humble pepper that conquered the world.----------In Sponsorship with Cornell University: Dyson Cornell SC Johnson College of Business-----------Join the History of Fresh Produce Club for ad-free listening, bonus episodes, book discounts and access to an exclusive chatroom community.Support us!Share this episode with your friendsGive a 5-star ratingWrite a review -----------Subscribe to our biweekly newsletter here for extra stories related to recent episodes, book recommendations, a sneak peek of upcoming episodes and more.-----------Instagram, TikTok, Threads:@historyoffreshproduceEmail: historyoffreshproduce@gmail.com

✨Amit D'Souza is one of those very few blessed beings who's learned and understood life's phases pretty prettily!From information to knowledge to wisdom...He fills awareness in every word He speaks

Have you ever wondered what makes Goan cuisine so special? What if the secret ingredient isn't just the spices, but the sun itself?In this episode, Paula sits down with Lara Victoria, a food and wine expert with deep roots in both Bombay and Goa. Lara shares her journey from pastry chef to sommelier, weaving in the rich cultural influences that have shaped her love for food and hospitality.Together, they explore the vibrant flavors of Goan cuisine, from the legendary Goan sausages to the Portuguese-inspired vindaloo. Lara explains the relaxed Goan way of life, known as Susegad, and how the region's unique blend of Indian and Portuguese heritage has influenced its food, music, and traditions.Paula and Lara also discuss the deep role of hospitality in Indian culture, the hidden gems of Goa's food scene, and even the art of pairing wine with Indian dishes. Whether you're planning a trip to Goa or just love learning about food from around the world, this episode is packed with flavor, history, and inspiration.In this episode, you'll learn about:The must-try dishes of Goa, including chicken shakuti and chorizo pãoThe Portuguese influence on Goan cuisine and how it evolved over timeHow Lara transitioned from banking to hospitality and found her passion in wine educationThe beauty of Goan hospitality and why Sussegad is a lifestyle worth embracingGrab a cup of chai (or a glass of wine!) and join Paula for a delicious deep dive into Goa's food, culture, and history with Lara Victoria.HELPFUL LINKSLara's featured recipe: Ghosht Do PyazaLara's websites: cruclasse.ca and laravictoria.comFollow Lara on InstagramJoie Noble Blend (the wine Paula mentioned)Get my free Travel Planning ToolSUBSCRIBE, RATE & REVIEW If you love this podcast and want to give me your support, please leave a rating and review on Apple Podcasts. This goes a long way in helping me get in front of other culinary adventurers like you. Just open up the Apple Podcasts app and go to “In My Kitchen with Paula”. Or, in this episode, click on the 3 dots in the right corner and click on “Go To Show”. At the bottom of the show page, you can rate and review. SAY HELLO In My Kitchen creates connections one dish at a time, by exploring culture through food. I do this through unique culinary workshops, speaking engagements, and of course, this podcast. I'd love to hear from you! Connect with me in one of three ways: DM me on Instagram at @inmykitchenpaula Email me at paula@inmykitchen.ca Click to text me directly. Include your email address and I'll share my free travel planning tool!

'Two books about Goan heritage homes, one by photographer Ulka Chauhan and another by author Heta Pandit, allow us to enter these spaces not as tourists but as witnesses to living history,' says Karanjeet Kaur, journalist and former editor of Arré, in this week's column.

#booksthatspeak #balbharti #Goa:Jaisa Maine Dekha #गोवा : जैसा मैंने देखा #Goa #beaches #vinaysharma #church #hindistories #kids #reading #books #std10 #lokbharti Simple and compact travelogue of Goa from the author's viewpoint takes us on a Goa tour. Author has described about vibrant beaches, life style of Goan people, festivals celebrated and so on. Not to miss this chapter if you like to visit Goa. Thanks to Balbharti for the story. Written by Vinay Sharma Narrated by Asawari Doshi Instagram: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/booksthatspeak/⁠⁠⁠⁠⁠ Story's Video: ⁠⁠https://youtu.be/uR3QGnTfqt8 To receive updates about Online and Offline storytelling events from Books That Speak, join the whatsapp group: ⁠⁠⁠⁠⁠https://chat.whatsapp.com/BuBaOlkD2UACckOdYk4FDg⁠⁠⁠⁠⁠ Listen to the podcast: iTunes : ⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/books-that-speak/id1287357479⁠⁠⁠⁠⁠ Watch Videos: YouTube: ⁠⁠⁠⁠⁠https://www.youtube.com/booksthatspeak⁠⁠⁠⁠⁠ Website: ⁠⁠⁠⁠⁠http://www.booksthatspeak.com/⁠⁠⁠⁠⁠ Email: ⁠⁠⁠⁠⁠contact.booksthatspeak@gmail.com⁠⁠⁠⁠⁠ #booksthatspeak #stories #readaloud #hindistories #indianstories #kids #kidsstories #readbooks #books

Psybient.org Podcast 63 - What Is Love By Bionic We welcome today Bionic aka Sacred Beat, a DJ based in Thailand with an exclusive DJ mix for psybient tribe! visit @ www.psybient.org and for more! Immerse yourself in a serene soundscape with Healing Sounds - What Is Love, a carefully crafted mix designed for meditation, relaxation, and sleep. This musical journey combines the gentle embrace of ambient and psydub genres with the soothing sounds of nature recorded in the world's most breathtaking national parks. Each track has been thoughtfully selected and composed by top-tier musicians to create a harmonious experience that nourishes the mind, body, and soul. From tranquil bird calls to the gentle rustling of leaves, every element is designed to transport you to a peaceful state of being. Whether you're looking to unwind after a long day, find clarity through meditation, or drift into a restful sleep, this mix offers a safe space for healing and rejuvenation. Let the rhythms of nature and the beauty of music remind you of the love and tranquility that surrounds us all.

# Summary The PRESENTATION discusses the significant events in Israel over the past 15 months, particularly following the October 7th incursion. It reflects on God's influence throughout history, the current political landscape in Israel, and the prophetic implications of recent events. The speaker divides the talk into six sections: exploring God's plan, the current situation in Israel, scriptural prophecies, the Vatican's influence, and the importance of personal reflection in light of these events. The presentation aims to provide clarity on Israel's future and the role of faith in understanding these developments. # Highlights -

The latest episode of Inward. To learn more about this episode and how you can support Reb Joey's Torah, visit ⁠InwardTorah.org⁠

Ki Savo_Lessons From The Goan! Don't Be So Calm ... !

Die algemene jaarvergadering van die Gun Owners' Association of Namibia, bekend as GOAN, word op 15 Augustus by die Old Wheelers-klub in Windhoek gehou. Die vereniging doen ‘n beroep op lede om individue te nomineer om op die GOAN-bestuurskomitee vir 'n termyn van twee jaar te dien. Dit is van kritieke belang om die momentum te behou om die regte van alle wapeneienaars te beskerm – veral wanneer hul bestaan daarvan afhang. GOAN-voorsitter, Theo Senekal...

Welcome to this week's True Fiction Project Podcast. During this episode we are highlighting guests from my homeland, India. First you will hear poetry titled Sea Link, My Place and The Kohinoor, Mughal Sequence, written and read by Anand Thakore about life and letting go. Next, you will hear an excerpt from the story Toddy Trails, written by yours truly, about the adventures of a baker who ran out of yeast and must find a replacement. Lastly, you will enjoy an excerpt from My Voice, written and read by Priya Subberwal, which tells of her learning about being adopted. All three are wonderful, don't forget to tune in to the original episodes linked in the show notes.  IN THIS EPISODE:[1:21] Anand Thakore shares about his writing and work. [2:10] We hear the poems Sea Link, My Place and the Kohinoor written and read by Anand.[8:40] Avinash Martin discusses his restaurant Cavatina and how he decided to focus the food on Goan cuisine. [9:56] We hear an excerpt from the story Toddy Tails written by Reenita.[16:17] Priya Subberwal shares about her book My Voice and how she found out she was adopted. [17:05] We hear an excerpt from My Voice by Priya about her adoption. KEY TAKEAWAYS:Priya decided to write about her journey of finding out she was adopted as an adult as a way to find closure after her parents had passed away. Her story is fantastic for those who have been adopted or for people who are considering adoption. Anand feels that poetry really has to embrace the moment and be very short and brief and make its statement in a short space. Fiction Credits:Sea Link, My Place, and The Kohinoor, Mughal Sequence by Anand ThakorePoetry written and read by Anand ThakoreAnand Thakore's Facebook | Anand Thakore's Website | Poetry International Website Toddy TrailsShort story written by Reenita Hora inspired by Avinash Martin's storyChef Avinash Martins' Instagram | Chef Avinash Martins' Facebook My VoiceExcerpt written and read by Priya SubberwalDishas Consulting Website | Priya Subberwal's Instagram | Priya Subberwal's Facebook Priya Subberwal's LinkedIn RESOURCESSeason 4 - Episode 12: The Kohinoor, Mughal SequenceSeason 4 - Episode 6: Toddy Trails Season 4 - Episode 9: Masala Movie Support this podcast at — https://redcircle.com/true-fiction-project/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The road from desire to action is long & painful. How can we make it a smooth journey? Welcome to Episode 11 of Everything is Everything, a weekly podcast hosted by Amit Varma and Ajay Shah. In this episode, Amit shares his learnings on productivity, beginning with the inspiring story of a young Goan boy, speechless in a grand hall in Lisbon in the 18th century, finding his wits when his father hisses at him -- and at us -- the greatest productivity mantra ever: Kaator Re Bhaaji. Amit explains what this means, and shares a set of productivity tips. Ajay zooms out and talks about the importance of purpose. He also delivers a passionate tribute to Unix! This episode was first published on YouTube on September 8, 2023. For magnificent, detailed, juicy show notes, click here.

Theme music by UNIVERSFIELD & background music by PodcastACThe AlphaGo documentaryFrank Lantz's book The Beauty of Games and his article The Afterlife of GoKageyama's Lessons in the Fundamentals of GoAn excellent podcast episode about AI post-AlphaGo with Ezra KleinShow your support with ko-fi to offset costs for this passion projectContact: AllThingsGoGame@gmail.com

In this episode, FAQ is: When do I need a mask? Today's Destination is: South Goa, India Today's Misstep- I left my credit card behind. Travel Advice: Get a massage FAQ: When do I need a mask in 2024 Guidelines for wearing face masks vary depending on the current status of the COVID-19 pandemic and local regulations. It's essential to stay informed about the latest guidance from health authorities such as the World Health Organization (WHO), the Centers for Disease Control and Prevention (CDC), and other relevant local health departments. The need to wear a face mask can depend on factors like the prevalence of COVID-19 in your community, vaccination rates, and new variants. Additionally, guidelines may change in response to emerging data and public health considerations. It's common for health authorities to recommend wearing face masks in crowded indoor settings, in hospitals and health care offices, on public transportation, and in places where social distancing may be challenging. However, these recommendations may change, so it's crucial to check for the most recent guidelines from reliable health sources.   Today's destination: South Goa, India South Goa generally has a tropical climate, with the peak tourist season being from November to March when the weather is more relaxed and dry. Monsoon season, from June to September, brings heavy rainfall, and some beach activities may be limited; I was there in early June, about two weeks too late for ocean swimming.  I stayed in an Airbnb, and my host was downstairs and ran a beauty shop. Her boyfriend ran the nearby restaurant. I walked to pretty much everywhere while I was visiting. It was a slow pace, but I liked that. Beaches: South Goa is known for its pristine and less crowded beaches than the northern part of the state. I found the beaches dirty, and it was monsoon season, so swimming was out of the question in June. Famous beaches include Palolem, Agonda, Colva, and Benaulim. I stayed near Bogmalo Beach. It was laid back, had a local feel, and was close to the main Goa airport. Careful of coconuts falling on you. The winds were strong, and palms plus coconuts were falling fast. I had to cover my head at times to make sure that I did not get hit. Water Sports: Based on the season, many South Goa beaches offer water sports such as parasailing, jet-skiing, and banana boat rides. Make sure the water is safe before you swim. Cuisine: South Goa offers diverse cuisine, including delicious seafood and traditional Goan dishes. I'm not a food expert, but I ate fresh fish and fruits daily.   South Goa, India, is known for its serene beaches, vibrant culture, and historical attractions. Here are some recommendations for things to see and do in South Goa besides the beach. See a wildlife sanctuary, waterfalls, basilica, churches, art museums, and the Naval Aviation Museum by the airport. What is there to do for a solo traveler? My recs are Kayaking, paddleboarding, swimming, yoga, and walking on the shore for sunsets. I had a lovely massage from Ranjini, who owns the shop with her husband. I had hoped to swim in the resort pool on the beach, but that was also closed due to monsoons. An aviation museum was one of my favorite places in South Goa. You can now discover the history of aviation in India at the Naval Aviation Museum, located adjacent to the Dabolim or main airport.  I viewed vintage aircraft and learned about Indian Naval Air history, where people asked me for selfies. The electricity went out, which meant the air conditioning, too. It did not go back on for the hour more that I was there.  https://www.goa.gov.in/places/naval-aviation-museum/ https://www.deccanherald.com/india/now-goa-has-two-international-airports-located-50-km-apart-from-each-other-1170723.html Remember to check the current status and accessibility of these attractions, as conditions may change. South Goa offers a perfect blend of relaxation, cultural exploration, and natural beauty.   Today's Misstep- I left my credit card behind.     Today's Travel Advice: Get a massage.    Connect with Dr. Travelbest 5 Steps to Solo Travel website Dr. Mary Travelbest X Dr. Mary Travelbest Facebook Page Dr. Mary Travelbest Facebook Group Dr. Mary Travelbest Instagram Dr. Mary Travelbest Podcast Dr. Travelbest on TikTok Dr.Travelbest onYouTube In the news  

Exploring her husband's Goan and Portuguese heritage led writer Christine Chitnis to create a beautiful celebration of the visual culture of Portugal: “Patterns of Portugal”. Having successfully completed a similar project in 2020 with “Patterns of India”, Christine was inspired to share her view of the beauty of this small nation at the edge of Europe. Join me in this mini-Edit where Christine takes us behind the scenes of putting together this stunning lifestyle book, including some of her favorite moments and travel tips! Listen and rate us on iTunes, Spotify or wherever you get your podcasts. Christine's first appearance where we chat about “Patterns of India” was on Ep. 31 and if you enjoyed this, please do tell a friend!SHOWNOTES FOR MINI-EDIT 2:Experience Christine's work through her website and her beautiful instagram accountBuy Patterns of Portugal here or on AmazonPatterns of India book and our pandemic chat on episode 31!East CoastingChristine's exclusive Patterns of Portugal box with Portugalia Market brings to life the pages of the book through carefully selected artisanal productsTake an IRL trip to Portugal with Christine - sign up hereBooks we discussed on the show:A History of Burning by Janika Oza Hello Beautiful by Ann Napolitano Notes on an Execution: An Edgar Award Winner Danya Kukafka Questions? Comments? Get in touch @theindianeditpodcast on Instagram ! Want to talk gardens? Follow me @readyourgardenSpecial thanks to Sudipta Biswas, Aman Moroney and the team @ Boon Castle / Flying Carpet Productions for audio post-production engineering!

Welcome back to another episode of the True Fiction Project Podcast. Today we feature Chef Avanish Martins. Avanish discusses how his restaurant, Cavatina, came to be and how he made the decision to focus on Goan cuisine. He discusses what “toddy trappers” are and why their skill is so essential to Goan food. Avinash describes how he tells stories through his cuisine and the beautiful way he ties the culture in by plating his food. We learn how the coconut and tree are used in the Goa Culture, and how Pader Pader Ponk Ponk was used to wake up the town. Toddy Trails the fiction piece from this episode takes us along the journey of a local baker who's yeast has been ruined, risking a critical order he needed to fill. A friend encourages him to use toddy to replace the yeast, and after many attempts he nails down a successful recipe, only to have his rolls of bread stolen. Tune in to hear how the story ends!IN THIS EPISODE:[2:38] Avinash introduces himself and talks about how he grew up.[3:34] How did Avinash's restaurant, Cavatina, come to be?[6:03] What are “toddy tappers” and how does Avinash utilize it in his cooking?[11:28] Why does Feni get a bad rap? [12:50] How does Avinash's cuisine differ from other Goan cuisine that is found in other restaurants? [13:46] What is a Chitari artist and how is their artwork represented on Avinash's table? [18:09] Where did the roots of Goan cuisine originate from? [19:41] How can those of us outside of South Goa and India get to explore and experiment with Avinash's cuisine? [22:31] Is there one particular kind of ingredient that you would say is quintessentially Goan that we don't know about? [24:58] What did Pader Pader Ponk Ponk represent? [28:13] We hear the short story Toddy Tails written by Reenita HoraKEY TAKEAWAYS:[8:35] Toddy is at risk of not being harvested in Goa due to the next generation not wanting to work the dangerous job of harvesting toddy. If there is no toddy, the product doesn't exist, you cannot make it with anything else. [13:19] Avinash has experienced many parts of the world, and has decided that he will feature his Goan cuisine as Local Heart, Global Food. The food is genuine Goan good, with flair from other parts of the world. [22:40] The most important ingredient in Goan cuisine would be coconut. Coconut in all forms is a versatile element in Goan cooking. There is nothing of the coconut that goes to waste including the tree itself. It can be used for rafters of a roof, the leaves make beautiful shade nets, the spikes can be used as brooms, the husk is used to make ropes, and more!Check out HelloFresh and use my code truefictionprojectfree for a great deal: https://www.hellofresh.com/Check out Rosetta Stone and use my code TODAY for a great deal: https://www.rosettastone.com/Fiction Credits:Excerpt written by: Reenita HoraExcerpt narrated by using AIBIO:Chef Avinash Martins has got the humble Goan cuisine to an international level with farm to table practices and traditional cooking methods but presented it in a modern flairChef Avinash Martins' Instagram Chef Avinash Martins' Facebook Our Sponsors:* Check out HelloFresh and use my code truefictionprojectfree for a great deal: https://www.hellofresh.com/* Check out Rosetta Stone and use my code TODAY for a great deal: https://www.rosettastone.com/Support this podcast at — https://redcircle.com/true-fiction-project/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Cur síos ar a chara Diarmuid Breathnach a bhásaigh inné.

"I'mma feel betrayed if I don't hear from you n****s." —Sada Baby Featuring, in order of appearance: Sada Baby, David Banner, Michelle Wolf, Radio Rahim, Brother Ali, Donnell Rawlings, Mo Amer Contains music from Sada Baby. Additional music for SALT by Ryland BlackintonRecorded in Ohio, Summer 2020. Originally published May, 2021.Executive Produced by Talib Kweli, yasiin bey, Dave Chappelle, Noah Gersh, Jamie Schefman, Nick Panama, Kenzi Wilbur, and Miles HodgesProduced by Noah Gersh and Jamie Schefman for SALTProduction Manager: Liz LeMayRecording Engineer: Federico LopezRecording Engineer: Adrián Bruque for NPNDAssistant Editors: Danny Carissimi and Noah Kowalski Senior Sound Designer: Russell TopalTranscription Supervisor: Sam BeasleyMixer: Jordan GalvanPodcast Artwork: Rachel EckStill Photography: Mathieu BittonThe Midnight Miracle is a Luminary Original Podcast in partnership with Pilot Boy Productions and SALT.Special thanks to Paul Adongo, Cipriano Beredo, Elaine Chappelle, Ivy Davy, Rikki Hughes, Kyle Ranson-Walsh, Sina Sadighi, Mark Silverstein, and Carla Sims.Photography made available courtesy of Pilot Boy Productions, Inc. Copyright © 2021 by Pilot Boy Productions, Inc., all rights reserved.

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National treasure and Bake Off winner Nadiya Hussain discusses her Mum's chicken korma plus her tips for frugal cooking. Bake off finalist Crystelle Pereira shares the beauty of Goan cuisine and Chris Baber on giving people confidence in the kitchen. This episode is recorded at the BBC Good Food show in Birmingham with host Samuel Goldsmith. Learn more about your ad choices. Visit podcastchoices.com/adchoices

First, Indian Express' Rural Affairs Editor Harish Damodaran tells us how poll-bound states are trying to attract the agricultural sector and explains the importance of farm voters in this upcoming election.Next, Indian Express' Deeptiman Tiwary delves into the reasons why militant and terrorist groups continue taking people hostage and tells us about the factors that determine the fate of those who are kidnapped (10:24).And in the end, Indian Express' Pavneet Singh Chaddha explains the significance of Goan cashews receiving a Geographical Indication (GI) tag and how this recognition will benefit local traders (22:05).Hosted by Shashank BhargavaWritten and produced by Shashank Bhargava, Utsa Sarmin, and Rahel Philipose Edited and mixed by Suresh Pawar

Cook-a-long with Tracey Raye in this pause-anytime episode Learn more about your ad choices. Visit podcastchoices.com/adchoices

Renowned author and Sahitya Akademi awardee Damodar Mauzo engages in a conversation with author and playwright Vivek Shanbhag discuss Mauzo's collection of 14 stories titled "Teresa's Man and Other Stories from Goa." These tales provide a profound glimpse into the world of Goan-Konkani literature, a realm shaped by both remarkable achievements and challenges. Konkani, considered the "oldest of modern Indo-Aryan tongues," has faced various obstacles throughout its history. It has encountered persistent pressure from dominant regional languages like Marathi and Kannada, and it endured violent suppression during the Inquisition years in Goa from 1560 to 1812. The language struggled for survival amidst waves of diaspora and underwent a fervent postcolonial agitation. Eventually, in 1992, Konkani gained official recognition as a language under the Eighth Schedule of the Indian Constitution. Within "Teresa's Man," Mauzo skillfully captures the essence of Goa and its Konkani-speaking population. These stories, translated from Konkani to English by Xavier Cota, offer a blend of local flavour and universal themes that evoke a range of emotions and ideas. In this episode, adapted from a session at Bangalore Literature Festival 2022, Mauzo and Shanbhag delve into the inspirations, characters, and themes that shape the collection. Subscribe to the BIC Talks Podcast on your favourite podcast app! BIC Talks is available everywhere, including iTunes, Spotify, Google Podcasts, Castbox, Overcast and Stitcher.

How did the colonization of Goa in the sixteenth and seventeenth centuries take place? How was it related to projects for the conversion of Goan colonial subjects to Catholicism?  In Religion and Empire in Portuguese India: Conversion, Resistance, and the Making of Goa (SUNY Press, 2022), Ângela Barreto Xavier examines these questions through a reading of the relevant secular and missionary archives and texts. She shows how the twin drives of conversion and colonization in Portuguese India resulted in a variety of outcomes, ranging from negotiation to passive resistance to moments of extreme violence. Focusing on the rural hinterlands rather than the city of Goa itself, Barreto Xavier shows how Goan actors were able to seize hold of complex cultural resources in order to further their own projects and narrate their own myths and histories. In the process, she argues, Portuguese Goa emerged as a space with a specific identity that was a result of these contestations and interactions. The book de-essentializes the categories of colonizer and colonized, making visible instead their inner-group diversity of interests, their different modes of identification, and the specificity of local dynamics in their interactions and exchanges--in other words, the several threads that wove the fabric of colonial life. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How did the colonization of Goa in the sixteenth and seventeenth centuries take place? How was it related to projects for the conversion of Goan colonial subjects to Catholicism?  In Religion and Empire in Portuguese India: Conversion, Resistance, and the Making of Goa (SUNY Press, 2022), Ângela Barreto Xavier examines these questions through a reading of the relevant secular and missionary archives and texts. She shows how the twin drives of conversion and colonization in Portuguese India resulted in a variety of outcomes, ranging from negotiation to passive resistance to moments of extreme violence. Focusing on the rural hinterlands rather than the city of Goa itself, Barreto Xavier shows how Goan actors were able to seize hold of complex cultural resources in order to further their own projects and narrate their own myths and histories. In the process, she argues, Portuguese Goa emerged as a space with a specific identity that was a result of these contestations and interactions. The book de-essentializes the categories of colonizer and colonized, making visible instead their inner-group diversity of interests, their different modes of identification, and the specificity of local dynamics in their interactions and exchanges--in other words, the several threads that wove the fabric of colonial life. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

How did the colonization of Goa in the sixteenth and seventeenth centuries take place? How was it related to projects for the conversion of Goan colonial subjects to Catholicism?  In Religion and Empire in Portuguese India: Conversion, Resistance, and the Making of Goa (SUNY Press, 2022), Ângela Barreto Xavier examines these questions through a reading of the relevant secular and missionary archives and texts. She shows how the twin drives of conversion and colonization in Portuguese India resulted in a variety of outcomes, ranging from negotiation to passive resistance to moments of extreme violence. Focusing on the rural hinterlands rather than the city of Goa itself, Barreto Xavier shows how Goan actors were able to seize hold of complex cultural resources in order to further their own projects and narrate their own myths and histories. In the process, she argues, Portuguese Goa emerged as a space with a specific identity that was a result of these contestations and interactions. The book de-essentializes the categories of colonizer and colonized, making visible instead their inner-group diversity of interests, their different modes of identification, and the specificity of local dynamics in their interactions and exchanges--in other words, the several threads that wove the fabric of colonial life. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

#6. This episode of The meez Podcast provides a glimpse into the life and relationship of one of the most prominent chefs in the food industry, the late Chef Floyd Cardoz, and the woman behind him, Barkha Cardoz, founder of Cardoz Legacy. The conversation showcases their love for food, family, and each other. Barkha and Josh discuss how she and Floyd worked together to achieve a work life balance and recognized the importance of being present with their family. Floyd was a quiet person at home, but they would still discuss things when he needed an outsider's perspective. She also talks about the importance of Floyd's ability to balance spices and flavors with respecting the vegetables in his cooking.The discussion also centers around her launch of FC Masala. In 2021, Barkha launched a line of masala blends that she and Floyd had been working on together for Burlap & Barrel. With flavors such as Garam, Goan, and Kashmir, these incredible masalas are made with high-quality, freshly ground spices to honor Floyd's passion for using freshly ground spices in his own cooking. FC Masala has grown into several other initiatives that Barkha is now launching, carrying on Chef Floyd's name while building a brand of her own.Where to find Barkha Cardoz: InstagramWhere to find host Josh Sharkey:InstagramLinkedInIn this episode, we cover:(3:11) Early life in the United States(8:35) Reconnected with Floyd in NYC(14:12) Cooking at home and finding work/life balance(22:59) The future of Indian food in the U.S.(30:40) What is a masala?(33:06) The beginnings of FC masala(38:36) Partnering with Burlap & Barrel(42:40) Testing out masala flavors(50:14) The FC masala recipe contest(54:24) Creating a cookbook(57:43) The Cardoz Legacy scholarship(1:01:30) What's next for Barkha

Explore Goa's syncretic culture, and uncover the heart and voice of its people through stories in Konkani. Damodar Mauzo takes Tara and Michelle on tour around Goa, capturing the essence of the taxi drive through his book: “The Wait and Other Stories”, a collection that weaves together Goa's cosmopolitan reality. How is Goa standing strong in the face of growing intolerance? How does one aptly represent the diversity of a place like Goa? And what does it really mean to be a Goan?   Tune in to find out the contemporary reality of Goa beyond its glittering beaches and clubs.Books and authors mentioned in this episode:Haruki Murakami100 Years of SolitudeAbdul RazakGabriel Garcia MarquezJerry PintoAlbert CamusAmitav GhoshProduced by Aishwarya JavalgekarSound edit by Kshitij JadhavJoin The Bound Publishing Course, a comprehensive 3-month certified course to:- Get your dream job with a highly curated recruitment drive!- Learn from the most successful experts.- Understand all aspects of publishing and choose your career track.Apply now: https://www.boundindia.com/the-bound-publishing-course/‘Books and Beyond with Bound' is the podcast where Tara Khandelwal and Michelle D'costa uncover how their books reflect the realities of our lives and society today. Find out what drives India's finest authors: from personal experiences to jugaad research methods, insecurities to publishing journeys. Created by Bound, a storytelling company that helps you grow through stories. Follow us @boundindia on all social media platforms.

The small Indian state of Goa has witnessed a veritable land rush over many decades, with shifting state governments, leading politicians, and private investors moving in to acquire large tracts of land for a wide range of projects. But what are the drivers of land grabbing in Goa? And what are the consequences for local communities and the environment? In this episode, we discuss these questions with the authors of the recently published book The Great Goa Land Grab. Based on extensive fieldwork carried out over 15 years, The Great Goa Land Grab unpacks how political and economic interests in the state have aligned to capture predominantly agricultural land in Goa, transforming it to industrial enclaves, real estate, and infrastructure, often with decidedly negative consequences. By bringing the Goan experience into conversation with a larger literature on land politics in contemporary India, the authors show how the specific cases of land dispossession and community marginalization taking place in Goa are not unique, but follow a broader Indian, and even global, land trend. Heather Plumridge Bedi is Associate Professor of Environmental Studies at Dickinson College, Pennsylvania. Solano da Silva is assistant professor at the Department of Humanities and Social Sciences at BITS Pilani Goa. Fredrick Noronha Is the founder of the publishing house Goa1556. Kenneth Bo Nielsen is an Associate Professor at the dept. of Social Anthropology at the University of Oslo and one of the leaders of the Norwegian Network for Asian Studies. Arve Hansen is a human geographer at the Centre for Development and the Environment at the University of Oslo. He also leads the Norwegian Network for Asian Studies with Kenneth Bo Nielsen. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The small Indian state of Goa has witnessed a veritable land rush over many decades, with shifting state governments, leading politicians, and private investors moving in to acquire large tracts of land for a wide range of projects. But what are the drivers of land grabbing in Goa? And what are the consequences for local communities and the environment? In this episode, we discuss these questions with the authors of the recently published book The Great Goa Land Grab. Based on extensive fieldwork carried out over 15 years, The Great Goa Land Grab unpacks how political and economic interests in the state have aligned to capture predominantly agricultural land in Goa, transforming it to industrial enclaves, real estate, and infrastructure, often with decidedly negative consequences. By bringing the Goan experience into conversation with a larger literature on land politics in contemporary India, the authors show how the specific cases of land dispossession and community marginalization taking place in Goa are not unique, but follow a broader Indian, and even global, land trend. Heather Plumridge Bedi is Associate Professor of Environmental Studies at Dickinson College, Pennsylvania. Solano da Silva is assistant professor at the Department of Humanities and Social Sciences at BITS Pilani Goa. Fredrick Noronha Is the founder of the publishing house Goa1556. Kenneth Bo Nielsen is an Associate Professor at the dept. of Social Anthropology at the University of Oslo and one of the leaders of the Norwegian Network for Asian Studies. Arve Hansen is a human geographer at the Centre for Development and the Environment at the University of Oslo. He also leads the Norwegian Network for Asian Studies with Kenneth Bo Nielsen. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

This week, LiveMint published a story about how the Agricultural and Processed Food Products Export Development Authority or the APEDA is trying to promote the export of Goan Feni (traditional liquor). But this sort of discussion has been going on for a while now. And in today's episode for 2nd March 2023, we decided to explore why taking Feni out of Goa's borders hasn't been smooth sailing so far.

We're with Nikki Haley in her hometown state for her official announcement. We visit a small Himalayan town sinking under the weight of a construction drive. And how the biggest aircraft deal in history went down with a Goan fish curry.

Giveaway - Fill out the form to stand a chance to win a copy of Clyde's book - Susegad: The Goan Art of Contentment - https://forms.gle/qA9hg1qMibsKWyZv7   This week, The Musafir Stories speaks to 3x author and podcaster, Clyde D'Souza as we talk about the concept of Susegad - the Goan art of Contentment!   Today's destination: Goa!   Nearest Airport: Goa International Airport (GOI)   Nearest Railway Station: Karmali Railway Station (KRMI)   Prerequisites -  N/A   Packing - N/A   Time of the year - Nov - Jan   Length of the itinerary: 1-2 weeks   Itinerary Highlights:  We kick off the conversation by discussing the root of the word susegad, its significance and its different connotations in Goa, both good and bad.  Clyde discusses his connection to Goa, his ancestral home at Colvale and years growing up visiting Candolim and the early memories. We also talk about the historical background and rulers of Goa and their influences, primarily the portuguese influence We talk more about the concept of Susegad, starting with the characteristics of Goan homes and the key features - the balcao, the red laterite exterior, the wells, the backyards, mother of pearl windows, azulejos tiles among other things.  Clyde also discusses the staple diet of Goans, right from poiee or breads to the xiit kodi or rice and curry, the Portuguese influences and much more. We talk about some of the popular dishes as well as some of the recipes that Clyde shares in his book. Besides the food, we also talk about mangoes and desserts which are an intrinsic part of the diet.  We also talk about the spirits and drinks of Goa - Feni and Urak and how they have been GI tagged and representing India around the world. Other topics include the celebrations and festivities and some of the unique festivals of Goa, the music of Goa and the different types of songs - from dekhnis to dulpods, fados to mandos and the popular artists.    Links: Clyde's Instagram: https://www.instagram.com/clydedsouzaauthor/ Link to Clyde's book on audible and amazon - https://linktr.ee/clydedsouzaauthor Link to Clyde's podcast - https://open.spotify.com/show/3wuewIESKhHiMetJpK0GSv?si=8c99ef309ba94db8   Other episodes on Goa: Islands of Goa with Stuti Bhadauria TMS#031 : Riverside Goa with Kaushal Karkhanis TMS#002: Road trip to Goa with Venkat Ganesh Photo by Steve Rybka on Unsplash   Follow the Musafir stories on: Twitter : https://twitter.com/musafirstories?lang=en Facebook: https://www.facebook.com/themusafirstories/ Instagram: https://www.instagram.com/musafirstoriespodcast/?hl=en website: www.themusafirstories.com email: themusafirstories@gmail.com   You can listen to this show and other awesome shows on the IVM Podcasts app on Android: https://ivm.today/android or iOS: https://ivm.today/ios, or any other podcast app. You can check out our website at https://shows.ivmpodcasts.com/featured Do follow IVM Podcasts on social media. We are @IVMPodcasts on Facebook, Twitter, & Instagram. https://twitter.com/IVMPodcasts https://www.instagram.com/ivmpodcasts/?hl=en https://www.facebook.com/ivmpodcasts/ Follow the show across platforms: Spotify, Google Podcasts, Apple Podcasts, JioSaavn, Gaana, Amazon Music Do share the word with you folks!See omnystudio.com/listener for privacy information.

This week, host Ayush Tiwari is joined by Newslaundry's Nidhi Suresh and the Quint's Fatima Khan. The panel looks back at their reportage on the assembly elections in Uttar Pradesh and Goa. Fatima explains how the Congress's Priyanka Gandhi Vadra “evidently put in effort” in Uttar Pradesh “while the rest of the party lacks touch from the ground”. Nidhi takes listeners through her reports from Goa, including the role of the church in the election process, explaining that faith is a big part of politics in the state. “The church works very closely with the votes,” she says, “but it's concealed very cleverly.” This, and a lot more, as they talk about what made news, what didn't, and what shouldn't have.Tune in.RecommendationsFatimaModern FamilyShark Tank IndiaNidhiCissi Wallin and the Case That Killed #MeToo in SwedenFormula 1: Drive to SurviveAyushAmitava Kumar Finds the Breath of LifeEveryday CommunalismProduced and recorded by Tehreem Roshan, edited by Umrav Singh. See acast.com/privacy for privacy and opt-out information.