Podcasts about Hinduism

Renée Ford, Ph.D. is a Lab Coordinator at the Contemplative Sciences Center, providing support for contemplative research at the CIRCL Lab. Renée's keen interest in understanding lived experiences in various contexts is a key motivation to her engagement here. She is trained in microphenomenology interviews, a type of interview that focuses on a short moment of experience and interested to apply this method in ongoing research studies.  Renée completed her Ph.D. at Rice University in religious studies, and her dissertation focused on how affective states such as devotion and confidence function in Tibetan Buddhist tantric practices. Prior to joining the CSC, Renée has held fellowship positions at Aarhus University and Ruhr University – Bochum. She has conducted fieldwork in Nepal and India, conducting various types of interviews to capture lived experience and translation work. She also has taught courses in religious studies, including Buddhism and Hinduism, in multiple institutions.   On this episode, we dive into a primer about Tibetan Buddhism, lineage prayers, and a bit about the life of the Tibetan scholar, Longchengpa. Visit Sacred Writes: https://www.sacred-writes.org Visit Renée Ford online: https://csc.virginia.edu/people/renee-ford    

Patrick offers insight on tough family situations, Catholic apologetics, forgiveness, and faith struggles, switching from serious to humorous in a heartbeat. He answers questions about estrangement, church controversies, the afterlife, and overcoming regret. Wisdom, encouragement, and relief land side by side as Patrick fields anxious callers, breaks down doctrine, and finds laughter in the ordinary. Jennifer - Please recommend a Bible for 17-year-old nephew who has had no religious formation. I’m feeling inspired but need advice. (00:42) Ben - 1 Corinthians 2:16: St. Paul says we have the mind of Christ. What does that mean? (06:18) Lee (email) – You guys think you’re so funny (12:22) Jan - Can you recommend a book or program for high school boys to teach them to become men through a Catholic lens? (16:23) Ellie (email) - You took a call this morning from a gentleman who asked if the Hindu religion is older than Christianity and you said, yes, it is, but big deal. You also frequently remind us of the chronology of Catholicism vis-a-vis the umpteen Protestant denominations and you emphasize that, look, Catholicism is older than all of those others. Why, then, don't you say that Hinduism is older than Catholicism, so maybe Hinduism is on to something? I guess what I'm asking is, how can we have it both ways? How can we dismiss everything that came after Catholicism but we don't dismiss Catholicism which came after Hinduism? (22:45) Jose - My brother drifted away from Church. He sends me daily devotionals, but they don't agree with our Faith. How should I handle this? (27:55) Lori (email) – Is it OK to go to a free clinic that is operated by a mosque? (32:03) James - A friend said if you die, you cannot be judged or go to heaven or hell because Jesus hasn't come back yet, so where do they go in the meantime? (37:47) AC (email) - How can I finally forgive myself for yelling at and spanking my oldest son too much as a young, unsupported mother with a controlling husband, despite his forgiveness, my therapy, confessions, life improvements, return to faith, and prayers that only bring temporary relief before triggers return? (43:09) Originally Aired on 07-17-2026

Bṛhad-bhāgavatāmṛta Part 2 Chapter 4 Text 263 śrī-bhagavān uvāca bho gopa-nandana suhṛt-tama sādhu sādhu snehaṁ vidhāya bhavatā vijayaḥ kṛto 'tra viśramyatām alam alaṁ bahubhiḥ prayāsair etair na duḥkhaya ciraṁ nija-bāndhavaṁ mām TRANSLATION The Supreme Lord said: My dear son of a cowherd, my best friend, well done! Well done! By showing such affection you have conquered Me. Enough with all this exertion. Now just relax. You have made Me, your dear friend, unhappy for long enough.

Everyone seeks Divinity, but in Ch. 7, V. 16 of the Bhagavad Gita, Shri Krishna explains that the intensity and intention behind that search vary. Whether we turn to Divinity for relief, prosperity, or Peace, the deeper our understanding and devotion, the closer we move to embodying the Divine itself. ➡️ This season, we are exploring the 70 essential verses of the Shrimad Bhagavad Gita. To maximize your experience of this season, we encourage you to request your FREE copy of the Essential Love eBook. Incorporating accessible translations and practical application, the eBook accompanies each episode with additional ways to learn, synthesize, and reflect on key insights.

In this podcast, Rob and Shahrooz dive deep into the "Islamic Dilemma"—a popular Christian apologetic argument—and reframe it through the lens of progressive revelation and the Bahá'í Faith. They explore how subsequent religious dispensations often appear to contradict previous ones on the surface, creating "stumbling blocks" that test a believer's sincerity and spiritual insight. By drawing parallels with how Christianity challenged Judaism, how Buddhism interacted with Hinduism, and even how the Mosaic law differed from the time of Joseph, they argue that these "dilemmas" are a recurring divine pattern designed to challenge the intellect and the heart. Ultimately, the discussion emphasizes the need for empathy, independent investigation, and looking past surface-level contradictions to find the underlying unity and truth across religious traditions.Links:Podcast (apple): https://goo.gl/CM4TmVPodcast (android): https://goo.gl/ovLmpsPatreon: https://www.patreon.com/bridgingbeliefsFacebook:  https://www.facebook.com/BridgingBeliefs9Instagram:  https://www.instagram.com/bridgingbeliefs9/X:  https://x.com/BridgingBeliefsThe Official Bahá'í site:  http://www.bahai.org/No videos on this channel are monetized nor are for commercial purposes.Support the show

Bṛhad-bhāgavatāmṛta Part 2 Chapter 4 Text 254 sugrīvāṅgada-jāmbavat-prabhṛtibhis tatropaviṣṭaṁ sukhaṁ śrīmantaṁ madhurair naraiś ca bharataṁ śatrughna-yuktaṁ puraḥ dṛṣṭvāhaṁ raghunātham eva nitarāṁ matvā stuvaṁs tat-stavaiḥ karṇau tena pidhāya dāsya-parayā vācā niṣiddho muhuḥ TRANSLATION There before me I saw Bharata — with Śatrughna — seated comfortably with monkeys like Sugrīva, Aṅgada, and Jāmbavān and surrounded by many handsome men. Thinking Bharata to be Rāmacandra, Lord of the Raghus, I recited prayers addressed to that Lord. But Bharata covered His ears and repeatedly forbade me to continue, saying “I am only a servant.”

Send me a messageWe quit on ourselves because we tied our confidence to the finish line. When the goal gets delayed, the confidence goes with it.If achievement is the only thing that makes us feel good, then 99% of our lives will feel like failure. The answer isn't smaller goals. It's moving where the good feeling comes from.Getting back up is the achievement. Real confidence comes from being willing to look like a fool in front of people who are better than us — the person who loves the practice passes the person with the talent, every time.Manifestation focuses the mind. It doesn't do the work.Success and failure are two sides of one coin. The only real failure is quitting.CHAPTERS0:00 Why a delayed goal feels devastating2:22 Why 99% of life feels like failing5:04 Why natural talent loses8:32 Smart risk and dumb risk12:23 Success is how fast you get back up15:07 The only way to fail is to quit16:00 Does prayer or manifestation work?18:57 There are no mistakes20:10 Why growth feels invisiblePlease enjoy other episodes where I share meditation techniques, tips and spiritual lessons from around the world for peaceful and stress-free living. Remember to subscribe to stay up-to-date.Video podcasts are available at https://www.youtube.com/@ToddPerelmuter#confidence #failure #motivation #presence #personalgrowthFor the days when life feels like too much, these 4 free books are for you. Get the free 4-books bundleIf my words have ever touched your heart or helped you through a hard moment, I'd be deeply grateful for your support in keeping this podcast alive. Support the PodcastAnd if you'd like to explore these ideas in greater depth, you can find all of my books here.

Joined by long-time friends Nina Rao, Krishna Das, and Sunanda Markus, Mirabai Bush shares stories from her memoir Almost Home.Pick up your copy of Almost Home over on the Ram Dass Shop today: Click Here To Learn MoreToday's podcast is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/beherenow and get on your way to being your best self.This time on the BHNN Guest Podcast, Mirabai, Nina, Krishna Das, and Sunanda discuss:Mirabai's catholic upbringing and working to understand her place in the worldHow Mirabai became the only woman to work on the Saturn Apollo projectMirabai's meditation studies with Goenka When Krishna Das, Mirabai, and Sunanda met Maharaj-jiLearning about the grace in sufferingKnowing that love is real and available to us all“That hard childhood creates that longing for belonging; with Maharaj-ji I felt like at last I belonged—in this moment, in this body, in this world, because I was so totally loved. He changed my idea of what this life could be. I had such a small idea of who we could be in this world, and it just became vastly expanded with him.” –Mirabai BushAbout Mirabai Bush:Mirabai is an author, social entrepreneur, teacher, and spiritual leader. She is recognized for her pioneering role in integrating mindfulness and contemplative practices into secular sectors of American life, including business, higher education, law, and social activism. Mirabai's contributions include co-founding influential organizations such as the Center for Contemplative Mind in Society and the Seva Foundation and co-developing Google's Search Inside Yourself Leadership Institute. She is also a longtime board member of the Love Serve Remember Foundation. Her latest book, Almost Home, is a memoir published in 2025.About Nina Rao:Nina Rao is a devotional singer. She tours with Krishna Das, singing and accompanying musically, and is also his business manager. Nina has recorded three solo albums, “Antarayaami – Knower of All Hearts”, “Anubhav”, and "Bhumi Devi” . Nina regularly leads kirtan, workshops, and retreats in her home state of New York and around the world. Together with Chandra Easton and Genevieve Walker, the trio released 21 Taras Collective Mantra Mala Vol 1. You can keep up with Nina on her website and find her on YouTube, Instagram, and Facebook @NinaRaoChantAbout Krishna Das:Layering traditional Hindu kirtan with instantly accessible melodies and modern instrumentation, Grammy nominee Krishna Das has been called yoga's “rock star.” With a remarkably soulful voice that touches the deepest chord in even the most casual listener, Krishna Das – known to friends, family, and fans as simply KD – has taken the call-and-response chanting out of yoga centers and into concert halls, becoming a worldwide icon and the best-selling chant artist of all time. His album ‘Live Ananda' (released January 2012) was nominated for a Grammy in the Best New Age album category. KD spent the late '60s traveling across the country as a student of Ram Dass, and in August 1970, he finally made the journey to India, which led him to Ram Dass' own beloved guru, Neem Karoli Baba, known to most as Maharaj-ji. Krishna Das now travels the world sharing his kirtan practice and wonderful stories of his life, of Maharaji-ji, of his life on the Path and discusses bringing chanting into our lives through retreats and workshops. To date, KD has released 15 well-received albums, most recently Trust in the Heart released in October 2017.MORE INFORMATION and OFFERINGS VISIT: https://krishnadas.com/ KRISHNA DAS ON SOCIAL: FACEBOOK: facebook.com/KrishnaDasMusic INSTAGRAM: instagram.com/krishnadasmusic YOUTUBE: / krishnadasmusic X: @krishnadas #KrishnaDasAbout Sunanda Markus: In India in 1972, Sunanda met her guru, Neem Karoli Baba, as well as studied meditation with Theravada Buddhism teacher Shri S.N. Goenka. She has continued her practice of Vipassana meditation since that time, along with actively practicing yoga.Currently the finance and operations director for the Love Serve Remember Foundation, Sunanda spent decades as the finance director of a small publishing company, while also being involved in the field of contemplative studies. She spent a dozen years as the program coordinator for the Academic Program of the Center for Contemplative Mind, and then managed the grants program for the Mind & Life Institute. As part of the nonprofit world, Sunanda has served on the boards of the Insight Meditation Society and the Seva Foundation, chairing the foundation for three years. She was an active member of the Seva Guatemala Project, supporting integrated community development.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Episode 0956 - Wisdom & Momentum on the Path (RA) (Click on the above link, or here for audio.) Commentary on Ra's comment in Session 77 (77.24) about the "momentum based upon the characteristics of wisdom when applied to circumstance." Love-wisdom balance in 7-chakra energy development and 7-density evolution; correlation with Buddhist first fruit Sotapanna, Lucy-film's 20% brain activation

Bṛhad-bhāgavatāmṛta Part 2 Chapter 4 Text 240 prāg ayodhyābhigamane sad-upāyam imaṁ śṛṇu śrī-rāmacandra-pādābja- sevaika-rasikair matam TRANSLATION But first hear from me about an excellent method for approaching Ayodhyā, a method approved by those whose only taste is for service at Lord Rāmacandra's lotus feet.

We're back for Season 9! In this insight from Chapter 7, Verse 14, Shri Krishna reassures us that while Self-realization is difficult, it is absolutely attainable through grace and effort. By transcending ego and illusion through Self-inquiry, independence, and surrender, we steadily realize our True Nature—lasting Peace. ➡️ This season, we are exploring the 70 essential verses of the Shrimad Bhagavad Gita. To maximize your experience of this season, we encourage you to request your FREE copy of the Essential Love eBook. Incorporating accessible translations and practical application, the eBook accompanies each episode with additional ways to learn, synthesize, and reflect on key insights.

Bṛhad-bhāgavatāmṛta Part 2 Chapter 4 Text 234 śakyaṁ na tad-bhāva-viśeṣa-tattvaṁ nirvaktum asmābhir atho na yogyam bhakti-pravṛtty-artha-paraiḥ prabhoḥ sac- chāstrair ivājñeṣu viruddha-vat syāt TRANSLATION We are not able to describe completely this special ecstatic state, nor is it proper for us to do so. And even if the most perfect of scriptures, those dedicated to promoting devotional service, were to describe it in detail, the effect on ignorant people would be contrary.

Send me a messageMost of us spend our lives replaying the painful parts and calling it realism. That habit is a large part of why so many of us feel numb — and this is how the feeling comes back.Four of my books, free — link below.A photographer can walk into a junkyard and come out with something people pay real money to hang on a wall. A photograph of a broken-down car. The beauty was already there. The eye was the thing that had to be trained. We can all train that eye.Most of us live in our worries, our fears, our stress, our traumatic past. It is equally natural and equally true to spend that time on the good memories, the pleasures, the people we are grateful for. The word ignorance is the right one, because we are ignoring more than half of what is happening.There is no wisdom in overthinking what already happened or what might. There is only wisdom in what we do with this moment.Numbness isn't the absence of sensation. It's the loss of the ability to notice subtlety. When we stop feeling the small things, we start needing the extreme ones — and that is where craving, adrenaline and addiction begin.We are present for the first bite of a meal, maybe the second, and then we stop tasting. The same is true of a sunset, a cup of tea, a conversation. When we stay with the whole experience instead of a slice of it, we stop needing more of it. That is what equanimity means — a steady peace that doesn't depend on which sensation shows up next.And when we hold a magnifying glass over our worries and never over our blessings, our view of our own life becomes distorted. We end up making negative propaganda about ourselves.We are the camera. What we point it at is a choice, and it can be changed at any moment.CHAPTERS0:00 The photographer in the junkyard0:22 Why we live in the painful part0:58 The other half we never visit2:05 Ignorance means ignoring2:55 We lose presence to pleasure too4:05 What numbness actually is4:33 Why we start needing the extreme5:00 Savoring every bite6:36 The magnifying glass8:56 We are the camera operator9:40 Negative propaganda about ourselves10:37 In pain there is pleasure11:19 Nothing outside us holds the meaning13:18 Equanimity, the steady kind of happiness15:13 Why unhappiness spikes with inequality18:28 What kind of movie do you want to live inPlease enjoy other episodes where I share meditation techniques, tips and spiritual lessons from around the world for peaceful and stress-free living. Remember to subscribe to stay up-to-date.Video podcasts are available at https://www.youtube.com/@ToddPerelmuter#mindfulness #presence #gratitude #equanimity #spiritualawakeningFor the days when life feels like too much, these 4 free books are for you. Get the free 4-books bundleIf my words have ever touched your heart or helped you through a hard moment, I'd be deeply grateful for your support in keeping this podcast alive. Support the PodcastAnd if you'd like to explore these ideas in greater depth, you can find all of my books here.

Watch the Devotion Based on Matthew 16:13-20 Who is Jesus?  Who is Jesus? That was the topic of discussion I had with a young US Army Soldier. He had studied the world religions—Islam, Christianity, Hinduism—and concluded that Jesus was a good teacher, a moral example, but not Savior.  “Who do people say I am?” Jesus asked his disciples. They shared the whisperings they heard as they mingled with the crowds and listened in the marketplaces, “One of the prophets from old, raised from the dead.” This was nothing new. Jesus dealt with false assumptions about his identity since he walked this earth.   For some, Jesus is a cheerleader who will affirm whatever it is they want to do in life. For others, he is the “giver of bling,” a genie who will grant them whatever their heart desires. For some, he is a teacher, a moral guide to follow and somehow earn their way to heaven. And others will look at the pluralistic religious environment in which they live and determine, “He is one of many ways to heaven.” But if that's all Jesus is, why follow him at all?   This is the question you and I and everyone needs to answer, “Who is Jesus?”    When the disciples answered as they had heard from crowds, he asked them, “Who do you say I am?” Peter answered, “You are the Messiah, the Son of living God” (Matthew 16:16). How did he come to that conclusion? He listened, he watched, he read the Old Testament promises and compared them with this man before him and concluded—and believed—“This is the Son of God, the Savior for the world, but more importantly, for me.”   Yes, my friend, Jesus is more than just a good teacher, for his teachings give life, because they are living words, life-giving words. Jesus' words give rescue from death. He is more than an example, for we could never perfectly follow it. But the life he lived, he lived for us, for you. Who is Jesus? He is the life, the truth, the way, the one upon whom the Church is built. His is the name which saves you. “Everyone who calls on the name of the Lord will be saved” (Romans 10:13). When you have those spiritual and religious conversations, please redirect the convo back to the question, “Who is Jesus?” And then listen. Be patient. Seek to understand. And then confess, “Can I share with you what I know to be true about Jesus? He is the eternal Son of God, who lived for me, died for me, and rose from the dead for me, to give me life eternal, and he has for you, too.” Prayer: Lord Jesus Christ, you are the eternal Son of God, our promised Messiah, and our only Savior. Thank you for living the perfect life we could not live, dying for our sins, and rising again to give us eternal life. Strengthen the faith of Christian war fighters to confess you boldly and lovingly whenever opportunities arise. Give them patient hearts to listen, compassionate words to speak, and confidence that your life-giving gospel is the power that saves. Keep us all steadfast in the truth that you are our Lord, now and forever. Amen.  Written and recorded by Rev. Paul Horn, WELS National Civilian Chaplain to the Military, San Diego, California. All Scripture quotations, unless otherwise indicated, are taken from the Holy Bible, New International Version®, NIV®. Copyright ©1973, 1978, 1984, 2011 by Biblica, Inc.™ Used by permission of Zondervan. All rights reserved worldwide. Note: Scripture reading footnotes are clickable only in the web version.

Bṛhad-bhāgavatāmṛta Part 2 Chapter 4 Text 227 manye mahā-preṣṭha-janānuvaśyatā na duḥkha-doṣau vidadhīta kaucana kintu pramodaṁ nija-bhakta-vatsala- tvādīn mahā-kīrti-guṇāṁs tanoti sā TRANSLATION In my opinion, the Lord's coming under the control of His dearmost servants creates no unhappiness or fault of any kind. Rather, it creates great joy and broadcasts such glorious qualities of the Lord as His affectionate concern for His devotees.

What are “The Eight Limbs of Yoga”? According to Patanjali's writings in the Yoga Sutras of Hinduism, these must be taken to achieve God-consciousness (“Samadhi”). Interestingly, there are both areas of agreement and strong contradictions between Patanjali's ideas and biblical teaching. We will explore both.Comparative religion website: www.thetruelight.net Ministry website: www.shreveministries.org The Catholic Project: www.toCatholicswithlove.org Video channel: www.YouTube.com/mikeshreveministries All audio-podcasts are shared in a video format on our YouTube channel. Mike Shreve's other podcast Discover Your Spiritual Identity—a study on the biblical names given to God's people: https://www.charismapodcastnetwork.com/show/discoveryourspiritualidentity Mail: P.O. Box 4260, Cleveland, TN 37320 / Phone: 423-478-2843

Bṛhad-bhāgavatāmṛta Part 2 Chapter 4 Texts 221-222 yathā sakāma-bhaktā hi bhuktvā tat kāmitaṁ phalam kāle bhakti-prabhāveṇa yogyaṁ vindanti tat phalam yathā ca tatra tat-kālaṁ bhakter yogyaṁ na sat phalam sañjātam iti tac chuddha- bhaktimadbhir vinindyate TRANSLATION Devotees who have material desires first enjoy the material results for which they hanker, and later, on the strength of devotional service, they enjoy the true fruit of devotion. But because that fruit does not at first appear, pure devotees decry what those worshipers first achieve.

Send me a messageIt's easy to get stuck in a loop of negative thinking. Overthinking, complaining, replaying old pain. Some of us live there for years. This is the simplest gratitude practice I know for getting out.Think of one thing you love. A person, an object, anything at all. Then ask what made it. And then what made that. Keep going, and gratitude stops being something we have to search for. It becomes impossible to avoid.That one question opens into everything else here — presence, impermanence, the oneness of all things, and what the traditions call enlightenment, which is nothing more mysterious than an awareness wide enough to see how it all connects.Nothing is created, nothing is destroyed, everything is recycled, rising and falling. And nothing we truly love is ever lost.If you've been looking for a way to stop overthinking, quiet a critical mind, or just find one thing to be grateful for on a hard day, start at the beginning and go slowly.CHAPTERS0:00 The loop we get stuck in0:57 Start with one favorite thing1:38 Now ask what made them2:41 Infinite things made everything3:38 Gratitude with nothing left out5:36 Where did all of it come from7:01 There is no past and no future8:19 There is no future happiness9:13 Life is like waiting for test results9:51 The breath is the doorway11:00 Choosing where we rest our attention12:03 Expanded awareness15:42 The fight on the sidewalk and the view from space16:18 We are not one small life17:07 How consciousness rises19:20 The practice20:02 This is enlightenmentPlease enjoy other episodes where I share meditation techniques, tips and spiritual lessons from around the world for peaceful and stress-free living. Remember to subscribe to stay up-to-date.Video podcasts are available at https://www.youtube.com/@ToddPerelmuter#gratitude #meditation #spiritualawakening #mindfulness #onenessFor the days when life feels like too much, these 4 free books are for you. Get the free 4-books bundleIf my words have ever touched your heart or helped you through a hard moment, I'd be deeply grateful for your support in keeping this podcast alive. Support the PodcastAnd if you'd like to explore these ideas in greater depth, you can find all of my books here.

A listener asks Dr. William Lane Craig how Christianity's dependence on a historical resurrection (unlike Hinduism's Krishna) can be defended, then raises three questions that arise in evangelism: that "eternal life" can't be historically verified, that the NT accounts were written too late to trust, and that no clear OT prophecy points to a risen Messiah. Dr. Craig affirms Anil's core insight, that Christianity's rootedness in history is a strength, not a weakness, while showing that the empty tomb, appearances, and disciples' transformation are historically well-attested, that historians still trust ancient biographies (like those of Alexander the Great) written centuries after their subjects' deaths, and that the disciples' unexpected belief in the resurrection is itself evidence for it, precisely because it ran against Jewish expectations.

Why does God allow difficult seasons? When life feels uncertain, painful, or unfair, it can be easy to question God’s character and wonder if our struggles are a result of something we did wrong. But Scripture reveals a different truth: God’s heart toward us is rooted in love, grace, and mercy—not punishment or condemnation. Vivian Bricker explores how knowing who God is helps us navigate suffering, uncertainty, and the lies we often believe about God’s intentions. Through Scripture, we are reminded that God’s love does not change based on our circumstances, and that hardship is not proof of God’s rejection or displeasure. Highlights: Why the unknown can make us question God’s goodness and control Understanding the difference between biblical truth and the idea of karma Why suffering is not always a reflection of God’s punishment How the New Covenant through Jesus changes our understanding of blessings and curses The importance of knowing God’s character so we can recognize false beliefs How God’s love remains constant even during difficult seasons Want more encouragement throughout your week? Subscribe to The Good Word, LifeAudio’s free weekly newsletter. Sign up at LifeAudio.com/thegoodword Join the conversation: How can a deeper understanding of God’s character change the way you view hardship? Continue the conversation with the Crosswalk community here: https://forums.crosswalk.com/ Do you want to listen ad-free? When you join Crosswalk Plus, you gain access to exclusive, in-depth Bible study guides, devotionals, sound biblical advice, and daily encouragement from trusted pastors and authors—resources designed to strengthen your faith and equip you to live it out boldly. PLUS ad free podcasts! Sign Up Today! Full Transcript Below: Understanding God’s CharacterBy Vivian Bricker Bible Reading:“This is love: not that we loved God, but that he loved us and sent his Son as an atoning sacrifice for our sins” (1 John 4:10). In my opinion, the scariest thing in the world is the unknown. Whether that be an undiagnosed illness, starting over in a new city, or thinking about the future, the unknown can be terrifying. None of us can truly know what is ahead because we are not the ones in control. For some of us, there will be good times ahead and for others, there will be hard times. One cannot be dogmatic and say that those who have good times are in the will of God and those who are going through tough times are not. It is never within God’s will for us to be in pain, to be depressed, or to be sick. He never intended for us to go through any of these things, and it is not right for people to believe in the ideology that if you do good, good returns to you from God and if you do bad, bad returns to you from God. This is not biblical as this is actually a belief in karma. Karma is part of the religious beliefs contained within Hinduism and Buddhism. Although karma has become popularized within mainstream media, Christ followers do not need to endorse it. Karma is refuted in the Bible as Psalm 103:10-11 says, “he does not treat us as our sins deserve or repay us according to our iniquities.” Therefore, we don’t need to say that God blesses certain people while cursing others. The aspects of blessings and curses based on your actions were true within the Mosaic Covenant, but it is not true for us today. We are under the New Covenant by the blood of Jesus (Luke 22:20). Within the Mosaic Covenant, Israel was petitioned to obey God, and blessings would come to them; however, if they did not obey God and did evil, curses would come into their midst. Since we are not under the Mosaic Covenant, we don’t need to hold ourselves or others to this type of thinking. If we are having dreadful things happening in our lives, they are not caused by God. And if we are having good things happening in our lives, we cannot always be dogmatic to say it is caused by God either. To say that “God has blessed me because I’m doing well, but He has cursed you because you are not doing well” is not rooted in biblical truth. This is why Christians need to be more aware and not to flaunt things they believe are blessings. This only gives the idea that if you are struggling, you have done something terrible in the eyes of God, and you must be cursed. As Christ followers, this type of thinking needs to end. We all have free will, and with it, we have chosen to do terrible things (Romans 3:23). Additionally, we live in a fallen world that is covered in sin. This is why we shouldn’t be quick to say, “It is God’s will for you to suffer from (fill in the blank).” God never intended for evil, sin, or death to be in the world. He wanted us to live in perfect harmony with Him in the Garden of Eden. Intersecting Faith & Life: The Bible tells us, “This is love: not that we loved God, but that he loved us and sent his Son as an atoning sacrifice for our sins” (1 John 4:10). God’s character is found in love. Since God is love, why do we believe the lie that He brings curses into our lives or into the lives of others? This goes against His very nature. God is love, and He is not going to bring harm into our lives. As Christ followers, we need to be aware of who God is and His characteristics, as this can help us weed out lies that pull us away from Him. Even well-meaning Christ followers can say unhelpful and unbiblical things, which is why we must be level-headed and fully understand the Bible ourselves. Regardless of what you are going through, remember the truth that God is love, and you are loved by Him, and neither of these things will ever change. Have you ever thought a terrible thing happening in your life was due to God punishing you? What made you think like this? How can having a proper view of God’s character help you understand Him better? Further Reading: Romans 5:8 1 John 3:1 1 John 4:19 Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

Nik's Links: https://linktr.ee/realbignikNik Keswani joins JT for a conversation about one of the most unlikely journeys to Jesus Christ.Before becoming known for his Christian content, Nik grew up practicing Hinduism, endured an incredibly difficult childhood filled with serious medical issues, became a massive star on Vine, moved to Los Angeles, and found himself immersed in the world of fame, money, partying and Hollywood culture.But the deeper Nik went into the rabbit hole—researching the occult, secret societies and the spiritual darkness behind the world around him—the more he began questioning everything he thought he knew about God.Eventually, that search led him somewhere he never expected: Jesus Christ.JT and Nik discuss his testimony, his experiences in Hollywood, the occult, spiritual warfare, fallen angels, the Nephilim, Hindu and Greek mythology, the Book of Enoch and other ancient texts, problems within the modern American church, Protestantism, Catholicism and Orthodoxy, Zionism, and why so many people who begin searching for the truth eventually find themselves confronting the claims of Jesus.This conversation goes deep.If you enjoy the podcast, please LIKE, SUBSCRIBE and SHARE.For early and uncensored episodes, check out the JT Follows JC Patreon. Become a supporter of this podcast: https://www.spreaker.com/podcast/jt-s-mix-tape--6579902/support.Please support our sponsor Modern Roots Life: https://modernrootslife.com/?bg_ref=rVWsBoOfcFPatreon: https://patreon.com/JT_Follows_JC?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLinkJESUS SAID THERE WOULD BE HATERS: https://jtfollowsjc.com/product-category/mens-shirts/JT's Hats: https://jtfollowsjc.com/product-category/hats/Coaching Program: https://www.echoesoftruthnetwork.com/joinTelegram Group: https://t.me/jtsmixtapeNew Trucker Hat: https://www.shopmmca.com/shop/p/jt-follows-jc-hat

Every day, tens of millions of people use mantras all around the globe. Originating in South Asia and then spreading via practitioners, texts, rituals, and iconography, mantras have been grounded in speech and sound but also take a range of material forms. For instance, they are inscribed on surfaces, written in manuscripts, printed on posters, visually encoded in diagrams, or worn as amulets and textiles. Not surprisingly, mantras also circulate widely in digital spaces. In this episode of the Nordic Asia Podcast, Prof. Xenia Zeiler from the University of Helsinki talks to Prof. Borayin Larios about the ERC Synergy project MANTRAMS - Mantras in Religion, Media and Society in Global Southern Asia, and about digital mantra research. Funded by a Synergy Grant from the European Research Council, MANTRAMS is a pioneering, large-scale research project entirely dedicated to mantras, past and present. The interdisciplinary and comparative six-year project will investigate mantras across millennia and around the world, examining the roots of mantra, their circulation across South and Southeast Asia, and their transcultural significance in global contexts today. Borayin Larios is Assistant Professor of Modern South Asian Studies at the University of Vienna. His research interests span contemporary and classical Indian religious traditions, including the anthropology and history of mantras, popular and everyday Hinduism, material religion, and Yoga and Tantra traditions. In his interdisciplinary approach, he combines cultural anthropology, religious studies, and historical philology. He is a Principal Investigator in the ERC Synergy project MANTRAMS - Mantras in Religion, Media and Society in Global Southern Asia. Xenia Zeiler is Professor of South Asian Studies at the University of Helsinki. Her research and teaching are situated at the intersection of digital media, culture, and society, specifically as related to India and global Indian communities. Her focus within this wider field of digital culture is video games and gaming research, in India and beyond. She also researches and teaches digital religion, popular culture, cultural heritage, and mediatization processes. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the following academic partners: Asia Centre, University of Tartu (Estonia), Asian studies, University of Helsinki (Finland), Centre for Asian Studies, Vytautas Magnus University (Lithuania), Centre for East Asian Studies, University of Turku (Finland), Centre for East and South-East Asian Studies, Lund University (Sweden) and Centre for South Asian Democracy, University of Oslo (Norway). 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

From nature's patterns to the creative process, filmmaker Louie Schwartzberg explores how beauty, awe, and wonder can help us truly “be here now.”Today's podcast is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/beherenow and get on your way to being your best self.This time on the BHNN Guest Podcast, Louie and Jackie explore:Becoming a creative conduit and aligning with the vibrations of the universeThe movement from reaction, to judgment, to feeling, to devotion, to loveOpening our minds and hearts to experience beauty, wonder, and awe Redefining the concept of beauty across culturesWitnessing interconnectedness through presence Louie's time-lapse cinematography and Moving ArtSharing the sacred energy of rhythms, patterns, and colorsStaying present while creating About Louie Schwartzberg:Louie Schwartzberg is an award-winning cinematographer, director, and producer recognized as a pioneer of high-end time-lapse cinematography. Schwartzberg explores the connections between humans and the subtleties of nature and the environment. He directed the 2019 film, Fantastic Fungi, and the 2014 Netflix series, Moving Art. Schwartzberg's recent theatrical releases include the 3D IMAX film, Mysteries of the Unseen World with National Geographic, narrated by Forest Whitaker, and the documentary Wings of Life for Disneynature, narrated by Meryl Streep. Check out Louie's breathtaking streaming library of nature films HERE and keep up with him on Facebook.About The Host, Jackie Dobrinska:Jackie Dobrinska is the Director of Education, Community & Inclusion for Ram Dass' Love, Serve, Remember Foundation and the current host of Ram Dass' Here & Now podcast. She is also a teacher, coach, and spiritual director with the privilege of marrying two decades of mystical studies with 15 years of expertise in holistic wellness. As an inter-spiritual minister, Jackie was ordained in Creation Spirituality in 2016 and has also studied extensively in several other lineages – the plant-medicine-based Pachakuti Mesa Tradition, Sri Vidya Tantra, Western European Shamanism, Christian Mysticism, the Wise Woman Tradition, and others. Today, in addition to building courses and community for LSRF, she leads workshops and coaches individuals to discover, nourish and live from their most authentic selves. “If beauty activities you and you go to wonder and awe, that means it makes you present. There you are, amazed by something and one with it, you finally become present, which is really the goal of most practices and certainly the essence of ‘be here now.” –Louie SchwartzbergSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Every day, tens of millions of people use mantras all around the globe. Originating in South Asia and then spreading via practitioners, texts, rituals, and iconography, mantras have been grounded in speech and sound but also take a range of material forms. For instance, they are inscribed on surfaces, written in manuscripts, printed on posters, visually encoded in diagrams, or worn as amulets and textiles. Not surprisingly, mantras also circulate widely in digital spaces. In this episode of the Nordic Asia Podcast, Prof. Xenia Zeiler from the University of Helsinki talks to Prof. Borayin Larios about the ERC Synergy project MANTRAMS - Mantras in Religion, Media and Society in Global Southern Asia, and about digital mantra research. Funded by a Synergy Grant from the European Research Council, MANTRAMS is a pioneering, large-scale research project entirely dedicated to mantras, past and present. The interdisciplinary and comparative six-year project will investigate mantras across millennia and around the world, examining the roots of mantra, their circulation across South and Southeast Asia, and their transcultural significance in global contexts today. Borayin Larios is Assistant Professor of Modern South Asian Studies at the University of Vienna. His research interests span contemporary and classical Indian religious traditions, including the anthropology and history of mantras, popular and everyday Hinduism, material religion, and Yoga and Tantra traditions. In his interdisciplinary approach, he combines cultural anthropology, religious studies, and historical philology. He is a Principal Investigator in the ERC Synergy project MANTRAMS - Mantras in Religion, Media and Society in Global Southern Asia. Xenia Zeiler is Professor of South Asian Studies at the University of Helsinki. Her research and teaching are situated at the intersection of digital media, culture, and society, specifically as related to India and global Indian communities. Her focus within this wider field of digital culture is video games and gaming research, in India and beyond. She also researches and teaches digital religion, popular culture, cultural heritage, and mediatization processes. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the following academic partners: Asia Centre, University of Tartu (Estonia), Asian studies, University of Helsinki (Finland), Centre for Asian Studies, Vytautas Magnus University (Lithuania), Centre for East Asian Studies, University of Turku (Finland), Centre for East and South-East Asian Studies, Lund University (Sweden) and Centre for South Asian Democracy, University of Oslo (Norway). We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/southeast-asian-studies

Every day, tens of millions of people use mantras all around the globe. Originating in South Asia and then spreading via practitioners, texts, rituals, and iconography, mantras have been grounded in speech and sound but also take a range of material forms. For instance, they are inscribed on surfaces, written in manuscripts, printed on posters, visually encoded in diagrams, or worn as amulets and textiles. Not surprisingly, mantras also circulate widely in digital spaces. In this episode of the Nordic Asia Podcast, Prof. Xenia Zeiler from the University of Helsinki talks to Prof. Borayin Larios about the ERC Synergy project MANTRAMS - Mantras in Religion, Media and Society in Global Southern Asia, and about digital mantra research. Funded by a Synergy Grant from the European Research Council, MANTRAMS is a pioneering, large-scale research project entirely dedicated to mantras, past and present. The interdisciplinary and comparative six-year project will investigate mantras across millennia and around the world, examining the roots of mantra, their circulation across South and Southeast Asia, and their transcultural significance in global contexts today. Borayin Larios is Assistant Professor of Modern South Asian Studies at the University of Vienna. His research interests span contemporary and classical Indian religious traditions, including the anthropology and history of mantras, popular and everyday Hinduism, material religion, and Yoga and Tantra traditions. In his interdisciplinary approach, he combines cultural anthropology, religious studies, and historical philology. He is a Principal Investigator in the ERC Synergy project MANTRAMS - Mantras in Religion, Media and Society in Global Southern Asia. Xenia Zeiler is Professor of South Asian Studies at the University of Helsinki. Her research and teaching are situated at the intersection of digital media, culture, and society, specifically as related to India and global Indian communities. Her focus within this wider field of digital culture is video games and gaming research, in India and beyond. She also researches and teaches digital religion, popular culture, cultural heritage, and mediatization processes. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the following academic partners: Asia Centre, University of Tartu (Estonia), Asian studies, University of Helsinki (Finland), Centre for Asian Studies, Vytautas Magnus University (Lithuania), Centre for East Asian Studies, University of Turku (Finland), Centre for East and South-East Asian Studies, Lund University (Sweden) and Centre for South Asian Democracy, University of Oslo (Norway). 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

Every day, tens of millions of people use mantras all around the globe. Originating in South Asia and then spreading via practitioners, texts, rituals, and iconography, mantras have been grounded in speech and sound but also take a range of material forms. For instance, they are inscribed on surfaces, written in manuscripts, printed on posters, visually encoded in diagrams, or worn as amulets and textiles. Not surprisingly, mantras also circulate widely in digital spaces. In this episode of the Nordic Asia Podcast, Prof. Xenia Zeiler from the University of Helsinki talks to Prof. Borayin Larios about the ERC Synergy project MANTRAMS - Mantras in Religion, Media and Society in Global Southern Asia, and about digital mantra research. Funded by a Synergy Grant from the European Research Council, MANTRAMS is a pioneering, large-scale research project entirely dedicated to mantras, past and present. The interdisciplinary and comparative six-year project will investigate mantras across millennia and around the world, examining the roots of mantra, their circulation across South and Southeast Asia, and their transcultural significance in global contexts today. Borayin Larios is Assistant Professor of Modern South Asian Studies at the University of Vienna. His research interests span contemporary and classical Indian religious traditions, including the anthropology and history of mantras, popular and everyday Hinduism, material religion, and Yoga and Tantra traditions. In his interdisciplinary approach, he combines cultural anthropology, religious studies, and historical philology. He is a Principal Investigator in the ERC Synergy project MANTRAMS - Mantras in Religion, Media and Society in Global Southern Asia. Xenia Zeiler is Professor of South Asian Studies at the University of Helsinki. Her research and teaching are situated at the intersection of digital media, culture, and society, specifically as related to India and global Indian communities. Her focus within this wider field of digital culture is video games and gaming research, in India and beyond. She also researches and teaches digital religion, popular culture, cultural heritage, and mediatization processes. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the following academic partners: Asia Centre, University of Tartu (Estonia), Asian studies, University of Helsinki (Finland), Centre for Asian Studies, Vytautas Magnus University (Lithuania), Centre for East Asian Studies, University of Turku (Finland), Centre for East and South-East Asian Studies, Lund University (Sweden) and Centre for South Asian Democracy, University of Oslo (Norway). We aim to produce timely, topical and well-edited discussions of new research and developments about Asia.

Bṛhad-bhāgavatāmṛta Part 2 Chapter 4 Text 210 siddhiḥ syād bhagavad-dṛṣṭyā tṛṇa-sammānanād api sakṛd uccāraṇān nāmā- bhāsasya śravaṇāt tathā TRANSLATION One can reach perfection by honoring even a blade of grass — provided one sees within it the presence of the Supreme Lord — or by just once uttering or hearing even a faint semblance of the Lord's name.

Yesterday we studied the Parable of the Treasure. Now, Jesus continues his teaching with another similar story tied to it. They go together, so let’s read them together. Matthew 13: 44-45, “The Kingdom of Heaven is like a treasure that a man discovered hidden in a field. In his excitement, he hid it again and sold everything he owned to get enough money to buy the field. Again, the Kingdom of Heaven is like a merchant on the lookout for choice pearls. When he discovered a pearl of great value, he sold everything he owned and bought it.” Remember yesterday was all about a man who discovered hidden treasure in a field. He just found it there – stumbled upon it. But now in this story of the pearl, we have a merchant on the lookout for choice pearls. A merchant is on a mission to find something specific. He is trained, he is experienced, and he knows exactly what he is looking for. One wasn’t looking and found hidden treasure. One was searching intentionally and discovered a pearl of great value. And isn’t it the same with finding Jesus. Some of us just stumbled right into Jesus when we weren’t even looking for him – while others of us found him after searching through every other religion, every other way of life and then we finally found Jesus. Which one is right? BOTH because they both result in the same life changing encounter. I didn’t go searching for Jesus. I had a beautiful childhood and lived in a sweet little bubble. At 15 my family started going to church and I was happy to go because in my tiny country town there wasn’t much else to do. I wasn’t expecting to meet a Savior, I didn’t even know I needed one – but there he was, so sweetly awaiting our encounter. It wasn’t dramatic. I didn’t have a bunch of bad decisions and regrets to lay on the altar. I just knew there was a prompting from within calling my surrender to his divine guidance. I was the one who stumbled on hidden treasure in a field when I wasn’t even looking for it. That’s the kingdom of heaven. Then there’s my friend Cat. In her 30’s she had walked down a path of addiction that had led her to a crashing end. While in rehab trying to get sober and regain her life, she was introduced to a variety of “higher powers” for the choosing. She began studying and trying them. Buddhism was surely it, so she tried it – but felt nothing. So on to the next one. How about Hinduism. No, that wasn’t it. She left rehab now sober, but still searching. On the way out, her counselor handed her her own personal copy of ‘Jesus Calling’ and said, “At some point you’re going to need this.” Cat tucked that little devotional book away in a closet and returned to life. It was a better life sober, but not a whole life. When the next big family catastrophe hit, she knew she needed something to carry her through and not return to the familiarity of her addiction, and she remembered the words of the counselor at rehab who had said, “At some point, you’re going to need this.” And Cat knew – if there was ever a time I need something, it’s now. So, she found that book, ‘Jesus Calling’ in the closet, she opened the page to that day’s date, and there she found every single word she most needed. But more than words, she found the loving, forgiving, life-changing Savior she had been searching for all along. AND SHE KNEW IT. She knew this was THE ONE. Jesus was the pearl of greatest value and nothing would ever be the same for her. Cat was the one who had been searching for years and finally found her pearl. That’s the kingdom of heaven. Isn’t it amazing that we have BOTH? Both a Savior who will pursue us when we aren’t even pursuing him – AND a Savior who will patiently wait as we pursue everything that isn’t him and perfectly align an encounter with him when everything else has failed? Jesus doesn’t fit in our little box. It doesn’t have to be one way. He is THE WAY, and he will make the way to you in whatever way that needs to be. He’s the hidden treasure you stumble upon without even looking – and he’s the pearl of great value you’ve studied and searched for your entire life. But remember this – either way, he’s worth giving up EVERYTHING for. In both parables, when found, everything else was sold. Remember that. Jesus requires everything. He’s worth everything. He’s greater than everything. For my sisters who are more like me without the dramatic story of searching for Jesus, and more just stumbling upon him when you weren’t even looking, remember you’ve found the greatest treasure of all! And for my sisters who have searched their entire lives, here’s Jesus and he’s everything you’ve been looking for! He is your pearl! And really think about Jesus being our pearl. How wild that he would use that as the example in his teaching. Do you know how a pearl is formed? A pearl begins with an irritation. If an oyster never has an irritation, they simply never have a pearl. But if their little world inside their shell is penetrated by the irritation of a grain of sand, then that irritation creates something that becomes valuable. The irritation of sand inside the shell causes the oyster to respond. Their response covers the sand with layers of naturally produced protection from within. Layer after layer, something beautiful is formed around something that originally caused great pain. Think about that – the very thing that irritated the oyster becomes part of what makes the pearl so valuable. Of course that’s why Jesus uses the pearl as an example – he knows this is how God works sometimes! Something you never asked for gets into your life. A disappointment, a betrayal, a loss, a failure, a terrible season, an series of bad decisions that turned into an addiction. Irritation grows. It gets worse. You’re so uncomfortable. But God is growing something within you. Something of great value. This is where Jesus shows up!!!!!!! Don’t you see how God can use what was so painful to produce something so beautiful in your life? He wastes nothing. The oyster doesn’t wake up one morning and say, “I think I’ll make a pearl today.” It simply responds to what has entered its life. And slowly, layer by layer, something extraordinary develops. Maybe that’s what God has been doing in you. You thought you were just surviving. God was forming you. You thought you were just getting through another hard season. God was adding another layer. You thought you were being delayed. God was developing depth. You thought the pain was ruining your story. God was making something beautiful from it. And then you find your pearl. You find your Jesus, that is what you’ve been searching for all along. And what do you do when you find that pearl – You don’t just keep looking for something else. You don’t keep trying other things. NO. You know this is what you’ve been looking for all your life. This is your answer. Here he is. And you give up everything else because you know there’s absolutely NOTHING better! What if some of the things you’ve spent your life chasing were never the pearl? But Jesus says, “You found it.” The Kingdom is the pearl. Jesus is the pearl. And when you finally understand His worth, you realize, I don’t have to spend the rest of my life searching. I’ve found what my heart was looking for. Jesus is worth everything. Follow Pamela on Instagram – https://instagram.com/headmamapamela Or Facebook – https://www.facebook.com/pamela.crim Find out more about BIG Life – http://biglifehq.com

This episode featured a conversation with Ramnarayan Rawat, K. Satyanarayana, and Sanal Mohan, three scholars in the burgeoning field of Dalit Studies. We began with the significance of the 1990s as a point of departure for new work in this field and segued to the interventions made by their two edited volumes published in 2016 and 2025. We discussed the paths opened up by earlier radical historiographical paradigms, such as Subaltern Studies, which nonetheless failed to address the caste question. The guests noted three key emphases of contemporary Dalit Studies: one, centering Dalit historical agency and intellectual production; two, decentering the binary of colonialism and nationalism, and illuminating the colonial period as a complex terrain of maneuver; and three, foregrounding the importance of “the Dalit social” as a field of variegated power irreducible to the state. We ended with a discussion of the heterogeneity of Dalit sociopolitical formations, what makes “Dalit” cohere as a category, and future directions for the field of Dalit Studies. Read the transcript here References Ramnarayan Rawat and K. Satyanarayana eds. Dalit Studies (Duke University Press, 2016) Ramnarayan Rawat, K. Satyanarayana, and Sanal Mohan eds. Dalit Journeys for Dignity: Religion, Freedom, and Caste (SUNY Press, 2025) Rajni Kothari, “Rise of the Dalits and the Renewed Debate on Caste.” In State and Politics in India, edited by Partha Chatterjee, 439–58 (New Delhi: Oxford University Press, 1998). Gopal Guru, “The Language of Dalit-Bahujan Political Discourse.” In Dalit Identity and Politics, edited by Ghanshyam Shah, 96–107 (New Delhi: Sage, 2001). Baburao Bagul, Dalit Sahitya ajache Kranti Vidynana (Nagpur: Buddhist Publishing House, 1978). Belcchi: village in Patna district of Bihar where eight Dalits and three Backward Caste men were killed by members of the landowning Kurmi caste in 1977. Keezhvenmani: hamlet in Nagapattinam district of Tamil Nadu where upper caste landlords burnt alive 44 Dalit agricultural laborers in 1968. Karamchedu: village in Bapatla district of Andhra Pradesh where members of the Kamma landholding caste murdered six Dalit men, raped three Dalit women, and displaced hundreds of Dalit families in 1985. Vempenta: village in Kurnool district of Andhra Pradesh where, in response to the killing of a village official by the People's War Group, landholders killed more than thirty Dalits and burned more than 100 of their houses in 1998. Chundur: village in Bapatla district of Andhra Pradesh where members of the Reddy landholding caste killed eight Dalit men in 1991. Mandal Commission: Divya Cherian, Merchants of Virtue B.R. Ambedkar, Annihilation of Caste Phule: Jyotirao Phule was an anti-caste social reformer and writer from Maharashtra. NTR: Indian actor and politician who served as the Chief Minister of Andhra Pradesh for four terms between 1983 and 1995. Mahad Satyagraha: mass mobilization by B.R. Ambedkar to claim Dalit access to a public water tank in Mahad, Maharashtra. Ayyankali: Indian social reformer and lawmaker who worked for the advancemetnt of Dalits in the princely state of Travancore. Ad Dharm: an anticaste movement in the 1920s that claimed a distinct identity for Dalits separate from Hinduism and Sikhism. Adi Hindu Mahasabha: sociopolitical organization founded in 1923 by Dalit leader Swami Achhutanand in Uttar Pradesh that claimed for Dalits the identity of originary Hindus. IITs: the Indian Institutes of Technology 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

This episode featured a conversation with Ramnarayan Rawat, K. Satyanarayana, and Sanal Mohan, three scholars in the burgeoning field of Dalit Studies. We began with the significance of the 1990s as a point of departure for new work in this field and segued to the interventions made by their two edited volumes published in 2016 and 2025. We discussed the paths opened up by earlier radical historiographical paradigms, such as Subaltern Studies, which nonetheless failed to address the caste question. The guests noted three key emphases of contemporary Dalit Studies: one, centering Dalit historical agency and intellectual production; two, decentering the binary of colonialism and nationalism, and illuminating the colonial period as a complex terrain of maneuver; and three, foregrounding the importance of “the Dalit social” as a field of variegated power irreducible to the state. We ended with a discussion of the heterogeneity of Dalit sociopolitical formations, what makes “Dalit” cohere as a category, and future directions for the field of Dalit Studies. Read the transcript here References Ramnarayan Rawat and K. Satyanarayana eds. Dalit Studies (Duke University Press, 2016) Ramnarayan Rawat, K. Satyanarayana, and Sanal Mohan eds. Dalit Journeys for Dignity: Religion, Freedom, and Caste (SUNY Press, 2025) Rajni Kothari, “Rise of the Dalits and the Renewed Debate on Caste.” In State and Politics in India, edited by Partha Chatterjee, 439–58 (New Delhi: Oxford University Press, 1998). Gopal Guru, “The Language of Dalit-Bahujan Political Discourse.” In Dalit Identity and Politics, edited by Ghanshyam Shah, 96–107 (New Delhi: Sage, 2001). Baburao Bagul, Dalit Sahitya ajache Kranti Vidynana (Nagpur: Buddhist Publishing House, 1978). Belcchi: village in Patna district of Bihar where eight Dalits and three Backward Caste men were killed by members of the landowning Kurmi caste in 1977. Keezhvenmani: hamlet in Nagapattinam district of Tamil Nadu where upper caste landlords burnt alive 44 Dalit agricultural laborers in 1968. Karamchedu: village in Bapatla district of Andhra Pradesh where members of the Kamma landholding caste murdered six Dalit men, raped three Dalit women, and displaced hundreds of Dalit families in 1985. Vempenta: village in Kurnool district of Andhra Pradesh where, in response to the killing of a village official by the People's War Group, landholders killed more than thirty Dalits and burned more than 100 of their houses in 1998. Chundur: village in Bapatla district of Andhra Pradesh where members of the Reddy landholding caste killed eight Dalit men in 1991. Mandal Commission: Divya Cherian, Merchants of Virtue B.R. Ambedkar, Annihilation of Caste Phule: Jyotirao Phule was an anti-caste social reformer and writer from Maharashtra. NTR: Indian actor and politician who served as the Chief Minister of Andhra Pradesh for four terms between 1983 and 1995. Mahad Satyagraha: mass mobilization by B.R. Ambedkar to claim Dalit access to a public water tank in Mahad, Maharashtra. Ayyankali: Indian social reformer and lawmaker who worked for the advancemetnt of Dalits in the princely state of Travancore. Ad Dharm: an anticaste movement in the 1920s that claimed a distinct identity for Dalits separate from Hinduism and Sikhism. Adi Hindu Mahasabha: sociopolitical organization founded in 1923 by Dalit leader Swami Achhutanand in Uttar Pradesh that claimed for Dalits the identity of originary Hindus. IITs: the Indian Institutes of Technology Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

This episode featured a conversation with Ramnarayan Rawat, K. Satyanarayana, and Sanal Mohan, three scholars in the burgeoning field of Dalit Studies. We began with the significance of the 1990s as a point of departure for new work in this field and segued to the interventions made by their two edited volumes published in 2016 and 2025. We discussed the paths opened up by earlier radical historiographical paradigms, such as Subaltern Studies, which nonetheless failed to address the caste question. The guests noted three key emphases of contemporary Dalit Studies: one, centering Dalit historical agency and intellectual production; two, decentering the binary of colonialism and nationalism, and illuminating the colonial period as a complex terrain of maneuver; and three, foregrounding the importance of “the Dalit social” as a field of variegated power irreducible to the state. We ended with a discussion of the heterogeneity of Dalit sociopolitical formations, what makes “Dalit” cohere as a category, and future directions for the field of Dalit Studies. Read the transcript here References Ramnarayan Rawat and K. Satyanarayana eds. Dalit Studies (Duke University Press, 2016) Ramnarayan Rawat, K. Satyanarayana, and Sanal Mohan eds. Dalit Journeys for Dignity: Religion, Freedom, and Caste (SUNY Press, 2025) Rajni Kothari, “Rise of the Dalits and the Renewed Debate on Caste.” In State and Politics in India, edited by Partha Chatterjee, 439–58 (New Delhi: Oxford University Press, 1998). Gopal Guru, “The Language of Dalit-Bahujan Political Discourse.” In Dalit Identity and Politics, edited by Ghanshyam Shah, 96–107 (New Delhi: Sage, 2001). Baburao Bagul, Dalit Sahitya ajache Kranti Vidynana (Nagpur: Buddhist Publishing House, 1978). Belcchi: village in Patna district of Bihar where eight Dalits and three Backward Caste men were killed by members of the landowning Kurmi caste in 1977. Keezhvenmani: hamlet in Nagapattinam district of Tamil Nadu where upper caste landlords burnt alive 44 Dalit agricultural laborers in 1968. Karamchedu: village in Bapatla district of Andhra Pradesh where members of the Kamma landholding caste murdered six Dalit men, raped three Dalit women, and displaced hundreds of Dalit families in 1985. Vempenta: village in Kurnool district of Andhra Pradesh where, in response to the killing of a village official by the People's War Group, landholders killed more than thirty Dalits and burned more than 100 of their houses in 1998. Chundur: village in Bapatla district of Andhra Pradesh where members of the Reddy landholding caste killed eight Dalit men in 1991. Mandal Commission: Divya Cherian, Merchants of Virtue B.R. Ambedkar, Annihilation of Caste Phule: Jyotirao Phule was an anti-caste social reformer and writer from Maharashtra. NTR: Indian actor and politician who served as the Chief Minister of Andhra Pradesh for four terms between 1983 and 1995. Mahad Satyagraha: mass mobilization by B.R. Ambedkar to claim Dalit access to a public water tank in Mahad, Maharashtra. Ayyankali: Indian social reformer and lawmaker who worked for the advancemetnt of Dalits in the princely state of Travancore. Ad Dharm: an anticaste movement in the 1920s that claimed a distinct identity for Dalits separate from Hinduism and Sikhism. Adi Hindu Mahasabha: sociopolitical organization founded in 1923 by Dalit leader Swami Achhutanand in Uttar Pradesh that claimed for Dalits the identity of originary Hindus. IITs: the Indian Institutes of Technology Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

This episode featured a conversation with Ramnarayan Rawat, K. Satyanarayana, and Sanal Mohan, three scholars in the burgeoning field of Dalit Studies. We began with the significance of the 1990s as a point of departure for new work in this field and segued to the interventions made by their two edited volumes published in 2016 and 2025. We discussed the paths opened up by earlier radical historiographical paradigms, such as Subaltern Studies, which nonetheless failed to address the caste question. The guests noted three key emphases of contemporary Dalit Studies: one, centering Dalit historical agency and intellectual production; two, decentering the binary of colonialism and nationalism, and illuminating the colonial period as a complex terrain of maneuver; and three, foregrounding the importance of “the Dalit social” as a field of variegated power irreducible to the state. We ended with a discussion of the heterogeneity of Dalit sociopolitical formations, what makes “Dalit” cohere as a category, and future directions for the field of Dalit Studies. Read the transcript here References Ramnarayan Rawat and K. Satyanarayana eds. Dalit Studies (Duke University Press, 2016) Ramnarayan Rawat, K. Satyanarayana, and Sanal Mohan eds. Dalit Journeys for Dignity: Religion, Freedom, and Caste (SUNY Press, 2025) Rajni Kothari, “Rise of the Dalits and the Renewed Debate on Caste.” In State and Politics in India, edited by Partha Chatterjee, 439–58 (New Delhi: Oxford University Press, 1998). Gopal Guru, “The Language of Dalit-Bahujan Political Discourse.” In Dalit Identity and Politics, edited by Ghanshyam Shah, 96–107 (New Delhi: Sage, 2001). Baburao Bagul, Dalit Sahitya ajache Kranti Vidynana (Nagpur: Buddhist Publishing House, 1978). Belcchi: village in Patna district of Bihar where eight Dalits and three Backward Caste men were killed by members of the landowning Kurmi caste in 1977. Keezhvenmani: hamlet in Nagapattinam district of Tamil Nadu where upper caste landlords burnt alive 44 Dalit agricultural laborers in 1968. Karamchedu: village in Bapatla district of Andhra Pradesh where members of the Kamma landholding caste murdered six Dalit men, raped three Dalit women, and displaced hundreds of Dalit families in 1985. Vempenta: village in Kurnool district of Andhra Pradesh where, in response to the killing of a village official by the People's War Group, landholders killed more than thirty Dalits and burned more than 100 of their houses in 1998. Chundur: village in Bapatla district of Andhra Pradesh where members of the Reddy landholding caste killed eight Dalit men in 1991. Mandal Commission: Divya Cherian, Merchants of Virtue B.R. Ambedkar, Annihilation of Caste Phule: Jyotirao Phule was an anti-caste social reformer and writer from Maharashtra. NTR: Indian actor and politician who served as the Chief Minister of Andhra Pradesh for four terms between 1983 and 1995. Mahad Satyagraha: mass mobilization by B.R. Ambedkar to claim Dalit access to a public water tank in Mahad, Maharashtra. Ayyankali: Indian social reformer and lawmaker who worked for the advancemetnt of Dalits in the princely state of Travancore. Ad Dharm: an anticaste movement in the 1920s that claimed a distinct identity for Dalits separate from Hinduism and Sikhism. Adi Hindu Mahasabha: sociopolitical organization founded in 1923 by Dalit leader Swami Achhutanand in Uttar Pradesh that claimed for Dalits the identity of originary Hindus. IITs: the Indian Institutes of Technology Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

This episode featured a conversation with Ramnarayan Rawat, K. Satyanarayana, and Sanal Mohan, three scholars in the burgeoning field of Dalit Studies. We began with the significance of the 1990s as a point of departure for new work in this field and segued to the interventions made by their two edited volumes published in 2016 and 2025. We discussed the paths opened up by earlier radical historiographical paradigms, such as Subaltern Studies, which nonetheless failed to address the caste question. The guests noted three key emphases of contemporary Dalit Studies: one, centering Dalit historical agency and intellectual production; two, decentering the binary of colonialism and nationalism, and illuminating the colonial period as a complex terrain of maneuver; and three, foregrounding the importance of “the Dalit social” as a field of variegated power irreducible to the state. We ended with a discussion of the heterogeneity of Dalit sociopolitical formations, what makes “Dalit” cohere as a category, and future directions for the field of Dalit Studies. Read the transcript here References Ramnarayan Rawat and K. Satyanarayana eds. Dalit Studies (Duke University Press, 2016) Ramnarayan Rawat, K. Satyanarayana, and Sanal Mohan eds. Dalit Journeys for Dignity: Religion, Freedom, and Caste (SUNY Press, 2025) Rajni Kothari, “Rise of the Dalits and the Renewed Debate on Caste.” In State and Politics in India, edited by Partha Chatterjee, 439–58 (New Delhi: Oxford University Press, 1998). Gopal Guru, “The Language of Dalit-Bahujan Political Discourse.” In Dalit Identity and Politics, edited by Ghanshyam Shah, 96–107 (New Delhi: Sage, 2001). Baburao Bagul, Dalit Sahitya ajache Kranti Vidynana (Nagpur: Buddhist Publishing House, 1978). Belcchi: village in Patna district of Bihar where eight Dalits and three Backward Caste men were killed by members of the landowning Kurmi caste in 1977. Keezhvenmani: hamlet in Nagapattinam district of Tamil Nadu where upper caste landlords burnt alive 44 Dalit agricultural laborers in 1968. Karamchedu: village in Bapatla district of Andhra Pradesh where members of the Kamma landholding caste murdered six Dalit men, raped three Dalit women, and displaced hundreds of Dalit families in 1985. Vempenta: village in Kurnool district of Andhra Pradesh where, in response to the killing of a village official by the People's War Group, landholders killed more than thirty Dalits and burned more than 100 of their houses in 1998. Chundur: village in Bapatla district of Andhra Pradesh where members of the Reddy landholding caste killed eight Dalit men in 1991. Mandal Commission: Divya Cherian, Merchants of Virtue B.R. Ambedkar, Annihilation of Caste Phule: Jyotirao Phule was an anti-caste social reformer and writer from Maharashtra. NTR: Indian actor and politician who served as the Chief Minister of Andhra Pradesh for four terms between 1983 and 1995. Mahad Satyagraha: mass mobilization by B.R. Ambedkar to claim Dalit access to a public water tank in Mahad, Maharashtra. Ayyankali: Indian social reformer and lawmaker who worked for the advancemetnt of Dalits in the princely state of Travancore. Ad Dharm: an anticaste movement in the 1920s that claimed a distinct identity for Dalits separate from Hinduism and Sikhism. Adi Hindu Mahasabha: sociopolitical organization founded in 1923 by Dalit leader Swami Achhutanand in Uttar Pradesh that claimed for Dalits the identity of originary Hindus. IITs: the Indian Institutes of Technology 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 episode featured a conversation with Ramnarayan Rawat, K. Satyanarayana, and Sanal Mohan, three scholars in the burgeoning field of Dalit Studies. We began with the significance of the 1990s as a point of departure for new work in this field and segued to the interventions made by their two edited volumes published in 2016 and 2025. We discussed the paths opened up by earlier radical historiographical paradigms, such as Subaltern Studies, which nonetheless failed to address the caste question. The guests noted three key emphases of contemporary Dalit Studies: one, centering Dalit historical agency and intellectual production; two, decentering the binary of colonialism and nationalism, and illuminating the colonial period as a complex terrain of maneuver; and three, foregrounding the importance of “the Dalit social” as a field of variegated power irreducible to the state. We ended with a discussion of the heterogeneity of Dalit sociopolitical formations, what makes “Dalit” cohere as a category, and future directions for the field of Dalit Studies. Read the transcript here References Ramnarayan Rawat and K. Satyanarayana eds. Dalit Studies (Duke University Press, 2016) Ramnarayan Rawat, K. Satyanarayana, and Sanal Mohan eds. Dalit Journeys for Dignity: Religion, Freedom, and Caste (SUNY Press, 2025) Rajni Kothari, “Rise of the Dalits and the Renewed Debate on Caste.” In State and Politics in India, edited by Partha Chatterjee, 439–58 (New Delhi: Oxford University Press, 1998). Gopal Guru, “The Language of Dalit-Bahujan Political Discourse.” In Dalit Identity and Politics, edited by Ghanshyam Shah, 96–107 (New Delhi: Sage, 2001). Baburao Bagul, Dalit Sahitya ajache Kranti Vidynana (Nagpur: Buddhist Publishing House, 1978). Belcchi: village in Patna district of Bihar where eight Dalits and three Backward Caste men were killed by members of the landowning Kurmi caste in 1977. Keezhvenmani: hamlet in Nagapattinam district of Tamil Nadu where upper caste landlords burnt alive 44 Dalit agricultural laborers in 1968. Karamchedu: village in Bapatla district of Andhra Pradesh where members of the Kamma landholding caste murdered six Dalit men, raped three Dalit women, and displaced hundreds of Dalit families in 1985. Vempenta: village in Kurnool district of Andhra Pradesh where, in response to the killing of a village official by the People's War Group, landholders killed more than thirty Dalits and burned more than 100 of their houses in 1998. Chundur: village in Bapatla district of Andhra Pradesh where members of the Reddy landholding caste killed eight Dalit men in 1991. Mandal Commission: Divya Cherian, Merchants of Virtue B.R. Ambedkar, Annihilation of Caste Phule: Jyotirao Phule was an anti-caste social reformer and writer from Maharashtra. NTR: Indian actor and politician who served as the Chief Minister of Andhra Pradesh for four terms between 1983 and 1995. Mahad Satyagraha: mass mobilization by B.R. Ambedkar to claim Dalit access to a public water tank in Mahad, Maharashtra. Ayyankali: Indian social reformer and lawmaker who worked for the advancemetnt of Dalits in the princely state of Travancore. Ad Dharm: an anticaste movement in the 1920s that claimed a distinct identity for Dalits separate from Hinduism and Sikhism. Adi Hindu Mahasabha: sociopolitical organization founded in 1923 by Dalit leader Swami Achhutanand in Uttar Pradesh that claimed for Dalits the identity of originary Hindus. IITs: the Indian Institutes of Technology Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

Bṛhad-bhāgavatāmṛta Part 2 Chapter 4 Text 193 tāratamyaṁ tu kalpyeta sva-sva-sevānusārataḥ tat-tad-rasa-sajātīya- sukha-vaicitry-apekṣayā TRANSLATION The hierarchy among devotees is only imagined according to their own forms of service and according to the happiness each devotee derives from his own relationship with the Lord.

Send me a messageHave you ever wondered what truly separates an ordinary life from an extraordinary one? In this podcast, we explore the simple yet profound shifts in perspective that turn everyday moments into something magical. We often look for the "extraordinary" in big achievements or far-off goals, but the secret lies in how we relate to the present moment.Discover why your life is already extraordinary and how to tap into that sense of awe every single day. Whether you're feeling overwhelmed or just looking for more peace, these insights will help you reconnect with the beauty of being alive.CHAPTERS0:00 - The Search for the Extraordinary 1:15 - Why We Miss the Magic in the Ordinary 2:45 - The Shift: Content vs. Presence 4:30 - Finding Extraordinary Peace in the Forest 6:10 - The Ritual of Mindful Tea 8:00 - How to Practice This Daily 10:15 - Final Thoughts: Your Extraordinary Life#Mindfulness #ExtraordinaryLife #ToddPerelmuter #InnerPeace #PresentMoment #SpiritualGrowthPlease enjoy other episodes where I share meditation techniques, tips and spiritual lessons from around the world for peaceful and stress-free living. Remember to subscribe for more meditations on mindfulness, stillness, and living a peaceful life.Video podcasts are available at https://www.youtube.com/@ToddPerelmuterFor the days when life feels like too much, these 4 free books are for you. Get the free 4-books bundleIf my words have ever touched your heart or helped you through a hard moment, I'd be deeply grateful for your support in keeping this podcast alive. Support the PodcastAnd if you'd like to explore these ideas in greater depth, you can find all of my books here.

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

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.

Bṛhad-bhāgavatāmṛta Part 2 Chapter 4 Text 195 bhajanānanda-sāmye 'pi bhedaḥ kaścit prakalpyate bāhyāntarīṇa-bhāvena dūra-pārśva-sthatādinā TRANSLATION Although everyone equally enjoys the bliss of worshiping the Lord, certain differences are conceived. Devotees are considered relative outsiders or insiders, depending, for example, on whether they serve the Lord from afar or from nearby.

How can we prepare to lovingly and confidently share the gospel with followers of other world religions? In this episode, Emma Dotter explores five prominent world religions in light of Paul's evangelism in Acts 17:16-34. She unpacks what different world religions believe and challenges followers of Jesus to listen well and ask good questions. // ADDITIONAL VERSES MENTIONED: Hebrews 9: 27; Ephesians 2: 8-9 // RESOURCES FOR FURTHER STUDY: Has Join The Journey impacted your walk with Jesus this year? We want to hear how God is using Join The Journey in your life! Email us at jointhejourney@watermark.org For more on Hinduism: https://www.gotquestions.org/hinduism.html  For more on Buddhism: https://www.gotquestions.org/buddhism.html  For more on Islam: https://www.gotquestions.org/Islam.html  For more on Mormonism: https://www.gotquestions.org/Mormons.html  For more on Jehovah's Witnesses: https://www.gotquestions.org/witnessing-Jehovahs-Witnesses.html  // RELATED JOIN THE JOURNEY EPISODES:  “S4:263 – Introduction to the book of Acts” (https://podcasts.apple.com/us/podcast...)   “S4:269 – Acts 15-17” (https://open.spotify.com/episode/3NShJvbx2EPozwMwxJq2Hm?si=98ac89d64476429c)   // WHAT IS JOIN THE JOURNEY? Join The Journey is a realistic daily Bible reading plan that helps followers of Jesus at Watermark Community Church and beyond enjoy abiding in Jesus together. Join The Journey Jr. is designed to help parents guide their kids in Bible reading through interactive and age-specific lessons. In 2026, we're studying the book of Acts—one passage per week. For another year, teaching on Sunday will align with each week's passage. Then, for the next six days, we'll return to the same passage with fresh focus, exploring insights about who God is and how we can enjoy him more deeply. Monday through Saturday, we'll approach the same passage from a different perspective each day—whether observation, interpretation, prayer, or another spiritual practice—to gain a deeper understanding and appreciation for God's Word. Then, watch or listen to the video podcast to tackle the week's toughest verses and discover key historical, theological, and practical insights. Daily Bible lessons for adults: https://jointhejourney.com Daily Bible lessons for parents and families: https://jointhejourney.com/jr Weekly Bible podcast for kids: https://podcasts.apple.com/us/podcast...  // MORE RESOURCES FROM JOIN THE JOURNEY:  Digital Bible study resources: https://jointhejourney.com/resources Previous years' print curriculum: https://www.amazon.com/stores/Waterma... Contact the Join The Journey team: jointhejourney@watermark.org 

Episode 0955 - Ra & the Desire to Communicate (Click on the above link, or here, for audio.)Comments on Ra's teaching regarding the desire to communicate, in asssociation with break-through experience, intensive learning, and accelerated soul evolution. The inevitable ebb & flow of desire to speak & teach over time; the importance of self-honesty, and sensitivity to both one's own

Bṛhad-bhāgavatāmṛta Part 2 Chapter 4 Text 187 nārāyaṇād apy avatāra-bhāve saṁvyajyamānair madhurair mano-jñaiḥ tat-prema-bhaktyārdra-hṛd-eka-vedyair māhātmya-vargair vividhair viśiṣṭaḥ TRANSLATION And Kṛṣṇa is different from Nārāyaṇa, for when Kṛṣṇa appears in His descent in the material world He fully manifests the many unique glories that distinguish Kṛṣṇa alone — charming, attractive glories that can be known only to hearts softened by prema-bhakti.

Greg Koukl and Amy Hall of Stand to Reason are here to explain why they believe in Christianity rather than any other religion. Given how certain they are of their religion, the reasons should be good ones, right?Cards:Are ALL Apologists Liars?:https://www.youtube.com/watch?v=bhv_1mbG2YgUNDENIABLE Contradictions in the Bible!: https://www.youtube.com/watch?v=wSW-T3PnKMgJesus Didn't Know Where He Was Going!: https://www.youtube.com/watch?v=nQPjEL1S7tUOriginal Video: https://tinyurl.com/2bcrdy74Sources:List of religious texts: https://tinyurl.com/2939pu9mQuran: https://tinyurl.com/pxeyljpThe Four Vedas: Sacred Scriptures of Hinduism: https://tinyurl.com/28pylchnUnderstanding the Hindu Concept of God: https://tinyurl.com/28lgusdnAround the World, Many People Are Leaving Their Childhood Religions: https://tinyurl.com/2dxc48ttThree Things to Know about New Testament Manuscripts: https://tinyurl.com/2r2he6djThe Anchor Bible: Genesis: https://tinyurl.com/247so4uaAll my various links can be found here:http://links.vicedrhino.comThis content is CAN credentialed, which means you can report instances of harassment, abuse, or other harm on their hotline at (617) 249-4255, or on their website at creatoraccountabilitynetwork.orgBecome a supporter of this podcast: https://www.spreaker.com/podcast/viced-rhino-the-podcast--4623273/support.All my various links can be found here: http://links.vicedrhino.comThis content is CAN credentialed, which means you can report instances of harassment, abuse, or other harm on their hotline at (617) 249-4255, or on their website at creatoraccountabilitynetwork.org

In a culture that values productivity over wellness, lawyer and teacher Gullu Singh explores how to navigate stress and high-pressure careers with mindfulness.Today's podcast is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/beherenow and get on your way to being your best self.This week on the BHNN Guest Podcast, Gullu and Vincent chat about:Living in Los Angeles during times of unrest The power of awareness and befriending our emotionsThe RAIN technique, a 4-step mindfulness practice for difficult emotionsHow lawyers and other professionals in high-stakes fields can benefit from mindfulnessShifting our society and creating a culture of wellness versus productivity The importance of making the space to maintain your practice Gullu's auspicious experiences with Jack Kornfield & Spirit RockFinding your own voice and playing your “music” out in the world This conversation was originally recorded on the Paths of Practice Podcast. Listen to more episodes HERE.About Vincent Moore:Vincent Moore is a creative and creative consultant living in San Francisco, California, with over a decade of experience in the entertainment industry and holds a graduate degree in Buddhist Studies. For years, he performed regularly at the Upright Citizens Brigade Theatre, an improv and sketch comedy theatre based in New York and Los Angeles. As an actor, Vincent performed on Comedy Central, The Tonight Show Starring Jimmy Fallon, The Late Show with Seth Meyers, Above Average, and The UCB Show on Seeso. As a writer, he developed for television as well as stage, including work with the Blue Man Group, and his own written projects have been featured on websites such as Funny or Die. Additionally, he received a Masters of Buddhist Studies from the Institute of Buddhist Studies with a Certificate in Soto Zen Studies and engages in a personal Buddhist practice within the Soto Zen tradition. Vincent is also the creator and host of the podcast, Paths of Practice, which features interviews with Buddhists from all over the world. Learn more on Vincent's website HERE.About Gullu Singh:Gulwinder “Gullu” Singh is a mindfulness and Dharma teacher who also practices corporate real estate law. Although he was exposed to meditation as a child, he found his own practice after law school when he found himself working at high-powered law firms where the job was extremely stressful. Gullu completed the four-year Spirit Rock Meditation Center Teacher Training Program and qualified to teach Mindfulness-Based Stress Reduction. Gullu is core faculty in the Mindfulness in Law Teacher Training, the Spirit Rock Dedicated Practitioner Program, and a mentor for the Sounds True Mindfulness Meditation Teacher Certification Program. He is also a core teacher and board member for Sacred Mountain Sangha, a senior teacher at InsightLA, and a member of the guiding teacher's council at Spirit Rock Meditation Center. Gullu is deeply inspired to share meditation as an antidote to stress, a path to well-being, and a way to inject more sanity, compassion, and wisdom into this world. For more information, please visit Gullusingh.com.“I don't think we as human animals were designed for the kind of professions that we've created where people work 14-16 hours a day on stop. We end up being in a state of constant adrenaline which has all kinds of negative health impacts.” –Gullu SinghSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

How do you hold onto a spiritual tradition after being deeply disappointed by the people who represent it? That's a question Swami Padmanabha — a Hindu monk, teacher and author of Evolution in Divine Love — has had to wrestle with more than once. Rather than walking away, those experiences led him into a deeper exploration of authority, uncertainty, love and the possibility that healthy traditions are those that continue to evolve.In this conversation, Tim and Swami explore what it means to stay rooted without becoming rigid, to question without becoming cynical, and to remain open to wisdom wherever it is found. Along the way they discover some surprising resonances between Hinduism and Christianity, and ask whether the future of religion might depend less on having all the answers and more on learning how to keep growing.After the interview, Tim is joined by Nick to reflect on what stayed with them most. From caring for God as though God were a child, to learning from other faith traditions without losing your own roots, they explore where Swami's vision resonated, where it challenged them, and the questions they're still left pondering.Interview starts at 12m 48sBooks, quotes, links →The creation of Nomad's thoughtful, ad-free content is entirely funded by our equally thoughtful and wonderful listeners. By supporting us, you gain access to Nomad's online spaces—like the Beloved Listener Lounge, Enneagram Lounge, and Book Club—as well as bonus episodes such as Nomad Contemplations, Homegrown Conversations, and Nomad Revisited.If you'd like to join our lovely community of supporters, head over to our Patreon page. You might even be rewarded with a Nomad pen or our coveted Beloved Listener mug!If a monthly commitment isn't possible right now, a one-off donation is always deeply appreciated—you can do that here.Looking to connect with others nearby? Check out the Listener Map or join our Nomad Gathering Facebook group.And if you're up for sharing your own story, we regularly post reflections from listeners on our blog—all with the hope of fostering deeper understanding, connection and supportive relationships. If you'd like to share your story on the blog, contact us for more information here.

Patrick offers insight on tough family situations, Catholic apologetics, forgiveness, and faith struggles, switching from serious to humorous in a heartbeat. He answers questions about estrangement, church controversies, the afterlife, and overcoming regret. Wisdom, encouragement, and relief land side by side as Patrick fields anxious callers, breaks down doctrine, and finds laughter in the ordinary. Jennifer - Please recommend a Bible for 17-year-old nephew who has had no religious formation. I’m feeling inspired but need advice. (00:42) Ben - 1 Corinthians 2:16: St. Paul says we have the mind of Christ. What does that mean? (06:18) Lee (email) – You guys think you’re so funny (12:22) Jan - Can you recommend a book or program for high school boys to teach them to become men through a Catholic lens? (16:23) Ellie (email) - You took a call this morning from a gentleman who asked if the Hindu religion is older than Christianity and you said, yes, it is, but big deal. You also frequently remind us of the chronology of Catholicism vis-a-vis the umpteen Protestant denominations and you emphasize that, look, Catholicism is older than all of those others. Why, then, don't you say that Hinduism is older than Catholicism, so maybe Hinduism is on to something? I guess what I'm asking is, how can we have it both ways? How can we dismiss everything that came after Catholicism but we don't dismiss Catholicism which came after Hinduism? (22:45) Jose - My brother drifted away from Church. He sends me daily devotionals, but they don't agree with our Faith. How should I handle this? (27:55) Lori (email) – Is it OK to go to a free clinic that is operated by a mosque? (32:03) James - A friend said if you die, you cannot be judged or go to heaven or hell because Jesus hasn't come back yet, so where do they go in the meantime? (37:47) AC (email) - How can I finally forgive myself for yelling at and spanking my oldest son too much as a young, unsupported mother with a controlling husband, despite his forgiveness, my therapy, confessions, life improvements, return to faith, and prayers that only bring temporary relief before triggers return? (43:09)

Should Christians celebrate the Bible being taught in public schools? Todd explains why what seems like a win for Christianity may not be what it appears while exploring declining birth rates, cultural Christianity, and what it really takes to change a nation. Segment 1 • Why do Pride parades so often revolve around public displays of sexuality? • Can you judge a religion by the kind of culture it produces? Todd compares Christianity and Hinduism. • An Irish teacher spent nearly two years in prison over preferred pronouns. What does his case reveal about religious freedom? • Should Christian schools accept government funding if it means compromising biblical convictions? Segment 2 • Why are fewer young people getting married and having children? • Are social media, celebrity culture, and pornography reshaping an entire generation's view of family? • Does God's design for marriage and parenthood actually lead to greater joy and fulfillment? • What are young adults giving up when they delay marriage and parenthood? Segment 3 • Why doesn't Todd want the Bible taught in public schools? • Is teaching Scripture as literature actually diminishing its true purpose? • Can Christian values change a nation without changing hearts? • Why is cultural Christianity becoming increasingly attractive to conservatives? Segment 4 • Can a nation become "Christian" without people becoming Christians? • Should the church focus on changing culture—or making disciples? • What can we learn from the early church's response to a pagan culture? • Could our expectations for transforming society be aimed at the wrong target? ___ Thanks for listening! Wretched Radio would not be possible without the financial support of our Gospel Partners. If you would like to support Wretched Radio we would be extremely grateful. VISIT https://fortisinstitute.org/donate/ If you are already a Gospel Partner we couldn't be more thankful for you if we tried!

Headline: The Medieval Warm Period and the Rise of Parallel Empires Guest: Professor Peter Frankopan Book Title: The Earth Transformed: An Untold History The Medieval Warm Period (950–1250 AD) was marked by low volcanism and climatic stability, facilitating the rise of "power empires" across the globe. Frankopan details the expansion of the Vikings into the North Atlantic, driven by the trade of valuable walrus ivory and hides. This colonization often involved violence and the forced movement of women from Ireland and Scotland to settle new lands like Iceland. In North America, the city of Cahokia thrived as a cosmopolitan center with massive mounds, yet eventually collapsed due to resource exhaustion and social unrest. Simultaneously, the Chola Empire in India and the Khmer in Southeast Asia flourished, fueling each other's growth through trade and diplomatic exchange. The Cholawere particularly successful in exporting Indian culture and Hinduism. Frankopan argues that these parallel empires succeeded because they could plan for the future without major environmental shocks, though they eventually "suffocated" under their own administrative and ecological weight. (4)1930S. FSA.  DUST BOWL