Podcasts about Hindustani

What is the origin story of one of imperialism's biggest fans, Rudyard Kipling? How did he go from a spoiled child in India who spoke Hindustani with his nanny, to living in an abusive foster home in Portsmouth which he called The House of Desolation? Why was Kipling such a man of contradiction? William is joined by Andrew Lycett, author of Rudyard Kipling, to discuss Kipling's colourful but turbulent early life. Make someone an Empire Club Member this Christmas – unlock the full Empire experience with bonus episodes, ad-free listening, early access to miniseries and live show tickets, exclusive book discounts, a members-only newsletter, and access to our private Discord chatroom. Just go to https://empirepod.supportingcast.fm/gifts And of course, you can still join for yourself any time at empirepoduk.com or on apple podcasts. Email: empire@goalhanger.com Instagram: @empirepoduk Blue Sky: @empirepoduk X: @empirepoduk Producer: Anouska Lewis Assistant Producer: Alfie Rowe Executive Producer: Dom Johnson Learn more about your ad choices. Visit podcastchoices.com/adchoices

Discover how Sandeep Ranade—engineer, classical singer, and creator of the award-winning Naad Sadhana app—blends music, technology, and mindfulness. From artistic intelligence to Naad Yoga, he's redefining how innovation and tradition can sing in sync.00:35- About Sandeep RanadeSandeep Ranade is a geek, gaayak and guru.He is a software engineer, a Hindustani classical singer and composer. He's an educator, and he's the creator of the Naad Sadhana app. 

Heartland Masala: An Indian Cookbook from an American Kitchen Presented by Jyoti Mukharji and Auyon Mukharji Come join us as a mother and son duo talk about the historical and cultural context of traditional and diasporic Indian recipes. They will base their talk on their new book, Heartland Masala: An Indian Cookbook from an American Kitchen. Cooking instructor Jyoti Mukharji chose 99 of her favorite recipes to build the core of Heartland Masala. Her recipes hail from throughout India, with a special emphasis on the cuisines of Punjab and Bengal. To complement his mother's recipes and recollections, culinary historian Auyon Mukharji offers a generous helping of culturally focused vignettes. Auyon writes: “The Hindustani word masala, which translates to ‘spice mixture, feels an appropriate metaphor for not only the multifaceted and diasporic quality of my mother's cooking, but also for the twists and turns of history that landed a daughter of Punjab here in the American heartland.” “The history of Indian cooking is theIndiana cooking” he continues. “The cuisine itself is in constant flux, both within and beyond India's national borders. Any attempt to pin it down is merely a record of a moment and place.” https://www.heartlandmasala.com/ https://heartlandmasala.substack.com/ Biographies Jyoti Mukharji is a chef, teacher, and retired physician. She immigrated to the US from India in the late 1970s, and began teaching weekly Indian cooking classes out of her home in Prairie Village, Kansas, in 2010. Jyoti has since welcomed several thousand students into her kitchen. Auyon Mukharji is a musician, writer, and culinary historian who spends most of his time thinking about food. He studied biology at Williams College and was awarded a Watson Fellowship in 2007 to study self-expression in folk music. Since 2009, Auyon has toured with, and cooked for, the indie-folk band Darlingside. He otherwise finds time to work in and around kitchens (and farms) in both his hometown of Kansas City and his adopted state-of-residence of Massachusetts. Recorded via Zoom on October 29, 2025 CONNECT WITH CULINARY HISTORIANS OF CHICAGO ✔ MEMBERSHIP https://culinaryhistorians.org/membership/ ✔ EMAIL LIST http://culinaryhistorians.org/join-our-email-list/ ✔ S U B S C R I B E https://www.youtube.com/channel/UC6Y0-9lTi1-JYu22Bt4_-9w ✔ F A C E B O O K https://www.facebook.com/CulinaryHistoriansOfChicago ✔ PODCAST 2008 to Present https://culinaryhistorians.org/podcasts/ By Presenter https://culinaryhistorians.org/podcasts-by-presenter/ ✔ YOUTUBE https://www.youtube.com/channel/UC6Y0-9lTi1-JYu22Bt4_-9w ✔ W E B S I T E https://www.CulinaryHistorians.org

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

Perform Sharjah: Music on the Barge (7-9 November 2025) Khalid Lake, Sharjah | 8:30–10:00 PM A floating stage experience in collaboration with Sharjah Ports, Customs and Free Zones Authority. Ruhaniyat (7 Nov) A group led by Hetartho Chatterjee, influenced by Hindustani classical traditions and Sufi poetry. ADIGA (8 Nov) A Sudanese fusion band blending folk, hip-hop, funk and neo-soul – 8 Nov NOON (9 Nov) An experimental project mixing funk, African and Indian rhythms with electronic effects Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.instagram.com/pulse95radio www.facebook.com/pulse95radio www.twitter.com/pulse95radio

When it comes to Hindustani music, he is both a doer and a thinker. A great tabla player, he has written books about the history and theory of music. Aneesh Pradhan joins Amit Varma in episode 430 of The Seen and the Unseen to chat about his life, his music and this world we inhabit. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Aneesh Pradhan on Instagram, Twitter, LinkedIn, YouTube, Scroll, Amazon, Spotify and his own website. 2. Chasing the Raag Dream: A Look into the World of Hindustani Music -- Aneesh Pradhan. 3. Hindustani Music in Colonial Bombay -- Aneesh Pradhan. 4. Tabla: A Performer's Perspective -- Aneesh Pradhan. 5. The Life and Music of Shubha Mudgal -- Episode 426 of The Seen and the Unseen. 6. The Light in Winter -- Episode 97 of Everything is Everything. 7. From Strength to Strength: Finding Success, Happiness and Deep Purpose in the Second Half of Life -- Arthur Brooks. 8. The Heckman Equation — a website based on James Heckman's work. 9. The Instagram reel about The Godfather. 10, The interview with Vasant Pradhan. 11. Dehachi Tijori -- Sudhir Phadke. 12. Chal Chal Chal Mere Saathi -- Song from Haathi Mere Saathi. 13. Categories of Music -- Ashok D Ranade. 14. Nationalism Is Bad for the Nation -- Episode 122 of Everything is Everything. 15. The Populist Playbook -- Episode 42 of Everything is Everything. 16. Tawaif — Episode 174 of The Seen and the Unseen (w Saba Dewan). 17. The Refreshing Audacity of Vinay Singhal — Episode 291 of The Seen and the Unseen. 18. Stage.in. 19. How Music Works — David Byrne. 20. The Changing Forms of Creativity -- Episode 72 of Everything is Everything. 21. Em and the Big Hoom — Jerry Pinto. 22. The Life and Times of Jerry Pinto — Episode 314 of The Seen and the Unseen. 23. The War Against Cliche — Martin Amis. 24. Bridge of Dreams -- Various artists. 25. Out of the Shruti Box -- Anuja K's YouTube channel. 26. Malini Goyal is the Curious One — Episode 377 of The Seen and the Unseen. 27. The Disciple — Chaitanya Tamhane. 28. Niranjan Rajadhyaksha Is the Impartial Spectator — Episode 388 of The Seen and the Unseen. 29. Why Hindustani Musicians are Good Cooks: Analogies between Music and Food in North India -- Adrian McNeil. 30. Sangeet Kosh. 31. Begum Akhtar, Siddheshwari Devi, Kesarbai Kerkar, Faiyaz Khan, Bade Ghulam Ali Khan, Amir Khan, Sharadchandra Arolkar, Ahmed Jan Thirakwa, Amir Hussain Khan, Alla Rakha, Kishan Maharaj, Samta Prasad, Zakir Hussain, Anindo Chatterjee, Swapan Chaudhuri, Louis Armstrong and Miles Davis on Spotify. 32. Music Contexts: A Concise Dictionary of Hindustani Music -- Ashok D Ranade. Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: 'Play' by Simahina.

Suchitra Iyer's album Sunaad, produced through her artist residency at Jack Straw, is a collection of Hindustani classical compositions by Indian-American composers from the Pacific Northwest. The album reflects the nurturing community of classical music practitioners who have created a space for shared learning and growth. The songs showcase different aspects of North Indian music, from […] The post Suchitra Iyer – Mazhe Mazhe appeared first on Jack Straw Cultural Center.

THIS WEEK's BIRDS: Indonesian vocalist/experimenter Ubiet; Sri Mulat from Bali;  New music from David Sanford Big Band; new song from Jeong Lim Yang; vintage rai from Nasro; Mayada el Henaway (legendary Egyptian vocalist); Arabic music from Morroca Abdou El Omari (w/ Naima Samih on vocals); Kabyle song from Chérif Kheddam; .Dopolarians; Hindustani vocalist Anuradha Kuber; Brazilian song from Sessa, Guiga de Ogum, and others; new Nancy Vieira; Joe Cuba; pianist Don Pullen solo; much,. much, more.... Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI, 88.1 FM Ithaca/ 88.5 FM Odessa;. and WORLDWIDE online via our MUSIC PLAYER at WRFI.ORG. 24/7 via PODBEAN: https://conferenceofthebirds.podbean.com via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/21390791/Conference-of-the-Birds and via the Conference of the Birds page at www.WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks Find WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR

She's straddled the worlds of Hindustani classical and popular music, and is a legend in both spaces. Shubha Mudgal joins Amit Varma in episode 426 of The Seen and the Unseen to discuss her life, her music and this changing world. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Shubha Mudgal on Spotify, Instagram, Twitter, Wikipedia and her own website. 2. Looking for Miss Sargam: Stories of Music and Misadventure -- Shubha Mudgal. 3. Kavitha Rao and Our Lady Doctors — Episode 235 of The Seen and the Unseen. 4. Lady Doctors : The Untold Stories Of India's First Women In Medicine — Kavitha Rao. 5. The Heckman Equation — a website based on James Heckman's work. 6. The Disciple — Chaitanya Tamhane. 7. A Chess Story (previously published as The Royal Game) — Stefan Zweig. 8. The Light in Winter -- Episode 97 of Everything is Everything. 9. The Köln Concert (YouTube, Spotify) -- Keith Jarrett. 10. Danish Husain and the Multiverse of Culture — Episode 359 of The Seen and the Unseen. 11. Aneesh Pradhan on Scroll, Amazon, Instagram, Twitter and his own website. 12. Stories in a Song -- Sunil Shanbag, Shubha Mudgal and Aneesh Pradhan. 13. Nothing Without You/Tery Bina -- Nusrat Fateh Ali Khan. 14. How Music Works -- David Byrne. 15. Acoustic analysis of two Hindu temples in Southern India -- Shashank Aswathanarayana & Braxton Boren. 16. Begum Akhtar on Spotify and YouTube. 17. Uzr Aane Mein Bhi Hai -- Begum Akhtar. 18. Woh Jo Ham Men Tum Men Qarar Tha -- Begum Akhtar. 19. Siddheshwari Devi on Spotify and YouTube. 20. Shayam Prem Gagariyaa Bhaari -- Siddheshwari Devi. 21. Latcho Drom -- Tony Gatlif. 22. Yeh Kothewaliya -- Amritlal Nagar. Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: ‘Song' by Simahina.

I greet you in Jesus' precious name! It is Sunday morning, the 7th of September, 2025, and this is your friend, Angus Buchan, with a thought for today.We go to the Gospel of Luke 20:2:“Tell us, by what authority are You doing these things? Or who is he who gave You this authority?” I looked up the Oxford Dictionary to find out the literal meaning of the word “authority”, and one of the meanings is “recognised knowledge or expertise.” Folks, Jesus had it all. He had the ability. Whenever He walked into a place, people stood back. Remember when the soldiers tried to arrest Him in the Garden of Gethsemane, the night He was betrayed? When He spoke, they fell to the ground. Peter recognised who Jesus was. He actually said to Him, ”Get away from me, Lord, for I am an unclean man,” when he saw the miracle that Jesus performed with the fish at the Sea of Galilee.They asked William Carey, the man who took the Gospel of Jesus Christ to India. The theologians questioned him and said, "What qualifications do you have?” One man, being very sarcastic, said, ”I believe, you are just a shoemaker.” “ Oh no, Sir.” He said. ”I'm not a shoemaker. I'm a cobbler. I can't make shoes, I can only repair them.” But I want to tell you that man translated the Bible into Sanskrit, into Hindustani, into languages that are so very difficult for anyone to understand. He became the Chief Interpreter in the High Court of Delhi.I want to say to you today, if Jesus Christ is your Lord and Saviour, if He has forgiven you of your sins, you have the authority, you have the power and the knowledge and the expertise to tell others about Him. Remember that song, I've sung it before, but I need to sing it again today with you. A beautiful song and I want you to sing it with me.He paid a debt, He did not owe,I owed the debt, I could not pay,I needed someone to wash my sins away.And now I sing a brand new song,Amazing Grace,Christ Jesus paid a debt that I could never pay.He paid a debt for me and He paid a debt for you. If you love Jesus Christ as your Lord and Saviour, that will give you the authority to go into all the world and tell people that the Lord Jesus Christ has given you the authority, and you are born again and you belong to Him!Go out today and sing that song from the top of your voice,Jesus bless you and goodbye.

Visit Our Website : ⁠www.sarvajeet.in⁠Email at sarvajeetchandra@gmail.comपहलगाम: एक अधूरी यात्रा - सर्वजीतकौन बताए  परिंदे को कि साथी अब बिछड़ गया,नया नया सा, बसा हुआ घरौंदा अब उजड़ गया।नाम पूछ कर, निहत्थों का किया गया जो नर संहार,ये कैसा रण है दरिंदों, कैसा साहस, कैसा हाहाकार?बिछड़े जीवन साथी, अधूरी कहानी, ख़्वाब छोड़ गए,दिल में तराने, उमंग लिये मुसाफ़िर, ताबूतों में लौट गए।इंसानियत का लहू आज फिर से वादी ने पिया है,जन्नत जहन्नुम बन गयी, जब पहलगाम जला है।पूछें क्या हम ज़िंदगी से, कि किसका ये क़सूर था?जो फूल लेने आए थे, उन्हें  काँटों ने क्यों चूर दिया?

For so many of us in the diaspora the music we grew up immersed in and for some, trained in, remains a bedrock to our lives here in New Zealand. Whether its Samba, gospel or Hindustani classical music, the sounds of our childhood continue in ways to inform choices, stir up memories and for many help actually make new tracks in a new home. Jabulani a.k.a Jay Moyo, talks about his musical upbringing in this episode. Go to this episode on rnz.co.nz for more details

Stay tuned for layers.The much-awaited episode 4 of Naturally Musical - a venture Professor Pankaj Jain and Shri Manoj Govindraj have undertaken to share the often simple yet layered thoughts behind eco-friendly songs in Indian films

THIS WEEK's BIRDS: Vintage Indian Film music x 2 (Shanta Apte & Suraiya); Hindustani vocalist Shubha Mudgal;Raga Shuddah Kalyan performed by Gangubai Hangal; new music from Chad Khoury; new music from  Sylvie Courvoisier & Mary Halvorson; Kyriakos Sfetsas vintage Greek fusion); jazz from UK: Elton Dean; Lucian Ban & Mat Maneri reprise (radically) George Enescu's famous Oedipe; Freedom Art Quartet (the name says it); Macedonian hard bop from Dusko Goykovich; neo-Rembetika from Dimitris Mystakidis and Kalafatis Kostas: Balkan song from Vidanka Djordjievska  and Petranka Kostadinova; Albert Ayler reawakened by Jukka Orma, Pepa Päivinen, Dimitri Grechi Espinoza, Ville Rauhala & Simo Laihonenand;  saxophonist  Zoh Amba; vocalist Catalin Milea w. Mircea Tiberian et al. (as always) so much, much more. Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI, 88.1 FM Ithaca/ 88.5 FM Odessa;. and WORLDWIDE online via our MUSIC PLAYER at WRFI.ORG. 24/7 via PODBEAN: https://conferenceofthebirds.podbean.com via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/20729499/Conference-of-the-Birds and via the Conference of the Birds page at www.WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks Find WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR

“There is a beautiful Hindustani saying, ‘Kosa kosa per pani badle, chare kosa per vani,' which means "Every two miles the water changes, and every four the language." So that, in fact, is the geography of taste and terroir in India.”This week on the show, we talk with sociologist Krishnendu Ray about place and food and caste in India and how identity can be defined as much by what you DON'T eat, as by what you DO eat.  And we share a recipe for a home grown hot sauce that cannot be prepared indoors.  

“There is a beautiful Hindustani saying, ‘Kosa kosa per pani badle, chare kosa per vani,' which means "Every two miles the water changes, and every four the language." So that, in fact, is the geography of taste and terroir in India.”This week on the show, we talk with sociologist Krishnendu Ray about place and food and caste in India and how identity can be defined as much by what you DON'T eat, as by what you DO eat.  And we share a recipe for a home grown hot sauce that cannot be prepared indoors.  

This talk explores the profound artistry and scientific intricacies of Indian art music, with a focus on the Hindustani repertoire. Dr. Kaustuv Kanti Ganguli delves into the psychoacoustic and emotional dimensions of ragas, illustrating how pitch, timbre, and rhythm evoke deep responses. Bridging tradition with technology, he demonstrates the role of objective thinking in understanding melodic nuances and improvisation techniques. Speaker Kaustuv Kanti Ganguli, Associate Professor of Computing, Zayed University; Visiting Scholar, NYUAD

Episode Notes Did you know you can support my podcast for as little as $1 a month? You can do that by heading over to my Patreon HERE!!  Here is part 2 of my conversation with Jody Stecher. Jody Stecher has been teaching and sharing his love for music since his days in the 1960s as a budding folklorist and influential picker in New York City's old-time and bluegrass scene. Stecher has played virtually every stringed instrument, delving deeply into traditional music forms from blues to Bahamain and even Hindustani classical. A musician of constant aesthetic integrity, Jody is regarded as one of America's leading traditional folk artists. You might know him from his work with Peter Rowan as well. These days, he lives in the Bay Area and enjoys singing and performing songs with his wife, Kate Brislin.  To keep up with Jody you can head over to his website here where you can contact him for lessons or purchase some of his music! Songs featured in this episode: “Perfik” by Jody Stecher (Dreams from the Overlook) “The Overlook” by Jody Stecher (Dreams from the Overlook) “Kenny in Kansas City” by Jody Stecher (Wonders and Signs) “Curtains of the Night” by Jody Stecher and Kate Brislin (Our Town) “Dreadful Morning” by Jody Stecher with Mile Twelve (Instant Lonesome) Youtube video links: Jerry Wicentowski Pretty - Pretty Little Indian - 2019 Sonoma County Bluegrass & Folk Festival Jerry Wicentowski - I Saw Your Face In The Moon - 2019 Sonoma County Bluegrass & Folk Festival DLaw Coffee Company Website and Instagram As Always a HUGE thank you to all of my sponsor's that make this podcast possible each week! Mandolin Cafe Peghead Nation promo code mandolinbeer Northfiled Mandolins Ear Trumpet Labs Ellis Mandolins Pava Mandolins Tone Slabs Elderly Instruments String Joy Strings promo code mandolinbeer

In this episode of Eyeway Conversations, George Abraham speaks with Dr. Divya Bijur, a Mumbai-based physiotherapist and trained singer. Divya, who is visually impaired, has built a successful independent practice while pursuing her passion for music,travel and languages.She shares her journey of navigating physiotherapy education at a time when mainstream inclusion for visually impaired students was rare in India. Drawing from her international exposure in the UK and Australia, Divya adopted adaptive techniques and practical solutions to deliver high-quality patient care.

Episode Notes Did you know you can support my podcast for as little as $1 a month? You can do that by heading over to my Patreon HERE!!  My guest week is another absolute legend in the mandolin world, Jody Stecher. Jody Stecher has been teaching and sharing his love for music since his days in the 1960s as a budding folklorist and influential picker in New York City's old-time and bluegrass scene. Stecher has played virtually every stringed instrument, delving deeply into traditional music forms from blues to Bahamain and even Hindustani classical. A musician of constant aesthetic integrity, Jody is regarded as one of America's leading traditional folk artists. You might know him from his work with Peter Rowan as well. These days, he lives in the Bay Area and enjoys singing and performing songs with his wife, Kate Brislin.  To keep up with Jody you can head over to his website here where you can contact him for lessons or purchase some of his music! Songs featured in this episode: “Bread and Texas / Katy in the Kitchen” by Jody Stecher (Dreams from the Overlook” “Lord Hamilton's Yearling” by Peter Rowan Bluegrass Band (Legacy) “John Detroy” by Jody Stecher (Oh the Wind and Rain) As Always a HUGE thank you to all of my sponsor's that make this podcast possible each week! Mandolin Cafe Peghead Nation promo code mandolinbeer Northfiled Mandolins Ear Trumpet Labs Ellis Mandolins Pava Mandolins Tone Slabs Elderly Instruments String Joy Strings promo code mandolinbeer

Kala Ramnath is a world-renowned Indian violinist who performs in both the Hindustani classical tradition, and in collaborations that incorporate many styles with Ray Manzarek of The Doors, Bela Fleck and Edgar Meyer, Hilary Hahn, Kronos Quartet with Reena Esmail and veena player Jayanthi Kumaresh, and  leading orchestras such as my own National Arts Centre, to name but a few. You'll hear about her childhood, and how she became a disciple of the legendary vocalist Pandit Jasraj, leading her to revolutionize her approach to Hindustani violin technique. As a teacher she has put together an incredible resource with an extensive video library that she's created of Indian music, Indianclassicalmusic.com  When I recorded this interview with Kala, she had just the day before returned from the celebration of life for the legendary tabla master Zakir Hussain, who died this past December, and was one of the most important musicians in both Indian music and in bringing a global audience to Indian music. He had moved to San Francisco in the 1960s and was involved in too many projects to begin to list; in 2024 he was the first musician from India to receive 3 Grammys at one ceremony, including his collaboration with Bela Fleck and Edgar Meyer. Zakir Hussain was an incredibly important mentor of Kala, and you'll hear in her words about what his guidance and collaborations meant to her. Kala talked to me about some of her many cross-genre collaborations, including her fantastic albums with tabla master Bikram Ghosh  and her inventive trio with George Brooks and Gwyneth Wentink and you'll hear some of that music as well (albums linked below).  Like all my episodes, you can watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript : YouTube and TranscriptKala Ramnath Website Indianclassicalmusic.com Raag Ahir Bhairav  Paperboats album Elements trio albumOther episodes I've linked directly to this one, which I think may interest you: Karnatic violinist Suhadra VijaykumarSitar and tabla player Mohamed Assani Bansuri player Milind DateSarod player Avi KishnaIt's a joy to bring these inspiring episodes to you every week, and I do all the many jobs of research, production and publicity.  Please buy me a coffee? Or check out my merch store Sign up for my newsletter and get exclusive sneak peeks! Timestamps:(00:00) Intro(02:41)Zakir Hussain, Triveni with Jayanthi Kumaresh(10:53) Kala's childhood(15:17) Indianclassicalmusic.com resource(17:56) Kala Ramnath Collective world music (19:13) albums with Bikram Ghosh(20:28) A Better Place from Paperboats with Bikram Ghosh (26:30) Pandit Jasraj, changing her approach to the violin(34:46) Raag Ahir Bhairav (video linked in show notes) (46:16) Kala's Singing Violin style(48:12) other episodes you'll enjoy and different ways to support this series(49:05)Concerto for Hindustani Violin and Orchestra written with Reena Esmail(54:32) Ragas according to the time of day(57:43) Ray Manzarek of The Doors, ragas with other musical traditions(01:02:31) why Kala uses viola strings and tunes low(01:04:21) trio with George Brooks and Gwyneth Wentink(01:05:42) Better Than Coffee from Elements, George Brooks, Gwyneth Wentink (link in show notes)(01:10:15) Bela Fleck, Edgar Meyer, importance of consistent practice(01:13:54) Kalashree foundation(01:15:28) pandemic shutdowns, performing with Zakir Hussain 

Frank Lad is a mathematician, author, and an educator. Perhaps he was destined to have a full career in mathematics and science. His parents met as postdocs at the University of Chicago while working on The Manhattan Project, his mother collaborating with James Franck there. His specialty in mathematical probability took him to France and Italy, where he has worked with followers of Bruno de Finetti's ideas. Personal travels in India, Africa, Europe, Brazil, and some far East, have allowed him to deeply explore culture, history, and philosophy.   For the past 26 years and currently, Lad has served as a research associate in mathematics and statistics at University of Canterbury in New Zealand, having lectured there previously for ten years. He had started his career teaching economics at the University of Utah, and spent a year in the Special Studies section of the Federal Reserve Board of Governors, Washington, D.C.  He has been a visiting scholar at the State University of New York (Albany) in Mathematics and Economics, and at the Institute for Advanced Study at the University of Bologna in Statistics. He had been a research assistant at the Center for Studies in Population Planning, University of Michigan School of Public Health during graduate studies. He is the author of two published books, JUST PLAIN WRONG: The dalliance of quantum theory with the defiance of Bell's inequality (Austin Macauley, 2024) and Operational Subjective Statistical Methods: a mathematical, philosophical, and historical introduction (John Wiley, 1996). Lad speaks four languages: English, French, Italian, and Hindustani. Born and raised in Cleveland, Ohio into a large family of nine children, he is a dual citizen of the United States and New Zealand.  He currently resides in NZ, tending his garden and tutoring neighborhood children in arithmetic. Our focus today is Frank's book - Just Plain Wrong: The Dalliance of Quantum Theory with the Defiance of Bell's Inequality. Great information! So much to learn! Please share. Before you go... You could help support this podcast by Buying Me A Coffee. Not really buying me something to drink but clicking on the link on my home page at https://stevenmiletto.com for Buy Me a Coffee or by going to this link Buy Me a Coffee. This would allow you to donate to help the show address the costs associated with producing the podcast from upgrading gear to the fees associated with producing the show. That would be cool. Thanks for thinking about it.  Hey, I've got another favor...could you share the podcast with one of your friends, colleagues, and family members? Hmmm? What do you think? Thank you! You are AWESOME! Connect & Learn More: Just Plain Wrong - Amazon Length - 59:10

可以搜索公号【璐璐的英文小酒馆】或者添加【luluxjg2】咨询课程or加入社群，查看文稿和其他精彩内容哦~The other thing I often hear, in some of the old war movies, you hear some soldiers say "Blighty".Yes, that's a really old historic slang. And it's always used by soldiers in the First and Second World Wars, and it just means Britain. So they would say "go home to Blighty".So it means the country.It means the country.Go home to Blighty.Yeah. And that actually comes from Urdu.乌尔都语？Yeah.Okay.It's the Urdu word for foreign land, "Vilayati" .For foreign land. That's a bit weird to go home to foreign land.Well. If you think about it, this was the era when Britain ruled India.So if they were speaking, Hindustani, Hindi or Urdu, then probably people in India would say "Vilayati" .Oh. It's like go back to your own...Over there.Over there. Okay, go back to the foreign land, foreign land to us, I see.Yeah.See. In Chinese we also have different names for the country, for example, it was like什么此生无悔入华夏，华夏，对吧? Oh, yeah.So, we have a lot of those as well.Yeah, it's the same as in English. They mostly used in sort of poetic.Poetic, more literary, historical.Yeah.Okay. And what about Wales? Wales has his own language, right? Yes. They speak Welsh.Which is an impossible-to-learn language.It is very, very difficult.Do you understand Welsh?No.It's a completely different language.It's a completely different language. The grammar is completely different. The words are completely different. If you lived in Wales, then you would have to learn Welsh at school up to about 16, it's a compulsory subject, but most English people don't speak Welsh.Okay. But where does the name Wales come from?Well. It comes from the old English word for foreigner.Okay. So basically English and just saying "over there, they are foreigners".

Bishi is an artist, composer and producer born in London of Bengali heritage. Trained in both Hindustani and Western Classical styles, she has released and composed three albums, several EPs, movie and documentary soundtracks, and tirelessly advocates for the elevation of women, trans, and non-binary creative practitioners in music and technology. From coming up in London's queer underground in the 90s, Bishi has carved out a career path precisely for herself – to be frank, she is completely bad ass. I first saw her perform many moons ago at Latitude Festival in 2009, and this conversation was a beautiful opportunity to connect with Bishi after she has gone on to achieve so much.We discuss music by Minty, Missy Elliott, and Kate Bush. Follow Bishi online here.The other bits:Tracks of Our Queers is recorded and edited between Gadigal and Ngarigo land in Australia, by me, Andy GottListen to all of the music discussed in the pod with the Selections from Tracks of Our Queers playlistYou can email me with your own queer tracks or guest recommendations at tracksofourqueers@gmail.comOur beautiful artwork is illustrated by Luke TribeSend us a textSupport the showHelp keep Tracks of Our Queers ad-free by shouting me a coffee right here. Thank you for your support.

“There is a beautiful Hindustani saying, ‘Kosa kosa per pani badle, chare kosa per vani,' which means "Every two miles the water changes, and every four the language." So that, in fact, is the geography of taste and terroir in India.”This week on the show, we talk with sociologist Krishnendu Ray about place and food and caste in India and how identity can be defined as much by what you DON'T eat, as by what you DO eat.  And we share a recipe for a home grown hot sauce that cannot be prepared indoors. 

“There is a beautiful Hindustani saying, ‘Kosa kosa per pani badle, chare kosa per vani,' which means "Every two miles the water changes, and every four the language." So that, in fact, is the geography of taste and terroir in India.”This week on the show, we talk with sociologist Krishnendu Ray about place and food and caste in India and how identity can be defined as much by what you DON'T eat, as by what you DO eat.  And we share a recipe for a home grown hot sauce that cannot be prepared indoors. 

In this episode, Eric Weinstein joins us to discuss India's global influence, from Western perceptions to the richness of Hindustani music culture. We explore how Indians can enhance their global presentation, the impact of spirituality and yoga, and the complexities of the global village concept. The conversation also touches on conspiracies, political events, and the U.S. military's role in the world. Eric Weinstein is a prominent intellectual and cultural commentator, known for his insights on science, technology, and society. As managing director of Thiel Capital, he brings a unique mathematical perspective to complex issues, making him a powerful voice in public discourse. This is what we talked about: 00:00 - Global Vision About India 01:22 - How Does The West Look At India 07:10 - Eric's Fascination With India 09:38 - Hindustani Music Culture 15:11 - How Indians Can Present Themselves Better 19:53 - Global Influence Of India Through Spirituality And Yoga 23:55 - Ancient Wisdom, Religions And Culture Of India 36:17 - The Issues With The Concept Of Global Village 45:53 - Global Conspiracies 53:16 - Who shot Trump 1:02:46 - Eric and Prakhar talk about Rogan 1:04:43 - Eric on the Middle East conflict 1:15:17 - US military is next level 1:16:32 - Eric's question to Prakhar 1:26:30 - Monologue

Today, the Spotlight shines On composer and percussionist Shawn Mativetsky. A renowned tabla player, Shawn is a pioneer in bridging the worlds of Western and Indian classical music.We discussed the intricacies of traditional Indian music, including the setup and tuning of the instruments, the guru-disciple relationship, and the reception of Western musicians in the Hindustani community. We also explored the importance of deep learning, consistent practice, and research in mastering a musical instrument, with Shawn sharing his personal journey and commitment to his craft.Shawn and I spoke much earlier this year, around the April release of his album, Temporal Waves. Enjoy.(The musical excerpts heard in the interview are from the album Temporal Waves)–Dig DeeperVisit Shawn Mativetsky at shawnmativetsky.comVisit Temporal Waves at temporalwaves.comPurchase Temporal Waves on Qobuz or Bandcamp, and listen on your streaming platform of choiceFollow Temporal Waves on Instagram, Facebook, Threads, and YouTubeIntro to Tabla & North Indian Rhythm – Shawn MativetskyIntroduction to Classical TablaPandit Sharda SahaiCanadian Percussionists: Shawn MativetskyDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon. Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines On composer and percussionist Shawn Mativetsky. A renowned tabla player, Shawn is a pioneer in bridging the worlds of Western and Indian classical music.We discussed the intricacies of traditional Indian music, including the setup and tuning of the instruments, the guru-disciple relationship, and the reception of Western musicians in the Hindustani community. We also explored the importance of deep learning, consistent practice, and research in mastering a musical instrument, with Shawn sharing his personal journey and commitment to his craft.Shawn and I spoke much earlier this year, around the April release of his album, Temporal Waves. Enjoy.(The musical excerpts heard in the interview are from the album Temporal Waves)–Dig DeeperVisit Shawn Mativetsky at shawnmativetsky.comVisit Temporal Waves at temporalwaves.comPurchase Temporal Waves on Qobuz or Bandcamp, and listen on your streaming platform of choiceFollow Temporal Waves on Instagram, Facebook, Threads, and YouTubeIntro to Tabla & North Indian Rhythm – Shawn MativetskyIntroduction to Classical TablaPandit Sharda SahaiCanadian Percussionists: Shawn MativetskyDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon. Hosted on Acast. See acast.com/privacy for more information.

With recruits from across its empire, Britain's troops in the Second World War were a multi-lingual, multi-ethnic force. Among those involved were more than a quarter of a million soldiers from East Africa and 2.5 million from South Asia, whose contributions to the Allied forces were absolutely essential to the outcome of the war. In this episode of On the Record, host Chloe Lee speaks with Iqbal Singh and Liz Haines, specialists at The National Archives, and writer Sharmila Chauhan about a collection of records relating to the recruitment of soldiers from across Britain's colonies. Focusing on the languages mobilised in these documents, they discuss records that range from the speeches of British commanders in (romanised) Hindustani, to recruitment posters featuring Swahili and Nyanja. For a transcript and information about the documents used in this episode visit our show notes: https://bit.ly/SwwLLD  

Peace. Freedom. Self-discovery. These are the underlying themes of Nafs at Peace. Without a single word spoken on the album, it's remarkably self-assured and self-evident in its truths. Created by Pakistani improvisational jazz outfit Jaubi, Nafs at Peace is one of the year's most revelatory releases. Weaving together the threads of Hindustani classical music, hip-hop beats and spiritual jazz, the group has made a record as funky as it is healing. The connections between the ecstatic jazz of Alice Coltrane or Pharoah Sanders are less evident in the notes played, as Jaubi based these songs around specific melodic, raga structures, but in the intent. These are musicians lost in their instruments or—at its most ascendent, one with the notes themselves. Nafs at Peace is nothing short of a joy, and we chatted with guitarist Ali Baqar about the album.

In the twelfth episode of Season 8 of the Meet the Mancunian Podcast, host Deepa Thomas-Sutcliffe speaks with Jazzy J, an Artist and Executive Committee Member of the Indian Association of Manchester. Jazzy J shares his passion for community support, rooted in his upbringing in Mumbai, and discusses his role in the Indian Association of Manchester. He highlights the organisation's efforts to bring together people from various backgrounds, provide platforms for local talent, and support activities that celebrate South Asian culture. The episode covers the importance of patience, kindness, and a forward-thinking approach. The conversation underscores the significance of fostering inclusion and giving people opportunities to showcase their talents. The episode concludes with Jazzy J offering advice for those looking to start similar movements in their communities. In J's own words: “I think I have made an impact by making people believe that if they have a talent that they can come forward and present it. Age does not matter. Form does not matter. Style does not matter. As far as you have it in you, you go ahead and you share it with the world and you enrich it in the way that you feel that is fit for you.' #Community #SouthAsian #culture #Manchester #GM #SocialImpact #NonProfit #Podcast   Did you know:  ·     South Asian culture is a blend of many cultures in and around the Indian subcontinent. It has a rich history of kingdoms, empires, spiritual and artistic movements, and cultural, religious, economic, and political connections to other regions.  ·     South Asian culture has made a significant impact on Britain in various aspects, such as food, clothing, music, words, and the overall ambiance of our towns and cities.  ·      South Asia has a rich legacy of music and dance, including classical music traditions like Hindustani and Carnatic music in India, Ghazals in Pakistan, and Baul music in Bangladesh. Dance forms like Bharatanatyam, Kathak, and Bhangra are art forms that also express emotions and cultural narratives.   Key resources: This is Jazzy J. Indian Association of Manchester   Time stamps of key moments in the podcast episode & transcript: (00:52) Introduction and Finding Passion (02:45) Involvement with the Indian Association of Manchester (03:52) Role and Objectives of the Indian Association (04:51) Supporting the Indian Community (07:46) Challenges Faced in the Journey (10:47) Impact and Encouragement (13:00) Advice for Starting a Community Movement (13:41) Additional Cultural Involvements (14:30) Signature Questions: Mancunian Spirit (20:12) Heartwarming Conclusion   Listen to the episode and read the transcript on www.meetthemancunian.co.uk

He's an economist who cares more about people than numbers -- and he thinks his field needs more sociology and anthropology in it. Vijayendra (Biju) Rao joins Amit Varma in episode 392 of The Seen and the Unseen to talk about what makes him angry and what brings him peace. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Vijayendra (Biju) Rao on Twitter, Google Scholar, The World Bank and his own website. 2. Biju Rao's blog at the World Bank. 3. Localizing Development: Does Participation Work? -- Ghazala Mansuri and Vijayendra Rao. 4. Oral Democracy: Deliberation in Indian Village Assemblies -- Paromita Sanyal and Vijayendra Rao. 5. Can Economics Become More Reflexive? -- Vijayendra Rao. 6. Vamsha Vriksha -- Girish Karnad. 7. ‘I want absolute commitment to our gharana': A tribute to Rajshekhar Mansur and his music -- Vijayendra Rao. 8. The Life and Work of Ashwini Deshpande — Episode 298 of The Seen and the Unseen. 9. Two Hundred and Fifty-Thousand Democracies: A Review of Village Government in India -- Siddharth George, Vijaendra Rao and MR Sharan. 10. Last Among Equals : Power Caste And Politics In Bihar's Villages -- MR Sharan. 11. Lant Pritchett Is on Team Prosperity — Episode 379 of The Seen and the Unseen. 12. National Development Delivers: And How! And How? — Lant Pritchett. 13. The Perils of Partial Attribution: Let's All Play for Team Development — Lant Pritchett. 14. The Rising Price of Husbands: A Hedonic Analysis of Dowry Increases in Rural India -- Vijayendra Rao. 15. The Life and Times of Jerry Pinto — Episode 314 of The Seen and the Unseen. 16. Shephali Bhatt Is Searching for the Incredible -- Episode 391 of The Seen and the Unseen. 17. Jiddu Krishnamurti on Wikipedia, Britannica and Amazon. 18. Biju Rao listens to Jiddu Krishnamurthy. 19. Ben Hur -- William Wyler. 20. Trade, Institutions and Ethnic Tolerance: Evidence from South Asia -- Saumitra Jha. 21. Memories and Things — Episode 195 of The Seen and the Unseen (w Aanchal Malhotra). 22. Remnants of a Separation — Aanchal Malhotra. 23. Deliberative Democracy -- Jon Elster. 24. A Life in Indian Politics — Episode 149 of The Seen and the Unseen (w Jayaprakash Narayan). 25. Subhashish Bhadra on Our Dysfunctional State — Episode 333 of The Seen and the Unseen. 26. Caged Tiger: How Too Much Government Is Holding Indians Back — Subhashish Bhadra. 27. Urban Governance in India — Episode 31 of The Seen and the Unseen (w Shruti Rajagopalan). 28. Understanding Gandhi. Part 1: Mohandas — Episode 104 of The Seen and the Unseen (w Ram Guha). 29. Understanding Gandhi. Part 2: Mahatma — Episode 105 of The Seen and the Unseen (w Ram Guha). 30. Accelerating India's Development — Karthik Muralidharan. 31. The Added Value of Local Democracy -- Abhishek Arora, Siddharth George, Vijayendra Rao and MR Sharan. 32. Some memories of VKRV Rao -- Vijayendra Rao. 33. The Foundation Series — Isaac Asimov. 34. Lawrence of Arabia -- David Lean. 35. Gandhi -- Richard Attenborough. 36. The Story of My Experiments with Truth -- Mohandas Gandhi. 37. Bhagavad Gita on Wikipedia and Amazon. 38. KT Achaya on Amazon. 39. The Emergency: A Personal History — Coomi Kapoor. 40. My Varied Life in Management: A Short Memoir -- SL Rao. 41. The Incredible Curiosities of Mukulika Banerjee — Episode 276 of The Seen and the Unseen. 42. Ram Guha Writes a Letter to a Friend -- Episode 371 of The Seen and the Unseen. 43. Terror as a Bargaining Instrument : A Case Study of Dowry Violence in Rural India -- Francis Bloch and Vijayendra Rao. 44. Domestic Violence and Intra-Household Resource Allocation in Rural India: An Exercise in Participatory Econometrics -- Vijayendra Rao. 45. Immanuel Kant's Categorical Imperative. 46. Narrative Economics -- Robert J Shiller. 47. Culture and Public Action -- Edited by Vijayendra Rao and Michael Walton. 48. The Capacity to Aspire -- Arjun Appadurai. 49. Aspiration: The Agency of Becoming -- Agnes Callard. 50. Dominion: The Making of the Western Mind -- Tom Holland. 51. PV Sukhatme in EPW. 52. India Needs Decentralization -- Episode 47 of Everything if Everything. 53. Deliberative Inequality:  A Text-As-Data Study of India's Village Assemblies -- Ramya Parthasarathy, Vijayendra Rao and Nethra Palaniswamy. 54. A Method to Scale Up Interpretive Qualitative Analysis with An Application to Aspirations among Refugees and Hosts in Bangladesh -- Julian Ashwin, Vijayendra Rao, Monica Biradavolu, Aditya Chhabra, Afsana Khan, Arshia Haque and Nandini Krishnan. 55. Using Large-Language Models for Qualitative Analysis Can Introduce Serious Bias -- Julian Ashwin, Aditya Chhabra and Vijayendra Rao. 56. This Be The Verse — Philip Larkin. 57. Audacious Hope: An Archive of How Democracy is Being Saved in India -- Indrajit Roy. 58. Poverty and the Quest for Life -- Bhrigupati Singh. 59. Recasting Culture to Undo Gender: A Sociological Analysis of Jeevika in Rural Bihar, India -- Paromita Sanyal, Vijayendra Rao and Shruti Majumdar. 60. We Are Poor but So Many -- Ela Bhatt. 61. Premature Imitation and India's Flailing State — Shruti Rajagopalan & Alexander Tabarrok. 62. James Wolfensohn in Wikipedia and The World Bank. 63. Arati Kumar-Rao Took a One-Way Ticket -- Episode 383 of The Seen and the Unseen. 64. Marginlands: Indian Landscapes on the Brink — Arati Kumar-Rao. 65. Amitav Ghosh on Amazon. 66. Adam Smith: An Enlightened Life -- Nicholas Phillipson. 67. Elinor Ostrom on Amazon, Britannica, Wikipedia and EconLib. 68. Jane Mansbridge on Amazon, Wikipedia, and Google Scholar. 69. Albert O Hirschman on Amazon and Wikipedia. 70. Mughal-e-Azam -- K Asif. 71. Samskara -- Pattabhirama Reddy. 72. The Wire -- David Simon. 73. Deadwood -- David Milch. 74. Biju Rao on Democracy, Deliberation, and Development -- the Ideas of India podcast with Shruti Rajagopalan. Biju Rao's Specially curated music recommendations: 1. The Senior Dagar Brothers (Moinuddin & Aminuddin Dagar) performing (Komal Rishab) Asavari and Kamboji. 2. Raghunath Panigrahi performing Ashtapadi from the Geeta Govinda and Lalita Lavanga. 3. Amir Khan performing Lalit and Jog. 4. Vilayat Khan performing Sanjh Saravali and Hameer. 5. Ravi Shankar performing Jaijaiwanti and Tilak Shyam (full concert) and Durga. 6. Faiyaz Khan performing Raga Darbari and Raga Des. 7. N Rajam performing a full concert with Gorakh Kalyan, Sawani Barwa, Hamir, Malkauns. 8. Kumar Gandharva performing Tulsidas – Ek Darshan and Surdas – Ek Darshan. 9. Bhimsen Joshi performing Ragas Chhaya and Chhaya Malhar & Jo Bhaje Hari Ko Sada – Bhajan in Raga Bhairavi (original recording from 1960). The Jaipur-Atrauli Gharana: 1. Mallikarjun Mansur in a guided Listening Session by Irfan Zuberi, and performing Basanti Kedar and Tilak Kamod. 2. Kesarbai Kerkar performing Lalit and Bhairavi. 3. Moghubai Kurdikar performing Kedar and Suddha Nat. 4. Kishori Amonkar performing Bhimpalas and Bhoop(ali). 5. Some performances by Rajshekhar Mansur are linked in Biju Rao's piece on him. Karnatic Music: 1. TM Krishna performing Krishna Nee Begane Baaro, Yamuna Kalyani (Yaman Kalyan) and Nalinakanthi (closest Hindustani equivalent is Tilak Kamod). 2. MD Ramanathan performing Bhavayami – Raga Malika and Samaja Vara Gamana – Ragam Hindolam (Malkauns). 3. Aruna Sairam performing a full concert. 4. Madurai Mani Iyer performing Taaye Yoshade. 5. MS Subbulakshmi performing a full Concert from 1966 and Bhaja Govindam (Ragamalika). 6. TR Mahalingam performing Swara Raga Sudha – Shankarabharanam. Jugalbandis: 1. Ali Akbar Khan and Vilayat Khan performing Marwa. 2. Ali Akbar Khan and Ravi Shankar performing Jaijaiwanti. 3. N Rajam with her brother TN Krishnan performing Raga Hamsadhwani. Amit's newsletter is active again. Subscribe right away to The India Uncut Newsletter! It's free! Amit Varma and Ajay Shah have launched a new video podcast. Check out Everything is Everything on YouTube. Check out Amit's online course, The Art of Clear Writing. Episode art: ‘The Iconoclast' by Simahina.

If you are a regular listener to the podcast, you'll know that I'm in the middle of a hiatus for the summer as I take time to focus on my writing project. During this time, we are airing some of our most impactful episodes that deserve a second act. Today's episode aired almost a year ago and features the sister duo from Samadhi Collective. They merge their varied interests and talents to create beautiful and inspiring Instagram content, always sharing their love for all things India. Join us!Samadhi Collective is an online space and community created by sisters Kamala and Jahnavi. The collective is dedicated to spirituality and self-growth through Sanskrit, Yoga Sutra recitation, mantra, philosophy, art, and music. Their sessions and courses are rooted in authentic ancient philosophies and spiritual practices, which they share with clarity, simplicity, and depth. The sisters spent a large part of their childhood and teenage years in the Himalayan foothills of Rishikesh and have lived for more than ten years in India. Being influenced by Indian philosophy and culture since birth, they have cultivated practices such as meditation, Yogasana, Ayurvedic lifestyle, and Hindustani classical music. Kamala and Jahnavi are currently based between India and Nepal, where they have lived for the past two years. In this episode, we discuss creating a business around your passions, the power of chanting, finding balance with social media, and more!**Please see Resources below for sign-up links for the Cosmic Business Lab and the Cosmic Business Mastermind. Show HighlightsThe sisters' deep connection to India and Indian cultureThe beginnings of Samadhi Collective as an online business during the COVID-19 pandemic and a beautiful merging of their interests and talentsMantra practice is the backbone of their business and an extension of their lifestyle.The beauty and meaning of the Sanskrit language in mantras, chanting, and musicChanting the Yoga Sutras completely embodies what Samadhi Collective is all about. (Hear an example!)Business CAN be a spiritual practice.Encouraging children in the Indian traditionsThe sisters' perspective on using social media without harming their practice, purpose, and presenceIndian culture illustrates the weaving together of all the different elements of life.The sisters' take on living in their purpose and their dharmaYour spiritual practice can include all parts of your life, as long as you are devoted and dedicated.Hear Kamala and Jahnavi's answers to rapid-fire questions about helpful advice, morning routines, and what they are reading/recommending.Resources:Connect with Samadhi Collective: Website and Instagram*Recommended books: Sad Vani: A Collection of the Teaching of Sri Anandamayi Ma by Atmananda, Autobiography of a Yogi by Paramahansa Yogananda, and The Unadorned Thread of Yoga by Salvatore ZambitoConnect with PaulaJoin the Cosmic Business Lab, my year-long container to help you build a business...

This episode is dedicated to paying tribute to the legend vocal maestro Vidushi Dr. Prabha Atre, who devoted her entire life for the enrichment of Hindustani classical music through music performances and her teachings.

Discover the remarkable journey of Manu Srivastava, a prominent figure in the Phoenix Valley known for his strict Hindustani classical music teaching style, Manu is the Chief Revenue Officer at White Fox, an anti-drone company. Unveiling his multifaceted identity, Manu is also the founder of Phoenix Gharana and channels his passion for bodybuilding. In this special Pride Month episode, we delve into Manu's courageous narrative of embracing his true self as a gay human. From poignant childhood anecdotes to the inner struggles of self-discovery and the complexities of coming out, Manu candidly shares his transformative experiences. Hailing from a conservative Indian background and navigating his formative years in Canada, he sheds light on the arduous yet enlightening path towards self-acceptance. Supported unwaveringly by his ex-wife and son, Manu navigated the dissolution of his marriage to eventually find love and companionship with Adam, his life partner whom he married in 2023. Through compelling storytelling, Manu challenges societal norms, explores impactful parenting approaches, and advocates for LGBTQ rights with fervor on social media. Join us in commemorating Pride Month 2024 as we amplify Manu Srivastava's voice, stand in solidarity with the LGBTQ community, and champion inclusivity and acceptance., don't forget to check out Manu's instagram account for more of his stories on the topics we discussed. Other Soul in the Game episodes on: Spotify: https://open.spotify.com/show/0Ujrnj4DwVPBFc6ROaOekN YouTube: https://youtu.be/w9lnDhDr-hg Disclaimer: This podcast is for informational purposes only and should not be considered as legal or health or professional advice. --- Send in a voice message: https://podcasters.spotify.com/pod/show/soulinthegame/message

In this episode of One Symphony, Juhi Bansal discusses her diverse cultural influences, from Hindustani classical to Western styles, and how she weaves them together to create powerful narratives through sound. Bansal delves into the inspiration behind several of her striking works, including "Songs From the Deep," "Waves of Change," and "Aurora," which explore themes of women's resilience, environmental conservation, and the beauty of natural phenomena. Bansal also reflects on the role of artists in driving change and her personal growth as a composer over the past 15 years. Join us for an engaging conversation that celebrates the power of music to create narratives that combine spirituality and nature. Thank you for joining us on One Symphony. Thanks to Juhi Bansal for sharing her music and stories. You can find more info at https://juhibansal.com. Juhi Bansal composed all music featured in this episode. Songs from the Deep commissioned by the Oregon Mozart Players for the 2022 Sound Investment Commission. Waves of Change (music, surfing and identity) inspired by the Bangladesh Girls Surf Club in Cox's Bazaar region of Bangladesh. Performed by Ranjana Ghatak. Featuring Kathryn Shuman singing soprano and Timothy Loo on cello. Flash, Glimmer, Glow, Spark. Performed by the Dusseldorf Symphony. Aurora (for SATB chorus). Performed by the LA Choral Lab. Featured soloists are Kathryn Shuman, Molly Pease, Rothan Ramanan, and Zachary Zaret. Love, Lose, Exile for Soprano, Cello, and Piano. Featuring Abigail Sinclair on soprano, Yu-Hsin Teng on piano, and Evan Kahn on piano. Wings for Violin, Cello, and Piano. Performed by Pasha Tseitlin on violin, David Meyer on cello, and Nic Gerpe on piano. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

In the last episode of season 4 of the True Fiction Project, I am honored to welcome the amazing Anand Thakore. I've known Anand since we were in school together, and it has been incredible to see his journey and learn of his success as an Anglophone Poet and Hindustani Classical Musician. During this episode we reminisce on some of our school experiences and share stories. Then we dive in to learn what Anand is up to now, while he shares his latest projects. We hear an excerpt of music and a poem from Deepankar Khiwani, titled Cathedral. Anand shares his experience working with Deepankar and how their work together inspired him to start writing poetry again. The episode goes on to include three original pieces by Anand Thakore titled Sea Link, My Place and Mughal Sequence. Tune in for this entertaining episode!  IN THIS EPISODE: [2:28] Anand shares about his journey with Sanskrit.  [4:03] What was Anand's journey with music and poetry?  [9:49] What is the style of contemporary Indian writing?  [10:50] Anand shares his story about the creation of the Mughal Sequence.  [13:50] What is the backstory behind some of his latest pieces? [16:30] How do poets utilize characters in their poetry?  [18:42] Anand talks about the work he's done with Deepankar Khivani.  [21:23] Anand shares the song and poem Cathedral by Deepankar Khivani.  [22:51] We hear the poem Sea Link, by Anand Thakore.  [25:09] We hear the poem My Place, by Anand Thakore [26:24] Why was Anand feeling like a sock puppet?  [29:01] Anand shares more about the poem Mughal Sequence and then we hear an excerpt from it. KEY TAKEAWAYS: [12:51] Anand wants the American audience to understand that they are a trans culture, multicultural, multilingual people. Their themes are Indian, their language is English, their music can be Indian, they can also experience Western music in great depth. [14:49] Anand feels that poetry really has to embrace the moment and be very short and brief and make its statement in a short space.  [16:32] Sometimes poets reveal themselves when they are pretending to be someone else.    Fiction Credits:  Poems below written and narrated by: Anand ThakoreSea Link My PlaceMughal SequenceCathedral Poem: Written by Deepankar Khiwani and narrated by Anand Thakore The Cathedral & John Connon School Anand's song at end of episode: Pt. Anand Thakore - Kabir Bhajan-Kuan thagva nagariya lutal ho (Juhu Hamara Festival Kaifi Azmi Park 2019)Anand's other works and information:De Kooning's Smile: Collected PoemsIn Praise of BoneElephant BathingSeven Deaths and Four ScrollsSelected Poems-1992-2012youtube interview and reading at book launchAnand Thakore introduces you to 'In Praise of Bone' ( video)_THE-KOH-I-NOOR, Poetry International , Anand ThakoreBIO: Born in Mumbai in 1971, Anand Thakore grew up in India and in the United Kingdom. He has spent most of his life in Mumbai. His published collections of poetry include In Praise of Bone (2023), Waking In December (2001), Elephant Bathing (2012), Mughal Sequence (2012), and Seven Deaths and Four Scrolls (2017). A Hindustani classical vocalist by training, he has devoted much of his life to the study, performance, composition and teaching of Hindustani vocal music. He received musical instruction for many years from Ustad Aslam Khan, Pandit Baban Haldankar and Pandit Satyasheel Deshpande. He is the founder of Harbour Line, a publishing collective, and of Kshitij, an interactive forum for musicians. He holds an MA in English Literature and is the recipient of grants from The Ministry of Human Resource Development and The Charles Wallace India Trust. He lives in Mumbai and divides his time between writing, performances, and teaching music. His fourth collection of verse, entitled Seven Deaths and Four Scrolls, was recently shortlisted for The Jayadeva National Poetry Award. Anand Thakore's Facebook  Anand Thakore's Website  Poetry International Website  Support this podcast at — https://redcircle.com/true-fiction-project/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Secretary General of the Human Rights Commission of Pakistan Harris Khalique comes on The Pakistan Experience to discuss Art, Power, Poetry, Misogyny, Education, Zia-ul-Haq, Language, Politics, PTI, Aesthetics, Memories of Karachi, I.A. Rehman and More. Harris Khalique is a Pakistani poet in Urdu, English and Punjabi. Khalique has authored ten collections of poetry and two books of non-fiction. In March 2018, he received the Presidential Pride of Performance Award from the state of Pakistan as an acknowledgement of his contributions to poetry.He is also the author of Crimson Papers (2017), a book of essays on the political and social history of Pakistan. Khalique has participated in labor, women, and minority rights movements and has published papers and spoken at conferences on South Asian history and culture, politics, and issues around human rights and international development. The Pakistan Experience is an independently produced podcast looking to tell stories about Pakistan through conversations. Please consider supporting us on Patreon: https://www.patreon.com/thepakistanexperience To support the channel: Jazzcash/Easypaisa - 0325 -2982912 Patreon.com/thepakistanexperience And Please stay in touch: https://twitter.com/ThePakistanExp1 https://www.facebook.com/thepakistanexperience https://instagram.com/thepakistanexpeperience The podcast is hosted by comedian and writer, Shehzad Ghias Shaikh. Shehzad is a Fulbright scholar with a Masters in Theatre from Brooklyn College. He is also one of the foremost Stand-up comedians in Pakistan and frequently writes for numerous publications. Instagram.com/shehzadghiasshaikh Facebook.com/Shehzadghias/ Twitter.com/shehzad89 Chapters: 0:00 Introduction 1:30 Vulgarity, Art and Aesthetics 6:30 Misogyny, Social Subversion and Power 14:00 Education, Zia-ul-Haq and Polarization 30:00 Urdu, Hindustani and Colonialism 44:00 Colonialism, India and Sanskrit History 56:00 Sindh, Karachi and Heroes in Pakistan 1:06:00 Memories of Karachi 1:15:24 I.A. Rehman 1:19:40 Audience Questions 1:36:00 Poetry

Dot Allison, Andy Bell, Bishi and Charlotte Kemp Muhl discuss AI in music, the importance of music in education and finding your own creative voice.Dot Allison is a singer-songwriter and composer whose work has included film and TV scores such as Black Death, Triangle, The Devil's Double and Henry: Mind of a Tyrant. She began her career in Edinburgh in the early 90s with the band Dove/One Dove, before releasing her debut solo album Afterglow a decade later. She has since worked with artists including Massive Attack, Kevin Shields, Hal David, Paul Weller, Pete Doherty and Darren Emerson. In 2023 she released Consciousology, an album that provides an imagined voice of a conscious universe expressed through music. Andy Bell is a musician, producer and DJ hailing from Cardiff. He started his career in Oxford in 1988 as one of two vocalists and guitarists of the band Ride, helping pioneer the genre of shoegaze. He went to play in Oasis and Hurricane #1. His production work includes projects with The Kynd and the Swedish band Weeping Willows. In 2023, he joined the supergroup Mantra of the Cosmos along with Shaun Ryder, Zak Starkey and Bez. He also worked with Dot Allison on her album Consciousology last year. Bishi is a singer-songwriter, multi-instrumentalist, multimedia performer, producer, composer and DJ. Born in London with Bengali heritage, she has been trained in both Hindustani and Western classical styles and studied the sitar under Gaurav Mazumdar, a senior disciple of Ravi Shankar. She has released three albums independently on her own label Gryphon Records. Her third album, Let My Country Awake, released in 2021, is a musical setting of a work by Bengali poet and social reformer Rabindranath Tagore. She is the artistic director and co-founder of WITCiH (‘The Women in Technology Creative Industries Hub'), a platform increasing the visibility of women at the intersection of music, creative technology and STEM. Charlotte Kemp Muhl is a singer-songwriter, writer, model, actress, director, Chimera label co-founder and multi-instrumentalist. She formed the band The Ghost of a Sabre Tooth Tiger in 2008 with her partner Sean Ono Lennon, best known for their 2014 album Midnight Sun. In 2009 she co-founded the label Chimera with Lennon and Yuka Honda. She later formed the group UNI and The Urchins in 2017 alongside Jack James Busa and David Strange, releasing last year the project Simulations.

Ep #172 with Payton MacDonald, marimba player and composer Payton MacDonald plays the marimba in many ways and with many groups. He uses different preparations to change the sound. He also is deeply into Hindustani music and is a singer of Hindustani music. A Worldsoul Records production derrikjordan.com Facebook: https://www.facebook.com/100063982602329/videos/1120646992451122 YouTube: https://www.youtube.com/watch?v=uyCI0SN1qB8 Soundcloud: https://soundcloud.com/hilljoy/ep-172-payton-macdonald-marimba-player-and-composer

This week on ‘Has It Aged Well?' we're talking about matters of the heart, by which we mean we're talking about Aziz Mirza's 2000 film ‘Phir Bhi Dil Hai Hindustani' starring Shahrukh Khan and Juhi Chawla. To talk about this film with Abbas and Urjita we have in the studio comedian and writer Gursimran Khamba. Topics discussed include: Does the satire of this film hold up? The premonition of seeing the news anchor as the star, Juhi Chawla's comic timing, the moral dilemma at the core of the film, an extensive discussion on cat-eyed people and background extras and a lot more. You can follow Khamba here for updates on his tour: https://www.instagram.com/gursimrankhamba?igsh=MTJ1d2sxd3NndW1sag==  Follow Abbas here: https://www.instagram.com/abbasmomin88/  Follow Urjita here: https://www.instagram.com/urjitawani/  Get early access to ‘Has It Aged Well' episodes only on Amazon Music. Subscribe to our feed now: https://bit.ly/48VfMUE  Follow IVM Pop on Instagram: https://www.instagram.com/ivmpop/  Subscribe to IVM Pop on Youtube: https://www.youtube.com/@IVMPop See omnystudio.com/listener for privacy information.

In this podcast, Kushal speaks with veteran Canadian activist and media personality Tahir Gora about his recent work, "Pakistan mein ek Hindustani." This podcast is about Tahir Gora's quest for his identity crisis and how he deals with being an Indian, despite the fact that he was born and raised in Lahore, Pakistan. Follow Tahir: Twitter: @TahirGora Twitter: @TAGTVCANADA Website: https://tahirgora.com/ YouTube: https://www.youtube.com/@TAGTVCanadaUSA #Pakistan #ImranKhan #Islamism ------------------------------------------------------------ Listen to the podcasts on: SoundCloud: https://soundcloud.com/kushal-mehra-99891819 Spotify: https://open.spotify.com/show/1rVcDV3upgVurMVW1wwoBp Apple Podcasts: https://podcasts.apple.com/us/podcast/the-c%C4%81rv%C4%81ka-podcast/id1445348369 Stitcher: https://www.stitcher.com/show/the-carvaka-podcast ------------------------------------------------------------ Support The Cārvāka Podcast: Become a Member on YouTube: https://www.youtube.com/channel/UCKPx... Become a Member on Fanmo: https://fanmo.in/the_carvaka_podcast Become a Member on Patreon: https://www.patreon.com/carvaka UPI: kushalmehra@icici To buy The Carvaka Podcast Exclusive Merch please visit: http://kushalmehra.com/shop ------------------------------------------------------------ Follow Kushal: Twitter: https://twitter.com/kushal_mehra?ref_... Facebook: https://www.facebook.com/KushalMehraO... Instagram: https://www.instagram.com/thecarvakap... Koo: https://www.kooapp.com/profile/kushal... Inquiries: https://kushalmehra.com/ Feedback: kushalmehra81@gmail.com Want to create live streams like this? Check out StreamYard: https://streamyard.com/pal/d/5690506426187776

Follow us on Instagram or Tik Tok and leave a comment and we might send you some Khandaan Merch! Welcome to Khandaan: A Bollywood Podcast where this week we dive head first into nostalgia with RAJA HINDUSTANI (1996) — and immediately regret it.  Directed by Dharmesh Darshan, this loose remake of Jab Jab Phool Khile (1965) stars Aamir Khan, Karisma Kapoor and what we now recognise as regulars in the Darshan Bros universe, each playing a character that gets worse with every passing minute. Join us as we exorcise our trauma. Shownotes: Dharmesh Darshan Interview answering the questions who would play Raja today is here  Bollywood Hungama Interview  Our Tiger series retrospective is now available as a Patreon exclusive. Subscribe for 1$ to get access! Ek Tha Tiger Tiger Zinda Hai Follow us on Socials: Amrita, Sujoy, Asim YouTube, Facebook, Instagram, Tik Tok Sujoy's Instagram  Amrita's YouTube Book Channel- Amrita By The Book You can listen to Khandaan- A Bollywood Podcast episodes on the following apps: Apple Podcast Spotify Jio Saavn Deezer Audible Amazon Music Omny iHeart  

THE ARWEN LEWIS SHOW - Featuring Reewa - Singer-Songwriter, Pianist, International Pop Star "I've Always Wanted to Leave My Footprints in The Sands of Time" Reewa is a multi-talented artist who has mastered Western, Carnatic, and Hindustani vocals. She plays classical piano. Reewa is an award-winning songwriter and collaborator. Her compositions have been chosen by DJ Ravin to feature on the world-renowned lounge music label ‘Buddha Bar' in Paris. One of her tracks ‘Love and Desire' was selected in the 16 Greatest Hits of Buddha Bar. Her debut single "Maula (One Above)" received the Pepsi Mirchi Music Award for the Best Independent Song Of The Year. Reewa has also featured in a music video alongside Kenny G representing India- Reewa sang in Chinese. Reewa says… “In India, stars are not made, they are born. Music is not a business, it's a way of life. The respect for music as one of the highest art forms reflects in the training that musicians put into their musical studies.” Find Reewa! On Instagram: @reewarathod On Facebook: www.facebook.com/RathodReewa Subscribe on YouTube -www.youtube.com/@ReewaRathod555 The Arwen Lewis Show Host | Arwen Lewis Executive Producer | Jeremiah D. Higgins Producer - Sound Engineer - Richard “Dr. D” Dugan https://arwenlewismusic.com/ The Arwen Lewis Show is Brought to you by John DeNicola and Omad Records https://www.omadrecords.com/ On Instagram, Follow Arwen Lewis Here: @thearwenlewisshow @arwenlewis www.thejeremiahshow.com On Instagram @jeremiahdhiggins https://linktr.ee/jeremiahdhiggins

Pt Om Parkash Thapar - Dhur De Rishte (85) - Punjabi Podcast with SangtarReleased November 24, 2023Pandit Om Parkash Thapar Ji is a highly regarded name in hindustani music. He has equal command of both Sitar and Vocal. He has trained many artists stemming from Jalandhar, Punjab.He himself has performed all over India in various venues and styles. He lost his eyesight in his childhood. However, he has never felt it was a disadvantage for him. He wanted to talk about it so that anyone with a disability may get inspired.Punjabi Podcast is available to listen to on YouTube, Spotify, and other podcast platforms.More at https://www.PunjabiPod.com - Thanks for supporting, sharing and following Punjabi Podcast.

THE JEREMIAH SHOW - Featuring Reewa Reewa is a multi-talented artist who has mastered Western, Carnatic, and Hindustani vocals. She plays classical piano. Reewa is an award-winning songwriter and collaborator. 
Her compositions have been chosen by DJ Ravin to feature on the world-renowned lounge music label ‘Buddha Bar' in Paris. One of her tracks ‘Love and Desire' was selected in the 16 Greatest Hits of Buddha Bar. Her debut single "Maula (One Above)" received the Pepsi Mirchi Music Award for the Best Independent Song Of The Year. Reewa has also featured in a music video alongside Kenny G representing India- Reewa sang in Chinese. Reewa says… “In India, stars are not made, they are born. Music is not a business, it's a way of life. The respect for music as one of the highest art forms reflects in the training that musicians put into their musical studies.” On Instagram: @reewarathod On facebook: https://www.facebook.com/RathodReewa Subscribe on YouTube -https://www.youtube.com/@ReewaRathod555

On this episode of Antioch MFA Program's LitCit, host Diana Hardy chats with guest Kavita Das. Kavita Das discusses writing for social change in her book Craft and Conscience: How to Write About Social Issues. Das explores the importance of representation and the barriers she faced while writing Poignant Song: The Life and Music of Lakshmi Shankar, the life story of Grammy-nominated Hindustani singer Lakshmi Shankar. This episode was produced by Michael Sedillo and mastered by Diana Hardy and Beth Dewey.

Contagion is a medical term, but it applies to the banking world, too. Investors are worried that the problems at a handful of American banks could ripple across the world economy and that unexpected surprises may be lurking. And, Ecuador finds a novel way to convert seized cocaine into cement. Also, the outgoing head of the UN's World Food Program, David Beasley, has long argued that growing global food insecurity should be addressed with structural solutions — not handouts. Beasley talks about how the world can adapt to the new, worrisome challenges hunger poses. Plus, the latest sounds from the innovator of the Hindustani slide guitar, Debashish Bhattacharya.