Podcasts about Indian

Esha Munshi co-founded the Feather Library, a digital library that collects and documents the feathers of Indian birds. Launched in 2021, the library has high-resolution photographs of more than 100 bird species. This library is open to everyone — whether you're a researcher, birdwatcher, conservationist, or an ordinary person who came across a feather.More info and transcript at BirdNote.org.Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Adam interviews James Russell, a PhD student and yoga teacher, about the origins and evolution of Surya Namaskar (Sun Salutation) and its connections to Indian wrestling and nationalism. They discuss the historical context of yoga practices, the significance of Shat Karma in Hatha Yoga, and the impact of physical culture on modern yoga. Russell shares insights from his research and fieldwork in India, highlighting the importance of traditional practices that are often overlooked in contemporary yoga. Support the Podcast: Buy us a coffee: https://www.buymeacoffee.com/infoRf James Shares ·       Surya Namaskar has origins that may date back to ancient prostrations. ·       The practice of yoga has evolved significantly over centuries. ·       James Russell's research connects yoga with Indian wrestling traditions. ·       The Raj of Aund played a crucial role in modernizing Surya Namaskar. ·       Shat Karma practices are essential in traditional Hatha Yoga. ·       Modern yoga often neglects the historical context of its practices. ·       Nationalism influenced the development of physical culture in India. ·       Yoga's evolution is a blend of various cultural influences. ·       Understanding yoga requires a deep dive into its historical roots. ·       The significance of traditional practices is often lost in contemporary yoga.       James Russell Instagram: @jamesrussellyoga Website: www.jamesrussellyoga.com Keen on Yoga Website: www.keenonyoga.com Instagram:  @keen_on_yoga | @adam_keen_ashtanga Retreats with Adam: https://www.keenonyoga.com/ashtanga-yoga-retreats Become a Patron: https://www.keenonyoga.com/patrons/ Linktree: https://linktr.ee/Keenonyoga    

Jess here. Sarina and I discuss audiobook narration this week and explain how narrators get hired, paid, and dish some inside baseball on audiobook production. Transcript Below!Your subscription = good podcast karma. Sign up now to support the Podcast!SPONSORSHIP MESSAGEHey, listeners, did you know that we review first pages sent in by supporters every month on the pod? It's just one more reason you should be supporting Hashtag AmWriting, which is always free for listeners and ad free too. Please note that we will never pitch you the latest in writer supplements or comfy clothes for lap-topping. The good news is we're open for First Page submissions right now. If you've got a work in progress and you'd like to submit the first page for consideration for a Booklabs First Pages episode, just hit the support button in the show notes and you'll get an email telling you all the details. Want to hear a Booklabs episode. Current ones are for supporters only but roll your pod player back to September 2024 and there they'll be.EPISODE TRANSCRIPTIs it recording? Now it's recording—yay. Go ahead. This is the part where I stare blankly at the microphone. I don't remember what I'm supposed to be doing. All right, let's start over. Awkward pause. I'm going to rustle some papers. Okay, now—one, two, three.Jess LaheyHey, welcome to the Hashtag AmWriting Podcast. I'm your host, Jess Lahey, and this is the podcast about getting all the words done, writing all the things, writing, short things, long things, proposals, queries, poetry, all the things. But today, Jess and Sarina are bringing you the book nerdery stuff, the best stuff. This is The Publishing Nerd Corner. I love this new segment. I'm super excited about it, but first, my name is Jess Lahey. I am the author of The Gift of Failure and The Addiction Inoculation. You can find my journalism out there various places, including The New York Times. And you can find my newsletter at jesslahey.substack.com.Sarina BowenAnd I'm Sarina Bowen, the author of many contemporary novels. My new one is called Thrown for a Loop, and it drops on November 4, and it also will be published that same day as an audio book.Jess LaheyWhoo so...Sarina BowenAnd that is what...Jess LaheyYeah, we're going to talk about audiobooks today, because Sarina knows so much about this—because she has to, like, hire her own narrator sometimes and stuff like that. All I know is, I narrated my own audiobook, and it was super fun, and I loved it. But we want to talk about all the aspects of how audiobooks work—all of it. There's lots of fun stuff to talk about. Where would you like to start, Sarina?Sarina BowenThat is a good question. So, most of the time, if you are selling your book to a big publisher, audio rights will be included in your contract, and your publisher is therefore responsible for making the audiobook. You might be consulted about the choice of narrators, and that audio will magically appear finished on your publication date. But if you are a self-published author, then the existence or not of your audiobook is completely under your control. Audio has been the shining star of publishing for the last decade in that it is the growth story. I'm not sure how that has worked the last couple of years, but audio was one of the only areas of traditional publishing that demonstrated double-digit growth for much of the last decade. A lot of that has to do with the popularity and availability of streaming as a way that people listen to these books. Obviously, the technology shift made a huge difference, but so did things like cellular networks that work well and buffer easily. So...Jess LaheyCan I add one little, tiny thing? There's been another reason that I think that audio has done so well, and that's the acceptance within the education world—thanks to researchers like, for example, Dan Willingham and other people who study the brain and how we process and learn—that audiobooks are reading. From a processing perspective, from a learning perspective, listening to audiobooks is reading, and anyone who is telling you otherwise is not looking at the science. And so, this has been an incredible way—when you look at kids, for example, neurodivergent kids, dyslexic kids, kids who need another way to take in the information. It used to be that audio was like, “Oh no, that's cheating,” and it is absolutely not cheating. So, I think that acceptance within the education world has been so great. And, you know, yes, it is a small part of the growth, but I do want to put that plug in there.Sarina BowenYeah. So, the way that, traditionally, audiobooks have been made is that a narrator goes into a booth and reads the book after having prepped it a bit in terms of maybe reading the whole book, maybe reading parts of the book, understanding what they're going to bring to the table. If it's fiction, then they'll be looking to see what are the major voices, because audio narrators change their delivery to indicate voices. And one thing that's interesting about the trend where we are in audio right now is that it's very trendy for a nonfiction author to read their own work if they're comfortable with it. That is widely done in nonfiction.Jess LaheyAnd it was one of my favorite parts of my process. And I have to say, nothing affected me more on an emotional level. I cried at the end of narrating both books. I had to pause at the very end—at the last couple, the last paragraph. It was such a moving experience for me to narrate my own book. And I have to say, it wasn't a slam dunk that they were going to let me do that. I, you know, I worked really hard to be able to do that, because for some people, that's just not their bag—it's not something that comes naturally to them. But it was, for me anyway, my favorite part of the process.Sarina BowenYeah, so if you had written a novel, though, we wouldn't be—Jess LaheyNo.Sarina Bowen—having that same conversation.Jess LaheyI'm not an actor. I don't have the chops for that.Sarina BowenWell, a lot of authors of novels don't understand this. It's not that they don't understand how their own book should sound and be delivered—it's that what they don't understand is that the way that novel audio sounds in 2025 is a specific trend in the way that readers want their books delivered. The books are very much acted. It wasn't always this way. There were times when audio really sounded more like somebody just reading—and that's okay. Like, there's lots of room for style in terms of the way that audio fiction works. But right now, the trend in audio fiction is very much a performance. And one way that you can see this—and it continues to expand as a trend—is the trend toward something called duet audio, which means, for example, in romance, if there's a male hero and a female heroine—and the way that most of my books work is that if the chapter is in the POV of a man, then the male narrator reads it. But of course, when he comes to a line of dialogue delivered in the heroine's voice, he softens his tone a bit to indicate that she's speaking, but he reads the whole chapter.Jess LaheyThey're always amazing—that's amazing to me when readers can do that. I mean, Davina Porter is the one that comes to mind—like, in the Outlander books, when she switches whose voice she's reading. She switches whose voice—it's down to the accent—and you don't for a second think, “Oh, that's the same person reading all of this.” And some of the narrators you use, Sarina, in your books—the same thing. My brain absolutely believes that I'm hearing a female voice versus a male voice. It's a really incredible talent.Sarina BowenYeah. In fact, if this is of interest to you, there is a book called Thank You for Listening by Julia Whelan.Jess LaheyIt's so good!Sarina BowenWho is one of the few who's been very successful as both an author and a narrator, and her book is a little bit of inside baseball about narrators. And it's a delight.Jess LaheyIt's fun. It's really fun.Sarina BowenOkay, so what I was just describing, though—where he reads a chapter and then she reads a chapter—we refer to that as dual narration (D-U-A-L). But there's a new trend called duet, whereby in the same book, he would read the chapter, but if there was a line of dialogue from a woman, the female narrator would read that line.Jess LaheyWhich is more similar to me in terms of how it feels with, like, ensemble narration. Like, for example, Lincoln in the Bardo had a full cast of many characters, and every part was someone different, and those actors would chime in with their parts. So, same—similar idea.Sarina BowenWell, sometimes, sometimes a “full cast” audiobook just means that there are lots of very short chapters or segments. But to have every single line of dialogue cut in is really different than just saying a book has a full cast.Jess LaheyThat's true. Actually, that's true.Sarina BowenSo the thing about duet specifically is that the engineering part of it—the post-production—is really expensive because the engineer has to cut together this script, and actually preparing the script is also a lot of work. So it's a pretty big deal to make a duet book. It's more expensive. The cost of making a one-POV narrator book or a dual book is between, let's say, $300 and $600 per finished hour.Jess LaheyWhat do you mean by that, Sarina?Sarina BowenSo, if you look at Audible right now, you can see the lengths of all of my audiobooks down to the minute. So it might say eight hours and thirty minutes. That means the finished length of that book is eight hours and thirty minutes. And the cost of making that book will be 8.5 times some number between $300 and $600. But if I did that book as duet, then it might be $1,000.Jess LaheyOkay, all right.Sarina BowenSo, every audiobook I've ever made cost between, like, three grand and seven grand. And if I were doing duet, then I would be hitting numbers more like $10,000.Jess LaheyAnd make no mistake—there are stars in the audiobook world who, like celebrities in films, can earn more per finished hour for their books. And that demand is really important because they have a vibe. There are fans of particular narrators who will listen to anything that narrator reads.Sarina BowenYeah, like my kids and I used to listen to audio narrated by Meryl Streep, and I'm sure she broke the curve for how much that cost per finished hour. But you should also know that the finished hour is not the same as how long it takes the narrator to do the job. So, if I'm paying a narrator $350 a finished hour, he is spending more time on that book, and his actual pay per hour is lower—like 150 bucks or whatever. It depends on his ratio of how fast he can narrate a book. And also, narrators' voices get tired. They can't narrate forty hours a week—although, actually, some of them probably do—but, you know, it's a hard job. So, if you're thinking, “I'm not going to pay someone $350 an hour to narrate my book,” you should know that it doesn't really work that way, and that really is the price for a reason.Jess LaheyAnd they're fun—just for some fun inside baseball things. Like, for both of my books, narration hours when we worked—our starting time in the morning was pushed up a little bit because no one wants to get an audiobook narrator right after they woke up. Your voice is not primed. Your voice has gunk in it. So, we would start later. You really could only go—you know, with my first book, I think we went until, like, three in the afternoon or something. You have to take a break for lunch, and then after you eat lunch, you get all these weird secretions, and it takes time to get back into it. There's just some weird stuff that I didn't count on—like it was better for me to be hungry (except then my stomach would make noises, which the microphones would pick up) than to stop and eat and have to get back in the groove. Because when you're in the groove, you kind of don't want to stop. There was just so much more to it than I ever anticipated. It was a blast, but it took me almost a whole week. We had scheduled five days for The Gift of Failure—it's like 78,000, 80,000 words, or something like that. We scheduled five full days; we ended up taking four. And I didn't have pickups for that book, but I did have pickups for The Addiction Inoculation. There was a lot more scientific language in that book that we had to do some pickups for. So, yeah, it's—Sarina BowenPickups means edit.Jess LaheyYeah. So, there were a couple days where I came in—and so I actually did The Addiction Inoculation during COVID. I was at a studio here locally in Vermont with my director, the producer of the audio in one ear of my headphones, and my producer from Harper in my other ear, in New York or wherever she was. We were working in a sound booth in Vermont. And, you know, in the evening, that producer would go over the audio and make sure that all of the words were pronounced correctly and everything was good. And then the next day, we would do pickups along with the new work as well.Sarina BowenRight. So, the editing that happens is really down to the word. Like, the engineer will sit there and, you know, go right into that space between the two words that you said and put the new thing in. And when a professional narrator is in the booth, they operate in a way that's called punch and roll, which means that they will stop when they make an error, go back—looking at that visual sine wave of the audio on their screen—find the pause between the words, go right to that spot, and then roll forward by hitting record again and then speaking the word that they meant to say.Jess LaheySome audiobook narrators use a clicker too. It's a way of being able to see on the wave where you, you know, might need to go back and figure something out.Sarina BowenYeah. So, um, there's a lot that goes into this. Humans make a lot of noises that we're trying not to hear. Like, some engineers will go in and dampen the breath sounds.Jess LaheyYeah. Yep.Sarina BowenYou know, they'll go in and take out the “heeeeh.”Jess LaheyActually, I had to change my clothes. My sweater was making too much noise. It turns out when I narrate, I use my arms a lot—so I actually had to learn how to narrate with my arms resting on the armrests but only using my lower arms. So, I look like the robot in Lost in Space with my little—my little—and also, my hair had to be up because my hair made noise too. And you can't wear jewelry, you know, like bracelets and things like that also make noise.Sarina BowenYep. And narrators all have stories like, “I can't eat Indian food before I narrate,” or “When I go in the booth after lunch, I strap pillows around my midsection.” Like all this stuff to make sure that the sound quality works. So, that brings us to a difficult topic in how audiobooks are made, which is that a lot of books are flooding the market with AI voices. And everybody's heard AI voices before—for example, if you've ever been on TikTok and you hear that weird, artificial female voice reading the—I don't even know how to explain it—but that's primarily why I never go on TikTok, because I cannot stand that artificial voice.Jess LaheyI listened to—I listened to an article yesterday with The New York Times that was AI-generated that was better than those awful TikTok voices, but still, you know—still AI.Sarina BowenYeah. So, I am not going to spend our time discussing whether those voices are good or not, but it has really gotten messy. At the beginning of AI narration, some platforms said, “No way, no how. We will never have one.” And then a lot of platforms suddenly allowed for it. So, there's lots of AI narration in the world, and it's causing real havoc, especially among people whose livelihoods are being affected by a drop in audio work. I really believe that the readers of my books care very much about the delivery, and it's hard for me to think that an AI voice could carry the kind of emotion that romance readers are looking for in an audiobook. So, I hope—I hope that audio listeners continue to demand quality, because it's a big deal.Jess LaheyAt least right now, your listeners—you know, they love Teddy Hamilton. Or, you know, there are audiobook narrators who are very specifically—people get excited when they see a particular narrator's voice attached to your work. And I think—and again, in Thank You for Listening, there's that good—she goes into great detail on that whole inside baseball of narrator fans. And like, Teddy Hamilton has fans—has a fan base. And I hope that persists, because I think there's real value in that. I hope there's real value in that, and I hope people continue to value it.Sarina BowenYeah, and I don't think that's going away anytime soon. People really aren't clamoring to see AI Meryl Streep on the screen at the movies—and, you know, paying a movie ticket price for that. And I believe that in narration land, yeah, it's the people coming up that will suffer the most—the newer narrators who don't have a fan base yet and are struggling to get work. So, yeah—anyway, that is one thing. And we could talk about how to get your book done in AI production now, but I think we won't, because...Jess LaheyYeah.Sarina BowenBecause that's, you know, not—you can figure that out yourself if that's interesting to you. But, um, I believe that humans are still the way to go here.Jess LaheyThere was an interesting note. So, when I said that I worked really hard to get the chops to narrate my own audiobook—I mean, I went to go work for Vermont Public Radio. I recorded these commentaries. And these commentaries that my producer taught me how to record—there was a really interesting note she gave me, which is that these commentaries are really short, like just a couple of minutes—less than three minutes. And one of the things she taught me is that when I'm reading these commentaries, if at the end I look up at my producer and smile and make eye contact with my producer that it makes the narrator be even more connected to the listener. And she's absolutely right. You could hear a difference in the commentary when I was making eye contact with my producer, and I find that fascinating and intangible and magic. There is a magic in that that I hope we do not lose with AI.Sarina BowenYes, absolutely—and that is a fantastic place to close this episode.Jess LaheyAbsolutely.Sarina BowenLet's not lose that magic.Jess LaheyIf there are things you would like us to talk about when it comes to the nerdery of publishing—in the Publishing Nerd Corner—if you're a huge fan of publishing nerdery, I also would love to recommend that you go over and follow Jane Friedman immediately, because she is such a great writer about the nerdery stuff in publishing. But we will continue to talk about it. If there are things you would like to know about, please let us know.But until next week, keep your butt in the chair and your head in the game.NarratorThe Hashtag AmWriting Podcast is produced by Andrew Perrella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output—because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Auto-generated transcript: I’m back again in my favorite place in Hyderabad, KBR Park. And as I’m walking, I’m hearing the bulbul calls. All kinds of names it has, Indian nightingale, also they call it and so on. I don’t know what it is. It’s a bulbul. And whenever I think about these zoological names, and… Continue reading See with our nose

Asia correspondent Adam Hancock spoke to Lisa Owen about Indian authorities continuing to investigate a car explosion that killed eight people in the capital Delhi, as well as so-called "tea bag drugs" washing up on a South Korean Island.

Longest running radio show and top 25% desi podcast on Spotify. This episode is a specisl tribute to Yash Raj Chopra. Show is hosted by the top rated Indian host Sameer Khera from San Francisco CA USA

"Some call them ghosts but I look at them more as energies that coexist with us. In many ways, like the Buddhist and other Indian philosophies say, we are on a continuum of Time and many souls can go back and forth, in some sense. While you never really get used to it (ghosts and supernatural elements), you get used to the fact that not everything is ordinary. I have very acute hearing and maybe that's why I am able to hear a frequency that's somewhat different from everyone else. It's more animal-like, perhaps. Places absorb energies at different points and then it's a question of how do you deal with it? Do you deal with it by getting an exorcist and thinking this is not right or do you deal with it by thinking that they are there and we are here and we all coexist and it's okay - that's a liberal sensibility. We may not understand it as we don't understand other dimensions but it's not that they don't exist because we can't scientifically prove it. You can make much drama or you can accept it and say we don't know everything about the way the world works, which we don't." - Sanjoy K Roy, author, There's a Ghost in my Room; Living with the Supernatural talks to Manjula Narayan about encountering disembodied spirits and ectoplasm and experiencing ESP and paranormal activity in places as far apart as Spain, Delhi, Jerusalem and New York.   Learn more about your ad choices. Visit megaphone.fm/adchoices

From the BBC World Service: India's government has approved a $5 billion credit line to support its struggling exporters, as Indian workers across sectors like textiles, jewelry, and seafood face major potential job losses. Then, attendees of COP30 are hoping for a U.N.-backed deal to impose a levy on emissions for large ships. Research also presented at the climate summit warns that global carbon emissions from coal, oil, and gas are set to reach a record high in 2025.

From the BBC World Service: India's government has approved a $5 billion credit line to support its struggling exporters, as Indian workers across sectors like textiles, jewelry, and seafood face major potential job losses. Then, attendees of COP30 are hoping for a U.N.-backed deal to impose a levy on emissions for large ships. Research also presented at the climate summit warns that global carbon emissions from coal, oil, and gas are set to reach a record high in 2025.

Author and Ayurvedic practitioner Heather Grzych explores the tragic and complex history of the swastika — a sacred symbol of well-being and auspiciousness in Indian traditions that was later twisted by the Nazis into one of the most feared emblems of hatred in modern history. Heather traces how the symbol's meaning shifted as it crossed cultural and historical boundaries, reflecting on how words and images can be deliberately or unconsciously transformed over time. Drawing from her background in Ayurveda, as a writer, and her personal experience as an American mother of child from a Jewish lineage, she asks whether a symbol can ever be healed, and how awareness, empathy, and communication might help us reconnect to the body of meaning beneath the wounds of history. Heather Grzych, ADLC is an American author and expert in Ayurvedic medicine who was formerly the president of the National Ayurvedic Medical Association and the head of product development for a multi-billion-dollar health insurance company. Heather's first book, The Ayurvedic Guide to Fertility, has sold thousands of copies worldwide, and her writing has been featured in Sports Illustrated, Yoga Journal, and the Sunday Independent. Her podcast, Wisdom of the Body, holds an average rating of 5 stars on Apple Podcasts and is in the top 2.5% of podcasts globally.  Connect with Heather: Learn more at www.heathergrzych.com   Instagram.com/heathergrzych Facebook.com/grzychheather   Read the first six pages of The Ayurvedic Guide to Fertility for FREE: https://www.heathergrzych.com   Connect with Heather to balance your health with Ayurveda: https://www.heathergrzych.com/book-online

Episode 47 - Explore Ayurveda and Indian spices - their profound impact on health, medicine and how they shaped global trade and the course of human history. A fascinating journey through ancient wisdom and culture. Disclaimer: Please note that all information and content on the UK Health Radio Network, all its radio broadcasts and podcasts are provided by the authors, producers, presenters and companies themselves and is only intended as additional information to your general knowledge. As a service to our listeners/readers our programs/content are for general information and entertainment only.  The UK Health Radio Network does not recommend, endorse, or object to the views, products or topics expressed or discussed by show hosts or their guests, authors and interviewees.  We suggest you always consult with your own professional – personal, medical, financial or legal advisor. So please do not delay or disregard any professional – personal, medical, financial or legal advice received due to something you have heard or read on the UK Health Radio Network.

Master violinist/vocalist/composer L. Shankar (aka Shenkar) has spent the past four decades developing a personal style that ranges from strict Indian classical music to Western instrumental pop although usually he lands somewhere in the middle. Since playing his first solo concert at the age of seven, he has gone on to accompany many of South India's leading vocalists and become a major soloist. Schooled in voice, violin, and the drums, he has composed new ragas and folk songs, and played with countless other master musicians. In the 1970s, with John McLaughlin, Zakir Hussain, Vikku Vinayakram, and Ramnad Raghavan, he co-founded the legendary Indo-jazz group Shakti. In the 1980s, he introduced a custom-made 10-string double violin capable of covering the whole range of the orchestra's string section from violin to double bass. He has collaborated with Frank Zappa and Peter Gabriel and has continued to expand the international audience for Indian music, often combining North Indian (Hindustani) and South Indian (Carnatic) styles, (Robert Browning Associates program notes, 2022). L. Shankar performs original works, in-studio.Set list: 1. Ananda Nadamadum Tillaj Sankara 2. Ganapathiye Varuvaai  3. Shamudu

In today's episode, I'm pleased to welcome mother–son cookbook author team Jyoti and Auyon Mukharji, authors of Heartland Masala: An Indian Cookbook from an American Kitchen. Before we dive in: If you are ready to start your own cookbook project with clarity and direction, The Creative Cookbook Blueprint is available for a few more days. This resource provides a structured path to begin organizing your recipes, shaping your stories, and moving toward a publishable cookbook. Details are linked in the show notes section below. Heartland Masala is a vibrant, richly illustrated celebration of Indian home cooking, written from the heart of the American Midwest. Rooted in both tradition and diaspora, the book blends recipes from Punjab, Bengal, and throughout India with the lived experience of a family that has called Kansas City home for decades. In this conversation, we explore: Inspiration — How Heartland Masala was born from years of Joyti teaching, family heritage, and the desire to preserve Indian home cooking in a Midwestern context. Process — Their collaborative mother–son workflow, recipe testing, adapting regional dishes, and shaping the book's structure. Storytelling — Why they included essays, cultural notes, culinary history, memories, and narrative elements to deepen the reader's connection to Indian food. Legacy & Impact — What they learned from writing across generations and what they hope the book will contribute to readers, family, and culture. The book features beloved classics such as Saag Paneer and Vindaloo, lesser-known gems like Bengali Murgh Rezala and Anglo-Indian Spiced Liver Toast, as well as inventive new creations, including Masala Brussels Sprouts and Spiced Watermelon. Jyoti and Auyon even include a handful of cocktail recipes, adding a playful touch to the collection. Their work is a testament to the richness of Indian cuisine, the power of family collaboration, and the vibrant interplay between heritage and place. Things We Mention in This Episode: The Creative Cookbook Blueprint Heartland Masala HQ on Substack

In Future of the Forest: Struggles over Land and Law in India (Cornell UP, 2025), Anand P. Vaidya tells the story of the making and unmaking of India's Forest Rights Act 2006, a law enacted to secure the largest redistribution of property in independent India by recognising the tenure and use rights of millions of landless forest dwellers. Beginning with the devastating destruction of a north Indian village Vaidya calls Ramnagar, inhabited by landless Dalits and Adivasis, the book follows the interventions of activists, forest dwelling communities, political parties, and corporations during the drafting of the law and traces how each of these coalitions shapes the law's implementation. Vaidya shows how this ambitious law became a battleground of competing legal potentialities — at once a tool of exclusion, dividing forest dwellers along caste and class lines, and yet a platform for resistance, enabling forest dwellers to challenge State domination. A multi-scalar study, Future of the Forest is attentive to the everyday politics of staking a forest rights claim, revealing how the law opens space for fluid (and often extralegal) interpretations, shifting political authority, and diverging aspirations. Anand Vaidya is Associate Professor of Anthropology at Reed College. Raghavi Viswanath is a postdoctoral researcher and teaching fellow at SOAS, University of London. Her research, supported by the Leverhulme Trust, examines how pastoralists claim grazing rights under India's Forest Rights Act 2006 and how the everyday processes of staking such claims has been impacted by the authoritarian turn in India. LinkedIn. Email: rv13@soas.ac.uk Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

From a small town in southern India Chikodi, where “we slept on the floor,” Shri Thanedar's story moves from caste system expectations he rejected to a life built on duty — “I worked as a janitor at 14 and gave my pay to my mother.” He traces the thread of Indian culture that raised him: reverence for education (“public school and university were free — that investment lifted me”), family obligation (sending $75 of his $300 stipend home each month during grad school), and the ethic of care that shaped his first career as a health chemical physicist—“my job was protecting workers who can't see from a danger you can't see.” Eventually building a business in America and rebuilding it after the Great recession. He speaks tenderly of grief — losing his first wife to mental illness — and the policy it birthed: “put counselors in every school; fund mental health like lives depend on it, because they do.” Detroit, he says, recognized the familiar grind: “Detroit chose me because I've struggled too.” This episode threads his India-to-America-to-Detroit journey through immigration, caste, class, and kinship, and lands on a future where policy matches the love that raised him — safe work, and strong accessible education for everyone. Detroit is Different is a podcast hosted by Khary Frazier covering people adding to the culture of an American Classic city. Visit www.detroitisdifferent.com to hear, see and experience more of what makes Detroit different. Follow, like, share, and subscribe to the Podcast on iTunes, Google Play, and Sticher. Comment, suggest and connect with the podcast by emailing info@detroitisdifferent.com

Questions? Comments? Text Us!In this deeply moving episode of God: An Autobiography, The Podcast, philosopher Richard Oxenberg—co-author of Two Philosophers Wrestle With God—shares his full spiritual story for the first time.His journey begins with childhood tragedy: witnessing the sudden death of his seven-year-old sister. The shock shattered his early understanding of God, safety, and reality. From that moment, Richard became a lifelong seeker.He describes moving through secular Judaism, atheism, and years of intellectual searching. Zen Buddhism, Hindu philosophy, and the symbolic theology of Paul Tillich each opened new doors, yet none fulfilled his deeper longing for spiritual connection.Everything changed when he encountered an Indian guru and experienced overwhelming energetic phenomena—experiences that were both exhilarating and terrifying. This crisis pushed him toward Christianity, where a transformative encounter at a monastery in Conyers, Georgia offered unexpected peace.Richard speaks honestly about trauma, mystical experience, fear, grace, and the long struggle to discern truth. He explores the difference between understanding God intellectually and encountering the divine directly.Through reflections on samsara, the ground of being, baptism, communion, and the “peace that passeth understanding,” Richard reveals how faith finally took shape in him as trust in the ultimate goodness of reality.This episode is a profound look at doubt, longing, spiritual awakening, and the human search for meaning—and at a God who meets us through every question.Other Series:The podcast began with the Dramatic Adaptation of the book and now has several series:The Life Wisdom Project – Spiritual insights on living a wiser, more meaningful life.From God to Jerry to You – Divine messages and breakthroughs for seekers.Two Philosophers Wrestle With God – A dialogue on God, truth, and reason.Jerry & Abigail: An Intimate Dialogue – Love, faith, and divine presence in partnership.What's Your Spiritual Story – Real stories of people changed by encounters with God.What's On Our Mind – Reflections from Jerry and Scott on recent episodes.What's On Your Mind – Listener questions, divine answers, and open dialogue. Stay ConnectedShare your thoughts or questions at questions@godandautobiography.com

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.

"Antim Batti" (The Last Light) is an Indian horror story set on a lonely road between Delhi and Haryana. A photographer named Saurabh finds himself stranded near a deserted village and encounters a mysterious tea stall owner who warns him not to go near the flickering streetlight. But when Saurabh discovers that the man — and even the tea stall — are long dead, he realizes he has stepped into a loop where the dead never leave. The chilling twist reveals that Saurabh had died there years ago, and the “last light” he keeps chasing is the one that leads souls into the dark.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Bruce McIvor has written a new book that should become essential reading for Canadians who want to advance reconciliation. Indigenous Rights in One Minute gives clear and concise answers to questions like who qualifies as Métis and what the Doctrine of Discovery is. Bruce McIvor is the founder and senior partner at First Peoples Law and an adjunct professor at the University of British Columbia's Allard School of Law. He is a member of the Manitoba Métis Federation.

Doug Wood is a West Virginia living historian portraying the life of the eastern woodland American Indians. After a reading about bear hunting & raccoon trapping with Mohawks in 1755, Doug describes how a historical trail project mixed with his own Cherokee ancestry got him interested in representing the lives of the various woodland Indians of the 18th-century. We begin on captive-taking practices and West Virginia being abandoned by the time of European arrival, yet remaining as a hunting ground for more northern tribes. Then we shoot right into the details of the hunting & trapping methods of these woodland Indians as described in historical first-hand accounts: excursions of 100s-of-miles for furs & skins; uses of bear grease; catching beavers before Europeans' metal traps; deer stalking in buck hides; fire rings; smoking bears out of dens; a Cherokee bear hunting song; dogs for the chase & for food; pet raccoons, parrots & a caged bear; eating box turtles & toads; bird snaring; and finally, Doug shares a childhood story about the Indian practice of fishing with black walnut hulls. Intermixed throughout are side tangents about: pictographs on trees as a way to relay information such as the outcome of a raid; buffalo in West Virginia; Doug's uncanny memories; and visiting significant historical places. Reading from An Account of the Remarkable Occurrences in the Life and Travels of Colonel James Smith; 1755-1759 by James SmithCheck out Doug's schedule of living history events at appalachianlivinghistory.comArchival Native American [Seneca, Iroquois, & Chippewa] music thanks to Drumhop.comSupport Our Numinous Nature on Patreon.Follow Our Numinous Nature & my naturalist illustrations on InstagramCheck out my shop of shirts, prints, and books featuring my artContact: herbaceoushuman@gmail.com

Your hosts read Project Hanuman by Stewart Hotston. They discuss platonic relationship progressions, the variety of alien societies, and sentient ships. Oh, and how they are woefully underqualified to discuss Indian mythology.Find us on Discord / Support us on PatreonThanks to the following musicians for the use of their songs:- Amarià for the use of “Sérénade à Notre Dame de Paris”- Josh Woodward for the use of “Electric Sunrise”Licensed under Creative Commons: By Attribution 4.0 License

India's legendary coach Bhupender Dhawan on mindset, steroids, and building 63 champions & 5 Mr. Olympia medals.Bhupender Dhawan, India's legendary Dronacharya Award and Hall of Fame coach, opens up about the mindset, discipline, and training philosophy that built 63 international champions and brought home 5 Mr. Olympia (Pro Powerlifting) medals for India.In this powerful conversation with Gaurav Kapoor, Guru Ji shares lessons on mindset, steroids, natural bodybuilding, supplements, and the evolution of Indian bodybuilding from the 1990s to 2025.Who is Bhupender Dhawan?He's India's No. 1 Bodybuilding & Powerlifting Guru Ji — national coach (1994–2019), recipient of the Dronacharya Award (2000), and member of the World Powerlifting Union & British Powerlifting Federation Hall of Fame (2017).His students include India's best:

In this podcast, Kushal and Aadit preview the upcoming India vs South Africa test series. They also talk about the recently concluded India vs Australia T20 series where India won 2-1 and the fantastic victory of the Indian women at the 50 over women's world cup. Follow them: X: @ask0704 #ViratKohli #RohitSharma #RoKo #INDvsAUS #IndiavsSouthAfrica #GautamGambhir #TeamIndia #CricketNews #IndianCricket #womensworldcup2025 #indiavsaustralia ------------------------------------------------------------ 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: Buy Kushal's Book: https://amzn.in/d/58cY4dU Become a Member on YouTube: https://www.youtube.com/channel/UCKPx... Become a Member on Patreon: https://www.patreon.com/carvaka UPI: kushalmehra@icici Interac Canada: kushalmehra81@gmail.com 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

https://www.griefshare.org/Are you or do you know someone who is heading into the Christmas season with a major loss in their family?  Church Initiatives' Samuel Hodges talks about the ministry of GriefShare and their "Survival Guide: Navigating The Holidays After a Loss."  Mission Network News' Ruth Kramer talks about recent bombing in both India and Pakistan, two countries in serious tension.  She also talks about how churches are helping in the wake of super typhoons in the Philippines and south eastern Asia. Faith Radio podcasts are made possible by your support. Give now: Click here  

AP correspondent Charles de Ledesma reports Indian security agencies have detained several suspects in Kashmir as part of the probe into the deadly car explosion in New Delhi.

“Shav Ghati (The Valley of Corpses)” is an eerie Indian horror story set in the misty mountains of Himachal Pradesh. A midnight bus ride turns nightmarish when the passengers realize they're traveling through a haunted valley where a tragic accident once took many lives. But the real twist arrives when the main character, Aarav, discovers he was one of the dead all along. The story blends silence, fear, and revelation in a chilling climax that flips reality itself — the living were never alive, and the valley never lets go of its souls.  Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode explores how Kho Kho, a traditional Indian sport rooted in teamwork, speed and strategy, is gaining global recognition. Featuring conversations with Ojas Kulkarni, Subodh Bapat and Raj Sura, all former players now contributing as coaches, technical experts and administrators, the episode delves into the game's new rules, international growth and whether Kho Kho could one day match the popularity of cricket and footy in Australia or even feature in the 2036 Olympics.

Good afternoon, I'm _____ with today's episode of EZ News. Tropical Storm FungWong Storm Circle Continues Shrinking The Central Weather Administration says Tropical Storm Fung-wong is continuing to weaken, with its storm circle shrinking. As a result, Yunlin County and Penghu are no longer included in the Land Warning area. Forecasters believe the system may weaken into a tropical depression sooner than previously expected. As of 9 a.m. today, the center was located about 140 kilometers west-southwest of Eluanbi, at the island's southermost tip. It was moving in an east-northeasterly direction at speeds between 16 and 32 kilometers per hour. The storm is packing sustained wind speeds of 72 kilometers per hour and gusts of up to 101 kilometers per hour. The storm circle, with a radius of 150 kilometers, has entered the southern part of Taiwan. The CWA's land warning remains in effect for Pingtung,Chiayi,Tainan,Kaohsiung,Nantou,Hualien,Taitung , and theHengchun Peninsula. Forecasters note that satellite imagery shows the storm's structure has deteriorated, with the upper and lower centers separating. Fung-wong is still expected to move northeast and potentially make landfall on the Hengchun Peninsula this evening. (NS) Tai-Ex opening The Tai-Ex opened up 69-points this morning from yesterday's close, at 27,853 on turnover of $8.9-billion N-T. The market ground on Tuesday after Taiwan Semiconductor Manufacturing gave up its early gains to end the trading lower. The market rose to the day's high within 10 minutes of opening on buying sparked by a rally on Wall Street overnight led by tech heavyweights, but selling quickly emerged (出現了) - with large cap tech stocks, including T-S-M-C, in focus. Pakistan Bombing Leaves 12 Dead A suicide bombing in the Pakistani capital of Islamabad has killed at least 12 people, and injured (受傷) another 30. The blast happened near the entrance of the city's district court. The Prime Minister Shehbaz Sharif has blamed India for the attack. Hira Mustafa sent this report from the blast site in Islamabad. EU India Navies Take Over Pirates Ship The European Union and Indian navies have taken over a ship used by pirates off the coast of Somalia to seize a Malta-flagged tanker. The Iranian fishing vessel was used as a “mother ship” for the attacks. A team from the Spanish frigate ESPS Victoria boarded the the vessel and found the original crew safe. The EU naval force says piracy in the area has been disrupted (被擾亂的). Somali pirate attacks have increased over the last year, partly due to instability caused by attacks by Yemen's Houthi rebels in the Red Sea corridor. Blue Diamond Auctioned for Over 25Million A blue diamond weighing nearly 10 carats has sold at auction in Switzerland for $25.6 million including fees. The “Mellon Blue” is named for the late American arts patron Rachel “Bunny” Mellon. The "Fancy Vivid Blue and Internally Flawless" stone had been expected to fetch $20-$30 million at the Christie's auction on Tuesday. Some experts say the price of the gem was weighed down by a broader market mood, with geopolitical tensions and economic uncertainty keeping many buyers away. Christie's says its highest price for a vivid (鮮豔的) blue diamond was set in Geneva in 2016 when the 14.62-carat Oppenheimer Blue sold for more than $57 million. That was the I.C.R.T. EZ News, I'm _____. AI 不只是科技，更是投資的新藍海 ?? 您還沒上車嗎? 11/22下午二點，由ICRT與元大投信共同舉辦的免費講座 會中邀請理財專家阮幕驊和元大投顧分析師及專業團隊 帶你掌握「AI 投資機會」 加碼好康！ 只要「報名並親臨現場參加活動」 就有機會抽中 全家禮券200元，共計5名幸運得主！ 活動地點：台北文化大學APA藝文中心--數位演講廳（台北市中正區延平南路127號4樓） 免費入場，名額倒數中!! 立即報名：https://www.icrt.com.tw/app/2025yuanta/ 「投資一定有風險，基金投資有賺有賠，申購前應詳閱公開說明書」 #AI投資 #元大投信 #理財講座 #免費講座 #投資趨勢 #ETF -- Hosting provided by SoundOn

Pippa Hudson speaks to Saranya Devan, a young creative from UCT who is preparing to debut a new dance production which puts Indian dance and Indian women’s history in South Africa in the spotlight. The new show is called Sari Sir and it opens at the Little Theatre on UCT’s Hiddingh Campus, on Monday, 17 November. Lunch with Pippa Hudson is CapeTalk’s mid-afternoon show. This 2-hour respite from hard news encourages the audience to take the time to explore, taste, read and reflect. The show - presented by former journalist, baker and water sports enthusiast Pippa Hudson - is unashamedly lifestyle driven. Popular features include a daily profile interview #OnTheCouch at 1:10 pm. Consumer issues are in the spotlight every Wednesday while the team also unpacks all things related to health, wealth & the environment. Thank you for listening to a podcast from Lunch with Pippa Hudson Listen live on Primedia+ weekdays between 13:00 and 15:00 (SA Time) to Lunch with Pippa Hudson broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show, go to https://buff.ly/MdSlWEs or find all the catch-up podcasts here https://buff.ly/fDJWe69 Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

More than 20 miles of gigantic wall, out in the ocean, are hoping to defend Jakarta, Indonesia's capital and Southeast Asia's biggest mega-city, from rising seawater. Also, US foreign direct investment in Africa has surpassed China's for the first time since 2012. And, New Delhi and Islamabad were both hit with bombs, killing at least 20 people between them, and both Indian and Pakistani officials are trying to find out the exact cause of the explosions. Plus, the genre-bending American band Deerhoof releases its first single, “Immigrant Songs,” a playful take on a serious issue.Listen to today's Music Heard on Air. Learn about your ad choices: dovetail.prx.org/ad-choices

Indian officials say at least twelve people have now died in Monday's car explosion in Delhi. Reports in the Indian media say that investigators suspect a Delhi-based Kashmiri doctor was in the driver's seat. There's also been an explosion near a crowded courthouse in neighbouring Pakistan today.Also in the programme: voting is underway in Iraq to choose a new parliament as both Iran and the US vie for influence; the new research that suggests that speaking more than one language could delay the ageing process; and we speak to this year's Booker Prize winner. (Picture: Security personnel and members of the forensic team work at the site of an explosion near the historic Red Fort in India. Credit: REUTERS/Adnan Abid)

Neo The Home Robot: The future is here! Or is it? A new AI robot dubbed NEO has been announced but is it just an Indian guy using VR to control him. Zoom Court Fails: A cop shows up to Zoom court with no pants. Are we going to just let this happen!? Andy Richter and Adrien Skye: Andy Richter survives another night during the Halloween episode! How far can the Fandy's go!? We also get an alert that the Adrien Skye listening party is going on! THE BEAR!, FUCK YOU, WATCH THIS!, MICHAEL JACKSON!, THRILLER!, HALLOWEEN!, THIRSTY THURSDAY!, THRILLER DANCE!, ZOMBIE MJ!, MEMORIES!, FAVORITE PART!, MAKING OF VHS!, RICK BAKER!, BEHIND THE SCENES!, COREYWEEN HANG!, HOME ROBOT!, TECHNOLOGY!, NEO!, PUPPET!, REMOTELY RUN!, INDIA!, MAID!, VR HEADSET!, GOGGLES!, SCARY ACCENT!, NORWEGIAN!, ROBOT ATTACKED!, EGG CHARGER!, GAY AS HELL!, GLEB!, FIRE A GUN!, VIOLENCE!, POSSESSOR!, ADS!, REDWOOD AI!, DR ANDY SKILONAKIS!, TURING!, ZOOM COURT FAILS!, DRAG RACING!, DISORDERLY!, BLUNT!, DANCING WITH THE STARS!, ANDY!, HALLOWEEN NIGHT!, STILL ALIVE!, FOG!, DANCING!, HIDE!, FANDY!, GO HOME!, MORMON WIVES!, BABY!, DANCE!, RSV!, HOSPITAL!, HALLOWEEN!, GOTHSPEL!, CIRCUS QUEEN!, PLASTIC STANDARDS!, VAMPIRES BALLAD!, I'M DOWN!, PITTS OF HELL!, BETTER NOW!, LIVE!, CLUB!, BAR!  You can find the videos from this episode at our Discord RIGHT HERE!

Indian Motorcycle has officially unveiled its 2026 lineup, marking what the industry calls a "cyclic year" — a season of refinements rather than revolutions. The big story is the debut of the Sport Scout RT, a bold new addition to the Scout family that bridges the gap between performance cruiser and light sport-tourer. With its 1250cc liquid-cooled engine producing 105 horsepower, moto-style bars, 19-inch front wheel, and locking hard bags, the Sport Scout RT delivers both aggression and practicality. Starting at $16,999 and available in Black Smoke, Sunset Red Metallic, and Chalk, it's the most performance-oriented Scout yet. SUPPORT US AND SHOP IN THE OFFICIAL LAW ABIDING BIKER STORE Beyond the new model, Indian's 2026 range sees fresh paint, updated graphics, and new accessories across its Scout, Chief, and Touring lines. The PowerPlus baggers and tourers continue largely unchanged, aside from color updates and new accessory options like handlebars, seats, luggage liners, and audio upgrades. While Indian continues to appeal to younger riders with modern tech and styling, the brand still lacks a truly low-cost entry model—a gap that could become crucial as the next generation of riders leans toward $6K–$8K machines. CHECK OUT OUR HUNDREDS OF FREE HELPFUL VIDEOS ON OUR YOUTUBE CHANNEL AND SUBSCRIBE! Overall, Indian's 2026 strategy focuses on refinement and appeal rather than reinvention. The Sport Scout RT is a standout move that adds excitement to the lineup, offering a stylish and capable option for riders who want performance without sacrificing comfort. As Indian and Harley-Davidson continue to battle for market share and younger customers, competition is fueling innovation—and that's great news for riders. NEW FREE VIDEOS RELEASED: Metzeler Cruisetec Tire Review for Harley-Davidson Touring Motorcycles The Shift Linkage You NEED for Your Harley—Before It's Gone! Sponsor-Ciro 3D CLICK HERE! Innovative products for Harley-Davidson & Goldwing Affordable chrome, lighting, and comfort products Ciro 3D has a passion for design and innovation Sponsor-Butt Buffer CLICK HERE Want to ride longer? Tired of a sore and achy ass? Then fix it with a high-quality Butt Buffer seat cushion? Other Videos Mentioned: 2025 Indian 112 PowerPlus V-Twin Test Ride & Review-FIRST RIDE! Is This "The Perfect Touring Motorcycle?" 2023 Indian Pursuit If you appreciate the content we put out and want to make sure it keeps on coming your way then become a Patron too! There are benefits and there is no risk. Thanks to the following bikers for supporting us via a flat donation: Robert Johannsen of Lawrenceville, Georgia Keith Venuto of Dover, Delaware John Carter of Port Jefferson Station, New York HELP SUPPORT US! JOIN THE BIKER REVOLUTION! #BikerRevolution #LawAbidingBiker #Bikaholics #RyanUrlacher

//The Wire//2300Z November 10, 2025////ROUTINE////BLUF: TRIBAL TENSIONS INCREASE IN MINNEAPOLIS AFTER ELECTION LOSS. GOVERNMENT SHUTDOWN ENDS AFTER FAA CLOSES AIRSPACE TO PRIVATE JETS. TERROR ATTACK IN INDIA KILLS 10X IN DELHI.// -----BEGIN TEARLINE------International Events-Caribbean: This morning the Pentagon announced two more kinetic strikes on narco-vessels in the eastern Pacific Ocean. 6x people were KIA as a result of the strike.India: This morning at least one (possibly more) Vehicle-Borne IED(s) were detonated at the Red Fort monument in Delhi. 8-10x people were killed during the attack, and dozens more wounded. Reports initially stated that one VBIED was the primary attack vector, however throughout the day reports emerged that up to 3x separate VBIEDs might have been involved. However, it is not clear as to if these other vehicles exploded because of their proximity to the original blast seat, or if they were separate VBIEDs altogether. The American Embassy in Delhi has issued a security notice, warning of additional attacks. Indian authorities have also observably increased security at other sites around the country, and 3x people have been arrested in conjunction with the attack.Analyst Comment: The culprit of the attack is not yet known. The choice of target, Red Fort (an old fortification from the Mughal Empire) doesn't really provide any indication either, since there's nothing really that political about the site. Some locals have claimed that the entire affair was not a terror attack, but an industrial accident. Considering the social media situation at present, it's not possible to determine the truth of the matter. However, the US State Department immediately issuing a travel notice indicates that this probably wasn't an accident.Right now it looks like this was a genuine terror attack, and this target was chosen simply due to this monument being a popular site among locals; there are always large crowds at this venue and it's very easy to get a vehicle in the middle of a crowd there. No group has claimed responsibility for the attack, however lately Indian officials have been cracking down on ISIS-K militants which have been aided by Pakistan. In short, India backs the Taliban in Afghanistan, while Pakistan backs ISIS-K (which oppose the Taliban) in Afghanistan as well. As such, it's very likely that this attack is the latest development in the proxy war between the two nations, which has become increasingly more complicated over the years. India will be quick to blame Pakistan (which is probably not completely inaccurate), but at this point the entire proxy war between the two nations is so muddled that it's hard to discern who did what.-HomeFront-Minnesota: Following the loss of Omar Fateh in his race for Mayor of Minneapolis, tribal conflict has begun to simmer in the city. In a speech that was given in the Somali language only, Rep. Ilhan Omar expressed hostility towards the members of other Somali clans, which sided with Omar's opponent during the election. She openly called for casting out these other tribes from Minneapolis, and chastised those who translated her speeches into English...and thus revealing what she said.Utah: A large high-density housing complex under construction burned down yesterday. A catastrophic structure fire was reported at the facility under construction in Lehi, in the Traverse Mountain area. No cause of the fire has been released, but the facility burned completely to the ground.Washington D.C. - The FAA has announced more airspace restrictions due to the shortage of air traffic controllers. Private planes have been banned from 12x major airports around the country, in an effort to reduce the strain on control towers, most of which are running skeleton crews during off-peak hours. Shortly after the announcement of this policy was posted by the National Business

November is here and so is a fresh episode of your favorite candle podcast! This week, Selena chats with Nisha Rana, the founder of AyurLight candles (@ayurlightcandles on Instagram). Nisha was inspired to launch her own brand of candles that merge the ancient wisdom of Ayurveda (a traditional Indian system of medicine that emphasizes maintaining balance and harmony in the body, mind, and spirit) with the science of aromatherapy to create "candles with a purpose." She shares her candle journey, lessons learned as a founder, and introduces Selena to many new scents! Please enjoy and remember to subscribe, rate, and review, candle heads! (Music: bensound.com) 

Leli Neeraja is a dancer and teacher who has dedicated over a decade to guiding others toward inner balance through movement. Her work is a continuous exploration of fusion between East and West, blending the grace of Indian classical dance with the expressive freedom of contemporary forms. She spends several months each year in India, deepening her study of traditional disciplines that help her explore and love her inner world. These experiences have profoundly shaped her artistic voice, where echoes of Odissi and other Indian styles merge seamlessly into her unique Fusion dance. Deeply inspired by the beauty, refinement, and spirituality of Indian culture, Leli feels a calling to share its essence in Italy—keeping her artistic journey ever-evolving through new encounters, discoveries, and creative adventures.In this episode you will learn about:- The spark that made Leli leave music to pursue dance full-time.- How studying Odissi in India made her body “vibrate” with new awareness.- The deep connection between dance and yoga through alignment and breath.- Dance as her therapy for anxiety, anger, and panic attacks.- Launching a handmade clothing line inspired by Indian textiles.Show Notes to this episode:Find Leli Neeraja on Instagram, FB, YouTube, and website, and the Insta page of her dance wear collection. Info about her upcoming tour to India is available HERE.Details and training materials for the BDE castings are available at www.JoinBDE.comFollow Iana on Instagram, FB, and Youtube . Check out her online classes and intensives at the Iana Dance Club.Find information on how you can support Ukraine and Ukrainian belly dancers HERE.Podcast: www.ianadance.com/podcast

So grateful to have had @besesky on the podcast! We had the best time chatting and geeking out over @lilly — what a blast!

Abhay shares a wonderful conversation with Tejal Rao, the chief restaurant critic for the New York Times.  They chatted about her journey through food writing, discussing the nuances of restaurant reviews, the balance between nostalgia and new experiences, and the impact of her cultural identity on her work. Tejal reflected on food rituals, the challenges of writing reviews, and even the value of repeat dining experiences. She emphasized the need for authenticity in criticism and the role of personal experiences in shaping her perspective.(0:00 - 2:28) Introduction(2:28) Part 1 - food rituals, the art of the restaurant review(13:02) Part 2 - defining excellence as a critic, nostalgia, cultural identity(27:40) Part 3 - lessons learned, aspirational dinner(37:52) ConclusionShout outs to the Indian National Women's Cricket Team and to my LA Dodgers for being world champions. Thank you to the American South Asian Network for their terrific ongoing work in empowering and uniting.

For 17 years, Deepak Shenoy has made annual Diwali predictions about markets, crashes, interest rates, and more. But how many were actually right? Shray sits down with Deepak Shenoy from Capitalmind to examine his prediction history from 2007 to 2024. He correctly called the 2008 crash and Trump's 2024 victory. But real estate and gold? Wrong almost every year. We break down why most predictions fail and what makes the rare successful ones different. Deepak explains the three elements of valid predictions (direction, magnitude, timeframe), why cash on sidelines signals crashes, how AI bubbles mirror 2000, and why interest rates are easy to predict but impossible to profit from. This episode breaks down crashes, bubbles, and market timing, offering honest takes that you can actually use. Don't forget to like, share, and subscribe for more real insights on building wealth in Indian markets!  Follow Capitalmind on Social Media:

In this lively Restaurant Owners Uncorked chat, Anesh Bodasing, founder of fast-casual Indian concept Tiffin Box, traces a 30-year hospitality journey that began with an audacious “give me 60 days” pitch to Hard Rock Café in Cape Town, winds through Canada, South Africa, the UK, and South Florida, and culminates in launching Tiffin Box in 2019 (right before COVID), surviving a bruising first year, testing a food hall, shutting the original West Palm store, and smartly pivoting to dense college-town sites (FSU/FAMU in Tallahassee, UF in Gainesville). Framing Tiffin Box as “Chipotle for Indian,” he shares lessons on branding, build-out nitty-gritty, cash-flow reality, and a service-first ethos (own the mistake, fix it fast, win loyalty), while aiming to “crack the code” for mainstreaming authentic, everyday Indian food and ultimately franchising.10 Takeaways Bold beginnings pay off: confidence got Anesh his first shot at Hard Rock and set the tone for his career. “Chipotle for Indian” creates instant understanding for new guests unfamiliar with the cuisine. Brand words matter: “Americanized” signaled watered-down; switching to “fast, fresh Indian” restored credibility. Cash flow rules everything during build-out; opening day is the first chance money can flow back in. Owner vs. operator: the job shifts from running shifts to deciding lights, outlets, signage, leases—every detail. Pandemic resilience: momentum stalled in 2020, but tight pivots (and lessons from a short-lived food hall) refined the model. Site strategy upgrade: closing West Palm and targeting student-dense, walkable college corridors increased fit and foot traffic. Service > food > price: great service makes guests forgiving and price-agnostic; poor service makes every dollar feel worse. Reviews are a gift: answer fast, fix the problem, and you'll often create your most loyal fans from a bad moment. Founder availability matters: post your number, handle issues personally, and build trust at scale.

This week we talk Indian food, sheds, Church, and of course, 1 Corinthians 15:1-11. Our main discussion is about the Gospel and how it's central, historical, and personal for all Christians.

Oni Press to publish graphic novel history of Dr. Opal Lee. Sweet Shop app launches in beta. A beloved Indian publisher has lost thousands of original comics in a fire.SUBSCRIBE ON RSS, APPLE, SPOTIFY, OR THE APP OF YOUR CHOICE. FOLLOW US ON BLUESKY, INSTAGRAM, TIKTOK, AND FACEBOOK. SUPPORT OUR SHOWS ON PATREON.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

We start off today talking about the controversy on the Stranger Things set between Millie Bobby Brown and David Harbour and whether it's a big deal or blown out of proportion.  Then we listen to the wonderful sounds of Miss World Chile and a sweet Indian guy doing What's Going On/Bees In The Trap, and finally a little Talkback Tuesday.  LINKS:Stranger Things team addresses alleged Millie Bobby Brown, David Harbour rift   'Stranger Things' team addresses alleged Millie Bobby Brown, David Harbour dramaDeath-metal vocalist IGNACIA FERNÁNDEZ crowned Miss World Chile:  Death-metal vocalist IGNACIA FERNÁNDEZ crowned Miss World ChileThe Treehouse Show is a Dallas based comedy podcast. Leave your worries outside and join Dan O'Malley, Trey Trenholm, Raj Sharma, and their guests for laughs about funny news, viral stories, and hilarious commentary.The Treehouse WebsiteGet MORE from the Treehouse Show on PatreonGet a FREE roof inspection from the best company in DFW:Cook DFW Roofing & Restoration CLICK HERE TO DONATE:The RMS Treehouse Listeners Foundation

On today's podcast:1) A record-setting 41-day US government shutdown is on a path to end as soon as Wednesday after the Senate passed a temporary funding measure backed by a group of eight centrist Democrats. The Senate’s 60-40 vote Monday comes amid escalating flight disruptions, food aid delays and frustrations in a federal workforce that has mostly gone without pay for more than a month. The Republican-controlled House must still approve the spending package, which keeps most of the government open through Jan. 30 and some agencies through Sept. 30. But Speaker Mike Johnson said he expects it will pass quickly.2) Air travel disruptions mounted across the US as lawmakers pushed to end the federal government shutdown, with an air traffic controllers’ union warning of “the erosion of safety” as the critical workers missed their second-straight full paycheck. Almost 2,100 flights were canceled as of 6:15 p.m. in New York on Monday, according to data compiled by aviation analytics firm Cirium. That’s about 8.2% of the day’s 25,735 scheduled flights. Chicago O’Hare International Airport had the most cancellations, with nearly 25% of its scheduled flights scrapped. Over 16% of services in and out of Boston Logan Airport were scrubbed, as were 15% of trips at New York City’s LaGuardia Airport. The growing fallout stems from the Federal Aviation Administration’s directive to reduce flight capacity by 10% at the roughly 40 busiest US airports, a bid to alleviate what US aviation officials have said are signs of strain in the nation’s airspace system.3) President Trump said he “at some point” would reduce the tariff rate on Indian goods, saying the US was getting “pretty close” to a trade deal with New Delhi. The comments were the latest signal of a possible thaw in the trade dispute that has soured the relationship between Washington and New Delhi. Earlier this year, Trump slapped additional tariffs on India’s exports to the US in part to pressure New Delhi to stop buying Russian oil, raising the rates on many Indian goods to 50%. That added tensions to an already contentious negotiation over what the US has cast as India’s high levies and other barriers on American goods.See omnystudio.com/listener for privacy information.

An Indian agent fled Vanuatu before raids as police investigate four CIIP agents for forging payment receipts.View the full article here.Subscribe to the IMI Daily newsletter here. 

Ahmed al-Sharaa - once designated a high-value terrorist target by the US - has, as the new president of Syria, met Donald Trump at the White House. But concerns run deep inside Syria over the level of sectarian violence.Also in the programme: President Trump threatens to sue the BBC for $1bn, but does he have a case? And at least nine people are killed in an explosion in the Indian capital, Delhi, outside the seventeenth century Red Fort.(IMAGE: President Donald Trump shakes hands with Syria's President Ahmad al-Sharaa at the White House in Washington, Monday, Nov. 10, 2025 / CREDIT: Syrian Presidency press office via AP)

Alex Brown is a former admissions officer from the Wharton school and current Clear Admit community manager and podcaster. He also teaches digital marketing for some top business schools, including Columbia Business School and London Business School. Graham Richmond is the co-founder of Clear Admit and former admissions officer at Wharton, where he received his MBA. He leads marketing, technology, and research initiatives for Clear Admit. In this week's MBA Admissions podcast we began by discussing the current state of the MBA admissions season, with interview invites continuing to roll out. This upcoming week, Duke / Fuqua is scheduled to release interview invites, and Columbia is scheduled to have released all its Round 1 interview invites. Ohio / Fisher is scheduled to release its Early Action round decisions, Michigan State / Broad is scheduled to release its Round 1 decisions and Oxford / Said is scheduled to release its Stage 2 decisions. Graham highlighted the upcoming deferred enrollment webinar, scheduled for Wednesday, and the upcoming Masters in Management (MiM) webinar series. Signups for all these events are here, https://www.clearadmit.com/events The next livestream AMA is scheduled for Tuesday, November 25; here's the link to Clear Admit's YouTube channel: https://bit.ly/cayoutubelive. Graham noted three admissions tips recently published by Clear Admit. The first focuses on the steps to take after the MBA admissions interview is completed. The next tip focuses on the importance of the business school campus environment, and the final tip addresses the role of volunteer experience in the MBA admissions process. Graham also noted a recently published article that identifies eight key benefits of earning a Masters in Management (MiM). Graham highlighted three Real Humans pieces that spotlight students from London Business School, Indiana / Kelley and CMU / Tepper. We then addressed three recently published Class of 2027 admissions profiles, from Stanford, MIT / Sloan and Chicago / Booth. For this week, for the candidate profile review portion of the show, Alex selected three ApplyWire entries: This week's first MBA admissions candidate is from Australia and is seeking a test waiver. We are encouraging them to consider taking the test, to then target the very top MBA programs. This week's second MBA applicant is from India and is targeting several top MBA programs in the U.K. They want to be in London, post MBA. They are currently retaking the GRE. This week's final MBA candidate works in Real Estate, for a family business. They have a 330 GRE. This episode was recorded in Paris, France and Cornwall, England. It was produced and engineered by the fabulous Dennis Crowley in Philadelphia, USA. Thanks to all of you who've been joining us and please remember to rate and review this show wherever you listen!

17-Year-Old CEO Disrupts College Admissions in India: Aadesh Panwar of AdMeasyWebsite: [https://admeasy.in](https://admeasy.in)A 17-year-old founder is taking on India's hardest college-entrance grind. Meet **Aadesh Panwar**, Founder & CEO of **AdMeasy**, a free mentorship platform connecting high-school students with undergrads from India's top colleges for real exam strategy, stress management, and honest campus insights.

Guest host Connie Willis and wellness practitioner Sydney Songer discuss gemstone energy and why it resonates with the human body, how to use gemstones for protection to repel negative energy, and her encounters with Skinwalkers near an Indian reservation.See omnystudio.com/listener for privacy information.

Kruger national park in South Africa is one of the most well known nature reserves in the world. But the legacy of Paul Kruger, who the park is named after, is complicated. He founded the park to protect South Africa's wildlife, but he is also considered to be a relic of the country's racist past and considered by some as an architect of apartheid. Khanyisile Ngcobo is a reporter for BBC Africa and she tells us more about the name change debate. Luiz Fernando Toledo BBC News Brazil tells the story of the successful conservation of the giant Amazon fish, the pirarucu. Its skin can be turned into leather, which is used to make high end fashion items. The fishermen who catch them do so in exchange for policing illegal fishing, which has pulled the fish numbers back from the brink of extinction. But despite their role in conservation, and providing the leather, these fishermen don't share in the economic benefits of this fish. Have you ever thought about the history of toothbrushes or dental hygiene? Tejas Vaidya of BBC Gujarati went to meet an Indian man who owns the world's largest toothbrush collection.This episode of The Documentary comes to you from The Fifth Floor, the show at the heart of global storytelling, with BBC journalists from all around the world. Presented by Faranak Amidi. Produced by Caroline Ferguson, Rebecca Moore and Alice Gioia.This is an EcoAudio certified production. (Photo: Faranak Amidi. Credit: Tricia Yourkevich.)