Podcasts about Monk

Radio Monk - El Aire Se Crea!

Well Cultists, this month sees the release of Edgar Wright's adaptation of The Running Man by Richard Bachman (aka Stephen King). And you know your Horror Hosts won't pass up an excuse to throw an old Schwarzenegger film on the Exam Table, so this episode we'll be looking at the 1987 adaptation of the story. Please join us for the Dissection  #therunningman, #arnoldschwarzenegger, #runningmanmovie, #stephenking, #richardbachman, #thebachmanbooks, #jimbrown, #jesseventura, #mickfleetwood, #dweezilzappa, #yaphetkotto, #richarddawson, #subzero, #buzzsaw, #captainfreedom, #dynanmo, #fireball, #illbeback, #itstimetostartrunning, #wholovesyouandwhodoyoulove Dissection Topic https://www.imdb.com/title/tt0093894/?ref_=ext_shr  https://www.netflix.com/title/924712  Unholy Sacrament  Fresh Hop Game On! Strata 2025. Fresh Hop IPA, Level Beer https://untp.beer/2Gzql  Dark Tidings  The Running Man (Wright, 2025) https://www.imdb.com/title/tt14107334/?ref_=ext_shr  Vault Of Darkness  Speeed https://speeed.co/  https://youtube.com/@speeedco?si=5SKLhzsTVht4BLc0  From Punk to Monk: A Memoir by Ray "Raghunath" Cappo https://www.raghunath.yoga/from-punk-to-monk-a-memoir  Listen to From Punk to Monk by Ray Raghunath Cappo, Moby - foreword on Audible. https://www.audible.com/pd/B0CV4LQCBN?source_code=ASSORAP0511160007  Messiah -Temple Of Dreams https://youtu.be/wKduhUXa0rg?si=_FqEwz9MjhbwNT07 

Radio Monk ! El Aire Se Crea !

Radio Monk ! El Aire Se Crea !

Radio Monk ! El Aire Se Crea !

Radio Monk ! El Aire Se Crea !

What if the key to happiness and fulfilment was not changing our external circumstances but learning to appreciate and understand our inner world?  Feel Better Live More Bitesize is my weekly podcast for your mind, body, and heart. Each week I'll be featuring inspirational stories and practical tips from some of my former guests. Today's clip is from episode 476 of the podcast with Buddhist monk and author Haemin Sunim. Haemin is a Zen Buddhist teacher and the author of two Sunday Times bestselling books, including his very latest, the beautiful: ‘When Things Don't Go Your Way: Zen Wisdom for Difficult Times.' In this clip, he shares some of his tips and practical insights for a better life. This was a beautiful conversation, full of deep and practical insights that I'm sure will help you find greater peace, purpose and contentment. Thanks to our sponsor ⁠⁠⁠⁠https://drinkag1.com/livemore⁠ Show notes and the full podcast are available at drchatterjee.com/476 Support the podcast and enjoy Ad-Free episodes. Try FREE for 7 days on Apple Podcasts ⁠⁠https://apple.co/feelbetterlivemore⁠⁠ For other podcast platforms go to ⁠⁠https://fblm.supercast.com. DISCLAIMER: The content in the podcast and on this webpage is not intended to constitute or be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your doctor or other qualified health care provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have heard on the podcast or on my website.

More highlights from the members feed in The Phil Hay Years where we talk brilliant Becchio, early Farke, brief Monk and much much more.

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.

SoftBank just dumped Nvidia in the midst of this AI frenzy - is this a warning signal, or the smartest money move of the year? As rare-earth stocks roar and governments scramble for critical minerals, we ask whether a new multi-decade commodities supercycle is forming - or whether geopolitics is simply inflating another hype cycle. Michael Burry is also sounding alarms, accusing hyperscalers like Amazon, Alphabet, and Microsoft of chasing an AI dream without a proven business model. We unpack SoftBank’s Nvidia exit, the mineral race, and the AI-infrastructure boom versus bubble debate. What’s real, what’s noise, and what’s actually investable right now? All this and more - hosted by Michelle Martin with insights from Arun Pai of Monk’s Hill VenturesSee omnystudio.com/listener for privacy information.

Radio Monk! El Aire se Crea!

Radio Monk ! El Aire Se Crea !

Radio Monk - El Aire Se Crea!

Radio Monk ! El Aire Se Crea !

Radio Monk !! El Aire Se Crea !

Radio Monk ! El Aire Se Crea !

Thank you Helix Sleep for sponsoring! Visit https://helixsleep.com/deepdive to take advantage of their Black Friday Exclusive Partner Offer and get 27% Off Sitewide!Merch Store! (Let me know what I should add!) https://www.crwnstudios.com/collections/d4deepdiveI'd appreciate it if you'd consider supporting the channel by becoming a member or patron!https://www.patreon.com/c/dnddd ORhttps://www.youtube.com/channel/UC9jQ2IsZj_CAS0bZgA6O2pA/joinTable of Contents of all D&D Builds to date: https://docs.google.com/spreadsheets/d/18lsjEdNIXayLCUsv9v-Afx-y3MEone2c2EGszBtGw8U/edit?usp=sharingFollow me here:Blue Sky: https://bsky.app/profile/colbypoulson.bsky.socialTwitter (X): https://twitter.com/ColbyPoulsonTikTok: https://www.tiktok.com/@dnddeepdiveCheck out Randall Hampton here:Twitter: https://twitter.com/Randall_HamptonInstagram: https://www.instagram.com/randallhampton/Website: https://www.randallhamptonart.com/Twitch: https://www.twitch.tv/randall_hamptonIntro 0:00Level 1 8:28Level 2-6 15:44Level 7-9 33:35Level 10-13 40:06Level 14-17 44:57Final Thoughts 49:12Outtakes 55:16Math/Graph for this episode: https://docs.google.com/spreadsheets/d/1Du9FbDwbJfinRVMQU0jpMRJmkjXUQRwNZKveIQqQqV8/edit?usp=sharingMaster Sustained Damage Comparison:https://docs.google.com/spreadsheets/d/1HPMg7cDqOC-0-vNFgEV9E5WQLDdCOdI64Vbnu60pC78/edit?usp=sharingThanks to LudicSavant for the amazing DPR calculator! https://forums.giantitp.com/showthread.php?582779-Comprehensive-DPR-Calculator-(v2-0))Music Credits:Achaidh Cheide - Celtic by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100340Artist: http://incompetech.com/Angevin 120 loop by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1200111Artist: http://incompetech.com/Celtic Impulse - Celtic by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100297Artist: http://incompetech.com/Fiddles McGinty by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1400051Artist: http://incompetech.com/Lord of the Land by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1400022Artist: http://incompetech.com/Master of the Feast by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1400019Artist: http://incompetech.com

Radio Monk - El Aire Se Crea!

Radio Monk - El Aire Se Crea!

Radio Monk - El Aire Se Crea!

Radio Monk - El Aire Se Crea!

It's the second half of our interview with Anthony Brewergray from Mountain Monk where dig deeper into his brewing history and the story of the brewery! This episode is best enjoyed with the accompanying tasting pack from our online store: https://the-coolroom-podcast.myshopify.com/products/mountain-monk-mixed-6-pack In this episode we discuss the contentious cold IPA style [or is it not contentious anymore?], have a family brainstorm about Coolroom stories, and all the stories behind the daschund designs on this year's Oktoberfest beer cans!

Loving our Enemies - Luke 6: 27-36 - Jess Monk (7pm) by Christ Church Winchester

Radio Monk - El Aire Se Crea!

The Anointing - Pastor Bruce Monk by Equippers Church Essex

Radio Monk - El Aire Se Crea!

SummaryThis is the story of how a "pipe dream," a full-time job, and a Billy Currington song accidentally launched one of barbecue's most memorable brands.Jason Rains, the founder of "Pretty Good At Drinking Beer Barbecue," joins us to share his wild 15-year journey. He started with zero experience and a team name that's a marketing nightmare (but a fan favorite). He pulls no punches, recounting the story of finishing "dead ass last" at a major competition only to fight his way back to a Grand Reserve (second place) finish years later.In this episode, Jason shares the unfiltered story behind his brand, his bold quest to create a sauce "better than Head Country" (a big deal in Oklahoma!), and his new projects, including a non-traditional smoker cookbook and a revolutionary no-sugar-added sauce sweetened with monk fruit.More than just barbecue, this is a story about community, passion, and hustle. Jason balances his full-time job and a return to college for digital marketing, all while running his growing business. His core philosophy? "Food doesn't care about your race. Food doesn't care about your religion... Food brings people together."In this episode, you'll learn:The Origin Story: How a Billy Currington song on a back porch led to the "PGADB" brand.The Competition Grind: The truth about competing, from finishing "dead ass last" in 2015 to claiming a top prize.Oklahoma Sauce Wars: The cultural importance of Head Country and Jason's mission to create a sauce he loves even more.What's Next: A sneak peek at his upcoming second cookbook (focused on non-traditional smoker dishes) and his new no-sugar-added sauce.The "Pipe Dream": How Jason's passion project evolved into a legitimate business with employees.Core Philosophy: Why supporting local businesses and the spirit of community define the barbecue world.The Big Picture: Jason's powerful belief that food is the ultimate unifier, transcending politics, religion, and race.Chapters:0:23 The Origin of "Pretty Good At Drinking Beer Barbecue"3:06 Branding Challenges and Success4:18 Barbecue Competition Experiences5:38 The Evolution of BBQ Sauces6:07 Head Country BBQ Sauce in Oklahoma7:07 Changing Judge Preferences8:12 Developing a Sugar-Free BBQ Sauce10:11 Barbecue Sauce and Family11:37 The Science of Smoking Meat15:06 Smoker Recommendations: Hasty Bake and Oklahoma Joe19:00 The Nook and Local Business Support21:19 Philosophy of Supporting Local Businesses22:19 Challenges of Competing with Big Box Retailers24:26 Why "Pretty Good At Drinking Beer Barbecue" Avoids Walmart25:27 Working with Homeland Stores27:38 The Realities of the BBQ Sauce Business29:59 Shipping BBQ Sauce Nationwide31:09 The Power of Food to Bring People Together31:56 Juggling a Full-Time Job and a "Pipe Dream" Business33:09 The First Cookbook: "I'd Smoke That"34:09 Non-Traditional Smoker Recipes37:18 Plans for the Second Cookbook39:31 The Value of Teaching and Community40:06 Smooth Sailing and Stressful Times41:09 Leaving a Legacy41:35 The Camaraderie of the Barbecue World43:24 First Grand Reserve Win46:25 Helping Fellow Competitors50:18 Favorite Food (Not Barbecue)51:00 Regional Barbecue Styles52:48 Belief in Luck vs. Smartness53:34 Returning to College for Digital MarketingBecome a supporter of this podcast: https://www.spreaker.com/podcast/brews-business--5630487/support.

Radio Monk ! El Aire Se Crea !

Radio Monk ! El Aire Se Crea !

Radio Monk ! El Aire Se Crea !

Radio Monk - El Aire Se Crea!

In this episode, we explore why nearly every modern reboot of Sherlock Holmes, from Enola Holmes to The Irregulars, gets it wrong. What made Holmes timeless wasn't the hat, the pipe, or the aesthetic. It was the archetype: the emotionally detached mind confronting chaos. We unpack how recent adaptations have replaced brilliance with relatability, spectacle with deduction, and why the true essence of Holmes, intellectual mastery in a world obsessed with emotional comfort, keeps being lost. This is a love letter (and a critique) for those who see Sherlock not as a character, but as an idea. Key insights include: Why making Sherlock “relatable” ruins the archetype The genius-vs-noise structure behind characters like House, Monk, and Psych How modern culture misreads intellect as arrogance The psychology of myth, pattern recognition, and narrative tension If you're obsessed with character design, story mechanics, or just miss real Sherlock, this one's for you. Join my community where we tackle wild experiments like this from rapid learning sprints to curiosity-based deep dives. ➤ Access the free tier or go deeper with exclusive paid challenges: https://www.omniscient-insights.com/axiom https://www.omniscient-insights.com/community-home MERCH -- https://the-deductionist.myspreadshop.co.uk/all E-SCAPE GAME -- https://www.youtube.com/@thedeductionistteam Everything else you need -- https://linktr.ee/bencardall Music provided by https://robertjohncollinsmusic.com/` #SherlockHolmes #MediaCritique #CharacterArchetypes #Storytelling #HouseMD #BBCSherlock #NarrativeDesign #TVWriting #CulturalCommentary #MythologyInMedia #PodcastEpisode #CriticalThinking #ModernTV #EntertainmentAnalysis

Every Hall of Famer has a different story, a different path that helped them reach Canton. One of the greatest wide receivers in the history of the league played behind someone who was clearly better than him during the early years, and at one point couldn't even catch a cold! Not every career ends the way it begins.

The Evergetinos continues to unveil through the lives of the saints the beauty and power of a heart freed from anger and the desire for vengeance. In the story of Saint Spyridon and the deceitful shipowner we see how divine simplicity disarms deceit. The Saint entrusted his gold to another with pure confidence and without suspicion, and when that trust was betrayed he did not rage or demand justice. Instead he allowed truth to reveal itself in silence. The emptiness of the box became the mirror of the man's soul, and the words of the Saint, spoken without bitterness, pierced him more deeply than any accusation. You are defrauding yourself, not me, he said. The gentleness of the holy man became the instrument of repentance. By leaving judgment to God and refusing anger, he brought a sinner back to truth and left a testimony of meekness that is stronger than any earthly power. Saint Evthymios the New of Madytos embodied the same spirit. When thieves broke into his church and desecrated what was sacred, he prevented others from punishing them and instead took them into his home. He fed them, freed them, and sent them away forgiven. The wrath of men would have destroyed them, but his mercy broke their hearts and restored them to life. Later when he found other men stealing wheat during a famine he did not rebuke them but joined in their labor, taking the place of the accomplice who had fled. The thief, seeing later who had helped him, was overcome with fear and awe. For Evthymios, compassion was the only response to human need. His heart was so formed by divine love that he no longer regarded anything as his own. He had been freed from the possessiveness that feeds anger and from the blindness that makes us see others as enemies. All these holy ones teach that freedom is born of meekness. Anger enslaves the heart to the one who offends it, while forgiveness releases the soul into the hands of God. To bear injustice without vengeance is not weakness but participation in the strength of Christ who on the cross asked forgiveness for His murderers. To the eyes of the world these men seem defeated, yet they are the victors in the only battle that matters, the struggle against the passions. O Lord, grant me this peace of the saints. When I am wronged, let me remember Saint Spyridon's quiet mercy, Saint Evthymios' compassion, and the Elders' serene acceptance. Let me not defend myself with anger or words but entrust all things to You who judge with truth. Let me see in every loss the chance to become poor in spirit, in every insult the seed of humility, in every theft the call to freedom. Teach me to bless those who wrong me and to keep my hope unshaken, for You alone are my refuge and my portion. May my only vengeance be love, my only wealth contentment, and my only victory the peace that comes from Your presence. --- Text of chat during the group: 00:03:12 Fr. Charbel Abernethy: https://www.philokaliaministries.org/blog 00:03:34 Bob Čihák, AZ: P. 301, # 3 00:05:35 Fr. Charbel Abernethy: https://www.philokaliaministries.org/blog 00:07:52 iPhone (6): Just letting you know new participant Joan Chakonas has joined the group. 00:09:21 iPhone (6): I'll try to figure out how to change my id from “iphone6” if you see what I see 00:11:21 Fr. Charbel Abernethy: https://www.philokaliaministries.org/blog 00:13:09 Fr. Charbel Abernethy: Page 301 section 3 00:16:13 Janine: Sensus fidelium has been around for a long time 00:16:26 Fr. Charbel Abernethy: https://www.philokaliaministries.org/blog 00:16:38 Janine: It started with FSSP priests 00:16:57 jonathan: Reacted to "https://www.philokal..." with ❤️ 00:17:01 Myles Davidson: Reacted to "It started with FSSP..." with

Tony Shalhoub is an actor whose roles skew towards the quirky and neurotic — and his characters' quirks often come out through food. In the classic 1996 film Big Night, Tony plays an uncompromising Italian chef whose Jersey Shore restaurant is on the brink of failure. In the TV show Monk, he plays a detective with OCD who has many strong opinions about how he wants his food. In The Marvelous Mrs. Maisel, he's a math professor who, at one point, devises a complex system for not getting too drunk. We cover these roles, as well as a new one he's recently taken on: hosting a travel show on CNN, Breaking Bread. (Breaking Bread airs on Sundays at 9pm on CNN, or you can stream it the next day with CNN's All Access subscription.)The Sporkful production team includes Dan Pashman, Emma Morgenstern, Andres O'Hara, Kameel Stanley, Jared O'Connell, Morgan Johnson, and Jazzmin Sutherland.Right now, Sporkful listeners can get three months free of the SiriusXM app by going to siriusxm.com/sporkful. Get all your favorite podcasts, more than 200 ad-free music channels curated by genre and era, and live sports coverage with the SiriusXM app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Sacramento Kings vs. Denver Nuggets NBA Pick Prediction by Tony T. Kings vs. Nuggets Injuries Murray and Monk are out for Sacramento. Carter, LaVine and Schroder are questionable. Johnson and Murray are probable for Denver. Recent Box Score Key Stats Kings at Nuggets 9PM ET— Sacramento improved to 2-4 following their 135-133 road win at Milwaukee. The Kings shot 52% with 36% from three. Zach LaVine scored 31 points with four rebounds. DeMar DeRozan contributed 29 points with four rebounds.

Comic creator C. L. Zeno joins the Order this episode to discuss the Chow Yun Fat and Sean William Scott vehicle, Bulletproof Monk. For more from CL Zeno, click HERE!

Send us a textWhat To Do With Your Windfall: Insider Tips From A Money Manager#money #finance #moneymanagement #financialadvice #wealth From Marine to Benedictine monk to financial expert, Doug Lynam's unconventional journey reflects his unique perspective on wealth and purpose.After graduating top of his class from Marine Corps Officer Candidate School, Doug spent two decades as a monk while leading a prestigious school's math department. Transitioning to finance in 2017, he became a partner at an asset management firm, overseeing $250 millionin assets.His bestselling book, “From Monk To Money Manager: A Former Monk's Financial Guide To Becoming a Little Bit Wealthy—and Why That's Okay,” revolutionized the conversation around spirituality and wealth. In his latest work, “Taming Your Money Monster: Nine Paths To Money Mastery With The Enneagram,” Doug combines the Enneagram with practical financial tools to help individuals build wealth so they have options to live a life that makes their soul sing. Today, he is a sought-after speaker and coach who helps clients align money with their deepest values and purpose.Taming Your Money Monster on Amazon: https://amzn.to/47M6g7ZFrom Monk To Money Manager on Amazon: http://bit.ly/4o3CH7pWebsite: https://www.douglynam.com/Facebook: https://www.facebook.com/douglynam/Instagram: https://www.instagram.com/douglynam/Linkedin: https://www.linkedin.com/in/doug-lynam/Youtube: https://www.youtube.com/@douglynamThanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteFor all our social media and other links, go to: Linktree: https://linktr.ee/the_vibes_broadcastPlease subscribe, like, and share!

When I first started teaching mindfulness, I thought I had to sound wise, calm, and enlightened — like a “real” teacher. But one unexpected moment — in a tiny community room in Berkeley — changed everything I thought I knew about guiding others in mindfulness. In this episode, I share the hidden truth I discovered after years living as a Buddhist monk in Thailand and training more than 30,000 mindfulness teachers around the world: that teaching mindfulness is actually much simpler than most of us realize. You'll hear:

This week D'Viddy quizzes us on our Halloween knowledge. Consumption: Mr. Pold - Vertigo, The Jerk, Invasion season 1 St. Jimmy - The Divide, Monk season 6, The Clearing, Host, Look Away D'Viddy - RRR, DMV, Terminator 2: Judgement Day Music Provided By: Greg Gibbs / Most Guitars Are Made of Trees Josh Woodward / Afterglow Tony Castles / Heart in the Pipes

Host Richie Tevlin and Co-Host Evan Blum talk with Lew Bryson, veteran drinks writer, author, and editor. Lew has spent over 25 years covering beer, whiskey, and the craft beverage industry, contributing to publications such as Whisky Advocate and All About Beer. He is the author of ten books, including Tasting Whiskey, Pennsylvania Breweries, and his latest, Whiskey Master Class. Lew is also the host of What's Brewing PA, where he highlights the people and stories shaping Pennsylvania's brewing community.   @lewbryson https://lewbryson.blogspot.com/   Lew Bryson's Books: https://www.amazon.com/stores/author/B001JS7L22 _____________________________________________ THANK YOU TO OUR SPONSOR:   The Beer Accountant: https://www.paddymaccpa.com/brewerysolutions Email: pmcdonald@paddymaccpa.com 267-566-4077 - Patrick McDonald - Licensed CPA _______________________________________ EPISODE NOTES: Mentioned Breweries Brooklyn Brewery - Brooklyn, NY Victory Brewing - Downingtown, PA Weyerbacher Brewing - Easton, PA Appalachian Brewing - Lititz, PA Yuengling Brewery - Pottsville, PA Sam Adams Brewery - Boston, PA Stroh Brewery Company Eli Fish Brewing - Batavia, NY F.X. Matt Brewing Company - Utica, NY Mentioned People John Hanson Steve Hindy - Co-Founder of Brooklyn Brewery Tom New - Erie's PBS & NPR reporter Rich Wagner - Epi 50 - Philadelphia Beer Historian Dick Yuengling - Former President of Yuengling Brewery Herman Mihalich - Founder of Dad's Hat Rye Distillery Don Russell - Co-Founder of Philly Beer Week Glen Macnow - Host of What's Brewing PA  Kate Scott - Epi 58 - Announcer of the Philadelphia 76ers Tom Peters - Epi 42 - Owner of Monk's Cafe Julian P. Van Winkle III - Producer of Bourbon Whiskey Parker Beam - Master Distiller of Heaven Hill Distillery David Wondrich - Award-Winning writer and Cocktail Historian Mentioned Businesses What's Brewing PA - Brewing TV Show American Whiskey “Masterclass” - Lew Bryson's New Book Seen Through a Class - Lew Bryson's Podcast Front Street Pub - California - CLOSED Malt Advocate - Beverage Magazine  Zeno's Pub - Penn State Bar Brickskeller - Washington, DC - CLOSED 2010 Craft Brewers Mag - Magazine  Dad's Hat Rye Distilling - BucksCo Distillery Heaven Hill Distillery - Bardstown, KY Brown-Forman Distillers International Stave Company - Barrel Producer New Riff Distilling - Newport, KY Liberty Pole Spirits - Washington, PA Hidden Still Spirits - Hershey, PA Barrel 21 Distillery And Dining - State College, PA Buffalo Trace Distillery - Frankfort, KY Monk's Cafe - Epi 42 - Nationally Recognized Philly Beer Bar Pappy Van Winkle's Family Reserve - Frankfort, KY Glenlivet Distillery - Glenlivet, UK Lukr Faucet - Beer Draft Systems  _______________________________________ STAY CONNECTED: Instagram: ⁠⁠@brewedat⁠⁠ / ⁠⁠@thebrewedatpodcast⁠⁠ Tik Tok: ⁠⁠@brewedat ⁠⁠/ ⁠⁠@thebrewedatpodcast⁠⁠ YouTube: ⁠⁠@brewedat⁠⁠ / ⁠⁠@thebrewedatpodcast⁠ LinkedIn: ⁠BrewedAt Website: ⁠⁠www.brewedat.com

Your brain wasn't built for this much noise. Every ping, scroll, and alert rewires your focus—stealing the clarity you need to build something meaningful. In this episode, Ace Allan tells The Monk and the Storm, a parable that reveals how to find peace in a world that never shuts up. You'll learn the truth about distraction, the neuroscience behind deep work, and a tactical five-step framework to reclaim your mind. This isn't another productivity pep talk—it's a blueprint for taking back control of your attention, your creativity, and your life.

"We've cultivated a way of being in the world that eliminates quiet, stillness, and inactivity." Tyler Staton proposes a return to the ancient Christian practice of solitude to combat the rampant busyness and inattention that characterize the modern life. Tyler Staton is the lead pastor of Bridgetown Church in Portland, Oregon: https://bridgetown.church/He's also the author of three books: https://www.tylerstaton.com/If you enjoy listening to the George Fox Talks podcast and would like to watch, too, check out our channel on YouTube! We also have a web page that features all of our podcasts, a sign-up for our weekly email update, and publications from the George Fox University community.

Today we'll be talking about a viral video of a foreigner getting his comeuppance after attacking a lady in Bangkok, a monk and a man exchanging blows over a food offering dispute, and a little later an American airline is resuming direct flights to Thailand after a long hiatus.

Sacramento Kings win against the Utah Jazz 105-104In this episode of The Royal Report I discuss the Kings pulling out the 1 point victory in the final seconds against the Jazz, Sabonis returning and hitting the game winner, the offensive performances of LaVine and Monk, searching for answers at the 4 position, and much more.

Tim Tamashiro is a speaker, singer, radio and podcast host, and author of How To Ikigai, a book that helps people discover their ikigai, or life's purpose. His own ikigai is "to delight." Tim talks about how mental health crises during the covid pandemic led him to therapy and Buddhist practice, the role of manifestation in his life, and his passion for ikigai which is a combination of four factors: what you love to do, what you're good at, what the world needs, and what you can be rewarded for. The ultimate goal is self-actualization and in the episode that will follow this one, Tim will walk me through the process of uncovering my own ikigai. Tim has actually written two books about ikigai, How to Ikigai: Lessons for Finding Happiness and Living Your Life's Purpose and Golden Ikigai: Unlock Japanese Secrets to a Life of Purpose and Joy After 50. You can watch Tim's TEDx talk about ikigai on youtube at https://www.youtube.com/watch?v=pk-PcJS2QaU. He hosts Sufferless with a Part-time Monk, a mindfulness and mental wellness podcast that helps people navigate modern life with more peace and purpose, and you can also follow Tim on instagram @timtamashiro    

In this inspiring episode of The Elisha Show, Ambassador Elisha sits down with Doug Lynam — former Marine, Monk, and now Money Manager — to unpack the powerful connection between spirituality and financial freedom.

Did you know we have a supporter episode out? This short highlight reel gives you a preview of our chat about symbolism. From Pride and Prejudice to Monk, we've got tons of insights and examples that show how symbols can deepen your stories.  Different typesHow we use it in our booksFavorite examples from television and movies. 

Why does traditional financial advice so often fail? Former Marine and monk Doug Lynam reveals how your personality type secretly sabotages your finances. Discover his unique framework, blending the Enneagram with financial strategy, to break free from self-sabotage and build a life of both wealth and meaning.