Podcasts about niloufar

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.

Recorded before a packed house at the Richmond Hill Centre for the Performing Arts (Oct 2, 2025), in Richmond Hill, Canada. This is the live version of the weekly Roqe podcast - transformed into a variety show that had everything from rollicking dances to memorials and tears. Guests & Segments: *Deejay Al* (opening hype) • *Jian Ghomeshi* (monologue & host) • *Pegah Ganji* (Richmond Hill's rise as an Iranian cultural hub) • *Navid Rezvani* (special dance + interview — first North American appearance) • *Dr. Mahshad Kolahdouzan* (neuroscience made practical) • *DJ Namito* (Berlin roots, House of Namito, community) • *Rubina* (live performance: “Tehran”) • *Kaveh Yaghmaei & Niloufar* (legacy, mentorship, hope) • *Jian's Tribute to His Father* • *Shally Zomorodi* (journalism, public life, identity) • *Babak Amini Tribute & Roqe Media Icon Award presentation* • *Finale: Babak Amini & Kaveh Yaghmaei (together), Namito, Deejay Al, and Jian* Sponsors Icon Award Sponsor: Quasar Homes (Amir Firooz) Gold: Beigi Law (Dr. Shay Beigi) • Anabel Sharouyan (Affinity Mortgage Solutions) • Shamshiri Restaurant (Navid Badiei) Silver: TIA Immigration (Elahe Rezaei) • iAccounting • Hooman Golrokh • Raavi Artisans (Alia Pastry, Avers, Jadeite, Famluxy, Twoart) • iWelcome • Urban Windows & Doors • Forough Catering (Chef Forough Ghayedi) Bronze: Lazar Prop Creation (Ramtin Lazar) • Ontario Camera • i2Canada (Vahid Babaei) Host: Jian Ghomeshi • Produced by: Roqe Media Follow/subscribe for weekly episodes, long-form interviews, and live specials.

Niloufar Lamakan on Persistence, Late Starts, and Age-Positive FictionMy guest this week is debut novelist Niloufar Lamakan, whose rom-com Aged to Perfection celebrates older protagonists and smashes stereotypes about women over 60. We talk about Niloufar's unexpected path into writing via a creative writing course, the determination it took to push through 42 rejections before landing a publishing deal, and why comedy needs emotional depth to really connect. She also shares candid insights into book promotion, event mishaps, and how every small audience can be valuable training for bigger stages.Niloufar opens up about the steepest parts of her writing learning curve, why she enjoys editing as much as first drafting, and her belief that it's never too late to start writing – as long as you're prepared for the possibility of failure and the joy of surprising yourself along the way.Find Aged to Perfection in all the usual places, including Kindle Unlimited. Learn more at niloufarlamakan.com and sign up for her newsletter.Self-Publishing SupportIf you're working on a book of your own and want help navigating the publishing process, check out my Complete Self-Publishing Package at wkwproductions.co.uk/selfpublishing. From ISBN registration to formatting and upload support, I'll help you get your book out into the world – professionally and stress-free.Thanks for listening to The Write Place Podcast.Happy writing – and I'll see you next time!

Send us a textWhat happens when you dare to change direction in your 50s? Niloufar Lamakan's creative journey is nothing short of extraordinary. Transitioning from economics and technology to award-winning interior design and published fiction, all beginning in her late 40s.Her debut novel "Aged to Perfection"  features a 60-year-old protagonist navigating dating and sexuality, what Niloufar calls "a rebel yell for older women to say don't write us off." For anyone contemplating a creative shift later in life, Niloufar's story proves it's never too late to reinvent yourself. Aged To PerfectionSophia is determined to grow old disgracefully and refuses to be invisible. She craves fiery passion and steamy romance, not targeted ads for funeral plans. After a heart-shattering breakup, she ditches love to date a new man each week for a year.As she flirts, fumbles and sips fizz through an array of encounters, from an opera buff in a cape to an orgasm whisperer, she discovers it's never too late to rewrite your own love story, even if it's not the one you expected…Follow Niloufar LamakanCosmic Muse: Vol. I: Your Voice (Mercury)Find your mercury placement in your birth chart and activate your personal voice codes. Ruthless TruthIs an opinion platform hosted by Marvin “Truth” Davis. My life and career...Listen on: Apple Podcasts SpotifySupport the show"Enjoying 'The Conversation'? Support the podcast by buying me a cup of coffee ☕️! Every contribution helps keep the show going.https://ko-fi.com/nadinemathesonDon't forget to subscribe, download and review. You can purchase books by the authors featured in our conversations through my affiliate shop on Bookshop.org. By using this link, you'll be supporting independent bookstores, and I may earn a small commission at no additional cost to you. Follow Me:www.nadinematheson.com BlueSky: @nadinematheson.com Substack: @nadinematheson Instagram: @queennadsThreads: @nadinematheson Facebook: nadinemathesonbooksTikTok: @writer_nadinematheson

In this enlightening episode of "The Next Page," we are joined by Nilufer Oral, member of the International Law Commission and expert in climate law and ocean governance. We take a deep dive into the intricate relationship between climate change, the oceans, and international law. Niloufar shares her journey from focusing on navigation and marine protection to her involvement in pivotal climate change negotiations, including the Paris Agreement. Listeners will gain insights into the complexities of integrating climate change considerations with the United Nations Convention on the Law of the Sea (UNCLOS) and learn about the critical new report of the International Law Commission's study group on sea level rise. The conversation also explores the economic and humanitarian implications of ocean acidification and the migration challenges posed by rising sea levels, urging a coordinated international response. Engaging and thought-provoking, this episode offers a comprehensive look at how legal frameworks are evolving to address the pressing challenges climate change poses to our oceans and global society. Resources: Ask a Librarian! ILC Reports https://legal.un.org/ilc/guide/8_9.shtml#ilcrep UNCLOS https://www.un.org/depts/los/convention_agreements/convention_overview_convention.htm   Where to listen to this episode  Apple podcasts:  https://podcasts.apple.com/us/podcast/the-next-page/id1469021154 Spotify: https://open.spotify.com/show/10fp8ROoVdve0el88KyFLy YouTube: https://youtu.be/CWDmjqi9gfU Content    Guest: Nilufer Oral Host, production and editing: Amy Smith, UN Library & Archives Geneva Recorded & produced at the United Nations Library & Archives Geneva 

When you reach a certain age, you can feel as though you're forgotten, whether that's because you've suddenly reached the age of grandmothers in books who sit and knit while adoring their grandchildren, or because you are no longer seen as anything but the extension of the family unit. Aged to Perfection, the debut novel by author Niloufar Lamakan, is one of a recent batch of romantic comedy novels that turns this preconception on its head. With a leading lady in her early 60s who wants to go out and enjoy life - and by that I don't mean sitting on her deck with a sherry as people bring her a birthday cake that could set a house on fire...Sophia has a goal: 52 dates in 52 weeks. She's in her new romantic era. Join me today as I talk with Niloufar about Aged to Perfection, the preconceived belief that women in their 60s are old and past it, and why she wrote this novel. Niloufar online Instagram Facebook Buy the book Amazon Waterstones Indie Bookstores

In this episode of Confessions of a Debut Novelist, I'm talking to Niloufar Lamakan about her romance novel Aged To Perfection. We discuss changing the narrative by putting women in their 60s in the spotlight and writing them truthfully, why as a complete novice how a diary form helped her find structure and her experience working with One More Chapter, a digital first publisher who accepts unagented submissions. Confessions of a Debut Novelist Bookshop*Buy Aged to Perfection: https://uk.bookshop.org/a/10990/9780008685492Follow Niloufar: @nlamakanFollow Chloe on Twitter: @clotimmsBuy Chloe's debut novel The Seawomen: https://linktr.ee/chloetimmschloetimms.co.uk Hosted on Acast. See acast.com/privacy for more information.

In this conversation, Dr. Nellie, an endocrinologist, discusses her journey in the field of endocrinology, particularly focusing on obesity as a chronic disease. She emphasizes the importance of understanding obesity beyond lifestyle choices, highlighting the role of genetics, hormones, and medical conditions like PCOS. The discussion also covers current treatment options for obesity, the barriers patients face in accessing these treatments, and the importance of early intervention. Dr. Nellie advocates for a compassionate approach to treating obesity, urging healthcare professionals to remove the stigma and blame often associated with weight issues.

Le 8 janvier 2020, un avion de ligne ukrainien qui vient de décoller de l'aéroport de Téhéran s'écrase moins de deux minutes après son envol. Que s'est-il passé, alors que l'Iran a engagé une riposte contre les troupes américaines en Irak en lançant des missiles ? Après plusieurs jours de déni, les autorités iraniennes finissent par reconnaître la vérité : un missile iranien a abattu l'avion. Par erreur, affirment-elles. Trois ans après, l'autrice franco-iranienne Négar Djavadi revient sur ce drame qui a coûté la vie à 176 personnes et, parmi elles, sa cousine Niloufar. ► À écouter aussi sur RFI : La dernière place, de Négar Djavadi, la géopolitique de l'intime

L'émission 28 Minutes du 29/08/2023 Le crash du vol PS752 en 2020: les racines de la révolte iranienne ?Le 8 janvier 2020, le vol 752 reliant Téhéran à Kiev s'écrase, six minutes après son décollage. 176 personnes perdront la vie. Quelques jours plus tard, le gouvernement iranien avoue avoir abattu l'avion. Traumatisme national, cet incident constitue un des événements à l'origine du mouvement révolutionnaire qui s'est emparé de l'Iran en 2023. Négar Djavadi, scénariste et écrivaine franco-iranienne, s'empare de ce moment et retrace, à partir de la mort de sa cousine Niloufar tuée dans le crash, l'histoire de sa famille et celle de son pays d'origine. Elle publie “La dernière place” aux éditions Stock et vient nous en parler dans 28 Minutes. L'abaya interdite à l'école : défense de la laïcité ou police du vêtement ?“Là où la République est testée, nous devons faire bloc”. Dimanche 27 août, le Ministre de l'Éducation nationale et de la Jeunesse de France Gabriel Attal a annoncé l'interdiction du port de l'abaya — cette robe longue traditionnelle portée par certaines élèves musulmanes — en classe et à l'école. Le gouvernement dénonce un “prosélytisme religieux”, “une attaque politique” ou encore “une atteinte à la laïcité”. Si la droite acquiesce et félicite cette décision espérée depuis un moment, la gauche, elle, y voit “une police du vêtement”. Les chiffres des atteintes à la laïcité sont en tout cas en forte hausse dans les établissements scolaires : elles ont augmenté de 120% entre l'année scolaire 2021/22 et 2022/23, essentiellement concernant le port de signes ou de tenues religieuses. Alors que penser de cette interdiction ? On en débat. Enfin, retrouvez également les chroniques de Xavier Mauduit et Marie Bonnisseau ! 28 Minutes est le magazine d'actualité d'ARTE, présenté par Elisabeth Quin du lundi au jeudi à 20h05. Renaud Dély est aux commandes de l'émission le vendredi et le samedi. Ce podcast est coproduit par KM et ARTE Radio. Enregistrement : 29 août 2023 - Présentation : Élisabeth Quin - Production : KM, ARTE Radio

In conversation with Ekki Maas from the indie band Erdmöbel. The members of the cult band from Cologne assume that when you listen to music, you have to think for yourself so that something happens to you - and that that's what's actually exciting. We talk about the song Hoffnungsmaschine, which we address in its German and Persian versions. It's also about the cooperation with the Iranian singer and journalist Niloufar, and the cooperation with the many video artists, some of whom produce the cinematic experiments that go with the songs independently of the band.

Architektin Niloufar Tajeri im Gespräch mit Friederike Landau-DonnellyÜber das Thema Architektur und Intersektionalität spricht Kulturgeografin Friederike Landau-Donnelly mit der Architektin Niloufar Tajeri. Niloufar war bis März 2022 wissenschaftliche Mitarbeiterin am Institut für Geschichte und Theorie der Architektur und Stadt (GTAS) der TU Braunschweig und ist Mitbegründerin der Initiative Hermannplatz. Das Gespräch zwischen Niloufar und Friederike fand im Januar 2022 statt.Weitere Informationen zu Niloufar Tajeri und den Themen der Episode:Niloufar TajeriNiloufar Tajeri und Jorinde Schulz, Neuköllner Null-Toleranz und sozialräumlicher Rassismus – Wie mit der Debatte um die »Clankriminalität« (Verdrängungs)-Politik gemacht wird (www.rosalux.de)Henri Lefebvre und das Recht auf StadtHenri Lefebvre, Das Recht auf Stadt (Buch)Henri Lefebvre und das Recht auf Stadt (dérive N° 60)Stadtsoziologie von Henri Lefebvre – Die beschädigte urbane Gesellschaft (taz.de)Claudia Jones und IntersektionalitätThe Forgotten Legacy of Claudia Jones: a Black Communist Radical Feminist (www.versobooks.com)Claudia Jones: Foremother of World Revolution (The Journal of Intersectionality, Vol. 3, No. 1, Summer 2019)Intersektionalität: »E.T. nach Hause telefonieren?« (www.bpb.de)Materialsammlung zum Thema Intersektionalität (www.gwi-boell.de)Initiative Hermannplatzinitiativehermannplatz.noblogs.orgKaufhausumbau am Hermannplatz – Ohne Beteiligung geplant (taz.de)Die TV-Doku Frauen bauen ist noch bis zum 24. September 2022 in der 3sat-Mediathek verfügbar.Stadt.Raum.Frau* ist ein Podcast von argon.labProduzentin: Johanna BehreAutorin und Moderatorin: Friederike Landau-DonnellyRedaktion und Produktion: Sabine ReicheltSchnitt, Sounddesign & Musik: Joscha GrunewaldStudio: We Are Producers, BerlinGrafik: Konstantin Gramalla Hosted on Acast. See acast.com/privacy for more information.

Welcome to another episode of The Action and Ambition Podcast! Joining us today is Niloufar Banisaied, the co-Founder of the new Alpha Gay Dating and Chat, the safest and largest social networking app for gay, bi, trans, and queer people that does not sell your data and is used globally. Its mission is to create a digital home where the LGBTQ+ community feels they belong and are supported and where they can find love. They strive to ensure that Alpha is a safe space where people can be sexually and emotionally open about their wants and needs. Don't miss a thing on this. Tune in to learn more!

Privées d'éducation, forcées de porter le voile intégrale, bannies de la politique et des médias, les femmes disparaissent peu à peu de l'espace public en Afghanistan. Le régime taliban a mis en place une version rigoriste de la charia islamique qui ne laisse aucune place à celles qui représentent plus de la moitié de la population. Reléguées au rang de « mineure sous tutelle d'un proche masculin », les femmes ont perdu l'ensemble de leurs droits acquis au cours de la République afghane d'Afghanistan, soutenue entre 2001 et 2021 par la communauté internationale. Exclues de nombreux emplois dans la fonction publique et dans le secteur privé, la contribution économique qu'elles représentaient pour le pays a disparu, et l'ONU l'évalue même à un milliard de dollars, soit jusqu'à 5% du PIB de l'Afghanistan. « L'avenir est un immense trou noir », confient plusieurs Afghanes résignées à subir leur sort dicté par un régime qui déteste les femmes.  De notre envoyée spéciale à Kaboul, Cléa Broadhurst, et notre correspondante, Sonia Ghezali Lundi 15 août 2022, dans les rues de Kaboul, des centaines de combattants et sympathisants du régime célèbrent leur victoire sur les États-Unis et leurs alliés. Drapeaux blancs et noirs de l'Émirat flottent aux fenêtres de Corolla et de Jeep. Des haut-parleurs diffusent des Nasheed, ces chants religieux musulmans.  Sur le toit d'un immeuble, Zholya Parsi observe ces scènes de joie, sous la pluie. « Même le ciel pleure sur la misère du peuple afghan. Il y a un an, l'Afghanistan tombait entre les mains des talibans et tous les rêves, tous les espoirs des filles et des garçons afghans ont été anéantis », déplore-t-elle. Zholya, ancienne institutrice, milite pour les droits des femmes depuis que les talibans ont pris le pouvoir. En ce jour, elle porte une robe rouge pour défier les fondamentalistes religieux et un voile noir en signe de deuil.  « Je crois qu'ils rient sur notre mort, sur la mort de notre âme. Leurs voix résonnent à mes oreilles comme une bombe atomique qui explose. Ils sont en train de fêter l'anniversaire de notre destruction. Ils célèbrent la misère du people afghan » Pour défendre ses droits, Zholya Parsi prend des risques, comme samedi 13 août, lorsqu'elle a organisé une manifestation réprimée violemment par des combattants talibans qui tiraient en l'air à balles réelles pendant de longues minutes.  ► À écouter aussi : Afghanistan : une manifestation de femmes dispersée par les tirs des talibans à Kaboul Dans l'ouest du pays, à Herat, Niloufar a choisi de se battre avec sa plume. Écrivaine, elle publie des textes et des poèmes contre l'obscurantisme. Elle confie :  « J'ai très très peur. Chaque jour quand je me mets mes chaussures pour sortir, je me dis que je ne rentrerai peut-être pas. C'est très difficile, mais on essaie, le gouvernement n'aime pas que les femmes travaillent. C'est pour ça qu'on doit être prudentes. » La pression est permanente pour cette militante féministe qui enseigne la littérature à l'université et dont un ami militant a été arrêté il y a un an. Elle dit être en permanence sur ses gardes. « J'évoquais en classe Syngué Sabour, le roman d'Atiq Rahimi. L'héroïne parle de ses sentiments.  L'une de mes étudiantes s'est exclamée : Ah non ! Vous ne devriez pas parler de ces choses-là en classe ».  Malgré les risques, Niloufar refuse de renoncer à son combat. « C'est notre responsabilité, notre responsabilité en tant qu'être humain de rester mobilisé. Je sais qu'un jour, je risque de perdre ma vie à cause de ça, mais ça n'a pas importance. », s'exclame-t-elle. Le 15 août est désormais un jour férié en Afghanistan. Pour Niloufar et de nombreuses femmes afghanes, il s'agit d'un jour noir. ► À écouter aussi : Afghanistan : les femmes au destin brisé envisagent le pire

Privées d'éducation, forcées de porter le voile intégrale, bannies de la politique et des médias, les femmes disparaissent peu à peu de l'espace public en Afghanistan. Le régime taliban a mis en place une version rigoriste de la charia islamique qui ne laisse aucune place à celles qui représentent plus de la moitié de la population. Reléguées au rang de « mineure sous tutelle d'un proche masculin », les femmes ont perdu l'ensemble de leurs droits acquis au cours de la République afghane d'Afghanistan, soutenue entre 2001 et 2021 par la communauté internationale. Exclues de nombreux emplois dans la fonction publique et dans le secteur privé, la contribution économique qu'elles représentaient pour le pays a disparu, et l'ONU l'évalue même à un milliard de dollars, soit jusqu'à 5% du PIB de l'Afghanistan. « L'avenir est un immense trou noir », confient plusieurs Afghanes résignées à subir leur sort dicté par un régime qui déteste les femmes.  De notre envoyée spéciale à Kaboul, Cléa Broadhurst, et notre correspondante, Sonia Ghezali Lundi 15 août 2022, dans les rues de Kaboul, des centaines de combattants et sympathisants du régime célèbrent leur victoire sur les États-Unis et leurs alliés. Drapeaux blancs et noirs de l'Émirat flottent aux fenêtres de Corolla et de Jeep. Des haut-parleurs diffusent des Nasheed, ces chants religieux musulmans.  Sur le toit d'un immeuble, Zholya Parsi observe ces scènes de joie, sous la pluie. « Même le ciel pleure sur la misère du peuple afghan. Il y a un an, l'Afghanistan tombait entre les mains des talibans et tous les rêves, tous les espoirs des filles et des garçons afghans ont été anéantis », déplore-t-elle. Zholya, ancienne institutrice, milite pour les droits des femmes depuis que les talibans ont pris le pouvoir. En ce jour, elle porte une robe rouge pour défier les fondamentalistes religieux et un voile noir en signe de deuil.  « Je crois qu'ils rient sur notre mort, sur la mort de notre âme. Leurs voix résonnent à mes oreilles comme une bombe atomique qui explose. Ils sont en train de fêter l'anniversaire de notre destruction. Ils célèbrent la misère du people afghan » Pour défendre ses droits, Zholya Parsi prend des risques, comme samedi 13 août, lorsqu'elle a organisé une manifestation réprimée violemment par des combattants talibans qui tiraient en l'air à balles réelles pendant de longues minutes.  ► À écouter aussi : Afghanistan : une manifestation de femmes dispersée par les tirs des talibans à Kaboul Dans l'ouest du pays, à Herat, Niloufar a choisi de se battre avec sa plume. Écrivaine, elle publie des textes et des poèmes contre l'obscurantisme. Elle confie :  « J'ai très très peur. Chaque jour quand je me mets mes chaussures pour sortir, je me dis que je ne rentrerai peut-être pas. C'est très difficile, mais on essaie, le gouvernement n'aime pas que les femmes travaillent. C'est pour ça qu'on doit être prudentes. » La pression est permanente pour cette militante féministe qui enseigne la littérature à l'université et dont un ami militant a été arrêté il y a un an. Elle dit être en permanence sur ses gardes. « J'évoquais en classe Syngué Sabour, le roman d'Atiq Rahimi. L'héroïne parle de ses sentiments.  L'une de mes étudiantes s'est exclamée : Ah non ! Vous ne devriez pas parler de ces choses-là en classe ».  Malgré les risques, Niloufar refuse de renoncer à son combat. « C'est notre responsabilité, notre responsabilité en tant qu'être humain de rester mobilisé. Je sais qu'un jour, je risque de perdre ma vie à cause de ça, mais ça n'a pas importance. », s'exclame-t-elle. Le 15 août est désormais un jour férié en Afghanistan. Pour Niloufar et de nombreuses femmes afghanes, il s'agit d'un jour noir. ► À écouter aussi : Afghanistan : les femmes au destin brisé envisagent le pire

In onze Verre Geluiden-serie komen we vandaag uit in Afghanistan. Het land waar precies een jaar geleden de Taliban weer de macht grepen. En waar sindsdien de economie instortte, miljoenen mensen honger lijden en meisjes en vrouwen veel van hun rechten verloren. De toekomst is somber - al is er ook verzet. Niloufar Rahim, arts en bestuurslid van diaspora-vereniging Keihan leert ons de muziek van de revolutionaire artiesten van Afghanistan kennen. Presentatie: Tim de Wit Muziek uit de uitzending: Sarban | Bya Ki Barem Ba Mazar Ustad Abdul Wahab Madadi Sarzamine man, originele artiest: Dawood Sarkhosh, lyrics: ustad Amir jan Saboori Song: Qahramaan (champion), artiest: Aryana Sayeed

In Afghanistan zijn protesten zonder toestemming sinds dit weekend verboden. Toch zijn vrouwen die eerder de straat op gingen om voor hun rechten te demonstreren niet van plan te stoppen. Ook journalisten proberen hun werk te blijven doen. In podcast De Dag hun verhalen. Niloufar is directeur van een Afghaanse televisiezender en zij vertelt voor het eerst onder haar echte naam hoe ze vanuit Nederland een groep journalisten in Kabul aanstuurt om verslag te doen van de protesten en hoe de Taliban daar tegen optreden. Vrouwen en journalisten hebben steeds minder bewegingsvrijheid en het geweld neemt toe, zegt ze. Ook correspondent Aletta André hoort dat van de vrouwen met wie zij, vanuit haar standplaats India, contact heeft. Ze sprak onder meer de 30-jarige promovenda Farah. Ze weet hoe gevaarlijk het is om zich uit te spreken, maar ze is vastbesloten om dat toch te blijven doen. "Als we niet nu onze stem laten horen, wat vertellen we dan later aan onze kinderen?" Reageren? Mail dedag@radio1.nl

Dans ce 172 ème épisode, Marie Bongars te raconte la vie de Niloufar Ardalan, considérée comme la meilleure joueuse de football d'Iran, sa participation à une compétition internationale viendra mettre en lumière les restrictions des droits de ses concitoyennes…Bonne écoute!Si vous souhaitez nous contacter, n'hésitez pas à le faire…Par mail : unesacreepairedovaires@gmail.comPar instagram : https://www.instagram.com/unesacreepairedovaires/?hl=frSi vous souhaitez recevoir les transcriptions de ce podcast, vous pouvez me contacter via l'une de ces deux adresses.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Niloufar Nourbakhsh discusses her multifaceted career, which spans the gamut from being an internationally renowned composer, pianist, and teacher to wide-ranging advocacy for social change. Topics discussed include the connections between politics and music, the Zohra Orchestra (Afghanistan's first all-female orchestra), teaching composition vs. teaching piano, the New York Philharmonic Very Young Composers Program, music education in Iran, and the Iranian Female Composers Association. In the interview, Niloufar recommends several Iranian women composers who write fantastic piano music: Aftab Darvishi, Negin Zomorodi, Nina Barzegar, Homa Samiei, and Anoush Moazzeni.

Today we have a wonderful double guest episode. We have the honor to speak two quickly rising stars in the contemporary classical music world, Anahita Abbasi and Niloufar Iravani. We talk about their music, their lives in Iran as well as in America/Europe, and the Iranian Female Composers Association (IFCA). In our discussions we destroy myths Americans might have of Iran and bridge the distance between our two countries. Guests: Anahita Abbasi - http://www.anahitaabbasi.com/ ( http://www.anahitaabbasi.com/?fbclid=IwAR1KWmexjYRospm1kViCAbd31DeM33tLFhHMn6jEasi4saL2PVSUqEd22_A ) Niloufar Iravani - http://www.niloufariravani.com/ ( http://www.niloufariravani.com/?fbclid=IwAR1hKvc1V8buL0zKyA1OAwvuzCTVpS90K0kWP06KxpHGIjduzY6m_P8JT48 ) Hosts: William F. Montgomery - http://www.williammontgomerycomposer.com/ Hillary Lester - http://thehealthymusiciansite.com/ Music Excerpts: Why The Trees Were Murmuring - Anahita Abbasi. Performed by La Jolla Symphony. Conducted by Steven Schick. February 8th & 9th, 2020 ©2019 Seven, Fixed Media - Niloufar Iravani © 2017 Distorted Attitudes I (for flute, clarinet, piano, violin, cello, and contrabass) - Anahita Abbasi. ©2013 Energetic: Movement I of the Maze (for string quartet) - Niloufar Iravani © 2017 Disturbed Attitudes III: Scattered (for voice and tam-tam) - Anahita Abbasi ©2014 Links: http://schallfeldensemble.com/ ( http://schallfeldensemble.com/?fbclid=IwAR3mkFMh3q89Qj9SBMqFYnneUt7VlVlfiOcy80lQn91mCCHM4E50VjwvbNs ) If you want to find out more about the Iranian Female Composer Association, contact here: connect.ifca@gmail.com Support this podcast at — https://redcircle.com/sounds-of-the-world/donations

In episode 4 I speak with Niloufar Lamakan who is the genius behind the Instagram account fabulousinmy60s. As the name suggests she is single and in her 60s but has the vibrancy and energy of someone much younger. After chatting about some of her experiences in the dating game, which the salsa lovers out there might like in particular, we then chat about her unique idea for her book, which will be about the adventures of the main character, Fanny Fabulous... need I say anymore!?

Im Gespräch mit der Bloggerin, Mediencoach und Brandmanagerin Niloufar Behradi-Ohnacker erfahren wir in der zweiten Folge, wie Kreativität für mehr gesellschaftliche Chancengleichheit sorgen und wie wichtig kreatives Denken für den beruflichen Werdegang sein kann. Niloufar erzählt uns außerdem, wie sie als Mediencoach Schülerinnen und Schüler sowie Studierende und Lehrende dazu inspiriert, selbst mit digitalen Tools kreativ zu werden.

In this half Persian, half English episode, Arman and Niloufar from Talksio Podcast join PGP for a conversation about what life is like right now for the youth in Iran. Niloufar shares her own experiences. We discuss where people meet, where young people go out, dating life, "machin bazi", getting arrested for not wearing the hijab properly, the difference of life between the ultra wealthy and poor, and more.

In this half Persian, half English episode, Arman and Niloufar from Talksio Podcast join PGP for a conversation about what life is like right now for the youth in Iran. Niloufar shares her own experiences. We discuss where people meet, where young...

In this half Persian, half English episode, Arman and Niloufar from Talksio Podcast join PGP for a conversation about what life is like right now for the youth in Iran. Niloufar shares her own experiences. We discuss where people meet, where young...

Jennifer Williams interviews composer, pianist and educator Niloufar Nourbakhsh – winner of the 2nd Hildegard Competition, recipient of a 2019 Female Discovery Grant from OPERA America, and a founding member and co-director of the Iranian Female Composers Association. We discuss the unwilling hero in her new work, “We the Innumerable;” her new perspectives on the future of technology in music; current developments in Iran’s opera scene; and her vision for the future of the Iranian Female Composers Association. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Football writer Niloufar Momeni is our guest on the newest podcast of Team Melli Talk. Niloufar has been covering football for over twenty years and she shares her input on the current state of Iranian football. This is a podcast you do not want to miss! www.womenforfootball.com

This week, we bring you a conversation on the latest dramatic political developments in Sudan with Elsadig Elsheikh, the Director of the Global Justice program at the Haas Institute at UC Berkeley Later in the program, award-winning multidisciplinary artist, and author Niloufar Talebi joins us to talk about her new opera Abraham in Flames, inspired by the stunning imagery of the late iconic Iranian poet Ahmad Shamlou's life and poetry.

This week, we bring you a conversation on the latest political developments in Sudan with Elsadig Elsheikh, the Director of the Global Justice program at the Haas Institute at the University of California, Berkeley. Later in the program, award-winning multidisciplinary artist and author Niloufar Talebi joins us to talk about her new opera Abraham in Flames, inspired by the stunning imagery of the late iconic Iranian poet Ahmad Shamlou. Image: https://commons.wikimedia.org/wiki/File:Sudanese_protestors_chanting.jpg   The post May 3, 2019: Sudan's Latest with Elsadig Elsheikh, Plus; A New Opera by Artist Niloufar Talebi appeared first on KPFA.

Dendemann ist zurück! Genau genommen war er nie wirklich weg. Neben einigen musikalischen Features trat er in den letzten Jahren vor allem mit seiner Tätigkeit als Kapellmeister im Neo Magazin Royal in Erscheinung. Was in den letzten 8 Jahren allerdings fehlte – und von seinen Fans sehnlichst erwartet wurde, war ein neues Album. Kommenden Freitag ist es nun endlich soweit: Dendemann, die “Galionsfigur der Verdrossenheit” (wie er sich selbst nennt) veröffentlicht sein neues Album “da nich für!”. Als Hauptproduzenten sicherte sich Dendemann die musikalische Unterstützung von The Krauts, sowie bei einzelnen Songs die von Kitschkrieg und Torky Tork. Im Gesamten ist Dendemann damit ein herausragendes und zeitgemäßes Album gelungen, das sich vom aktuellen Hip-Hop gleichermaßen abhebt, sowie auch einpasst. Das fehlende Puzzleteil sozusagen, das den Sound und die Attitude der ersten Hochzeit des deutschen Raps in den Neunzigerjahren in die Gegenwart hievt. Und das, ohne als Hörer das Gefühl zu haben, dass er es damit allen Recht machen wollte. Ganz im Gegenteil legt Dendemann mit diesem Album die Latte wieder einmal mindestens eine Kerbe höher und zeigt, wie man mit viel Wortwitz und Talent Geschichten erzählt. Storytelling at it’s best, grob eingeordnet in zwei Themengebiete: zum einen hört man gesellschaftskritische Songs, zum anderen geht es um Hip-Hop. Dendemann im Interview Niloufar und ich hatten das Vergnügen mit Dendemann über sein Album zu sprechen und wir freuen uns sehr, dass daraus ein (wie ich finde) sehr interessantes Gespräch wurde. Song für Song hangeln sich Dendemann und Niloufar durch sein Album und analysieren und interpretieren dabei jeden einzelnen Tune. Zudem verrät Dende uns, ob und wie er selbst den Dancefloor rockt, ob es eine “Dendefrau” gibt und erfahren, warum die Themenlosigkeit anderer Rapper ihm in die Karten spielt. Gute Unterhaltung.

Yassin ist mit seinem Partner in Crime Audio88 schon seit 10 Jahren im Geschäft, doch mit seinem Debüt-Album ließ der Rapper sich bis ins Jahr 2019 Zeit. “YPSION” ist ein persönliches Album geworden, das viele musikalische Überraschungen beinhaltet. Während seine vergangenen Produktionen mit Audio88 überwiegend mit Zynismus und Häme punkteten, gewährt Yassin auf seinen Solowerk autobiografische Einblicke in sein Leben. "Wenn ich morgen Ciao sage, dann ist alles was ich sagen musste auf dem Album" Auch kritische Auseinandersetzungen mit der politischen Lage und zwischenmenschliche Beziehungen fanden ihren Platz auf dem Album. Sensible Themen, für die Yassin überraschend feinfühlige Worte fand. Yassin im Interview Was als Beauty-Talk über graue Haare startete, mündete schließlich in ein länger als geplantes und tiefgründiges Gespräch. Dabei redeten Niloufar und Yassin zum Beispiel über Frauen in der Fanbase und wie seine Musik auf sie wirkt. Zynismus und Humor waren weitere Themen und natürlich das Album und die Hintergründe über einzelne Songs von “Ypsilon”.

Dendemann ist zurück! Genau genommen war er nie wirklich weg. Neben einigen musikalischen Features trat er in den letzten Jahren vor allem mit seiner Tätigkeit als Kapellmeister im Neo Magazin Royal in Erscheinung. Was in den letzten 8 Jahren allerdings fehlte – und von seinen Fans sehnlichst erwartet wurde, war ein neues Album. Kommenden Freitag ist es nun endlich soweit: Dendemann, die “Galionsfigur der Verdrossenheit” (wie er sich selbst nennt) veröffentlicht sein neues Album “da nich für!”. Als Hauptproduzenten sicherte sich Dendemann die musikalische Unterstützung von The Krauts, sowie bei einzelnen Songs die von Kitschkrieg und Torky Tork. Im Gesamten ist Dendemann damit ein herausragendes und zeitgemäßes Album gelungen, das sich vom aktuellen Hip-Hop gleichermaßen abhebt, sowie auch einpasst. Das fehlende Puzzleteil sozusagen, das den Sound und die Attitude der ersten Hochzeit des deutschen Raps in den Neunzigerjahren in die Gegenwart hievt. Und das, ohne als Hörer das Gefühl zu haben, dass er es damit allen Recht machen wollte. Ganz im Gegenteil legt Dendemann mit diesem Album die Latte wieder einmal mindestens eine Kerbe höher und zeigt, wie man mit viel Wortwitz und Talent Geschichten erzählt. Storytelling at it’s best, grob eingeordnet in zwei Themengebiete: zum einen hört man gesellschaftskritische Songs, zum anderen geht es um Hip-Hop. Dendemann im Interview Niloufar und ich hatten das Vergnügen mit Dendemann über sein Album zu sprechen und wir freuen uns sehr, dass daraus ein (wie ich finde) sehr interessantes Gespräch wurde. Song für Song hangeln sich Dendemann und Niloufar durch sein Album und analysieren und interpretieren dabei jeden einzelnen Tune. Zudem verrät Dende uns, ob und wie er selbst den Dancefloor rockt, ob es eine “Dendefrau” gibt und erfahren, warum die Themenlosigkeit anderer Rapper ihm in die Karten spielt. Gute Unterhaltung.

Yassin ist mit seinem Partner in Crime Audio88 schon seit 10 Jahren im Geschäft, doch mit seinem Debüt-Album ließ der Rapper sich bis ins Jahr 2019 Zeit. “YPSION” ist ein persönliches Album geworden, das viele musikalische Überraschungen beinhaltet. Während seine vergangenen Produktionen mit Audio88 überwiegend mit Zynismus und Häme punkteten, gewährt Yassin auf seinen Solowerk autobiografische Einblicke in sein Leben. "Wenn ich morgen Ciao sage, dann ist alles was ich sagen musste auf dem Album" Auch kritische Auseinandersetzungen mit der politischen Lage und zwischenmenschliche Beziehungen fanden ihren Platz auf dem Album. Sensible Themen, für die Yassin überraschend feinfühlige Worte fand. Yassin im Interview Was als Beauty-Talk über graue Haare startete, mündete schließlich in ein länger als geplantes und tiefgründiges Gespräch. Dabei redeten Niloufar und Yassin zum Beispiel über Frauen in der Fanbase und wie seine Musik auf sie wirkt. Zynismus und Humor waren weitere Themen und natürlich das Album und die Hintergründe über einzelne Songs von “Ypsilon”.

Yassin ist mit seinem Partner in Crime Audio88 schon seit 10 Jahren im Geschäft, doch mit seinem Debüt-Album ließ der Rapper sich bis ins Jahr 2019 Zeit. “YPSION” ist ein persönliches Album geworden, das viele musikalische Überraschungen beinhaltet. Während seine vergangenen Produktionen mit Audio88 überwiegend mit Zynismus und Häme punkteten, gewährt Yassin auf seinen Solowerk autobiografische Einblicke in sein Leben. "Wenn ich morgen Ciao sage, dann ist alles was ich sagen musste auf dem Album" Auch kritische Auseinandersetzungen mit der politischen Lage und zwischenmenschliche Beziehungen fanden ihren Platz auf dem Album. Sensible Themen, für die Yassin überraschend feinfühlige Worte fand. Yassin im Interview Was als Beauty-Talk über graue Haare startete, mündete schließlich in ein länger als geplantes und tiefgründiges Gespräch. Dabei redeten Niloufar und Yassin zum Beispiel über Frauen in der Fanbase und wie seine Musik auf sie wirkt. Zynismus und Humor waren weitere Themen und natürlich das Album und die Hintergründe über einzelne Songs von “Ypsilon”.

Dendemann ist zurück! Genau genommen war er nie wirklich weg. Neben einigen musikalischen Features trat er in den letzten Jahren vor allem mit seiner Tätigkeit als Kapellmeister im Neo Magazin Royal in Erscheinung. Was in den letzten 8 Jahren allerdings fehlte – und von seinen Fans sehnlichst erwartet wurde, war ein neues Album. Kommenden Freitag ist es nun endlich soweit: Dendemann, die “Galionsfigur der Verdrossenheit” (wie er sich selbst nennt) veröffentlicht sein neues Album “da nich für!”. Als Hauptproduzenten sicherte sich Dendemann die musikalische Unterstützung von The Krauts, sowie bei einzelnen Songs die von Kitschkrieg und Torky Tork. Im Gesamten ist Dendemann damit ein herausragendes und zeitgemäßes Album gelungen, das sich vom aktuellen Hip-Hop gleichermaßen abhebt, sowie auch einpasst. Das fehlende Puzzleteil sozusagen, das den Sound und die Attitude der ersten Hochzeit des deutschen Raps in den Neunzigerjahren in die Gegenwart hievt. Und das, ohne als Hörer das Gefühl zu haben, dass er es damit allen Recht machen wollte. Ganz im Gegenteil legt Dendemann mit diesem Album die Latte wieder einmal mindestens eine Kerbe höher und zeigt, wie man mit viel Wortwitz und Talent Geschichten erzählt. Storytelling at it's best, grob eingeordnet in zwei Themengebiete: zum einen hört man gesellschaftskritische Songs, zum anderen geht es um Hip-Hop. Dendemann im Interview Niloufar und ich hatten das Vergnügen mit Dendemann über sein Album zu sprechen und wir freuen uns sehr, dass daraus ein (wie ich finde) sehr interessantes Gespräch wurde. Song für Song hangeln sich Dendemann und Niloufar durch sein Album und analysieren und interpretieren dabei jeden einzelnen Tune. Zudem verrät Dende uns, ob und wie er selbst den Dancefloor rockt, ob es eine “Dendefrau” gibt und erfahren, warum die Themenlosigkeit anderer Rapper ihm in die Karten spielt. Gute Unterhaltung.

Yassin ist mit seinem Partner in Crime Audio88 schon seit 10 Jahren im Geschäft, doch mit seinem Debüt-Album ließ der Rapper sich bis ins Jahr 2019 Zeit. “YPSION” ist ein persönliches Album geworden, das viele musikalische Überraschungen beinhaltet. Während seine vergangenen Produktionen mit Audio88 überwiegend mit Zynismus und Häme punkteten, gewährt Yassin auf seinen Solowerk autobiografische Einblicke in sein Leben. "Wenn ich morgen Ciao sage, dann ist alles was ich sagen musste auf dem Album" Auch kritische Auseinandersetzungen mit der politischen Lage und zwischenmenschliche Beziehungen fanden ihren Platz auf dem Album. Sensible Themen, für die Yassin überraschend feinfühlige Worte fand. Yassin im Interview Was als Beauty-Talk über graue Haare startete, mündete schließlich in ein länger als geplantes und tiefgründiges Gespräch. Dabei redeten Niloufar und Yassin zum Beispiel über Frauen in der Fanbase und wie seine Musik auf sie wirkt. Zynismus und Humor waren weitere Themen und natürlich das Album und die Hintergründe über einzelne Songs von “Ypsilon”.

Dendemann ist zurück! Genau genommen war er nie wirklich weg. Neben einigen musikalischen Features trat er in den letzten Jahren vor allem mit seiner Tätigkeit als Kapellmeister im Neo Magazin Royal in Erscheinung. Was in den letzten 8 Jahren allerdings fehlte – und von seinen Fans sehnlichst erwartet wurde, war ein neues Album. Kommenden Freitag ist es nun endlich soweit: Dendemann, die “Galionsfigur der Verdrossenheit” (wie er sich selbst nennt) veröffentlicht sein neues Album “da nich für!”. Als Hauptproduzenten sicherte sich Dendemann die musikalische Unterstützung von The Krauts, sowie bei einzelnen Songs die von Kitschkrieg und Torky Tork. Im Gesamten ist Dendemann damit ein herausragendes und zeitgemäßes Album gelungen, das sich vom aktuellen Hip-Hop gleichermaßen abhebt, sowie auch einpasst. Das fehlende Puzzleteil sozusagen, das den Sound und die Attitude der ersten Hochzeit des deutschen Raps in den Neunzigerjahren in die Gegenwart hievt. Und das, ohne als Hörer das Gefühl zu haben, dass er es damit allen Recht machen wollte. Ganz im Gegenteil legt Dendemann mit diesem Album die Latte wieder einmal mindestens eine Kerbe höher und zeigt, wie man mit viel Wortwitz und Talent Geschichten erzählt. Storytelling at it’s best, grob eingeordnet in zwei Themengebiete: zum einen hört man gesellschaftskritische Songs, zum anderen geht es um Hip-Hop. Dendemann im Interview Niloufar und ich hatten das Vergnügen mit Dendemann über sein Album zu sprechen und wir freuen uns sehr, dass daraus ein (wie ich finde) sehr interessantes Gespräch wurde. Song für Song hangeln sich Dendemann und Niloufar durch sein Album und analysieren und interpretieren dabei jeden einzelnen Tune. Zudem verrät Dende uns, ob und wie er selbst den Dancefloor rockt, ob es eine “Dendefrau” gibt und erfahren, warum die Themenlosigkeit anderer Rapper ihm in die Karten spielt. Gute Unterhaltung.

Das musikalische Intro zum Wochenende um den 4. Advent und auch dem letzten vor Weihnachten, haben wir Niloufar von den Blogrebellen zu verdanken. Entschleunigung durch warme Frauenstimmen voller Jazz und Soul. So lässt sich das Tempo der Woche etwas runterdrehen. Niloufar: "Ein Mix, der in einer kalten Jahreszeit nur aus den tollsten, wärmsten Frauenstimmen besteht. Sie haben alle auf ihre Art eine Schwere, die mich immer wieder Anzieht. Das Wort “Schwerkraft” ist das schönste, was es im Deutschen gibt. Es beschreibt einen allgegenwärtigen Zustand, den wir Menschen täglich spüren aber deren Bedeutung für unser Gemütszustand ist uns selten klar. Zumindest bilde ich mir, dass es einen Gemütszustand “Schwerkraft” gibt."

Das musikalische Intro zum Wochenende um den 4. Advent und auch dem letzten vor Weihnachten, haben wir Niloufar von den Blogrebellen zu verdanken. Entschleunigung durch warme Frauenstimmen voller Jazz und Soul. So lässt sich das Tempo der Woche etwas runterdrehen. Niloufar: "Ein Mix, der in einer kalten Jahreszeit nur aus den tollsten, wärmsten Frauenstimmen besteht. Sie haben alle auf ihre Art eine Schwere, die mich immer wieder Anzieht. Das Wort “Schwerkraft” ist das schönste, was es im Deutschen gibt. Es beschreibt einen allgegenwärtigen Zustand, den wir Menschen täglich spüren aber deren Bedeutung für unser Gemütszustand ist uns selten klar. Zumindest bilde ich mir, dass es einen Gemütszustand “Schwerkraft” gibt."