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Twenty-five years after September 11th, Guantánamo Bay is still open. Fifteen men are still held there. Six have never been charged with anything at all. And on August 26, 2026, a military judge finally set a trial date for Khalid Sheikh Mohammed and three co-defendants: June 5, 2028, nearly 27 years after the attacks. In the first episode of Immigrantly's three-part 9/11 at 25 series, Saadia Khan sits down with Shayana Kadidal, Senior Managing Attorney at the Center for Constitutional Rights, who has litigated Guantánamo cases since 2002. He filed the first habeas petition on behalf of detainees when no one in Washington would carry the papers to the courthouse. He was one of the first lawyers allowed onto the base. This conversation covers what actually built Guantánamo and what has kept it standing through four presidencies: • Why the first people held at Guantánamo were not Muslims, but Black Haitian refugees intercepted at sea in 1991• How the U.S. filled the prison using leaflets and $5,000 bounties, not battlefield capture• The domestic sweeps of South Asian and Arab Muslim men, held in secret immigration hearings with their names erased from the public docket• Mohammed al-Qahtani, a schizophrenic man held roughly two decades, much of it in solitary confinement, and Abu Zubaydah, the first man waterboarded, still never charged• Guled Duran, cleared for release by six agencies, whose habeas petition has sat with a judge for a decade• Why the torture evidence argument is not the reason these cases never went to trial• And what it means that the Trump administration flew roughly 500 immigrants to Guantánamo between February and June 2025, at a reported cost of about $100,000 per person per day The machinery built in 2001 was never dismantled. Machinery that isn't dismantled gets used again on somebody else. Saadia's take: she is not here to acknowledge the anniversary. She is here to audit it. Learn more about the Center for Constitutional Rights at ccrjustice.org, or follow @ccrjustice. Next Tuesday: a woman whose father, a firefighter, went into the towers and did not come out. She was six. She has spent the years since objecting to what this country did to Muslims in her family's name. Tags/keywords: Guantanamo Bay, Guantánamo, 9/11 25th anniversary, September 11 anniversary, Khalid Sheikh Mohammed trial, Gitmo, military commissions, indefinite detention, habeas corpus, Center for Constitutional Rights, Shayana Kadidal, War on Terror, Islamophobia, immigration detention, Abu Zubaydah, Guantanamo detainees 2026 Include "Guantanamo" without the accent somewhere in the description text as well as with it. Apple Podcasts search does not normalize diacritics reliably You can connect with Saadia on IG @itssaadiak Email:saadia@immigrantlypod.com Host & Producer: Saadia Khan I Content Writer: Saadia Khan I Editorial review: Shei Yu I Sound Designer & Editor: Lou Raskin I Immigrantly Theme Music: Simon Hutchinson | Other Music: Epidemic Sound Immigrantly Podcast is an Immigrantly Media Production. For advertising inquiries, contact us at info@immigrantlypod.com BOYOT (Belong On Your Own Terms) is the next step. It's our new app, designed to help you think through identity, culture, ambition, relationships, and the stories we carry with guided reflections, prompts, and frameworks developed over years of conversations on this show. It's thoughtful. It's challenging. And honestly, it's the kind of space many of us wish existed earlier in our lives. If you're ready to go deeper than the podcast, subscribe to BOYOT and start the journey. Don't forget to subscribe to Immigrantly Uninterrupted for insightful podcasts. Follow us on social media for updates and behind-the-scenes content. Learn more about your ad choices. Visit megaphone.fm/adchoices
Broadcast from KSQD, Santa Cruz on 8-27-2026: Preparing for extreme heat requires a few days of controlled hyperthermia to boost blood plasma volume and trigger heat shock protein production. Dr. Dawn cites research showing that daily 40-minute treadmill sessions in an 80-degree room followed by 40-minute hot baths for six days—or simply an hour daily in a 40°C bath for four days—produces 75-80% of full acclimatization before a heat-zone trip. Five red flags warrant an ER trip for abdominal pain: pain worsening with coughing or car bumps (peritonitis), lack of gas passage with nausea (bowel obstruction) especially with dark green bilious vomiting, yellowing whites of eyes (bile duct obstruction with sepsis risk), tarry black shiny stool (bleeding ulcer versus coffee-ground vomit), and dizziness with pain (possible leaking aortic aneurysm). Dr. Dawn urges any man who has smoked over 100 lifetime cigarettes to request the Medicare-covered abdominal ultrasound screening for aortic aneurysm, noting only 4% of eligible men currently receive it. Quaternary ammonium compounds (QACs) fill nearly half of disinfectants, surface sanitizers, and cleaning wipes, with use surging after 2016 FDA antimicrobial bans and the COVID pandemic. A 2023 Environmental Science and Technology review documented reproductive toxicity, hormone mimicking, dermal and respiratory irritation, and disruption of mitochondrial oxidative phosphorylation. Dr. Dawn recommends apple cider vinegar and water as a safe household cleaner and directs listeners to EWG.org for QAC-free product listings. A UK Biobank study of 65,000 people born in the 1940s-50s exploited WWII sugar rationing (eight ounces weekly through 1953) as a natural experiment. Those exposed to less sugar before age two had 20% lower dementia risk with 2.5-year delayed onset, and protection held even for those whose low-sugar exposure was purely in utero—underscoring the importance of avoiding added sugars in baby foods during the first 1,000 days. A Coast Guard rescuer's suicide following years of headaches and mood swings prompted his teenage daughter's high school survey of 77 surfmen, most of whom described the same TBI symptoms. Repeated boat impacts hitting waves at 6G at the deck translate to roughly 60G at the sailor's head—more violent than car crashes—prompting the Coast Guard's first official acknowledgment of the wave-pounding brain injury problem. Anopheles stephensi, a hardy South Asian malaria vector that thrives in urban environments and survives dry seasons, has spread from Djibouti (2012) through Yemen, Ethiopia, Sudan, and Kenya. Genomic analysis reveals distinct genetic clusters as it advances, all largely resistant to standard mosquito-control chemicals used in netting and sprays. Dr. Dawn ties this to broader arthropod-borne disease expansion in the U.S. from climate warming, and defends deer culling as tick-vector reduction. Dr. Dawn recommends the PREVENT calculator (using blood pressure, cholesterol, age, sex) as the starting point for coronary risk assessment. Coronary calcium scores are most useful for those in the borderline/intermediate range (3-9% ten-year risk)—a score above age-normal warrants reconsidering statin therapy—but add little value at high risk (where zero calcium doesn't rule out non-calcified plaque) or in older patients. An update on shingles vaccination and dementia: Geldsinger's 2025 Welsh natural-experiment study (exploiting birthday-based Shingrix rollout cutoffs) showed a 20% dementia reduction, since replicated in Canada, Australia, and Scotland. New Hebrew University data suggests giving Shingrix four weeks apart (Dr. Dawn cautions against this shortened interval) may stabilize cognition in existing Alzheimer's patients. The proposed mechanism involves boosting regulatory T-cells that dampen chronic neuroinflammation—also explaining why BCG (400% dementia reduction in bladder cancer patients) and flu vaccines show similar protective effects. An oral KRAS-inhibiting drug, daraxonrasib, doubled median survival in 500 patients with metastatic pancreatic cancer from about six months to 13.2 months by blocking proteins produced by the historically undruggable KRAS gene—the first major advance for a cancer where metastatic diagnosis has meant near-immediate death sentence.
Asher and Mom visit family friend Miral Sattar, whose roots stretch from Pakistan to Burma to Persia, for a hands-on lesson in how food becomes a love language across cultures. Kids will learn about Rooh Afza rose milk, crispy beef samosas, Burmese khow suey noodles, the tradition of chai hospitality, and creamy pistachio kulfi, all while discovering why sharing a meal is one of the most universal ways people show they care. About Miral Sattar:
Matthew Toffolo chats with Natasha Mynhier, the director of a 20-minute sci-fi short film that premiered at the Sci-Fi Fantasy Film Festival. Natasha discussed her film, which explores themes of aptitude testing and AI in the future, inspired by real-world developments where companies like Microsoft use video game-based hiring exams to assess candidates. The film, shot in Los Angeles using a government building as a set, was made possible through Natasha's participation in AFI's Directing Workshop for Women Plus program, where she worked with cinematographer Hanna Plotzer to create a tension-filled thriller centered on a South Asian protagonist taking an exam that determines her future. The film serves as a proof of concept for a potential series, with Natasha emphasizing the importance of maintaining subjective storytelling while quickly establishing exposition in sci-fi narratives. https://www.wildsound.ca/videos/aptitude-audience-feedback https://www.instagram.com/natashamynhier —- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod —— Love for you to try the Indy Film Festival AP. • Daily new film festival of the best new films from around the world. New archived festival to watch anytime. • Library of over 500+ award-winning films to watch anytime. Go to https://www.wildsound.ca and sign up for the free 3-day trial. Check out the daily film festival (and previous ones from last month) at https://www.wildsound.ca/browse Always an amazing lineup of films. Inspiring for storytellers.
Karan and Roshan's real-life romance inspired their film A Nice Indian Boy, and the success of the Hollywood/Bollywood romcom has healed many family rifts on the way.Karan Soni is an Indian actor famous for playing supporting roles in films like Deadpool & Wolverine. He had moved to the US for college before becoming an actor, but, despite coming out in his teens, felt he had to keep his sexuality a secret to make it in Hollywood. Roshan Sethi is a Canadian oncologist and scriptwriter from an Indian family, who didn't come out till the age of 30. But when the pair met through an online dating app, things began to change. They ended up making a Hollywood/Bollywood-inspired romcom that closely resembled their own story – about a gay Indian-American doctor finding love. Karan is in the lead role, alongside musical theatre star Jonathan Groff, and Roshan is directing. Making this film, and sharing it with their families, has helped to address some of the issues both Karan and Roshan experienced as gay men from South Asian communities.This story was first on BBC World Service radio last year - when the Lives Less Ordinary team decided to create the Love Stories season, we knew we had to include it!Presenter: Sophia Smith Galer Producer: Helen FitzhenryLives Less Ordinary is a podcast from the BBC World Service that brings you the most incredible true stories from around the world. Each episode a guest shares their most dramatic, moving, personal story. Listen for unbelievable twists, mysteries uncovered, and inspiring journeys - spanning the entire human experience. Step into someone else's life and expect the unexpected. Got a story to tell? Send an email to liveslessordinary@bbc.co.uk or message us via WhatsApp: 0044 330 678 2784 You can read our privacy notice here: https://www.bbc.co.uk/programmes/articles/5YD3hBqmw26B8WMHt6GkQxG/lives-less-ordinary-privacy-notice
Listen to a sampling of some of the 2026 New York Guitar Festival, with pieces by the duo of Goran Ivanovic and Fareed Haque and Pierre Bensusan recorded live in August at Bryant Park. Guitarist Goran Ivanovic is Croatian-born, while Fareed Haque is of Pakistani and Chilean descent. Both now live in Chicago, and their music is a deep dish pie of South Asian, Latin, and Balkan ingredients, liberally spiced with improvisation. Hear some of their Balkan-South Asian-Latin fusion, recorded live at the first night of the 2026 New York Guitar Festival. Topansko oro 2. IndoBalkan 3. Gypsy Circus Then, Algerian-born French guitarist Pierre Bensusan plays in the open tuning system known as DADGAD. Bensusan draws on Celtic traditional and North African music, adding improvisation, vocalise, and electronic effects to create his own sonic world. Listen to some of his set from the second night of the 2026 New York Guitar Festival. Hekimolu 2. The Alchemist 3. Intuit Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
South Asians represent about a quarter of the world's population but account for over 60 percent of the world's heart disease. The highest rates of diabetes and metabolic syndrome. And yet most women in the community have no idea this could be coming for them.This week I spoke with Dr. Ambreen Mohamed, a cardiologist with a passion for improving cardiovascular health, particularly in South Asian communities. This is a conversation I have wanted to have for a long time, and it is personal. I lost my mother to a massive heart attack over a year ago, and like so many women in our community, her symptoms did not look like what we are taught to recognize.We talk about why women's heart attack symptoms are so often dismissed, why the research was built on men for decades, and why what we call atypical is actually just different. We get into the genetics that make South Asians uniquely vulnerable, including lipoprotein A, APOB, insulin resistance, visceral fat distribution, and why someone can look healthy on the outside and have significant cardiovascular risk on the inside. We talk about the cultural pressures that make South Asian women put everyone else first, and how chronic stress compounds an already elevated risk.We also cover what good prevention actually looks like. What to ask your doctor. What markers to check beyond a standard cholesterol panel. How pregnancy history, PMOS, preeclampsia, and early menopause all factor into cardiovascular risk assessment. And what is coming down the pipeline in cardiology that gives Dr. Mohamed genuine excitement.This is not a doom and gloom conversation. It is an empowering one. Because knowing your risk is the first step to doing something about it.South Asians make up about 25 percent of the world's population but account for over 60 percent of global heart disease, with the highest rates of diabetes and metabolic syndrome of any ethnicity.What you'll learn:Women's heart attack symptoms are often dismissed because they can present differently from the classic Hollywood version, including fatigue, jaw pain, back pain, nausea, and indigestion rather than crushing chest pain.Microvascular disease, disease of the smaller coronary arteries, is more common in women and diabetics and can be missed entirely on standard imaging.The skinny fat phenomenon is real: visceral fat, the fat that wraps around organs deep in the body, increases cardiovascular risk even in people who appear slim.Early menopause is an independent risk factor for high blood pressure, and the estrogen drop during perimenopause and menopause accelerates cardiovascular risk.Sleep apnea is one of the most underdiagnosed contributors to high blood pressure and should be screened for before jumping to medication.The foundation of prevention is not supplements or peptides: it is sleep, movement, diet, stress management, and knowing your numbers.Connect with Dr. Mohamed:WebsiteInstagramTikTok
Ganja is the popular name in Hindustani, Bengali, and other South Asian languages for intoxicating substances produced from the plant species Cannabis sativa L. Starting in the eighteenth century, British India's colonial administrators sought ways to systematically tax and govern how ganja circulated from the farms of peasant families in rural Bengal to pipes, plates, and cups elsewhere in the subcontinent. Ganja Matters: Empire and the Pursuits of Cannabis in British India (University of California Press, 2026) is an open-access book that follows the perpetual incongruity between regulatory efforts to pursue the plant through botanical observation, colonial reportage, and excise statistics and the leisurely, devotional, and creative ganja pursuits among people. Dr. Utathya Chattopadhyaya offers a social history of ganja in a multispecies framework that reveals how the cannabis plant co-constituted histories of empire, gender, subalternity, and labor under British rule. Against the weight of the criminalization and "drug-ness" of cannabis, Dr. Chattopadhyaya puts the multidirectional and polysemic history of ganja as plant matter at the center of analysis. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week we're joined by Naz Hassan, the chef behind two of London's most talked-about Italian restaurants, Lupa and Ornella, alongside co-founders Ed Templeton and Theo James. Naz tells us how a drunken conversation at a Christmas party somehow turned into opening restaurants with one of Hollywood's biggest stars, why Lupa being fully booked for its first three months became both a blessing and a curse, and what it really takes to survive the hype surrounding a major London opening. Born in Bangladesh and raised in Milan, Naz also opens up about rejecting his Bengali identity as a teenager, experiencing racism in Italy and eventually finding his place in London's restaurant world. We hear about his years in some of the city's toughest kitchens, the infamous chef's kitchen where he considered quitting almost every day, and how working with Chet Sharma helped him reconnect with his South Asian heritage. Plus, we get into chef egos, restaurant culture, the Bengali restaurant he still dreams of opening and the greatest dishes he's ever eaten.You can book a virtual demonstration with Quooker to find the right setup for your kitchen and remember, until the end of August, if you use the code GO TO FOOD, you'll get free installation and a free Quooker glassware set. Just head to www.Quooker.co.uk now!Get 2 Months of Blinq For Free - With Code - GOTOBLINQ - https://blinqme.com/Watch and Subscribe To Our Youtube Videos Here - https://www.youtube.com/@gotofood Hosted on Acast. See acast.com/privacy for more information.
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. -
Offering a new global perspective on modern Indian history, Asianism and the Fall of Empire: India's Road to Freedom (University of California Press, 2026) by Mithi Mukherjee identifies the rise of Asianism in the early twentieth century as the origin and primary driving force of resistance movements that brought down the British Empire. Mithi Mukherjee ties together into a single sweeping narrative two contrasting, conflicting forms of anticolonialism: the emergence of the nonviolent resistance movement under Mahatma Gandhi in South Africa and the militant movement culminating in the war on British India by the Indian National Army under Subhas Chandra Bose in alliance with the Japanese army. Asia emerges in this breakthrough retelling not as an inert geographical category, but instead as a singular agent of change in modern world history. Mithi Mukherjee is a Professor of History at the University of Colorado Boulder. She specializes in the legal, political, and cultural history of modern India. Shatrunjay Mall is a Visiting Assistant Professor of History at Trinity College in Hartford, Connecticut. His work in modern Japanese history, South Asian history, and transnational Asian history explores ideas of Pan-Asianism and its legacies, as well as intellectual, political, and cultural intersections and affinities between colonial India and imperial Japan in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Offering a new global perspective on modern Indian history, Asianism and the Fall of Empire: India's Road to Freedom (University of California Press, 2026) by Mithi Mukherjee identifies the rise of Asianism in the early twentieth century as the origin and primary driving force of resistance movements that brought down the British Empire. Mithi Mukherjee ties together into a single sweeping narrative two contrasting, conflicting forms of anticolonialism: the emergence of the nonviolent resistance movement under Mahatma Gandhi in South Africa and the militant movement culminating in the war on British India by the Indian National Army under Subhas Chandra Bose in alliance with the Japanese army. Asia emerges in this breakthrough retelling not as an inert geographical category, but instead as a singular agent of change in modern world history. Mithi Mukherjee is a Professor of History at the University of Colorado Boulder. She specializes in the legal, political, and cultural history of modern India. Shatrunjay Mall is a Visiting Assistant Professor of History at Trinity College in Hartford, Connecticut. His work in modern Japanese history, South Asian history, and transnational Asian history explores ideas of Pan-Asianism and its legacies, as well as intellectual, political, and cultural intersections and affinities between colonial India and imperial Japan in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history
Offering a new global perspective on modern Indian history, Asianism and the Fall of Empire: India's Road to Freedom (University of California Press, 2026) by Mithi Mukherjee identifies the rise of Asianism in the early twentieth century as the origin and primary driving force of resistance movements that brought down the British Empire. Mithi Mukherjee ties together into a single sweeping narrative two contrasting, conflicting forms of anticolonialism: the emergence of the nonviolent resistance movement under Mahatma Gandhi in South Africa and the militant movement culminating in the war on British India by the Indian National Army under Subhas Chandra Bose in alliance with the Japanese army. Asia emerges in this breakthrough retelling not as an inert geographical category, but instead as a singular agent of change in modern world history. Mithi Mukherjee is a Professor of History at the University of Colorado Boulder. She specializes in the legal, political, and cultural history of modern India. Shatrunjay Mall is a Visiting Assistant Professor of History at Trinity College in Hartford, Connecticut. His work in modern Japanese history, South Asian history, and transnational Asian history explores ideas of Pan-Asianism and its legacies, as well as intellectual, political, and cultural intersections and affinities between colonial India and imperial Japan in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies
Offering a new global perspective on modern Indian history, Asianism and the Fall of Empire: India's Road to Freedom (University of California Press, 2026) by Mithi Mukherjee identifies the rise of Asianism in the early twentieth century as the origin and primary driving force of resistance movements that brought down the British Empire. Mithi Mukherjee ties together into a single sweeping narrative two contrasting, conflicting forms of anticolonialism: the emergence of the nonviolent resistance movement under Mahatma Gandhi in South Africa and the militant movement culminating in the war on British India by the Indian National Army under Subhas Chandra Bose in alliance with the Japanese army. Asia emerges in this breakthrough retelling not as an inert geographical category, but instead as a singular agent of change in modern world history. Mithi Mukherjee is a Professor of History at the University of Colorado Boulder. She specializes in the legal, political, and cultural history of modern India. Shatrunjay Mall is a Visiting Assistant Professor of History at Trinity College in Hartford, Connecticut. His work in modern Japanese history, South Asian history, and transnational Asian history explores ideas of Pan-Asianism and its legacies, as well as intellectual, political, and cultural intersections and affinities between colonial India and imperial Japan in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies
Pink Sari Inc என்பது ஆஸ்திரேலியாவில் வாழ்கின்ற தெற்காசியப் பின்னணியைச் சேர்ந்த புற்றுநோயாளிகள் மற்றும் அவர்களது குடும்பங்களுக்கு ஆதரவு வழங்கும் ஒரு சமூக அமைப்பு. தெற்காசிய மக்களுக்கான தனது சேவையில் பத்து ஆண்டுகளை கொண்டாடும் Pink Sari Inc அமைப்பு குறித்த விவரணம். இந்த சிறப்பு நிகழ்ச்சியில், Pink Sari அமைப்பின் தலைவர் சாந்தா விஸ்வநாதன், துணைத் தலைவர் Dr ருக்மணி வெங்கட்ராமன், Public Officer விஜய் தயானந்தன், மற்றும் Media and Communications Officer ரூபா பார்த்தசாரதி ஆகியோர் தமது அமைப்பின் பத்து ஆண்டுப் பயணம், சாதனைகள் மற்றும் சமூக சேவையை தொடர்ந்து முன்னெடுக்க அவர்களைத் தூண்டும் அர்ப்பணிப்பு குறித்து பகிர்ந்து கொள்கிறார்கள். விவரணத்தை படைப்பவர்: றைசெல்.Pink Sari Inc, a community organisation supporting South Asian cancer patients and their families, is celebrating its 10th anniversary. Since becoming a community-led organisation in 2016, it has promoted cancer awareness, early detection and culturally appropriate support. In this feature, President Shantha Viswanathan, Vice President Dr Rugmani Venkatraman, Public Officer Viji Thayananthan and Media and Communications Officer Rupa Parthasarathy reflect on Pink Sari's journey, achievements and the passion behind their work.
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Indian news from SBS Gujarati. - ભારતના સમાચાર સાંભળવા ઉપર આપવામાં આવેલા ઓડિયો પ્લે બટન પર ક્લિક કરો.SBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos.You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Victoria Bachan is Co-Founder and CEO of Hyphen, and one of the most consequential builders in the Creator Economy. Her 12-year+ career spans CAA, Sony Music, Wasserman, and Whalar, where she led 300+ Creators as Global President of Sixteenth. She has pioneered Creator houses for Black and Latinx talent, launched Creator-owned brands like Nami Matcha and Nonipup, and brokered deals with Nike, Google, Amazon, and Sephora. A sought-after speaker at Cannes Lions, SXSW, VidCon, and Tribeca, she has contributed to Rolling Stone and is recognized by Variety, Business Insider, and Campaign US as a defining voice in the industry. She mentors South Asian executives through The Salon and supports her community through Play Inspired. When she's not reshaping the industry, you'll find her exploring New Jersey towns with her husband and dog.
An old favorite, revisited. Kshitij and Burair sit with Nusrat Fateh Ali Khan's "Tum Ek Gorakh Dhandha Ho" —a qawwali built around one impossible line: "ho bhi nahi aur har ja ho," you are nowhere, and yet everywhere.The conversation moves through the story of Adam, the martyrdom of the Sufi mystic Mansur al-Hallaj, and theevents of Karbala, using each to get closer to what the poem is really asking about the nature of God, presence,and absence. Whether this is your first time hearing the song or your hundredth, this episode is a way back intoit.Part of the Kavinaama series, where we sit with South Asian poetry, music, and the ideas underneath them.
How do you carry the monumental weight of one of Indian classical music's most revered lineages while fearlessly forging your own contemporary artistic voice? In this episode of TRUST ME I KNOW WHAT I'M DOING, host Dr. Abhay Dandekar sits down with Grammy-nominated Sarod master, composer, and performer Alam Khan. As the son of legendary maestro Ustad Ali Akbar Khan, Alam inherited the keys to the iconic Maihar Gharana tradition. In this deep and intimate conversation, Alam reflects on performance rituals and perfectionism, taking the Sarod into modern landscapes, navigating the "Jedi-like" responsibility of preserving legacy, and why true music must always serve as the "sound of unconditional love."If you enjoy deep dives into culture, identity, and artistic excellence within the South Asian diaspora, please LIKE, SHARE, and SUBSCRIBE to join our growing community!--------------------------CHAPTERS:00:00 - Introduction03:02 - Overcoming Stage Fright & Performance Anxiety05:44 - Breaking Free from Perfectionism: "Perfectly Imperfect"08:48 - Maintaining a Growth Mindset in High-Stakes Artistry11:22 - Evolving Relationship with the Sarod: Classical vs. Contemporary15:01 - Meaningful Collaboration vs. "Confusion" Music16:07 - Classical Music as a Spiritual "Lighthouse"18:28 - Sponsor Break: Travelopod and Lotus Lane Coffee19:28 - Preserving Ali Akbar Khan's Legacy & Finding Space22:55 - The Anatomy of Musical Storytelling & Emotion25:15 - Listening to Ali Akbar Khan's Music Over Time28:44 - Teaching at the Ali Akbar College of Music32:17 - The "Jedi Order" Responsibility & Personal Legacy35:27 - Creating from a "World Between Worlds"38:35 - Connecting Audiences to Peace, Power, and Solace40:33 - Episode Outro & Community Shoutouts--------------------------EPISODE HIGHLIGHTS & KEY TAKEAWAYS:• Embracing the "Perfectly Imperfect": How to quiet physiological anxiety on stage and get out of your own way.• The Classical Lighthouse: Why classical foundation provides the creative anchor when exploring contemporary genres.• True Collaboration: Avoiding superficial fusion by ensuring projects resonate deeply and create timeless art.• Spreading the Sonic Gospel: Interpreting teachings for new generations at the Ali Akbar College of Music.--------------------------GUEST & HOST RESOURCES:
Blast from the past! In this episode we manifest tickets to the World Cup from FIFA (spoiler, didn't work out), dive deep into lack of South Asian representation in even the boring sports, and then somehow also get into the Devil Wears Prada 2, viral hit Off Campus, the new James Bond, misleading New York Times headlines, and something about how lack of sunlight is proportional to gore in media. Something for everyone in this one!! As always, email us at thebrownburndown@gmail.com. Go sports!!!!
Stay Connected with Strange Inc: https://sendfox.com/StrangeincorporatedJoin our Muslim Creative Community: https://docs.google.com/forms/d/e/1FAIpQLScz-QRp8sbRIw2lPEKxl5Ceo9bnMAvP0PatHnh-b8KZd-UolA/viewform?pli=1The Creative Excellence Awards 2026 applications: https://strangeincorporated.org/excellenceawards/Shahida Rahman is an award-winning author and writer, born and raised in Cambridge, UK. Her late father, Abdul Karim, moved to Cambridge from East Pakistan (now Bangladesh) in 1957. Shahida writes historical fiction, non-fiction and children's stories; particularly focusing on and raising awareness of South Asian history and heritage. Her first novel “Lascar” was published in 2012 and “An Ayah's Choice” in 2022. “An Ayah's Choice” audio book was published in December 2022. She is currently writing her third novel. In 2015, she was awarded the Arts and Culture Awareness award at the British Muslim Awards. ‘An Ayah's Choice' recently won the Strange Inc Publisher's fiction award.Shahida is a trustee of Karim Foundation (local charity helping families in need) and the only UK female trustee at Cambridge Central Mosque. She is also an advisor to the trustees at the Museum of Cambridge and is involved in several organizations.www.shahidarahman.co.uk
South Asian cinema shapes how millions of people around the world encounter the region's cultures, languages, and identities. For many, film provides a gateway to South Asian languages and literature, and to cultural conversations that cross national, regional, and diasporic borders. But what does South Asian cinema say about the societies it represents? Beneath the spectacle, song, and romance, filmmakers across the region - including those working within Bollywood - have long grappled with questions of gender, caste, ethnicity, class, beauty, and skin colour. How do these tensions sit alongside cinema's power to foster cross-cultural empathy and identification? And what can film reveal about the complexity and diversity within South Asian cultures themselves? Co-presented by La Trobe Asia and the Indian Film Festival of Melbourne, this event brings together researchers and practitioners to explore South Asian cinema as both a cultural bridge and a critical lens. Panel: Dr Ian Woolford (Hindi Studies, La Trobe University) Dr Divya Rama Gopalakrishnan (History, La Trobe University) Dr Phebyn Joseph (Hindi Studies, La Trobe University) MJ Bently (Partnerships Manager, Indian Film Festival in Melbourne) Matt Smith (La Trobe Asia) Recorded on 7th August, 2026.
In this Week 32, 2026 episode of the GMS Weekly Podcast, Grace and Ryan discuss the latest developments shaping the global ship recycling market, including the temporary Strait of Hormuz shipping corridor, rising dry bulk freight rates, oil prices, recycling demand and market conditions across Bangladesh, India, Pakistan and Turkey. Iran and Oman have agreed to a temporary shipping corridor through the Strait of Hormuz, although significant conditions and geopolitical risks remain. Proposed transit restrictions and penalties, together with renewed security incidents around the Strait, continue to create uncertainty for commercial shipping. Brent crude closed near USD 83 per barrel, down roughly 5% for the week and around 15% from its July peak. Dry bulk freight strengthened sharply, with the Baltic Dry Index moving above 3,000 for the first time since early June and Capesize earnings rising more than 20% during the week. Stronger freight earnings are increasing competition with ship recycling by encouraging owners to keep older vessels trading. Bangladesh remains the leading ship recycling destination on price, with Chattogram buyers maintaining firm confidence as the market prepares for the next delivery tide window. India's Alang market is showing renewed appetite, supported by a stronger Rupee and improving local steel prices, while the proposed inclusion of two Alang yards on the EU Ship Recycling List remains pending. Pakistan's Gadani market has converted firm pricing into new business, securing several recent candidates as local mills continue to rely on recycled steel supply. Pakistan's inflation eased to 9.2%, while the central bank maintained rates at 11.5%. In Turkey, official inflation eased to 31.75%, although the Lira reached fresh lows and Aliaga recycling prices remained substantially below the Indian sub-continent. The episode examines what these developments mean for shipowners, cash buyers and ship recyclers, as stronger recycling demand across South Asia competes with a resurgent freight market for available end-of-life tonnage. Key topics include: ship recycling, GMS Weekly, Strait of Hormuz shipping corridor, Hormuz transit, Baltic Dry Index, Capesize freight rates, Bangladesh ship recycling, Chattogram recycling market, India ship recycling, Alang ship recycling, Pakistan ship recycling, Gadani recycling market, Turkey ship recycling, Aliaga, steel prices, end-of-life vessels, cash buyers, maritime sanctions, oil prices and global shipping markets. For detailed vessel indications, market rankings, steel prices, port positions and global ship recycling market analysis, access GMS Weekly through the GMS website or mobile app. Podbean Summary The Week 32 edition examines a temporary shipping corridor through the Strait of Hormuz, continuing geopolitical uncertainty and the sharp recovery in dry bulk freight markets. The Baltic Dry Index moved above 3,000 as stronger vessel earnings increased competition with recycling for older tonnage. Bangladesh continues to lead South Asian recycling prices, while India's buying appetite is returning and Pakistan has secured several recent candidates. The episode also covers oil prices, inflation, steel markets and the latest recycling conditions across Bangladesh, India, Pakistan and Turkey. For detailed vessel indications, market rankings, steel prices, port positions and ship recycling analysis, access GMS Weekly through the GMS website or mobile app.
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
It's the Edinburgh Fringe Festival 2026 series Elaine chats with Dr Nandini Manjunath and Himadri Madan of Theiyaarts about their new show Maiden Mother Whore. Maiden Mother Whore Assembly @ DanceBase, DB-1 18 - 30 August (no shows 24,25) 5:30 (60 mins) Maiden Mother Whore A daring, beautiful dance and multimedia show that challenges assumptions about gender, society, and power - what does it mean, and how does it feel, to be a woman in today's complex patriarchal society? Produced by celebrated Edinburgh dance company Theiyā Arts Dance Collective, Maiden|Mother|Whore is a deeply compelling, fearless, and visually beautiful dance and multi-media performance that unravels the intricate knot of relationships that exist between women, social structures, health and social policies, and institutions. Explored through South Asian classical-contemporary dance (genre of dance that Theiyā Arts Dance Collective has specialised in since the company's inception in 2020), spoken word, interactive projection, visual art, movement exploration, creative text, and multi-linguistic live music from Scotland-based singer-songwriter Giulia Drummond, Maiden|Mother|Whore draws on women's lived experiences and narratives in an interactive, thought-provoking show that boldly asks: What versions of the self become possible as we move between resistance, compliance, and refusal of the roles patriarchy has handed down to us? TICKETS HERE OUR WEBSITE - www.persistentandnasty.co.uk IPA GUIDES: HIPA GUIDES Equity Toolkit: Link Stellar Quines: Link Persistent Pal & Nasty Hero - Pals and Hero Membership Email – persistentandnasty@gmail.com Instagram - @persistentandnasty Twitter - @PersistentNasty Coffee Morning Eventbrite - Coffee Morning Tickets LINKTREE - LINKTR.EE Resources Samaritans - Rape Crisis Scotland - Rape Crisis UK ArtsMinds - BAPAM Freelancers Make Theatre Work Stonewall UK - Trevor Project - Mermaids UK Switchboard LGBT+ - GATE PLANNED PARENTHOOD DONATE - DONATE ABORTION SUPPORT NETWORK UK - ASN.COM- DONATE
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Asian American / Asian Research Institute (AAARI) - The City University of New York (CUNY)
Easy Peasy is an AI conversation partner built specifically for South Asian immigrant women especially homemakers who face a steep confidence gap in speaking English. Unlike their spouses or children, who practice English daily at work or school, these women often lack safe, judgment-free spaces to build language skills, leaving them isolated during everyday moments like doctor visits, grocery shopping, and school meetings. The app pairs culturally relevant content like recipes and home cooking with a culturally intelligent AI companion offering real-time conversation practice, native-language support, and encouraging feedback.
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Indian news from SBS Gujarati. - ભારતના સમાચાર સાંભળવા ઉપર આપવામાં આવેલા ઓડિયો પ્લે બટન પર ક્લિક કરો.SBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos.You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
China and India are entering a cautious period of diplomatic re-engagement after years of confrontation, but deep strategic mistrust, unresolved border disputes, and competing security interests continue to define the relationship. Economic cooperation is gradually resuming even as political tensions remain unresolved. At the same time, shifting global power dynamics are reshaping the balance between Asia's two largest powers. Sushant Singh, a lecturer in South Asian studies at Yale University, joins Eric from New Delhi to explain how changing Chinese perceptions of India, evolving trade priorities, BRICS diplomacy, and the broader U.S.-China rivalry are creating new opportunities for engagement while reinforcing the structural challenges that make a lasting rapprochement difficult.
A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. For this episode of “Obbligato,” a show dedicated to AAPI classical musicians, composers, and scholars, host Isabel Li interviews Indian American composer Reena Esmail, who blends Hindustani musical themes with western classical compositional styles. Music in this episode: – This Love Between Us “Prayers for Unity”: II. [Sikhism] – Lacrimosa (from Malhaar: a Requiem for Water) – Terra infirma: IV. roaming the ghost forest Transcript Isabel Li: I'm Isabel Li, here for a new edition of “Obbligato,” which explores the AAPI community in the classical music world. Today, we're featuring the Indian American composer Reena Esmail and her unique compositions that blend Hindustani music with Western classical styles and how she writes music about religion, spirituality, and even environmentalism. Welcome, Reena, to Apex Express. Reena Esmail: Hey! It's so great to be here. IL: My first question for you is one that's probably a little bit loaded, but how do you identify and what's your story? RE: I don't know, it's interesting because I work in many different situations, and I think I always identify as the thing that isn't whatever the dominant situation is that I work in. Right? So it's like when I'm in America, I identify as an Indian American. When I'm in India, I identify as an American. When I'm working in Western classical music, I'm the person who knows stuff about Hindustani music. When I'm working in Hindustani music, I'm the person who knows stuff about Western music. So really. Actually, I think of identity not as a fixed thing, but as how you, um, delineate yourself, how you're unique in the situation you're in. You know, it's interesting because especially in the case of Asian Americans, Asia is such a broad thing, right? There are so many more East Asians in Western classical music than there are South Asians. Certainly in my generation. You know, I was surrounded by Chinese, Korean, some Japanese people who were always, you know, playing the piano when I was playing the piano. And, um, there really was not many other Indian people. And, you know, I'll, I'll actually say that even within India, um, you know, if you look at me in America, I'm just Indian. If you look at me in India, I have a very unusual lineage, which is that my dad is from the region of Gujarat and his family is Muslim. My mom is from the region of Goa and her family is Catholic. And so because of that, when I was expressing interest in music, My mom was the one who had more of kind of a musical knowledge in her family, even though there's no professional musicians in her family. So because Goa was colonized by Portugal, there is this element of Western classical music in Goan culture. And so because of that, my mom was like, oh, let's give her guitar lessons, let's give her piano lessons. And so that's how I landed up in Western classical music as opposed to doing Indian classical music. Um, so yeah, I kind of went through the Western classical scene. I was very interested in being a pianist. And, you know, I'm glad that I'm glad I'm a failed pianist in all honesty, because I see what my colleagues who are real, you know, professional pianists have to go through. And I just don't think I have what it takes to do that. It's really an intense job. Um, but when I was in high school, um, one of my theory teachers kind of said, hey, you know, you might be a composer. It seems like you think like a composer thinks, why don't you try composing and why don't you try writing things down? and one thing led to another. And basically a year and a half to two years after studying, I got one of a very few spots in the undergrad program in composition at Juilliard. And that was a point where my parents kind of said, okay, you know, we don't know a lot about the music world, but it seems like if she got into Juilliard, she's probably like somewhat good at this. Maybe we should kind of see how this goes. And, you know, from there on, I pursued composition. IL: And when and why did you start to study Indian classical music, which is a big element in your compositions now? RE: Yeah, absolutely. So I think it's interesting because in every generation, I've seen so much change in how the diaspora views itself. And certainly when I was growing up, you know, I know this is hard to believe, but there were not if you were an Indian going to school, you were kind of the only one. If you were an Indian music, you were kind of the only one. So there was this element where when I went to Juilliard, um, there were I to my knowledge, two Indians in the entire school, me and an actress who had actually come from Calcutta. And so people were trying to, you know, make conversation with me and they'd be like, well, you know, do you do stuff with Indian classical music? And I would just be like, no, I'm trying so hard to even write music for orchestra and, you know, string quartet and all the things that my peers are trying to do. Like, is that not enough? Because I'm Indian, I also have to be doing all this other stuff. And so I resisted it for a long time because I was just trying so hard to do one thing well. But then, you know, I think what, what made me kind of unique is that, you know, I stood out, I was Indian and then, you know, when I was young, that felt really cool. The older I got, the more I thought, well, you know, I know I'm from this culture that has incredible music and I know it when I hear it, I know nothing about it, and maybe I should actually pursue it. And so I really separately kind of started meeting Indian musicians who lived in New York, and I would just ask them questions, and I got to know them. And I realized that while we didn't share a type of music, we did share a culture and we did share a love of music because it is interesting that the culture of Indian classical music is actually quite similar to the culture of Western classical music. You know, you study with a teacher over a really long period of time. You're practicing for hours a day. The kind of personality that would love Western classical music would also love Indian classical music. And so I just made friends with some of these Indian classical musicians. And of course, being a composer, I thought, why don't I put them in my music? You know, how do I do that? And so it was really just curiosity that led me down that path. And for many years, that path was very separate. Because again, I know it's very hard to believe now, but there was a time where people really did not want these cultures to be combined, and people just really looked down on cultures that were not, you know, the dominant Western European classical culture. And so I kept them really separate. And even when I started combining them, people were like, oh, that's sweet. She does stuff with Indian music, you know? And it was really not taken seriously. It's only really in the last decade that people have been embracing other musical cultures. And I mean, how glad I am that that's happening. But it was very, very hard fought and very separate at first. IL: And on that note, how do you navigate the unique challenges of composing with both these cultures in mind, but also being situated in the United States, where people come from all different backgrounds? And how do you as a composer approach that in this context? RE: I mean, I think it's interesting because first of all, I am musically bilingual now, so I can. I went to India, I studied Indian classical music. Seriously. I still work with Indian classical musicians very closely. And so, you know, I can be working on a piece that has Indian classical musicians in it, and I can turn to them and immediately speak in their language and their musical language. And then I can turn to the Western musicians and speak in their musical language. So every single piece I write, especially the ones that involve Indian classical musicians. There is a way through those pieces, both through the Western lens and through the Indian lens. And so I think I'm working in a position where I actually do know how to speak both those languages. And when you do speak both those languages, you know, just the way that if you speak any two, you know, verbal languages, you would know that there are sounds that are cognates. And so you're like, oh, I say the sound. So maybe and it means one thing in one culture and one thing in another culture. But you know that that sound is the same. And so with musical language, you can actually use those musical cognates to connect across cultures by saying, just listen for this thing. And when you listen for this thing, interpret it through the lens of your own culture. So that's certainly how I work. But, you know, I mean, again, I want to say that's not the only way to work. I don't think that you have to be, you know, I mean, again, there's probably most people who are listening to this probably have one musical culture and then maybe they know much less about the other musical culture. That is also fine. You know, you don't need to be an expert in order to want to explore and, and love a thing that's just, you know, where I am because it's the, the center of my musical practice. IL: Well, let's hear a selection from Reena Esmail's oratorio, “This Love Between Us.” This is the second movement titled Sikhism. David Hill conducts Juilliard415 with the Yale Schola Cantorum. [MUSIC: This Love Between Us “Prayers for Unity”: II. Sikhism] IL: That was Sikhism, the second movement from the oratorio This Love Between Us by Reena Esmail, who is here in conversation with me today on KPFA for APEX Express. Something that I really found interesting in especially your work — and I'm sure this has been asked many times, but This Love Between Us: Prayers for Unity. This oratorio that you wrote, beautiful work where you use words from the seven major religions of India. And each movement of the choral work is also named after a different religion. In what ways did you adhere to or challenge norms of spiritual music? Because religion is so religion and music are so deeply tied together. How did you challenge those norms or how did you express those norms when you wrote this work? RE: You know, I think it's interesting because my own spiritual background is very kind of multi spiritual multi-faith. But like I said, my, my father is, is my father's side of the family is Muslim. My mom's side of the family is Catholic. My husband is Hindu. All of them grew up in a very singular practice in each of their religions. But for me, I grew up, you know, around my mom and my dad and then, you know, my husband later. And just there's a part of me that takes in the essence of each of these spiritual traditions. And, you know, I'm trying to kind of find what feels true to me in each of those places. And so to me, you know, this love between us is, is a place where I'm trying to essentially say, yes, we express things differently through whatever cultural, uh, history, that language or that that religion emerged through. And yet we're all trying to get at that same numinous thing. And, you know, I mean, I'm not saying, oh, all religions are the same. Definitely not. You know, there's, there's many different ways to practice things. And, you know, your unique way into your spirituality is your own. And that's, that's amazing. But also, we all kind of our cultures form religions for a certain reason, and it's because we want to try to understand things that are beyond ourselves. And so that's essentially what the piece is saying. So I know I'm sure there are purists who are like, you shouldn't be combining these things, but, you know, there's always going to be purists who do that and there's a role for that. But that's not really my role. So, I mean, I picked the pieces and I picked the religion specifically because of the numbers of people who practice that religion currently within India. And so it is like the largest, um, populations, you know, like Hinduism, Islam, Buddhism, all, all of those things. And then there's one little tiny religion, Zoroastrianism. And while they are not, there's not many of them within India. They are the ones who are practicing Western classical music in India. So people like Zubin Mehta and all, they are Parsis that are Zoroastrians. So I thought, you know, it's important to include them too, because it's a piece that involves a lot of Western classical musicians. IL: I'm wondering now, as a composer who's working with music of different languages and religions and origins and also evoking a lot of these spiritual truths that are pretty universal in nature. What is your view on the function of music? There's the platitude that music is a universal language. Do you how to what extent do you agree with that? RE: You know, yeah, it's hard to, to, um, to think of music as a universal language. But I think sometimes we, how can I say this? It's such a broad question. When we are working in a form that isn't completely narrative, it gives us a little more chance to get at things that don't have to follow logically after one another. They're just feelings that we're able to feel. And I like working even when there are words, you know, there are certainly words in all of these, these, uh, pieces in this love between us. But I feel like sometimes we just feel something within us. And, you know, I experience this a lot when I have a piece performed, people will come up to me and say like, oh, this made me feel like this. And then the next person will come up to me and say, oh, this made me feel exactly the opposite thing. And I, I really love that we can have those experiences. And, you know, recently it's been really interesting because people have been asking these questions like interviewers, you know, before performances will be like, well, what do you want the audience to feel? And I'm like, oh, I don't want to answer that question. I want you to feel whatever you feel. There's nothing right to feel. And often, I mean, I'm not the one to ask. I'm so close to the music because when I'm listening, I'm thinking like, okay, was that C sharp in tune? Okay, you know, that's what I'm feeling. And I certainly don't want them to feel that. So I don't know. I think it's, it's just exciting to see how when we get out of these, what we should do this and this is the right thing to do. And this is the only way to do it. Um, how do we behave? And there are so few spaces left where if we don't say exactly the right words at the right time to the right people, you know, if we don't have exactly the right opinions that everyone around us has, We are so condemned and music might be one of the last places that we're allowed to feel whatever's inside of us. IL: Mhm. That's really interesting to think about. I think art in general is very beautiful because it allows people to interpret it in many different ways. I think for your music, you really draw on cultural specificity in terms of Hindustani music. What advice would you give to other young composers or also maybe artists of different mediums in creating that balance between specificity and universality? RE: Yeah, I think the thing is that the way into a deep practice is specificity. You know, I know people have asked me like, oh, you've done stuff with Indian music. Are you going to do stuff with other music? And I'm like, gosh, there's still so much to explore. I could have like three lifetimes and still not explore everything I want to explore just in the relationship between Indian and Western classical music. I mean, goodness knows I have four degrees in Western classical music, and I still am barely scratching the surface of it. Right. So I kind of feel like specificity is important because it allows you to access depth. And yet, you know, when you are specific about a certain thing, um, like for instance, like a scholar who only speaks Italian, I mean, they're going to know more than someone who maybe speaks five words of each language, right? So they can transfer over at a higher level and make more sophisticated points and understand the world with a more universal lens if they've gone really deep on one thing. So I would say, you know, to young composers, to young musicians, pick one practice and know it really, really well and deeply become go as far as you possibly can and then, you know, try to see if you can find relations between your primary practice and a different practice. Um, and I mean, some people, you know, I know in this generation that's coming up, that's like in their teens and twenties, there are South Asian, uh, kids who are here whose parents have come from India that are learning Indian and Western classical music side by side. And I think that's great. I mean, that's awesome. But I would also say make sure you don't just learn halfway. Both of those things, you know, if you're going to learn them, if at least with one thing, try to go as absolutely far as you can. IL: Let's hear another example of Reena Esmail's bilingual musicality with her work, Malhaar: A Requiem for Water, which was recorded fairly recently. The vocalist is Graycen Gardner with the choir conducted by Amy Fogerson. [MUSIC: Lacrimosa (from Malhaar: a Requiem for Water)] IL: Composer Reena Esmail used Indian classical instruments in that work, titled Malhaar: A Requiem for water. The vocalist was Graycen Gardner, with the choir conducted by Amy Fogerson. Percussionist was Rohit Panchakshari. I'm Isabel Li in conversation with composer Reena Esmail on this edition of Apex Express here on KPFA 94.1 FM. So when you integrate Hindustani classical Hindustani music, Indian classical music and those instruments into your scores, did you happen to did you have to develop a way to translate the notation of those notes in Western classical music notation, or vice versa? RE: Yeah, it it begs the greater question of what is notation for? Right? Because notation is essentially a way for Western musicians who read notation to look at a thing and be able to associate sounds with that thing. And so when I'm notating for Western classical musicians, I'm saying, okay, what is a cellist typically seeing and what are they doing based on what they're seeing? And then how can I take that language that they know really well that they play in Bach suites, that they play in Elgar, Cello Concerto, whatever it is, how can I take that language and just move it, you know, a couple degrees outward so that they're able to express different things, right? And so it's very much a psychological thing. You know, it's not a science the way that we think of it as and we learn it as this, oh, you know, eighths and sixteenths, and they divide this way. There's a lot you can do just to make someone feel a certain way with notation. On the other hand, if I'm writing for a sitar or tabla, the question is what? What is the role of the notation? Because the role of the notation for tabla player who has only Hindustani training and doesn't read music. It's certainly not for the tabla player that I'm doing the notation. Usually what I'll do is sit down with the tabla player in a, you know, more Hindustani style and say, hey, this is what I want. I want you to have like six overtones of teental. It should be at this tempo, blah, blah, blah. And they're like, oh, got it. I see what you want me to do. Right? And so all you need to figure out is the alignment points with the Western classical musicians. And so then the notation I put in the score is not really for them. It's for a conductor, for the Western musicians to be able to understand what they are doing and to be able to cue them in and help them kind of be in dialogue to one another. So it's interesting because, I mean, these days now I'm finding that there are tabla players who are both Indian and Western classical trained, and they want a part, but parts are not a thing. When I first wrote This Love Between Us, there were no parts for the tabla and sitar player. I actually had a cue sheet that I would actually point to as they were going, so that they knew, you know, what the different cues were because a part, you know, counting rests and stuff is not going to help them at all. So I think it's mostly trying to understand how is someone perceiving something and how can you give them the information they need in the most seamless way possible so that you can express what you want to express? IL: I love how technical that entire rundown was. I also wanted to talk a bit about your work, Terra Infirma, which is pretty recent. I had the honor of attending the premiere of Terra Infirma, a harp concerto that you composed based on your experiences with the Los Angeles fires in January of 2025. Um, it was such a wonderful work. I personally really loved hearing how you musically depicted the progression of a wildfire from despair to hope. It's also not the first environment based piece that you've written. YYou've written, for example, Earth Speaks in 2015. How do you approach composing works that are so rooted in environmentalism? And of course, have, have the undertones of speaking to the larger climate crisis at hand? RE: The thing that is interesting is, you know, someone was asking me about that piece, you know, you, you're, they're asking like, how do you kind of deal with activism in your work? And I was saying like, you know, I don't really think of myself as an activist because I think these issues are so fundamental to all of us, right? It's like you turn on your tap and you're just afraid that there's only going to be so long before water stops coming up. That's not, um, it doesn't feel like activism. It just feels like, you know, fear and it feels like we're tapping into these human emotions where people are so worried about what's going to happen. We don't really know what to do. And I think, you know, with anything, most people who have fear about things, you're going to just clam up if you feel that it's too, um, too much to deal with. And it is I mean, the environmental crisis is so huge that I think most people are just clamming up. And I guess, you know, what is our role as musicians? I think it's maybe to have some moments where we're not just like on our phones, seeing pictures of things burn down and freaking out where we can actually take some time to just reflect and be with one another. Because if we're going to solve this, it's going to be together and we need to come to some kind of like calm understanding of what is happening. And so a lot of my pieces are not accusatory. They're not, you know, pointing a finger. They're not supposed to rile people up. They're supposed to actually depict that experience of what it feels like to really sit with a hard thing for a long time and come to terms with it and then figure out how to move forward. And that's certainly the case with Terra Infirma and certainly the case with my Requiem. Certainly the case with curiosity, like you were saying, it's from Earth Speaks, which is many years ago. And that piece actually talks about the, the Pasadena institution's. It was actually for an organization called Pasadena Master Chorale. They commissioned the work many years ago. And what's so funny is I now live in Pasadena. I live in Altadena, up in the hills. So it's I wasn't living here at the time, but it is, you know, a place where many scientific institutions like the U.S. Geological Survey, you know, JPL, Caltech, all these places that are really exploring the environment in important ways are based. And so the piece kind of honors that and honors how we can interact positively with our environment. We can get data, we can find ways to do things that are, I mean, beyond my understanding, you'd have to ask a scientist, but but I just love that that we're in this place that sees the environment as something to understand more deeply instead of something that's just going to turn on us at a certain point. IL: Certainly. And I'm really curious, because Terra Infirma is also a work that was paired with multimedia animation and performance. Was there anything in your compositional process that differed when you're collaborating across these different mediums? RE: Yeah. So it's interesting because so the, there was, there were projections that were happening. And also in addition to that, it was a harp concerto, but a harp concerto where the harpist was also playing percussion. And so there were some elements that were so different than what would be typically like if harpist was like, I want a concerto. You would just be like, okay, you know, she sits there, she plays these notes. They're in that one position. That's all fine. Um, there was so much more, you're right with this piece than with, um, with my normal pieces. Um, and to me it's both, how can I say this? There's, there's such a different way I have to think about it, but I think that way starts with collaboration. So Yolanda Kondonassis, the incredible harp player, and Camilla Tassi, who was the production designer. These are people I know well and I've had multiyear relationships with. And so when you're thinking about how to build something, you're totally aware of what their work is like. I knew kind of the not even what Camilla's projections were going to look like, but the way that they interact with things. We've done projects together before. And so I pretty much had the sense of how she was going to respond. And I knew what she needed to know in order for her to do her work and make things kind of match up with one another. And then also with Yolanda, a lot of the stuff I put in that was like harp and percussion together. It wasn't something that I was making her do, right? It were things that we came up with together. We've spent so long workshopping things in percussion studios in, um, you know, we've met in all these different cities and we're basically like banging things against a harp and doing, you know, just so much experimentation. So for every technique you see in the concerto, you, um, you basically there's like ten things that we didn't do that didn't put in. So you're really only seeing the best of all the kind of crazy stuff that we tried. So I do think the thing is that when you're trying to invent something new and you're trying to invent new styles and new techniques, I mean, you can think of anything, but you're trying to find the things that A practically work and B allow the performers and the artists to really express themselves. So I found that I was actually choreographing the piece before I was composing it, um, that I had to figure out, okay, where are these percussion setups going to be? What are the instruments that I want? Okay. Are these chimes going to be like over her head? Or is she going to have to reach really far to get them? Are they going to be near the low end of the harp? Things like that that seem so practical. But the difference between having to reach out far and slowly versus having to like, quickly swat something near your ear, right? It makes a different choreography. And so I thought that way first. And then I kind of put the notes and rhythms and melodies and stuff in. IL: Let's now hear a selection from Reena Esmail's Terra Infirma. This is the fourth movement titled “Roaming the Ghost Forest.” Yolanda Kondonassis is the harpist with the Interlochen Center for the Arts Orchestra. [MUSIC: Terra infirma: IV. roaming the ghost forest] IL: The harpist was Yolanda Kondonassis with the Interlochen Center for the Arts Orchestra, playing the fourth movement of Terra Infirma by composer Reena Esmail. I'm Isabel Leigh, and in this episode of Apex Express, I'm joined by Reena Esmail, the composer, in conversation about her music and her approach to making art. Something else that I really was fascinated with on your on your Instagram account. You actually made a post a while back that I found to be very powerful. It's pinned as the letter to the young artists' immigrant parents. It's such an empathetic message that I also really relate to as a daughter of immigrants in the arts. And you kind of argue that these children's pursuit of the arts is a tribute to their parents immigrant struggles. Um, what motivated you to write this letter? RE: You know, I'm so glad you asked about that because so much has changed since I wrote that letter in a really good way. You know, first of all, I will say that when I wrote that letter, if you weren't a child of, you know, like Asian immigrant parents, you. And actually, I think this is true for most immigrant parents who, you know, have kind of given up everything to move to America so that their kids can explore all these opportunities they wouldn't get in their country of origin. When I first wrote this letter, it was really just, I felt like I was saying something really new. And now I think what's really interesting is that we have both parents who understand this and, um, kind of almost this parody way of seeing what Asian parents are like. Right. For me, one thing that I, that just makes my heart sing is the comedy of Zarna Garg. I don't know if you know who she is, but she is like an Indian American comic and she plays this role of being like this very typical Indian parent. And I will say, my parents weren't really like this because again, they were two different religions and married one another. So they were already quite open minded. But like 99% of Indian parents and even my parents, sometimes they have this thing of like, well, ‘why are you going into this?' Like you should make money, you should do this stuff. And I feel like, um, since Zarna's comedy came into the world, it's such an easy way to just point a finger at that and say, hey, this is what we're really dealing with as Indian immigrants. And, you know, we all just laugh at it. And I find that, you know, sometimes my friends who are just, you know, white Americans who have been in this family has been in this country for many generations. They don't get it. But like anyone who's a child of immigrant is like, oh yes, I completely understand what she's saying. So we have that. And I think that's really healthy and awesome. And she's very talented. Um, and on the other hand, I found that when I was first going into music and I mean, I, you know, when I was 18 and I was going to go to Juilliard, my parents were certainly supportive and curious and wanted me to do whatever they thought I might be good at enough to make a living and didn't want to optimize for, oh, you need to earn the most money or you need to, etc. but most other Indians around us were like, oh my God, she's so smart. Why is she like wasting her life doing music? You know, that was kind of the dominant narrative. And so I had to become very good at explaining why. And imagine my complete disbelief when I would go to conservatory and meet people whose parents had encouraged them to do music. I was like, what is happening? Like, we're like, there'd be four siblings and all of them would be in the arts. And I was like, oh wait, you're not the black sheep of your family. Like, I mean, half of my family, I don't think really knows what I do still even. Right? And so to me, it was so important to provide some kind of context. And like you said, it's like to, to come to this country and be an immigrant and to come with a lot of skills, but to have to just work in silence for so many years with no congratulation, with no one just constantly propping you up. That is what being an artist is. And you know, it's only maybe the past 10 years of my career that I've even been visible to people. Before that, it was just me doing my thing and like, no one cared about it. It was not not glamorous at all. And for me, that's what built the kind of strength in me to be able to sustain the career that I have now. And so I think if it had been a little too easy, I don't know that I would be able to handle, um, the, what I have now. So I think what's great though is that the Indian parents of kids who are teenagers and in their twenties nowadays are not coming to me being like, oh my God, what do I do with this kid who wants to be a musician? I've failed as a parent. Which again, for those of you who are not Asian, this is totally a true thing out there. They will come to me and say, hey, look, my, my child doesn't wants to be a musician. I want to help them. I can't tell like, are they good at this? Where should they be? Can you help me understand things? And that is really what my parents did. And I will, you know, kind of go further to say — PBS did a special on me a number of years ago, and I insisted on putting my parents in this special because I wanted people to see what it looked like to have really encouraging Indian parents who, again, they weren't going in blind. They were. They would go to my teachers and be like, well, I mean, is she good? Can she do this? We don't know what these answers are. Can you help us understand? And they really relied on the right people to be able to help me get to places that they couldn't get, but they also weren't just immediately dismissive of it. And that's what allowed me to kind of have a massive advantage, because I didn't have to also go back to school and do a medical degree. Or like most of my my peers of my age actually did. So I wanted to put them on that special to actually show that that is possible. And I'm seeing more and more that it is. There are many more parents like that now. And oh my goodness, I love every one of them. IL: That's wonderful. When you look back at your compositional career and how everything has changed since then, how do you think your work has evolved? RE: Oh, so you mean like since I began being a composer? IL: Yeah. Or maybe in the past ten years, even. RE: Yeah. It's interesting because I think one of the big inflection points in my work was when I did my Fulbright in India. So before that, I really didn't know very much about Indian classical music. And then the year before that, I really started to get deeper and started to integrate my Indian and Western classical world with one another. And then, you know, I from 2011 to 2012, I went to India and what was so different was actually seeing the music in its culture and actually getting to participate as an Indian in India, studying Indian classical music. Right. Because there's no filter. You're not going through a Western filter. You're just there in this culture. And I know that many of my Indian teachers, they kind of had this attitude of like, look, we don't know what kind of music you were doing before, but we're so glad you're here and studying your own music. And this is great. And so there wasn't this sense of having to go through another culture to get to their, their music. And to me, that really changed things because I don't see myself as writing music. That's one through the conduit of the other. I just see it as two streams that are equally incredible and equally independent, and they just meet each other in these interesting places. IL: And looking ahead into the future, is there an ensemble or an artist who you haven't worked with before that you'd love to work with? Ooh. It's interesting because, like, almost everyone who comes to mind is not a musician. Um, I've worked with so many. I mean, truly, I've been so lucky to work with musicians like Gil and Orli Shaham. Yolanda Kondonassis. I'm writing a piece for Hilary Hahn and Matthias Goerne right now. It's I mean, just like literally anyone who I could ever ask to work with, I have. I don't know. I mean, to me, it's like, gosh, someone like Misty Copeland would be amazing. Like, you know, there are so many actors like the world of Indian/South Asians in comedy and in drama and stuff like that is just incredible. People like Mindy Kaling who have done incredible things to me, people like that are just going outside of just music would be fascinating to me. IL: Absolutely. And I will put a link to your website, as well as the links to the music that will also be aired on this in this episode on KPFA.org, so our listeners can learn more about you and your wonderful work. Well, Reena, thank you so much for your time and thank you for talking to me today. RE: Absolutely. The post APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail appeared first on KPFA.
Indian-origin Australian cricketer Neel Patel has achieved a major milestone after being selected in Australia's Under-19 squad for the upcoming tour of India. Speaking to SBS Gujarati, Neel and his father Puneet Patel discuss his cricket journey, the hard work behind his selection, and what representing Australia in India means for their family. - ઓડિયો સાંભળવા ઉપર આપવામાં આવેલા પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. -
Episode 386: DJ SHARAD "The Evolution of South Asian Sound in Hip-Hop" In this episode of the ROAD Podcast, we're joined by the founder of @DJUSAEvents, a memeber of the world famous @HeavyHitter's Crew, Queen's very own @DJSharad! The episode kicks off with Sharad reflecting on growing up in Queens and Long Island, and discovering Hip Hop (01:12). He details his entry into DJing and bootlegging Kid Capri mixtapes (03:55) The crew examines 1990s NYC club dynamics, venue segregation, and how early Bhangra parties often ended in lost bookings (22:50). Sharad explores building his fanbase, @PanjabiMC, and South Asian influence in Hip Hop, before breaking down the term "Desi," 2000s @Timbaland/@JustBlaze production, and representation vs. appropriation (33:36). The crew discusses Bollywood's global reach, @NAS and @RocNation investing in India, and key leaders like @DiljitDosanjh and @VivianAkaDivine (42:20). Sharad then covers making money handing out mixtapes at party doors (43:01), founding DJ USA, focusing on audiences over peer approval (52:05), and partnering with @FatFingaz (01:01:20). Finally, he touches on joining @TheHeavyHitters, earning co-signs from legends like @BoogieBlind (1:20:15), working with Clark Kent and top brands (1:20:01), and scaling down post-COVID (01:33:01). This episode is sponsored by @SoundCollectiveNYC, an industry-leading music school, musical space and community located in downtown Manhattan for aspiring DJ's, Producers, Musicians and more. Take private Ableton lessons, practice DJ routines, experiment with different audio equipment and reserve studio spaces for just the day, maybe a week or sign up for their monthly membership. Check www.soundcollective.com for more info and try their Online Classes free for a month by entering the code “ROAD”. If you're in the New York area, visit them at 28 Broadway, New York, NY 10004 and tell them the Road Podcast sent you!! Try Beatport for free: tinyurl.com/yc8da2pz Join DJcity for only $10: bit.ly/3EeCjAX
For this episode of the In Theory podcast, Navyug Gill speaks with Disha Karnad Jani about his book Labors of Division: Global Capitalism and the Emergence of the Peasant in Colonial Panjab (Stanford University Press, 2024) and how it critically reexamines the history of the category of “the peasant” vis-à-vis the political, economic, and social transformations that occurred in colonial Panjab during the nineteenth and early twentieth centuries. As a result, their conversation touches on a variety of questions relevant not only to scholars of South Asian or British colonial history, but to all those invested in histories of capitalism and comparative intellectual history writ large. How, for instance, do different kinds of categories become commensurable across wide-ranging contexts and histories? How and why does attending to the historical division of labor and agriculture help us better understand forms of social difference that emerge out of, say, religion and caste? How might one continue to ask new and “defamiliarizing” questions of a familiar set of archives?
How do artists continue telling the truth when the political climate encourages silence? What does it take to build brave spaces instead of simply safe ones? And how can storytelling help us move through polarization without losing our convictions? In the second act of this special live conversation, host Courtney J. Boddie welcomes the audience into an expansive dialogue with Australian arts educator, researcher, activist, and South Asian dance artist Rachael Jacobs. Together, they reflect on what it means to practice teaching artistry in a moment defined by uncertainty, resistance, and possibility. Throughout the discussion, Rachael returns to the power of story, not as an escape from conflict, but as a way through it. She speaks about artists as the "front line of resistance," the importance of coalition-building, and why teaching artists are uniquely equipped to imagine new possibilities when existing systems fall short. Alongside moments of laughter and vulnerability, the conversation offers practical wisdom for anyone working at the intersection of art, education, and social change. Recorded live, this episode is both a celebration of collective inquiry and a reminder that meaningful change rarely happens alone, but it begins in conversation. In this episode, you'll hear about: Why artists remain essential voices during moments of political uncertainty The shift from "safe spaces" to "brave spaces" and ultimately "accountable spaces" Storytelling as a tool for bridging difference and inspiring action Language, culture, and reclaiming power through education Coalition-building, leadership, and the courage to be misunderstood Imagining a more inclusive artistic canon for future generations Guest: Rachael Jacobs Host: Courtney J. Boddie If you haven't yet listened to Episode 89, Act One, we recommend starting there, where Courtney and Rachael invite listeners to think beyond incremental change and consider how artists can become powerful bridge-builders in increasingly polarized times. References & Further Reading Eve Tuck Faculty profile Mona Eltahawy Substack The Seven Necessary Sins for Women and Girls Research Mentioned "The Race to Innocence" written by Mary Louise Fellows* and Sherene Razack Special Thanks Special thanks to the live audience, creative producer Jonathan Zautner, and Jono Waldman for writing and performing the Teaching Artistry Podcast theme song.
Teaching Artistry Podcast goes live! In this special episode, Courtney J. Boddie records in front of a live audience! Courtney is joined by Australian activist, artist, scholar, educator, and change maker Dr. Rachael Jacobs for a deeply personal and thought-provoking conversation about teaching artistry, justice, collective action, and the role of artists in shaping a more equitable future. Together they explore: What it means to move from "saving" communities to listening alongside them Decolonizing arts education and community practice Why artists belong in positions of political leadership Coalition building as a strategy for systemic change The relationship between arts, advocacy, and public policy The importance of joy as both a creative practice and a form of resistance How teaching artists can imagine and actively build the world they want to live in Rachael shares stories from her work with refugee communities, her experiences as a South Asian artist in Australia, and even her campaign challenging Australia's Prime Minister in Parliament. Throughout the conversation, Courtney and Rachael invite listeners to think beyond incremental change and consider how artists can become powerful bridge-builders in increasingly polarized times. This live recording also features a welcome from Jean Taylor, an opening performance of the Teaching Artistry Podcast theme song by Jono Waldman, and reflections from the audience. This is Part One of a two-part live conversation. Be sure to listen to Act Two, where audience questions continue the dialogue about justice, creativity, and moving the field forward together. Guest Dr. Rachael Jacobs is an Associate Professor in Creative Arts Education at Western Sydney University and a former secondary teacher (Dance, Drama and Music) and Arts specialist. Her research interests include cultural diversity in the teacher workforce, racial justice through the arts, assessment for creativity and language development through the arts. Her PhD was on creativity assessment, leading to changes in curriculum and assessment in Senior Secondary education in Australia. Rachael has facilitated arts projects in community settings all over Australia, including in refugee communities, in prisons and in women's refuges. In 2016 she co-wrote an arts education report for the OECD that contributed to Sustainable Development Goal 4: Quality Education. In 2020 she contributed to UNESCO's Futures of Education Initiative, co-authoring a report on artists' depictions of the future of education. Rachael has written two textbooks for educators on Arts Education. Rachael is a community activist, a freelance writer, aerial arts instructor, dancer and choreographer. She was a founding member of the community activism group, Teachers for Refugees and runs her own intercultural dance company in Sydney. Rachael is a climate activist and is on the board of advocacy group, Sweltering Cities. She is also on the board of youth theatre company, PYT Fairfield. She is active as an anti-racism and human rights campaigner, and runs anti-racism programs through the arts in NSW schools. Rachael additionally facilitates DEI (diversity, equity and inclusion) education programs, specialising in designing bespoke programs for the arts and community sectors. Special Thanks Special thanks to our live audience, creative producer Jonathan Zautner, and Jono Waldman for writing and performing the Teaching Artistry Podcast theme song live. Key Themes: Teaching Artistry, Arts Education, Community Arts, Social Justice, Decolonization, Collective Action, Arts Advocacy, Refugee Advocacy, Creativity & Democracy, Joy as Resistance, Cultural Leadership, Equity, Live Podcast
How do you transform high-stress event planning into a joyful, seamless experience? Vishal Joshi joins the podcast to explore wedding and event orchestration, scaling Joy from an initial demo project into a platform serving over 50 million people across 150 countries.In this episode of TRUST ME I KNOW WHAT I'M DOING, host Dr. Abhay Dandekar sits down with Joy co-founder and CEO Vishal Joshi to discuss the intersection of design, software engineering, and human emotion. Vishal shares his journey from a modest background in India to building Microsoft Azure, before leaving corporate life to solve the chaotic experience of planning life's biggest celebrations. Instead of treating event tech as a cold utility, Vishal describes Joy's mission using "Amy's wedding" as the compass — leveraging technology to reduce friction while preserving deep human connection.We talk about rising from modest roots, turning chaotic friction into clean software, building for deep human emotion, and how AI is changing the startup playbook—from customer feedback to product strategy. Whether you're an aspiring entrepreneur, product strategist, student, or tech enthusiast, this conversation is packed with grounded wisdom and actionable takeaways.--------------------------CHAPTERS:00:00 - Introductions 01:46 - Welcome Vishal Joshi, Co-Founder & CEO of Joy03:38 - Guest list diplomacy & solving wedding drama with tech04:59 - The founding ethos of Joy: Planning for "Amy's Wedding"07:37 - Cultural dynamics & handling 10x event complexity12:34 - Modest beginnings, hard work, and unlearning corporate norms14:03 - Sponsor Break: Travelopod & Lotus Lane Coffee18:21 - AI vs. human emotion in event planning20:15 - Introducing the world's first AI event planner23:29 - Expanding beyond weddings: Birthdays, corporate retreats & dissertations26:08 - Seismic shifts in wedding trends: Digital save-the-dates & cash registries31:46 - Cultivating empathy & lessons in long-term relationships35:36 - Outro & where to find Joy--------------------------
In this episode of The True Fiction Project, actor Rishi Jaiswal walks us through his unlikely leap from aerospace engineering to a national Broadway tour, his lead role in The Revolution's Wife, and the deeply personal story behind his new short film, The Last Waltz. This movie is about a South Asian family confronting their trans daughter's identity and the silence that follows. We also talk about dance, Sundance, and the strange coincidences that shaped this casting. Tune in to hear the trailer of The Last Waltz, highlighting the moment a father finally faces the daughter he can barely name.What You'll Learn in This Episode: ✅ How Rishi Jaiswal traded aerospace engineering for a career on stage and screen, starting with So You Think You Can Dance and a national tour of Life of Pi on Broadway.✅ Why he sent a freedom fighter poem about Gaza to land his role in Revolution's Wife, and how that bold risk paid off during the casting process.✅ How growing up around a family dance studio and Bollywood culture shaped the way Rishi approaches every character he plays on screen and stage.✅ Why The Last Waltz speaks directly to the South Asian community about learning to accept a trans child, even without fully understanding her journey first.Subscribe to Reenita's Storytelling Den on Substack for free at https://substack.com/@reenitahora and to her YouTube channel to watch the video version of this episode! https://www.youtube.com/@reenymalCheck out her website to stay up-to-date on events, book releases and more! https://reenita.com/TIMESTAMPS: 00:00 Rishi Jaiswal shares how he became involved in Revolution's Wife03:25 How a Gaza freedom fighter poem helped Rishi land his role in Reenita's script05:14 Discussion of the Revolution's Wife script07:56 The Sundance Film Festival encounter that unexpectedly brought Nosheen into the cast as Padma11:35 From aerospace engineering to a family dance studio, tracing Rishi's winding path into the arts15:10 Rishi introduces The Last Waltz, his own short film about a trans daughter and her parents22:38 Watch the exclusive trailer for The Last Waltz ahead of its debut at the LA Shorts FestivalKEY TAKEAWAYS:
Payal Sawhney is the Founder President & Executive Director of Saahas for Cause - educating, empowering, and enabling South Asian immigrant community in Los Angeles to improve their quality of life. She is providing education and wellness programs for older adults, women, and youth. She is an alum of University of Cincinnati, Pune University.
To mark South Asian Heritage Month, Buncey is joined by former IBO world champion Jawaid Khaliq and the BBC's Kal Sajad to celebrate the South Asian community's contribution to British boxing. From the pioneers who broke down barriers to today's new generation of stars, they explore how British boxing has evolved and why South Asian representation in the sport is stronger than ever.The discussion looks back at trailblazers such as Amir Khan, who paved the way, the challenges they faced, and the lasting impact they've had on the sport both inside and outside the ring. We also hear from two of Britain's biggest boxing names, Hamzah Sheeraz and Adam Azim, who reflect on their heritage, their journeys to the top, and the responsibility they feel as role models for the next generation.This podcast has been edited since publication.
Have you ever asked yourself: should I do Keto? Is white rice good for me? Am I eating too many carbohydrates? If so, then this episode of The Food Chain is for you. Carbohydrate-rich foods are everywhere and they're delicious. But are they good for us? Carbs have a reputation for spiking our blood sugar and making us fat. But is that reputation deserved? Ruth Alexander talks to Javier Gonzalez, Professor of Nutrition and Metabolism at the University of Bath in England and US-based dietitian Julie Stefanski from the Academy of Nutrition and Dietetics to find out whether we've been approaching carbohydrates all wrong. Plus: are there some populations who need to think more carefully about carbs than others? Dr Nelum Dharmapriya thinks so. She's an Australian family doctor with a special interest in metabolic health in South Asian populations. She advises her patients to make some tweaks to the traditional South Asian carbohydrate-rich diet and says it can be done without losing heritage and identity.If you would like to get in touch with the show, please email: thefoodchain@bbc.co.ukProduced by Lexy O'Connor and Beatrice Pickup.(Image: A woman stares over her sunglasses as she slurps pasta from a fork in a sunlit garden.Credit: Getty images/BBC)
Episode #579: “I did not expect to be conversing in Urdu with someone in Yangon.” Bilal Hassan, a Pakistani creator and doctor, traveled to Burma after noticing how much of Karachi's everyday culture carried unexplained Burmese traces: khao suey, family names, old songs about Rangoon, and stories no one could quite complete. His trip began as a search for those missing links, but Yangon gave him something more complicated than recognition. The city felt to him like the place where South Asia and Southeast Asia meet, with Urdu-speaking caretakers at Bahadur Shah Zafar's shrine, Surti and Memon mosques tied to Karachi business families, Tamil and Chulia Muslim institutions, halal food, and Burmese Muslim cuisine shaped by migration. Yet those familiar traces existed inside a post-coup country marked by checkpoints, fuel shortages, surveillance, airport controls, and a visible gap between wealth and hunger. A roadside woman near Bago had only white rice to offer, while a hotel buffet back in Yangon complete with French champagne cost dozens of dollars. The deepest tension came through Muslim life itself. Downtown Yangon looked visibly Muslim in ways Bilal had not expected, but when the subject of Rohingya was broached, it changed the air in the room. Some Muslims distanced themselves; others admitted fear and sadness but refused to keep speaking. Bilal came to see Muslim communities as connected, careful, and guarded, maintaining names, food, language, and religious life while learning how not to stand out. He left resisting both tourist denial and headline simplification. Burma was not only a war zone, not only a beautiful country, and not only a forgotten extension of South Asian memory. It was all of those at once, and the connections he found could not be separated from the silences people used to survive.
Fear of the False: Forensic Science and the Law of Crime in Colonial South Asia (Cornell University Press, 2026) uncovers colonial South Asia's critical role in the development of forensic science. Around 1900, the government of British India created a web of institutions for the scientific detection of crime. Driven by anxieties about "native mendacity," newly minted forensic analysts focused on uncovering faked evidence planted by South Asians. These experts, joining toxicologists known as "chemical examiners," were supposed to extract objective, scientific truth in the service of British justice. But in trying to counteract the presumed tendency of colonized peoples to lie, the system enabled widespread misconduct by state experts, increasing the risk of wrongful convictions of South Asian defendants. Through scrupulously documented legal cases, Mitra Sharafi reveals that colonial dynamics put special pressure on the relationship between truth and justice. Examining falsity on both sides of the law through the use of testing to (mis)identify poisons, blood, and spermatozoa, as well as debates over adversarialism and inquisitorialism in the colonial courtroom, Fear of the False explores advances in forensic science and shortcuts in criminal procedure against the backdrop of colonial mistrust. Thanks to generous funding from the University of Wisconsin Law School, the ebook editions of this book are available as open access volumes through the Cornell Open initiative. Mitra Sharafi is a legal historian whose research focuses on South Asia. She is the Evjue-Bascom Professor of Law at University of Wisconsin-Madison and currently serves as the president of the American Society for Legal History. She has been the host of the South Asian Legal History Resources website since 2010. Saumya Dadoo is a PhD candidate at Columbia University's Department of Middle East, South Asian, and African Studies (MESAAS). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
South Asia Before Religion: Reflections on an Anachronistic Concept (Knowledge Commons Works, 2026) critically examines the applicability of the concept of religion to premodern South Asian culture. I argue that premodern South Asia did not possess a concept equivalent to religion as understood today – neither as a distinct system of religious teachings and practices, nor as a fundamental cultural category separate from non-religious domains such as the secular, philosophy, or science. Using Āyurveda and philosophy as examples, I show that imposing anachronistic categories on past cultures risks misrepresenting their inner logics and social realities. I advocate deconstructing modern notions of religion and refraining from reconstructing the past with religion as a template. However, concepts of religion can serve a purpose when used as historicized objects of comparison or reference for premodern concepts and systems, in order to facilitate access to premodern cultures and contribute effectively to contemporary discourses. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
How do harmful cultural norms, traditions, and deeply rooted beliefs impact intimate partner relationships—and what can we do to change them?To help us unpack this important topic, our host, Nandini Raywas joined by two distinguished members of the Pakistani community: Ahsan Qazi and Maria Ahmad. Ahsan Qazi is a writer, researcher, entrepreneur, and sociologist with a deep interest in understanding the forces that shape society. Ahsan has a bachelor's degree in English Literature and Sociology, followed by an MBA in Strategy and Innovation. He is the founder of One Voice: Pakistan and World Affairs in Sociological Perspective. Ahsan has written extensively on social, political, and global issues, with his work published in Eurasia Review. His research explores inequality, governance, identity, and the growing impact of artificialintelligence on society, political beliefs, and human behavior. Professionally, he has spent more than eight years working inenterprise technology and technical communication, and he is the founder and CEO of Marvalero, where he is building an AI-powered platform for businesses and creators. While technology is an important part of what he does, his deeperpassion has always been understanding people, how societies evolve, why institutions succeed or fail, and how ideas shape civilizations.Maria Ahmad is an international development professional with two decades of experience working at the intersection of gender, migration, and institutional accountability across the UN agencies, INGOs, and independent consultancies. Her work has repeatedly returned to the question of how women, particularly migrant and minority women, are represented, protected, and structurally excluded within the systems meant to serve them, from her early reporting career in Pakistan as an award-winning journalist covering social and gender issues - including reports on MukhtaraMai's jirga-approved gang rape and accompanying her to the Pakistan Parliament tofight for justice - to her recent gender-mainstreaming review of Uruguay's National Migrant Integration Plan with UN Women and IOM, where she examined how policy frameworks fail to account for gender even when they claim to be gender-responsive. Maria's career began injournalism in Pakistan, where she reported for GEO TV, BBC Radio, and Canadian broadcasters before moving into humanitarian and development work with IOM,where she spent years designing accountability and communication systems for displaced and vulnerable populations, including large-scale crisis response inPakistan. She has since worked on safeguarding frameworks addressing gender-specific vulnerability and trafficking risk, advised on AI-enabled toolsfor documenting technology-facilitated gender-based violence, and written on the representation of immigrant communities in public discourse. As a Pakistani woman who has lived and worked across South Asian, Middle Eastern, and Latin American contexts, she brings both a personal vantage point on the patriarchal norms shaping South Asian family and partner relationships, and a professional lens on how those norms show up — often invisibly — in the policies andinstitutions built around them. Host: Nandini Ray, Sr. Manager, Outreach, Prevention &Policy Advocacy at Maitri. (E) nandini@maitri.orgVisit: www.maitri.org
Because the vast majority of longevity research is based on white people, Mangesh asks the question, what about HIS body? He talks with a Yale researcher from Delhi who explains how centuries of colonialism have shaped South Asian epigenetics, leading to stark inequalities—and more big questions. And then, Mangesh heads to India, where he subjects himself to high-tech services at a biohacking lab and visits a traditional ayurvedic clinic. Back home in New York, his mom reflects on life after loss, and how much longer she really wants to live. Plus: Mangesh’s teenage son explains looksmaxxing and rates his dad’s face. Learn more about Raghav Sehgal’s longevity research Check out Reverse Infinity and Shree Shanti Wellness in Goa Try a recipe for pani puri Listen to the BBC audio documentary 3 Million, about the Bengal famine Special thanks to Azadi Records and Bliss Samsa for their beautiful tracks, and Botany for the score. Episode collage art by Vahini Shori.See omnystudio.com/listener for privacy information.
Full show notes: https://bengreenfieldlife.com/lotus In this episode with KJ Dhaliwal of Lotus AI, you'll hear how translating his immigrant parents' doctor visits as a child and years spent bouncing through fragmented specialty care as a teenager after a disc herniation shaped his mission to give 100 million Americans free, world-class primary care using AI. KJ breaks down how Lotus AI pulls your entire medical history from every clinic and hospital you've ever visited in minutes, unifies it with your wearables and genetic data, and makes it available to both a conversational AI and a network of real licensed physicians who can diagnose you, prescribe treatment, and refer you to a specialist in under two minutes at any hour of the day. We also touch on why hospitals are quietly selling your health data to pharma, how the business model works when the product is free, and why KJ believes the AI-powered general doctor is not just possible but already happening. KJ Dhaliwal is the founder and CEO of Lotus AI. Before Lotus, he co-founded the largest South Asian dating app, which he grew and sold. At Lotus AI, his mission is to collapse the cost of healthcare delivery while making world-class primary care free and permanently accessible to every American. Download the Lotus AI app here. If you are a physician, visit lotus.ai and sign up for Lotus Cortex. Episode Sponsors: Anthros: You can train hard and still undo a lot of that progress by sitting for the next eight hours, which is why Anthros takes a different approach, starting with a Precision Posture System at the pelvis so your spine naturally aligns, plus a built-in Clinical Posture Consult that helps identify issues you may not even realize you have. Go to anthros.com and use code BEN for an exclusive $200 discount and try it risk-free for 60 days. Timeline: Give your cells new life with high-performance products powered by Mitopure, Timeline's powerful ingredient that unlocks a precise dose of the rare Urolithin A molecule and promotes healthy aging. Mitopure now starts at $79 when you go to timeline.com/BEN. Quantum Upgrade: Recent research has revealed that the Quantum Upgrade was able to increase ATP production by a jaw-dropping 20–25% in human cells. Unlock a 15-day free trial with the code BEN15 at quantumupgrade.io. Dr. Murray Natural Products – ThymoQuin®: ThymoQuin® is a clinically researched black seed oil formulated to support healthy cortisol levels, improve resilience to everyday stress, and promote overall well-being. It's the only black seed oil that meets U.S. Pharmacopeia guidelines and is backed by human clinical research. Visit doctormurray.com/ben and use code BEN25 for 25% off all Dr. Murray Natural Products. Qualia Stem Cell: Qualia Stem Cell is a science-backed supplement designed to support your body’s natural repair system by enhancing stem cell function, helping you recover, renew, and maintain healthy tissues as you age. Taken just four days per month and formulated with premium, clinically supported ingredients, it’s an easy way to support long-term healing and vitality. Visit qualialife.com/boundless and use code BOUNDLESS for 15% off.See omnystudio.com/listener for privacy information.
Is Islam really benevolent towards Christians? Allie debunks Tucker Carlson's guest, JD Hall, who stated that the Ottoman Empire didn't tax Christians, rebuilt Christian holy sites and were generally kind towards Jesus-following subjects. Allie also uncovers some disturbing IVF stories, including the tale of a white couple who had a South Asian baby and two couples who accidentally raised each other's biological children. Finally, Allie gives a viewer some encouragement after her miscarriage. Do you have a question for Allie? Leave a voicemail at 844-755-5252 Share the Arrows 2026 is on October 10 in Dallas, Texas! Tickets are on sale now at: https://sharethearrows.com Share the Arrows is sponsored by: A'del Natural Cosmetics: AdelNaturalCosmetics.com Range Leather: RangeLeather.com/ALLIE We Heart Nutrition: WeHeartNutrition.com Buy Allie's book "Toxic Empathy: How Progressives Exploit Christian Compassion": https://www.toxicempathy.com – Time Codes 0:00 Introduction 5:21 The Soft Peddling of Islam 25:20 Tucker's Guest's Past & Pro-Islam Motivations 35:24 IVF Mix Ups & Consequences 51:21 The Moral Case Against IVF 1:00:45 Allie Gives Advice – Today's Sponsors: We Heart Nutrition | Check out We Heart Nutrition at WeHeartNutrition.com and use the code ALLIE for 20% off. Alliance Defending Freedom | Every dollar you give to ADF by March 31 will be doubled by a special matching grant, only while matching funds last. Go to JOINADF.com/ALLIE or text ALLIE to 83848 to have your gift matched to protect brave Americans. A'del | Visit AdelNaturalCosmetics.com and enter promo code ALLIE for 25% off your first-time purchase. Good Ranchers | If you go to GoodRanchers.com and subscribe to any box of 100% American meat, you'll save up to $500 a year! Plus, if you use code ALLIE, you'll get an additional $25 off your first order. EveryLife | Visit EveryLife.com and use promo code ALLIE10 to get 10% off your first order today! Episodes You May Like: Ep 1347 | Going Soft on Islam? The Right's Shifting Views Explained | Jeremy Boreing https://podcasts.apple.com/us/podcast/ep-1347-going-soft-on-islam-the-rights-shifting-views/id1359249098?i=1000767965230 Ep 1041 | Granger Smith on Suicide, Self-Love & IVF | Guest: Granger Smith https://podcasts.apple.com/us/podcast/ep-1041-granger-smith-on-suicide-self-love-ivf-guest/id1359249098?i=1000663716233 --- ► Buy Allie's book, "You're Not Enough (& That's Okay): Escaping the Toxic Culture of Self-Love": https://alliebethstuckey.com/book ► Subscribe to the podcast: iTunes: https://apple.co/2UVssnP Spotify: https://spoti.fi/2FwkXxj ► Connect with Allie on Social Media: https://twitter.com/conservmillen https://www.instagram.com/alliebstuckey/ https://facebook.com/allieBlazeTV/ ► Relatable merchandise – use promo code 'ALLIE10' for a discount: https://shop.blazemedia.com/collections/allie-stuckey
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