Podcasts about south indian

Abhay chats with actor and artist Sriya Reddy as they explore various themes including the fearlessness required in acting, the importance of discipline, and the celebration of women's achievements in sports and film. Sriya shares her insights on maintaining authenticity in her roles, the significance of personal growth, and the impact of kindness in everyday interactions. They discuss her role as Geetha in the film They Call Him OG and the evolving landscape of the film industry, particularly regarding women's representation and the challenges they face. The conversation emphasizes the importance of living in the moment and the misconceptions surrounding the film industry, while also celebrating diversity and the power of storytelling. Sriya is a powerhouse performer whose journey from acclaimed VJ to standout actress has redefined what it means to bring depth and complexity to every role. Audiences know her for unforgettable films like Salaar and her fierce, nuanced portrayals in They Call Him OG. (0:00 - 2:16) Introduction(2:16) Part 1 - Sports and its impact, discipline and balance(16:42) Part 2 - anchors and buoys, adapting to change, women in film(33:12) Part 3 - film industry, activism, legacy(46:45) ConclusionFor anyone interested in the Hanuman Chalisa, here is a great outline of the lyrics and meaning:https://www.artofliving.org/in-en/culture/reads/hanuman-chalisa-lyrics-meaning

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

In this episode, Elizabeth sits down with Aishwarya Iyer, founder of Brightland, for a thoughtful conversation on intentional living, heritage, and redefining wellness. Aishwarya shares how reconnecting with her South Indian roots shaped the way she views food, nourishment, and self-worth. What started as curiosity about the olive oil in her kitchen became the beginning of Brightland, a brand built on transparency, creativity, and care.They talk about trusting intuition, listening to your body, and finding presence in simple rituals like cooking at home. Aishwarya also shares what most people don't know about olive oil quality and its impact on digestion, inflammation, and energy. This conversation invites you to slow down, reconnect with your food, and bring more care and consciousness into everyday life.Connect with Aishwarya Iyer:Instagram: @helloaishwaryaShop Brightland: www.brightland.coInstagram: @wearebrightlandWatch the episode on YouTube:@thewellnessprocessFollow The Wellness Process:Instagram: @thewellnessprocesspodTikTok: @thewellnessprocesspodProduced by Dear MediaSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Linda Ness is joined by Divya Ramkumar who tells us about about Samarpana Classical Arts, a group formed to celebrate South Indian classical dance Bharatanatyam.  

Suman came to the US to study Geographic Information Systems. He encountered numerous interesting or culturally different clients at the IT center on campus. How did he handle them when clients were demanding? How did he adjust to cultural differences in Colorado, coming from a South Indian culture? Don't forget to follow up on part 2 of this episode. Suman's IG @sirivellasuman https://www.instagram.com/sirivellasuman Our last episode, Ep85 Going Home as A New Comer/Reverse Culture Shock w/ Ping If you enjoy this episode, I recommend... ➡️ Ep97 Recap as Medical Interpreters ft. Agi & Ping (1) ➡️ Ep95 I Graduated! ft. Ping ➡️ Ep72 Fulbright Scholar in China w/Lindsey Hobson ➡️ Ep83 A Ghanian and Her Hair w/ Hayil ➡️ Ep81 A Home Away From Home w/ Ping

Inside Elland Road Podcast with Graham Smyth & Chris O'ConnorThis week, Graham Smyth and Chris O'Connor are back to break down all the latest from Elland Road — starting with key takeaways from the pre-match press conference.

Inside Elland Road Podcast | Transfer what ifs, buts and maybesYorkshire Evening Post chief football writer Graham Smyth and co-host Chris O'Connor discuss Leeds United's transfer window, a deflating deadline day, Harry Wilson, Josh Brownhill and what now for Daniel Farke and his team.

Coffee is more than a beverage—it's a sensory ritual. But in 2025, global coffee prices are at a fifty-year high, sending shockwaves down to Indian households. Even long-trusted South Indian brands, staples of middle-class homes, are becoming costlier. Will the “ordinary” filter kaapi or takeaway latte soon feel like a bigger luxury? In this weekender episode, we explore the reasons behind rising prices, how it's reshaping consumption, and whether there's a way to hold on to our morning lifeline. Guest: Divya Jaishankar, founder of a specialty café in Chennai and master roaster Host: Anupama Chandrasekaran Camera: Thamodharan B and Sharmada Venkatasubramanian Produced and edited by Jude Francis Weston Learn more about your ad choices. Visit megaphone.fm/adchoices

While Federal Reserve Governor Lisa Cook's lawyer says she will sue to challenge the president's move to fire her, the White House is reportedly getting ready to appoint Cook's replacement. Today, we'll unpack how this battle is impacting markets as the Trump administration continues to test the limits of its authority. And later, we'll hear about tariff-related anxiety from India, including from a South Indian hub supplying global clothing brands and Mumbai's diamond workshops.

While Federal Reserve Governor Lisa Cook's lawyer says she will sue to challenge the president's move to fire her, the White House is reportedly getting ready to appoint Cook's replacement. Today, we'll unpack how this battle is impacting markets as the Trump administration continues to test the limits of its authority. And later, we'll hear about tariff-related anxiety from India, including from a South Indian hub supplying global clothing brands and Mumbai's diamond workshops.

In Redefining the Immigrant South: Indian and Pakistani Immigration to Houston During the Cold War (University of North Carolina Press), Uzma Quraishi (Sam Houston State University) follows the Cold War-era journeys of South Asian international students from U.S. Information Service reading rooms in India and Pakistan, to the halls of the University of Houston, to the suburban subdivisions of Alief and Sugar Land. This student migration between 1960 and 1980 shows how public diplomacy programs overseas catalyzed the arrival of highly educated, middle-class Asians in the U.S. before the Hart-Celler Act of 1965. Drawing on archival documents, GIS data, and oral interviews, Quraishi investigates how Indian and Pakistani immigrants forged an “interethnic” identity in Houston and located themselves—both socially and geographically—in the midst of a booming yet segregated Sunbelt city. She conceptualizes their mobility as “brown flight,” a process that simultaneously strengthened ethnic bonds even as it reinforced racial and class barriers. By exploring the links between international and local scales, Redefining the Immigrant South will interest scholars from many fields, including Asian American history; histories of the U.S. South, immigration, and U.S. foreign relations; and sub/urban studies. Ian Shin is assistant professor of History and American Culture at the University of Michigan. 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

In Redefining the Immigrant South: Indian and Pakistani Immigration to Houston During the Cold War (University of North Carolina Press), Uzma Quraishi (Sam Houston State University) follows the Cold War-era journeys of South Asian international students from U.S. Information Service reading rooms in India and Pakistan, to the halls of the University of Houston, to the suburban subdivisions of Alief and Sugar Land. This student migration between 1960 and 1980 shows how public diplomacy programs overseas catalyzed the arrival of highly educated, middle-class Asians in the U.S. before the Hart-Celler Act of 1965. Drawing on archival documents, GIS data, and oral interviews, Quraishi investigates how Indian and Pakistani immigrants forged an “interethnic” identity in Houston and located themselves—both socially and geographically—in the midst of a booming yet segregated Sunbelt city. She conceptualizes their mobility as “brown flight,” a process that simultaneously strengthened ethnic bonds even as it reinforced racial and class barriers. By exploring the links between international and local scales, Redefining the Immigrant South will interest scholars from many fields, including Asian American history; histories of the U.S. South, immigration, and U.S. foreign relations; and sub/urban studies. Ian Shin is assistant professor of History and American Culture at the University of Michigan. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In Redefining the Immigrant South: Indian and Pakistani Immigration to Houston During the Cold War (University of North Carolina Press), Uzma Quraishi (Sam Houston State University) follows the Cold War-era journeys of South Asian international students from U.S. Information Service reading rooms in India and Pakistan, to the halls of the University of Houston, to the suburban subdivisions of Alief and Sugar Land. This student migration between 1960 and 1980 shows how public diplomacy programs overseas catalyzed the arrival of highly educated, middle-class Asians in the U.S. before the Hart-Celler Act of 1965. Drawing on archival documents, GIS data, and oral interviews, Quraishi investigates how Indian and Pakistani immigrants forged an “interethnic” identity in Houston and located themselves—both socially and geographically—in the midst of a booming yet segregated Sunbelt city. She conceptualizes their mobility as “brown flight,” a process that simultaneously strengthened ethnic bonds even as it reinforced racial and class barriers. By exploring the links between international and local scales, Redefining the Immigrant South will interest scholars from many fields, including Asian American history; histories of the U.S. South, immigration, and U.S. foreign relations; and sub/urban studies. Ian Shin is assistant professor of History and American Culture at the University of Michigan. 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

In Redefining the Immigrant South: Indian and Pakistani Immigration to Houston During the Cold War (University of North Carolina Press), Uzma Quraishi (Sam Houston State University) follows the Cold War-era journeys of South Asian international students from U.S. Information Service reading rooms in India and Pakistan, to the halls of the University of Houston, to the suburban subdivisions of Alief and Sugar Land. This student migration between 1960 and 1980 shows how public diplomacy programs overseas catalyzed the arrival of highly educated, middle-class Asians in the U.S. before the Hart-Celler Act of 1965. Drawing on archival documents, GIS data, and oral interviews, Quraishi investigates how Indian and Pakistani immigrants forged an “interethnic” identity in Houston and located themselves—both socially and geographically—in the midst of a booming yet segregated Sunbelt city. She conceptualizes their mobility as “brown flight,” a process that simultaneously strengthened ethnic bonds even as it reinforced racial and class barriers. By exploring the links between international and local scales, Redefining the Immigrant South will interest scholars from many fields, including Asian American history; histories of the U.S. South, immigration, and U.S. foreign relations; and sub/urban studies. Ian Shin is assistant professor of History and American Culture at the University of Michigan. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

In Redefining the Immigrant South: Indian and Pakistani Immigration to Houston During the Cold War (University of North Carolina Press), Uzma Quraishi (Sam Houston State University) follows the Cold War-era journeys of South Asian international students from U.S. Information Service reading rooms in India and Pakistan, to the halls of the University of Houston, to the suburban subdivisions of Alief and Sugar Land. This student migration between 1960 and 1980 shows how public diplomacy programs overseas catalyzed the arrival of highly educated, middle-class Asians in the U.S. before the Hart-Celler Act of 1965. Drawing on archival documents, GIS data, and oral interviews, Quraishi investigates how Indian and Pakistani immigrants forged an “interethnic” identity in Houston and located themselves—both socially and geographically—in the midst of a booming yet segregated Sunbelt city. She conceptualizes their mobility as “brown flight,” a process that simultaneously strengthened ethnic bonds even as it reinforced racial and class barriers. By exploring the links between international and local scales, Redefining the Immigrant South will interest scholars from many fields, including Asian American history; histories of the U.S. South, immigration, and U.S. foreign relations; and sub/urban studies. Ian Shin is assistant professor of History and American Culture at the University of Michigan.

YEP chief football writer Graham Smyth is joined by the Inside Elland Road's brand new co-presenter to talk messages from Bielsa, transfer challenges and Dublin pubs.This podcast is brought to you by Tailwind - a video production company. Visit: https://www.tailwind.group.Uyare by Tharavadu sponsor the Inside Elland Road podcast. Discover Uyare by Tharavadu - rooftop views, inventive cocktails, and bold South Indian flavours redefining the Leeds dining scene.

Thanya Iyer is here to discuss TIDE/TIED, her recent Canadian tour and what exactly is a jazz festival these days, Montreal music inspirations, her South Indian heritage and studying music from a young age, how synthesizers and pedals impact improvisation, dealing with chronic pain and becoming a music therapist, thematic lyrics about water and breathing, writing new songs, playing Sappyfest, other future plans, and much more.EVERY OTHER COMPLETE KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO MONTHLY $6 USD PATREON SUPPORTERS. This one is fine, but please subscribe now on Patreon so you never miss full episodes. Thanks!Thanks to the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online.Related episodes/links:Ep. #996: Bibi ClubEp. #991: Elle BarbaraEp. #972: Circuit des YeuxEp. #958: Nels ClineEp. #927: Papa MEp. #887: Janel and AnthonyEp. #811: Joseph ShabasonEp. #712: Kee AvilVan Dyke Parks (2010) – TeaserSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

In this episode of the North Carolina Food and Beverage Podcast, host Max Trujillo visits Aromaa, a new Sri Lankan restaurant in Raleigh. Max speaks with the owner Sherwin, his daughters Stephanie and Jennifer, and Chef Kalpa about the culinary delights of Sri Lankan cuisine. They discuss the restaurant's origins, the distinctive flavors and spices used in Sri Lankan cooking, and the differences between Sri Lankan and South Indian food. The conversation also covers Aromaa's unique blend of traditional Sri Lankan dishes and fusion items like curry pizzas, as well as their plans to introduce a full bar. The episode gives listeners an inside look at the restaurant's operations and showcases the passion and dedication of the Aromaa team. It concludes with a tasting session and a promise of more exciting culinary offerings to come. The NC F&B Podcast is produced, engineered and edited by Max Trujillo of @Trujillo.Media For inquiries about being a guest, or to sponsor the show, email max@ncfbpodcast.com

TISS is a weekly podcast where Varun, Kautuk, Neville & Aadar discuss crazy "facts" they find on the internet. Come learn with them... or something like that.This week, the boys are diving into a very exciting episode of Music Recommendations — brought to you by Amazon Music India. Listen to the episode first on Amazon Music, before any other audio streaming platform - included with your Prime Video Membership — https://shorturl.at/hfQZX To support TISS, check out our Instamojo: www.instamojo.com/@TISSOPFollow #TISS Shorts where we put out videos: https://bit.ly/3tUdLTCYou can also check out the podcast on Apple podcast, Spotify and Google podcast!https://shorturl.at/hfQZXhttp://apple.co/3neTO62http://spoti.fi/3blYG79http://bit.ly/3oh0BxkCheck out the TISS Sub-Reddit: https://bit.ly/2IEi0QsCheck out the TISS Discord: / discord Buy Varun Thakur's 420 Merch - http://bit.ly/2oDkhRVSubscribe To Our YT Channels:Varun - https://bit.ly/2HgGwqcAadar - https://bit.ly/37m49J2Kautuk - https://bit.ly/3jcpKGaNeville - https://bit.ly/2HfYlWyFollow Us on Instagram:Varun - / varunthakur Aadar - / theaadarguy Kautak - / cowtuk Neville - / nevilleshah. Chapters:0:00 - Cold Open 2:54 - Welcome to The Internet Said So3:01 - Music based episode!3:39 - How are the boys consuming their music nowadays?4:40 - Shifting musical tastes5:49 - Millennial trend of listening to music?7:40 - How access has changed the way people listen to music 9:10 - Analysing Thakur's musical tastes13:30 - Kautuk sings old Bollywood song14:15 - Why were old songs easier to remember and sing?17:04 - The rise of Hip Hop and Rap in India18:07 - What is Kautuk listening to nowadays?19:20 - 'Sitar for Mental Health' by Rishabh Rishiram Sharma21:33 - Aadar's favourite instrumental musical artists25:47 - EDM Discussion25:15 - Rock A Bye Baby25:43 - Nightclub era of Bollywood28:13 - How to make a successful Item Number song in Bollywood?29:50 - How Varun discovers new music32:25 - Ed Sheeran and India33:00 - Nostalgia bait musician tours35:46 - Eminem coming to India?36:32 - The Dave Chappelle sketch with John Mayer37:14 - Everything nostalgic is making a comeback39:38 - The Visual Presentation of bands like Glass Beams40:53 - Reels help introduce you to new songs nowadays41:53 - The ways to Promote your music has changed43:09 - King Gizzard & the Lizard Wizard and Australian bands44:20 - 'Local Train' are awesome!!44:59 - Varun is obsessed with The Parcels 45:46 - Australian Rock Band - Gang of Youths46:16 - The Return of Indie Music46:45 - The Rembrandts (Who made the F.R.I.E.N.D.S. soundtrack)47:08 - Music sampling has gone fully global and cross-genre48:22 - Diljit Dosanjh at Coachella 48:52 - Remo Fernandes' Goan Songs49:15 - Bollywood Music TISS Facts49:26 - Record for writing the lyrics to the most songs 51:40 - Pop Quiz51:48 - Listing Bollywood Composer Duos54:26 - Record for Singer who has sung the most songs55:00 - The magic of Lata Mangeshkar55:40 - Fun fact about Lata ji56:24 - Fun Fact about Madan-Mohan, the music duo57:15 - The song that managed to unite 42 political parties?58:08 - Khalnayak and the crazy things around it58:40 - 'Dil Ne Yeh Kaha Hai Dil Se' and 'Need Churai Meri Kisne O Sanam?'1:00:30 - Bollywood Rap Music Beef - Badshah vs Honey Singh1:01:50 - Which is the longest song in Bollywood history?1:04:35 - Fun fact about 'Masti Ki Paathshala' song from Rang De Basanti1:06:51 - Varun watched Masti 21:06:34 - Some more mindblowing AR Rahman TISS Facts1:07:35 - AR Rahman's Oscar Winning Song 'Jai Ho' was actually composed of another movie?1:08:35 - Salman Khan...the singer?1:09:50 - The most downloaded song on mobiles1:10:20 - AR Rahman has some crazy awards, accolades and records1:10:58 - The 1st artists to ever sell out a stadium - The Beatles1:11:45 - Metallica after the Berlin Wall Fell1:12:18 - The first time Cold Play came to India1:12:50 - The first time music was played in space1:13:50 - What is the oldest musical instrument?1:14:18 - The Divje Babe Flute1:16:29 - The Oldest Piece of Written Music1:17:47 - Which is the Album to sell 1 Million copies in One Week!1:19:18 - Reprised versions of songs1:20:26 - Crazy TISS Fact about Shreya Ghoshal1:20:59 - A purely gibberish song became a massive hit?1:22:49 - The boys give some more of their best music recommendations1:24:22 - The importance of good song videos1:27:50 - FIFA Soundtracks from the games1:29:55 - Aadar is vibing to South Indian rap1:32:04 - 'The Bartender' album1:32:50 - Bombay Vikings and other 90s-early 2000s songs and bands1:35:10 - Muhfaad and TISS Maa Kasam connection?1:35:55 - Thanks for tuning in, folks!1:36:16 - Post credit sceneCreative Producer- Antariksh TakkarChannel Artwork by OMLThumbnail - OML

Carl Donnelly: The Fork Awakens - A Vegan Odyssey Through Comedy, Lost, and Star WarsIn this wide-ranging episode, Steve Otis Gunn chats to comedian and longtime vegan Carl Donnelly. What begins with sniffles and parenting chaos soon unfolds into a rich and hilarious exploration of identity, ethics, nostalgia, and the unexpected impact of kids on one's streaming habits. From biohackers and butchers to Irish summers and Star Wars, Carl brings levity, insight, and warmth to a conversation that spans generations, galaxies, and plant-based diets.Highlights include:Trading offal for ayahuascaGrowing up Irish in South London without a middle nameComedy longevity and the joy of finding old postersRevisiting Lost, rewatching The Leftovers, and defending Obi-Wan KenobiFrom Spurs loyalty to South Indian dals: football, food, and second generational cultureWhether you're a long-time fan of Carl's stand-up, curious about tofu protein levels, or a parent roped into watching sci-fi, this episode offers laughs, reflection, and plenty of moments where you'll go, “hang on… same here.”

Join Chef Vinay Kumar At the Coconut Lagoon in Kumarakom, India, as he explains how to prepare this South Indian classic dish: Kumarakom Green Lentil Dal. This dish is made using a blend of split green lentil, bananas, jaggery, cashews, raisins and black sesame seeds, and ginger. Watch the full documentary and find recipes here! https://www.plantforwardkitchen.org/india

I'm so excited to be speaking today with Adharsh Kumar, the creative genius behind Not Your Amma's Kitchen—an Instagram sensation that's redefining how we see South Indian cuisine. Through his stunning videos and down-to-earth approach, Adharsh invites us into his kitchen and his heritage, proving that cooking is not just about recipes—it's about identity, connection, and reclaiming the flavors that shaped us. Whether he's sharing a family heirloom recipe or putting his own spin on a classic, Adharsh is blending tradition with modern flair, making sure every bite—and every story—feels like home. Today, we'll chat about his journey, the stories behind his dishes, and how food can be a powerful way to honor your roots while carving out your own path. Let's get into it!Welcome, Adharsh!!To reach Adharsh for mentorship, his Instagram handle is @notyourammaskitchen and emails are nyak@sparkmedia.la and notyourammaskitchen@gmail.com

In this laugh-out-loud episode of Cyrus Says, Cyrus Broacha sits down with comedians Nivedita and Devanshi for a wildly entertaining and unpredictable conversation. What starts as a casual chat about AMAs quickly spirals into hilarious commentary on bad coffee, South Indian pride, chaotic Indian traffic, and the trials of learning how to drive in Mumbai. The episode is packed with travel tales—from comedy gigs in Melbourne and a solo trip to New Zealand, to unexpected moments of cultural confusion (yes, someone mistakes them for being Chinese). They discuss the unique struggles of being comedians, getting paid in foreign lands, surviving conservative expectations, and how their Indian audiences evolve once they move abroad. It wouldn’t be Cyrus Says without a few absurd games and off-track rants—expect debates over cricketers versus comedians, awkward public encounters, and a Marathi cuss word guessing game that goes nowhere fast. Oh, and somewhere in the chaos, Cyrus also receives a “most entertaining podcast” award—whatever that means. It’s unfiltered, unapologetic, and totally ridiculous—in the best way possible.See omnystudio.com/listener for privacy information.

The Indiana Brothers are a Carnatic music duo from Central Indiana, featuring twin brothers Sarvagh Shrianandh and Suragh Shrianandh. Though they're just 20 years old, the Indiana Brothers have been studying and performing Carnatic music for several years. The Indiana Brothers have performed frequently across the Midwest United States. The duo has also played dates on the West Coast and India. Carnatic music is a traditional form, of South Indian classical music characterized by intricate melodies, complex rhythmic patterns and devotional lyrics. Both Sarvagh and Suragh attend Purdue University. WFYI's Kyle Long recently caught up with the brothers during a break from their studies.

In this episode of Cyrus Says, celebrated film critic, writer, and editor-in-chief of Galatta Plus, Baradwaj Rangan, joins Cyrus Broacha for an unfiltered chat on movies, filmmaking, and the Indian film industry.He shares honest insights on Bollywood vs. South Indian cinema, the rise of streaming platforms, and how the audience's taste in films has evolved over the years. They have a candid chat about Indian cinema: Kabir Singh, Animal, Rajnikanth, Mani Ratnam, aging stars, producers, and the madness behind the camera.Also: why critics stay hated, what panels are missing, and is Nepotism still cinema's biggest problem?Stay till the end for his fav filmmakers and whether or not he would make a film!See omnystudio.com/listener for privacy information.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.

May 2025 meditations are written by Neil Kumar Raman and recorded by Jason Merritt. Support this podcast at forwardmovement.org/donate. Neil Kumar Raman serves as rector of Grace Church in Haddonfield, New Jersey. He has a love for teaching, church history, and the liturgy. He is an avid reader, a double bassist, and loves to cook, especially South Indian food.