Podcasts about Tuck

Send us a textIn this episode, we take a sip from the spring of eternal life—or at least from Natalie Babbitt's Tuck Everlasting—and things get delightfully complicated. We are capping off season 5 with a children's book that is not afraid to take on deep philosophical topics. This is our second episode in a row diving into books centering on immortality, but there are no sparkly vampires with disturbingly ambiguous ethics here, just an immortal toad, an unexpected murder, a disturbing music box (is that Mae Tuck's music?!?), and a little girl who engineers a jail break. Join us as we chat about the Tuck family's accidental immortality, side-eye the Man in the Yellow Suit's villainous mustache-twirling, and ponder whether living forever is truly a blessing or just being cursed to a job that you can never retire from. In this episode we learn that Hawa processes human speech that is too fast to be decipherable to anyone else, worry about Jesse's semi-romantic overtures to a ten year old, and discuss the heavy burden of keeping secrets. We're diving into the magic, the mayhem, and the moral quandaries of a children's classic that still hits surprisingly hard.These Books Made Me is a podcast about the literary heroines who shaped us and is a product of the Prince George's County Memorial Library System podcast network. Stay in touch with us via Twitter @PGCMLS with #TheseBooksMadeMe, on Instagram @TheseBooksMadeMe or by email at TheseBooksMadeMe@pgcmls.info. For recommended readalikes and deep dives into topics related to each episode, visit our blog at https://pgcmls.medium.com/.

366 - A reckless insult and suddenly -- no choice . . . a duel that can't be undone. Tuck in to hear Guy de Maupassant's dramatic, classic tale, "A Duel."

Send us a textDr. Sarah Johnson is the CEO and President of Teaching Lab and Relay Graduate School of Education, leading their AI-enabled product innovation and educator preparation initiatives. She is joined by Teaching Lab Studio fellows: Riz Malik, creator of Coteach, a curriculum-aligned AI assistant for math teachers; Gautam Thapar, CEO of Enlighten AI, a personalized AI grading and feedback platform; and Louisa Rosenheck, co-lead of NISA and the Tangle & Thrive research project, focused on AI-powered instructional coaching and student engagement.

First Sunday of Advent- Candle of Hope Gospel Lesson- Matthew 24: 36-44

Ramisha Rafique, consultant and professor at Nottingham Trent University in England, explains her advocacy work to move higher education organizations and work forces beyond performative diversity, equity and inclusion initiatives to meaningful, measurable action related to Islamophobia, decolonization and inclusive policy change.

366 - A reckless insult and suddenly -- no choice . . . a duel that can't be undone. Tuck in to hear Guy de Maupassant's dramatic, classic tale, "A Duel."

Send us a textJoin hosts Alex Sarlin and Ben Kornell as they break down OpenAI's unexpected launch of ChatGPT for K–12, Google's accelerating AI momentum, and what these shifts mean for schools, teachers, and the edtech ecosystem.✨ Episode Highlights: [00:02:03] OpenAI unveils ChatGPT for K–12 educators—secure, curriculum-aware, and free through 2027 [00:03:02] The emerging AI Classroom Wars between OpenAI and Google across major U.S. districts [00:07:36] Google's big week: DeepMind tutoring gains and Gemini 3's multimodal upgrades [00:10:25] How district leaders will navigate growing community divides over AI adoption [00:14:04] What OpenAI's move means for MagicSchool, SchoolAI, Brisk, and other edtech playersPlus, special guests:[00:19:26] Janos Perczel, CEO of Polygence on scaling project-based learning with AI and why TeachLM trains models on authentic student–teacher interactions[00:41:36] Dr. Stephen Hodges, CEO of Efekta Education on AI-powered language learning for 4M students and early evidence of major test score gains

It's time for WAR GAMES. Kyle, Tuck and Bert are sharing their Survivor Series War Games predictions on episode 270 of the On The Mark wrestling podcast. Make sure you're following us on all socials for more @PodOnTheMark. 

Send us a textThis special on-site episode of Edtech Insiders was recorded live at the Google AI for Learning Forum in London on November 14, 2024, where we sat down with leaders shaping Google's next generation of learning tools, including Shantanu Sinha, VP of Google for Education, Tal Oppenheimer, Product Management Director, Google Labs & Learning, Julia Wilkowski, Pedagogy & Learning Sciences Team Lead, Google, and Maureen Heymans, VP & GM, Learning, Google. Together, they share how Google is designing AI-powered tools grounded in learning science and built to scale across classrooms worldwide.

Send us a textIn this episode, Patti from Madly Learning helps you take the overwhelm out of differentiation. You'll learn how to design one strong core lesson that meets diverse student needs — without doubling your workload. Patti shares real classroom examples, practical tips, and mindset shifts that make differentiation both manageable and meaningful.Tuck these in your teacher pocket:Differentiation is not about 30 separate lessons — it's one lesson with multiple access points.Focus on flexibility, not perfection.Use assessment (formal and informal) to guide your adjustments.Scaffold for support and extend for enrichment — all anchored in the same big idea.Start small with one new strategy and build confidence over time! Remember to Subscribe for more insights on how to navigate the complexities of teaching with efficiency and impact. Share your experiences and strategies in the comments to join the conversation with fellow educators.To find our highly effective, time-saving resources Check out the Ignited Teaching Membership that gives you access to hundreds of downloadable lessons on demand! https://madlylearning.com/sp/ignitedteaching/ Checkout our Madly Learning Store at www.madlylearning.com/storeCheckout our Teachers Pay Teachers store Join our FREE Facebook community for teachers here: https://bit.ly/IYT-FB

365 - You deserve a cozy, sentimental Thanksgiving story gently read to you . . . so . . . Tuck in while you travel, prepare a feast, or just unwind this week. Where else, but righthere, will you find hundreds of deliciously classic short stories ready to enchant you?

Send us a textBrandon Busteed is the CEO of Edconic and a nationally recognized leader in work-integrated learning. Formerly President of Kaplan University Partners and Head of Education & Workforce Development at Gallup, he has spent his career building bridges between higher education and industry through research, innovation, and large-scale partnerships.

On this episode of the podcast, we broke down the Top 5 NBA Jam Tournament Edition duos and dove into a ton of Thanksgiving nostalgia including Black Friday madness, a Thanksgiving themed This or That, and the wild story of Barney's infamous demise during the 1997 Macy's Parade. We also talked about classic penny candies from the corner and liquor stores, revealed Will's Top 5 NES games that deserved a film adaptation, and shared Tuck's five songs he would choose if he were in charge of a movie soundtrack courtesy of ODigglesworth on the Super Retro Hotline. Disney Pops made an appearance, plus a conversation about Steph Curry repping Reebok, and a look at how far handheld gaming has come since using a light just to see the Game Boy Color screen. The Super Retro Hotline delivered some iconic calls including Aunt Tammy, Discord Drops were solid as always, Fit Check was dripping, and there was a ton more packed into the episode.Merch link: https://superretropod.com/product-category/sub-shop/⸻Today's episode was brought to you by Salty Water. Hydrate Your Inner Warrior! Support our sponsors:IG: https://www.instagram.com/drinksaltywater/Buy: https://tinyurl.com/4c4kz9ceWebsite: https://drinksaltywater.com/⸻Arcade1upWebsite: https://arcade1up.com/Use "KeepinitRetro10" for 10% off Discord: https://discord.gg/superretroMaster list on our NES collection: https://superretropod.com/nes-game-list-super-retro/Join our channel: https://www.youtube.com/channel/UCMP4yO-dFGayGUkT_MVYrhQ/joinEmail: SuperRetroPod@gmail.comAll things Super Retro: https://linktr.ee/superretroInstagram: https://www.instagram.com/superretropodcast/TikTok: https://www.tiktok.com/@superretropod

There's a point in the year, sometime after the clocks change and the air cools, when everything in me starts to shift gears. Not in a big dramatic way. More like an exhale I didn't realise I was holding. The sun barely clears the horizon before it's on its way down again, and I feel that pull inward. A sense that it's time to quieten things down.It's in that stretch between late autumn and early winter that I start preparing, not in the frantic, pre-Christmas way, but in a softer, steadier rhythm. A slow return to the essentials. The kind of preparation that says you don't need to brace — you just need to be ready to rest.Creating a Home That Welcomes Winter InI always start with the space itself. Our flat is small, and once winter sets in, we're in it together, both literally and figuratively. So I start by making room. Not for more stuff, but for the season itself. I clear surfaces. Tuck away the remnants of summer. Shift furniture ever so slightly to make space for what we'll actually be doing, more reading, more snuggling, more long afternoons that never seem to get light.The blankets come out. I do a quick sweep of the kitchen, not for aesthetic reasons, but because we're about to spend a lot more time there, stirring pots and making endless cups of herbal tea or coffe. I check the pantry for the staples that make winter cooking feel effortless: dried herbs, oats, tinned tomatoes, cinnamon. Essentially the building blocks of slow food.And I do a little mental check-in: Will this space carry us well through the colder days? Can we stretch out in it without bumping into stress? That's really the goal. Not perfection. Just ease.Winter Is a MindsetOnce the physical space starts to feel more settled, I turn inward. Because winter, for me, anyway, isn't about ticking off tasks. It's about allowing a different kind of rhythm. A softer one. It's when I stop expecting myself to run at the same speed as I did in the light-filled months of spring and summer.This season has a weight to it, but not in a bad way. It just asks more gently. It doesn't push. It doesn't shout. It simply says, you can go slower now. And so I listen. I pare back the calendar. I loosen my grip on what I thought I “should” be doing. I let mornings be slower. I let plans fall away without guilt. I look for what feels necessary — and what I can leave until spring.Home Education, But SofterOur home ed rhythm changes, too. The content doesn't disappear but the delivery does. It becomes lighter and less about checking boxes, more about leaning into curiosity. We bring blankets to the floor and learn from under them. The world outside slows down, and I try to let our learning reflect that.I'm not trying to force productivity when everything around us is asking for presence instead. Some of the richest conversations we've had have come from cold walks, a cup of hot chocolate and a question asked out of nowhere. I make room for those moments, because they don't happen when we're rushing.The Subtle Work of Tuning InwardThere's a kind of quiet personal work that surfaces at this time of year, a re-evaluation that happens naturally if you give it enough silence to rise. I don't plan it. It just arrives.This is when I start asking different questions. Not “What's next?” but “What do I actually need?” Not “How do I do more?” but “What's quietly asking to be let go of?” I give myself the time to reflect, to notice what's feeling heavy and what might not need to come with me into the new year.This kind of reflection doesn't look impressive. It's not always neat. But it clears mental space the same way tidying a shelf does. And it prepares me far more than any to-do list ever could.Holding Space for the Messy BitsOf course, it's not all serene candlelight and cosy corners. Winter can bring up resistance. The stillness can feel itchy. The early darkness can feel suffocating. The quiet can be loud in its own way. And I think it matters to say that. Winter can feel restorative and raw. It's not one or the other.So part of preparing for this season is reminding myself that I'm allowed to feel it all, the rest and the restlessness, the joy and the slump. I don't need to perform contentment. I just need to let myself be in the season I'm in.And that leads nicely into letting winter be what it's meant to be. I've stopped expecting winter to behave like spring. I've stopped expecting myself to bloom in a season that's meant for stillness. That shift, from resisting the quiet to embracing it, has changed how I experience this part of the year.Preparing for winter now means slowing the pace on purpose. It means letting rest be a rhythm, not a reward. It means choosing calm over chaos — not because I've got it all together, but because I've learned that pushing through only leaves me more tired come January.So I take a little off our plates. I close the laptop earlier. I light the candles before it gets fully dark. I find the rituals that hold us through the coldest months — and I try not to overcomplicate them. To hear more, visit theslowlivingcollective.substack.com

Christ the King Sunday Gospel Lesson- Luke 23:33-43

365 - You deserve a cozy, sentimental Thanksgiving story gently read to you . . . so . . . Tuck in while you travel, prepare a feast, or just unwind this week. Where else, but right here, will you find hundreds of deliciously classic short stories ready to enchant you?

Send us a textJoin hosts Alex Sarlin and Ben Kornell as they unpack the breakthroughs and backlash following the Google DeepMind AI for Learning Forum in London—and what it means for the future of edtech.✨ Episode Highlights:[00:03:30] Google DeepMind's AI for Learning Forum sets a new global tone for learning innovation[00:06:58] Google's “Learn Your Way” tool personalizes entire textbooks with AI[00:08:12] AI video tools like Google Flow redefine classroom content creation[00:13:40] Why this could be the moment for teachers to become AI media creators[00:18:36] Risks of AI-generated video: deepfakes, disinformation, and youth impact[00:22:19] Duolingo stock crashes over 40% amid investor fears of big tech competition[00:23:52] Screen time backlash accelerates: parents turn to screen-free edtech[00:26:14] Why physical math books and comic-style curricula are surging in demand[00:27:35] A wave of screen-free edtech: from LeapFrog alumni to audio-first toolsPlus, special guests:[00:28:51] Michelle Culver, Founder of The Rithm Project, and Erin Mote, CEO of InnovateEDU, on the psychological risks of AI companions, building trust in AI tools, and designing for pro-social relationships[00:51:48] Ben Caulfield, CEO of Eedi, shares groundbreaking findings from their Google DeepMind study: AI tutors now match—and sometimes outperform—humans in math instruction, and how Eedi powers the future of scalable, safe AI tutoring.

This one must have hurt him.Tuck into Thursday's batch of Dave's Bad Jokes.

Send us a textThis special EdTech Insiders episode features the four Shark Tank winners from EdTech Week. Each founder shares how their breakthrough approach is transforming learning, teaching, and workforce development across K–12, higher education, and global training environments.

ชวน เชฟทักษ์-นุติ หุตะสิงห เจ้าของเพจ TUCK the CHEF - เชฟทักษ์ มาคุยเรื่อง Ultra-processed Food ให้เข้าใจ ตั้งแต่เรื่องประโยชน์ และผลกระทบต่อร่างกาย การสังเกตฉลากด้วยตัวเอง แนะนำให้รู้จักสารเจือปนต่าง ๆ ที่ใส่เพิ่มเข้าไปในอาหาร ตัวไหนกินได้ ตัวไหนควรสงสัย และแนะนำการกินอาหารให้พอดี และไม่กลัวการกินจนเกินไป    ติดตามชมรายการ Eat Direction  EP.1 เทรนด์ล่าสุดวงการราเมง  https://youtu.be/msHms2gJhdY?si=K3p4rhUwcsHbk3ZO EP.2 กินเนื้อยังไงให้อร่อย https://youtu.be/wxXxxMLz1Wk?si=zNHPiJ0dpYsnbcT5 EP.3 ทำไมกล้าขายไอติมถ้วยละพัน https://youtu.be/PyNIbT-k4j8?si=2dscX5Qk9JPiXokz EP.4 Slow Sake เทรนด์เปลี่ยนวงการสาเกญี่ปุ่น https://youtu.be/HQxmfJYT19M?si=flAnLT56DpLn8tv6 EP.5 เชียงรายกินอะไรดี https://youtu.be/C4l5KNXIjfk?si=q372etymqx5-4ofB EP.6 ปัญหาของอาหารอีสาน https://youtu.be/jxJpJ4n7fz8?si=AJARW0H0Yu-ylpb0 EP.7 ไก่แบบไหนทำข้าวมันไก่อร่อย https://www.youtube.com/watch?v=cUuQz7Egd_Q EP.8 10 อาหารที่ต้องกินในปี 2025  https://youtu.be/JLcm7LypU3s?si=k_h1BkY1cC94qezW EP.9 เลือกไวน์ยังไงให้เหมาะกับอาหาร https://www.youtube.com/watch?v=ehUkng2s2NI&t=21s  EP.10  วิธีกินซูชิให้เป็น  https://youtu.be/wSpq87KTUWY?si=L8qsdRsojsK-hWFK EP.11 อาหารเชียงใหม่สายลึก https://youtu.be/nw208m1tsQY?si=JPQV5JvNlVhwF7Uh EP.12 เบื้องหลังของ Food Blogger https://www.youtube.com/watch?v=pD_HQmYzYDI  EP.13 วิธีกินข้าวแช่ พร้อมเครื่อง 40 อย่าง https://youtu.be/4dLSSgF8IAw?si=UfnqEgPTA1KvBXvb  EP.14 สอนสูดเส้น และความรู้เบื้องต้นก่อนเข้าร้านราเมง https://youtu.be/VL5U1BGcRKM?si=pHLi_QMO5YdvJyjd  EP.15 ขนมปังเปรี้ยวและเปลือกแข็งต้องกินยังไง https://youtu.be/pi2zx5VrJtM?si=yhX_LBDAt7zFyF1d EP.16 คู่มือเข้าใจชีส ฉบับคนอยากลอง https://youtu.be/K591jbc8W-w?si=HjRX0gFbvHywkDe-  EP.17 ชานม ชาไทย ชาใต้ ชาชัก ชานมใต้หวัน นมอังกฤษ ชานมฮ่องกง ต่างกันยังไง https://youtu.be/ALvszt--PJI?si=nEMEwgx4sv_9MjK- EP.18 แนะนำร้านอาหาร หาดใหญ่เช้าจนดึก https://youtu.be/DoDvqor38AQ?si=5a-Jn4vPikDLh76u  EP.19 วิธีดื่มน้ำอัดลมแบบที่สุขภาพจะไม่พังในอนาคต https://youtu.be/KnPQyCLA3WE?si=61rtqSbs_P5V-4H1  EP.20 อาหารเป็นพิษ ออกฤทธิ์หลังจากกินกี่ชั่วโมง และอีกหลายคำถามเรื่อง Food Safety กับ เชฟทักษ์ https://youtu.be/nePzNbKjJkY?si=F12pBMky_rDL-j3l EP.21 ทำไมคนไทยไม่ชอบให้ใคร ว่าอาหารไทยไม่อร่อย https://youtu.be/Wy9hCFMFPMI?si=31_f-6ECLIwJ011W EP.22 ลงใต้ไปเบตง กินหมูย่างทั้งตัวที่หน้าเตา Feat. อารยา และ บิ๊ก อิทธิชัย https://youtu.be/CezFe-Hu2-8?si=JVnFP8luHc_rutri  EP.23 ใส่ผงชูรสเท่าไหร่ ใส่ตอนไหน ปลอดภัยและอร่อยที่สุด https://youtu.be/lIOT_nOV118?si=5FJj3hjcsuGTrV6c  EP.24 ขนมไหว้พระจันทร์ผสมอะไร ถึงเก็บได้หลายเดือนสมัยไม่มีตู้เย็น https://youtu.be/0EOuPKAsOps?si=aA-c_O9aOqpybjzk EP.25 Sober Curious ถ้าไม่อยากดื่มแอลฯ แล้วจะดื่มอะไรดี https://youtu.be/lY1m_ZwA-hw?si=1m5qmuBYbqQwPDWU EP.26 เชฟทักษ์ตอบคำถามจากทางบ้านเรื่อง Food Safety ครั้งที่ 2 https://youtu.be/L50EidWWMKw?si=qlPDf1mweHlNAGnB EP.27 วิธีเลือกและสังเกตปลาคุณภาพดี อัปเดตปี 2025 https://www.youtube.com/watch?v=NSkwMQr1oCM&t=159s EP. 28 เปิดจักรวาลแกง กับบังก้อง Schwedakong https://www.youtube.com/watch?v=sOVnDaiRMJc&t=2050s #readthecloud #TheCloud #eatdirection #foodsafety #ความปลอดภัยทางอาหาร #จัดตู้เย็น  #เคล็ดลับ #สารปรุงแต่ง #INS #ดูฉลาก #ร้านสะดวกซื้อ #อาหารเหลือ #ครัว #อาหาร #มะเร็ง #ถนอมอาหาร #หมดอายุ #สุขภาพ #อาหารเป็นพิษ #เชฟทักษ์ #TuckTheChef #ของดิบ #วิธีเก็บอาหาร #อันตราย #อาหารสุขภาพ #ดูแลตัวเอง #พัฒนาตัวเอง #รีวิว #ความรู้  #UPF #Ultraprecessedfood #Healthy #trend #jiranarong #จิรณรงค์ #เครื่องดื่ม #รายการอาหาร #รายการสัมภาษณ์ #พอร์ตแคส #พอดแคส    ทีมงาน กำกับ : ทรัพย์ทวี สมีแจ้ง ครีเอทีฟ : จิรณรงค์ วงษ์สุนทร ช่างภาพ : เมธี สมานทอง , คฑาวุฒิ เผือกสอาด ลำดับภาพ : ชนม์ชนก ธนัสทีปต์วงษ์ , นภาวดี กันยาประสิทธิ์ ควบคุมการผลิต : ชนกพัดชา สินอาษา

In this episode of The Raw Vibe Podcast, host Chuck Tuck sits down with Terry M. Iverson, veteran manufacturer and author, to discuss the urgent need to revive American manufacturing. With over 45 years of hands-on experience and a family legacy spanning nearly a century, Iverson shares powerful insights into how manufacturing once fueled the American middle class—and how we can bring that spirit back.From the supply chain challenges exposed by COVID-19 to the decline of trade education, this conversation explores what it will take to rebuild a resilient, self-sustaining economy. Iverson and Tuck dive deep into the importance of supporting American-made products, reinvesting in vocational training, and changing consumer mindsets to value domestic craftsmanship over convenience.If you care about the future of America's workforce, economic independence, and sustainable growth, this is a must-listen episode. Discover why manufacturing matters now more than ever—and how you can be part of the movement to bring it home.

Ozzy and Tuck chat with activist and G.L.I.T.S. founder Ceyenne Doroshow (she/her). Topics include: Memories of Ceyenne's mother, Miss Major  Ceyenne's 3-hour meal with Zohran Mamdani Lessons learned from a career in sex work  Providing safe housing and asylum assistance through G.L.I.T.S. Plus: Riis Beach, a St. Bernard named Thor, and a revenge trip to Puerto Rico?  Find Ceyenne and support her crucial work at glitsinc.org. Submit a piece of Theymail: Today's message was from Organize Your Library! Order Sex Change and the City today, or catch Tuck on book tour in Seattle, Oakland, and more. Join our Patreon to access our weekly newsletter and monthly Gender Conceal episodes, including last month's episode with Cassius Adair. ~ Find transcripts and starter packs at genderpodcast.com. We're also on Instagram @gendereveal. Senior Producer: Ozzy Llinas Goodman Logo: Ira M. LeighMusic: Breakmaster CylinderAdditional music: Blue Dot Sessions Sponsors: DeleteMe (code: TUCK20) and Max Burns UX (mention Rhubarb!)

364 - Celebrate the bittersweet beauty of autumn as TWOstories whisper poignant memories with each falling leaf. Tuck in to hear "Early Autumn" from the legendary Langston Hughes, followed by critically-lauded "The Last Tree" from unknown author Anthony Lentini.

Send us a textRohan Mahimker is Co-Founder and Co-CEO of Prodigy Education, a global leader in digital game-based learning.Rohan launched Prodigy alongside his fellow Co-Founder and Co-CEO Alex Peters in 2011. Today, Prodigy's flagship math game is used by more than 20 million 1st-8th Grade students and is one of the most popular supplemental classroom tools in the United States.

On this episode of the podcast we built the perfect 90s trip to the movies in our This or That segment, revisited the glory days of the Nextel chirp phone, and chose between our childhood role models Bob Ross, LeVar Burton, and Mr. Rogers. We celebrated the iconic duo of ham and cheese Hot Pockets and the original PlayStation, dug into the memory banks for the forgotten fruity drink Burple and its wild accordion-style container, and talked Stone Cold Steve Austin's legendary Got Milk! ad. We remembered the Choco Taco, had a blast with the new Super Retro Hotline, enjoyed a fantastic mailbag, officially debuted the Walkbuster Movie Club with The 'Burbs, hit Tuck's Music Corner, and packed in a ton more nostalgia.Merch link: https://superretropod.com/product-category/sub-shop/⸻Today's episode was brought to you by Salty Water. Hydrate Your Inner Warrior! Support our sponsors:IG: https://www.instagram.com/drinksaltywater/Buy: https://tinyurl.com/4c4kz9ceWebsite: https://drinksaltywater.com/⸻Arcade1upWebsite: https://arcade1up.com/Use "KeepinitRetro10" for 10% off Discord: https://discord.gg/superretroMaster list on our NES collection: https://superretropod.com/nes-game-list-super-retro/Join our channel: https://www.youtube.com/channel/UCMP4yO-dFGayGUkT_MVYrhQ/joinEmail: SuperRetroPod@gmail.comAll things Super Retro: https://linktr.ee/superretroInstagram: https://www.instagram.com/superretropodcast/TikTok: https://www.tiktok.com/@superretropod

364 - Celebrate the bittersweet beauty of autumn as TWO stories whisper poignant memories with each falling leaf. Tuck in to hear "Early Autumn" from the legendary Langston Hughes, followed by critically-lauded "The Last Tree" from unknown author Anthony Lentini.

Send us a textMireia Torello is the CEO and co-founder of Aikreate, an EdTech company revolutionizing AI Literacy for students and educators worldwide. With a PhD in Earth Sciences and an Executive MBA from IESE Business School, Mireia brings a unique mix of scientific and entrepreneurial experience. She has led Aikreate through partnerships with schools, universities, and governments and has been recognized at top innovation forums like SXSW EDU and ASU+GSV's Women in AI. Her mission: make AI accessible, ethical, and empowering for the next generation.

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.

Do you get this Michael D joke?Tuck into Dave's Bad Jokes to brighten your day.

363 - WHO carried out the "KILL" order? Miss Marple knows, will you? Tuck in for our 9th Agatha Christie mystery "The Four Suspects."

Send us a textAdam Mangana is the Co-Founder and CEO of Optima Ed, the first full-time VR homeschool backed by Meta. With over 15 years in edtech leadership, he's pioneering immersive, AI-driven learning experiences that expand access to quality education and reimagine how, where, and why students learn.

Gospel Reading- Luke 20: 27-38

Ben Elton, the writer of Filthy Rich & Catflap, sat down for a chat before his recent Perth show in support of What Have I Done?, an autobiography rich with Catflappian detail. Between Ben's new autobiography and this chat, a bunch of big questions are answered. He's dropped tons of new context around the creation of the show that should keep Filthy Rich scholars (??) updating texts and speculating for years. It's enorm! Fans of The Young Ones, Happy Families, Upstart Crow, The Thin Blue Line and Ben's many novs & musicals will have a field day with the book, getting handy new details. Tuck in Loobies, this is a holy grail ep!  Thanks again to Ben, the Regal Theatre, and the stage door manager dude downstairs at The Maj.  

Publishing this as I pack for tour lol see you soon!!!!!!!!  CHICAGO (11/9): Book event is sold out, but join us at Consignment Lounge around 7pm for extra books, merch, and hanging out.  MINNEAPOLIS (11/10): Join Tuck and Cassius Adair at Moon Palace Books! RSVP required, sign up here.  NYC (11/11): Join Tuck and LittlePuss Press at Sex Change from Hell! We'll be at Starr Bar from 8-11pm, no RSVP required.  SEATTLE (11/17): Join Tuck and Serena Hommes at Elliott Bay Book Company! RSVP here. PORTLAND (11/19): Join Tuck and Pansy at Kelly's Olympian! Tuck will be in conversation with Pansy frontwoman Vivian McCall, and we'll hear new tunes from Pansy and a few old tunes from Tuck's old band why not. Buy tickets here ($10 — all attendees will receive $5 off book/merch purchases) OAKLAND (11/20): Sold out — join waitlist here. Sex Change and the City is available now in book and pdf form :)  

363 - WHO carried out the "KILL" order? Miss Marple knows, will you? Tuck in for our 9th Agatha Christie mystery "The Four Suspects."

Send us a textJoin hosts Alex Sarlin and Ben Kornell as they recap a post–New York EdTech Week full of highs and hard truths.✨ Episode Highlights: [00:00:00] Alpha School's backlash and what it reveals about AI-based education. [00:06:58] EdTech's new K–20 alliance with Microsoft and Google for responsible AI. [00:10:09] The risks and lessons from Alpha School's rapid rise and fall. [00:21:53] Chegg cuts 45% of staff amid AI disruption and market pressure. [00:26:01] Kaplan launches AI tools built on 85 years of learner data. [00:31:02] Mem0 raises $23M to build a universal AI memory layer. [00:38:10] Cal State's OpenAI deal sparks debate on Big Tech in higher ed. [00:44:18] The media's anti-AI narrative and its impact on innovation. Plus, special guests:[00:50:24] Rebecca Winthrop, Director of the Center for Universal Education at Brookings, and Jenny Anderson, award-winning journalist and co-author of The Disengaged Teen, on student agency, engagement, and the four learner modes. [01:11:14] Justin Reich, Director of the MIT Teaching Systems Lab, on AI in Schools: Perspectives for the Perplexed and how educators can experiment safely with emerging AI tools. 

“It may or may not be good ... or binding precedent, but I think ConvergeOne will actually make the holdout risk worse because the minority lenders will now point to it and say ‘Sorry pal, you can't jam this down my throat in court, so you're not jamming it down my throat out of court either,'” says Houlihan Lokey Managing Director Tuck Hardie. He joins Bloomberg Intelligence's Noel Hebert and Phil Brendel on this episode of the State of Distressed Debt podcast to review the workout landscape, sponsors' exit strategies and LME trends. Prior to that, Phil and Noel reflect on high yield's run and current vulnerability. To conclude, BI's Negisa Balluku discusses the latest developments in First Brands, Spirit Airlines, Lifescan and Incora, while Phil reviews 2025 Prepack Plan Performances and Ardagh Group. The State of Distressed Debt podcast is part of BI's FICC Focus series. Listen on Apple Podcasts and Spotify. Also, a heads up! Negisa and Phil will be at the Beard Group's 32nd Annual Distressed Investing Conference on Dec. 2-3, 2025. We are excited to hear from the top professionals on the latest machinations in distressed investing. Conference: https://www.distressedinvestingconference.com/agenda.html

Join us on Texas Values Report with host Jonathan Saenz, President & Attorney for Texas Values as he shares the history of the Texas Women's Privacy Act in addition to discussing the doctor who performed sex-change operations and procedures on children, surrendered her Texas medical license and left Texas, and a same-sex court ruling by Texas Supremes. Read our press release: - https://txvalues.org/victory-child-sex-change-doctor-gives-up-license-thanks-to-texas-law-protecting-kids/ - https://txvalues.org/release-same-sex-court-ruling-by-texas-supremes/ Join us at Texas Values Faith, Family & Freedom Gala this Saturday, November 8th and hear from Coach Joe Kennedy & Kelly Shackelford, who both won the football prayer case at the U. S. Supreme Court. Special guests include: Master of Ceremonies Senator Angela Paxton, Save Women's Sports and Women's Privacy Leader Brooke Slusser, and more! https://txvalues.org/events/ Help us build our channel so we can maintain a culture of Faith, Family, & Freedom in Texas by interacting with us; like, comment, share, subscribe! For more about Texas Values see: Txvalues.org To support our work, go to donate.txvalues.org/GivetoTexasValues

SummaryIn this episode of the Inorganic Podcast, co-hosts Ayelet Shipley and Christian Hassold welcome Brian Burt, founder & CEO of Canopy Management. In this episode, we discuss Brian's entrepreneurial journey, with an emphasis on his principles for building the business and expanding through highly accretive tuck-in M&A transactions. Brian also shares the importance of cultural fit in successful integrations. He then discusses the challenges and opportunities presented by AI in the retail media space, emphasizing the need for omnichannel marketing strategies. The conversation underscores the importance of momentum in business and the role of performance-based incentives in sustaining an entrepreneurial spirit within acquired teams.TakeawaysCanopy Management has grown without external investment, focusing on mergers and acquisitions for expansion.The need for operational efficiency and scalability drove the first acquisition.Cultural fit and shared values are crucial in successful acquisitions.Integrating new teams requires clear communication and defined outcomes.Performance-based incentives help maintain entrepreneurial spirit in acquired teams.AI presents both a threat and an opportunity for the agency space.Omnichannel marketing is essential for modern e-commerce success.Building a strong personal brand aids in building an acquisition funnelMomentum in business is key to successful integration and growth.?Chapters00:26 Brian Burt's Background 02:38 Growing through M&A 12:31 Culture Fit and Founder Alignment13:09 Integrating the First Acquisition16:36 Defining and Executing Acquihires20:45 Evolving the Playbook23:46 Incentives Pods, and Integration Strategy27:44 Scale Synergy and Sustainable Growth31:28 Market Outlook: Retail Media Omnichannel and AI37:14 Closing Thoughts and TakeawaysConnect with Christian and AyeletAyelet's LinkedIn: https://www.linkedin.com/in/ayelet-shipley-b16330149/Christian's LinkedIn: https://www.linkedin.com/in/hassold/Web: https://www.inorganicpodcast.coIn/organic on YouTube: https://www.youtube.com/@InorganicPodcast/featuredConnect with guest Brian Burthttps://www.linkedin.com/in/brianburt1/ Hosted on Acast. See acast.com/privacy for more information.

平时我们穿衣服时会有很多动作，比如拉拉链，卷袖子等等。这些细致动作的英文该怎么说呢？今天卡卡老师带你学习12个穿衣时必备的英文表达。1. The tag is itching my neck.标签磨得我脖子痒。2. Flip your collar up.把你的领子竖起来。3. Fold down the collar.把衣领翻下来。4. Roll up your sleeves.把你的袖子卷起来。5. Tuck your shirt into your pants.把你的衬衫下摆塞进裤子里。6. The tag is sticking out. Tuck it in.标签露出来了，把它塞进去。7. Can you help me zip up this dress?你能帮我拉上这条裙子的拉链吗？8. Pull up your zipper.拉上你的拉链。9. The button is about to come off.这个扣子快要掉了。10. Your socks are sagging. Pull them up.你的袜子松了，往上提一提。11. Lace up your sneakers.系紧你的运动鞋鞋带。12. These shoes are easy to slide on.这双鞋很容易一脚蹬进去。27期爱趣英文开启限额招募，跟着卡卡老师彻底摆脱懒癌，全面系统提升！公众号：卡卡课堂 卡卡老师微信：kakayingyu002

Episode Title: ASMR Personal Attention Sleep: Cozy Blanket Tuck-InDescription: Sink into a gentle, comforting bedtime experience designed to guide you toward deep relaxation and sleep. In this episode we use soft-spoken cues, close-up personal attention, and slow, caring actions—like a cozy blanket tuck-in—to create a safe, soothing atmosphere. Expect layered ambient sounds, subtle vocal textures, and measured pacing that help lower stress, quiet the mind, and invite restorative rest. Perfect for nights when you need extra comfort, easing anxiety, or simply a calm reset before sleep.Tips for getting the most from this episode:Use headphones for the most immersive ASMR effect.Dim the lights and make your sleep space comfortable before pressing play.Try slow, deep breaths as you listen to deepen the relaxation.If you wake during the night, replay the episode at low volume to help you drift back to sleep.Take a few minutes for yourself each day — caring routines and small moments of calm can make a big difference to your wellbeing. Join us next time for another episode that helps you rest, relax, and recharge.=======DISCLAIMER

You definitely don't want to miss these.Tuck into Dave's Bad Jokes!

Seinfeld Podcast Interview With Dyana Ortelli. Dyana played "Lupe" in the Season 4 Seinfeld" episode, "The Trip"You know Dyana from Coco. Rocket Power, Lizzie McGuire, Thee Amigos!, La Bamba, Curb Your EnthusiasmWe talk with those responsible for making Seinfeld the greatest sitcom in TV history. Our guests are Seinfeld writers, Seinfeld actors and actresses and Seinfeld crew.We also welcome well-known Seinfeld fans from all walks of life including authors, entertainers, and TV & Radio personalities.We analyze Seinfeld and breakdown the show with an honest insight. We rank every Seinfeld episode and compare Seinfeld seasons. If you are a fan of Seinfeld, television history, sitcoms, acting, comedy or entertainment, this is the place for you.Do us a solid, support the Podcast

Send us a textJoe Watt co-founded ECMC Group's Education Impact Fund to back bold ideas expanding equity and opportunity in education. Today, he leads the Fund as Managing Director, shaping how patient, mission-driven capital creates lasting change. He's joined by Atin Batra, a Director at the Fund, who leads investments across the learner journey, bringing a global venture lens and a deep focus on measurable outcomes that improve learner success.

All Saints Sunday Epistle Reading- 2 Thessalonians 1:1-4; 11-12

362 - For a delectably perfect Halloween listen: Enjoy a restaurant that is so exclusive . . . some people NEVER leave. Tuck in and find out what's really being served as Stanley Ellin's subtle horror story, "The Specialty of the House" sneaks up on you.

362 - For a delectably perfect Halloween listen: Enjoy a restaurant that is so exclusive . . . some people NEVER leave. Tuck in and find out what's really being served as Stanley Ellin's subtle horror story, "The Specialty of the House" sneaks up on you.

Tuck announces new book tour events, including a ‘90s-themed lit party and a trans band debut/reunion(!?!). Then, Tuck chats with Cass about the state of trans studies and why podcasts are over.  Listen to the full episode on Patreon to hear Cass and Tuck discuss talking to kids about gender, making friends in Minnesota, wearing one hat for 15 years, projecting your brain problems onto your baby, and much more.  Catch Tuck on book tour in Philly, Brooklyn, Chicago, Minneapolis, Seattle, Portland, Oakland, and on Zoom! Sex Change and the City is available now in the Girl Dad Press shop. Applications are now open for our 2025 grant program thru 10/31.  Senior Producer: Ozzy Llinas Goodman Logo: Ira M. LeighMusic: Breakmaster CylinderAdditional Music: Blue Dot Sessions

Kaya welcomes a her former succ pod cohost Jay Tuck to the podcast to answer the question of what is wrong with the men in Denver after this season of Love Is Blind. They also discuss Gen V and what's happening in the visual media space.FOLLOW US ON INSTAGRAM HERESUBSCRIBE TO OUR PATREON HEREOH YEAH WE ON THREADS HEREWHAT? YOU WANT OUR FACEBOOK? I GOT YOU RIGHT HERE

On this week's episode of Mom's Car, we welcome West Coast Best Friend Nate Tuck. Dax, Nate, and East Coast Best Friend Aaron Weakley talk through the deep evolutionary significance of a tribe chief embarrassing himself, Nate's wasted and naked black ice car crash, BFAW's handsome, mustachioed dad, woes of a sludgy summer job, a particularly loud Jean-Claude Van Damme delivery encounter, the long road to road rage recovery, Dax's legendary rumble after a David Allan Coe show, and a physics-related legal write-in question.#sponsored by @Allstate. Go to https://bit.ly/momscar to check Allstate first and see how much you could save on car insurance.Follow Mom's Car on the Wondery App or wherever you get your podcasts. Watch new content on YouTube or listen to Mom's Car ad-free by joining Wondery+ in the Wondery App, Apple Podcasts, or Spotify. Start your free trial by visiting https://wondery.com/plus now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.