Podcasts about Vol

by UFO History Buff & Author, Charles LearMen in Black stories are almost as old as the modern UFO mystery, starting with the 1947 Maury Island Incident. This aspect of the phenomenon became firmly cemented with Gray Barker's 1956 book, They Knew Too Much About Flying Saucers, and it plays a big part in John Keel's 1975 book, The Mothman Prophecies. Keel was of the mind that MiBs were not human beings from secret government organizations out to silence witnesses, but creatures of a much stranger origin. Supporting this is a 1981 report (page 8 of the pdf) out of Canada that is presented in the Vol. 27, No. 4, January 1982 Flying Saucer Review. Read more →

by UFO History Buff & Author, Charles LearIn last week's blog, we looked at a case from British Columbia that involved two witnesses who said they not only saw a UFO on the night of October 3, 1981, described as an upside-down flying saucer with its dome underneath surrounded by four lights that were in the 3,6,9, and 12 o'clock positions, but also had encounters with MiB types afterwards. The main witness, a 16-year-old who ran his own security company, Grant Breiland, reportedly took a photo that was not developed at the time of the article. The other witness, identified only as “N.B.” was a 19-year-old male who said he saw the same object. Breiland was interviewed extensively by former University of Victoria linguistics professor, Dr. P.M.H. Edwards. Edwards wrote a report that was published in the Vol. 27, No. 4, January 1982 Flying Saucer Review.When we left off, Breiland had just been confronted in the glass-doored vestibule of a shopping mall by two men dressed in extremely dark blue clothing. They were stiff and robotic, had tanned faces and lips the same color, no eyebrows, and “Eton crop” haircuts. He was scared by not only their non-human appearance, but also by the fact that there were suddenly no people to be seen anywhere, which was the case during the entire encounter. According to Edwards, they asked him what his name was, where he lived, what his phone number was, and he refused to answer. After staring at him for five seconds, they turned on their heels “as one man,” walked outside (it was raining), crossed the sidewalk to the road, went left, and walked in sync in a military fashion. Breiland followed them and watched as they walked onto a muddy, excavated field and then vanished before his eyes. He ran to the spot where they disappeared and saw they had left no footprints. Read more →

HIP HOP RAP MIX 2025 VOL.9 by Zj Liquid

DANCEHALL 2025 VOL.17 by Zj Liquid

DANCEHALL MIX 2025 VOL.18,,,,,,, by Zj Liquid

OpGCD Live! Thursdaze!! - Vol 22 - The Anatomy of Satanic Panic - FREE PATREON PREVIEWLinks for JJ - https://www.patreon.com/c/OperationGCD

Audio, eng_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Daily_lesson 1 :: Lessons_series. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4

Video, eng_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Daily_lesson 1 :: Lessons_series. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4

Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4. Chapter 5

The Suffering of the Psalmist      The Psalmist wrote, “Before I was afflicted, I went astray, but now I keep Your word” (Psa 119:67). The word translated “went astray” is שָׁגַג (shāgag). According to HALOT it means “to make a mistake inadvertently, unwittingly…to go astray.”[1] It connotes moral or spiritual deviation (cf. Prov 5:23; Isa 53:6). Ross states, “The verb (שָׁגגַ) is used in Leviticus for unintentional sins; but here it probably includes rationalized, deliberate sins because he was wandering from the way of God. He was not walking by faith in obedience to the word, and so he suffered some affliction at the hands of the wicked; but now he was keeping God's oracle, the word “keep” (שָׁמַר) referring to a meticulous observance of all that God required in his covenant.”[2] The significance is that the psalmist admits he was drifting from obedience, not necessarily into outright rebellion, but into carelessness or neglect of God's Word. The affliction became God's means of correction, turning his wandering into renewed obedience. Thus, the term highlights human tendency to stray and God's faithful use of discipline to restore. A few verses later he states, “It is good for me that I was afflicted, so that I may learn Your statutes” (Psa 119:71). Affliction is seen as a teacher that drives God's people back to His Word. Ross adds, “The psalmist is able to acknowledge that his affliction worked for his good because it forced him to learn more of God's plan revealed in his word. In learning through adversity, he discovered the word God personally revealed in human language was far more valuable than silver or gold [Psa 119:72].”[3] Then, the psalmist states, “I know, O LORD, that Your judgments are righteous, and that in faithfulness You have afflicted me” (Psa 119:75). Ross states: "The affliction he has been experiencing came from God, even though it was through arrogant oppressors. The principle was laid down in the experience of Israel in the wilderness: God tested them to see if they would obey or not (Deut 8:16). Those who understand the ways of God know that ultimately it is his plan to exalt the righteous and destroy the wicked, but that in his wisdom he often humbles the righteous before exalting them."[4]      Taken together, these verses trace the movement from wandering, to correction, to obedience, and finally to worshipful recognition of God's faithful purposes. They teach that affliction, far from being wasted, is a tool in God's hand to sanctify His people and anchor them more firmly in His Word. We don't like trials or suffering, and we often ask God to remove them, much like Paul asked God to remove his “thorn in the flesh” (2 Cor 12:7). However, we find that most of the time God chooses not to remove our difficulty, like He did not remove Paul's (2 Cor 12:8-9), and we must learn that what He does not remove, He intends for us to deal with, and this by faith (2 Cor 12:10; cf. 2 Cor 5:7; Heb 10:38; 11:6). The Suffering of Joseph      Joseph's life stands as one of Scripture's clearest demonstrations of how God employs suffering to shape the faith and character of His people. Betrayed by his brothers and cast into a pit, Joseph was sold into slavery and carried away to Egypt (Gen 37:23–28). There he endured the humiliation of serving as a foreigner in Potiphar's house, and though he prospered by God's favor, his integrity in resisting Potiphar's wife led to false accusations and unjust imprisonment (Gen 39:1–20). Even in prison, where he was forgotten by those he had helped (Gen 40:23), Joseph displayed remarkable faithfulness, refusing bitterness and maintaining trust in God's providential hand. Each stage of his trial pressed him deeper into dependence upon the Lord, refining his character for the weighty responsibilities that awaited him. His hardships were not incidental but instrumental in God's design, preparing him to serve as second only to Pharaoh and to become a channel of blessing to countless lives.      Joseph consistently interpreted his life from the perspective of God's providence, not merely in the well-known statement of Genesis 50:20. When he first revealed himself to his brothers, he sought to comfort them with the assurance that their sin, though grievous, was under divine control: “Do not be grieved or angry with yourselves, because you sold me here, for God sent me before you to preserve life” (Gen 45:5). He went further, declaring, “God sent me before you to preserve for you a remnant on the earth, and to keep you alive by a great deliverance. Now, therefore, it was not you who sent me here, but God” (Gen 45:7–8). In both statements, Joseph acknowledged the reality of human betrayal but deliberately framed it within the larger purposes of God. He viewed his sufferings as divine instruments for the preservation of life and the fulfillment of covenantal promises.      Later, after Jacob's death, Joseph's brothers again feared retaliation, but Joseph reaffirmed the same perspective, saying: “You meant evil against me, but God meant it for good in order to bring about this present result, to preserve many people alive” (Gen 50:20). This statement serves as the theological climax of his narrative, demonstrating how God overruled human evil for His own purposes. According to Radmacher, “God works His good plan even through the evil plans of evil people. Even the worst events can be used in the hand of kindly Providence for His good.”[5] Even at the end of his life, Joseph's confidence remained fixed on God's providence. Altogether, Joseph voiced this divine perspective at least four times (Gen 45:5; 45:7–8; 50:20; 50:24–25), revealing a mature faith that consistently interpreted suffering through the lens of God's sovereign care. The Suffering of Moses      Moses' life reveals how God employs prolonged suffering and repeated trials to shape His servants into men of spiritual depth and usefulness. After killing the Egyptian, Moses fled into exile, spending forty years in Midian as a shepherd (Ex 2:15–25). This season of obscurity was not wasted but was God's classroom for humility and preparation. Though Moses had been educated in all the wisdom of Egypt (Acts 7:22), he needed the quiet discipline of the desert to unlearn self-reliance and to grow in patience and dependence on God. The Lord used these years of hiddenness to refine his character and to equip him with the endurance necessary for leading Israel. This long exile reminds believers that God often uses seasons of difficulty, waiting, and obscurity as essential training grounds for future service. Moses would later emerge not as the impulsive prince of Egypt but as the meek servant whom God could use to shepherd His people. Wiersbe states: "The man who was “mighty in word and deed” is now in the lowly pastures taking care of stubborn sheep, but that was just the kind of preparation he needed for leading a nation of stubborn people. Israel was God's special flock (Psa 100:3) and Moses His chosen shepherd. Like Joseph's thirteen years as a slave in Egypt and Paul's three years' hiatus after his conversion (Gal 1:16-17), Moses' forty years of waiting and working prepared him for a lifetime of faithful ministry. God doesn't lay hands suddenly on His servants but takes time to equip them for their work."[6]      When God called Moses to return to Egypt, the trials intensified. He faced the hardened opposition of Pharaoh (Ex 5–12), who resisted every divine demand, bringing repeated conflict and mounting pressure. Beyond this, Moses bore the weight of constant complaints from the Israelites themselves, who murmured against him at the Red Sea and in the wilderness over water and food (Ex 14–17). Such trials might have broken a lesser man, but through them God deepened Moses' humility and dependence. Scripture later records that “the man Moses was very humble, more than any man who was on the face of the earth” (Num 12:3). His humility came as he suffered hardship—first in Midian's solitude, then in Pharaoh's defiance, and finally in Israel's stubbornness. Each trial stripped Moses of self-confidence and taught him to rest in God's power and presence. Thus, Moses' life illustrates that suffering, though painful, is God's tool to produce humility, endurance, and spiritual maturity in His people, preparing them for greater responsibility and usefulness in His service. The pathway to spiritual maturity sometimes runs though the valley of hardship and suffering. Steven R. Cook, D.Min., M.Div.   [1] Ludwig Koehler et al., The Hebrew and Aramaic Lexicon of the Old Testament (Leiden: E.J. Brill, 1994–2000), 1412. [2] Allen P. Ross, A Commentary on the Psalms (90–150): Commentary, vol. 3, 523. [3] Ibid., 524–525. [4] Ibid., 529. [5] Earl D. Radmacher, Ronald Barclay Allen, and H. Wayne House, Nelson's New Illustrated Bible Commentary (Nashville: T. Nelson Publishers, 1999), 83. [6] Warren Wiersbe, The Bible Exposition Commentary, Vol. 1, 182-183.

Audio, eng_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Daily_lesson 1 :: Lessons_series. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4

Aujourd'hui, nous sommes le dimanche 16 novembre, 33ème dimanche du temps ordinaire. Je prends le temps d'entrer dans la prière. Je peux respirer tranquillement pour calmer ce qui s'agite en moi, pour déposer mes préoccupations. Quand je me sens disponible, j'accueille le regard doux et aimant de Dieu sur moi. Et je lui demande ce que je désire, par exemple : viens faire grandir en moi, Seigneur, la confiance ; qu'elle fortifie mon chemin... Chaque jour, retrouvez 12 minutes une méditation guidée pour prier avec un texte de la messe ! A retrouver sur l'application et le site www.prieenchemin.org. Musiques : Psaume 31(30) - Confiance et espérance en Dieu dans l'épreuve de Moines de l'abbaye d'En Calcat interprété par Moines de l'abbaye d'En Calcat - Alabanzas de Adoración Jesús Misericordia, Vol. 248 © Communauté Saint François-Xavier ; together de Prabajithk interprété par Prabajithk - Pixabay © Glorious.

Audio, spa_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Lessons_series. Baal HaSulam. TES (Talmud Eser Sefirot). Vol. 1. Parte 4 :: Daily_lesson 1

Video, eng_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Daily_lesson 1 :: Lessons_series. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Especial QuintoVisión Vol.2 Podcast Premium ; desde 2.99/mes disfruta de todo el contenido en Exclusiva !!! ivoox.com/support/95055 No olvides de darle 5 Estrellas ⭐en Spotify y “Me Gusta” ♥️en Ivoox ya que nos ayuda con la visibilidad del programa ! ☺️ ✅Donaciones para ayudar a ElQuintoGrande Bizum : +34 648 45 74 51 Puedes seguirnos en todas nuestras Redes Sociales y Plataformas : ⚙️https://linktr.ee/ElQuintoGrande Email : ElQuintoGrande@gmail.com Todos los audios y músicas de este podcast están creados y producidos por @DJARON10 con Logic Pro X de Apple, así como su idea original. * El Tema principal Está Producido por DJAntuan y la idea Original es de @DJARON10 * El Tema principal “Emocional Motivacional Epic Trailer” es de Carlos Estella, y la sintonía ha sido creada por @DJARON10. * ElQuintoGrande dispone de la Licencia del programa Logic Pro X de Apple, así como la Licencia de Jamendo Licensing Standard para el tema Musical “Emocional Motivacional Epic Trailer “ de Carlos Estella. * Todos Los Diseños del Programa son de Álvaro Marco para ElQuintoGrande ¡¡¡ Gracias a todos y Hala Madrid !!!! @ElQuintoGrande ElQuintoGrande.com no se hace responsable de la opinión de sus colaboradores, sea en esta web, podcast o en sus respectivas Redes Sociales.Escucha este episodio completo y accede a todo el contenido exclusivo de ElQuintoGrande. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/95055

Audio, hun_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Daily_lesson 1 :: Lessons_series. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4

Audio, ita_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Daily_lesson 1 :: Lessons_series. Baal HaSulam. TES. Vol. 1. Parte 4

Video, fre_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Daily_lesson 1 :: Lessons_series. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4

Audio, por_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Daily_lesson 1 :: Lessons_series. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4

Video, bul_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Lessons_series. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4 :: Daily_lesson 1

Video, spa_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Lessons_series. Baal HaSulam. TES (Talmud Eser Sefirot). Vol. 1. Parte 4 :: Daily_lesson 1

Audio, spa_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Lessons_series. Baal HaSulam. TES (Talmud Eser Sefirot). Vol. 1. Parte 4 :: Daily_lesson 1

Video, spa_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Lessons_series. Baal HaSulam. TES (Talmud Eser Sefirot). Vol. 1. Parte 4 :: Daily_lesson 1

Video, ita_t_norav_2025-11-16_lesson_bs-tes-04-or-pnimi-perek-05_n1_p2. Lesson_part :: Daily_lesson 1 :: Lessons_series. Baal HaSulam. TES. Vol. 1. Parte 4

---【PR】NordVPN　下記のリンクからお申し込みいただくと、サブスクリプション費用が大幅割引！さらに今なら5か月分が延長されます。30日間の全額返金保証もあるので、この機会にぜひお試しください。▼詳細はこちらからhttps://nordvpn.com/yutotawa▼クーポンコードyutotawa*クーポンコードはチェックアウト時にご入力ください*上記URL経由では自動でクーポンが反映されます----今回のそさたわは、9月23日に開催した「ゆとフェスVol.03」でもらったお便りの一部について話しました！00:29〜　旅行に行くと喧嘩になるのはなぜ09:10〜　圧倒的"未来型"人間が現在に集中するには20:08〜　仕事で疑問を持てないのを直したい★ゆとたわ本 発売中★「わたしたち雑談するために生まれてきた、のかもしれない。 ゆとりっ娘たちのたわごとだけじゃない話」。Amazonはこちら、その他お近くの書店などでも◎　またAmazonレビューでのご感想もぜひお待ちしています

Craig Troxel talks about how ruling elders can help men consider a call to pastoral ministry.A call to pastoral ministry has several parts, one is the internal sense of call, another is the recognition of the church, the actual call to a congregation or mission work. Ruling elders help shepherd men in both and in this podcast we discuss the early stages of recognizing a call, or even encouraging men to consider if they are called.Discussion centers around Charles Bridges, The Christian Ministry: With an Inquiry into the Causes of its Inefficiency, (Banner of Truth Trust). See especially Chapter VI, The Qualifications of the Christian Ministry, pp. 24-31.Craig quotes John Newton, "Beware, my friend, of mistaking the ready exercise of gifts for the exercise of grace." (Letter #5 - "On the Snares and Difficulties attending the Ministry of the Gospel") Works of John Newton, vol.1 (Banner of Truth Trust, 2015) p. 108. See also Newton's letter Marks of a Call to the Ministry.We highly recommend Craig's own book,A. Craig Troxel, With All Your Heart: Orienting Your Mind, Desires, and Will toward Christ, (Crossway, 2020).Craig's Recommended ReadingJohn Calvin, Institutes Of The Christian Religion, translated from the first French edition of 1541 by Robert White, Banner of Truth Trust. (Especially Chapter 17, The Christian Life)Campegius Vitringa, The Spiritual Life, trans. and ed. by Charles K. Tefler, Reformation Heritage Books. John Flavel, The Fountain of Life: A Display of Christ in His Essential and Mediatorial Glory, Vol. 1 of the Works of John Flavel, Banner of Truth Trust.John Flavel, The Method of Grace In the Gospel Redemption, Vol 2 of the Works of John Flavel, Banner of Truth Trust.

STRANGE Wilderness Disappearances Vol #2Become a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

Tiptoes We On Dis Ting Slothboogie Pres. Dancing With Friends, Vol 3 SlothBoogie Soulstatejazz Venus Orbits Noire & Blanche Fouk…

Tiptoes We On Dis Ting Slothboogie Pres. Dancing With Friends, Vol 3 SlothBoogie Soulstatejazz Venus Orbits Noire & Blanche Fouk…

Before Roswell made UFOs a household name, strange craft were already haunting our skies. In the early 1900s, from the battlefields of World War I to quiet farmlands across the globe, witnesses reported encounters with mysterious airships, glowing discs, and their otherworldly occupants. We'll look at UFO sightings and encounters from 1900 thru 1930 – and there are a lot more than you'd expect.CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Lead-In00:02:18.129 = Show Open00:03:38.205 = UFOs and Extraterrestrials in the 1900s (Part 1)00:20:30.205 = ***UFOs and Extraterrestrials in the 1900s (Part 2)00:35:17.123 = ***UFOs and Extraterrestrials in the 1910s (Part 1)01:03:56.725 = ***UFOs and Extraterrestrials in the 1910s (Part 2)01:25:33.274 = ***UFOs and Extraterrestrials in the 1920s (Part 1)01:37:49.569 = ***UFOs and Extraterrestrials in the 1920s (Part 2)01:50:41.188 = Show CloseSOURCES AND REFERENCES FROM THE EPISODE…Photo of Edward Pline UFO: https://weirddarkness.com/Early1900sUFOs, or https://www.tsemrinpoche.com/wp-content/gallery/bestufos/1870-03.jpgMarcus Lowth for UFO Insight: https://weirddarkness.tiny.us/yckt2jzd, https://weirddarkness.tiny.us/yjh86ksd,https://weirddarkness.tiny.us/2p9a8xbhThree Red Objects Sighted From USS Supply, NICAP http://www.nicap.org/040228pacific_dir.htmThe Democrat-Herald newspaper, August 27 1973Saw An Airship, Columbus Republican, August 18, 1906 (page 5)Emery County Progress, September 15 1906The Burlington Free Press, June 3, 1907Our Strange World, Mark Chorvinsky, Fate Magazine, Vol. 45, No. 8, August 1992Daimonic Reality: A Field Guide to the Otherworld, Patrick Harpur, ISBN 9780937 663097Modern Mysteries of Britain, Janet Bord and Colin Bord, ISBN 9780586 065297HUMCAT: Catalogue of Humanoid Reports, David Webb and Ted BloecherUFOs: The Whole Story, Coral Lorenzen, ASIN B0006CDZPYEarth Lights Revelation: UFOs and Mystery Lightform Phenomena – The Earth's Secret Energy Force, Paul Devereux, ISBN 9780713 722093NTCAT 1910 – 1919 – International Catalog of Entity Reports”, by Peter Rogerson http://intcat.blogspot.com/search/label/1911%20-%201919From Airships to Arnold: A Preliminary Catalogue of UFO Reports in the Early 20th Century (1900-1946), Richard Hall, ISBN 192895 7013Unexplained!: Strange Sightings, Incredible Occurrences and Puzzling Physical Phenomena, Jerome Clark, ISBN 9781578 590704The Soviet UFO Files, Paul Stonehill, ISBN 9781858 338583Book of Space Contacts, Timothy Beckley, ISBN 9780938 294054 (page 26-27)UFO!: The Complete Sightings Guide, Peter Brookesmith, ISBN 9780713 725834 (page 31)=====(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.=====Originally aired: November 26, 2024EPISODE PAGE (includes sources): https://weirddarkness.com/BeforeRoswellABOUT WEIRD DARKNESS: Weird Darkness is a true crime and paranormal podcast narrated by professional award-winning voice actor, Darren Marlar. Seven days per week, Weird Darkness focuses on all thing strange and macabre such as haunted locations, unsolved mysteries, true ghost stories, supernatural manifestations, urban legends, unsolved or cold case murders, conspiracy theories, and more. On Thursdays, this scary stories podcast features horror fiction along with the occasional creepypasta. Weird Darkness has been named one of the “Best 20 Storytellers in Podcasting” by Podcast Business Journal. Listeners have described the show as a cross between “Coast to Coast” with Art Bell, “The Twilight Zone” with Rod Serling, “Unsolved Mysteries” with Robert Stack, and “In Search Of” with Leonard Nimoy.DISCLAIMER: Ads heard during the podcast that are not in my voice are placed by third party agencies outside of my control and should not imply an endorsement by Weird Darkness or myself. *** Stories and content in Weird Darkness can be disturbing for some listeners and intended for mature audiences only. Parental discretion is strongly advised.#WeirdDarkness #UFOHistory #PreRoswell #MysteriousAirships #VintageUFOs #AlienEncounters #StrangeSightings #ParanormalFiles #UnexplainedSky #UFOPhenomena

Sadie Sads - "W.S.D.G." - Box with Little Doll Nurse With Wound / Diarmuid MacDiamarda - "Volta's Pistol" - Lung Oysters Au Vol - "Seascapes (For Helen Frankenthaler)" - Anthology of Experimental Music From Canada Popul Vuh - "Oh Wie Weit Ist Der Weg Hinauf" - letze tage letze nacht Pain Teens - "You Got To Waste It" - Manmade Disasters H.N.A.S. (Hirsche Nichts Aufs Sofa) - "Poppelsdorfer Sequenzen/ Lottogluck unt with Cannons" - Im Schatten der Mohre Jean Schwarz - "Cable Car" - Erda – Symphonie – Surroundings Marcello Giombini - "Forest Song (Thailand)" - Mondial Folk Synthesizer III (Estremo Oriente-Africa) Rafael Flores - "33A Ritual (excerpt)" - Commando Bruno (1981-1987) Rat Henry - "Attacked in the Street" - Material Pop, Vol.1 PragVEC - "Welcome Home" - Bits Reynold Weidenaar - "Wiener, For Your Usual Magnetic Sequel (excerpt)" - American Society Of University Composers (Record No. 6) Dariush Dolat-Shahi - "Otashgah, Part 1 (excerpt)" - Otashgah: Place of Fire Enno Velthuys - "Blue Heron" - The Acceptable Presence VA https://www.wfmu.org/playlists/shows/158192

Audio, eng_t_norav_2025-11-14_lesson_bs-tes-04-or-pnimi-perek-04_n1_p2. Lesson_part :: Lessons_series. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4 :: Daily_lesson 1

ソーシャルメディアのフィードに出てくる内容ってほんと盗聴してるんか！？って疑いたくなるよね。「口に出せない事がある、口に出しちゃいけない事がある」そんな昔の長渕剛の歌を口ずさんでみたりする金曜の板倉です、こんにちは。 「１％の情熱ものがたり」94人目のインタビュー、最初のエピソード。 東京生まれ横浜育ち。7歳の頃にアメリカで1年過ごした経験が良い思い出となり、結果的に今の暮らしや仕事に繋がっていく。苦労はしたがやり切った高校での1年間の留学、得意の英語を活かしてクリアした大学受験、楽しかった大学生活。その後、なんとなくで進んでしまった就職、働き過ぎで心身ボロボロになった3年間の社会生活。結婚、出産、アメリカ移住、3児の母としての慌ただしい暮らし。そんな人生のうねりの中で出会った“自分が本当にやりたいこと”。40代での大きなキャリアチェンジ。家族の支えと、魂の声に従うような直感を信じて、一歩を踏み出した。それが、助産師という道。 生まれることも死ぬことも家の中で日常と共にあったひと昔前とは大きく変わったこの時代に、命に寄り添い、心を育て、明日を照らす。人間の本来の強さと優しさを信じ、直感に耳を澄ませながら、人と人が支え合う“現代の寺子屋”を目指す。200件を超えるお産の現場に立ち会い、尊い命と向き合ってきた寛子さんの優しい眼差し。そんな心が温まるような情熱ものがたり。 良き思い出として残っている7歳の時の1年間のアメリカ生活。大変だった高校生の時の1年間のアメリカ生活。そして超楽しかった！という大学生時の1年間のアメリカ生活。環境やタイミングによってこうも変わる、そして人生も然りですなー。 投稿 Vol.374 青柳寛子（カリフォルニア州ライセンス助産師）2/4 は １％の情熱ものがたり に最初に表示されました。

CREEPY Missing Person Cases with Steve Stockton Vol #11Become a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

Video, eng_t_norav_2025-11-14_lesson_bs-tes-04-or-pnimi-perek-04_n1_p2. Lesson_part :: Lessons_series. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4 :: Daily_lesson 1

Recording of Rabash. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4. Chapter 4, item 6

Audio, eng_t_norav_2025-11-14_lesson_bs-tes-04-or-pnimi-perek-04_n1_p2. Lesson_part :: Lessons_series. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4 :: Daily_lesson 1

Pop Radio UK Show #369!!!  November is here. A time of thoughtfulness, thanks, gratitude, and appreciation. I am thankful for “YOU” constant listener, constant downloader, constant sharer of the podcast. You keep me motivated. You keep me humble. Please, keep downloading and sharing the podcast! All the usual download spots. Oh! And the website, too – TheMusicAuthority.com! The Music Authority Podcast... heard daily on TheMusicAuthority.com, Belter Radio, Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Google Podcast Manager, Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes! Follow the show on “X” Jim Prell@TMusicAuthority! How to listen in?*Podcast - https://themusicauthority.transistor.fm/  The Music Authority Podcast! *Website – TheMusicAuthority.comSpecial Recorded Network Shows, too! Different than my daily show!*@TMusicAuthority Jim Prell with The Music Authority on @BelterRadio Monday, Tuesday, Thursday, Friday 7 pm ET & Wednesday 9 pm ET *Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, & Thursday at 7PM UK time, 2PM ET, 11AM PT  www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT! *Sole Of Indie https://soleofindie.rocks/ Monday Through Friday 6PM ET! *AltPhillie.Rocks Sunday, Thursday, & Saturday At 11:00AM ET!Pop Radio UK Show #369…@Super8UK – TMA Opening Theme@Easyouts - Gimme Gimme Love@MikeBrowningSongster - Paisley Haze@Arrows Of Athena - Abandoned Love@Jim Basnight - Days In The Sun [Under The Rock]@Jim Basnight - Get It Out [Under The Rock]@MeMe Detroit - Good Life (Talkin' About The)@Nearly Skulls - American Rules [Pax Americana]@Quaint – Secrets@Re Mattei - Momma Always Knows@Ski Van - Now[The Sound Cove Super Sonic Showcase, Vol. 1] (@Sound Cove)@The Blackburns - Chances On Love@SoulBird - The Music Authority Jingle@The Dogmatics - Rainy Nights [Nowheresville] (@Rum Bar Records)@The Empty Page - When Were Gonna Run?@The Rumble Skulls - Go With The Flow@The High Frequencies - See You Again [Get High] (@Jem Records)@Vinyl Floor - Mr. Rubinstein@West Coast Sick Line - Superfanatical Man [Bring Your Lovely Self – EP]@West Coast Sick Line - This Is Not Pentrefoelas [Bring Your Lovely Self – EP]

In this conversation with Professor Maya Tudor—part of our special series produced in partnership with the Journal of Democracy—we discuss her recent article published in the journal's October 2025 issue (Vol. 36, No. 4). Tudor explores the factors behind the recent, alleged erosion of democratic ideals worldwide. Drawing on her experiences as an educator, Tudor argues that today's decline in trust in democracy stems from misconceptions about its achievements—such as expanding education, extending life expectancy, promoting relative peace, and fostering economic progress. Challenging the belief that autocracies deliver more effectively on these outcomes, she contends that such regimes are often short-lived and unstable. Tudor ultimately urges us to view democracy not as a purely normative ideal, but as a pragmatic system best suited to advancing human well-being.Maya Tudor is Professor of Politics and Public Policy at the Blavatnik School of Government and a Fellow of St. Hilda's College, University of Oxford. She is the author of The Promise of Power: The Origins of Democracy in India and Autocracy in Pakistan (Cambridge University Press, 2013) and Varieties of Nationalism (Cambridge University Press, 2023), as well as numerous articles in academic journals and popular media outlets.The interview was conducted Anubha Anushree. Lilith Hakobyan edited the audio file.

Audio, spa_t_norav_2025-11-14_lesson_bs-tes-04-or-pnimi-perek-04_n1_p2. Lesson_part :: Daily_lesson 1 :: Lessons_series. Baal HaSulam. TES (Talmud Eser Sefirot). Vol. 1. Parte 4

Video, eng_t_norav_2025-11-14_lesson_bs-tes-04-or-pnimi-perek-04_n1_p2. Lesson_part :: Lessons_series. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4 :: Daily_lesson 1

【Vol.429】最近、色々な同窓会ラッシュに。会社や学校など、30年ぶり・40年ぶりに会う同級生たち。 久しぶりの再会で思うこと。 The post 【PodcastVol.429】最近、色々な同窓会ラッシュに。会社や学校など、30年ぶり・40年ぶりに会う同級生たち。 first appeared on 株式会社 国際不動産エージェント.

Today Jalen and Josh welcome Joakim Noah. Together they talk how the hot spots in Cleveland, the evolution of French basketball, and much more. Make sure you subscribe so you never miss an episode.Make it legendary with BetMGM. Download the app today and grab a $100 bonus for each friend who joins the action at BetMGM at betmgm.com/roommatesCheck out the brand new Roommates merch! http://roommatesmerch.com/ Try the world's most awarded tequila for yourself. 1800Tequila.com 1800® Tequila. 40% Alc./Vol. (80 proof). Trademarks owned by JC Master Distribution Limited. ©2025 Proximo, 1800tequila.com. Please drink responsibly.Conquer the Jungle with the Ford Bronco. Visit your local Ford Store for a test drive today.Download the Gametime app today or http://Gametime.co for $20 off your first order with code ROOMIES. Terms Apply.AT&T. Connecting changes everything.Let Macy's be your guide to gifting this holiday season. Shop macys.com or head to your local Macy's today.Every time a player drops 50 points, use promo code NBA50 the next day to get 50% off on DoorDash with DashPass. DashPass members only. 50% off up to $10 the day after a 50pt game with promo code. Terms apply.Head to http://www.thegamecaps.com and use code ROOMMATES to secure your hat for only $16.99TT: https://www.tiktok.com/@roommatesshow IG: https://www.instagram.com/theroommatesshow X/TW: https://twitter.com/roommates__show0:00 - Intro1:06 - Picks of The Week (BetMGM)3:22 - Intro for Joakim Noah3:34 - Hot Spots in Cleveland?5:36 - First Guest to ever flew in for the Pod?6:22 - The Evolution of French Basketball9:27 - "Welcome to The NBA" Moment12:13 - Remembering Thibs15:47 - Life after NBA23:37 - NBA Players now and then26:41 - Celebratory Moments (1800 Tequila)32:17 - Haunting Losses35:50 - National Championships43:42 - NIL Money46:45 - Coach Donovan50:08 - Holiday Traditions (Macy's)52:36 - Fan Questions for Joakim Noah1:00:50 - Cap or No Cap (The Game)1:02:18 - Joakim's upcoming projects1:06:18 - Fan Questions (AT&T)1:11:57 - OutroSee BetMGM.com for Terms. 21+ only. This promotional offer is not available in New York, Nevada, Ontario, or Puerto Rico. Gambling problem? Call 1-800-GAMBLER (Available in the US). 877-8-HOPENY or text HOPENY (467369) (NY). 1-800-NEXT-STEP (AZ), 1-800-327-5050 (MA), 1-800-BETS-OFF (IA), 1-800-981-0023 (PR). First Bet Offer for new customers only. Subject to eligibility requirements. Rewards are non-withdrawable bonus bets that expire in 7 days. In partnership with Kansas Crossing Casino and Hotel.#NBAFreeAgency #DamianLillard #LukaDoncic #MikalBridges #BallIsLife #NBAUpdates #HoopsTalk #NBAHumor #HoopDreams #NBAComedy #BasketballPodcast #NBABanter #NBAStories #NBAInsight #ProBasketball #NBAFans #AllStarTalk #BasketballCulture #NBA2025 #NBAFreeAgencyNews #JalenAndJosh #GettingPaid #LillardStatue #RoastingKarlAnthonyTowns #KATroast #MikalAndLuka #PlayerOpinions #FunnyHoops #HoopsComedy #PlayerTalk #BasketballAnalysis #InsideTheNBA #NextLevelHoops #NBALegends #CourtTalk #PodcastHighlights #PodcastSnippet #TributeTalk #StatueDebate #PlayerChat #FanTalk #NBAHeatCheck #BallersBanters #HotTakes #BehindTheBanter #PodcastMoment #PodcastClips #KTLove #LillardLove #PlayerChat #BehindTheBanter #TheRoommatesPodcast #NewYork #Knicks #Basketball #NBA #NBAPlayers #nbaoffseason #offseason Hosted on Acast. See acast.com/privacy for more information.

Show NotesAs artificial intelligence begins generating music from vast datasets of human art, a fundamental question emerges: who truly owns the sound of AI? This episode of Music Evolves brings together a law student and former musician Chandler Lawn, music industry executive and professor Drew Thurlow, Michael Sheldrick, Co-Founder of Global Citizen, and intellectual property attorney Puya Partow-Navid, alongside hosts Sean Martin and Marco Ciappelli, to examine how AI is reshaping authorship, licensing, and the meaning of originality.The panel explores how AI democratizes creation while exposing deep ethical and economic gaps. Lawn raises the issue of whether artists whose works trained AI models deserve compensation, asking if innovation can be ethical when built on uncompensated labor. Thurlow highlights how, despite fears of automation, generative AI music accounts for less than 1% of streaming royalties—suggesting opportunity, not replacement.Sheldrick connects the conversation to a broader global context, describing how music's economic potential could drive sustainable development if nations modernize copyright frameworks. He views this shift as a rare chance to position creative industries as engines for jobs and growth.Partow-Navid grounds the discussion in legal precedent, pointing to landmark cases—from Two Live Crew to George R. R. Martin—as markers of how courts may interpret fair use, causality, and global jurisdiction in AI-driven creation.Together, the guests agree that the debate extends beyond legality. It's about the emotional authenticity that makes music human. As Chandler notes, “We connect through imperfection.” Marco adds that live performance may ultimately anchor value in a world saturated by digital replication.This conversation captures the tension—and promise—of a future where music, technology, and law must learn to play in harmony.GuestsChandler Lawn, AI Innovation and Law Fellow at The University of Texas School of Law | On LinkedIn: https://www.linkedin.com/in/chandlerlawn/Drew Thurlow, Adjunct Professor at Berklee College of Music | On LinkedIn: https://www.linkedin.com/in/drewthurlow/Michael Sheldrick, Co-Founder and Chief Policy, Impact and Government Affairs Officer at Global Citizen | On LinkedIn: https://www.linkedin.com/in/michael-sheldrick-30364051/Puya Partow-Navid, Partner at Seyfarth Shaw LLP | On LinkedIn: https://www.linkedin.com/in/puyapartow/Marco Ciappelli, Co-Founder, ITSPmagazine and Studio C60 | Website: https://www.marcociappelli.comHostSean Martin, Co-Founder at ITSPmagazine, Studio C60, and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/ResourcesLegal Publication: You Can't Alway Get What You Want: A Survey of AI-related Copyright Considerations for the Music Industry published in Vol. 32, No. 3 of the Texas State Bar Entertainment and Sports Law Journal.BOOK: Machine Music: How AI Is Transforming Music's Next Act by Drew Thurlow: https://www.routledge.com/Machine-Music-How-AI-is-Transforming-Musics-Next-Act/Thurlow/p/book/9781032425242BOOK: From Ideas to Impact: A Playbook for Influencing and Implementing Change in a Divided World by Michael Sheldrick: https://www.fromideastoimpact.com/AI and Copyright Blogs:https://www.gadgetsgigabytesandgoodwill.com/category/ai/https://www.gadgetsgigabytesandgoodwill.com/2025/11/dr-thaler-is-right-in-part/https://www.gadgetsgigabytesandgoodwill.com/2025/07/californias-ai-law-has-set-rules-for-generative-ai-are-you-ready/https://www.gadgetsgigabytesandgoodwill.com/2025/06/copyright-office-firings-spark-constitutional-concerns-amid-ai-policy-tensions/Newsletter (Article, Video, Podcast): The Human Touch in a Synthetic Age: Why AI-Created Music Raises More Than Just Eyebrows: https://www.linkedin.com/pulse/human-touch-synthetic-age-why-ai-created-music-raises-martin-cissp-s9m7e/Article — Universal and Sony Music partner with new platform to detect AI music copyright theft using ‘groundbreaking neural fingerprinting' technology: https://www.musicbusinessworldwide.com/universal-and-sony-music-partner-with-new-platform-to-detect-ai-music-copyright-theft-using-groundbreaking-neural-fingerprinting-technology/Article: When Virtual Reality Is A Commodity, Will True Reality Come At A Premium: https://sean-martin.medium.com/when-virtual-reality-is-a-commodity-will-true-reality-come-at-a-premium-4a97bccb4d72Global Citizen: https://www.globalcitizen.org/Gallo Music (Gallo Records, South Africa): https://www.gallo.co.za/Global Citizen Festival: https://www.globalcitizen.org/en/festival/Andy Warhol Foundation v. Goldsmith (Shepard Fairey / “Hope” poster context): https://supreme.justia.com/cases/federal/us/598/21-869/case.pdfGeorge R. R. Martin / Authors Guild v. OpenAI (current AI training lawsuit): https://authorsguild.org/news/ag-and-authors-file-class-action-suit-against-openai/Campbell v. Acuff-Rose Music, Inc. (2 Live Crew “Pretty Woman”): https://supreme.justia.com/cases/federal/us/510/569/Vanilla Ice / “Under Pressure” Sampling Case: https://blogs.law.gwu.edu/mcir/case/queen-david-bowie-v-vanilla-ice/MIDiA Research — AI in Music Reports: https://www.midiaresearch.com/reports/ai-and-the-future-of-music-the-future-is-already-hereMerlin (Global Independent Rights Organization): https://www.merlinnetwork.org/Instagram Reel re: Spotify Terms: https://www.instagram.com/reel/DOrgbUNCYj_/ Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Show NotesPromptly Written, Vol. 5Riders of the Black Cowl by Ian LewisShel SilversteinThe Institute - Stephen KingThe Institute (TV Series 2025)Endless Night by Agatha ChristieTrue Grit by Charles PortisA Farewell to Arms by Ernest HemingwayAnd Then There Were None by Agatha ChristieMurder on The Orient Express by Agatha ChristiePromptly Written Facebook Group@pwrittenpod on XPromptly Written PodcastIan LewisIanLewisFiction on Instagram@mattsugerik on XMatt Sugerik

Zombie films seem to have found their place in cinema. After a breakout back in the early 2000's, an over saturation almost killed off the genre. But one thing is that if you are an independent filmmaker, it is one of the best types of films to attempt. The new film ZOMBIECON, VOL. 1 (2025) is one of them and has received some good buzz.From IMDB: “A group of cosplaying friends trigger a zombie apocalypse and are forced to traverse a zombie-infested Los Angeles to save their loved one.”The film is directed by Kyle Valle, and co-written by Valle along with stars Erin Aine and Manny Luke. Besides Aine and Luke, the films cast includes Punkie Johnson, Christian Casillas, Carlo Mendez, and Nichole McAuley. Though having mixed reviews, the film has gained somewhat of a cult following because of its cosplay aspect. Your co-hosts take a look at this new film and give their thoughts.

The government is back oepn! We wonder how back payment for federal employees works. Joey’s son referred to a world atlas as one of his “touching books.” He just meant that it touches him “on the inside” and means something to him. Ho Ho Ho! If the person we call answers the phone with “ho ho ho,’ they get tickets to Dollywood! Hot Tea: Chickfila is testing a chicken and waffle sandwich, but only in two cities. Dolly is finally starting to be in better health! You can now buy a $200+ knitted phone holder from Apple. Group Therapy: My daughter doesn’t want to go to my mom’s house for Thanksgiving because her house smells like cat litter. Lucky 7 We talked with Rebekah, the new Vol fan from Texas that went viral for choosing UT to be her college football team. She is coming to town this weekend for the game! The penny has now been discontinued at the US Mint. It will still be in circulation, but no new ones will be made. It’s World Kindness Day! We had our nice coworker Bob come try to be mean and roast us. See omnystudio.com/listener for privacy information.

Audio, eng_t_norav_2025-11-13_lesson_bs-tes-04-or-pnimi-perek-04_n1_p2. Lesson_part :: Lessons_series. Baal HaSulam. Study of the Ten Sefirot. Vol. 1. Part 4 :: Daily_lesson 1

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.

Mary Golda Ross was the first Indigenous woman in the U.S. known to have become an engineer. Her impact on the field of aerospace engineering is hard to quantify, because much of her work is still classified. Research: Agnew, Brad. “Cherokee engineer a space exploration pioneer.” Tahlequah Daily Press. 3/27/2016. https://www.tahlequahdailypress.com/news/golda-ross-left-teaching-to-support-war-effort/article_c500cbc4-eeba-11e5-9b57-2b127651fcb5.html Agnew, Brad. “Golda’ Ross left teaching to support war effort.” Tahlequah Daily Press. 3/20/2016. https://www.tahlequahdailypress.com/news/golda-ross-left-teaching-to-support-war-effort/article_c500cbc4-eeba-11e5-9b57-2b127651fcb5.html Brewer, Graham Lee. “Rocket Woman.” Oklahoma Today. July/August 2018. Cochran, Wendell. “Cherokee Tear Dress Facts.” The People’s Paths. https://www.thepeoplespaths.net/Cherokee/WendellCochran/WCochran0102TearDressFacts.htm Hogner-Weavel, Tonia. “History of the Cherokee Tear Dress.” Cherokee Nation. Via YouTube. 9/15/2016. https://www.youtube.com/watch?v=90V5fM0DiMk Lake, Timothy. "Mary Golda Ross". Encyclopedia Britannica, 5 Aug. 2025, https://www.britannica.com/biography/Mary-Golda-Ross. Accessed 21 October 2025. Margolis, Emily. A. “Mary Golda Ross: Aerospace Engineer, Educator, and Advocate.” Smithsonian National Air and Space Museum. https://airandspace.si.edu/stories/editorial/mary-g-ross-aerospace-engineer Museum of Native American History. “Historic Trailblazer: Mary Golda Ross.” Via YouTube. 12/17/2020. https://www.youtube.com/watch?v=OzC14hGbPug National Park Service. “Mary G. Ross.” https://www.nps.gov/people/mary-g-ross.htm New Mexico Museum of Space History. “Mary Golda Ross: First Native American Aerospace Engineer.” Via YouTube. 3/31/2023. https://www.youtube.com/watch?v=IT9r5trwZEs Oklahoma Hall of Fame. “Mary Golda Ross Induction Ceremony Video.” 11/22/2023. https://www.youtube.com/watch?v=Bovabx6ITW4 Rosengren, Paul Lief. “Mary Golda Ross: She Reached for the Stars.” IEEE-USA and Paul Lief Rosengren. 2025. Schroeder, Mildred. “A Far-out Cherokee Chick.” San Francisco Examiner. 4/16/1961. Smith, Betty. “Pure Cherokee Gold.” Tahlequah Daily Press. 6/26/2008. https://www.tahlequahdailypress.com/archives/pure-cherokee-gold/article_44c0a25a-94e2-53d8-b80c-be1ff86305e7.html Viola, Herman. “Mary Golda Ross: She Reached for the Stars.” American Indian: Magazine of Smithsonian’s National Museum of the American Indian. Vol. 19, No. 4. Winter 2018. https://www.americanindianmagazine.org/story/mary-golda-ross-she-reached-stars Wallace, Rob. “Mary Golda Ross and the Skunk Works.” National World War II Museum. 11/19/2021. https://www.nationalww2museum.org/war/articles/mary-golda-ross-and-skunk-works Watts, Jennifer. “John Ross: Principal Chief of the Cherokee People.” Tennessee State Museum. https://tnmuseum.org/junior-curators/posts/john-ross-principal-chief-of-the-cherokee-people Yang, John. “The cutting-edge work of Native American aerospace engineer Mary Golda Ross.” 11/26/2023. https://www.pbs.org/newshour/show/the-cutting-edge-work-of-native-american-aerospace-engineer-mary-golda-ross Zhorov, Irina. “Years Later, Miss Indian America Pageant Winners Reuniteg.” NPR Code Switch. 7/12/2013. https://www.npr.org/sections/codeswitch/2013/07/12/201537264/Years-Later-Miss-Indian-America-Pageant-Winners-Reunite See omnystudio.com/listener for privacy information.