Podcasts about east asian

In this episode Qiological celebrates its ninth anniversary. For nine years new conversations on East Asian medicine and methods have appeared in your podcast feed each Tuesday morningAnita Chopra, our guest from episode 429, joins us again not just to discuss face reading, but to give us a demonstration of how she uses severeal of the basic maps that chart the face.We're also joined by Angela Hunt, the winner of our drawing to appear on this episode and receive a face reading.Listen in for a conversation that touches on mentorship, practice building, being authentically who we are clinical work, a bit of Qiological's backstory, and reflections on the journey that has brought the podcast to its ninth anniversary.

Send us Fan MailWe have guests Dr. Jacques MoraMarco and Dr. Yun Kim on the podcast talking about their book: Walking Your Way to Vitality. Dr. MoraMarco is a fourth-generation lineage holder of Sun Tai Chi, a pioneer in East Asian medicine in California, and Dean Emeritus of Emperor's College of Traditional East Asian Medicine. Dr. Yun Kim is a fifth-generation student of Sun Tai Chi and founder of Emperor's Wellness. Together they share their practical approach to walking, breath work, Tai Chi principles and Qigong, mindfulness, healthy aging and nervous-system wellbeing. In this episode, we cover:• The difference between Tai Chi and Qigong• Three Tai Chi animal walks for balance and healthy aging• The Vitality Walk and its simple mudra and breathing pattern• How mindfulness and counting can quiet a busy mind• The Immunity Walk and nervous system regulation• How backward walking may strengthen the legs and support the kneesI loved this episode and have been incorporating what I have been learning in my morning routine and have been loving it! Check out their book below: https://www.walkingyourwaytovitality.comFind Jess below!Website: Simply Jess Skincare SIMPLY JESS SKINCARE:Each and every product is naturally derived, highly concentrated and most importantly, super performing! Every product was born out of a need to have a truly pure product that met my high standards for efficacy. Subscribe to Our Newsletter! You can take 20% off Your Order of our all natural skincare line with code: PODCAST Shop Now! Favorite Supplements for Health and Fat loss: Click HERE  My favorites are the Power Greens, Digestive Enzymes and Brain Power Favorite Mouth and Face Tape- Use Code JESSICAITURZAETA15 for 15% off Click Here Mushroom Coffee-15% off with Code: SIMPLYJESSSKINCARE15 Click HereEmail Us! jess@learningtoglow.comFollow us! Instagram Tik Tok

The Aesthetics of Risk in Franco-East Asian Literatures (Cambridge UP, 2026) is the first book that examines the concept of risk in non-anglophone world literature. Focusing on how risk is produced and reshaped by literary aesthetics, Li argues that risk is a creative rather than negative force in world literature. Instead of disaster narratives, Li approaches risk from the fresh perspective of ludic aesthetics, or playful, gamelike, illusionistic and experimental literary strategies. Comparatively analysing an original selection of texts by modern and contemporary French-Francophone and East Asian writers, each chapter focuses on a particular genre such as the novel, life-writing, poetry, and image-texts. The reimagination of risk in literature is revealed to be closely related to different forms of play such as structured games, masquerade, poetic and intermedial experimentation. Franco-East Asian literatures help us rethink risk in linguistically diverse and cross-cultural contexts, providing a new paradigm for comparative criticism and world literature. Guest Xiaofan Amy Li is Associate Professor in Comparative Cultural Studies at University College London and holds a PhD in French from Queens' College, Cambridge. Her research spans comparisons and exchanges from the 20th-21st centuries between France, China, and East Asia broadly speaking. Her first monograph Comparative Encounters between Artaud, Michaux and the Zhuangzi (Legenda, 2015) re-reads two avant-garde French writers and the imaginative classical Chinese text Zhuangzi through their intertextual, poetic, and conceptual dialogues. Besides her two monographs, she has published extensively on Surrealism, poetry, and literary translation. She is a member of the AILC/ICLA (International Comparative Literature Association) Research Committee on Literary Theory. Host Gina Stamm is Associate Professor of French at The University of Alabama, with research concentrated on the environmental humanities and speculative literatures of the 20th and 21st centuries, from Surrealism to contemporary science fiction and feminist utopias, in Metropolitan France and the francophone Caribbean, with a book manuscript underreview on posthumanist ecological engagement in the surrealist movement. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Aesthetics of Risk in Franco-East Asian Literatures (Cambridge UP, 2026) is the first book that examines the concept of risk in non-anglophone world literature. Focusing on how risk is produced and reshaped by literary aesthetics, Li argues that risk is a creative rather than negative force in world literature. Instead of disaster narratives, Li approaches risk from the fresh perspective of ludic aesthetics, or playful, gamelike, illusionistic and experimental literary strategies. Comparatively analysing an original selection of texts by modern and contemporary French-Francophone and East Asian writers, each chapter focuses on a particular genre such as the novel, life-writing, poetry, and image-texts. The reimagination of risk in literature is revealed to be closely related to different forms of play such as structured games, masquerade, poetic and intermedial experimentation. Franco-East Asian literatures help us rethink risk in linguistically diverse and cross-cultural contexts, providing a new paradigm for comparative criticism and world literature. Guest Xiaofan Amy Li is Associate Professor in Comparative Cultural Studies at University College London and holds a PhD in French from Queens' College, Cambridge. Her research spans comparisons and exchanges from the 20th-21st centuries between France, China, and East Asia broadly speaking. Her first monograph Comparative Encounters between Artaud, Michaux and the Zhuangzi (Legenda, 2015) re-reads two avant-garde French writers and the imaginative classical Chinese text Zhuangzi through their intertextual, poetic, and conceptual dialogues. Besides her two monographs, she has published extensively on Surrealism, poetry, and literary translation. She is a member of the AILC/ICLA (International Comparative Literature Association) Research Committee on Literary Theory. Host Gina Stamm is Associate Professor of French at The University of Alabama, with research concentrated on the environmental humanities and speculative literatures of the 20th and 21st centuries, from Surrealism to contemporary science fiction and feminist utopias, in Metropolitan France and the francophone Caribbean, with a book manuscript underreview on posthumanist ecological engagement in the surrealist movement. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The Aesthetics of Risk in Franco-East Asian Literatures (Cambridge UP, 2026) is the first book that examines the concept of risk in non-anglophone world literature. Focusing on how risk is produced and reshaped by literary aesthetics, Li argues that risk is a creative rather than negative force in world literature. Instead of disaster narratives, Li approaches risk from the fresh perspective of ludic aesthetics, or playful, gamelike, illusionistic and experimental literary strategies. Comparatively analysing an original selection of texts by modern and contemporary French-Francophone and East Asian writers, each chapter focuses on a particular genre such as the novel, life-writing, poetry, and image-texts. The reimagination of risk in literature is revealed to be closely related to different forms of play such as structured games, masquerade, poetic and intermedial experimentation. Franco-East Asian literatures help us rethink risk in linguistically diverse and cross-cultural contexts, providing a new paradigm for comparative criticism and world literature. Guest Xiaofan Amy Li is Associate Professor in Comparative Cultural Studies at University College London and holds a PhD in French from Queens' College, Cambridge. Her research spans comparisons and exchanges from the 20th-21st centuries between France, China, and East Asia broadly speaking. Her first monograph Comparative Encounters between Artaud, Michaux and the Zhuangzi (Legenda, 2015) re-reads two avant-garde French writers and the imaginative classical Chinese text Zhuangzi through their intertextual, poetic, and conceptual dialogues. Besides her two monographs, she has published extensively on Surrealism, poetry, and literary translation. She is a member of the AILC/ICLA (International Comparative Literature Association) Research Committee on Literary Theory. Host Gina Stamm is Associate Professor of French at The University of Alabama, with research concentrated on the environmental humanities and speculative literatures of the 20th and 21st centuries, from Surrealism to contemporary science fiction and feminist utopias, in Metropolitan France and the francophone Caribbean, with a book manuscript underreview on posthumanist ecological engagement in the surrealist movement. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The Aesthetics of Risk in Franco-East Asian Literatures (Cambridge UP, 2026) is the first book that examines the concept of risk in non-anglophone world literature. Focusing on how risk is produced and reshaped by literary aesthetics, Li argues that risk is a creative rather than negative force in world literature. Instead of disaster narratives, Li approaches risk from the fresh perspective of ludic aesthetics, or playful, gamelike, illusionistic and experimental literary strategies. Comparatively analysing an original selection of texts by modern and contemporary French-Francophone and East Asian writers, each chapter focuses on a particular genre such as the novel, life-writing, poetry, and image-texts. The reimagination of risk in literature is revealed to be closely related to different forms of play such as structured games, masquerade, poetic and intermedial experimentation. Franco-East Asian literatures help us rethink risk in linguistically diverse and cross-cultural contexts, providing a new paradigm for comparative criticism and world literature. Guest Xiaofan Amy Li is Associate Professor in Comparative Cultural Studies at University College London and holds a PhD in French from Queens' College, Cambridge. Her research spans comparisons and exchanges from the 20th-21st centuries between France, China, and East Asia broadly speaking. Her first monograph Comparative Encounters between Artaud, Michaux and the Zhuangzi (Legenda, 2015) re-reads two avant-garde French writers and the imaginative classical Chinese text Zhuangzi through their intertextual, poetic, and conceptual dialogues. Besides her two monographs, she has published extensively on Surrealism, poetry, and literary translation. She is a member of the AILC/ICLA (International Comparative Literature Association) Research Committee on Literary Theory. Host Gina Stamm is Associate Professor of French at The University of Alabama, with research concentrated on the environmental humanities and speculative literatures of the 20th and 21st centuries, from Surrealism to contemporary science fiction and feminist utopias, in Metropolitan France and the francophone Caribbean, with a book manuscript underreview on posthumanist ecological engagement in the surrealist movement. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

The Aesthetics of Risk in Franco-East Asian Literatures (Cambridge UP, 2026) is the first book that examines the concept of risk in non-anglophone world literature. Focusing on how risk is produced and reshaped by literary aesthetics, Li argues that risk is a creative rather than negative force in world literature. Instead of disaster narratives, Li approaches risk from the fresh perspective of ludic aesthetics, or playful, gamelike, illusionistic and experimental literary strategies. Comparatively analysing an original selection of texts by modern and contemporary French-Francophone and East Asian writers, each chapter focuses on a particular genre such as the novel, life-writing, poetry, and image-texts. The reimagination of risk in literature is revealed to be closely related to different forms of play such as structured games, masquerade, poetic and intermedial experimentation. Franco-East Asian literatures help us rethink risk in linguistically diverse and cross-cultural contexts, providing a new paradigm for comparative criticism and world literature. Guest Xiaofan Amy Li is Associate Professor in Comparative Cultural Studies at University College London and holds a PhD in French from Queens' College, Cambridge. Her research spans comparisons and exchanges from the 20th-21st centuries between France, China, and East Asia broadly speaking. Her first monograph Comparative Encounters between Artaud, Michaux and the Zhuangzi (Legenda, 2015) re-reads two avant-garde French writers and the imaginative classical Chinese text Zhuangzi through their intertextual, poetic, and conceptual dialogues. Besides her two monographs, she has published extensively on Surrealism, poetry, and literary translation. She is a member of the AILC/ICLA (International Comparative Literature Association) Research Committee on Literary Theory. Host Gina Stamm is Associate Professor of French at The University of Alabama, with research concentrated on the environmental humanities and speculative literatures of the 20th and 21st centuries, from Surrealism to contemporary science fiction and feminist utopias, in Metropolitan France and the francophone Caribbean, with a book manuscript underreview on posthumanist ecological engagement in the surrealist movement.

Walking may be one of the simplest things we do, but what if changing how we walk could improve our energy, balance, focus, and overall sense of well-being? Ginny sits down with Dr. Jacques MoraMarco and Dr. Yun Kim, authors of Walking Your Way to Vitality, to explore the powerful intersection of walking, breathwork, mindfulness, Tai Chi, and ancient East Asian medicine. They unpack the idea of “vitality”—physical, psychological, and spiritual well-being—and explain why prevention, rather than waiting until something goes wrong, is at the heart of their approach to health. From walking backward to improve balance and body awareness to synchronizing your breath with your steps, this conversation is packed with simple practices that can change an ordinary daily walk. Dr. MoraMarco and Dr. Kim explain several walking styles from the book, including mindfulness walks, Tai Chi-inspired animal walks, and circle walking, while discussing the importance of balance as we age and the surprising power of bringing our full attention to movement. Even counting your steps, noticing your feet hitting the ground, or repeating a simple phrase while walking can help pull the mind away from worry and back into the present moment. Best of all, none of this requires expensive equipment, a gym membership, or an elaborate exercise program. The message is remarkably accessible: start where you are, move more, breathe intentionally, and allow walking to become something greater than simply getting from one place to another. The doctors also explore acupuncture, stress, the body's fight-or-flight response, and why practices like walking, time in nature, community, and mindfulness can help us slow down and reconnect with ourselves. It's an encouraging reminder that one of the most powerful tools for a healthier, more vibrant life may already be right beneath our feet. Get their book here. A huge thank you to our sponsors! Check them out below:  My Green Mattress: Visit www.mygreenmattress.com  and save 15% on your order during their Labor Day Sale. Plus, use code 1000hours for an additional $10 off your cart total when you purchase any mattress. BetterHelp: Visit  www.BetterHelp.com/1000HOURS  today to get 10% off your first month. Quince - Visit www.quince.com/outside and get free shipping and 365 day returns IXL Learning - Head to www.ixl.com/1000hours to get an exclusive 20% savings on your membership Whisker - Take care of your cats while taking an additional $50 off bundles with code 1000HOURS when you shop www.whisker.com/1000HOURS  Muzzle Sleep Tape - Go to MuzzleSleep.com and use code 1000HOURS for 10% off.  Zenni Optical- Go to www.zenni.com/podcast  and use code PODCAST15 for 15% off your first order, plus free shipping on all U.S. orders over $65. Active Skin Repair - Don't forget to put this in your first aid kit! Visit ActiveSkinRepair.com and use the code 1000HOURS to save 20% on all Active Skin Repair products. KT by Knix - Go to www.KnixTeen.com , and use code 1000HOURS for 15 percent off. Learn more about your ad choices. Visit megaphone.fm/adchoices

How do we bridge the gap between Eastern and Western medicine and create a holistic approach to patient care in order to get the best possible fertility results? Today on Fertility Forward, we welcome the founder of NYC Acupuncture + Wellness, Dr. Ting Wu, to discuss her integrative East Asian medicine approach to women's health, fertility, and reproductive wellness. Tuning in, you'll hear all about how research and perception of East Asian medicine have changed over the last decade, her unique approach to HPA (Hypothalamic-Pituitary-Adrenal) axis and how it helps with fertility issues, and more! We delve into how Dr. Wu is working to bridge the gap between Eastern and Western medicine within her patient care and the power of collaboration, before discussing the importance of listening to your own body above anything else when it comes to your health. Our guest even challenges us to do an internal audit of our lives. Finally, and as always, we all talk about what we are grateful for today. Thanks for listening!  

Dr. Richard Gold and award-winning composer Yuval Ron are the President and Executive Producer and Artistic Director, respectively, of Metta Mindfulness Music, a healing music label dedicated to creating intentional music for health, mindfulness, meditation, and wellbeing. Dr. Richard Gold is a licensed acupuncturist, psychologist, educator, author, and one of the founders of Pacific College of Oriental Medicine. Yuval Ron is an award-winning composer, author, and musician whose work explores the intersections of music, spirituality, neuroscience, and healing. Together, they bring decades of experience exploring the relationship between sound, healing, and human wellbeing. In this conversation, we explore their fascinating project The Secret Songs of Plants, which transforms the bioelectrical activity of living plants into musical information. Yuval shares the creative process behind turning these plant-generated signals into fully developed musical compositions, while Richard offers his perspective from the worlds of East Asian medicine, psychology, and healing traditions. We also explore the relationship between plants, sound, listening, and intention, the intersection of scientific observation and human experience, and the possibility of deepening our relationship with the natural world through sound. We discuss Metta Mindfulness Music's broader work creating intentional music for meditation, wellness, and brain health, as well as their vision for the future of The Secret Songs of Plants through performance and education. Join us as we explore plant music, sound healing, deep listening, and the fascinating question of what might happen when we begin to listen more closely to the living world around us. Learn more about The Secret Songs of Plants and Metta Mindfulness Music: http://www.mettamindfulnessmusic.com/ Learn more about Yuval Ron: http://www.yuvalronmusic.com/ Natalie Brown, host of Sounds Heal Podcast, founder of Sounds Heal Studio, Sound Healing Academy Lead Teacher for North America: http://www.soundshealstudio.com/ http://www.facebook.com/soundshealstudio http://www.instagram.com/nataliebrownsoundsheal http://www.youtube.com/soundshealstudio Email: soundshealstudio@gmail.com Music by Natalie Brown, Hope & Heart: http://www.youtube.com/watch?v=hZPx6zJX6yA

Creativity through the lens of an author and illustrator"Being a creative person, you can just do whatever you want."I'm Regina, a Taiwanese American author and illustrator specializing in contemporary Chinese gongbi-style painting, an ancient form of brush painting that depicts narrative subjects in colorful high detail. Using traditional ink and wash techniques in digital painting, my illustrations deliver classic subjects through a modern lens.I did not go to art school! Born and raised in Texas, I've always enjoyed the creative arts, but I didn't learn traditional Chinese painting until after I moved with my young family to Taiwan in my mid-thirties. Holding management degrees from Washington University in St. Louis and Cornell University, I've worked in marketing technology and information systems for the travel and tourism industry. Now, I create stories that celebrate East Asian folklore and philosophy in an accessible way.My most notable creations are the characters from The Oxherd Boy, an inspirational webcomic that started on Instagram. A young boy, his family ox, and a rabbit living in his garden convey the three core schools of Classical Chinese thought: Taoism, Buddhism, and Confucianism. The collection of these inspirational pieces called THE OXHERD BOY: Parables of Love, Compassion, and Community released as a bestseller in 2024, and was followed in 2025 by an award-winning original story for children called Big Enough. Its companion book Little Helper, which expands on the themes and message of community, comes out in May 5, 2026.I'm currently working on The Tao of Nature, an illustrated collection of meditations sharing examples of Taoism found in the natural world.I'm happy to live in Rhode Island with my husband, kids, and our rescue, Yuki.https://reginalinke.com/https://www.hachettebookgroup.com/titles/regina-linke/little-helper/9780316531252/?lens=little-brown-books-for-young-readershttps://www.instagram.com/reginalinkeart/https://www.amazon.com/Little-Helper-Regina-Linke/dp/0316531251/ref=sr_1_1?crid=BIG0S5LGH86Z&dib=eyJ2IjoiMSJ9.StdbX6LzRDwysizeKRnaicEFd1iO9FRyTxknbwF7KBwuWWUve1--byqyGluwDPSHZQ6Og5bbopJVAt7nBQEMY3midUZk3kMGWIJmhkaaWXDqIVGRIqmxod3tFkZpke6eHZGx2OHPQBsf7xOMBA1CeQm2dPafZ7bn4ODkUluJQnH07_VkwSsU0boGG92i0iGJVPwcnFXktKzqfFmHglHiOUvqjwcZXVfJOkEE6ZQDbSs.ronwEfZ7Y_a-A6_K6_K6ud3WIWO6CQ039gQsG1efabU&dib_tag=se&keywords=linke+little+helper&qid=1780427700&sprefix=linke+littl%2Caps%2C974&sr=8-1Send us Fan Mail

******Support the channel******Patreon: https://www.patreon.com/thedissenterPayPal: paypal.me/thedissenterPayPal Subscription 1 Dollar: https://tinyurl.com/yb3acuuyPayPal Subscription 3 Dollars: https://tinyurl.com/ybn6bg9lPayPal Subscription 5 Dollars: https://tinyurl.com/ycmr9gpzPayPal Subscription 10 Dollars: https://tinyurl.com/y9r3fc9mPayPal Subscription 20 Dollars: https://tinyurl.com/y95uvkao ******Follow me on******Website: https://www.thedissenter.net/The Dissenter Goodreads list: https://shorturl.at/7BMoBFacebook: https://www.facebook.com/thedissenteryt/Twitter: https://x.com/TheDissenterYT This show is sponsored by Enlites, Learning & Development done differently. Check the website here: http://enlites.com/ Dr. Christopher Kavanagh is an Associate Professor in the College of Contemporary Psychology at Rikkyo University and a researcher in cognitive anthropology at the Institute of Cognitive & Evolutionary Anthropology (ICEA) at the University of Oxford. His research interests include East Asian religions, ritual behavior, and the bonding effects of shared dysphoria. Dr. Matthew Browne is Professor of Psychology at Central Queensland University. He is a research professor working primarily on psychological and health aspects of gambling. His main expertise is in research methods and statistics, and so he often acts as a consulting statistician assisting other researchers and students.They are the hosts of the Decoding the Gurus podcast. In this episode, we talk about Decoding the urus. We discuss issues with the skeptical and the rationalist communities. We explore the “gurometer”, and what makes someone a guru. We talk about people who have personal grievances with academia. We discuss how certain gurus promote alternative healthcare, diets, and supplements. We talk about the heterodox movement and what it gets wrong. Finally, we discuss the delusions of people like Gary Stevenson and Cristiano Ronaldo.--A HUGE THANK YOU TO MY PATRONS/SUPPORTERS: PER HELGE LARSEN, BERNARDO SEIXAS, ADAM KESSEL, MATTHEW WHITINGBIRD, ARNAUD WOLFF, TIM HOLLOSY, HENRIK AHLENIUS, ROBERT WINDHAGER, RUI INACIO, ZOOP, MARCO NEVES, COLIN HOLBROOK, PHIL KAVANAGH, SAMUEL ANDREEFF, FRANCIS FORDE, TIAGO NUNES, FERGAL CUSSEN, HAL HERZOG, NUNO MACHADO, JONATHAN LEIBRANT, JOÃO LINHARES, STANTON T, SAMUEL CORREA, ERIK HAINES, MARK SMITH, JOÃO EIRA, TOM HUMMEL, SARDUS FRANCE, DAVID SLOAN WILSON, YACILA DEZA-ARAUJO, ROMAIN ROCH, YANICK PUNTER, CHARLOTTE BLEASE, NICOLE BARBARO, PAWEL OSTASZEWSKI, NELLEKE BAK, GUY MADISON, GARY G HELLMANN, SAIMA AFZAL, ADRIAN JAEGGI, JOÃO BARBOSA, JULIAN PRICE, HEDIN BRØNNER, FRANCA BORTOLOTTI, URSULA LITZCKE, SCOTT, ZACHARY FISH, TIM DUFFY, SUNNY SMITH, JON WISMAN, WILLIAM BUCKNER, LUKE GLOWACKI, GEORGIOS THEOPHANOUS, CHRIS WILLIAMSON, PETER WOLOSZYN, DAVID WILLIAMS, DIOGO COSTA, ALEX CHAU, CORALIE CHEVALLIER, BANGALORE ATHEISTS, LARRY D. LEE JR., DAN SPERBER, ROBERT GRESSIS, JEFF MCMAHAN, JAKE ZUEHL, MARK CAMPBELL, TOMAS DAUBNER, LUKE NISSEN, KIMBERLY JOHNSON, JESSICA NOWICKI, LINDA BRANDIN, VALENTIN STEINMANN, ALEXANDER HUBBARD, BR, JONAS HERTNER, URSULA GOODENOUGH, DAVID PINSOF, SEAN NELSON, MIKE LAVIGNE, JOS KNECHT, LUCY, MANVIR SINGH, PETRA WEIMANN, CAROLA FEEST, MAURO JÚNIOR, TONY BARRETT, NIKOLAI VISHNEVSKY, STEVEN GANGESTAD, TED FARRIS, HUGO B., JORDAN MANSFIELD, CHARLOTTE ALLEN, DAVID TONNER, PATRICK DALTON-HOLMES, NICK KRASNEY, RACHEL ZAK, DENNIS XAVIER, CHINMAYA BHAT, RHYS, ALEX MACLEOD, HAIDAR, JULIEN PORCHER, ROBERT SUNDSTRÖM, JON STEWART, JAMES DORLING, AND JULIEN PORCHER!A SPECIAL THANKS TO MY PRODUCERS, YZAR WEHBE, JIM FRANK, ŁUKASZ STAFINIAK, TOM VANEGDOM, BERNARD HUGUENEY, CURTIS DIXON, THOMAS TRUMBLE, KATHRINE AND PATRICK TOBIN, JONCARLO MONTENEGRO, NICK GOLDEN, CHRISTINE GLASS, IGOR NIKIFOROVSKI, PER KRAULIS, ADAM HUNT, AND JOÃO BARBOSA!AND TO MY EXECUTIVE PRODUCERS, MATTHEW LAVENDER,SERGIU CODREANU, AND GREGORY HASTINGS!

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. For this episode of “Obbligato,” a show dedicated to AAPI classical musicians, composers, and scholars, host Isabel Li interviews Indian American composer Reena Esmail, who blends Hindustani musical themes with western classical compositional styles. Music in this episode: – This Love Between Us “Prayers for Unity”: II. [Sikhism] – Lacrimosa (from Malhaar: a Requiem for Water) – Terra infirma: IV. roaming the ghost forest Transcript Isabel Li: I'm Isabel Li, here for a new edition of “Obbligato,” which explores the AAPI community in the classical music world. Today, we're featuring the Indian American composer Reena Esmail and her unique compositions that blend Hindustani music with Western classical styles and how she writes music about religion, spirituality, and even environmentalism. Welcome, Reena, to Apex Express. Reena Esmail: Hey! It's so great to be here. IL: My first question for you is one that's probably a little bit loaded, but how do you identify and what's your story? RE: I don't know, it's interesting because I work in many different situations, and I think I always identify as the thing that isn't whatever the dominant situation is that I work in. Right? So it's like when I'm in America, I identify as an Indian American. When I'm in India, I identify as an American. When I'm working in Western classical music, I'm the person who knows stuff about Hindustani music. When I'm working in Hindustani music, I'm the person who knows stuff about Western music. So really. Actually, I think of identity not as a fixed thing, but as how you, um, delineate yourself, how you're unique in the situation you're in. You know, it's interesting because especially in the case of Asian Americans, Asia is such a broad thing, right? There are so many more East Asians in Western classical music than there are South Asians. Certainly in my generation. You know, I was surrounded by Chinese, Korean, some Japanese people who were always, you know, playing the piano when I was playing the piano. And, um, there really was not many other Indian people. And, you know, I'll, I'll actually say that even within India, um, you know, if you look at me in America, I'm just Indian. If you look at me in India, I have a very unusual lineage, which is that my dad is from the region of Gujarat and his family is Muslim. My mom is from the region of Goa and her family is Catholic. And so because of that, when I was expressing interest in music, My mom was the one who had more of kind of a musical knowledge in her family, even though there's no professional musicians in her family. So because Goa was colonized by Portugal, there is this element of Western classical music in Goan culture. And so because of that, my mom was like, oh, let's give her guitar lessons, let's give her piano lessons. And so that's how I landed up in Western classical music as opposed to doing Indian classical music. Um, so yeah, I kind of went through the Western classical scene. I was very interested in being a pianist. And, you know, I'm glad that I'm glad I'm a failed pianist in all honesty, because I see what my colleagues who are real, you know, professional pianists have to go through. And I just don't think I have what it takes to do that. It's really an intense job. Um, but when I was in high school, um, one of my theory teachers kind of said, hey, you know, you might be a composer. It seems like you think like a composer thinks, why don't you try composing and why don't you try writing things down? and one thing led to another. And basically a year and a half to two years after studying, I got one of a very few spots in the undergrad program in composition at Juilliard. And that was a point where my parents kind of said, okay, you know, we don't know a lot about the music world, but it seems like if she got into Juilliard, she's probably like somewhat good at this. Maybe we should kind of see how this goes. And, you know, from there on, I pursued composition. IL: And when and why did you start to study Indian classical music, which is a big element in your compositions now? RE: Yeah, absolutely. So I think it's interesting because in every generation, I've seen so much change in how the diaspora views itself. And certainly when I was growing up, you know, I know this is hard to believe, but there were not if you were an Indian going to school, you were kind of the only one. If you were an Indian music, you were kind of the only one. So there was this element where when I went to Juilliard, um, there were I to my knowledge, two Indians in the entire school, me and an actress who had actually come from Calcutta. And so people were trying to, you know, make conversation with me and they'd be like, well, you know, do you do stuff with Indian classical music? And I would just be like, no, I'm trying so hard to even write music for orchestra and, you know, string quartet and all the things that my peers are trying to do. Like, is that not enough? Because I'm Indian, I also have to be doing all this other stuff. And so I resisted it for a long time because I was just trying so hard to do one thing well. But then, you know, I think what, what made me kind of unique is that, you know, I stood out, I was Indian and then, you know, when I was young, that felt really cool. The older I got, the more I thought, well, you know, I know I'm from this culture that has incredible music and I know it when I hear it, I know nothing about it, and maybe I should actually pursue it. And so I really separately kind of started meeting Indian musicians who lived in New York, and I would just ask them questions, and I got to know them. And I realized that while we didn't share a type of music, we did share a culture and we did share a love of music because it is interesting that the culture of Indian classical music is actually quite similar to the culture of Western classical music. You know, you study with a teacher over a really long period of time. You're practicing for hours a day. The kind of personality that would love Western classical music would also love Indian classical music. And so I just made friends with some of these Indian classical musicians. And of course, being a composer, I thought, why don't I put them in my music? You know, how do I do that? And so it was really just curiosity that led me down that path. And for many years, that path was very separate. Because again, I know it's very hard to believe now, but there was a time where people really did not want these cultures to be combined, and people just really looked down on cultures that were not, you know, the dominant Western European classical culture. And so I kept them really separate. And even when I started combining them, people were like, oh, that's sweet. She does stuff with Indian music, you know? And it was really not taken seriously. It's only really in the last decade that people have been embracing other musical cultures. And I mean, how glad I am that that's happening. But it was very, very hard fought and very separate at first. IL: And on that note, how do you navigate the unique challenges of composing with both these cultures in mind, but also being situated in the United States, where people come from all different backgrounds? And how do you as a composer approach that in this context? RE: I mean, I think it's interesting because first of all, I am musically bilingual now, so I can. I went to India, I studied Indian classical music. Seriously. I still work with Indian classical musicians very closely. And so, you know, I can be working on a piece that has Indian classical musicians in it, and I can turn to them and immediately speak in their language and their musical language. And then I can turn to the Western musicians and speak in their musical language. So every single piece I write, especially the ones that involve Indian classical musicians. There is a way through those pieces, both through the Western lens and through the Indian lens. And so I think I'm working in a position where I actually do know how to speak both those languages. And when you do speak both those languages, you know, just the way that if you speak any two, you know, verbal languages, you would know that there are sounds that are cognates. And so you're like, oh, I say the sound. So maybe and it means one thing in one culture and one thing in another culture. But you know that that sound is the same. And so with musical language, you can actually use those musical cognates to connect across cultures by saying, just listen for this thing. And when you listen for this thing, interpret it through the lens of your own culture. So that's certainly how I work. But, you know, I mean, again, I want to say that's not the only way to work. I don't think that you have to be, you know, I mean, again, there's probably most people who are listening to this probably have one musical culture and then maybe they know much less about the other musical culture. That is also fine. You know, you don't need to be an expert in order to want to explore and, and love a thing that's just, you know, where I am because it's the, the center of my musical practice. IL: Well, let's hear a selection from Reena Esmail's oratorio, “This Love Between Us.” This is the second movement titled Sikhism. David Hill conducts Juilliard415 with the Yale Schola Cantorum. [MUSIC: This Love Between Us “Prayers for Unity”: II. Sikhism] IL: That was Sikhism, the second movement from the oratorio This Love Between Us by Reena Esmail, who is here in conversation with me today on KPFA for APEX Express. Something that I really found interesting in especially your work — and I'm sure this has been asked many times, but This Love Between Us: Prayers for Unity. This oratorio that you wrote, beautiful work where you use words from the seven major religions of India. And each movement of the choral work is also named after a different religion. In what ways did you adhere to or challenge norms of spiritual music? Because religion is so religion and music are so deeply tied together. How did you challenge those norms or how did you express those norms when you wrote this work? RE: You know, I think it's interesting because my own spiritual background is very kind of multi spiritual multi-faith. But like I said, my, my father is, is my father's side of the family is Muslim. My mom's side of the family is Catholic. My husband is Hindu. All of them grew up in a very singular practice in each of their religions. But for me, I grew up, you know, around my mom and my dad and then, you know, my husband later. And just there's a part of me that takes in the essence of each of these spiritual traditions. And, you know, I'm trying to kind of find what feels true to me in each of those places. And so to me, you know, this love between us is, is a place where I'm trying to essentially say, yes, we express things differently through whatever cultural, uh, history, that language or that that religion emerged through. And yet we're all trying to get at that same numinous thing. And, you know, I mean, I'm not saying, oh, all religions are the same. Definitely not. You know, there's, there's many different ways to practice things. And, you know, your unique way into your spirituality is your own. And that's, that's amazing. But also, we all kind of our cultures form religions for a certain reason, and it's because we want to try to understand things that are beyond ourselves. And so that's essentially what the piece is saying. So I know I'm sure there are purists who are like, you shouldn't be combining these things, but, you know, there's always going to be purists who do that and there's a role for that. But that's not really my role. So, I mean, I picked the pieces and I picked the religion specifically because of the numbers of people who practice that religion currently within India. And so it is like the largest, um, populations, you know, like Hinduism, Islam, Buddhism, all, all of those things. And then there's one little tiny religion, Zoroastrianism. And while they are not, there's not many of them within India. They are the ones who are practicing Western classical music in India. So people like Zubin Mehta and all, they are Parsis that are Zoroastrians. So I thought, you know, it's important to include them too, because it's a piece that involves a lot of Western classical musicians. IL: I'm wondering now, as a composer who's working with music of different languages and religions and origins and also evoking a lot of these spiritual truths that are pretty universal in nature. What is your view on the function of music? There's the platitude that music is a universal language. Do you how to what extent do you agree with that? RE: You know, yeah, it's hard to, to, um, to think of music as a universal language. But I think sometimes we, how can I say this? It's such a broad question. When we are working in a form that isn't completely narrative, it gives us a little more chance to get at things that don't have to follow logically after one another. They're just feelings that we're able to feel. And I like working even when there are words, you know, there are certainly words in all of these, these, uh, pieces in this love between us. But I feel like sometimes we just feel something within us. And, you know, I experience this a lot when I have a piece performed, people will come up to me and say like, oh, this made me feel like this. And then the next person will come up to me and say, oh, this made me feel exactly the opposite thing. And I, I really love that we can have those experiences. And, you know, recently it's been really interesting because people have been asking these questions like interviewers, you know, before performances will be like, well, what do you want the audience to feel? And I'm like, oh, I don't want to answer that question. I want you to feel whatever you feel. There's nothing right to feel. And often, I mean, I'm not the one to ask. I'm so close to the music because when I'm listening, I'm thinking like, okay, was that C sharp in tune? Okay, you know, that's what I'm feeling. And I certainly don't want them to feel that. So I don't know. I think it's, it's just exciting to see how when we get out of these, what we should do this and this is the right thing to do. And this is the only way to do it. Um, how do we behave? And there are so few spaces left where if we don't say exactly the right words at the right time to the right people, you know, if we don't have exactly the right opinions that everyone around us has, We are so condemned and music might be one of the last places that we're allowed to feel whatever's inside of us. IL: Mhm. That's really interesting to think about. I think art in general is very beautiful because it allows people to interpret it in many different ways. I think for your music, you really draw on cultural specificity in terms of Hindustani music. What advice would you give to other young composers or also maybe artists of different mediums in creating that balance between specificity and universality? RE: Yeah, I think the thing is that the way into a deep practice is specificity. You know, I know people have asked me like, oh, you've done stuff with Indian music. Are you going to do stuff with other music? And I'm like, gosh, there's still so much to explore. I could have like three lifetimes and still not explore everything I want to explore just in the relationship between Indian and Western classical music. I mean, goodness knows I have four degrees in Western classical music, and I still am barely scratching the surface of it. Right. So I kind of feel like specificity is important because it allows you to access depth. And yet, you know, when you are specific about a certain thing, um, like for instance, like a scholar who only speaks Italian, I mean, they're going to know more than someone who maybe speaks five words of each language, right? So they can transfer over at a higher level and make more sophisticated points and understand the world with a more universal lens if they've gone really deep on one thing. So I would say, you know, to young composers, to young musicians, pick one practice and know it really, really well and deeply become go as far as you possibly can and then, you know, try to see if you can find relations between your primary practice and a different practice. Um, and I mean, some people, you know, I know in this generation that's coming up, that's like in their teens and twenties, there are South Asian, uh, kids who are here whose parents have come from India that are learning Indian and Western classical music side by side. And I think that's great. I mean, that's awesome. But I would also say make sure you don't just learn halfway. Both of those things, you know, if you're going to learn them, if at least with one thing, try to go as absolutely far as you can. IL: Let's hear another example of Reena Esmail's bilingual musicality with her work, Malhaar: A Requiem for Water, which was recorded fairly recently. The vocalist is Graycen Gardner with the choir conducted by Amy Fogerson. [MUSIC: Lacrimosa (from Malhaar: a Requiem for Water)] IL: Composer Reena Esmail used Indian classical instruments in that work, titled Malhaar: A Requiem for water. The vocalist was Graycen Gardner, with the choir conducted by Amy Fogerson. Percussionist was Rohit Panchakshari. I'm Isabel Li in conversation with composer Reena Esmail on this edition of Apex Express here on KPFA 94.1 FM. So when you integrate Hindustani classical Hindustani music, Indian classical music and those instruments into your scores, did you happen to did you have to develop a way to translate the notation of those notes in Western classical music notation, or vice versa? RE: Yeah, it it begs the greater question of what is notation for? Right? Because notation is essentially a way for Western musicians who read notation to look at a thing and be able to associate sounds with that thing. And so when I'm notating for Western classical musicians, I'm saying, okay, what is a cellist typically seeing and what are they doing based on what they're seeing? And then how can I take that language that they know really well that they play in Bach suites, that they play in Elgar, Cello Concerto, whatever it is, how can I take that language and just move it, you know, a couple degrees outward so that they're able to express different things, right? And so it's very much a psychological thing. You know, it's not a science the way that we think of it as and we learn it as this, oh, you know, eighths and sixteenths, and they divide this way. There's a lot you can do just to make someone feel a certain way with notation. On the other hand, if I'm writing for a sitar or tabla, the question is what? What is the role of the notation? Because the role of the notation for tabla player who has only Hindustani training and doesn't read music. It's certainly not for the tabla player that I'm doing the notation. Usually what I'll do is sit down with the tabla player in a, you know, more Hindustani style and say, hey, this is what I want. I want you to have like six overtones of teental. It should be at this tempo, blah, blah, blah. And they're like, oh, got it. I see what you want me to do. Right? And so all you need to figure out is the alignment points with the Western classical musicians. And so then the notation I put in the score is not really for them. It's for a conductor, for the Western musicians to be able to understand what they are doing and to be able to cue them in and help them kind of be in dialogue to one another. So it's interesting because, I mean, these days now I'm finding that there are tabla players who are both Indian and Western classical trained, and they want a part, but parts are not a thing. When I first wrote This Love Between Us, there were no parts for the tabla and sitar player. I actually had a cue sheet that I would actually point to as they were going, so that they knew, you know, what the different cues were because a part, you know, counting rests and stuff is not going to help them at all. So I think it's mostly trying to understand how is someone perceiving something and how can you give them the information they need in the most seamless way possible so that you can express what you want to express? IL: I love how technical that entire rundown was. I also wanted to talk a bit about your work, Terra Infirma, which is pretty recent. I had the honor of attending the premiere of Terra Infirma, a harp concerto that you composed based on your experiences with the Los Angeles fires in January of 2025. Um, it was such a wonderful work. I personally really loved hearing how you musically depicted the progression of a wildfire from despair to hope. It's also not the first environment based piece that you've written. YYou've written, for example, Earth Speaks in 2015. How do you approach composing works that are so rooted in environmentalism? And of course, have, have the undertones of speaking to the larger climate crisis at hand? RE: The thing that is interesting is, you know, someone was asking me about that piece, you know, you, you're, they're asking like, how do you kind of deal with activism in your work? And I was saying like, you know, I don't really think of myself as an activist because I think these issues are so fundamental to all of us, right? It's like you turn on your tap and you're just afraid that there's only going to be so long before water stops coming up. That's not, um, it doesn't feel like activism. It just feels like, you know, fear and it feels like we're tapping into these human emotions where people are so worried about what's going to happen. We don't really know what to do. And I think, you know, with anything, most people who have fear about things, you're going to just clam up if you feel that it's too, um, too much to deal with. And it is I mean, the environmental crisis is so huge that I think most people are just clamming up. And I guess, you know, what is our role as musicians? I think it's maybe to have some moments where we're not just like on our phones, seeing pictures of things burn down and freaking out where we can actually take some time to just reflect and be with one another. Because if we're going to solve this, it's going to be together and we need to come to some kind of like calm understanding of what is happening. And so a lot of my pieces are not accusatory. They're not, you know, pointing a finger. They're not supposed to rile people up. They're supposed to actually depict that experience of what it feels like to really sit with a hard thing for a long time and come to terms with it and then figure out how to move forward. And that's certainly the case with Terra Infirma and certainly the case with my Requiem. Certainly the case with curiosity, like you were saying, it's from Earth Speaks, which is many years ago. And that piece actually talks about the, the Pasadena institution's. It was actually for an organization called Pasadena Master Chorale. They commissioned the work many years ago. And what's so funny is I now live in Pasadena. I live in Altadena, up in the hills. So it's I wasn't living here at the time, but it is, you know, a place where many scientific institutions like the U.S. Geological Survey, you know, JPL, Caltech, all these places that are really exploring the environment in important ways are based. And so the piece kind of honors that and honors how we can interact positively with our environment. We can get data, we can find ways to do things that are, I mean, beyond my understanding, you'd have to ask a scientist, but but I just love that that we're in this place that sees the environment as something to understand more deeply instead of something that's just going to turn on us at a certain point. IL: Certainly. And I'm really curious, because Terra Infirma is also a work that was paired with multimedia animation and performance. Was there anything in your compositional process that differed when you're collaborating across these different mediums? RE: Yeah. So it's interesting because so the, there was, there were projections that were happening. And also in addition to that, it was a harp concerto, but a harp concerto where the harpist was also playing percussion. And so there were some elements that were so different than what would be typically like if harpist was like, I want a concerto. You would just be like, okay, you know, she sits there, she plays these notes. They're in that one position. That's all fine. Um, there was so much more, you're right with this piece than with, um, with my normal pieces. Um, and to me it's both, how can I say this? There's, there's such a different way I have to think about it, but I think that way starts with collaboration. So Yolanda Kondonassis, the incredible harp player, and Camilla Tassi, who was the production designer. These are people I know well and I've had multiyear relationships with. And so when you're thinking about how to build something, you're totally aware of what their work is like. I knew kind of the not even what Camilla's projections were going to look like, but the way that they interact with things. We've done projects together before. And so I pretty much had the sense of how she was going to respond. And I knew what she needed to know in order for her to do her work and make things kind of match up with one another. And then also with Yolanda, a lot of the stuff I put in that was like harp and percussion together. It wasn't something that I was making her do, right? It were things that we came up with together. We've spent so long workshopping things in percussion studios in, um, you know, we've met in all these different cities and we're basically like banging things against a harp and doing, you know, just so much experimentation. So for every technique you see in the concerto, you, um, you basically there's like ten things that we didn't do that didn't put in. So you're really only seeing the best of all the kind of crazy stuff that we tried. So I do think the thing is that when you're trying to invent something new and you're trying to invent new styles and new techniques, I mean, you can think of anything, but you're trying to find the things that A practically work and B allow the performers and the artists to really express themselves. So I found that I was actually choreographing the piece before I was composing it, um, that I had to figure out, okay, where are these percussion setups going to be? What are the instruments that I want? Okay. Are these chimes going to be like over her head? Or is she going to have to reach really far to get them? Are they going to be near the low end of the harp? Things like that that seem so practical. But the difference between having to reach out far and slowly versus having to like, quickly swat something near your ear, right? It makes a different choreography. And so I thought that way first. And then I kind of put the notes and rhythms and melodies and stuff in. IL: Let's now hear a selection from Reena Esmail's Terra Infirma. This is the fourth movement titled “Roaming the Ghost Forest.” Yolanda Kondonassis is the harpist with the Interlochen Center for the Arts Orchestra. [MUSIC: Terra infirma: IV. roaming the ghost forest] IL: The harpist was Yolanda Kondonassis with the Interlochen Center for the Arts Orchestra, playing the fourth movement of Terra Infirma by composer Reena Esmail. I'm Isabel Leigh, and in this episode of Apex Express, I'm joined by Reena Esmail, the composer, in conversation about her music and her approach to making art. Something else that I really was fascinated with on your on your Instagram account. You actually made a post a while back that I found to be very powerful. It's pinned as the letter to the young artists' immigrant parents. It's such an empathetic message that I also really relate to as a daughter of immigrants in the arts. And you kind of argue that these children's pursuit of the arts is a tribute to their parents immigrant struggles. Um, what motivated you to write this letter? RE: You know, I'm so glad you asked about that because so much has changed since I wrote that letter in a really good way. You know, first of all, I will say that when I wrote that letter, if you weren't a child of, you know, like Asian immigrant parents, you. And actually, I think this is true for most immigrant parents who, you know, have kind of given up everything to move to America so that their kids can explore all these opportunities they wouldn't get in their country of origin. When I first wrote this letter, it was really just, I felt like I was saying something really new. And now I think what's really interesting is that we have both parents who understand this and, um, kind of almost this parody way of seeing what Asian parents are like. Right. For me, one thing that I, that just makes my heart sing is the comedy of Zarna Garg. I don't know if you know who she is, but she is like an Indian American comic and she plays this role of being like this very typical Indian parent. And I will say, my parents weren't really like this because again, they were two different religions and married one another. So they were already quite open minded. But like 99% of Indian parents and even my parents, sometimes they have this thing of like, well, ‘why are you going into this?' Like you should make money, you should do this stuff. And I feel like, um, since Zarna's comedy came into the world, it's such an easy way to just point a finger at that and say, hey, this is what we're really dealing with as Indian immigrants. And, you know, we all just laugh at it. And I find that, you know, sometimes my friends who are just, you know, white Americans who have been in this family has been in this country for many generations. They don't get it. But like anyone who's a child of immigrant is like, oh yes, I completely understand what she's saying. So we have that. And I think that's really healthy and awesome. And she's very talented. Um, and on the other hand, I found that when I was first going into music and I mean, I, you know, when I was 18 and I was going to go to Juilliard, my parents were certainly supportive and curious and wanted me to do whatever they thought I might be good at enough to make a living and didn't want to optimize for, oh, you need to earn the most money or you need to, etc. but most other Indians around us were like, oh my God, she's so smart. Why is she like wasting her life doing music? You know, that was kind of the dominant narrative. And so I had to become very good at explaining why. And imagine my complete disbelief when I would go to conservatory and meet people whose parents had encouraged them to do music. I was like, what is happening? Like, we're like, there'd be four siblings and all of them would be in the arts. And I was like, oh wait, you're not the black sheep of your family. Like, I mean, half of my family, I don't think really knows what I do still even. Right? And so to me, it was so important to provide some kind of context. And like you said, it's like to, to come to this country and be an immigrant and to come with a lot of skills, but to have to just work in silence for so many years with no congratulation, with no one just constantly propping you up. That is what being an artist is. And you know, it's only maybe the past 10 years of my career that I've even been visible to people. Before that, it was just me doing my thing and like, no one cared about it. It was not not glamorous at all. And for me, that's what built the kind of strength in me to be able to sustain the career that I have now. And so I think if it had been a little too easy, I don't know that I would be able to handle, um, the, what I have now. So I think what's great though is that the Indian parents of kids who are teenagers and in their twenties nowadays are not coming to me being like, oh my God, what do I do with this kid who wants to be a musician? I've failed as a parent. Which again, for those of you who are not Asian, this is totally a true thing out there. They will come to me and say, hey, look, my, my child doesn't wants to be a musician. I want to help them. I can't tell like, are they good at this? Where should they be? Can you help me understand things? And that is really what my parents did. And I will, you know, kind of go further to say — PBS did a special on me a number of years ago, and I insisted on putting my parents in this special because I wanted people to see what it looked like to have really encouraging Indian parents who, again, they weren't going in blind. They were. They would go to my teachers and be like, well, I mean, is she good? Can she do this? We don't know what these answers are. Can you help us understand? And they really relied on the right people to be able to help me get to places that they couldn't get, but they also weren't just immediately dismissive of it. And that's what allowed me to kind of have a massive advantage, because I didn't have to also go back to school and do a medical degree. Or like most of my my peers of my age actually did. So I wanted to put them on that special to actually show that that is possible. And I'm seeing more and more that it is. There are many more parents like that now. And oh my goodness, I love every one of them. IL: That's wonderful. When you look back at your compositional career and how everything has changed since then, how do you think your work has evolved? RE: Oh, so you mean like since I began being a composer? IL: Yeah. Or maybe in the past ten years, even. RE: Yeah. It's interesting because I think one of the big inflection points in my work was when I did my Fulbright in India. So before that, I really didn't know very much about Indian classical music. And then the year before that, I really started to get deeper and started to integrate my Indian and Western classical world with one another. And then, you know, I from 2011 to 2012, I went to India and what was so different was actually seeing the music in its culture and actually getting to participate as an Indian in India, studying Indian classical music. Right. Because there's no filter. You're not going through a Western filter. You're just there in this culture. And I know that many of my Indian teachers, they kind of had this attitude of like, look, we don't know what kind of music you were doing before, but we're so glad you're here and studying your own music. And this is great. And so there wasn't this sense of having to go through another culture to get to their, their music. And to me, that really changed things because I don't see myself as writing music. That's one through the conduit of the other. I just see it as two streams that are equally incredible and equally independent, and they just meet each other in these interesting places. IL: And looking ahead into the future, is there an ensemble or an artist who you haven't worked with before that you'd love to work with? Ooh. It's interesting because, like, almost everyone who comes to mind is not a musician. Um, I've worked with so many. I mean, truly, I've been so lucky to work with musicians like Gil and Orli Shaham. Yolanda Kondonassis. I'm writing a piece for Hilary Hahn and Matthias Goerne right now. It's I mean, just like literally anyone who I could ever ask to work with, I have. I don't know. I mean, to me, it's like, gosh, someone like Misty Copeland would be amazing. Like, you know, there are so many actors like the world of Indian/South Asians in comedy and in drama and stuff like that is just incredible. People like Mindy Kaling who have done incredible things to me, people like that are just going outside of just music would be fascinating to me. IL: Absolutely. And I will put a link to your website, as well as the links to the music that will also be aired on this in this episode on KPFA.org, so our listeners can learn more about you and your wonderful work. Well, Reena, thank you so much for your time and thank you for talking to me today. RE: Absolutely. The post APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail appeared first on KPFA.

A version of this essay was published by firstpost.com at https://www.firstpost.com/opinion/from-chanakya-to-ai-india-needs-its-own-management-model-14038647.html/ampIf you interpret the term ‘management' broadly, that is, to include not only the day to day running of companies, but also the bigger picture of governance, leadership, strategy, geoeconomics, and even civilizational survival, the clear answer is that there indeed is a unique Indian style of management.Whether it has been uniquely successful in the past is an open question, and given the ravages of invasion, one may be tempted to say it hasn't been; similarly whether, or how, it is appropriate for today's and tomorrow's needs is another good question.But it is useful to identify what may in fact be the factors underlying such a style of management, and there are likely three reasons: civilizational, cultural, and practical.CivilizationalThe first is perhaps the idea of Bharatiya exceptionalism: that is to say that Bharat exemplifies a singular civilizational thread that goes back to the ancient four-fold Hindu idea of purusharthas: dharma, artha, kama, and moksha. It is a holistic approach, perhaps most evident in the Bhagavad Gita, with its emphasis on ethical leadership and nishkama karma.It is certainly influenced by the topography and geography of the land, Jambudvipa, which has natural boundaries marking its extremities: Bharat, the land between the mountains and the sea.The climate and the rivers and the vegetation reflect a reality of natural abundance: what Rajiv Malhotra referred to when he spoke of the ‘religions of the forest' versus ‘the religions of the desert'. Bharat, in general, had a tropical cornucopia of food, and perhaps that was reflected early in a certain tolerance for not only for other humans, but also for all life.It is notable that among all the lands that were populated early, Bharat was the one that retained its megafauna the best. All other human settlements saw the rapid extinction of large animals. Sustainability, a key mantra these days, was built into the Bharatiya outlook all along.This same generosity was seen in trade patterns in the Indian Ocean as well: from 5,000 years ago, Bharatiya sailors executed cross-oceanic voyages, eastward during the southwest monsoon and vice versa during the northeast monsoon. The trade benefited everybody, as valuable goods were exchanged, in an illustration of the theory of comparative advantage.The infrastructure for trade was brilliantly executed: not only the building of ocean-going ships that plied the Spice Route, and the ability to defend them from pirates, but also the subtler aspects: the “multi-protocol switch” that allowed trading guilds along the peninsular coasts to facilitate trade between say, Romans, and say, Chinese, who had different languages and currencies. Bharatiya traders smoothed the transactions.Furthermore, the venture capital and banking services for the trading guilds were provided by Hindu temples.Pax Indica was benign; for instance, 1,001 years ago Rajendra Chola dispatched a large fleet to open up the Straits of Malacca for trade when the Srivijaya Empire interfered with it. The contrast with the current standoff in the Straits of Hormuz is salutary. Yes, it is necessary to ensure freedom of navigation, and the commons, with deadly force if need be.There was a very real notion of the ‘common good'. For instance, perhaps the greatest intellectual contribution of Bharat was innovation and the creation of Intellectual Property, and then making it freely available to all: not hoarding it for individual benefit.The model was that scholars and intellectuals were frugal, that the State (king or temple) provided for their basic needs, and in return, they produced masterworks over which they, unlike patenting in the western sense, did not claim any rights.Thus you have intellectual giants such as Brahmagupta with his invention of the zero, Panini with his context-free grammar, Madhava with his infinite series for trigonometric functions, and much later Ramanujan who wrote down his extraordinary theorems for all, and JC Bose whose seminal wireless communication discoveries he refused to patent, on principle. In fact, one could argue that the entire idea of “open-source” is a Bharatiya invention.The natural resources of the Indian subcontinent along with the industriousness of its residents allowed for the creation of tremendous wealth; but in the “Guns vs Butter” dichotomy in economics, Bharat neglected to build the guns; which meant that often invaders with guns were able to capture the butter.Management theory suggests that there are only three sustainable business strategies for long-term viability: 1) customer intimacy, 2) cost leadership, 3) innovation. Bharat historically chose innovation, and its native genius may result in the flowering of an intellectual revolution as the effects of impoverishment by conquest begin to recede.CulturalIt is interesting to note that Bharatiyas are different from both Occidentals, (e.g. the Anglosphere) and Orientals (e.g. East Asians) culturally. The stereotypes (with good reason) is that Occidentals are highly individualistic and that Orientals are highly group-oriented. Bharatiyas fall somewhere in between, being fairly individualistic, and gregarious, yet only moderately group-oriented.This has implications for governance. A highly individualistic society needs powerful laws that control individuals, including their tendencies for mischief. Thus, for example, the US is a highly regulated society, and their police are quite capable of unleashing deadly force. A highly group oriented society like Japan has norms that mean children clean after themselves in schools, and that discipline carries over into adulthood as well.Bharatiyas are neither; the net result is that there is a distinction between public spaces and private spaces. While people may keep their homes spotlessly clean, they have no problem littering anywhere or throwing trash just over their walls onto the public street. They also have no problem breaking traffic rules. “The tragedy of the commons” is rife.There is also the cultural memory of shortages and deprivation. Since people have grown up in a shortage economy, there is a tendency to hoard, cut corners, to pay bribes, to find any way of getting a slight advantage over others. Thus the unnecessary pushiness on roads, the inability to queue up anywhere, and especially the unwillingness to let people exit a lift before you enter.This applies to groups as well, as is seen in the “race to the bottom” in the case of the backward, the most backward, and the extremely backward designations intended for government largesse.There is also the unfortunate feeling that a contract is just a mere annoyance, not something that is to be followed to the letter. Punctuality is a small indicator of this: Bharatiyas on average feel justified in being late and casually making excuses. In contrast, both Anglosphere people and many East Asians (especially the Japanese) are punctual, and they can be trusted to deliver absolutely whatever they promise, whenever they promise.Interestingly, Chinese, like Bharatiyas, do not have integrity in terms of keeping promises, which is a problem in doing business with both. In Bharat, there is also extreme reluctance to deliver bad news until the very last minute, for instance the day before something is due to be delivered. This can be very difficult for partners to deal with.Perhaps all this makes Bharat a low-trust society. As a result of all this, doing business in Bharat takes twice as long, and managers need to have contingency plans, and to do intrusive ongoing audits to ensure that things are on time.But there are inspiring counter-examples of community action and high trust. One is the re-greening of the Aravallis with the support of the Tarun Bharat Sangh and Rajendra Singh: a few villages built simple check dams based on traditional knowledge, bringing back an extinct river.PracticalIn addition to the refined heights of the civilizational perspective, Bharat also excelled in the theories of tactical management and even realpolitik. Even though there is a tendency in certain circles to lionize Machiavelli, von Clausewitz and Sun Tzu, it is likely that Chanakya outdid all of them in the single-minded pursuit of strategy and governance, and he wrote his masterwork a millennium before them.Chanakya's ideas of statecraft are notable for their cold realism. He focuses on the creation of leverage and thus power for the sovereign. Speaking of leverage, or competitive advantage, we have seen how China has turned its control of the rare earths supply chain into a weapon; similarly the US has its technology (the recent denial of Anthropic Mythos to all foreigners) as well as its control of the SWIFT network of financial transactions. These can be coercive.Another of Chanakya's supremely rational assumptions is that your neighbor is likely to be your enemy, if not today, maybe tomorrow, simply because of proximity and the resulting irritants. Thus it becomes useful to make common cause with their neighbor.Taking this one step further, you arrive at the Mandala theory of statecraft: a series of concentric circles (for convenience of depiction), where you cultivate your neighbor's neighbors, and also the Far Emperor or udasina (indifferent power), a player outside the immediate neighborhood, but powerful, and who can have a significant impact on your local power politics. Clearly Indian foreign policy has looked upon the US as a Far Emperor; similarly Indian firms may look upon Big Tech companies as Far Emperors in their local struggles.Chanakya does not shy away from the harsh realities of power politics. Matsya nyaya, where big fish eat little fish, is a crystal-clear exposition of the idea that might is right: which we see in contemporary affairs, both business and international relations, on a daily basis. In addition, he recognized that information is the key to advantage (as Big Tech demonstrates today), and as such, he made it a priority to collect data, including through a network of spies. This leads to intrigue, infiltration, and the creation of internal dissent among the enemy.Chanakya's four classic stages of competition are notable: sama, dana, bheda and danda. Of these, possibly the one that is most widely practised today is bheda,the exploitation of internal fault lines within the enemy. With the “million mutinies” in India, such as farmer protests, CAA riots, and the recent ‘cockroach' riots, it is clear that there are “toolkits” in play. There is much information warfare, as seen in relentless bot attacks on Bharatiyas on social media.In modern management terms, India should learn from the successful business models of the G2 powers. The US as a nation, and its big firms, typically use overwhelming force (financial, technological or military, as the case may be) to overwhelm their foes. The metaphor is American football: massive force is a major factor, though tactical misdirection is also widespread.China uses a different tactic. It goes for cost leadership by using state-guided industrial policy to build massive over-capacity in selected areas; with fierce internal competition, this leads to plummeting costs. Then by flooding export markets with cheap products, they are able to destroy local players in those markets. A case in point right now is the explosion in cheap generativeAI Large Language Models (LLMs) that are undercutting US firms such as Anthropic and OpenAI.Thus both powers are using their standard operating procedures in generativeAI: US firms are pouring in hundreds of billions of dollars in an effort to corner the market; Chinese firms (and the state) are collapsing the prices in the market.What should India's business model look like in this context? Instead of going head-on against these large economies, India should find ways to thrive around them: for example, look for ‘white spaces' that are not in their gunsights. But these open areas will change rapidly: an example is IT services, which was an opportunity for 20+ years, but not any more.In generativeAI, a sound Bharatiya play might be to avoid over-investment in foundational models, use (Chinese) open-source models and modify them, for example with multi-lingual capabilities; invest in other areas of the stack such as in vertical applications, for instance in agriculture, or medicine, or governance, or jurisprudence. Bharat can use ‘distillation' techniques to reduce the need for data, and also create Small Language Models (SLMs) in narrow domains, e.g. in Indic Knowledge Systems.There is also the salutary example of the operating system, which is arguably the most important piece of software on any machine, because it controls the entire functioning of the system. But Unix, possibly the most capable operating system ever, was open-sourced as Linux, and is freely available and ubiquitous. On the other hand, Microsoft realized its OS, Windows, was a tremendous distribution channel for third-party applications, and has made its trillions based on it. This is what Anthropic, OpenAI et al are betting on.Will the future of LLMs be Unix/Linux (open source) or Windows? Nobody knows at the moment, and therefore it may be best to avoid that battle, and focus on other layers of the stack, such as applications (higher layers) or hardware and GCCs (lower layers).Nimbleness and innovation are key when you are dancing with elephants. Direct confrontation is a bad idea, as in the metaphor of the tree and the cane from the Mahabharata's Santi Parva, where Bhishma comments on the dialogue between the Ocean and Ganga. He suggests that as canes bend to the river, but trees do not, it is best to yield tactically to superior force.Bharat therefore has to evolve a business model of its own that is sustainable in the long run, and based on its own capabilities. At the moment, a good test case is generativeAI. Another is aerospace, where as soon as ISRO began to offer niche markets to the private sector, there has been a virtual explosion in startups doing interesting things.ConclusionTradition and ancient texts give Bharat a set of management practices and principles that may have within them the basis for a unique business model that can outperform the competition, which at the moment consists of American-style private capitalism and Chinese-style state-controlled enterprises.2300 words, 4 August 2026 This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit rajeevsrinivasan.substack.com/subscribe

The Roundtable Panel: a daily open discussion of issues in the news and beyond. Today's panelists are Joseph Palamountain Jr. Chair in Government at Skidmore College Beau Breslin, Associate Professor of Music at Vassar College. He studies music in American politics; sound studies; East Asian art music; and music in the African diaspora Justin Patch, and Diplomat in Residence at Bard College. She retired from the U.S. Foreign Service in 2025 after over 30 years in public service. Her last post was ambassador to the SE Asian country, Timor-Leste Donna Welton.

As global investors pull back from volatile semiconductor stocks in South Korea and Taiwan, India emerges as the preferred allocation destination. Join us in this episode as Sanket Bendre breaks down the FII inflows, large-cap valuation comfort, and technical outlook for Nifty.

As global investors pull back from volatile semiconductor stocks in South Korea and Taiwan, India emerges as the preferred allocation destination. Join us in this episode as Sanket Bendre breaks down the FII inflows, large-cap valuation comfort, and technical outlook for Nifty.

As global investors pull back from volatile semiconductor stocks in South Korea and Taiwan, India emerges as the preferred allocation destination. Join us in this episode as Sanket Bendre breaks down the FII inflows, large-cap valuation comfort, and technical outlook for Nifty.

Here in Louisiana, intergenerational cooking is a way of life. Who doesn't treasure their great grandmother's gumbo recipe or still use their mom's roasting pan? This week, we talk with two women of East Asian heritage whose families and cultures share that motherly love expressed through food. Local-girl-made-good, Chef Nini Nguyen, grew up among the large Vietnamese population in New Orleans and shot to national prominence on "Top Chef." Nini joins us to talk about her rise to fame, her family, and her publication, "Đặc Biệt: An Extra Special Vietnamese Cookbook," which was named cookbook of the year by NPR. Then, we hear from Sarah Ahn, the social media manager for America's Test Kitchen and creator of Ahnest Kitchen, the website on which she recounts stories of her life and those of her Korean immigrant parents. Sarah's also the author of, "Umma: A Korean Mom's Kitchen Wisdom and 100 Family Recipes." She tells us about her bestselling cookbook, which is also part family memoir and part cultural history. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

Here in Louisiana, intergenerational cooking is a way of life. Who doesn't treasure their great grandmother's gumbo recipe or still use their mom's roasting pan? This week, we talk with two women of East Asian heritage whose families and cultures share that motherly love expressed through food. Local-girl-made-good, Chef Nini Nguyen, grew up among the large Vietnamese population in New Orleans and shot to national prominence on "Top Chef." Nini joins us to talk about her rise to fame, her family, and her publication, "Đặc Biệt: An Extra Special Vietnamese Cookbook," which was named cookbook of the year by NPR. Then, we hear from Sarah Ahn, the social media manager for America's Test Kitchen and creator of Ahnest Kitchen, the website on which she recounts stories of her life and those of her Korean immigrant parents. Sarah's also the author of, "Umma: A Korean Mom's Kitchen Wisdom and 100 Family Recipes." She tells us about her bestselling cookbook, which is also part family memoir and part cultural history. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

The doctors and I discuss their recently released book, "Walking Your Way To Vitality, Integrating, Walking, Breathwork and Mindfulness Into Your Daily Exercise." Drawing from decades of experience in traditional East Asian medicine, ai, Chi, Acupuncture, Meditation and Mindful Movement practices. The doctors present a unique approach to walking that integrates breathwork , mindfulness , tai chi , yoga and Chinese martial arts inspired walking techniques into everyday exercise.

Beijing summoned the ambassador of the Philippines to China on Tuesday and lodged solemn representations over Manila's deliberate provocation at Ren'ai Reef and attack on China Coast Guard law enforcement personnel on Monday.周二，中方紧急召见菲律宾驻华大使，就菲方周一在仁爱礁蓄意挑衅、袭击中国海警执法人员一事提出严正交涉。The Chinese Foreign Ministry, in a statement, described the acts as egregious, noting that the Philippines initiated the provocation and then sought to shift the blame onto China, distorted the facts and maliciously hyped up the incident.外交部发表声明指出，菲方上述行为性质恶劣；菲方挑衅在先，事后却倒打一耙、歪曲事实，恶意炒作此次海上事件。The statement said China Coast Guard operations in waters near the reef were justified and lawful, and the country would take measures to firmly safeguard its territorial sovereignty and maritime rights and interests.声明强调，中国海警在仁爱礁附近海域开展执法活动合理合法，中方将采取一切必要措施，坚定捍卫自身领土主权与海洋权益。Addressing a regular news briefing, Foreign Ministry spokesman Lin Jian stressed that Ren'ai Reef is part of China's Nansha Islands and is Chinese territory.外交部发言人林剑在例行记者会上强调，仁爱礁是中国南沙群岛的组成部分，主权属于中国。A Philippine military vessel has remained illegally grounded at Ren'ai Reef since May 9, 1999, despite Manila's repeated commitments to remove it.1999年5月9日以来，菲律宾一艘军舰在仁爱礁非法坐滩，尽管菲方多次承诺将该舰拖离，却始终未兑现承诺。Lin urged the Philippines to honor its commitments, immediately stop maritime provocations and false narratives, and exercise effective restraint over its frontline personnel.林剑敦促菲方恪守承诺，立即停止海上挑衅与虚假舆论造势，并有效约束一线人员言行。"Otherwise, the Philippines will bear all consequences arising from its actions," he added.他补充道：如若不然，菲方必须承担自身行径引发的一切后果。Lin said that in July 2024, China and the Philippines reached a provisional arrangement on humanitarian resupply missions to the grounded vessel based on China's three-point principled position, adding that China's position remains unchanged.林剑表示，2024年7月，中方基于三点原则立场，与菲方就坐滩军舰人道主义生活物资补给达成临时安排，中方这一立场至今未变。"If the Philippines were to attempt to build fixed facilities or permanent outpost, China will absolutely not accept it and will resolutely stop it in accordance with the law and regulations," Lin said.林剑称：倘若菲方试图在礁上修建固定设施、永久哨所，中方绝对不会接受，并将依法依规坚决予以制止。China Coast Guard spokesman Jiang Lue said that on Tuesday morning, China allowed the Philippine side, on humanitarian grounds, to use a boat to transfer the injured sailor to Philippine Coast Guard vessel No 9702. The China Coast Guard contacted the Philippine vessel to verify the purpose of the operation and monitored the process throughout, Jiang said.中国海警局发言人姜略表示，周二上午，中方从人道主义角度出发，允许菲方船只将受伤水手转运至菲律宾9702号海警船。中方海警全程与菲方船只沟通核实行动目的，并全程监督转运全过程。With Foreign Minister Wang Yi set to attend the China-ASEAN Foreign Ministers' Meeting in Manila on Wednesday, Lin, the Foreign Ministry spokesman, said it is worth noting that whenever China and the Philippines prepare for dialogue or engagement, or whenever a major regional diplomatic event approaches, certain forces invariably seek to stir up trouble over maritime issues.王毅外长将于周三赴马尼拉出席中国—东盟外长会。外交部发言人林剑指出，一个值得警惕的现象是：每逢中菲即将开展对话交往、或是地区重大外交活动临近之际，总有某些势力刻意借海上问题制造事端。"As to where the facts and merits of the issue lie and who is pulling the strings behind the scenes, I believe it's plain for all to see. China's policy on neighborhood diplomacy remains consistent and unchanged," he said.他表示：事件孰是孰非、谁在幕后操纵，世人有目共睹。中方周边外交政策一以贯之，从未改变。Lin said East Asian cooperation platforms are not appropriate venues for discussing bilateral maritime disputes, calling on the Philippines to fulfill its responsibilities as ASEAN chair by promoting dialogue and cooperation rather than putting its own political interests above regional peace and stability.林剑表示，东亚合作相关平台并非讨论双边海上争端的合适场合；菲方作为东盟轮值主席国，应当履行自身责任，推动对话合作，而非将本国政治私利凌驾于地区和平稳定之上。He Xianqing, an associate researcher at the National Institute for South China Sea Studies, said that Manila was seeking international attention and sympathy from ASEAN countries by portraying China as a coercive bully on purpose. It also tried to give the illegal and invalid "2016 Arbitral Award on the South China Sea" greater practical effect and deterrent force — a development that warrants vigilance.中国南海研究院副研究员何贤清分析，菲律宾刻意将中国塑造成强势施压一方，以此博取国际社会与东盟国家的关注与同情；菲方还企图赋予2016年非法无效的南海仲裁案裁决更多实际效力与威慑力，这一动向值得高度警惕。Zhu Feng, a professor at Nanjing University's School of International Studies, said the Philippines had sought backing from the United States and Japan as it escalated tensions with China in the South China Sea for narrow domestic political purposes.南京大学国际关系学院朱锋教授表示，菲律宾出于狭隘国内政治考量，不断在南海制造紧张局势，同时寻求美日两国撑腰支持。provocation /ˌprɒvəˈkeɪʃn/ n.挑衅、滋事solemn representations严正交涉egregious /ɪˈɡriːdʒiəs/ adj.性质极其恶劣的、骇人听闻的provisional arrangement临时安排、暂行协议

This is the Art Life Faith Podcast, and I’m your host, Roger Lowther. I’m excited to announce to you that we just released a new book, Consolations of a Christian by Japanese writer Kanzo Uchimura. Written in 1893, it has never before been translated into English, which is surprising because this is the book that made Uchimura famous, instantly becoming a bestseller and launching his career as a writer. Here’s some backstory for this book. In 1890, the Emperor of Japan issued an Imperial Rescript on Education. Kanzo Uchimura was at that time a teacher in one of the top schools in the country, but he did not bow deeply enough to the Emperor’s signature on the document, for as a Christian, he saw this as a kind of idolatry. However, his fellow faculty members saw this as a huge sign of disrespect, and the press saw it as an act of treason. His name and face were plastered on newspapers across the country. He was fired from his job. His friends distanced themselves from him. He fell into deep poverty. And from all the stress, he got really, really sick, even to the point of death. While his wife was caring for him, she too got very sick, and then she died. This was especially crushing because they were newlyweds, having been married little more than a year. Uchimura hit rock bottom in his life, but rather than giving up, he cried out to God in ink, brush, and paper, capturing the minds and hearts of so many with his uniquely Japanese understanding of the Bible. And his book came out during a time when Christian books were mostly just translated Western authors. This book is fascinating for many reasons, but I can tell you from personal experience that I was greatly encouraged working on this project, and so I know it can be a great consolation and comfort to you as well, and anyone going through a difficult time in their life. Let me say a quick word about the translator. Chris Born is a longtime friend of our Grace City Church community here in Tokyo. First, he came for a year to work on his doctoral thesis on Uchimura, and during that time he and his family poured into the church community, helping with many of the ministries. Then he returned to the States, where he’s the Associate Professor of Japanese and Asian Studies at Belmont University in Nashville, Tennessee. But he recently came back to Japan for post-doctoral research and to write a number of books including this one. Again, he and his family poured into the community, and even his oldest daughter worked with us as an intern, giving piano concerts, leading worship with her playing and singing, and helping out in so many ways. They go back to America this month, and we’re very sorry to see them go. They will be missed. Let me also say a word about the cover designer, created by the immensely talented Emma Grace von Fange, one of the interns who worked with us this summer. She did such a beautiful job getting inspiration from the text and making it appealing while also giving a sense of what we find inside. It’s a very attractive cover and really a work of art. I’m so grateful for her hard work on this project. Recently we had the launch day, and one of the church members threw a dinner party for the event. So I took a few minutes to sit down with a translator just before the party to invite all of you into the celebration. Here’s our conversation. Roger So today is the launch day of Consolations of a Christian by Kanzo Uchimura, translated by Christopher Born, who is sitting right next to me. Thank you so much for being with us tonight. Chris Thanks for having me, Roger. This is awesome. Roger Yeah, so we are meeting in a friend’s home downtown Tokyo. We’re going to have a launch party tonight. Some of us are already here preparing the food, and others are going to be arriving soon. You’re probably going to hear some doorbell ringing… Chris So pull up a chair and hang out with us. Roger I’m just so thankful that it’s finally out in the world as of today, July 13, 2026. Chris Wow. Unbelievable. Roger A lot of time has gone into this, hasn’t it? Chris Yes, from your own kind encouragement for me to follow through and get it done from about 10 years ago when I started it to bringing it to completion just now. It’s been quite a journey, but exciting to be part of it and also be working so closely with an amazing team. Really, you assembled a wonderful cover designer, and you’ve done so much of the editing. Roger She was great. Chris She was fantastic, and you put it together so quickly. I mean, you really have a lot of talent behind this project. You just made it pop and shine. I’m grateful. Roger I really like that about putting out books. It’s not just about the writer writing solo in a solitary room somewhere, but there are a lot of people who are part of the whole project and are excited for it when it comes out. Chris That’s right. It’s a big production team. Roger Yeah. So, how did you get into this project? Why did you translate this book? Chris So that’s a great story for me. I’ve been studying Uchimura since about 2009. When I was working at a seminary, and I was able to take courses while I was working there as like staff. I took a course called Christianity in East Asia because that was always interesting to me. And when I did my master’s in East Asian studies, we covered some tangential aspects about Christianity in the Meiji period and how it influenced social movements, how there was a big missions movement that helped grow women’s education and the YMCA, things like that, but we never focused on Japanese Christian thinkers. So this course was the first time I was exposed to an actual Japanese Christian thinker who not only originated a number of writings but also had his own theological perceptions from a Japanese perspective that he wanted to add to sort of global Christianity. And he really thought that if Japan learned about Jesus and became more Christian, it would be a light to the world. So I thought that was an interesting entryway. Roger Okay, so using Western years, when are we talking about? Chris Uchimura lived from 1861 to 1930. He became a Christian around 1873 when he went off to Sapporo Agricultural College, which is now University of Hokkaido, one of the larger state schools. And when he became a Christian, he realized monotheism was the answer to a lot of his problems because he had such a strong religiosity as a kid and would bow to every shrine and every temple. And as he got older as a student, he really still held on to those beliefs. But when monotheism was presented to him, he really didn’t want to become a Christian. He was sort of pressured into it, but he went along with it primarily because he said, well, there’s only one God I need to worship, then I don’t need to worry about all the other gods. So that I thought was interesting because Japanese are famously known for having 8 million gods or something like that. Roger Okay, so for those who don’t know their Japanese history, this is like the very beginnings of Protestant church planting in Japan. Chris Yes. Roger So he’s one of the first of modern Christians. Chris That’s right. Christianity was banned from about 1609 to 1872. In the interim, in 1859, there was some missions activity but it was kind of underground. Uchimura was a part of the early generation of the different bands. There’s the Sapporo Band and the Yokohama Band and the Kumamoto Band in Kyushu. So these were sort of early Christian groupings. Uchimura was from up north. But yeah, he was active in the 1890s when he came back to Japan. He had studied abroad in America in the 1880s and sort of grew. He was always good at English, but he went to, Amherst College and then went off to Hartford Seminary before realizing— Roger Near Boston. Chris Near Boston, yes. Northeast. In the book, you’ll see a lot of references to northeastern literature and sort of abolitionist thinkers. He loved them. Roger Yeah, actually that was fun for me because I grew up near Boston, so a lot of the things he’s mentioning only people in Boston know. Like Mount Monadnock, a mountain I climbed with my dad. Chris Does it look like Fuji? Roger Well, it stands on its own and it is kind of conical, but it’s really short. It’s not a very tall mountain at all. It’s more like a tall hill. Chris There you go. So even better comparison to how much more grandeur Fuji has, which he keeps referring to. But yeah, he loved the northeast. In his other book that was written in English called How I Became a Christian, or Diary of a Japanese Convert, he talks about his experiences in the northeast. Roger How can you explain why Uchimura is important? Why should we care? That was a long time ago. Chris As one of Japan's earliest modern Christians—I mean, his collected works are 40 volumes. He was an important thinker for the time period. Not only did he write in a Christian vernacular of the time, he attracted a number of future authors who would become aware of Christianity, at least in terms of their own understanding of the world. Even if they didn’t become Christians, they embraced a partially Christian worldview or romantic worldview. So from a literary perspective, which is what my main focus of my academic work was on how he’s an important literary figure, but I knew that he was an important Christian figure. And for Japanese theologians in general, anybody who’s going to seminary knows who Uchimura is and has read him. Now, the reason this book is important is everyone suffers, right? Everyone has a hard time. We get sick. Our wives get sick. People die. People we love are gone in an instant. We don’t know what tomorrow is going to look like. We can lose our job. We can get canceled because of the things we say and do. Even if we’re speaking the truth, we get punished for it. Roger Mm-hmm. Chris Uchimura suffered for telling the truth as he saw it, and he was willing to take that on and be that lightning rod in a society that was quickly becoming anti-Western and anti-Christian. And especially in the mid-1880s when he was still in America, there was a big turn toward emperor worship and connecting the state to religion in a very strong way, and in the 1890s when the Imperial Rescript on Education came out and later the 1891 Constitution, they really pointed to the emperor as the Confucian father of the nation that everyone must worship and obey. And Uchimura’s like, “Look, I respect the emperor as much as the next guy. He is my sovereign, but I’m not going to bow down and worship him in that way.” And as a result, that made him become persona non grata. That turned him into an anti-patriot to like the worst of the worst, the most disloyal of the disloyal, and of course in a Confucian samurai heritage worldview, that’s terrible. Disloyalty is the worst thing, right? So Uchimura suffered as a result of his own public intellectual beliefs, and then as a result, he lost everything, and part of losing everything meant he had to reinvent himself, and so he became an author as part of that process. Roger One of my favorite parts of the book is in the afterword where he’s talking about when he was writing the book and an American missionary, came in and said, so Mr. Uchimura, what are you working on? And he’s like, well, I’m writing this book. And he’s like, oh, what are you translating? He’s like, no, I’m not translating. I’m writing it, my own words. And the missionary was, was surprised and like, how can you be doing that? I mean, because Christianity came from the West, what right do you have as a Japanese to write? That was the attitude of the time. Chris Yeah, it was a very culturally bound enterprise, reproducing Western culture, civilizing the world, so to speak. And many Westerners didn’t think Japan was civilized. They had no idea how civilized it was. Roger Yeah. And you were explaining to me earlier how he was trying to figure out what it means to be Japanese and be Christian because there wasn’t— Chris It’s an identity issue. Roger There wasn’t any literature at that time. They were only looking at translated Western literature. And so he was kind of delving into this to try to figure it out, right? Chris That’s right. When he did become a Christian, the amount of stuff they had at Hokkaido University or Sapporo Agricultural College was so small. The amount of things they had to work with were so small. They were just some tracts, a few— they had a Western Bible, they had some parts of the Bible translated that was still in process, and they had things from many different denominations, so they didn’t know what was what and which one to ally with. And he became a Christian through the Methodists, but in Sapporo you had a Methodist church and an Episcopal church, and he wanted to work with both, and sort of create an independent Japanese church in Sapporo, but there was really no way to do that. They had to make it up themselves. And when the Western missionaries who they borrowed money from got wind of this, they were like, “You have to give us all our money back because you’re not part of us anymore.” So they scrimped and saved and did everything they could to pay it back. So there is this sense that independence, Japanese theology from a Japanese perspective became his life’s work. Roger So Uchimura is part of the birth of the church in Japan. So to me, as a missionary here, it’s especiallyinteresting. This is the first time ever that this book is in English. Chris That’s right. Roger I mean, it was published in 1893. Chris Yes. Roger And it’s incredibly important to missionaries today, and yet there’s never been an English version. And you translated it from classical Japanese. Chris That’s right. Roger So it’s really difficult Japanese. Chris It’s really difficult. It’s a long process of learning to be able to parse all that out. There is a modern translation now, but the original I thought was best to go from and take it from Uchimura’s own words. Roger It uses a lot of characters that aren’t used anymore. You showed me your manuscript, which is a work of art, by the way, all your notes around all of his, all the earlier published version, but like, I don’t even know what to call that. I mean, just various characters that are… Chris Yeah, kyujitai. Most Japanese don’t read it. I was talking to some students earlier today at a campus here, just kind of explaining that this book’s coming out and what it’s about, and I think maybe one or two knew who Uchimura was, and they knew about this fukeijiken or this incident of disloyalty to the emperor, or lesè-majesté as they call it, but they said they’d never read him, and when I mentioned it’s all written in this kind of really classical style Japanese, they’re like, “Yeah, we don’t really read that.” Yeah, I imagine not. He’s still unknown, so we can also help people understand that you can get a modern Japanese translation too, but I think Americans especially who want to know more about Japan at that time and about sort of authentic Japanese Christians and just from the perspective of a very sensitive soul who loves God and is searching for answers to his pain. Roger Right, that’s what I love about this book. He’s not afraid to basically be cry out to God, Why are you allowing these things things? And trying to search for the answers as a Japanese person, not trying to look for pat answers, but asking in his context, really what’s going on, how can I apply to it? And it’s just so interesting? Chris Right? Because one of the most important questions any human being will ever ask is, who is Jesus Christ and why does he matter? Roger Right. Chris And Uchimura knew who he was and why he mattered, but in the midst of this sort of dark doldrums of the soul why Jesus really mattered wasn’t just a nice, you know, it’ll all be okay someday, and just being a Christian makes everything all right. No, it’s like, Lord, you are my God, and I’m imploring you to give me an answer and give me strength and understanding to get through this situation. Roger Okay, so now you touched on this briefly. It’s called Consolations of a Christian. Why is this book important to people who may have little interest in Japan? Chris Sure, well, it certainly is full of what we call classical allusions to both Japanese literature, nature, history, and culture that are written for a Japanese audience. So he wasn’t writing it for us. So as a foreigner looking in on that, we can get a glimpse on the conversation which Uchimura is having with his own people about Christianity. Roger And with himself. Chris And of course with himself, and with God, and all the other little demonic voices that are harassing him. Roger You know, one of the things I thought was really interesting about the book, you’ve mentioned to me in conversation just how there’s a number of places where he lists scripture verses, but he doesn’t print it out. Chris That’s right. Roger And you said it was your idea that perhaps it was because he was wanting people to open the Bible for the first time. Most of the people who read this book were not Christians. Chris That’s right. Roger Because he wanted people who didn’t know anything about Christianity, very few did at that time, to read this and become interested in the God of the Bible. And he really makes that clear at the end of the book, right? Especially on the last two pages. “We looked at different answers throughout this book, but it’s clear the Bible is going to offer these answers that you really are searching for. God has those answers. Don’t stop until you find those answers.” That kind of thing. Chris That’s right. All of his literature points back to that. He doesn’t waver on that one bit. And in fact, he devoted his life to becoming a journalist for a while. He wrote for the Yorozu Choho for about 5 years, which was kind of like a New York Post or a LA Times kind of magazine, a little bit sensationalist but very political. He was the English language editor of that for a number of years until he decided to quit that and start his own work, which was called Seisho no Kenkyu (the Study of the Bible). And it was a magazine that he put out, which was all his own reading, parsing, interpreting the Bible and applying it to daily life. Roger To the general public, right? Not only to churches or Christians, but to everybody? Chris A lot of people were reading this even if they weren’t Christian. They were curious. Consolations of a Christian was a bestseller. And then as a result, he became hired as a journalist, then those copies of Yorozu Joho were also circulating, and then Seishun no Kinkyu as well. So, he really did use the words that he wrote as a way of reaching people in an evangelical way and pushing them to look at the Bible. That’s what all his life was about. Roger Well, this book was very meaningful for me. The fact that he, in the lowest point in his life, that he would turn to writing, crying to God, and trying to bring the nation along with him to cry out to God. He didn’t fall into despair, but he gave that anguish to God. Chris Yes. Roger And that's just such an important message for all of humanity. Chris Yes. Roger You know, anywhere in the world, we all suffer. Chris That’s right. Roger And the fact that he writes a whole book addressing that and trying to help us turn to God through that is so important. Chris Yeah, because the Bible says God draws near to those who are suffering, and we suffer with Christ. But Christ was there with him in that suffering. In that moment, he knew it, but he had to put that anguish towards and use it for something. And that’s what’s really cool. He never wasted the experiences he had. He says it’s not my autobiography, but it’s a record of an authentic person who’s trying to struggle with being Christian. I think that’s gorgeous. Roger So I hope many of you who are listening to this will download this book, either buy the paperback, buy the hardcover, buy the ebook, go get the Kindle. It’s such a blessing that you’ve done this. Thank you so much. Chris Thank you so much for working with me and giving me the opportunity. Roger Yeah, so I guess we better get this party started. Chris Let’s enjoy this gathering around this table in many ways similar to what Uchimura would have done. Roger All right, so thank you for talking with us now. Chris Thank you. Thanks so much. Roger You’ve been listening to the Art Life Faith Podcast. You can pick up a copy of Consolations of a Christian by Kanzo Uchimura wherever you buy your books online. As we say in Japan, “Ja, mata ne!” We’ll see you next time. BUY “CONSOLATIONS OF A CHRISTIAN”

He wasn't an English knight, but actually a Roman soldier, and the dragon didn't appear until centuries later in the medieval period. So what is the origin of the Saint George and the Dragon myth? And why do so many countries - from England to Ethiopia - adopt him as their patron?To sort the fact from the fiction, Dan is joined by Jasmine Elmer, mythologist and author of 'Slay: Ancient legends of female slayers and the hidden mythology of dragons'. They explore the history of dragons from the chaos monsters of ancient Mesopotamia and Egypt to the serpents of Greek mythology, Christian saints' lives and East Asian folklore, as well as the stories of other little-known dragon slayers through history.Produced by Mariana Des Forges and edited by Dougal PatmoreWe need your help! Let us know what you want from Dan Snow's History Hit by filling in our anonymous survey here: https://forms.gle/PvgayWLkWGjYT4St6Dan Snow's History Hit is now available on YouTube! Check it out at: https://www.youtube.com/@DSHHPodcastSign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.You can also email the podcast directly at ds.hh@historyhit.com. Hosted on Acast. See acast.com/privacy for more information.

What would happen if your daily walk became a practice for energy, balance, breath, and a clearer mind? In this episode of The MOVEMENT Movement, Steven Sashen speaks with Dr. Jacques MoraMarco, Co-Founder of the International Sun Tai Chi Association, and Dr. Yun Kim, Founder of Emperor's Wellness, who share the movement principles behind their book, Walking Your Way to Vitality. They introduce six walking practices that integrate natural movement with breathwork, mindful awareness, Tai Chi, Qigong, balance training, and traditional walking techniques. Together, they explain how to start with simple, accessible practices and build a regular walking routine that feels more focused, energizing, and enjoyable.  Key Takeaways: → Walking can become more intentional when you add breath, posture, awareness, and attention to your body's movement. → The widely cited 10,000-step target was a marketing concept, so a sustainable daily movement goal matters more than chasing a single universal number. → Mindful walking invites you to shift your attention away from past regrets and future worries and toward your breath, feet, and surroundings. → Mindfulness is not about forcing thoughts to disappear; it is about gently bringing attention back to the present when the mind wanders. → Tai Chi-inspired animal walks can offer accessible ways to improve balance, weight shifting, posture, and fall-prevention skills. Dr. Jacques MoraMarco, a doctor of traditional East Asian medicine, has been a licensed acupuncturist since 1977 and took the first acupuncture licensing examination in California. He apprenticed with See Han Kim, a renowned teacher of traditional East Asian medicine who trained in a monastic setting. He completed his postgraduate work at the École d'Acupuncture in Paris. From 1994 to 2004, he studied Sun tai chi with Sun Shurong in Beijing, China, and is a fourth-generation lineage holder of Sun tai chi. He is a cofounder of the International Sun Tai Chi Association. Dr. MoraMarco is dean emeritus at the former Emperor's College of Traditional East Asian   Dr. Yun Kim is the founder of Emperor's Wellness, a traditional East Asian medicine doctor, a fifth-generation Sun tai chi lineage student, and a mindful meditation practitioner for the past twenty years. A licensed acupuncturist in California, she completed her doctoral clinical rotation at the VA Greater Los Angeles Health System's PTSD clinic and maintains an acupuncture practice in Los Angeles. She earned her Doctor of Education from the University of Southern California's Rossier School of Education. Connect With Dr. MoraMarco and Dr. Kim:Website: https://www.suntaichi.com/ https://www.emperors.edu/  Facebook: https://www.facebook.com/EmperorsCollege X: https://www.facebook.com/EmperorsCollege Connect with Steven:Xero Shoes: https://xeroshoes.com/  Join the MOVEMENT Movement: https://jointhemovementmovement.com/  X: https://x.com/XeroShoes  Instagram: https://www.instagram.com/xeroshoes/  Facebook: https://www.facebook.com/xeroshoes 

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Lisa See, author of “Daughters of the Sun and Moon”  Lisa See, whose latest novel is “Daughters of the Sun and Moon,” in conversation with host Richard Wolinsky, recorded in Culver City, California on June 28, 2026. Lisa See's best-selling books include Snow Flower and the Secret Fan, Peony in Love, China Dolls, The Island of Sea Women more recently, Lady Tan's Circle of Women. Each novel, thus far, focuses on the role and lives of women of East Asian descent in various countries, including Korea, Japan, China and the United States. Some of the novels focus on a mystery, others take place within the context of historical events. Daughters of the Sun and Moon takes place in 1870, from China to Los Angeles, California, and focuses on the lives of three women, Moon, the wife of a doctor, Dove, the bound-foot daughter of a lesser bureaucrat, and Petal, the daughter of farmers. Moon has come to the United States with her husband, whom she's known since childhood. Dove was married off to an older man she's never met, and Petal was sold into sexual slavery and would find herself in a small brothel in the Chinese neighborhood, in what is now downtown L.A.       The post Bookwaves/Artwaves – July 9, 2026: Lisa See, Best Selling Novelist, “Daughters of the Sun and Moon,” 2026 appeared first on KPFA.

This week on Sinica, in a special episode recorded at the Davos On Air booth at the World Economic Forum's Annual Meeting of the New Champions in Dalian, I sat down with Angela Huyue Zhang, professor of law at USC's Gould School of Law and author of High Wire: How China Regulates Big Tech and Governs Its Economy, and S. Alex Yang, professor of management science and operations at London Business School. Angela and Alex — who are also married, and who arrived at this collaboration from opposite ends of the academy — have developed what I think is one of the most useful new mental models for understanding China's political economy: the platform state. Their argument is that we should think of the Chinese state less as a central planner or owner and more as a platform company like NVIDIA or Apple, one that builds architecture, sets standards, and governs an ecosystem within which fiercely competitive private firms fight it out. Value accrues at the system level rather than as firm profit, and the payoff may decide who wins the race to put AI to work across an entire economy.5:37 – Three puzzles the framework is built to solve: profitless dominance in solar, EVs, and batteries; why the "grabbing hand" hasn't strangled Chinese innovation; and how China is attempting both zero-to-one invention and one-to-hundred scaling at once7:57 – The platform state thesis: why the Chinese government behaves like a platform company, how nurturing an ecosystem of private firms solves the information deficit that cripples command-and-control, and why over-entry, involution, and consolidation are a repeated pattern — from EVs to the 140-plus humanoid robot companies operating today16:13 – The aha moment: how a paper on the legal infrastructure of physical AI became the platform state idea over the Zhang-Yang dinner table, and whether this is a new species of political economy or the East Asian developmental state in new clothes20:44 – State conditions: why state capacity and domestic scale are the two preconditions for the model, and why an ambitious Vietnam — which has the top-down capacity — may still find the Chinese playbook impossible to replicate23:39 – Profitless dominance by design: harvesting versus extracting, the Uber analogy, overshooting as a control-theory strategy for nudging sectors, and how the anti-involution campaign and the 60-day supplier payment mandate show the state moderating the very competition it engineered30:33 – Organized chaos: from the bike-sharing graveyards of the O2O wars to today's disciplined market, the exit of more than 400 EV makers since 2018, and why the survivors of China's "Premier League" of competition are now turning profitable32:59 – The 3Gs playbook: growing markets by solving the cold-start problem, from Liuzhou's EV test drives to Beijing's green license plates, and how subsidy is only one lever among many38:36 – Governing the ecosystem like Apple runs its App Store: why Beijing regulates generative AI with a light touch but physical AI is a different species entirely, law as the sixth layer of the AI stack, why robotaxis scale faster in China than in the U.S., and the state-convened standard-setting that's driving down humanoid robot costs46:54 – Two flywheels: the familiar data-and-cost flywheel and the deeper state capacity flywheel, and how the National AI Fund's small but voting stake in DeepSeek aligns a complementor with the domestic stack — tilting the ecosystem toward Chinese chips53:28 – Guarding the moat: automotive data rules and Tesla's stalled FSD ambitions, the unwound Manus sale, China's own small yard and high fence, and the closing provocation — that America could build the smartest frontier models and still lose the diffusion race to "artificial good-enough intelligence." Plus: the case for coopetition, and what policymakers should (and shouldn't) borrow from the platform stateLinks from the episodeAngela's paper on law as the sixth layer of China's AI stack:The Sixth Layer: The Legal Infrastructure for Physical Artificial Intelligence in China (SSRN)Three Project Syndicate op-eds on the platform state idea:The Rise of the Chinese Platform State by S. Alex Yang & Angela Huyue ZhangAre Government Stakes the Key to AI Sovereignty? by Angela Huyue ZhangOvercapacity Is China's Biggest AI Advantage by Angela Huyue ZhangTwo Management Science papers on commercial platforms:Crowd-Judging on Two-Sided Platforms: An Analysis of In-Group BiasImproving Dispute Resolution in Two-Sided Platforms: The Case of Review BlackmailSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Roundtable Panel: a daily open discussion of issues in the news and beyond. Today's panelists are Stephen Haff, an educator who teaches drama and humanities at Poughkeepsie Day School in Poughkeepsie; Anna Markowitz, executive director of Communities for Local Power and a former White House Advance Lead; Justin Patch, an associate professor of music at Vassar College, who studies music in American politics; sound studies; East Asian art music; and music in the African diaspora; and Dr. Karin Reidl, a professor of Government at Dutchess Community College and president of the World Affairs Council of the Mid-Hudson Valley.

Go is normally seen as a game of the ancient East Asian world. But I think it is the perfect poster child for sci-fi! Let me talk to you about Go's appearance in various science fiction media and fly through the world of technology and the cosmos in this special sci-fi edition of Star Point!Go in Terminator: The Sarah Connor ChroniclesGo in CounterpartJoin the Discord⁠Support Star Point⁠The Star Point Store

Lisa See, whose latest novel is “Daughters of the Sun and Moon,” in conversation with host Richard Wolinsky, recorded in Culver City, California on June 28, 2026. Lisa See's best-selling books include Snow Flower and the Secret Fan, Peony in Love, China Dolls, The Island of Sea Women more recently, Lady Tan's Circle of Women. Each novel, thus far, focuses on the role and lives of women of East Asian descent in various countries, including Korea, Japan, China and the United States. Some of the novels focus on a mystery, others take place within the context of historical events. Daughters of the Sun and Moon takes place in 1870, from China to Los Angeles, California, and focuses on the lives of three women, Moon, the wife of a doctor, Dove, the bound-foot daughter of a lesser bureaucrat, and Petal, the daughter of farmers. Moon has come to the United States with her husband, whom she's known since childhood. Dove was married off to an older man she's never met, and Petal was sold into sexual slavery and would find herself in a small brothel in the Chinese neighborhood, in what is now downtown L.A. The post Lisa See, “Daughters of the Sun and Moon,” 2026 appeared first on KPFA.

We return for Part 2 of our coverage of “Professor” Jiang, the internet's favourite new geopolitical prophet, secondary-school sage, and proud owner of an ever-expanding box of educational props. Having already treated us to multiple maps, chess pieces, and a sealed metal case of predictions, Jiang is back with more predictions, more props, and even higher-level insights.This time, we get the dramatic unveiling of a fresh batch of forecasts, including the forthcoming U.S. civil war, AI surveillance states, a grand bargain with China, the Greater Israel project, and the coming East Asian conflict. During all of this, we pause to consider Jiang's status as a Beijing-based geopolitical commentator who manages to be just critical enough of Chinese surveillance to sound daring, but yet is most reliably focused on predictions of imminent Western collapse, American hubris, and the doom of the U.S. empire.But the real journey begins when Jiang sets the geopolitics aside and invites us into Plato's Allegorical Cave, updating it for the modern era by linking it to Korean television melodramas. Out come ominous black blocks, stacked into a metaphorical tower of global control: the military-industrial complex, the financiers, the World Bank, the WTO, the media, Hollywood, schools, universities, and culture itself. What started as “predictive history” devolves into an Alex Jones-style conspiratorial rant about international financiers, globalist bankers, controlled media, and brave alternative truth-tellers seeing through the mainstream lies.The alternative media occupies a Schrödinger-like position in Jiang's system: corrupted and controlled when it suits his narrative but also brave and rebellious when it is giving a platform to people like Jiang. Stephen Bartlett, meanwhile, fulfils his podcasting duty as a perfectly crafted avatar of the Diary of a CEO audience: curious, credulous and very receptive to the message that the system is rigged, the shadows are fake, and you, dear listener, are one of the brave truth-seekers with the courage to listen and look behind the curtain.Finally, we also reach Cosmic Jiang. The bankers are at war with the tech bros. Reality is consciousness. Matter is vibration. We are all fragments of God returning to Source. Hermetic philosophy explains Plato. Kabbalah explains the Middle East. Israel is trying to force the hand of God. The world will end; paradise will return. It turns out all of that geopolitical analysis was actually just a sideshow...So join us for the conclusion of Professor Jiang: a masterclass in massive domino-based reasoning, geopolitical dressing on bog-standard conspiracy theory, and the enduring appeal of intellectual junk food.SourcesDiary of a CEO: Professor Jiang: World War 3 Is About To Begin, Let Me Explain!Mehdi Hasan vs. “Professor” JiangProfessor Jiang talking about the Nephilim and Other Such Stuff: The World Is a Prison – The Secret Meaning of God And Creation | Prof. Jiang XueqinProfessor Jiang promoting creationism and denying evolutionThe National Security Strategy of the United States Document

In this episode, I sit down with Dr. Jacques MoraMarco and Dr. Yoon Kim, experts in Traditional East Asian Medicine, Tai Chi, mindfulness, and acupuncture, to explore the surprising power of walking as a tool for longevity, vitality, balance, and mental well-being. We discuss mindful walking practices, breathing techniques, Tai Chi-inspired animal walks, fall prevention, posture, and how even a few intentional minutes of walking each day can improve both physical and cognitive health. Whether you're looking to reduce stress, improve mobility, support healthy aging, or simply become more present, this conversation offers practical tools you can start using today.Dr. Yoon Kim is a doctor of Traditional East Asian Medicine, licensed acupuncturist, educator, and fifth-generation Sun Tai Chi lineage holder. Raised in a family deeply rooted in East Asian medicine, she is the founder of Emperor's Wellness and has practiced mindfulness meditation for more than 20 years, studying with renowned teachers including Thich Nhat Hanh. Dr. Kim earned her Doctor of Education from the University of Southern California and combines acupuncture, Tai Chi, and mindfulness in her work with patients.Dr. Jacques MoraMarco is a doctor of Traditional East Asian Medicine, licensed acupuncturist, and fourth-generation Sun Tai Chi lineage holder with nearly 50 years of clinical experience. A pioneer in the field, he took California's first acupuncture licensing exam in 1977 and has trained extensively in traditional Korean medicine, acupuncture, and Tai Chi. He is co-founder of the International Sun Tai Chi Association and has served in leadership and teaching roles at Emperor's College of Traditional East Asian Medicine.Links mentioned during this episode:Walking Your Way to Vitality Book: https://amzn.to/4c7q863Free Initial Consultation with Dr. Megan: https://p.bttr.to/3a9lfYkLyons' Share Instagram: www.instagram.com/thelyonsshareJoin Megan's newsletter: www.thelyonsshare.org/newsletter

The Roundtable Panel: a daily open discussion of issues in the news and beyond. Today's panelists are Semi-retired, Editor at large/columnist/editorial writer, Times Union Jay Jochnowitz, Associate Professor of Music at Vassar College. He studies music in American politics; sound studies; East Asian art music; and music in the African diaspora Justin Patch, Former Times Union Associate Editor Mike Spain, and Associate Professor in the department of sociology at Vassar College. Her research is on health, wellness, and medical knowledge Catherine Tan

World War II in Asia began earlier—and was far darker.When did World War II really begin in the Pacific? According to historian Jenny Chan, the answer isn't 1941 and Pearl Harbor. It's 1931—and the consequences reshaped Asia long before Europe went to war.In this powerful and unflinching episode of History Rage, Paul Bavill is joined by Jenny Chan, historian, author, and co-founder of Pacific Atrocities Education, to expose the forgotten atrocities of the Second World War in Asia. From the Mukden Incident and the invasion of Manchuria to the Rape of Nanjing and the horrors of Unit 731, this episode confronts the systemic violence that began a decade before Pearl Harbor—and challenges the Western narrative of WWII.Jenny argues that framing the Pacific War as starting in 1941 erases millions of Asian victims. Japan's occupation of Manchuria in 1931 marked the beginning of large-scale imperial expansion, biological warfare experimentation, forced labour, and state-sponsored sexual slavery. The brutality of the Nanjing Massacre in 1937 shocked even foreign observers. Meanwhile, Unit 731 conducted human experimentation on an industrial scale—research later shielded from prosecution in exchange for scientific data.This episode explores:Why WWII in Asia began in 1931, not 1941The Mukden Incident and the failure of the League of NationsThe Nanjing Massacre and its global implicationsUnit 731 and Japan's biological warfare programmeForced labour, “comfort women,” and racial ideologyWhy many perpetrators avoided justice after 1945How the war's end triggered civil wars and Cold War conflicts across AsiaJenny also explains how Cold War politics reshaped justice in Asia, why some alleged war criminals returned to positions of power, and how unresolved trauma still shapes East Asian geopolitics today.This is essential listening for anyone interested in World War II history, Pacific War history, Japanese imperialism, war crimes, or the global consequences of empire.About Jenny ChanJenny Chan is a historian, author, and co-founder of Pacific Atrocities Education, a non-profit organisation dedicated to documenting and preserving the history of WWII in Asia.Her book: Maruta: Unit 731, Human Experimentation, and the Forgotten Asian AuschwitzBuy: https://amzn.eu/d/01w9DEyvShe is also the creator of the YouTube channel Pacific Front Untold, featuring survivor testimonies and archival research.Follow and connect with Jenny Chan:Instagram: @PacificAtrocitiesEduYouTube: Pacific Front Untold: https://www.youtube.com/@PacificFrontUntoldOrganisation: Pacific Atrocities Education: https://www.pacificatrocities.org/Support History RageIf you enjoy fearless historical debate and myth-busting rage:Join the History Rage Patreon: www.patreon.com/historyrage£5 per month gets you:Entry into the monthly book drawAccess to the monthly live streamThe coveted History Rage mugListen ad-free via Apple Podcasts or Patreon for £3 per monthLeave a review on Apple Podcasts to help more people discover the showShare the episode and recruit another listener to the Rage TrainFollow History Rage:Twitter/X, Instagram, Facebook - @historyragePatreon: www.patreon.com/historyrageWorld War II did not begin with Pearl Harbor. It did not end cleanly in 1945. And for millions across Asia, its wounds never truly closed.Listen now and rethink everything you thought you knew about the Pacific War. Hosted on Acast. See acast.com/privacy for more information.

Fertility health affects conception and reproductive planning in important ways. Jennifer Ashby, DAOM, and Maren Shapiro, MD, explain how East Asian medicine principles and daily habits shape fertility optimization. Ashby examines Jing, Blood, Qi, Yin/Yang balance, and stress, while Shapiro examines sleep, nutrition, exercise, supplements, timing intercourse, and when to seek additional support, helping clarify how the body can be supported before pregnancy. This work helps explain conception readiness and points toward practical strategies for reproductive health. Series: "Osher WISE: Well-being and Integrative Science for Everyone" [Health and Medicine] [Show ID: 41546]

Fertility health affects conception and reproductive planning in important ways. Jennifer Ashby, DAOM, and Maren Shapiro, MD, explain how East Asian medicine principles and daily habits shape fertility optimization. Ashby examines Jing, Blood, Qi, Yin/Yang balance, and stress, while Shapiro examines sleep, nutrition, exercise, supplements, timing intercourse, and when to seek additional support, helping clarify how the body can be supported before pregnancy. This work helps explain conception readiness and points toward practical strategies for reproductive health. Series: "Osher WISE: Well-being and Integrative Science for Everyone" [Health and Medicine] [Show ID: 41546]

Fertility health affects conception and reproductive planning in important ways. Jennifer Ashby, DAOM, and Maren Shapiro, MD, explain how East Asian medicine principles and daily habits shape fertility optimization. Ashby examines Jing, Blood, Qi, Yin/Yang balance, and stress, while Shapiro examines sleep, nutrition, exercise, supplements, timing intercourse, and when to seek additional support, helping clarify how the body can be supported before pregnancy. This work helps explain conception readiness and points toward practical strategies for reproductive health. Series: "Osher WISE: Well-being and Integrative Science for Everyone" [Health and Medicine] [Show ID: 41546]

“…and today we're talking about a sophisticated chemist. But more on that later.” In moonlit meadows and forest edges, there lurks a patient puppeteer. While most predators settle for catching dinner, a sort of “earn it and burn it” approach, the East Asian orb-weaver seems oddly interested in what its victims do after they’re caught, […]

Humans have five senses, but for most of us, sight dominates. That's why vision problems are so distressing. Have you been dealing with difficulties with your eyes? During this broadcast episode, our guest expert is ready to answer your questions about vision problems. At The People's Pharmacy, we strive to bring you up to date, rigorously researched insights and conversations about health, medicine, wellness and health policies and health systems. While these conversations intend to offer insight and perspective, the content is provided solely for informational and educational purposes. Please consult your healthcare provider before making any changes to your medical care or treatment. How You Can Listen You could listen through your local public radio station or get the live stream at 7 am EST on Saturday, June 20, 2026, through your computer or smart phone (wunc.org).  Here is a link so you can find which stations carry our broadcast. If you can't listen to the broadcast, you may wish to hear the podcast later. You can subscribe through your favorite podcast provider, download the mp3 using the link at the bottom of the page, or listen to the stream on this post starting on June 22, 2026. On this episode, we will be taking calls from listeners. You can ask your question ahead of time by emailing radio@PeoplesPharmacy.com. Or call 888-472-3366 directly between 7 and 8 am EDT on Saturday, June 20, 2026. Are More People Nearsighted? Myopia, the technical term for nearsightedness, is increasing at a rapid rate. Globally, 23 percent of the world’s population had myopia in 2000. By 2020, that rate had risen to 34 percent. Some experts estimate that it could reach 50 percent by 2050. Rates among children and adolescents are even higher in some places, reaching 70 percent among East Asians and an alarming 86 percent among Singaporean Chinese youth 15 and under (British Journal of Ophthalmology, July 2016).  Why are so many people, including young people, myopic? Are there implications beyond a need for corrective lenses (glasses or contacts)? Can we reverse this trend by limiting screen time or encouraging more time outdoors? Are there treatments that can help children and adolescents improve their vision? Which Vision Specialist Should You See? Eyes are complicated, and caring for vision problems has become increasingly specialized and technically sophisticated. As a result, ophthalmologists (eye doctors) now often treat just one part of the eye, such as the retina or the cornea. Some surgeons specialize in removing cataracts. Others, like Dr. Sharon Fekrat, are expert in retinal surgery. There are also pediatric ophthalmologists who treat children. In addition, some people need to consult a neuro-ophthalmologist or someone who specializes in inherited retinal degenerations, uveitis or ocular oncology. How can you determine which type of eye doctor you should see to address your particular problem most effectively? What Is in a Complete Eye Examination? Dr. Fekrat will describe the elements of a complete eye examination. Why is each one included? What further steps are needed if trouble is detected? This will give you an idea of how vision problems are assessed and where to turn for treatment. Managing Dry Eyes One of the most common complaints is dry eyes. This condition is uncomfortable as well as common, affecting up to half of adults in the US. What are the causes? Are there treatments? People often use eye drops to alleviate the discomfort. Which ones work best? What can a person do if they have severe dry eye problems and are referred to a dry eye specialist with an appointment months in advance? Is it dangerous to postpone dry eye care? What to Do About Blepharitis When the problem is more the eyelid than the eye itself, doctors call it blepharitis. One typical symptom is crust on the lids, which may feel itchy or scratchy. Some people find that applying warm compresses morning and evening is helpful. Others need medication. You may have seen ads for Xdemvy, which is aimed at reducing the population of Demodex mites living in the follicles of the eyelashes. Mites are not the only problem, however. Sometimes bacterial infections are the underlying cause of blepharitis. Rosacea and seborrheic dermatitis that affect skin elsewhere on the face may also show up with the same symptoms.  Topical ivermectin cream has been used off-label on the eyelid margins and may help reduce Demodex mites, but it is not an FDA-approved eye treatment and should only be used under an eye clinician's direction because it is not intended for instillation into the eye. How Will the Doctor Diagnose Glaucoma? Glaucoma is generally understood as a condition in which pressure inside the eye rises and damages the optic nerve. This disease can lead to vision loss. That's why intraocular pressure measurement should always be part of the eye exam. But this simple diagnostic technique alone may be incomplete. We'll ask Dr. Fekrat about additional approaches that might pick up normal-pressure glaucoma. How is it treated? Age-Related Macular Degeneration Deserves Treatment Another of the vision problems that can cause serious impairment is age-related macular degeneration. In this disorder, the central part of the retina, the macula, loses its ability to focus. Patients may notice that the central part of the vision is blurry, and it may be harder to see under low light conditions. Ophthalmologists now have a range of medications to inject to slow the progression of macular degeneration. Dr. Fekrat can describe the difference between “dry” and “wet” macular degeneration and the drugs used to treat them. What Other Vision Problems Are Troubling You? This is a chance to ask questions and get answers about vision problems from an expert. You can send email to radio@PeoplesPharmacy.com or call in your questions to 888-472-3366 between 7 and 8 am EDT on Saturday, June 20, 2026. This Week’s Guest Sharon Fekrat, MD, is a retina surgeon at the Duke Eye Center of the Duke Health Integrated Practice and vice chair of faculty affairs and the Robert Machemer MD Distinguished Professor of Ophthalmology at the Duke University School of Medicine. She is associate chief of staff at the Durham VA Healthcare System and past interim chief of surgery there. She is Director of Duke iMIND Research Group and Chief Editor of the book All About Your Eyes as well as the Digital Journal of Case Reports of Ophthalmology. Dr. Fekrat is past President of the NC Society of Eye Physicians and Surgeons. The People's Pharmacy is reader supported. When you buy through links in this post, we may earn a small affiliate commission (at no cost to you). Sharon Fekrat, MD, FASRS, Duke Eye Center Listen to the Podcast The podcast of this program will be available Monday, June 22, 2026, after broadcast on June 20. You can stream the show from this site and download the podcast for free. Download the mp3, or listen to the podcast on Apple Podcasts or Spotify.

We tend to think of the acupuncture profession as something fixed and stable, but the reality is that it is always in motion. The practice of East Asian medicine in North America has been shaped by decades of effort—by practitioners, educators, regulators, and advocates working to create a place for this medicine in the American healthcare system.In this conversation with Valerie Hobbs, we take a historical look at how the profession bootstrapped itself into being. Along with how the creation of educational standards, accreditation, certification, and professional organizations, helped to give the profession the form it has today..We also discuss some of the tensions shaping the present moment. Questions about educational requirements, student debt, declining enrollment, professional identity, integration into mainstream healthcare, and the uncertain future of acupuncture education. This conversation is an invitation to consider the forces shaping our profession and to consider how we might respond. Beneath the challenges is a recurring theme: the future of this medicine will not be determined by any single institution or idea, but by our willingness to listen, engage thoughtfully, and find ways of working toward our shared goals.

In this episode of The Healers Cafe, Manon speaks with Dr. Yun Kim and Dr. Jacques MoraMarco discussed their new book, "Walking Your Way to Vitality," which integrates walking, breath work, and mindfulness. They emphasized the importance of mindful walking, which involves coordinating steps with dynamic breathing and using a specific mudra to enhance focus. The book includes QR codes and drone footage to demonstrate techniques.  For the transcript and full story go to: https://www.drmanonbolliger.com/drs-kim-moramarco      Highlights from today's episode include:  Dr. Yun Kim explains mindful walking as a way to "check in" to the body—using breath, movement, and mudra to anchor awareness in the present.  Dr. Jacques MoraMarco talks about 5,000–7,000+ steps and about 30 minutes of walking daily can significantly reduce risk of major diseases and improve longevity. Manon Bolliger states simple rituals (conscious walking, bedtime routines, putting phones away) help the body understand you "mean business" about healing and sleep.   ABOUT DR KIM & DR MORAMARCO  Jacques MoraMarco, a doctor of traditional East Asian medicine, has been a licensed acupuncturist since 1977.  A pioneer in the field of Asian medicine, he took the first acupuncture license examination ever administered in the state of California. He apprenticed with See Han Kim, a renowned teacher of traditional Korean medicine, who was trained monastically. He completed his postgraduate work at Ecole Européene d'Acupuncture in Paris. From 1994 to 2004, he studied Sun Tai Chi with Sun Shurong in Beijing, China, and he is a fourth-generation lineage holder of Sun Tai Chi. He is a co-founder of the International Sun Tai Chi Association, along with Thomas Duterme and Eric Lee. Dr. MoraMarco has served as a clinic supervisor at Being Alive, an organization in Los Angeles that provides free wellness services to people living with HIV/AIDS and at the PTSD Clinic at the VA Greater Los Angeles Health System. He is dean emeritus at the former Emperor's College of Traditional East Asian Medicine. Yun Kim is the founder of Emperor's Wellness, a doctor of traditional East Asian medicine, a fifth-generation lineage holder of Sun Tai Chi, and has practiced mindful meditation for the past twenty years. She has learned from renowned meditation teachers, including Thich Nhat Hanh, Trudy Goodman, and Christiane Wolf. A licensed acupuncturist in the state of California, she completed her doctoral clinical rotation at the PTSD clinic at the VA Greater Los Angeles Health System and maintains an acupuncture practice in Los Angeles. She earned her Doctor of Education at the University of Southern California, Rossier School of Education. | Facebook |  Instagram |    ABOUT MANON BOLLIGER, RBHT, FCAH: As a retired Naturopath 1992-2021, I saw an average of 150 patients per week and have helped people ranging from rural farmers in Nova Scotia to stressed out CEOs in Toronto to tri-athletes here in Vancouver. My resolve to educate, empower and engage people to take charge of their own health is evident in my best-selling books:  'What Patients Don't Say if Doctors Don't Ask: The Mindful Patient-Doctor Relationship' and 'A Healer in Every Household: Simple Solutions for Stress'. and What if Your Body is Smarter than You Think?  I am the Founder & CEO of The Bowen College Inc. which teaches BowenFirst™ Therapy and holds transformational workshops to achieve these goals. So, when I share with you that LISTENing to Your body is a game changer in the healing process, I am speaking from expertise and direct experience". Mission: A Healer in Every Household! For more great information to go to her weekly blog:  http://bowencollege.com/blog.  For tips on health & healing go to: https://www.drmanonbolliger.com/tips Follow: Manon Bolliger website  | Linktr.ee | Rumble | Gettr  | Facebook | Instagram | YouTube | Twitter | LinkedIn | Follow: Bowen College Inc. | Facebook | Instagram  | LinkedIn | YouTube | Twitter | Rumble | Locals ABOUT THE HEALERS CAFE: Manon's show is the #1 show for medical practitioners and holistic healers to have heart to heart conversations about their day to day lives. Subscribe and review on your favourite platform: iTunes | Google Play | Spotify | Libsyn | iHeartRadio | Gaana | The Healers Cafe | Radio.com | Medioq | Audacy |   Follow The Healers Café on FB: https://www.facebook.com/thehealerscafe   Remember to subscribe if you like our videos. Click the bell if you want to be one of the first people notified of a new release. * De-Registered, revoked & retired naturopathic physician after 30 years of practice in healthcare. Now resourceful & resolved to share with you all the tools to take care of your health & vitality!

Islam is spreading across East Asia — and the rise of Muslims in China, Taiwan, Japan, and Korea could reshape the future of the Muslim world. As China becomes a global superpower and the West declines in influence, Muslim immigrants, converts, and native East Asian Muslims may become one of the most important religious communities in a Chinese-dominated world order.In this episode of The Ansari Podcast, we sit down with Imam Abdullah Cheng, a Taiwanese Muslim imam and computer scientist from a convert background, to explore the future of Islam in China, Taiwan, Japan, and East Asia. We discuss the history of Islam in China, the difference between Uyghur Muslims and Hui Muslims, Hui Muslim cuisine and culture, Islam in Taiwan, dawah in China, Korea, and Japan, and why more East Asians are becoming interested in Islam.We also explore the rise of Islam in Japan, Japan's masculinity crisis, declining birthrates, loneliness, mental health, marriage collapse, and how Islam offers answers to young men and women searching for meaning. From anime and Eastern storytelling to Islamic dawah, Muslim identity, Chinese atheism, communism, and the treatment of Muslims in China, this conversation reveals why East Asia may become one of the most important frontiers for Islam in the 21st century.JOIN OUR WEBSITE MEMBERSHIP! @ https://ansaripodcast.com*The Debt Clinic*: https://www.mydebtclinic.com/ansari*Provision Capital:* https://www.provisioncapital.com00:00 What is Life Like For Muslims in Taiwan?05:02 The History of Islam in China08:20 Ad09:51 The Difference Between Uyghur and Hui Muslims12:42 Hui Muslim Cuisine and Culture21:35 The Future of Islam in China32:37 Muslims Becoming the Irish of China34:44 How Dawah is Done in China, Korea, and Japan37:24 Rise of Islam in Japan39:56 The Masculinity and Mental Health Crisis in Japan48:57 Why is Islam Rising Quickly in Japan vs Taiwan51:32 How Muslims Could Use The Power of Anime01:03:00 Ad01:03:30 What is Actually Happening to Muslims in China?01:09:54 Chinese Atheist Communists Worse than Western Powers?01:16:18 Final Thoughts#China #Japan #muslim #podcast #chinesemuslim #japanesemuslim #chinesefood #japaneseculture #islam #dawah *Listen on All Audio Platforms:* https://tr.ee/JeX-ILYSyj*Follow The Ansari Podcast**Instagram:* https://instagram.com/ansaripodcast*TikTok:* https://tiktok.com/@theansaripodcast*Twitter/X:* https://twitter.com/ansaripodcast

Investor and writer Jayant Bhandari offers a pessimistic assessment of current global geopolitics and the decline of Western civilization. Bhandari argues that the world is entering a period of extreme chaos characterized by persistent conflicts in Iran and Ukraine, as well as rising global inflation. He provides a particularly harsh critique of India, describing it as a dysfunctional and corrupt state that is currently de-industrializing despite international propaganda to the contrary. A central theme of the discussion is the impact of mass migration, which Bhandari claims is importing a “third-world mentality” that threatens the demographic and cultural stability of the West. In contrast, he praises East Asian nations like China and Japan for maintaining social homogeneity and suggests they represent the most stable future for investment. Ultimately, Bhandari warns individuals to diversify their assets and residencies to survive increasing state surveillance and societal decay. Watch on BitChute / Brighteon / Rumble / Substack / YouTube *Support Geopolitics & Empire! Become a Member https://geopoliticsandempire.substack.com Donate https://geopoliticsandempire.com/donations Consult https://geopoliticsandempire.com/consultation **Listen Ad-Free for $4.99 a Month or $49.99 a Year! Apple Subscriptions https://podcasts.apple.com/us/podcast/geopolitics-empire/id1003465597 Supercast https://geopoliticsandempire.supercast.com ***Visit Our Affiliates & Sponsors! Above Phone https://abovephone.com/?above=geopolitics American Gold Exchange https://www.amergold.com/geopolitics Escape The Technocracy (15% off w/ GEOPOLITICS!) https://escapethetechnocracy.com/geopolitics Expat Money (FREE “Plan B” Report!) https://expatmoney.com/geopolitics PassVult https://passvult.com Sociatates Civis https://societates-civis.com StartMail https://www.startmail.com/partner/?ref=ngu4nzr Wise Wolf Gold https://www.wolfpack.gold/?ref=geopolitics Websites Jayant Bhandari Website https://jayantbhandari.com X https://x.com/JayantBhandari5 About Jayant Bhandari Jayant Bhandari is an investor, writer, and speaker who travels extensively in search of investment opportunities, particularly in natural resources and junior mining. He advises institutional investors and is known for combining field-based investing with a broader interest in economics, culture, politics, and the institutional foundations of civilization. He served as a director of Gold Canyon, a publicly listed Canadian company, until its merger with another entity. Earlier, he worked for six years with U.S. Global Investors in San Antonio, Texas, and for one year with Casey Research. Immediately after completing his MBA, he established the Indian subsidiary operations of a British company and a German-Swiss company. Before that, he worked with his father in the family's printing press—an experience that gave him a practical education in business that no formal training could match. Jayant writes on investing, economics, politics, culture, and moral philosophy. His work has appeared in Liberty, the Mises Institute, Casey Research, Acting Man, International Man, Mining Journal, Zero Hedge, Lew Rockwell, Fraser Institute, Le Québécois Libre, Mauldin Economics, Northern Miner, Mining Markets, American Renaissance, and Counter-Currents. He is currently working on a book about the civilizational roots of Third World dysfunction and why societies without deeper moral and cultural transformation decay toward pre-colonial forms. He is also the founder of Capitalism & Morality, an annual seminar in Vancouver focused on the moral and cultural foundations without which capitalism and freedom cannot endure. Jayant holds an MBA from Manchester Business School in the UK and a Bachelor of Engineering from SGSITS in India. *Podcast intro music used with permission is from the song “The Queens Jig” by the fantastic “Musicke & Mirth” from their album “Music for Two Lyra Viols”: http://musicke-mirth.de/en/recordings.html (available on iTunes or Amazon)

Send us Fan MailSupport the showBreakfast With Tiffany Show Official Facebook Page ~ https://www.facebook.com/breakfastwithtiffanyshow   Tiffany's Instagram Account ~ https://www.instagram.com/tiffanyrossdaleofficial/   Breakfast With Tiffany Show Youtube Channel ~  https://bit.ly/3vIVzhE  Breakfast With Tiffany Show Official Page ~ https://www.tiffanyrossdale.com/podcast For questions, requests, collaborations and comments, feel free to reach us via our e-mail ~ breakfastwithtiffanyshow@outlook.com SUBSCRIBE and SUPPORT us here ~ https://www.buzzsprout.com/1187534/supporters/new

Send us Fan MailGet vidIQ Boost for an exclusive price! https://vidiq.com/podcastWant a 1 on 1 coach? https://vidiq.ink/theboost1on1Join our Discord! https://www.vidiq.com/discordWatch the video: https://youtu.be/_kUOrWhNynwWe break down how Wonny grows a long-form YouTube channel to nearly 190,000 subscribers in nine months without using Shorts, relying on simple packaging and a niche most creators ignore. We talk through the messy early stage, the real monetization differences between short videos and long videos, and the habits that make his uploads bingeable. • Wonny's first channel in high school, what blew up, and why he lost passion • why short videos can struggle for AdSense and sponsorship integration • choosing a sustainable niche with low English competition by covering Chinese and East Asian trends • consistency through the first months of low views and the “10 video mark” breakout • the weekly workflow: research, notes, recording, editing, and thumbnails as a one-person team • using an iPhone and basic lighting, focusing on storytelling over gear • audience demographics in the US, Canada, and UK and what that can mean for CPM • thinking about long-term sustainability, diversification, and potential IRL content • handling failed experiments, pivots, and the mental side of competition • specific improvements that move the needle: pacing and sounding more natural on camera 

What if the very things that seem to be pulling our profession apart are actually the forces that will finally condense it into something more resilient? We're in a moment of choppy waters—school closures, shrinking enrollment, and a shifting financial landscape—where the successes of what have brought us to this moment will not take us into the future. .In this conversation with Kathleen Lumiere, co-president of the Seattle Institute for East Asian Medicine (SIEAM), we discuss how we might make changes to our educational models that both streamlines and strengthens East Asian medicine. We discuss the integration of business education into clinical training, the disappearance of Grad Plus loans, and the effect that has had on a system that came to be dependent on them. Kathleen also introduces the idea of using the "wisdom of crowds" to define the irreducible core of our profession—a shared set of competencies that could protect our identity while opening new doors for collaboration.Listen into this conversation about what it means to be adventuresome and iconoclastic in a moment of crisis. It's a look at how we can protect our infrastructure while remaining flexible enough to evolve, ensuring that the next generation of practitioners doesn't just survive, but finds a path to true gainful employment.

The acupuncture and East Asian profession is facing a number of critical challenges as long-established schools close, new federal guidelines on graduate education loans will dramatically change how much students can borrow, and fewer students consider a career as an acupuncturist.How to wayfind through these troubled times? That is the question explored in this series with practitioners, researchers, and educators in the field of East Asian medicine.In this conversation with Danielle Reghi we follow the arc of her career from acquiring and dealing with upwards of 200K in debt, to building a multi-location practice and learning how business acumen is as necessary as clinical skills.She is the president of the Oregon Association of Acupuncturists. She played a key role in drafting the Oregon Acupuncture Workforce Sustainability Proposal, which considers the effect of the new RISE and AHEAD metrics from the federal government and how those affect the amount graduate students may borrow. Additionally this proposal looks at other educational options and alternative pathways that can lead to licensure in the State of Oregon.Any discussion of the future requires a clear eyed view of the present. You'll get that in this conversation with Danielle, along with some innovative thinking about what's up around the bend in the road..

Medicine is never only about treatment. It also carries culture, identity, and memory. Sometimes preserving a medicine is a way of preserving a people.In this episode we visit with James Flowers to explore a potent moment in the history of Korean medicine and how Hanbang became part of Korea's cultural resistance during the Japanese colonization. Not through politics or violence, but through preserving ways of healing, thinking, and living.We discuss how medical ideas moved between Korea, China, and Japan, the role of Yangsheng in everyday life, and how Korean medicine resisted separating mind from body in the way modern systems often do.This conversation also touches on the deeper question of how medicine lives within culture—not only through practitioners and institutions, but through families, daily habits, stories, and collective memory.Listen into this conversation that weaves together history, medicine, identity, and the enduring cultural force of East Asian healing traditions.

Often what brings someone into our office looks straightforward at first—a concussion, dizziness, headache, or a sense that something is not quite right. But what begins as the search to fix a symptom often reveals something deeper—a nervous system that has lost its bearings, sensory maps that no longer line up, and a body quietly adapting around signals it can no longer fully trust.Ayla Wolf and Clayton Shiu both work at the intersection of functional neurology and East Asian medicine. Through clinical observation, modern diagnostic tools, and hands-on palpation, they've developed ways of seeing patterns that often sit beneath symptoms most people wouldn't connect to the brain.Listen into this conversation as we explore how concussion can masquerade as digestive issues, tinnitus, anxiety, or vestibular dysfunction. And why the neck, eyes, inner ear, and autonomic nervous system all can be part of the problem. We'll explore how acupuncture can help restore orientation, balance, and sensory accuracy. And what becomes possible when ancient medicine intersects with a modern understanding of neuroplasticity.

At 93, Paul Biya is the oldest head of state in the world. In June he will have been the leader of Cameroon for 44 years and is currently serving his eighth consecutive term. It was announced in April that for the first time in Biya's leadership, the position of vice-president would be created in the country. This new post has drawn attention to the lack of certainty within Cameroon over who will take over from Paul Biya once he is no longer in office. BBC Africa's Paul Njie is from Cameroon himself and has been looking into the story. A Thai drag performer has won the latest series of the television show RuPaul's Drag Race: UK versus The World. Gawdland is the first Thai winner of the all-star series and also the first non-native English speaker to take the title. Her triumph took some by surprise, but for fans of Drag Race, she's seen as a trailblazer for East Asian drag queens. Panisa Aemocha of BBC Thai explains what makes Gawdland such a stand-out performer. Like anyone forced to leave their home country against their will, Russians who've sought asylum abroad face a variety of painful realities. Besides homesickness and the challenges of adapting to a new country, they also cannot safely return home to visit loved ones. For many years, exiled Russians could reunite with Russian family and friends in a wide variety of European and other countries, including the Baltic states. But as the rift between Russia and the rest of Europe deepend in the wake of the war in Ukraine, visa restrictions changed, leaving Russians with only a small handful of countries in which they could meet people from home. Recently, an exiled Russian man in his twenties, Sasha, planned and filmed a unique reunion with Russian friends. BBC Russian's Tatiana Kovtun tells Sasha's story and discusses the online response. The Fifth Floor is at the heart of global storytelling on the BBC World Service, bringing you the best stories from journalists in the BBC's 43 language services. We're here to help you make sense of the stories making headlines around the world; to excite your curiosity and to get to grips with the facts.   Recent episodes have investigated Russia's youth armies and how they make soldiers of Ukrainian children; featured the BBC team who were the first journalists to the site of the Nigerian school kidnappings and reflected the effects of internet blackouts in Iran, Uganda and India.   If you want to know more about Venezuela's acting president, Delcy Rodriguez, and the legacy of Hugo Chavez; or how Vladimir Putin's network of deep cover spies operates; or why Donald Trump signed an executive order granting white South Africans asylum in the US, we have all those stories and more. Presented by Faranak Amidi. Produced by Laura Thomas and Caroline Ferguson (Photo: Faranak Amidi. Credit: Tricia Yourkevich.)