Podcasts about Parsis

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.

Mike prepares the next session of his Tales of the Valiant Dragon Empire campaign. Visit the Sly Flourish Blog Subscribe to the Sly Flourish Newsletter Subscribe to the Sly Flourish Podcast Support Sly Flourish on Patreon Buy Sly Flourish Books Midgard Worldbook Tales of the Valiant Obsidian for TTRPGs

Welcome to Cyrus Says!Bollywood star Amyra Dastur joins Cyrus Broacha for an unfiltered, laugh-out-loud chat about movies, Parsis, and the quirks of South Bombay life. From her early modelling days and awkward auditions, Amyra opens up about the chaos, charm, and comedy of her career. In this no-holds-barred conversation, Amyra reveals: How a SoBo schoolgirl made it to Bollywood & beyond Why she refuses to drive in Mumbai (and her hilarious traffic trauma) The funniest — and weirdest — casting experiences she’s ever had Parsi family stories, single malt traditions, and pet antics It’s Bollywood banter, Mumbai mischief, and Parsi one-liners in a single episode you won’t want to pause.See omnystudio.com/listener for privacy information.

Welcome to Cyrus Says!The Mehta Boys: A Heartfelt Tale of Family, Cricket & Parsi Culture with Boman Irani & Cyrus Broacha "The Mehta Boys" promises a rollercoaster of emotions as Amay, a young architect, navigates 48 tumultuous hours with his estranged father, blending humor and heartache. The podcast subtly weaves in cricket legends Sunil Gavaskar and Farokh Engineer, sparking debates on the "Real Parsi Hero"—a nod to Boman Irani’s iconic role as Engineer in ’83 and a nostalgic anecdote where Engineer once took him to Old Manchester. Behind-the-scenes gems include Boman’s and his childhood cricket saga with Eknath Solkar, Their chemistry shines beyond The Mehta Boys—revisiting 2009’s 99 and Fruit and Nut. At the 2025 Kala Ghoda Festival, the duo bonded over chai and Parsi nostalgia, while Boman paid tribute to Regal Cinema’s Aslam, the projectionist who fueled his film passion. Perfect for fans of cultural comedies and cricket lore, The Mehta Boys blends generational clashes, Parsi humor, and iconic Mumbai landmarks—a tribute to Kunal Vijayakar, family, food, and the chaos that binds us. Boman cherishes working with Pawan Kalyan for his humility. As for “I Am Not Bajirao,” he’d cast fresh faces but keep the soul intact—just like Parsis preserve their custard recipes! Kripya subscribe to the channel: https://www.youtube.com/c/CyrusSays Spotify Video EP's - https://open.spotify.com/show/2vrxGELviPynQA3AhMc40n?si=GdGevGetS6WuUlz2BAT8vQ Listen to the full audio episodes at: Amazon Music Exclusive https://music.amazon.in/podcasts/4d52847d-6dbd-46b1-8219-34792a987d09/cyrus-says---amazon-music-exclusive Email your AMA questions to us at whatcyrussays@gmail.comDiscord Server - https://discord.gg/ Don’t forget to follow Cyrus Says’ official Instagram handle at @whatcyrussays[https://www.instagram.com/whatcyrussays/] Connect with Cyrus on socials: Instagram: https://www.instagram.com/cyrus_broacha/Twitter: https://twitter.com/Broacha_Cyrus Aur like, share, comment karna na bhule! #comedypodcast #livepodcast #cyrusbroacha #CyrusBroacha #CyrusBroachaPodcast #cyrussays #cyrusbroachapodcast #amawithcyrus #cocknbull #AMAwithCyrus #CocknBullSee omnystudio.com/listener for privacy information.

in der neusten Episode smarketing unplugged. diskutieren Julian und Jannik mit Dr. Parsis Dastani über das Thema Predictive Sales. Dr. Dastani teilt seine Erfahrungen aus fast 30 Jahren im Consulting und erklärt, wie KI und Datenanalyse den Vertrieb revolutionieren können. Die Diskussion umfasst die Herausforderungen und Chancen, die mit der Implementierung von Predictive Sales verbunden sind, sowie die Bedeutung von gut gepflegten Daten und der Zentralisierung der Lead-Generierung.

Visual Anthropology of Indian Films: Religious Communities and Cultural Traditions in Bollywood and Beyond (Routledge, 2024) provides a unique insider's look at the world's largest film industry, now globally known as ‘Bollywood' and challenges existing notions about Indian films. Indian films have been a worldwide phenomenon for decades. Chapters in this edited volume take a fresh view of various hidden gems by maestros such as Raj Kapoor, Bimal Roy, V. Shantaram, Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Shakti Samant, Rishikesh Mukherjee, and others. Other chapters provide a pioneering review and analysis of the portrayal of Indian religious communities such as Hindus, Muslims, Christians, and Parsis. The themes covered include unique Indian feminism and male chauvinism, environment and climate issues, international locations and diaspora tourism, religious harmony and conflict, the India-Pakistan relationship, asceticism, and renunciation in Hinduism, Jainism, and Buddhism. Unlike many recent studies of Indian films, these chapters do not distinguish between popular and serious cinema. Many chapters focus on Hindi films, but others bring insights from films made in other parts of India and its neighbouring countries. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/southeast-asian-studies

Visual Anthropology of Indian Films: Religious Communities and Cultural Traditions in Bollywood and Beyond (Routledge, 2024) provides a unique insider's look at the world's largest film industry, now globally known as ‘Bollywood' and challenges existing notions about Indian films. Indian films have been a worldwide phenomenon for decades. Chapters in this edited volume take a fresh view of various hidden gems by maestros such as Raj Kapoor, Bimal Roy, V. Shantaram, Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Shakti Samant, Rishikesh Mukherjee, and others. Other chapters provide a pioneering review and analysis of the portrayal of Indian religious communities such as Hindus, Muslims, Christians, and Parsis. The themes covered include unique Indian feminism and male chauvinism, environment and climate issues, international locations and diaspora tourism, religious harmony and conflict, the India-Pakistan relationship, asceticism, and renunciation in Hinduism, Jainism, and Buddhism. Unlike many recent studies of Indian films, these chapters do not distinguish between popular and serious cinema. Many chapters focus on Hindi films, but others bring insights from films made in other parts of India and its neighbouring countries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Visual Anthropology of Indian Films: Religious Communities and Cultural Traditions in Bollywood and Beyond (Routledge, 2024) provides a unique insider's look at the world's largest film industry, now globally known as ‘Bollywood' and challenges existing notions about Indian films. Indian films have been a worldwide phenomenon for decades. Chapters in this edited volume take a fresh view of various hidden gems by maestros such as Raj Kapoor, Bimal Roy, V. Shantaram, Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Shakti Samant, Rishikesh Mukherjee, and others. Other chapters provide a pioneering review and analysis of the portrayal of Indian religious communities such as Hindus, Muslims, Christians, and Parsis. The themes covered include unique Indian feminism and male chauvinism, environment and climate issues, international locations and diaspora tourism, religious harmony and conflict, the India-Pakistan relationship, asceticism, and renunciation in Hinduism, Jainism, and Buddhism. Unlike many recent studies of Indian films, these chapters do not distinguish between popular and serious cinema. Many chapters focus on Hindi films, but others bring insights from films made in other parts of India and its neighbouring countries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Visual Anthropology of Indian Films: Religious Communities and Cultural Traditions in Bollywood and Beyond (Routledge, 2024) provides a unique insider's look at the world's largest film industry, now globally known as ‘Bollywood' and challenges existing notions about Indian films. Indian films have been a worldwide phenomenon for decades. Chapters in this edited volume take a fresh view of various hidden gems by maestros such as Raj Kapoor, Bimal Roy, V. Shantaram, Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Shakti Samant, Rishikesh Mukherjee, and others. Other chapters provide a pioneering review and analysis of the portrayal of Indian religious communities such as Hindus, Muslims, Christians, and Parsis. The themes covered include unique Indian feminism and male chauvinism, environment and climate issues, international locations and diaspora tourism, religious harmony and conflict, the India-Pakistan relationship, asceticism, and renunciation in Hinduism, Jainism, and Buddhism. Unlike many recent studies of Indian films, these chapters do not distinguish between popular and serious cinema. Many chapters focus on Hindi films, but others bring insights from films made in other parts of India and its neighbouring countries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/indian-religions

The Parsi community significantly contributed to Mumbai's status as India's financial and trading capital, but did you know they also played a key role in popularizing cricket in the country? Their involvement in the sport dates back to the 1840s, and by the early 1900s, when they were dominant in the Bombay cricket scene, with many Parsis representing the Indian national team.  Tune in to ‘A Century of Stories: Cricket' presented by IDFC FIRST Bank, and hosted by Cyrus Broacha. A proud Parsi, and a bonafide cricket tragic, Cyrus takes us down the memory lane and sheds light on Parsi community's contribution to India. #acenturyofstories #acenturyofcricket #IDFCFirstBank #parsicricketers #naricontrator #cricketpodcast #cyrusbroacha #pollyumrigar #farokhengineer See omnystudio.com/listener for privacy information.

Explore the twilight years of the Chalukyan Empire in the latest episode of the podcast hosted by Ramjee Chandran! Discover how man-made tanks in Bangalore, a legacy of King Vijayaditya's dedication to water conservation, shaped the city's landscape. In this episode, Ramjee Chandran delves into the reigns of Vinayaditya and Vijayaditya, revealing surprising insights, including the intriguing possibility that a Chalukya king offered the Parsis a permanent home in India. This period wasn't just about survival; it was a golden age of cultural renaissance, marked by advancements in architecture, the arts, and charity. Tune in to episode 22, part 9 of the Chalukyas to uncover these fascinating stories and more. We gratefully acknowledge the support of the Prestige Group, that makes this podcast possible. Follow The History Of Bangalore on social, here: Instagram: https://www.instagram.com/historyofbangalore/ Facebook: https://www.facebook.com/HistoryOfBangalore Twitter: https://twitter.com/HistoryOfBLR YouTube: https://youtube.com/@HistoryOfBangalore?si=mnH3BsYfI4BUU234 iHeartRadio: https://www.iheart.com/podcast/1323-the-history-of-bangalore-163453722/ Follow Ramjee Chandran on Instagram and Twitter: @ramjeechandran The theme music for the show was composed by German-Indian Koln based percussionist, Ramesh Shotham. RESEARCH AND SOURCES: All our episodes are based on published research and archive records. To know about sources for any specific information, we encourage you to correspond with Ramjee Chandran editor@explocity.com. We will pass it on and do our best to reply expeditiously to every mail we receive.

In the first episode of our miniseries of podcasts celebrating South Asian Heritage Month 2024, Gautam Bhattacharyya, chair of Reed Smith's India Business team, welcomes Yasmin Batliwala MBE, CEO of Advocates for International Development. Together, they explore Yasmin's career path, her mentors and inspirations, her passion for pro bono work and the significance of her Parsi heritage. ----more---- Transcript: Intro: Welcome to the Reed Smith Podcast, Inclusivity Included: Powerful Personal Stories. In each episode of this podcast,  our guests will share their personal stories, passions, and challenges, past and present, all with the goal of bringing people together and learning more about others.  You might be surprised by what we all have in common, inclusivity included.   Gautam: Hello everyone and welcome to another of our Reed Smith podcasts and this one is part of our special mini-series to celebrate and mark South Asian Heritage Month 2024 and I'm overjoyed to have as our podcast today the incredibly impressive Yasmin Batliwala. Hello Yasmin.  Yasmin: Hello Gautam, lovely to be here.  Gautam: It's lovely to have you and I've been really so excited to do this podcast with you. For our listeners, I'm going to introduce Yasmin so you can appreciate just what an amazing person she is. Yasmin is the chief executive of Advocates for International Development, a very prominent pro bono and CSR institution with which Reed Smith has had a very long and happy relationship and association. And we continue to do so. And I've known Yasmin for many, many years. and we've had many a discussion about our shared passion for pro bono work and the importance of lawyers doing pro bono work and the impact that it has. Yasmin is responsible for overseeing the work of A4ID, as I'll call it, and she's held many prominent roles in the public and third sector over her very illustrious career. Apart from pro bono work, her portfolios have included some incredible causes. Those include HIV and AIDS, drug alcohol, dependency, and criminal justice. She has also undertaken work for the UN's Office of Drugs and Crime, and has a great deal of board experience too, having, amongst other things, been on the board of a large NHS trust. Yasmin also, to the extent she has spare time, and I'm stunned she does have spare time, has also served as a magistrate in the Youth and Adult Courts. She's also, as you can imagine, been the recipient of several honors. And amongst those, and there are many of them, she has been awarded the City of London Woman of Achievement for her public service work. And in 2022, Yasmin received an MBE for her work in human rights, the rule of law and international development as part of the Queen's New Year's honors list. So it really is a wonderful privilege to be speaking to you on this podcast, Yasmin, and I'm really looking forward to our discussions. Now, let me start with this as we get into our discussion. Tell us a little bit about your career background. I've already highlighted for our listeners a few of the roles that you've undertaken prior to your current role as chief executive of A4ID. But I wonder whether you could give us a little bit of a background about how you got to your role at A4ID and your career background, which has led up to that.  Yasmin: Thank you very much, Gautam. I'd like to start then by thanking you for inviting me to join in this podcast and for the opportunity to talk about the work of Advocates for International Development, which I know that you know that I'm truly passionate about. So to answer your question about what I was doing prior to A4ID work-wise, before joining A4ID, basically I ran my own consultancy, providing senior level support to the public and non-profit sectors. My work primarily involved problem solving, managing teams, assisting the recruitment of CEOs and other executive positions. And I should say that I thoroughly enjoyed being self-employed as it allowed me to spend quality time with my two young daughters as they were then. And I could work during their nursery hours and resume tasks when they were asleep. And incidentally, I even earned more money than I've ever done since while I was working for myself. Throughout my career, I think you've said, I have worked mainly in the public and non-profit sector. And you've indicated the background work I've done within the drugs field and also in HIV. And I've also served, as you've mentioned, on various boards, including also a university, as well as on police authority, where I briefly held position of chair. I currently chair VIA, formerly known as WDP, which is a leading charity providing drug and alcohol services across the UK. VIA is known for its quality of services and innovative approach. And I like to think that my leadership has played a role in its success. Now, in respect to other things that have brought me to A4ID, I was invited to get involved with A4ID just by chance. Someone suggested that I met the executive director at the time. She and I got on swimmingly and as a consequence of that I started to work with her to look at how we could build the organization so that's really a potted summary of my career to date.  Gautam: Well thank you and it really is I mean you know you've packed a lot in in your wonderful career today and undertaking some amazing work for lots of really important causes and you know I think I think one of the things I just want to step back to is you've had a very impressive career. Of that, there's no doubt. And it's ongoing, right? You're not finished yet. Not by a long way. But we all benefit from mentors and inspirations in the course of our career. And I wonder whether you could share with our listeners some of your biggest career mentors and inspirations so far.  Yasmin: Gautam, I think that's a really difficult question because I have been inspired by so many people over the years. Obviously, those who have supported and encouraged me stand out, ranging from my line managers and peers to various teams that I've worked with, including actually my current team. Indeed, my very first job was doing what was called action research on illicit drug use in SW5, which is Earls Court, and also the West End. Professor Betsy Ettore was my line manager at the time, and she was simply amazing. She encouraged me to think for myself and was always available when I needed her. I was at the time fresh out of university and yet she treated me like an equal and I valued that because she actually listened very carefully to what I had to say and supported my ambition for the study that we were doing. Now coming back to where I am today I suppose I especially want to mention the board of A4ID. Their support has been incredible but it's their pioneering spirit and belief that everything is possible that truly inspires me. They also believe in me personally which has been invaluable and enabled me to push forward with our vision. Roger Leese, the chair of A4ID and a partner at Clifford Chance, has perhaps been a significant inspiration throughout our time working together. We've often solved problems by approaching them from completely different perspectives, and his insights have always been spot on. Indeed, the longer I have known him, the more I've come to respect him. To me, integrity and respect are very important in those that have inspired me. And perhaps the reason I've been working in this role for so long has been mainly because of the individuals that I have been fortunate to come across over the years. Now, I've been particularly impressed by the legal profession's can-do culture and their attitude that everything and anything is possible, which happens also to be my perspective in life. This approach and their understated passion is something I greatly admire. The entire legal pro bono community, from international law firms that we work with, to in-house counsel, the judiciary, paralegals and barristers, demonstrate to me their remarkable dedication. They use their skills and intellect to contribute to the greater good, often without expecting recognition or even a pat on the back. Let me give you an example close to home. Now, you've mentioned just in your start the involvement of Reed Smith. So when I joined A4ID, Reed Smith provided us with the accommodation. At that time, A4ID was a much smaller organization with fewer staff and a smaller turnover. Right. Without Reed Smith's support, I'm not sure A4ID would have thrived. Reed Smith even contributed their staff's time to oversee the development of A4ID at the beginning, not seeking thanks or recognition, just doing what they could to help the cause. If anything was requested from them, they would think about it and come back to us with a solution about how to make it happen. So I, for one, have immense admiration for Reed Smith and the support that the firm has provided ever since our inception in 2006. Many of our law firms have also, as well as corporate partners, have also shown and continue to show some support over the years. They've supported A4ID in its journey and through us have provided expert pro bono legal advice to international development sector and have also donated funds to enable us to exist and to function. And I firmly believe that through the law, we can change the world for the greater good and that lawyers have a key role to play in making this happen. Imagine no other profession is able to achieve this, only the legal profession. What inspiration is that? So to answer your question, I would say I've been most inspired by the legal sector with which I've been fortunate to work with and why I'm still in this role after all these many years.  Gautam: Well, thank you, Yasmin. That was an incredibly impressive set of points. And I just wonder if I could dig into that a little bit. Extremely, there's a lot I could unpack there. But let me focus on what makes pro bono work so important. Now, we all know it's really important. It has real impact. And lawyers are integral to that. And so I wonder whether you could give us your thoughts on just why pro bono work is so important and why law firms and the teamwork that they achieve is so important to make that happen. You mentioned in your answer just now just how unique in many ways the legal profession is to be able to deliver those sorts of services and results. And I certainly know how enriching it's been for me personally to be heavily involved in pro bono work for so many years. But I wonder whether you could share your thoughts on that, please.  Yasmin: Thanks, Gautam. I would say that pro bono work is vital because it allows professionals and the corporates to give back to the community, promoting social justice and addressing systemic inequalities. qualities. By providing free legal services to those who cannot afford them, pro bono work ensures that access to justice is not limited by financial means. This contribution really helps to level the playing field, ensuring that vulnerable and marginalized communities and individuals can defend their rights and receive fair treatment under the law. If you look at CSR for law firms, on the other hand, I think it encompasses a broader range of activities beyond pro bono work, which includes ethical business practices, environmental sustainability and community engagement. Pro Bono also, I would say, demonstrates the company's commitment to operating responsibly and contributing positively to society. These initiatives enhance the company's reputation, build trust with stakeholders, and also we find continually that it can lead to increased employee satisfaction and retention. Through pro bono, law firms and corporates can address various social issues from poverty and education to health and environmental protection. The other thing I think that's really important with regard to pro bono, is teamwork that law firms can do. Teamwork is essential in making pro bono successful because it allows the pooling of resources, expertise and networks. Law firms possess specialized legal knowledge and skills and are crucial for tackling complex legal issues. By collaborating, firms can leverage their collective expertise to provide a comprehensive and effective legal assistance. I think this collaborative approach really does ensure that beneficiaries receive high quality support, which are tailored to their specific needs. Also, teamwork among law firms fosters a culture of shared responsibility and mutual support. And we find that when law firms work together with us on pro bono projects, they can share best practices, learn from each other's experiences, and really develop innovative solutions to very common challenges. This collective effort amplifies the impact of their work, making it possible to address larger and more complex issues than any single firm could or tackle alone. It also, I suppose, fosters a sense of solidarity and purpose within the legal community as a whole. So collaboration enhances the reach and scalability of pro bono. By joining forces, and certainly by joining forces with us, law firms can extend their service to a broader range of beneficiaries and communities. This expanded reach is particularly important in addressing systemic issues that require coordinated efforts across different jurisdictions and different sectors which apply to us at A4ID. Collaborative initiatives can mobilize more resources including funding, personnel, technological tools to support large-scale projects and long-term interventions. In fact, teamwork with law firms also provide opportunities for professional development and capacity building. We find and I find continually that lawyers engaged in pro bono work gain valuable experience and skills to enhance their professional growth. Put simply pro bono work makes you a better lawyer. The reason is obvious through A4ID lawyers are exposed to diverse legal issues and client populations broadening their perspective and very much enriching their practices. Additionally, firms that actively participate in these initiatives can attract and retain talent by demonstrating their commitment to social justice as well as ethical practices. And as I've said already, co-ordinated efforts in pro bono can lead to systemic change by addressing root causes of social issues and advocating for policy reforms, law firms can help to create a more equitable and just society. Collaborative projects that people do with A4ID often involve strategic litigation, legislative advocacy and public education concerns, campaigns that go beyond individual cases to affect broader societal change. This strategic approach maximizes the long-term impact of pro bono. So effective teamwork also ensures that pro bono is sustainable. And by sharing the workload and resources, firms can maintain those long-term communities to these projects. Sustainability, after all, is crucial for achieving lasting impact and ensuring that the beneficiaries receive continuous support. Collaborative efforts help distribute the responsibilities and costs which are associated with these initiatives, making it much easier for firms to sustain their involvement over time. So to conclude, pro bono work is essential promoting social justice, corporate responsibility. Teamwork with law firms is crucial for maximizing the effectiveness and reach and sustainability of these initiatives. And through collaboration, law firms can leverage their collective expertise, resources and networks works to make a significant positive impact on society and advance the cause of justice for all. So in a nutshell, that's what makes pro bono so incredibly important.  Gautam: Thank you, Yasmin. And you know, everything you said there, I was just absorbing and just realizing just how it all aligns with exactly how I see it. Because I can honestly tell you, Yasmin that us and you know we've had many a conversation about what pro bono means to each of us but i know that some of my most satisfying outcomes that i've achieved as a lawyer for clients for for pro bono clients have come from that sort of work it's it's not just about doing big cases as we do and as i as i do for big corporate companies a big industrial groups for governments, etc, etc. That's, of course, very important to the life of a law firm. But a law firm needs to be known for everything it brings. And I can honestly say, and I can't talk about some of these cases, but some of the most important cases I've done have involved taking on the establishment. Establishment for people who would otherwise not have access to law firms what I call big law big law firms and those law firms come together in teams like you say often in conjunction with other law firms and there are a number of examples where Reed Smith has teamed up with other law firms and it's a wonderful thing because the perception is otherwise that law firms are all competitors. They're like boxers in a boxing ring. But we're not actually. That's really a myth. We operate in a marketplace, yes, but on pro bono work, we actually come together in a very productive way. And so, no, thank you for sharing those really, really, really amazing thoughts, because I'm sure our listeners, it'll really resonate with our listeners. So thank you for that, Yasmin. I wonder whether I could just now turn to the question of heritage, because heritage is obviously a very important thing. And this podcast is being recorded and will be published as part of South Asian Heritage Month. And I wonder whether you could just share with us a little bit about what makes your heritage so empowering and so important and uplifting for you.  Yasmin: Well, Gautam, as you know, I'm a Parsi. Parsis originated from ancient Persia and fled to India, I think around the 6th, 7th century to escape religious persecution. Their successful integration and preservation of our culture and religious identity in a foreign land. For me, I think exemplify the resilience and adaptability of the community of Parsis. The religion of the Parsi community is Zoroastrianism, which places its values of saying good thoughts, good words and good deeds and doing good deeds. This provides very much of a strong moral and ethical foundation, promoting a positive and proactive approach to life and encouraging meaningful contributions to society. And despite being a small community, and I do mean small, as a number of Parsis are reducing year on year to the point of extinction, I should say, Parsis have made significant contributions in various fields such as business, science, arts and philanthropy. Indeed, social responsibility and generosity of spirit are highly encouraged within the community. So I suppose my heritage is empowering and uplifting because it connects me to a rich and a diverse cultural tapestry that informs my identity and sense of self. This connection to my roots provides me with a deep understanding of where I come from and the traditions that have shaped my community over generations. The stories, the customs and values that have been passed down to me are a source of pride and strength, offering a foundation upon which I can build my own life and my own aspirations. Considerations this cultural inheritance if you like acts as my guiding light influencing my values behaviors and perspectives cultural heritage has also paid i think a significant role in shaping my world view and moral compass the values and ethics inherited from my cultural background guide me guide my actions and decisions promoting principles such as respect as i've have mentioned before, integrity, but also responsibility. These values are not just abstract concepts. They are lived experiences demonstrated by my family members and the community. This moral grounding is empowering as it provides clear guidelines on how to navigate life's complexities and make meaningful contributions to society. And as I've mentioned, My commitment can only be demonstrated by my contribution to the various public sector boards and roles that I've had within the community in which I live. So that's very, for me, a very important part of being a Parsi and a member of a community that will disappear, I suspect, in the not too distant future.  Gautam: Yeah, no, thank you, Yasmin. I am indeed very familiar with the Parsi history. And indeed, many of my best friends in the law are Parsis. And if I just take one jurisdiction, for example, in India, right, which you, of course, know very well, there are many prominent Parsi lawyers. And there have been. One of my greatest mentors was Fali Nariman, who was India's most celebrated lawyer, who unfortunately passed away in February of this year. But many, many prominent lawyers in India are Parsis. And many of the big industrial houses, as you know, in India, are Parsi in origin and remain Parsi in management and in all that they do. And those concepts of doing business fairly and being philanthropic, like very heart of Parsi culture. So it's very interesting. And I recall also, I grew up, Yasmin, in Northwest London. And very near where I went to school, there was an old cinema that stopped showing films. And it was taken over by the Parsi community. And it became a Zoroastrian center of worship. And this goes back to my much younger days. So I'm very familiar with that. And it's very interesting how it continues to inform you and inspire you, because it should do. And I also, I'm also very familiar with the fact that the Parsi community is getting smaller. As people marry outside of the Parsi faith, that inevitably has an impact. But the pride and the history of the Parsis is so rich. And, you know, it'll always be everlasting. So, and there's a long way yet to go. So, no, thank you for that. That's really, really nice to know. And, you know, just one last question on that before we turn to the last topic. What, in terms of looking at the examples of what the Parsi tradition and faith and heritage has taught you, one of the things that I'm always very mindful of is that the pro bono tradition, as I call it, is very well developed in certain jurisdictions. Jurisdictions but it's yet to develop fully in some jurisdictions now one of the countries where it is gathering pace is certainly India but just look at the size of that country and the legal community there i mean just briefly what you know what are your thoughts about what we could do to try to expand the pro bono tradition in a wonderful jurisdiction like India,  Yasmin: Actually, I think there's an awful lot that can be done. There's certainly an interest. We have been working in India and in fact have an entity called the A4ID Foundation, which is wholly Indian. We've been working alongside some amazing lawyers. In fact, part of the board comprises of some absolutely amazing Indian lawyers who are working with us to develop this. So we are bringing the culture to the pro bono culture that already exists, actually, within India and within the Indian community. But it's about using their legal brains that we're starting to to encourage. And that's happening, happening slowly, but it is happening. And with the vast number of lawyers in India, just think what we could do. Amazing. The other thing I wanted to just mention in terms of what you said was this week I received a gift from one of my team, members of my team. He's actually based in India. And the gift was a signed copy of the constitution, Indian constitution by Nariman.  Gautam: Oh, wow. Yeah. It's a wonderful book. Yes. And so I've been dipping since he sent it to me. I've been dipping in it. It's quite a quite a tomb. And I actually thought when I saw it, oh, my God, am I going to be able to read this? Because, you know, it's quite an interesting but quite a how can I put it, a dry topic.  Gautam: Yeah.  Yasmin: But having looked at it and read through it, it's actually brilliantly easy to read. He simplifies things because he knows the subject area so well that it's so easy to read. And I would thoroughly recommend if you have the opportunity to do so. And that includes your the people listening to this. I would thoroughly recommend it. It's a fantastic read.  Gautam: I agree. And, you know, the whole concept of the constitution is so important because it comes down to fundamental principles of fairness and doing things in an orderly way, in a proper way, and upholding that separation of power and not enabling things to just become merged as one. And that independence of thought is very very important now that's well i i think you're very fortunate to have a signed copy of that of that tome um i'm sure it'll be well thumbed in days and weeks to come as you read it so yes we've come almost to the end of our podcast and i've enjoyed, as i always do speaking to you i've had as i've said in the introduction i've had many a conversation with you over the years. I've always come away a much better person after each of those conversations, and this conversation has certainly been no exception to that. One of the traditions that we have in this podcast series, and I'm going to maintain that tradition even though this is a mini-series for South Asian Heritage Month, is to ask you a few more lighthearted things, to get to know the non-pro bono chief executive, Yasmin Batliwala. And so I want to ask you three very, very simple questions. Nothing mean, because I'm not a mean person, as you know, Yasmin. I want to ask you three little questions. First of all, have you got a favorite sort of music?  Yasmin: So on that question, I'd say, where do I start? I like all sorts of music. I have a particular preference, I should say, for classical music. Anything, anything at all by Mozart or J.S. Bach are things that I would be listening to regularly. I also like opera. In fact, I love opera. And I'm also a fan of David Bowie, I should say. But recently, Gautam, I've discovered a new genre of music, and that's heavy metal and electronic music.  Gautam: Amazing.  Yasmin: I've discovered a band called Disturbed, who are amazing. So to all your listeners, I encourage you to listen to their rendition of Simon and Garfunkel's song, Sound of Silence, which is absolutely mesmerizing and haunting.  Gautam: I'm going to check it out myself.  Yasmin: So let me know what you think. I've also discovered a band called Rammstein. I think that's how you pronounce it, which is a German heavy metal group of the 1990s. And I think, I think, and I seem to be listening to them quite a lot. And finally, I've also discovered, recently discovered, Mongolian electronic throat music. And that's totally blown me away. So I've been listening to that. So in terms of my musical taste, it's slightly expanding.  Gautam: That is incredibly eclectic. And I'm going to check out the German metal band and the rendition of Sound of Silence. I'm going to check those out. And I must tell you just very briefly on the Mongolian throat music. Many years ago, I was very fortunate to do a case for the government of Mongolia. It was a litigation in the English courts. And it went all the way to the Court of Appeal here. And I'm very happy that we won in the High Court and in the Court of Appeal. And I had the very good fortune to get to Mongolia twice on that case and to the great city of Ulaanbaatar. And I got introduced to Mongolian throat music. Now, the first trip was 2002-2003, around about then. I've not heard the electronic version as yet, but I'm certainly aware of the more basic classical rendition of throat singing. And also on that trip, I also learned about the eagle dance, which is a very famous dance that they do because the eagle and horses are very revered in Mongolia. And there's a dance which the wrestlers, Mongolian wrestling is also very popular and the wrestlers before they start the bout do this thing called the eagle dance. It's, I mean, I'll tell you more about it when I see you next. Okay, just two more quick ones and then I know we'll wrap. But have you got a favorite holiday destination or place that you just love to visit?  Yasmin: I, yeah, I like it. I love Italy. I don't think I've ever been to any single place And I like to travel around and visit different places that I haven't liked. So I like Italy. I like Italy also. But not only its beauty, its architecture, but the food and the people. So it's not far too far away from the UK. And so if ever I have an opportunity, I've gone to Italy. Recently, though, I went to Sicily. And that was a real find because it's obviously, I mean, talking about cultural traditions and cultural heritage, it seems to have been basically every country has stepped foot on it and taken it over. And it's left these amazing it's the amazing footprints so we've got the Greeks we've got the Normans we've got the various Moors as well all of them make it such a very interesting place.  Gautam: Absolutely. It just shows how cultures have moved around the world. One last question. We are recording this podcast during the European Championships in football. And this is not a leading question. And I am a lawyer. So this is not a leading question. Who's going to win the European Championships? Which country?  Yasmin: I'm afraid I don't watch football. So I can't answer that question. I have been to football matches, Gautam, and I haven't known what's been going on. This was during my time at the police authority, where I went out with the police at Watford to observe how policing was done. It was a lovely day, although we got up incredibly early, I seem to recall. But I had no idea what was going on in the pitch. Um it was slightly tribal in terms of the shouting. It was Manchester and Watford Manchester not sure if it was City or United. I think it was City it had um one of the Gallagher um one of the Gallagher  Gautam: Yeah it's Man City then  Yasmin: Yeah so just to watch that whole kind of tribal way was quite fascinating so i'm afraid i can't answer your question.  Gautam: That's quite okay you um you've answered many many questions in the course of this podcast yasmin thank you very much for doing this podcast it's been a delight to do it and to speak to you and um I could literally have asked you lots more questions and spent more time but these podcasts unfortunately would go on for a very long time if we did that but thank you very much indeed and thank you particularly for doing all the wonderful work that you continue to do on the the pro bono side and the great example you set through your leadership. So thank you very much.  Yasmin: Gautam, thank you so much also for inviting me to this podcast, which I must say I've enjoyed immensely. And if anyone listening out there is interested to work together with us at A4ID, please do contact me. And who knows what we can achieve together.  Gautam: Thank you, Yasmin.  Outro: Arbitral Insights is a Reed Smith production. Our producer is Ali McCardell. For more information about Reed Smith's global international arbitration practice, email arbitralinsights@reedsmith.com. To learn about the Reed Smith Arbitration Pricing Calculator, a first-of-its-kind mobile app that forecasts the cost of arbitration around the world, search Arbitration Pricing Calculator on reedsmith.com or download for free through the Apple and Google Play app stores. You can find our podcast on Spotify, Apple, Google Play, Stitcher, reedsmith.com, and our social media accounts at Reed Smith LLP on LinkedIn, Facebook, and Twitter.  Disclaimer: This podcast is provided for educational purposes. It does not constitute legal advice and is not intended to establish an attorney-client relationship, nor is it intended to suggest or establish standards of care applicable to particular lawyers in any given situation. Prior results do not guarantee a similar outcome. Any views, opinions, or comments made by any external guest speaker are not to be attributed to Reed Smith LLP or its individual lawyers.  All rights reserved. Transcript is auto-generated.

Gyaneshwer Chaubey, a biological anthropologist, has dedicated his research career to unraveling the mysteries of human migration and population dynamics. Beginning as a Ph.D. student at the Estonian Biocentre and University of Tartu in Estonia, he later held positions as a scientist and senior scientist. He also served as a visiting scientist at the Sanger Centre in the United Kingdom. In 2017, he returned to India, assuming the role of a full professor in the Department of Zoology at Banaras Hindu University, Varanasi. Chaubey's research primarily focuses on understanding the peopling of South and Southeast Asia, with a keen interest in various ethnic groups such as the Andaman, Austroasiatic, Indian Jews, Siddi, Roma, and Parsis. Employing a combination of genetic markers and computational tools, he investigates the impacts of migration, genetic drift, and selection on the demographic history of South Asia while also contributing to the development of new analytical methodologies.

Recently we published an episode called Towers of Silence. It's about how the Parsis in India are grappling with the loss of vultures and how it changed something very intimate and meaningful for the community. It was reported by our own Lasha Madan and it is epic and it is beautiful. So first of all, go listen to that story if you haven't heard it. It's so good. On the one hand, it's a very specific story, it's about a unique set of circumstances that happened to a very specific community. But it also feels universally relevant. Because it's a story about death and how we choose to transition out of this world. It's about how we might react when there's a major cultural shift that we cannot control. And importantly it is about a keystone species collapse, which is something we are on track to see more of in these times. Lasha Madan collected a ton of information about vulture conservation in their reporting but it didn't quite fit into the original story that we wanted to tell but it's so vital and interesting that we're releasing this bonus episode to cover it all.

Situated right in downtown Mumbai, India is an area of about 55 acres of dense, overgrown forest. In one of the most populous cities in the world, this is a place where peacocks roam freely -- a space out of time. This forest is protected by a religious community. It has survived in a relatively undeveloped state in the middle of this gargantuan city. Importantly, it's also home to an ancient tradition in crisis -- one that is central to the lives (and deaths) of a particular population.There's a certain point in this forest beyond which almost no one can step -- only special caretakers of these grounds can go any further. They go by many names: khandia, nassassalar, pallbearer, corpse bearer. Their work here is holy. They carry dead bodies to their final resting place – atop stone structures that stand gray against the lush green. These buildings are called Towers of Silence.Towers of Silence

Niloufer Ichaporia King lives in a house with three kitchens. She prowls through six farmer's markets a week in search of unusual greens, roots, seeds, and traditional food plants from every immigrant culture. She is an anthropologist, a kitchen botanist, a one-of-a-kind cook, a Parsi from Bombay living in San Francisco, and the author of My Bombay Kitchen: Traditional and Modern Parsi Home Cooking. Niloufer is known for her ritual celebrations of Navroz, Parsi New Year, on the first day of Spring, when she creates an elaborate ceremonial meal based on the auspicious foods and traditions of her vanishing culture. The Parsi culture is some 3,000 years old and goes back from India to Persia. It's estimated that there are now under 100,000 Parsis in the world. Also featured in this Hidden Kitchens story are author Bharati Mukherjee, sharing her memories of the forbidden Bengali kitchen of her girlhood, with its four cooks and intricate rules of food preparation. And Harvard Professor Homi Bhabha, born in Mumbai to a Parsi family, who talks about auspicious lentils and the birth of his son. The Kitchen Sisters Present is produced by The Kitchen Sisters (Nikki Silva & Davia Nelson) with Nathan Dalton and Brandi Howell. We are part of Radiotopia from PRX, a curated network created specifically for independent podcasts—some of the best stories out there. Special thanks to the National Endowment for the Arts, the National Endowment for the Humanities, and contributors to the non profit Kitchen Sisters Productions .

On March 11, 2024 a few months before the Lok Sabha Elections the central government notified the Citizenship (Amendment) Rules. This has come approximately four years after the Parliament passed the Citizenship (Amendment) Act in 2019. As per the amendment, the government can grant citizenship to Hindus, Sikhs, Buddhists, Parsis, Jains, or Christians from Bangladesh, Pakistan and Afghanistan on or before December 31,2014.. conspicuously leaving out Muslims. It was passed amid nation-wide protests as linking citizenship to religion goes against the secular nature of the constitution.  The bigger fear is about a nationwide National Register of Citizens or NRC. Assam is the only place with NRC.  At the time of passing the Act, the Home Minister, Amit Shah told Parliament that a nationwide NRC is on the cards. However, in a blogpost, press information bureau at the time clarified repeatedly that no announcement has been made to begin NRC exercise.  Now with the rules being released, nationwide implementation of the Act will begin. In 2019, the United Nations Human Rights Office issued a statement condemning the “fundamentally discriminatory” Citizenship Amendment Act. At the time in 2019, Suno India's Padmapriya had spoken to Pia Oberoi, senior advisor on migration, UN Human Rights Office to understand their concerns around the Citizenship Amendment Act. We are republishing it as it continues to be relevant today.See sunoindia.in/privacy-policy for privacy information.

In today's news episode, Claire will discuss the growing unrest in India over the recent enactment of the Citizenship Amendment Act (CAA) by President Modi and the Bharatiya Janata Party just weeks before elections. With the CAA and the possibility of enacting the National Register of Citizens (NRC), many claim that Muslim immigrants living in India will now be turned into refugees, with more barriers for reentry into the country. Sources: https://www.aljazeera.com/news/2024/3/12/why-is-indias-citizenship-amendment-act-so-controversial https://theintercept.com/2020/01/30/india-citizenship-act-caa-nrc-assam/ https://www.thehindu.com/news/national/modi-government-announces-citizenship-amendment-act-rules-4-years-after-bill-was-passed/article67939010.ece Script: Hello everyone, I'm Claire Mattes and you're listening to Seeking Refuge News. Protests have erupted in India after the Indian Government announced on Monday that the Citizenship Amendment Act, or CAA, which was passed in 2019 but not not enforced, will now be brought into effect. The CAA will come into force on the eve of elections, and is India's first religion-based citizenship test, discriminating against Muslims and other refugees. This act has brought about critique from many student groups throughout the country, as well as human rights groups and state government leaders. So, why is this act so controversial? According to Prime Minister Narendra Modi of the Bharatiya Janata party, the goal of the CAA is to help the persecuted. An article from the intercept states, “that he has framed the CAA as a noble effort to welcome Hindus who are oppressed in neighboring Muslim-majority countries.” However, the intricacies of the law make it clear that it will prevent many Muslim refugees from entering India. Before the law was passed, all foreign nationals must spend 11 years in India before gaining citizenship eligibility. Now, the CAA will expedite this process to only 5 years for certain groups fleeing persecution who arrived before December 31, 2014. These groups are Hindus, Buddhists, Jains, Christians, Parsis, and Sikhs seeking asylum from Afghanistan, Pakistan, and Bangladesh. According to Aljazeera, Muslim asylum seekers will still need to wait 11 years, and, unlike other religious groups, will be required to have valid documentation to justify their presence. This means that once they reapply for citizenship through the online portal provided by the government, they will become refugees, and in order to reenter, many will need the proper documentation, which is unlikely that they will have.  Additionally, the passage of the National Register of Citizens, which is designed to deport people without the proper papers, is leaving very few options for Muslim asylum seekers. Although the law is only in effect in the northeast state of Assam, many fear it will become a nationwide policy. With these two policies combined, the country would be able to deport all “illegal” immigrants, and only allow reentry to Hindus, Sikhs, Parsis, Buddhists, Jains, and Christians, according to Aljazeera.  Modi has denied any wrongdoing, but many critics have noted the previous anti-Muslim actions this year, such as the move to strip Kashmire of autonomy back in August of 2023, and a long history of violence and breaches of international law in the six detention centers located in Assam, where majority Muslim asylum seekers are being held, says the Intercept. The Hindu writes that West Bengal Chief Minister says the CAA would take away rights and lead people to detention camps, later stating, “Those who are being asked to apply, the moment they apply, from becoming citizens they will become illegal refugees. What will happen to your properties, your jobs and the studies of your children? Everything will be declared illegal.”  These actions have drawn criticism from all over the country, with hundreds of thousands of protestors, majority being students. However, the intercept noted that some students were protesting against the snti-Muslim policies, while other were protesting the expedited process for any group of immigrants. According to Aljazeer, Many are regarding the actions of the BJP as unconstitutional, citing article 14 of the constitution. The State shall not deny to any person equality before the law or the equal protection of the laws within the territory of India. Human Rights Watch has also declared this discriminatory against Muslims. We will be sure to keep you updated on the latest news regarding refugees worldwide. Thank you for listening, and we'll see you again on Seeking Refuge News. Liked this episode? Let us know! Subscribe and leave us a review below! If you or someone you know would like to share their personal refugee story, send us an email at seekingrefugepodcast@gmail.com or connect with us on any of these social media platforms. https://twitter.com/refugepodcast https://www.instagram.com/seekingrefugepodcast/ https://www.facebook.com/seekingrefugepodcast Our Team: Claire Mattes (Writer, Producer) Shireen Kaur Anusha Ghosh Thrisha Mote Yatin Nerella Rohit Swain Victoria Halsey Diana Clarke Saanvi Somani Emily Jenson Charlie Winston Carolina Lochner Jazmine Rathi Kat Wyandt Josh Evans Liam Ogden Maggie Austin Molly Mims

HEARD OF TATAS, GODREJS, AND WADIAS? ONE COMMON THING BETWEEN THEM WAS? THEY BELONG TO THE PARSI COMMUNITY. WHY PARSIS CAME TO INDIA AND WHEN? WHAT WAS THE REASON BEHIND THE MIGRATION OF PARSIS FROM PERSIA? EVERYTHING ABOUT PARSIS IN INDIA IS COVERED IN THIS EPISODE. Listen Share Rate Connect; Instagram @me.rakeshh @indiaunveiled.podcast mail: indiaunveiledpodcast@gmail.com feel free to share your views, suggestions, feedback and complaints. --- Send in a voice message: https://podcasters.spotify.com/pod/show/rakeshsoni/message

Who are the Parsis ? Do Persians have their roots in Vedic Culture ? Plus a story about R&AW in Iran. Follow me: Twitter: ⁠https://twitter.com/indologia⁠  Instagram: ⁠https://www.instagram.com/indologiaa/⁠ YouTube: ⁠https://www.youtube.com/@indologia⁠ Whatsapp: https://whatsapp.com/channel/0029Va55D2lBPzjRND3rPC0A

The legacy of the businessmen who built Hong Kong are all over the city. Bankers work in Chater House—named after Paul Chater, the Armenian businessman behind much of the city's land reclamation (among many other things). The Kowloon Shangri-La Hotel sits along Mody Road, named after Hormusjee Naorojee Mody, a Parsi immigrant who helped found the University of Hong Kong. And that's not including figures like Robert Hotung, the half-British, half-Chinese magnate who found more power in his Chinese identity. The story of Hong Kong is more complicated than what the British or the Chinese might assert–countless migrants, from all over the world, came to Hong Kong to build the city and make their fortunes. Vaudine England's Fortune's Bazaar: The Making of Hong Kong (Scribner, 2023) tells the stories of these communities of Armenians, Indians, Parsis, Portuguese, Eurasians, and others who sat between the Anglo-Saxons and the Chinese majority. In this interview, Vaudine and I talk about Hong Kong's story, the city's early Wild West–or perhaps “Wild East” days—and the communities of men and women that built the city. Vaudine England has been a journalist in Hong Kong and South East Asia for years. As a historian, she has focused on the diverse personalities and peoples that have gone into making Hong Kong a cosmopolitan Asian metropolis. She is the author of The Quest of Noel Croucher: Hong Kong's Quiet Philanthropist (Hong Kong University Press: 1998) as well as several privately published works of Hong Kong history and biography. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fortune's Bazaar. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. 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 legacy of the businessmen who built Hong Kong are all over the city. Bankers work in Chater House—named after Paul Chater, the Armenian businessman behind much of the city's land reclamation (among many other things). The Kowloon Shangri-La Hotel sits along Mody Road, named after Hormusjee Naorojee Mody, a Parsi immigrant who helped found the University of Hong Kong. And that's not including figures like Robert Hotung, the half-British, half-Chinese magnate who found more power in his Chinese identity. The story of Hong Kong is more complicated than what the British or the Chinese might assert–countless migrants, from all over the world, came to Hong Kong to build the city and make their fortunes. Vaudine England's Fortune's Bazaar: The Making of Hong Kong (Scribner, 2023) tells the stories of these communities of Armenians, Indians, Parsis, Portuguese, Eurasians, and others who sat between the Anglo-Saxons and the Chinese majority. In this interview, Vaudine and I talk about Hong Kong's story, the city's early Wild West–or perhaps “Wild East” days—and the communities of men and women that built the city. Vaudine England has been a journalist in Hong Kong and South East Asia for years. As a historian, she has focused on the diverse personalities and peoples that have gone into making Hong Kong a cosmopolitan Asian metropolis. She is the author of The Quest of Noel Croucher: Hong Kong's Quiet Philanthropist (Hong Kong University Press: 1998) as well as several privately published works of Hong Kong history and biography. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fortune's Bazaar. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The legacy of the businessmen who built Hong Kong are all over the city. Bankers work in Chater House—named after Paul Chater, the Armenian businessman behind much of the city's land reclamation (among many other things). The Kowloon Shangri-La Hotel sits along Mody Road, named after Hormusjee Naorojee Mody, a Parsi immigrant who helped found the University of Hong Kong. And that's not including figures like Robert Hotung, the half-British, half-Chinese magnate who found more power in his Chinese identity. The story of Hong Kong is more complicated than what the British or the Chinese might assert–countless migrants, from all over the world, came to Hong Kong to build the city and make their fortunes. Vaudine England's Fortune's Bazaar: The Making of Hong Kong (Scribner, 2023) tells the stories of these communities of Armenians, Indians, Parsis, Portuguese, Eurasians, and others who sat between the Anglo-Saxons and the Chinese majority. In this interview, Vaudine and I talk about Hong Kong's story, the city's early Wild West–or perhaps “Wild East” days—and the communities of men and women that built the city. Vaudine England has been a journalist in Hong Kong and South East Asia for years. As a historian, she has focused on the diverse personalities and peoples that have gone into making Hong Kong a cosmopolitan Asian metropolis. She is the author of The Quest of Noel Croucher: Hong Kong's Quiet Philanthropist (Hong Kong University Press: 1998) as well as several privately published works of Hong Kong history and biography. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fortune's Bazaar. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. 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 legacy of the businessmen who built Hong Kong are all over the city. Bankers work in Chater House—named after Paul Chater, the Armenian businessman behind much of the city's land reclamation (among many other things). The Kowloon Shangri-La Hotel sits along Mody Road, named after Hormusjee Naorojee Mody, a Parsi immigrant who helped found the University of Hong Kong. And that's not including figures like Robert Hotung, the half-British, half-Chinese magnate who found more power in his Chinese identity. The story of Hong Kong is more complicated than what the British or the Chinese might assert–countless migrants, from all over the world, came to Hong Kong to build the city and make their fortunes. Vaudine England's Fortune's Bazaar: The Making of Hong Kong (Scribner, 2023) tells the stories of these communities of Armenians, Indians, Parsis, Portuguese, Eurasians, and others who sat between the Anglo-Saxons and the Chinese majority. In this interview, Vaudine and I talk about Hong Kong's story, the city's early Wild West–or perhaps “Wild East” days—and the communities of men and women that built the city. Vaudine England has been a journalist in Hong Kong and South East Asia for years. As a historian, she has focused on the diverse personalities and peoples that have gone into making Hong Kong a cosmopolitan Asian metropolis. She is the author of The Quest of Noel Croucher: Hong Kong's Quiet Philanthropist (Hong Kong University Press: 1998) as well as several privately published works of Hong Kong history and biography. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fortune's Bazaar. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

The legacy of the businessmen who built Hong Kong are all over the city. Bankers work in Chater House—named after Paul Chater, the Armenian businessman behind much of the city's land reclamation (among many other things). The Kowloon Shangri-La Hotel sits along Mody Road, named after Hormusjee Naorojee Mody, a Parsi immigrant who helped found the University of Hong Kong. And that's not including figures like Robert Hotung, the half-British, half-Chinese magnate who found more power in his Chinese identity. The story of Hong Kong is more complicated than what the British or the Chinese might assert–countless migrants, from all over the world, came to Hong Kong to build the city and make their fortunes. Vaudine England's Fortune's Bazaar: The Making of Hong Kong (Scribner, 2023) tells the stories of these communities of Armenians, Indians, Parsis, Portuguese, Eurasians, and others who sat between the Anglo-Saxons and the Chinese majority. In this interview, Vaudine and I talk about Hong Kong's story, the city's early Wild West–or perhaps “Wild East” days—and the communities of men and women that built the city. Vaudine England has been a journalist in Hong Kong and South East Asia for years. As a historian, she has focused on the diverse personalities and peoples that have gone into making Hong Kong a cosmopolitan Asian metropolis. She is the author of The Quest of Noel Croucher: Hong Kong's Quiet Philanthropist (Hong Kong University Press: 1998) as well as several privately published works of Hong Kong history and biography. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fortune's Bazaar. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices

The legacy of the businessmen who built Hong Kong are all over the city. Bankers work in Chater House—named after Paul Chater, the Armenian businessman behind much of the city's land reclamation (among many other things). The Kowloon Shangri-La Hotel sits along Mody Road, named after Hormusjee Naorojee Mody, a Parsi immigrant who helped found the University of Hong Kong. And that's not including figures like Robert Hotung, the half-British, half-Chinese magnate who found more power in his Chinese identity. The story of Hong Kong is more complicated than what the British or the Chinese might assert–countless migrants, from all over the world, came to Hong Kong to build the city and make their fortunes. Vaudine England's Fortune's Bazaar: The Making of Hong Kong (Scribner, 2023) tells the stories of these communities of Armenians, Indians, Parsis, Portuguese, Eurasians, and others who sat between the Anglo-Saxons and the Chinese majority. In this interview, Vaudine and I talk about Hong Kong's story, the city's early Wild West–or perhaps “Wild East” days—and the communities of men and women that built the city. Vaudine England has been a journalist in Hong Kong and South East Asia for years. As a historian, she has focused on the diverse personalities and peoples that have gone into making Hong Kong a cosmopolitan Asian metropolis. She is the author of The Quest of Noel Croucher: Hong Kong's Quiet Philanthropist (Hong Kong University Press: 1998) as well as several privately published works of Hong Kong history and biography. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fortune's Bazaar. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-review

The legacy of the businessmen who built Hong Kong are all over the city. Bankers work in Chater House—named after Paul Chater, the Armenian businessman behind much of the city's land reclamation (among many other things). The Kowloon Shangri-La Hotel sits along Mody Road, named after Hormusjee Naorojee Mody, a Parsi immigrant who helped found the University of Hong Kong. And that's not including figures like Robert Hotung, the half-British, half-Chinese magnate who found more power in his Chinese identity. The story of Hong Kong is more complicated than what the British or the Chinese might assert–countless migrants, from all over the world, came to Hong Kong to build the city and make their fortunes. Vaudine England's Fortune's Bazaar: The Making of Hong Kong (Scribner, 2023) tells the stories of these communities of Armenians, Indians, Parsis, Portuguese, Eurasians, and others who sat between the Anglo-Saxons and the Chinese majority. In this interview, Vaudine and I talk about Hong Kong's story, the city's early Wild West–or perhaps “Wild East” days—and the communities of men and women that built the city. Vaudine England has been a journalist in Hong Kong and South East Asia for years. As a historian, she has focused on the diverse personalities and peoples that have gone into making Hong Kong a cosmopolitan Asian metropolis. She is the author of The Quest of Noel Croucher: Hong Kong's Quiet Philanthropist (Hong Kong University Press: 1998) as well as several privately published works of Hong Kong history and biography. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fortune's Bazaar. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices

The legacy of the businessmen who built Hong Kong are all over the city. Bankers work in Chater House—named after Paul Chater, the Armenian businessman behind much of the city's land reclamation (among many other things). The Kowloon Shangri-La Hotel sits along Mody Road, named after Hormusjee Naorojee Mody, a Parsi immigrant who helped found the University of Hong Kong. And that's not including figures like Robert Hotung, the half-British, half-Chinese magnate who found more power in his Chinese identity. The story of Hong Kong is more complicated than what the British or the Chinese might assert–countless migrants, from all over the world, came to Hong Kong to build the city and make their fortunes. Vaudine England's Fortune's Bazaar: The Making of Hong Kong (Scribner, 2023) tells the stories of these communities of Armenians, Indians, Parsis, Portuguese, Eurasians, and others who sat between the Anglo-Saxons and the Chinese majority. In this interview, Vaudine and I talk about Hong Kong's story, the city's early Wild West–or perhaps “Wild East” days—and the communities of men and women that built the city. Vaudine England has been a journalist in Hong Kong and South East Asia for years. As a historian, she has focused on the diverse personalities and peoples that have gone into making Hong Kong a cosmopolitan Asian metropolis. She is the author of The Quest of Noel Croucher: Hong Kong's Quiet Philanthropist (Hong Kong University Press: 1998) as well as several privately published works of Hong Kong history and biography. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fortune's Bazaar. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Aujourd'hui nous parlons de l'importance des messages du corps avec la psychologue clinicienne Noémie Parsis. Sur le podcast de Psychologue.net, nous nous dédions à donner des pistes et à résoudre des problèmes du quotidien pour améliorer votre bien-être et votre santé mentale. Retrouvez Psychologue.net sur internet et les réseaux :

Your questions, my answers. You can send in yours at askganjiswag@gmail.com

Annie Bafna is a CA as many of her fellow Parsis are. What makes her rare in the community is that she is a vegetarian! She used to eat eggs once but has given that up apart from when she needs to do tastings at The Nutcracker Mumbai which has an egg-etarian menu. Like any good Parsi, Annie reveres eggs. This ensures that the scrambled eggs coming out of her kitchen are consistently creamy and dreamy. Annie is not a chef. She worked for 7 years in the finance industry and then 7 years in the design industry before she followed her longstanding dream of being in the food business by opening the first Nutcracker outlet in Mumbai's art district, Kalaghoda. This was 8 years back in October 2014. Since then she has opened 3 more outlets in Bandra West, Palladium and Jio World Drive with a menu that has much more than scrambled eggs. Be it her customers or her team, putting people first is Annie's success mantra. To know the secret behind the Nutcracker scrambled egg and the story behind the name Nutcracker, tune into the episode and sit back and listen to Annie tell her story. The award winning #podcast #FoodocracyForHer by Kalyan Karmakar is India's longest running podcast featuring women entrepreneurs in the food and beverage business. Please share the episode. Please click on like as it helps the video be discovered and please do subscribe to the channel to catch future episodes of the podcast.

Welcome to Cyrus Says, CnB presented by Volvo Car India with pet care partner - Heads Up For Tails!On Cock & Bull, Cyrus is joined by Ayushi & Aakash. Today, Cyrus starts the show with a small quiz on Parsis' driving. In the show: Aakash shares what his wife thinks about his comedy. Cyrus talks about getting a sponsor for his funeral. Ayushi initiates the Gujarati NSFW session of the show which is further carried forward by Aakash. And Cyrus has some fun with the chat throughout the episode. Topics discussed: Tom Cruise set to become the first actor to shoot a movie in outer space, Dhoni's new film production company - Dhoni Entertainment, and Supreme Court refuses plea to direct govt to declare cow as the national animal. Tune in for this and much more!The HUFT Pet Tales Story for the day is about a brave Labrador-Retriever named Zanjeer. March 1993, in Mumbai, working with the bomb squad, the heroic canine detected over 3329 kg of RDX explosives, 600 detonators, 249 hand grenades, and more than 6000 rounds of live ammunition. He also helped avert three more bombs in the days following the blasts, thus saving countless lives.The Sustainability Story of the day powered by Volvo XC40 Recharge is about why one should move to Sustainable Tourism.Connect with Volvo Car India on:Instagram: https://www.instagram.com/volvocarsin…Twitter: https://twitter.com/volvocarsinYouTube: https://youtube.com/c/VolvoCarsIndiaConnect with Heads Up For Tails on:Website: https://headsupfortails.comInstagram: https://instagram.com/headsupfortails?igshid=YmMyMTA2M2Y=Facebook: https://www.facebook.com/HeadsUpForTails/YouTube: https://youtube.com/c/HeadsUpForTailsOfficialCheck out the Cyrus Says merch:https://bit.ly/3CiHHQ4You can follow Ayushi on Instagram at @ayushia9You can follow Aakash on Instagram at @kuchbhimehtaStream the podcast on major platforms like Spotify, Apple Podcasts, & Google PodcastsDo send in AMA questions for Cyrus by tweeting them to @cyrussaysin or emailing them at whatcyrussays@gmail.comDon't forget to follow Cyrus Broacha on Instagram @cyrus_broacha (https://www.instagram.com/cyrus_broacha)In case you're late to the party and want to catch up on previous episodes of Cyrus Says you can do so at: www.ivmpodcasts.com/cyrussaysYou can listen to this show and other awesome shows on the new and improved IVM Podcasts App on Android: https://ivm.today/android or iOS: https://ivm.today/ios

Last time we spoke, the British government was walking a tight rope between getting their tea fix and not being banned from trade with China. When Britain ended the East India company's monopoly over the China trade, they assumed they could not be implicated in the illegal opium trade and they were soon proved very very wrong. Britain had managed to fix their silver problem, but at the cost of draining China's silver and that tight rope they were walking, well they fell. China was becoming chaotic again, revolts were likely to be on the horizon. The Qing dynasty had had enough of the situation and began to crack down in the 1830's more and more so. Now China is sending one man who had proven he knew how to stop the opium trade and soon he would wage war on the illicit trade.   This episode is Lin Zexu vs big opium   Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on the history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War.   Lin Zexu gave the strongest and swiftest voice of approval and he was no ordinary official. Lin Zexu was the son of a schoolteacher and proved to be a great student. He passed the brutal competitive examination in Beijing in 1811 at the age of 26 emerging top of his class. Working as a judge in the 1820's he earned a reputation for fairness and the nickname “Lin, Clear as heaven” or “Lin the Clear sky” which was a testament to his incorruptibility. Over the years of his work he earned great renown as a pragmatic administrator deeply versed in how to deal with water management and flood relief. He was a rare official who could be relied upon to put the welfare of the people ahead of his own gain. He was frankly, incorruptible and because of this, in 1838 he was Emperor Daoguangs favorite minister and reached a rank comparable to Deng Tingzhen in Canton while being 10 years younger than him. He was a beacon of honesty and virtue in a time when the Qing government was full of corruption. One and a million as they say.    Lin Zexu's primary concerns had always been domestic, he had no dealings with foreigners as that was exclusively a Canton issue. Foreign relations were very far from his mind and this shaped his way of thinking. His main concerns were with the Chinese, not the foreigners when tackling the problem of opium. Lin Zexu was quite conservative and his support for suppressing opium was based on his abiding faith in moral suasion. When Huang Juezi made his proposal it marked a turning point for Lin Zexu. He seized on the proposal almost like a religious crusade and immediately offered the Emperor a detailed action plan. He recommended the confiscation and destruction of opium pipes and other equipment for using the drug. Local moral campaigns, education campaigns to teach the evils of opium to the people and active suppression of opium dens and corrupt officials. He also recommended medical treatments to help addicts wean off opium. He described various elixirs used to combat opium addiction.   One thing of interest to me as my first degree is in neurobehavioral science, Lin Zexu talked about giving patients a mix of small amounts of opium combined with herbs that would make the patients sick. This idea has been used in the field of addiction and can be effective. The Idea is based on operant conditioning, by linking to the act of taking opium with a negative stimulus you might get the patient to be more and more reluctant to take the drug. I will attest this in practice is a hit or miss depending on the drug or action. Anyways Lin Zexu's action plan was quite formidable and was hitting the issue at the source at multiple angles.    After sending his action plan to the Emperor, Lin Zexu took the initiative to test it out in his provinces of Hunan and Hubei. In august of 1838 he launched the campaign first setting out to hospitals to treat addicts. Then he jailed dealers, issued proclamations condemning the use of the drug and ordered local officials to round up and destroy whatever opium or opium using equipment they could find. Reports began to pour into Beijing about the success of Lin Zexu's plan. Tens of thousands of pipes were and ounces of opium were confiscated. Mind you 10 thousands ounces of opium was around 10 chests worth, during a time when 30,000 chests were coming into China annually. The pipes and opium were burnt publicly, which was a crucial element to the plan as they needed to prove to the public they indeed were destroying the substance, otherwise the public would assume they were taking it for themselves! Lin Zexu's reports to the Emperor were increasingly triumphant and their tone pressed the urgency to unleash the action plan outside Hunan and Hubei. In September of 1838 Lin Zexu declared opium to be the largest problem the Qing dynasty was facing. “Before opium was widespread, those who smoked it only harmed themselves. The punishments of canning and exile were enough to keep them in line. But when its evil influence has penetrated into the whole country, the effect is tremendous. Laws should be put into rigid enforcement. If left in a lax state, then after a few decades, there will be no soldier in this Central Empire to fight against invaders, nor money to bear the military expenses. I have the fear, that if the evil be suffered to grow at this critical moment there may be no more chance for remedy”.    In October of 1838, the Daoguang Emperor was leaning heavily towards initiating the suppression campaign while some of his officials still believed he might legalize opium. Those same officials were feeding Charles Elliot stories that at any moment the substance would be legalized and this influenced his actions. Then on November the 8th a Manchu official named Qishan who was the governor general of Zhili province reported the largest drug bust in the history of the Qing empire to that point. The confiscated opium was found in Tianjin, not too far away from Beijing. Qishan stated the opium had come from Canton through the Cantonese traders who managed to ship it north through various means. The major drug bust indicated to the Qing court, perhaps they needed to perform the same action in Canton. Emperor Daoguang then made the decision to summon Lin Zexu to Beijing in December of 1838. After the meeting, Emperor Daoguang tasked Lin Zexu with a mission to obliterate the opium trade in Canton. Lin Zexu would travel south as an imperial commissioner, holding the power to act on behalf of the Emperor, answerable to no other local officials. He would have command over all naval forces at Canton and Deng Tingzhen would give him support. Thus in early January of 1839, while Charles Elliot expected legalization of opium to be declared at any moment, Lin Zexu made his way to end the illicit trade once and for all.   Charles Elliot was being fed false information about the ongoing court battle over the opium question in China and he worried about his lack of authority over the British subjects in Canton. If the opium smugglers provoked a crisis under his watch, he was placed in quite a predicament. The British traders and Chinese did not actually know what Elliot's authority was and on many occasions tried to pry the information out of him. The English newspapers for example repeatedly asked him to clarify what his authorization was, but he refused to ever answer.  Elliots became increasingly concerned with British sailors getting into fights with local chinese and organized a naval police force to deal with the issue. Yet when he began doing this he was scolded by Palmerston for overstepping his authority. “You have no power of your own authority to make any such regulations. The establishment of a system of police at Whampoa within the dominions of the Emperor of China was in violation of the absolute right of sovereignty enjoyed by independent states”.    By the early winter of 1839 it seemed governor general Deng Tingzhen's ongoing efforts to crackdown on the Chinese opium smugglers was working. As noted by William Jardine “Not a broker to be seen, nor an Opium pipe; they have all vanished. The authorities are seizing smokers, dealers and shopkeepers innumerable. We must hope for better times and brisker deliveries”. Up to this point Deng Tingzhen limited his actions towards the Chinese and did not target any foreigners. Occasional shots were fired between government boats and foreign smuggling vessels, but nothing had gotten out of hand. Then on December 3rd, a small drug bust was performed and 2 Chinese workers were caught smuggling opium for a British merchant. In response to the incident, Deng Tingzhen decided to make an official statement to the foreign community. On december 12 a small force of Qing soldiers went to the gates of the foreign factories and hammered a wooden cross on the gate indicating they were about to execute a convicted Chinese opium dealer. The site of the execution was to be in front of the foreign factories, obviously Deng Tingzheng was sending a message to the foreigners, that they were responsible for the man's execution.    Its hard to know who acted out first. Elliot was at Whampoa and did not witness the event to come and those involved on the British side said they had no involvement. Its been theorized British sailors may have perpetuated it, regardless some foreigners decided that the execution in front of their homes was too distrubed and began to tear down the gallows being erected. The local Chinese soldiers did nothing to resist, some even began to help tear it down. A crowd of Chinese formed to watch the event and its remained peaceful, until some rowdy British began shoving their way through the crowd. These British hit several Chinese with sticks and some threw rocks, as you can imagine soon fights began and a full riot burst. Several thousand Chinese came and began pelting the foreigner with rocks prompting the Chinese soldiers to intervene and escort the foreigners back into the factories. In the end the gallow was torn down, but the convicted Chinese smuggler was executed elsewhere.    Palmerston demanded to know what had occurred, he was furious the British subjects had the audacity to get involved in Chinese affairs. “On what grounds did the traders imagine themselves entitled to interfere with the arrangements made by the Chinese officers of justice for carrying into effect, in a chinese town, the orders of their superior authorities”. Elliot was quite shaken by the situation. He knew he had to do something to thwart any further incident, but he had no real authority to do anything. He wrote back to Palmerston “that the danger and shame of the opium trade had reached a point where it was falling by rapid degrees into the hands of more and more desperate men”. Elliot then decided to take firm action, on december 18 he issued a proclamation ordering all British vessels carrying opium to depart the inner waters of Canton immediately. He had no authority to confiscate their cargoes, nor to arrest them and thus he fell back on the authority of the Qing government. If any British vessels refused, he would personally turn them over to the Chinese “Her Majesty's Government will in no way interpose if the Chinese Government shall think fit to seize and confiscate the same”. Simultaneously he wrote the governor of Canton pledging his support for the campaign against opium.    The opium traders were all very very pissed off. The superintendent, Elliot was supposed to protect them! James Matheson complained to the British press “that Elliot had adopted the novel course of assisting the Qing government in this, against his own countrymen! It appears to be the intention of Captain Elliot to offer himself as a kind of chief of the chinese preventive service”. Another execution of a convicted chinese opium smuggler took place in february of 1839, this time it was done much faster and with a large guard. William Jardine left Canton in late January of 1839, leaving Matheson to watch over the business. Enroute to Canton was Lin Zexu who was being counseled by many Qing officials. Qishan warned Lin Zexu not to start a war against the foreigners. Another official Gong Zizhen who was prolifically anti opium, advised that if Lin should try to shut off the source of opium directly at Canton, then both the foreign and Chinese dealers might start a revolt and China might not have sufficient military power to control them both. He recommended a gradual approach, first take action to reduce imports and only against the Chinese merchants and consumers while simultaneously increasing the military defenses at canton. He argued that China's existing naval forces could not possibly match the British and that efforts should be made to increase coastal and inland defenses. With all that being complete, in time they would be able to shut off the foreign merchants completely. Enroute to Canton, Lin Zexu visited Bao Shichen a official who had written since the 1820's on the subject of shutting down foreign trade to prevent the drain of silver from china. Bao Shichen told him “to clear a muddy stream you must purify the source. To put a law into effect you must first create order within”. Lin Zexu took this to mean he should first begin arresting all the government officials who had violated the ban on opium. Then he must completely shut off the flow of foreign opium imports coming into Canton. Bao Shichen would later state that Lin Zexu misunderstood him completely and that shutting down foreign trade was too dangerous.    In March of 1839, Canton was anxious about Lin Zexu's arrival. Everyone knew the great powers invested upon him, but nobody knew how he would use them. He arrived on March 10th and immediately struck hard. He began with mass arrests of the known Chinese smugglers and put up proclamations announcing his mission was to destroy the opium trade in its entirety. He ordered marchants to abandon the trade and for users to hand over their pipes to be smashed. Thousands of pounds of opium and tens of thousands of pipes were confiscated. In 3 months after his arrival, he would arrest 5 times the amount of people that Deng Tingzhen had done in his 2 year reign. As things were going along successfully with the Chinese affairs, Lin Zexu then decided to address the foreign merchants. On march 18 he issued an edict ordering the British merchants to surrender all of their opium to him and gave them 3 days to comply. The Hong merchants as the traditional mediators between the foreigners and the Qing government bore the heaviest blame and Lin Zexu began interrogating them all. Many were brought before him on their knees under threat of execution if they should lie.    The foreign merchants initially made no efforts toward surrendering their opium, they all wanted to see how far Lin Zexu would actually go. Lin Zexu was not accustomed to being disobeyed and quickly lost his patience. By March 19 he announced that no foreign merchants would be allowed to leave the Canton factories until they gave up their opium and signed papers stating they would never trade the drug again in China under penalty of death. Boom. If they continued to defy him after the 3 day, he would execute Houqua and other Hong merchants on the morning of March 22. The Hong merchants all panicked and pleaded with the British merchants to help. The British caved in someone and agreed to hand over 1000 chests of opium on the morning of march 22. Word came that the amount of chests would not be enough and thus the British simply held back.    Houqua and some other Hong merchants were paraded around the Canton square with iron collars and chains. Lin Zexu threatened to execute them if British merchants did not hand over the opium, but the deadline had passed and many were suspicious if Lin Zexu was bluffing. One person who did not think Lin Zexu was bluffing was Elliot who was in Macao when he heard of the situation. Elliot feared the British merchants would all be put on trial and executed. Elliot resolved to save them by standing up to the imperial commissioner, but also while trying to appease him. Elliot wrote to Palmerston “to save the merchants a firm tone and attitude was all that he needed to efuse the unjust and menacing disposition of the Imperial commissioner, but that he would also appease him by using his best efforts for fulfilling the reasonable purpose of the Qing government”.    Elliot arrived at the Canton factories at sundown of March 24 in a rowboat in full captain's uniform with a cocked hat and his sword in hand. He proclaimed to the merchants “given the imminent hazard of life and property and the dark and violent natures of Lin Zexu's threats, they should begin immediate preparations to evacuate the Canton factories. If Lin Zexu refused to grant them passage from Canton to Macao within 3 days, Elliot would conclude that the Chinese intended to hold them hostage. So long as their proceedings were moderate, defensible and just I will remain with you to my last gulp!”. That night Lin Zexu ordered all the Chinese staff in the factories to leave. The cooks, linguists, porters, servants and such all packed up and left. Then Lin Zexu shut off all supplies from entering the factories and surrounded them with soldiers. The foreign factories had become a prison for roughly 350 people, not all of whom were British. There were Americans, Parsis, some Dutch alongside the British. Lin Zexu was careful to order all guards to not provoke nor molest the foreigners, he wanted everything to be peaceful. Nobody was going to starve however, provisions were plentiful in the factories, however the merchants found cooking for themselves disastrous. One report came from the Americans who said Robert Frobes attempt at ham and eggs came out a hard black mass approximating the sole of a shoe.    Elliot was terrified they were all going to starve or be executed. Elliot resolved that they had to cooperate with Lin Zexu and hand over all the opium for if they didn't, he feared they would all be executed. In the name of her majesty, Elliot ordered everyone to surrender the opium to him and in return he would sign a promissory note guaranteeing that the British government would pay them its fair market value. The offer seemed too good to be true to the merchants. The Qing authorities could at any moment seize all the opium by force and with it their tremendous losses. James Matheson said “our surrender is the most fortunate thing that could have happened”. Throughout the afternoon on march 27th, the merchants brought Elliot statements of the amount of opium under the control of their firms and he in turn signed notes of guarantee payments by the British government. All told the amount was 20, 283 chests with a market value of roughly 10 million dollars. There was one glaring problem with this solution, Elliot had absolutely no authority to do it.   Elliots decision would turn out to be the crux of many events to come. Elliot had no authority nor any instructions to do what he did. It seems in hindsight it was a rash decision made in panic. From Elliots point of view he had to immediately save the lives of the British subjects and the overall trade relations between Britain and China. After making the choice he wrote to Palmerston “I am without doubt, that the safety of a great mass of human life hung upon my determination”. All the merchants who went along with it knew full well Elliots did not have the authority to purchase 10 million dollars worth of opium on behalf of the Crown, but because he had been so ambiguous in the past about his authority, they could all play coy that they went along with it believing he did have the authority. The signed document would give them a strong case against the British government for compensation if and when it came to that. Facing the choice of having their contraband seized by Elliot or Lin Zexu, it was a no brainer they had better chances dealing with their own government to get reimbursement. Both Elliot and the traders assumed there would be a compensation of sorts and with it the termination of the Indian Chinese opium trade for good. They had no idea how events in Britain would unfold as a result of all of this.    And so Elliot wrote to Lin Zexu informing him he would be surrendering all of the opium, which would be the single largest seizure of opium recorded in Chinese history up to that point. Lin Zexu wrote to the emperor on april 12 1839 after the seizure detailing how enormous the success was. He got them to seize all the opium in a short time and they made little conflict over it, hell no military force was really necessary “naturally they were cowed into submission”. Lin Zexu recommended they show benevolence towards the foreigners, to forgive them of their past crimes and send them a large gift of livestock, since he imagined they were starving and they no longer had their trade to support them. Yet Lin Zexu did not immediately release them, Elliot was livid! Lin Zexu told Elliot they could only be granted to leave once ¾'s of the opium had been collected a process that would take weeks, possibly months. Elliot sent a secret dispatch to Palmerston begging him for a naval fleet “it appear to me, my lord, that the response to all these unjust violences should be made in the form of a swift and heavy blow, prefaced by one word of written communication”. Elliot further argued for naval blockade of Canton and the Yangtze River, the capture of Chusan island all followed up by a northern expedition to demand the “disgrace and punishment” of Lin Zexu and Deng Tingzhen. Emperor Daoguang should be forced to apologize for the “indignities heaped upon the Queen and to pay an indemnity to satisfy British losses. The Qing government must be made to understand its obligations to the rest of the world.    It would take 6 weeks for all the opium to be collected and the Qing officials expected the opium to be sold off to reimburse the countless Chinese traders that had lost out. Emperor Daoguang however ordered Lin Zexu to destroy it all, and that is just what he did. I would like to mention at this time, I covered what is to come, the first Opium war on my personal channel, its a 45 minute or so documentary so please check it out it would mean a lot to me. But what I also want to let you know is there was a British/Chinese movie made on the Opium war called…the Opium War haha, which came out in 1997. I won't sugar coat it, not a amazing film by any measure, but the scene where Lin Zexu destroys the opium is quite impressive and does more merit to the story then me narrating it, so check it out if you would like! Over the course of 3 weeks in June, Lin Zexu destroyed the opium at a specially built site near the Tiger's Mouth. An american missionary named Elijah Bridgeman witnessed it and there are artist renditions of the event. In rectangular pools around 7 feet deep the opium balls were crushed and tossed in. Chinese workers would stir the thick opium filled water into a froth then cover it all with lime and salt for a few days before casting it out to sea.   Lord Palmerston learnt of the confiscated opium from the traders themselves before Elliots letter arrived. The letter that informed Palmerston was from James Matheson who was launching a campaign to make the government pay up. Suddenly petitions from all the merchants poured into Palmerstons office. A bunch of drug dealers were shaking down the British government to pay for their lost drugs. There was another major problem, since march of 1839 all trade with China had halted and there was no way to tell when it would open back up. Ships full of cotton textiles were stuck at Macao and tea shipments were stuck in Whampoa. All the non opium traders were petitioning Britain to do something and fast. Collectively the domestic manufacturers of goods that went to Canton held significant political power, much greater than the opium claimants. They demanded “prompt, vigorous and decided measures to reopen Canton and put the regular China trade on a more secure and permanent basis”. What they wanted was a treaty, done via force if necessary.   William Jardine arrived in Britain in September right as the news from Canton was spilling in and began a lobbying campaign. For the british government the talk of the opium trade was embarrassing and they wished to make the entire matter disappear as quickly as possible. However the amount of money owed to the opium traders was enormous and the Treasury of England was in no state to compensate them. Palmerston was in a terrible situation and he brought the issue of China to a cabinet meeting at Windsor castle on October 1 of 1839. He was being bombarded by business lobbyists demanding action, Elliots letter pleading for help and the English press. Britain was involved in a war in the Ottoman Empire against Russia, with a dispute between Maine and New Brunswick and an invasion of Afghanistan thus all the ministers did not want to distract themselves too much with the China problem. Palmerston offered a quick solution, he tossed in front of the cabinet several maps of the Chinese coast and explained how a small British squadron could blockade China's crucial ports and rivers to force the Qing government into submission. The plan was almost identical to a plan formulated by James Matheson in 1836 after Napiers death. The Prime minister Lord Melbourne was not so much concerned with the military aspect of the plan, but how were they going to pay the 10 million to the opium merchants, they had no financial resources to spare. They did not want to take on anymore government debt, the debt was already high after the Napoleonic wars. Also it was going to look terrible bad that the British government was paying off drug dealers. Then the solution came, the brand new secretary at war, Thomas Macaulay made a suggestion to Palmerston, a rather out of the box idea. Why not make China pay for it all.   Palmerston put forward Macaulay's idea and the cabinet agreed boom. The matter was settled, a naval squadron, not too large would be dispatched to obtain reparation from China for Lin Zexu's taking of Elliot and the other British subjects hostage. On may 21st of 1839, Lin Zexu finally allowed the foreigners to leave Canton and Elliot ordered all British subjects to abandon the factories and go to macao. Despite this more tense events would follow.    In early July there was a drunken melee in Hong Kong harbor. The comprador of the British ship Carnatic was arrested and the sailors of the Carnatic demanded his return, but the Chinese refused. Thus 30 sailors on July 12th from the Carnatic and Mangalore, both ships owned by Jardine Matheson & Co went ashore and to the village of Jianshazui on the Kowloon Peninsula. They all proceed to get drunk off Samshu, a fortified rice wine and vandalized the local temple and beat to death a man named Lin Weixi. Elliot was livid when he heard the news, he was trying to bide time in the hopes Britain was sending reinforcements. He immediately tried to rush to Jianshazui to bribe the family of the victim, but the bribery was to no avail. When Lin Zexu heard of the affair he demanded that the culprits be handed over for Chinese justice. At this time Lin Zexu he had just received new regulations from the Emperor that formully mandated the death sentence for opium users in China and for the first time also for foreigners who sold opium.The British assumed it was a death sentence to give the men up. Lin also put up postings that if any Chinese killed a foreigner unjustly they would be executed. Instead of giving up the men, Elliot called for a court of inquiry and charged 5 British sailors with riot and assault, but brought no murder or manslaughter chrages. Lin Zexu accused the British of denying China's sovereignty by issuing a court of their own.   Elliot then invited Lin Zexu to send government officials to observe a new trial for the said sailors, but Lin Zexu refused and promulgated an edict that forbade anyone from giving food or water to all the British citizens in China under penalty of death. The situation was growing more and more tense and Lin Zexu tossed Elliot a rope. On August 17 he ordered Elliot to hand over the murderer without specifiyng the perpetrators identity. Thus the idea was that Elliot could simply send whomever he wanted and the matter could be settled. From Elliots point of view however, to handover any British citizen would cause an uproar back home and he refused to do so.     On August 24, an English passenger aboard a boat near Hong Kong was attacked at night. The Chinese stripped the man naked, cut off his ear and stuffed it in his mouth. Rumors began to spread that Lin Zexu was amassing thousands of soldiers to invade Macao. Then the Portuguese governor general of Macao, Don Adraio Accacio a Silveira Pinto told Elliot he had been ordered by the Chinese to expel the British from the colony. He also told Elliot that the Chinese were secretly forming a military force to seize all the British in Macao. That very same day 2 ships belonging to Jardine Matheson & Co arrived to Macao, the Harriet towing the Black Joke. Living up to its name, the Black Joke was covered in blood all over her decks and her crew was missing. The crew of the Harriet reported that unidentified Chinese had boarded the Black Joke as it passed the island of Lantao and massacred the entire crew except for a single sailor they had rescued. Governor Pinto was so alarmed by this development he simply ordered the British to leave immediately.   Elliot finally took action. Elliot ordered all the British women and children to depart aboard some merchant ships and sail to Hong Kong Island. With no more hostages at stake Elliot now felt free to make a counterattack if necessary, but for now he would bide his time hoping that Britain was sending a squadron. His hopes were raised when a warship from India arrived, the Volage which held 26 cannons, she also brought with her news that another warship, the Hyacinth and 18 gunner was on its way shortly. Thus Elliot and all the men boarded the ships and sailed to the Kowloon peninsula and set up a flotilla just above Hong Kong island.   Lin Zexu got a report of the exodus of Macao and felt he had finally won and wrote to Emperor Daoguang “no doubt they have on their ships a certain stock of dried provisions; but they will very soon find themselves without the heavy, greasy meat dishes for which they have such a passion”. On September 1 the Emperor sent Lin Zexu a letter asking if the rumors were true that the barbarians had purchased female children and used them in diabolical rites. Lin Zexu replied that the foreigners employed Chinese adults as plantation workers and miners and a few children, but he did not believe that any black magic was involved in their employment. The Emperor also asked if the confiscated opium contained human flesh which he theorized might explain the illicit drugs preternatural addictive powers. Lin had heard these ridiculous rumors before, but he could not contradict the Emperor as it amounted to Lese Majeste, so he replied that the opium may have contained flesh of crows that second handedly eat human flesh.   After dealing with the Emperor letters which said a lot about the perspective of Beijing on the matter, Lin went to Macao to thank the Portuguese governor for his help. Then Lin Zezu learnt of the British flotilla at Hong Kong. Lin Zexu began to issue orders forbidding the supply of food or water to British ships under the penalty of death. Again the Chinese staff were removed and Chinese war junks began to surround the kowloon peninsula and Hong Kong harbor. Signs were raised stating that the wells and streams had been poisoned.   Elliot tried one last ditch effort at diplomacy and took 3 ships, the 14 gun cutter Louisa, the 6 gun schooner Pearl and the 18 gun Volage to Kowloon to demand provisions. They soon ran into 3 anchored Chinese war junks who were blocking them from landing. Elliot sent an interpreter to demand they be allowed food and water. The Chinese captains refused to comply and Elliot said if they did not comply by 2pm that day he would be forced to bombard them. 2pm came with no indication of provisions being sent and no response from the Chinese. So Captain Henry Smith of the Volage fired on the nearest Chinese war junk and the first shot of the First Opium War had been made.   According to Adam Elmslie a young superintendent clerk was witnessed the event Henry Smith ordered the volley and “The Junks then triced up their Boarding nettings, and came into action with us at half pistol shot; our guns were well served with grape and round shot; the first shot we gave them they opened a tremendous and well directed fire upon us, from all their Guns (each Junk had 10 Guns, and they brought all these over on the side which we engaged them on) ... The Junk's fire, Thank God! was not enough depressed, or ... none would have lived to tell the Story.—19 of their Guns we received in [the] mainsail,—the first Broadside I can assure you was not pleasant.”   Thus the outdated cannons aboard the Chinese war junks were aimed too high completely missed all the British ships. The ships continued to exchange fire and the shore batteries opened fire to support the war junks. By 4:30pm the British had used up almost all their ammunition and made a getaway with the war junks in quik pursuit. Adam Elmslie had this to say when the fire fight recommenced.  “The junks immediately made sail after the Louisa and at 4:45 [pm] they came up with the English vessels. We hove the vessel in stays on their starboard Beam, and the 'Pearl' on the larboard [portside] Bow of the van Junk, and gave them three such Broadsides that it made every Rope in the vessel grin again.—We loaded with Grape the fourth time, and gave them gun for gun.—The shrieking on board was dreadful, but it did not frighten me; this is the very first day I ever shed human blood, and I hope it will be the last”. During the second engagement the Chinese war junks retreated to their previous positions and the 3 British ships returned to the flotilla causing a stalemate. The captains of the Chinese war junks sent word to Lin Zexu of a great naval victory over the British claiming to have sunk a number of enemy ships and inflicting 50 casualties. The truth was there were no British casualties and no ships sunk however, in fact the Chinese had 2 killed and 6 wounded. Captain Henry of the Volage bagged Elliot to let him attack the Chinese war junks near Hong Kong harbor certain of victory, but Elliot refused fearing the outbreak of a wider battle and wanting the foreign ministers approval first before escalating things anymore. Despite the reported victory of the Chinese war junks, food and water was sent to the British ships. Lin Zexu was facing a personal and painful problem, an excruciating hernia. Chinese doctors were trying to help him to no avail, so Lin Zexu visited the office of one Dr. Peter Parker, no not spiderman, this was a Yale educated missionary. Parker fitted Lin Zexu with a truss that helped with the pain. After this Lin Zexu began reviewing the military situation at hand, at this time he wrote a poem about the battle of Kowloon “A vast display of Imperial might had shaken all the foreign tribes/And if they now confess their guilt we shall not be too hard on them.”. The Chinese began to war game while at Hong Kong the Hyacinth arrived to reinforce Elliots Flotilla. Lin Zexu continued to demand the surrender of the sailors who killed Lin Weixi, but as time went on the anger caused by the event had dissipated. Then a sailor allegedly drown from one of Jardine Mathesons & Co's ships and the Chinese volunteered to let that dead sailor be identified as the murderer, case closed.  Yet trade between Britain and China did not resume and Lin Zexu kept demanding all those who wished to trade in China sign the contract promising not to deal opium under penalty of death. Elliot told the traders not to sign the waivers and to simply sit tight for the time being as he waited for a British fleet. Some of the traders undercut his orders however and went ahead and signed the waiver and thus were allowed to trade legal cargo. One of these traders was Captain Warner of the British cargo ship Thomas Coutts and Lin Zexu was so impressed by the man he asked him to take a letter back to Britain for Queen Victoria. The letter was a remarkably frank document that explained the situation in Canton. It described all the evils of the opium trade and how it was hurting China and the response the Qing government was making to the opium crisis. It also stipulated how they could amend the situation to get rid of the opium menace and resume legal trade. Captain Warner alleges he made good on the promise to bring the letter, first to Lord Palmerston, but his office refused to receive the letter, and there is little evidence Queen Victoria read the letter in question. The Times of London did publish the letter however, it seems Captain Warner must have simply given it to them in the end. When Lin Zexu found out another British warship had joined the Flotilla he took action. He suddenly proclaimed the corpse of the drowned sailor was no longer sufficient for the murder of Lin Weixi and renewed his demands for the murders to be handed over. Failure to comply would result in the expulsion of the entire British colony. In the fall of 1839, 38 British trading vessels and 28 trading companies aboard them remained in Hong Kong harbor. Elliot begged the governor of Macao to let them come back, but he refused fearing the Portuguese would be dragged into what looked like an impending war. Then on October 20th, Elliot received a letter from Palmerston informing him that early next summer, 16 British warships with 4000 men were enroute to rescue the flotilla and to sit tight. However in the meantime more captains were signing the waiver and at the end of October Lin Zexu ordered all British ships to leave within 3 days time. Elliot set sail aboard the Volage with Hyacinth backing him up, for the Bogue as the British called it, it is also known as the Humen, it is a narrow strait in the Pearl River Delta. When Elliots ships reached Chuanbi near the mouth of the river on November 2nd, they came face to face with a Chinese fleet consisting of 15 war junks and 14 fire ships commanded by an old and revered Admiral named Guan Tianpei. Elliots ships came to a halt when he ran into Guan's fleet and they began to exchange a series of messages trying to ferret out the intentions of the other. Guan threatened to seize either ship if it was holding the murderer of Lin Weixi “All I want is the murderous barbarian who killed Lin Weixi. As soon as a time is named when he will be given up, my ships will return into the Bogue. Otherwise, by no means whatsoever shall I accede”. Elliot failed to persuade Guan that he was no threat and the admiral fleet began to maneuver into a position to attack the 2 British Warships. As this was occurring, the Royal Saxon arrived on the scene on its way to Canton. Elliot was anxious to not allow another Captain to sign the opium waiver and fired a warning shot across the Royal Saxon's bows to prevent the ship from entering the river. Guan proceeded to anchor hit ships in between the British warships and the Royal Saxon. Captain Smith pleaded with Elliot to allow him to attack before it was too late and Elliot gave in. The 2 British warships closed in and began to fire their broadsides. The stationary guns aboard the Chinese war junks could not be aimed effectively and fired right over the British masts. One lucky British volley hit a war junks magazines causing it to explode tremendously and sink. This caused the Chinese captains to panic as the Volage continued to score hits at point blank range. 3 more junks were hit and sunk and some of the crews aboard other ships literally jumped overboard. The entire Chinese fleet baegan to scatter and flee, all except for one ship, Admiral Guan's which suicidally stayed to return fire. Guan's ship posed a minimal threat and Elliot impressed by the old Admiral's courage, ordered Smith to stop the barrage and allow the damaged flagship of Admiral Guan to sail off. The Chinese fleet had 1 junk exploded, 3 sunk, countless damaged and the Volage sustained light damage to its sails while Hyacinth's mast received a hit from a 12 pound cannon ball. 15 Chinese sailors were dead with 1 British wounded. The battle of Chuanbi was over and the way to Canton was now open. News of the sea battle reached England and the government remained in denial about the cause of the conflict IE: the opium trade. A group of lobbyists led by William Jardine began to pelt the British press to save the opium trade while simultaneously demanding the British government reimburse the opium merchants. Parliament began to debate how to go about the situation and there emerged an anti-war camp and a war camp. One anti war advocate, Sir William Ewart Gladstone said   “Does he [Macaulay] know that the opium smuggled intoChina comes exclusively from British ports, that is, from Bengal and through Bombay? That we require no preventive service to put down this illegal traffic? We have only to stop the sailing of the smuggling vessels…it is a matter of certainty that if we stopped the exportation of opium from Bengal and broke up the depot at Lintin [near Canton] and checked the cultivation of it in Malwa [an Indian province] and put a moral stigma on it, we should greatly cripple if not extinguish the trade in it. They [the Chinese government] gave you notice to abandon your contraband trade. When they found you would not do so they had the right to drive you from their coasts on account of your obstinacy in persisting with this infamous and atrocious traffic…justice, in my opinion, is with them [the Chinese]; and whilst they, the Pagans, the semi-civilized barbarians have it on their side, we, the enlightened and civilized Christians, are pursuing objects at variance both with justice and with religion…a war more unjust in its origin, a war calculated in its progress to cover this country with a permanent disgrace, I do not know and I have not read of. Now, under the auspices of the noble Lord [Macaulay], that flag is become a pirate flag, to protect an infamous traffic.” Palmerston blamed the purchasers of the opium and not the sellers and that the effect of halting the opium exports to China would just drive Turkey and Persia to sell it instead. “I wonderwhat the House would have said to me if I had come down to it with a large naval estimate for a number of revenue cruisers…for the purpose of preserving the morals of the Chinese people, who were disposed to buy what other people were disposed to sell them?”   After 3 days to debate the house of commons voted on April 9th of 1840 271 vs 262 to proceed for war. On 20 February 1840 Palmerston sent 2 letters, 1 to Elliot and 1 to Emperor Doaguang. The letter to the Emperor informed the Qing dynasty that Britain had already sent  a military expeditionary force to the Chinese coast. These measures of hostility on the part of Great Britain against China are not only justified, but even rendered absolutely necessary, by the outrages which have been committed by the Chinese Authorities against British officers and Subjects, and these hostilities will not cease, until a satisfactory arrangement shall have been made by the Chinese Government. Palmerston's letter to Elliot instructed him to set up a blockade of the Pearl River and forward the letter from Palmerston to Emperor Daoguang. After that Elliot was to capture the Chusan Islands, blockade the mouth of the Yangtze River, start negotiations with the Qing officials. Palmerston also issued a list of objectives that the British government wanted accomplished, with said objectives being Demand to be treated with the respect due to a royal envoy by the Qing authorities. Secure the right of the British superintendent to administer justice to British subjects in China. Seek recompense for destroyed British property. Gain most favoured trading status with the Chinese government. Request the right for foreigners to safely inhabit and own private property in China. Ensure that, if contraband is seized in accordance with Chinese law, no harm comes to the person(s) of British subjects carrying illicit goods in China. End the system by which British merchants are restricted to trading solely in Canton. Ask that the cities of Canton, Amoy, Shanghai, Ningpo, and the province of northern Formosa be freely opened to trade from all foreign powers. Secure island(s) along the Chinese coast that can be easily defended and provisioned, or exchange captured islands for favourable trading terms. It was left to Elliot as to how these objectives would be fulfilled, but noted that while negotiation would be a preferable outcome, he did not trust that diplomacy would succeed, writing; To sum up in a few words the result of this Instruction, you will see, from what I have stated, that the British Government demands from that of China satisfaction for the past and security for the future; and does not choose to trust to negotiation for obtaining either of these things; but has sent out a Naval and Military Force with orders to begin at once to take the Measures necessary for attaining the object in view.   And so because of a drug cartel, run by some ruthless characters like Jardine & Matheson, Britain choose to go to war with the Qing Dynasty and begun a century of humiliation for China. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me.  The incorruptible Lin Zexu was the perfect man for the job of putting an end to the opium problem. However the nefarious opium dealers would not go down without a fight and in the end this all would result in the first opium war. Buckle up it's about to get messy.   

We talk white girls acting up, Osho, Parsis in entertainment, Ricky Martin being a bad uncle, and lots more fun!FOLLOW US :@yourmangobae

On Cock & Bull today, we are joined by Antariksh Takkar, Abbas Momin & Meghnad S. Monday morning, and we get to see Cyrus in the studio? And he is also ranting about why he came to the studio on a Monday morning! The show started with Silverie and Abbas, both being late to the show as usual, but the only difference is that this time they were the panelists as the hosting rights for today's episode were in the hands of Meghnad. The panel talks about the excessive work Meghnad is doing for the show, his big headphones, Cyrus's social media antics, and what's happening on the Cyrus Says discord server. Topics discussed by the panel were: Government encouraging online dating to bump up the Parsi population and NASA's James Webb Telescope searching for extraterrestrial life using BioSignature. Tune in for this and much more!Check out Cyrus Says merch:ivm.today/3PLKo1mJoin the Cyrus Says fan created Discord Server: https://discord.gg/BMNJ3ftkMmYou can follow Meghnad on Instagram at @meghnadsYou can follow Antariksh on Instagram @antariksht: https://instagram.com/antarikshtYou can follow Abbas Momin on Instagram @abbasmomin88: https://www.instagram.com/abbasmomin88/Do send in AMA questions for Cyrus by tweeting them to @cyrussaysin or emailing them at whatcyrussays@gmail.comDon't forget to follow Cyrus Broacha on Instagram @cyrus_broacha(https://www.instagram.com/cyrus_broacha)In case you're late to the party and want to catch up on previous episodes of Cyrus Says you can do so at: www.ivmpodcasts.com/cyrussaysYou can listen to this show and other awesome shows on the new and improved IVM Podcasts App on Android: https://ivm.today/android or iOS: https://ivm.today/ios

Dr. Iona Italia's name often perplexes the public, but it's entirely explicable considering her background. Her late father was from the Parsi community of the Indian subcontinent. Descendants of Persians who continued to adhere to the Zoroastrian religion of their ancestors, the Parsis migrated to northwestern India about 1,000 years ago. Remaining predominantly endogamous, they nevertheless developed a synthetic culture, adopting the Gujarati language, Indian dress, as well as some very idiosyncratic surnames, including Italiya. As far as her first name, Iona is very common in Scotland, her mother's homeland. Though raised in Karachi, Pakistan, as a child, Italia was orphaned at ten and grew up in Britain, under the supervision of her half-sister (on her mother's side), who was nearly twenty years older. Razib and Italia discuss the complexities of her personal history and racial identity in the context of an essay posted at her Substack, The Skin I'm In. Her story, that of a mixed-race person who “presents as white” and grew up detached from her subcontinental heritage, is especially interesting in light of the new identitarian regime that has arisen on the political Left in the last few years. Razib also asks Italia about the possible future of the more old-fashioned liberalism she espouses forthrightly on her podcast, Two for Tea, as well as what distinguishes the magazine she edits, Areo, from similar publications.

Once consumed, feelings of infusion, vitalisation, empowerment, elevation, even travel into other worlds or possession by the divine had been reported. So important was this drink, that there is an entire chapter with 114 hymns that have been dedicated to this drink alone - in the Rigveda, no less. This week, in the fourteenth episode of the series Fabulous Foods, we attempt to solve the world's greatest unsolved culinary mystery, that originated in India. We travel across the cold terrain of Siberia to the arid landscapes of Iran and Peninsular India, and maybe discover the source of the Soma. Till then Check out the other episodes of "Fabulous Foods"Coconuts, Cold War and Nuclear Fusion :- https://ivm.today/3riUjReIndian Jews, Konkan Coast and Kippur-Chi-Puri :- https://ivm.today/3KEh8qhNutmeg: The World's Most Violent Spice :- https://ivm.today/3uE4bY4Portuguese, Banned Languages and Grinding Songs :- https://ivm.today/3JEpZH7Dosa, Apocalypse and Dashavataras of Vishnu :- https://ivm.today/3xoXfQbClove, Transnational Smuggling and Nostalgia: https://ivm.today/3GDnrckBiryani vs Pulao, Deceit and Mughlai Cooking : https://ivm.today/3xuayw9Taboo Foods, Hindu Epics and Dharma : https://ivm.today/3zblDplNine Poisons, Tamil Mountain Gods and Food as Faith : https://ivm.today/3t7twrSA 400 Year Old Curse, Coffee and Indian Chinese food : https://ivm.today/38UX3hWCooking Rhinoceros, Rajputana Kings and Fake Meat : https://ivm.today/3x6nRoEYou can check previous episodes of 'Podcasts from Nowhere' on IVM Podcasts websitehttps://ivm.today/3xuayw9You can reach out to our host Utsav on Instagram: @whywetravel42(https://www.instagram.com/whywetravel42)You can listen to this show and other awesome shows on the IVM Podcasts app on Android: https://ivm.today/android or iOS: https://ivm.today/ios, or any other podcast app.

On Cyrus Says this week, we are joined by Aditya Raj Kapoor, long distance biker, businessman, actor and the author of Quest. They talk about Raj's journey of solo travel around the world on his bike, how long he took to complete this trip and why he only thought of doing this after his retirement. They also talk about the time in India when most bikes were ridden by Parsis or other gentlemen, how Raj got the name Lord FuseBox in biking circles, being nervous carrying 75 kg of luggage (yes 75kg!) to flying with his bike from Mumbai to Vladivostok, how his solo strip started, the kind of amazing and fascinating people he met, his love for bikes and travel, and lots more. Raj also tells us about how he used the map his route on the journey and the safety gears that he had in place. tThey also discuss whether he uses the 'Kapoor' name to get things done on his journey, an incident that happened in Russia where he had to dance with a Russian woman who was a fan of Raj Kapoor, and about the love of food that is famously shared by the whole Kapoor Khaandaan. Tune in for this and much more.You can follow Aditya Raj Kapoor on Instagram at @lordfuseboxGet Aditya Raj Kapoor's book at: https://www.amazon.in/Quest-Aditya-Raj-Kapoor/dp/935446176X#:~:text=%22Quest%20is%20a%20soul%20travel,Highway%20to%20head%20to%20Moscow.Do send in AMA questions for Cyrus by tweeting them to @cyrussaysin or e-mailing them at whatcyrussays@gmail.comDon't forget to follow Cyrus Broacha on Instagram @cyrus_broacha(https://www.instagram.com/cyrus_broacha)In case you're late to the party and want to catch up on previous episodes of Cyrus Says you can do so at: www.ivmpodcasts.com/cyrussaysYou can listen to this show and other awesome shows on the new and improved IVM Podcasts App on Android: https://ivm.today/android or iOS: https://ivm.today/ios

Honor is a riveting novel that transports readers to an India where interfaith marriage between Muslims and Hindus animates deep religious polarization.

Pre recording. K: What should we talk of today? K: Let's talk about eggs. I had some lovely eggs for breakfast. K: So did I. You do realise that by this logic we will do a podcast on eggs every week?! K: What a lovely idea! In this episode Kurush and Kalyan speak about poached eggs and French toasts and of how Bengalis revolutionaries have 'redefined them both,' while the Parsis remained loyal to Her Majesty. Of how one must take stories told by grandmoms about the stretchability of a single egg with a pinch of salt. They talk about the Parsi 'par eedu' concept of eggs, and of how to any Bengali an egg curry where the boiled egg is not slit and and tempered in oil first is nothing worse than a CIA conspiracy. In between Kurush shares his father's mayonnaise recipe and if you wait till the end, you will hear him share his akoori recipe, but not before Kalyan talks about how deem sheddo and phyana bhaat is all about pure love. 'K&K Dig Food' is a podcast on food hosted by Dr Kurush Dalal and Kalyan Karmakar from Mumbai (and navi Mumbai). Kurush is an archeologist and food ethnographer, who is a proud son of Mumbai ,and is possibly one of the most quoted people in articles on Indian food written in recent times. He runs a series of very popular online courses on food writing and is a much sought after speaker in food events. He is married to a Bengali (not Kalyan), Rhea Mitra Dalal  and runs Katy's Kitchen with her, a Parsi catering company started by his mother the late Dr Katy Dalal. Kalyan is a sociology student and an MBA, who started his career as a qualitative market researcher where he figured out that he loves interviewing people and moderating.  Anchors he likes to model himself on swing from Dr Prannoy Roy to Cyrus Broacha! He is a food blogger, published author and likes to call himself a 'columnist' so that he can write about his breakfast and get done with work for the day! He is married to a Parsi (not Kurush), Kainaz Karmakar, who when not babysitting the three boys at home, Kalyan, Baby Loaf and Little Nimki (the last two are cats, but no one has broken this to them), works in advertising. Kalyan and Kurush bond over a shared love for food, wry humour and Valibhai. You can google the more boring parts about their lives. Now be a dear and share this, click on like and subscribe to the channel

Nearly a century old, the grand façade of Bombay House is hard to miss in the historic business district of Mumbai. This is the iconic global headquarters of the Tata Group. Founded in 1868, the Tatas – India's largest business conglomerate – have been a persistent and dominant presence in the economic and business life of the country. Their businesses range from salt to software, tea to automobiles, and hotels to telecommunications. Originally from Navsari, Gujarat, the Tata family are Parsis, members of a tiny ethno-religious community of Indian Zoroastrians. After getting their start in the cotton and opium trades, the Tatas ascended to commanding heights in the Indian economy by the time of independence in 1947. Over the course of its 150-year history, Tata spun textiles, forged steel, generated hydroelectric power, and took to the skies. The Tatas became notable for their extensive philanthropy and for their unique business model, with trusts owning majority shares in the business. They also faced challenges – from restive workers fighting for their rights and from political leaders who sought to curb the corporation's power. Mircea Raianu's Tata: The Global Corporation That Built Indian Capitalism (Harvard University Press, 2021) tells an eye-opening portrait of global capitalism spanning 150 years, through the history of the Tata corporation. Raianu's sweeping history tracks the fortunes of a family-run business that was born during the high noon of the British Empire and went on to capture the world's attention with the headline-making acquisition of luxury car manufacturer Jaguar Land Rover. The growth of Tata was a complex process shaped by world historical forces: the eclipse of imperial free trade, the intertwined rise of nationalism and the developmental state, and finally the return of globalization and market liberalization. Today Tata is the leading light of one of the world's major economies, selling steel, chemicals, food, financial services, and nearly everything else, while operating philanthropic institutions that channel expert knowledge in fields such as engineering and medicine. Based on painstaking research in the company's archive, Tata elucidates how a titan of industry was created and what lessons its story may hold for the future of global capitalism. Mircea Raianu is an assistant professor of history at the University of Maryland. He specializes in the history of modern South Asia, with research and teaching interests in capitalism and economic life broadly constructed. Shatrunjay Mall is a PhD candidate at the Department of History at the University of Wisconsin-Madison. He works on transnational Asian history, and his dissertation explores intellectual, political, and cultural intersections and affinities that emerged between Indian anti-colonialism and imperial Japan in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/economics

Nearly a century old, the grand façade of Bombay House is hard to miss in the historic business district of Mumbai. This is the iconic global headquarters of the Tata Group. Founded in 1868, the Tatas – India's largest business conglomerate – have been a persistent and dominant presence in the economic and business life of the country. Their businesses range from salt to software, tea to automobiles, and hotels to telecommunications. Originally from Navsari, Gujarat, the Tata family are Parsis, members of a tiny ethno-religious community of Indian Zoroastrians. After getting their start in the cotton and opium trades, the Tatas ascended to commanding heights in the Indian economy by the time of independence in 1947. Over the course of its 150-year history, Tata spun textiles, forged steel, generated hydroelectric power, and took to the skies. The Tatas became notable for their extensive philanthropy and for their unique business model, with trusts owning majority shares in the business. They also faced challenges – from restive workers fighting for their rights and from political leaders who sought to curb the corporation's power. Mircea Raianu's Tata: The Global Corporation That Built Indian Capitalism (Harvard University Press, 2021) tells an eye-opening portrait of global capitalism spanning 150 years, through the history of the Tata corporation. Raianu's sweeping history tracks the fortunes of a family-run business that was born during the high noon of the British Empire and went on to capture the world's attention with the headline-making acquisition of luxury car manufacturer Jaguar Land Rover. The growth of Tata was a complex process shaped by world historical forces: the eclipse of imperial free trade, the intertwined rise of nationalism and the developmental state, and finally the return of globalization and market liberalization. Today Tata is the leading light of one of the world's major economies, selling steel, chemicals, food, financial services, and nearly everything else, while operating philanthropic institutions that channel expert knowledge in fields such as engineering and medicine. Based on painstaking research in the company's archive, Tata elucidates how a titan of industry was created and what lessons its story may hold for the future of global capitalism. Mircea Raianu is an assistant professor of history at the University of Maryland. He specializes in the history of modern South Asia, with research and teaching interests in capitalism and economic life broadly constructed. Shatrunjay Mall is a PhD candidate at the Department of History at the University of Wisconsin-Madison. He works on transnational Asian history, and his dissertation explores intellectual, political, and cultural intersections and affinities that emerged between Indian anti-colonialism and imperial Japan in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

I sacrificed my afternoon nap to drop the historic pilot episode of the podcast that will change your life forever: 'K&K Dig Food,' and you have not heard it yet. Seriously? I mean, come on.... please listen to it. Pretty please. We need motivation to make the next episode! (KK) In this episode, Dr Kurush Dalal and (son of a doctor) Kalyan Karmakar give you a peek into their bromance as they introduce each other to you at the start. Kurush then defends the drink called raspberry, an acquired taste which is hard to acquire, which Parsis seem to love. Post which, the two give you a dummy's guide to the legendary patra ni machhi of the Parsis and the more recently legendary machher patoori of the Bengalis. The episode ends with both berating Keralites for appropriating the banana leaf platter concept as their own with multiple sadya reels on Instagram. 'K&K Dig Food' is a podcast on food hosted by Dr Kurush Dalal and Kalyan Karmakar from Mumbai (and navi Mumbai). Kurush is an archeologist and food ethnographer, who is a proud son of Mumbai ,and is possibly one of the most quoted people in articles on Indian food written in recent times. He runs a series of very popular online courses on food writing and is a much sought after speaker in food events. He is married to a Bengali (not Kalyan), Rhea Mitra Dalal and runs Katy's Kitchen with her, a Parsi catering company started by his mother the late Dr Katy Dalal. Kalyan is a sociology student who started his career as a qualitative market researcher where he figured out that he loves interviewing people and moderating. Anchors he likes to model himself on swing from Dr Prannoy Roy to Cyrus Broacha! He is a food blogger, published author and likes to call himself a 'columnist' so that he can write about his breakfast and get done with work for the day! He is married to a Parsi (not Kurush), Kainaz Karmakar, who when not babysitting the three boys at home, Kalyan, Baby Loaf and Little Nimki (the last two are cats, but no one has broken this to them), works in advertising. Kalyan and Kurush bond over a shared love for food, wry humour and Valibhai. You can google the more boring parts about their lives. Now be a dear and share this, click on like and subscribe to the channel.

Coomi Kapoor is a well known journalist who has been writing on the the inner workings of the corridors of power for many many years. Her last book 'The Emergency: A Personal History' chronicles the lives of her own family and her father's during the internal emergency from 1975 to 1977. Hey new book is about Parsis, or more specifically, the icons of the community ranging from Jamsetjee Jejeebhoy, the tycoon of the 19th Century, to Nusli Wadia, to Freddie Mercury, who's real name, as we all know, was Farrokh Bulsara.On this episode, Sidharth talks to Coomi about how she wrote and researched for her new book, how she got into writing, and tons more.Follow Sidharth Bhatia on Twitter and Instagram @bombaywallahbombaywallah and https://instagram.com/bombaywallahYou can listen to this show on The Wire's website, the IVM Podcasts website, app on Android: https://ivm.today/android or iOS: https://ivm.today/ios, or any other podcast app.

Dr. Talinn Grigor sets light to the interimperial identities in 19th century Parsi architecture, through the Vatcha Adaran Zoroastrian Fire Temple, Bombay. Building Bombay was at the forefront of the religious, philanthropic, and political agenda of the Parsis, India's Persian Zoroastrian ethnoreligious minority. Thousands of buildings like the Vatcha Adaran were commissioned in the ‘Persian Revival', as the Parsis portrayed themselves as heirs of the ancient Persian Achaemenid and Sassanian Empires. But wealthy patrons also drew from European Gothic Revivalism to solidify their privileged position in the contemporary British Raj. Both foundational and forward-facing, the Vatcha Adaran's architectural ambivalence reflects the Parsis' efforts to interpret these particular - often conflicting - interimperial identities. PRESENTER: Dr. Talinn Grigor, Professor and Chair of the Art History Program at the University of California, Davis. She specialises in 19-20th century art and architectural histories of Iran and Parsi India, through the framework of post-colonial and critical theories. She is the author of The Persian Revival: The Imperialism of the Copy in Iranian and Parsi Architecture, published in July 2021. ART: Vatcha Adaran Zoroastrian Fire Temple, Bombay (1881). IMAGE: ‘Bai Pirojbai Dadabhoy Maneckji Vatcha Agiary 1881'. SOUNDS: Pedram Khavarzamini. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

How the Parsi community, refugees from Zoroastrian Persia, landed up in India and went on to become a major force in the development of early South Asian film industry.

In our season finale, we explore the Zorashtrian faith and how the Parsis came to India. We will learn about the value of being adaptable.

Denise Fletcher: “I wanted to showcase everything that we have – everything that I know – not only for us Singaporeans, but also to show the world what we have. I also hope that my cookbook is a form of representation, a voice for groups that are lesser known in Singapore, especially in a culinary sense. Just in that ‘Other' racial category, you have the Gujaratis, the Parsis, the Arabs. Singaporeans still don't really know how rich our culture is, how diverse. I hope my readers will take the opportunity to discover what's in their backyard through their cooking pot.” Fletcher, the author of Mum's Not Cooking & How To Cook Everything Singaporean joins Singapore Noodles founder Pamelia Chia to discuss her latest cookbook, plus: *Why the busyness of modern life is a paradox* *The inspiration behind Mum's Not Cooking* *Why we risk losing our heritage with an ‘all or nothing' attitude* *What exactly is so unique about Singaporean food* *Why Singlish should never die out* *Defining what is 'Singaporean' when it comes to food*

What will it take to build a wiser, kinder world? That's what sociologist, teacher, researcher and coach Holiday Phillips' work is all about. In this episode she talks about her own cultural upbringing, growing up in an almost entirely white community in London as the daughter of second-generation immigrants. Her mother's family is part of a small tribe of Indians called Parsis, her father's family is Guyanese. Holiday reflects back on the op-ed that she wrote about performative allyship that went viral and gained her thousands of new followers, while in hindsight she says she would have written something different today. In this interview she shares many great insights about racial justice, really connecting with one another and staying true to yourself. She thinks about past and future generations, especially now that she is pregnant with her first child. Finally, she opens up about the mental and physical transformations during pregnancy and her valuable experiences with being a stepmother. A week after this chat, Holiday gave birth to a healthy baby. Hosted on Acast. See acast.com/privacy for more information.

India's Parsi population is in steep decline. Now the government's funding fertility treatment and advocacy to encourage the community to make more Parsi babies.