Podcasts about Persian

Today's guest is David McCloskey — former CIA analyst, bestselling author, and co-host of the hit podcast The Rest is Classified.Before becoming a novelist, David served at the Central Intelligence Agency where he wrote for the President's Daily Brief, testified before Congressional oversight committees, and briefed senior White House officials, ambassadors, and military leaders.  He spent years stationed across the Middle East during the Arab Spring and later worked in the CIA's Counterterrorism Center focused on the conflicts in Syria and Iraq.David's acclaimed thrillers — DAMASCUS STATION, MOSCOW X, THE SEVENTH FLOOR, and THE PERSIAN — have established him as one of the most authentic new voices in modern espionage fiction. Damascus Station was a finalist for the 2022 International Thriller Writer's Award for Best First Novel and is currently in development for television. His latest release, The Persian, takes readers deep into a shadow war in Iran and follows a dentist living in Sweden who builds an international front to conceal a covert operation.In this episode, Jack and David discuss the inspiration behind The Persian, the real-world dynamics of the intelligence community, and the meticulous craft of writing espionage fiction rooted in truth. They talk about the creation of The Rest is Classified — a top-charting podcast exploring untold spy stories, manhunts, and historical intrigue. David also shares insights into the writing process, balancing podcasting with novel deadlines, the surprising bureaucracy of the intelligence world — past and present — and a humorous story of running into Ben Affleck at Langley during research for Argo.His new novel, THE PERSIAN, is available now.FOLLOW DAVIDX: @mccloskeybooksInstagram: @mccloskeybooksFacebook: @mccloskeybooksWebsite: https://www.davidmccloskeybooks.com/ FOLLOW JACKInstagram: @JackCarrUSA X:  @JackCarrUSAFacebook:  @JackCarr YouTube:  @JackCarrUSASPONSORSCRY HAVOC – A Tom Reece Thriller https://www.officialjackcarr.com/books/cry-havoc/Bravo Company Manufacturing - https://bravocompanyusa.com/ and on Instagram @BravoCompanyUSATHE SIGs of Jack Carr:Visit https://www.sigsauer.com/ and on Instagram @sigsauerinc Jack Carr Gear: Explore the gear here https://jackcarr.co/gear

The Evergetinos sets the bar of freedom in a surprising place: anger without cause is not when we flare up over trifles, but whenever we react to any ill-treatment aimed at us. Abba Poimen sharpens the point: even if a brother were to gouge out an eye or cut off a hand, anger would still be without cause—unless he were separating us from God. In other words, the only justified “anger” is zeal for communion with God; all other indignation binds us to the injury and darkens the nous. From this first edge, the text moves to the Christ-likeness of suffering injustice. One who willingly bears wrongs and forgives becomes “like Jesus”; one who neither wrongs nor suffers wrong is merely “like Adam”; one who wrongs is “like the Devil.” The goal is not moral equilibrium but kenosis: to descend into the humility of Christ who “was reviled and did not revile in return.” The Evergetinos then baptizes our imagination with stories. Abba Gelasios' costly book is stolen; he neither exposes the thief nor reclaims it, but quietly commends the buyer to purchase it. His silence pricks the thief's conscience more effectively than accusation; repentance follows, and the thief remains to be formed by the elder's life. Abba Evprepios helps thieves carry his goods; noticing a robber's staff left behind, he runs after them to return it. Abba John the Persian offers to wash the feet of intruders; shame breaks their hardness more swiftly than punishment. Abba Makarios not only helps a thief load a camel with his own belongings; when the animal refuses to rise, he adds the missing tool and blesses the thief's going—only then does the camel sit again, until everything is returned. These vignettes train the heart to a habitual non-resistance that is anything but passivity; it is a deliberate, creative meekness that seeks the other's salvation. Not all the stories end with goods restored. Sometimes the elder simply rejoices to have been counted worthy to lose. One monk prays to be given the chance to imitate such forbearance; when thieves finally come, he lights a lamp, shows them everything, even discloses the hidden coins. He does not wish them to bring anything back. Here dispossession becomes doxology. “We brought nothing into the world” and “The Lord gave and the Lord has taken away” are not verses to be quoted at funerals only; they are the grammar of freedom in the face of loss. --- Text of chat during the group: 00:05:09 Fr. Charbel Abernethy: Page 304 Letter E 00:05:25 Fr. Charbel Abernethy: www.philokaliaministries.org/blog 00:10:42 Fr. Charbel Abernethy: Page 304 Letter E 00:14:35 Fr. Charbel Abernethy: https://www.philokaliaministries.org/blog 00:16:03 Bob Čihák, AZ: P. 304, letter E, # 1 00:26:24 Forrest: I am really feeling a great challenge of these writings. Can you help integrate what is in the daily mass readings today: Luke 17:3 "Be on your guard!* If your brother sins, rebuke him; and if he repents, forgive him."  The paragraphs that we are reading here do not even counsel rebuke. 00:33:05 Kate : Would you say that this habitual non-resistance is necessary for the practice of repentance, the continual turning of the mind and heart to God?  That without this non-resistance, then our repentance is not yet where it needs to be. 00:34:04 Joan Chakonas: Its been my experience that suffering injustice is actually easier than attempting correction or pushing back. 00:34:34 Nypaver Clan: Reacted to "Its been my experien..." with ❤️ 00:36:54 Joan Chakonas: My worst qualities arise when I engage in conflict or corrective confrontation.  I'm working on this 00:38:36 Joan Chakonas: I'm pretty old so I got this perspective from experience 00:39:00 Nypaver Clan: Reacted to "I'm pretty old so I ..." with

A continent-spanning empire bore down on a patchwork of rival city-states—and out of that pressure, a people discovered themselves. We follow the Greek victories over Persia from raw survival to a moral origin story, showing how memory, art, and ritual transformed urgent alliance into a lasting idea: Hellenic freedom.We start with the fragile coalition that met the Persian advance at Salamis and Plataea, then uncover how the meaning of those battles grew in the retelling. Simonides' epigrams, Pindar's odes, and Herodotus' sweeping narrative forged a panhellenic lens through which courage, divine favor, and self-rule became the Greek signature. Monuments like the Serpent Column at Delphi and offerings at Olympia turned sanctuaries into archives of unity, while annual rites at Plataea and Salamis taught that freedom must be renewed, not assumed.Athens made the memory visible. Rising from a burned Acropolis, the city reframed myth as politics on the Parthenon, casting Greeks versus Amazons and gods versus giants as a code for order resisting tyranny. At the same time, naval power rewired society. Themistocles' triremes elevated the rowers—the thetes—and widened democratic voice, seeding the Delian League and a new maritime identity. That shift sharpened the contrast with Sparta's land-first conservatism, foreshadowing rivalry even as the ideal of Hellenic liberty took root.We connect these threads to later thinkers and leaders. Thucydides uses the Persian War as a baseline of necessary unity. Plato and Isocrates hold it up as a mirror for civic virtue. Alexander taps its emotion to justify conquest. Across centuries, the wars became sacred history and a durable myth: free citizens against imperial despotism, reason over hubris. Listen for a richer view of how battles end but stories begin—and how those stories still guide debates on power, identity, and the price of freedom. If this sparked new questions or changed your view, subscribe, share, and leave a review with the one idea you'll remember most.Support the show

NHK WORLD RADIO JAPAN - Persian News at 15:30 (JST), November 11

Unique for many reasons, the book of Esther is a story of God's providential hand even in the shadows of life. With the story turned in the favor of the Jews, it is time for the king to sort out how to handle what is already put in place. Due to Persian law, the king could not remove a previous edict or write a new one to counter act an old one directly. So, the king writes an edict with his full authority allowing the Jews to defend themselves against an attack and ultimately their joy and God's power lead to many following the God of the Jewish people.

Jamal ad-Dīn Abū Muḥammad Ilyās ibn-Yūsuf ibn-Zakkī better known as Nizami is considered the greatest romantic epic poet in Persian literature. His love story of Layla and Majnun inspired the Eric Clapton hit record of 1970, "Layla" and there are monuments of Nizami as far as Beijing and Rome.     Nizami was born in the modern-day Republic of Azerbaijan around 1141CE and lived at the same time as Attar, the subject of our previous episode. What more can we say about his socio-political and cultural context? Like many of the poets we have examined, details of Nizami's life is sketchy. We learn his mother was Kurdish. He was married three times. What more can we say about his personal biography? Nizami's main works are five which are collectively called the Khamsa or Panj Ganj (Five Treasures). Let's talk about them. What translations and secondary resources would you recommend on Nizami? And finally let's end with a sample and translation.   Further Reading: Layli and Majnun (translated by Dick Davis) Khosrow and Shirin (translated by Dick Davis) Haft Paykar: A Medieval Persian Romance (translated by Julie Scott Meisami) The Treasury of Mysteries (translated by Gholam Hosein Darab)   Ali Hammoud: https://alihammoud7.substack.com/    We are sponsored by IHRC bookshop. Listeners get a 15% discount on all purchases. Visit IHRC bookshop at shop.ihrc.org and use discount code AHP15 at checkout. Terms and conditions apply. Contact IHRC bookshop for details. 

Ezra 5 tells of the work of building the house of God recommencing with the prophets of Yahweh - Haggai and Zechariah - supporting and encouraging the work. Still the attempts to frustrate the building came from Tatnai, the Governor on the other side of the river (the Jordan). The faithful Jews continued building while Tatnai's letter was sent to Darius (the Persian king). The Jews faithfully answered as to why their realm had been overturned and to their obedience to the God of heaven and the decree that came from king Cyrus to rebuild Jerusalem and the temple. The Jews suggested that search be made in the Chronicles of the kings of Persia to prove their claim. Chapter 6 tells us that the search was made in the house of the scrolls in Ecbatana proving the accuracy of the Jews' claim. A letter came from king Darius asking Tatnai and his people to materially support the building of the temple. Verses 15-18 report the completion and dedication of the house of God. From verses 19-22 we read of the great joy as the new kingdom of Judah kept the Passover. Let us be daily builders of God's House and let those labours bring joy to our hearts.Chapter 7 of Hosea contains some very graphic Hebrew poetry. From the rulers of the nation to the common people they were so intent on sexual depravity that they are described by the figure of a baker with an overheated oven. They had no shame for what they were doing. Another of the figures sees them as a dove that cannot make up her mind on whom to dote - Egypt, or Assyria. God wanted it otherwise and even when judgment was brought on them they didn't repent. A soft and penitent heart is always to be found among the LORD's children.In Acts 25 we are told that, when Festus was determined to send Paul to Jerusalem, the Apostle had no alternative but to make his appeal to Caesar. After a short period of time Festus conducted another hearing of Paul's matters. Festus once again sought the favour of the Jews and at this time Paul announced that he would exercise his right as a Roman Citizen to be judged by Caesar. Herod Agrippa and his wife Bernice were visiting Caesarea and at this time Festus requested they hear Paul's case for Festus was struggling with the wording of the charge against Paul. Festus explained to Agrippa that to him there was no capital crime, but simply matters concerning Jewish law. With great pomp and ceremony Agrippa, Bernice and all the other dignitaries entered the judgment hall. Festus was seeking Agrippa's opinion on the nature of the charge to appear on the letter to be sent to Caesar. Chapter 26 records Paul's defence and appeal to Agrippa to embrace the Christian cause. Paul tells his audience of his fervour for the Jewish way and his concerted opposition to Christianity. But when he was confronted by the risen Lord Jesus Christ on the road to Damascus everything changed. He told the audience of his great commission and then knowing king Agrippa to be a man who read the prophets he appealed to the king to adopt the Christian belief. Festus, being embarrassed by the situation, attempted to finish the hearing immediately by declaring Paul to be mad due to his great learning. Paul was not to be silenced so quickly and continued to ask Agrippa whether he believed the prophets. He stated plainly I know you believe them king Agrippa. At this point king Agrippa and all the dignitaries rose and left with the king stating Paul's innocence. Let us remember that we are bondslaves to our Lord Jesus Christ and as his prisoners let our testimony burn before all to whom we witness.Thanks for joining us - we pray you found these comments helpful in your appreciation of God's words, join again tomorrow

Ezra 3 opens with a magnificent statement of unity of purpose - the whole nation gathers as one man. They come to build the altar, the focus of the nation is to be as a whole burnt offering living their lives in dedicated service to their God. The returned exiles next keep the feast of booths, or Tabernacles, in fellowship with each other and in acknowledgment of Yahweh's provision of all that they had received at His bountiful hand. The building of the temple begins on the first day of the seventh month and the laying of the foundation was accompanied with great rejoicing and the singing of David's psalm of thanksgiving composed for the time when the ark was brought to Jerusalemverses 1 Chronicles 16verses8-35. The focus of this Psalm is Yahweh's "chesed" - steadfast and enduring love. Chapter 4 opens with the enemies of Judah   asking Ezra the Governor and the returned exiles to cease their work. They attempt to discourage and intimidate the builders with fear. When this doesn't work they write to the Persian king pointing out the risk to his realm should the Judean kingdom be reestablished. The adversaries rejoice when an order comes from the Persian king to cease the work. The work was halted for about 20 years and at the end of this time the Almighty stirs up two prophets - Haggai and Zechariah - to revitalise the people's spirit through several prophesies spoken in close succession. How unfortunate at the end of the chapter that unity is broken by the inability to get over "the good old days." Odious comparisons dampen ecclesial unity. Hosea 6 tells of a plea to return to the LORD who had torn Israel, but would again restore them in two days (each of a thousand years on the principle of a day for a 1,000 years- see 2 Peter 3verses8). Then in Israel's restoration under the Lord Jesus Christ - the Messiah - times of great blessing will come. Read aloud Hosea 6verses6 pause and ponder. Blessings require Israel's responding as God always desires (see Christ's comments in Matthew 9verses13). But Israel deal treacherously and even Gilead a city of the priests becomes the place of violence and robbery. Shechem another city of refuge where elsewhere in Scripture a place focussed on now a place of violence and corruption. sincerity and truth a den of robbers whose corrupt words and ways shamed this otherwise national place for dedication to Yahweh. Shechem also now becomes a den of robbing priests. Acts 23 tells of Paul before the Sanhedrin. In a similar way to when our Lord Jesus Christ appears before them, the hearing commences with an illegality from the High Priest, Ananias. That corrupt priest commands that the Apostle be smitten on the cheek - this is contrary to the Law of Moses. Paul reacts to this violation by saying that God would in His time smite the high priest. For this answer Paul is rebuked by those of the Council. The Apostle says he had not recognised the high priest. This seems unusual as in Acts 9 this high priest had given letters to Paul authorising the persecution at Damascus. Some such as Ramsay have suggested Paul's eyesight was poor, due to malaria possibly contracted on his first missionary journey. Others suggest that this is in fact a rebuttal of the high priest's right to hold that office. Paul undoubtedly had poor eyesight as many of his letters attest e.g. Galatians 6verses11. The Apostle sees the impossibility of him getting a fair trial and so he divides the Council on the question of the teaching of the Scriptures regarding the raising of the dead. Verse 8 tells us of the difference in teaching between the Pharisees and the Sadducees. Verse 10 informs us that the disagreement became violent. Paul is once again rescued. Paul's sister's son learns of a plot to assassinate Paul and informs the chief captain. The chief captain immediately responds by sending Paul to Felix the Roman Governor in Caesarea with a heavily armed escort - a journey of two days. This heavily armed company carry with them a letter explaining why the Chief Captain has taken these measures. Chapter 24 speaks of Paul before Felix and of the flattering orator the Jews hired to prosecute the Apostle. The Apostle defends each charge magnificently. Paul points out that he came to Jerusalem for worship and to bring charitable gifts for his nation. The aged Apostle also is a Pharisee. The Pharisaic teachings were an allowable teaching among the Jews. Felix finds himself in a difficult place having some understanding of the teachings of the Way (an early name for believers in Christ Jesus). Felix detains Paul not wanting to fall out of favour with the Jews. Paul is provided with protection and liberty. Having heard of Paul's bringing charity to his fellow Jews Felix hopes to secure a bribe. Felix becomes very disturbed knowing that since he understands the reality of the coming judgment and that he would be subject to the judgment of God. Felix's life makes it certain that he will be rejected when that judgment comes. After two years Rome replaces Governor Felix with Governor Festus. Festus maintains Paul's imprisonment to please the Jews. Thanks for joining us - we pray you found these comments helpful in your appreciation of God's words, join again tomorrow 

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Catch the latest episode of We Think It's Funny with comedy powerhouse Maz Jobrani joining hosts Daniel Lobell and Mark Schiff for a no-holds-barred, clash of perspectives! From the Iran deal to New York's new mayor, the trio dives deep into today's hottest political topics—trading sharp takes with zero hostility and maximum respect for each other- something you never see in politics anymore. And yes, they even discuss the ultimate culinary showdown: Persian stews vs. Indian curries. Civil discourse has never been this fun so tune in now and decide whose side you're on—before the stew gets cold!

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In this vibrant episode of the Modern Persian Food Podcast, cohosts Beata and Bita dive into the dazzling world of Jeweled Persian Rice (Morassa Polo or Javaher Polo) — the show-stopping dish that shines at celebrations and feasts. They share the story and history behind this sweet, tangy, and aromatic rice, layered with colorful "jewels" like dried fruits, candied orange peel, pistachios, and carrots. You'll hear their favorite toppings, flavor combinations, and customizable variations, plus practical tips and tricks to help your jeweled rice turn out perfectly balanced — not too sweet, not too heavy, and full of fragrance. Later in the episode, Beata and Bita chat about what's been cooking in their kitchens this season, from a Persian-inspired granola to new flavor twists on Haleem, the comforting slow-cooked porridge that's a cold-weather favorite. Whether you're a seasoned Persian cook or just discovering this beautiful cuisine, this episode will inspire you to bring more color, creativity, and culture to your table. Listen now and get inspired to create your own Persian masterpiece! #PersianFood #ModernPersianFoodPodcast #JeweledRice #MorassaPolo #PersianCooking #PersianCuisine #FoodPodcast #CookingInspiration Recipes: BeatsEats - Persisn Jeweled Rice BeatsEats - Haleem Oat Porridge BeatsEats - Jeweled Tahchin BeatsEats - Jeweled Cinnamon Rolls All Modern Persian Food podcast episodes can be found at: Episodes   Sign up for the email newsletter here!   Check us out on Apple Podcasts, Spotify, and YouTube   Subscribe+ to the Modern Persian Food podcast on your favorite podcast player, and share this episode with a friend.   Opening and closing music composed by Amir Etemadzadeh, www.amirschoolofmusic.com Podcast production by Alvarez Audio

5 Sacred Ways To Love Someone Without Losing Yourself - Rumi (Sufism) (Philosophy Podcast).  Rumi lived from 1207 to 1273 and he was not only an amazing poet, but also a theologian, a philosopher, an Islamic scholar, and one of the most prominent figures in Sufism.  So with that in mind, here are 5 ways to Truly Love Someone from the philosophy of Rumi -  00. Introduction  01. Begin by Dying Before You Die  02. Lose Yourself in the Dance  03. Seek Union, Not Possession  04. Let Pain Be Your Teacher  05. See the Divine in Everything  I hope you enjoyed listening to this podcast and hope these 5 ways to Truly Love Someone  from the philosophy of Rumi  will add value to your life.    Sufism began some 9 centuries ago and is focused on reaching the divine - the power that created the skies, the earth, us and life as a whole, through love. It means that in Sufism, we human beings are lovers, the divine is beloved and to love the divine, we need to connect back to the essence of life and understand that we and the world are one. Sufism has given the world some of its brightest minds and poets and one of those people is known as Maulana, Jalāl al-Dīn Muḥammad Rūmī, arguably the best Sufi poet in history. Rumi, a Persian scholar at first, then a Mystic, has written many illustrious poems depicting love and its central role as the bridge to reach the divine; poems that are engraved in the literature books for eternity. His brilliance caught the eyes of people since his childhood. His father, a famous scholar back then, had personally taken the responsibility of teaching him. He deepened his knowledge at a very young age and after the death of his father, he was destined to succeed him as a scholar. But Rumi wanted to learn more, so he connected with another brilliant teacher named Al Tarmithi and a few years later, his teacher left him because he considered that he had nothing left to teach his student, Rumi was now a complete scholar. Rumi was adored by his followers and when he held assemblies, he had a large crowd as attendees. However, life and the divine had other plans for him. In 1244, Rumi encountered Shams Tabrizi, a traveling Sufi dervish who changed his core understanding of life. Rumi became so fond of Shams that he neglected his students and his family and spent days and nights with him, all to grasp the essence of pure love and how to express it to reach the divine. Rumi turned from a Scholar to a Sufi poet who sang for love, danced in circles, which is now called Sufi whirling or the whirling dervish, and wrote poems that are still relevant today continuing to have a deep influence. 

True Spies producer Morgan Childs joins former CIA analyst, author and podcast host David McCloskey for a deep dive into his post-Agency career, and what he's learned along the way. David McCloskey's latest novel, The Persian, is out now. From SPYSCAPE, the home of secrets. A Cup And Nuzzle production. Series producer: Joe Foley. Produced by Morgan Childs. Learn more about your ad choices. Visit megaphone.fm/adchoices

در رادیوی ۲۰۱، از آزادی اندروید می‌گیم و اخراج شرکت‌های بزرگ در حوزه ای آی و قوانین محدود کننده چین و روسیه و کلی چیز دیگه. با ما باشین که جهان هکرهای بیشتری می‌خواد بخصوص حالا که روسیه می‌خواد هکرهای روسی رو مجبور به همکاری کنه متاسفانه براوزر شما از اچ تی ام ال ۵ … ادامه خواندن "رادیو جادی ۲۰۱ – اینبار اخراج"

Andy Woods and David talk about President Trump being compared to Persian leader Cyrus the Great after certain resolutions in the Middle East. Andy Woods Ministries: https://www.andywoodsministries.org/ Andy Woods on YouTube: https://www.youtube.com/c/AndyWoodsBibleStudy/videos www.worldviewmatters.tv © FreedomProject 2025

NHK WORLD RADIO JAPAN - Persian News at 15:30 (JST), November 04

Sharing an episode of the No Small Endeavor podcast. These days, our culture is marked by political unrest, polarization and anxiety. Beauty and art feel like a luxury, or even a distraction. In a special series, No Small Endeavor is asking: What if art, beauty and poetry are exactly what we need to face the crisis at hand? Can poetry help us protest, pray, lament and even hope? Host Lee C. Camp talks to poets like Haleh Liza Gafori, a poet, musician, and acclaimed translator of the Persian poet Rumi; and Pádraig Ó Tuama, poet, theologian, and host of Poetry Unbound. Their conversations evoke thoughtfulness about how to fight for beauty in the current culture, and how to make it through the fires of our time together. In this episode, Lee talks to Joy Harjo, a musician, author, and three-term U.S. Poet Laureate. Camp and Harjo explore how poetry can act as a form of justice, a practice of self-development, and a tiny experiment in healing. You can listen to No Small Endeavor at https://link.mgln.ai/rethinkingFor the full text transcript, visit ted.com/podcasts/rethinking-with-adam-grant-transcriptsInterested in learning more about upcoming TED events? Follow these links:TEDNext: ted.com/futureyouReThinking is produced by Cosmic Standard. Our Senior Producer is Jessica Glazer, our Engineer is Aja Simpson, our Technical Director is Jacob Winik, and our Executive Producer is Eliza Smith. Hosted on Acast. See acast.com/privacy for more information.

1948.A man is found dead on an Australian beach.No name. No ID.Just a scrap of Persian poetry in his pocket… and a code no one can crack.This is the mystery of the Somerton Man.A ghost in a suit.A message in a book.And a case that still hasn't given up its secrets.Source Material:https://en.wikipedia.org/wiki/Somerton_Man?utm_source=chatgpt.com https://www.abc.net.au/news/2021-05-19/six-clues-that-have-failed-to-solve-the-somerton-man-mystery/100148922?utm_source=chatgpt.com https://www.abc.net.au/news/2022-11-21/somerton-manfamily-photographs-revealed-/101643524?utm_source=chatgpt.com https://www.theguardian.com/australia-news/2022/jul/31/solving-the-somerton-man-mystery-south-australia-adelaide-tamam-shud-identified-carl-webb-no-russian-spy-just-a-bit-of-a-loner-who-wrote-poetry?utm_source=chatgpt.com Music Credit:1. CAN'T SLEEPMusic from #Uppbeat (free for Creators!):https://uppbeat.io/t/locran/cant-sleepLicense code: HAVIXRYL3KM0XULJ2. LIGHTLESS DAWNMusic from #Uppbeat (free for Creators!):https://uppbeat.io/t/kevin-macleod/lightless-dawnLicense code: PFYUGTZVDWOCBNLK3. SOLVING THE CRIME2021-09-06_-_Solving_The_Crime_-_David_Fesliyan.mp3Connect with us: killerhearttohearts@gmail.comFollow us on: Tik TokFollow us on: InstagramLike us on: FacebookFollow us on: Twitter

Welcome back to Just For This. Each week, host Rabbi Liz P.G. Hirsch (she/her) interviews women in leadership about women and leadership. Inspired by the story of Esther, we feature powerful stories of women who stand out in their fields, who have stepped up just for this moment.  Our guest this week is Sarah Levin, Executive Director of JIMENA: Jews Indigenous to the Middle East and North Africa. Founded in 2002, JIMENA is the only organization in North America exclusively focused on educating and advocating on behalf of Jewish refugees and Mizrahi Jews from Arab countries. We discuss the reclaiming of the term "Mizrahi" in Judaism, Queen Esther's Persian background, and embracing the wholeness of your identity. Follow Just For This on instagram: @justforthispodcast

The year is 539 BC. The greatest city of the ancient world has fallen. Babylon has opened it's gates to a new conqueror: the mighty Persian king Cyrus the Great.In this episode of The Ancients, Tristan Hughes is joined once again by friend of the show Professor Lloyd Llewellyn-Jones to uncover the dramatic fall of Babylon and the ascent of Persia's Achaemenid empire. From the final decades of Babylonian rule to Cyrus' blood-stained triumph and the city's remarkable survival under a new regime, they discover how one of history's most iconic capitals lost its crown - a seismic chapter in the tumultuous story of the Ancient Near East.Watch this episode on our NEW YouTube channel: @TheAncientsPodcastMORE:The Walls of BabylonCyrus the GreatPresented by Tristan Hughes. Audio editor is Aidan Lonergan, the producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic SoundsThe Ancients is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on Hosted on Acast. See acast.com/privacy for more information.

In this episode, Bahram and Behnoush team up to teach you how to make a delicious Iranian dish. You'll pick up new Persian words through a real conversation, and at the end, test yourself with a quiz!If Podgap makes your Persian learning journey easier and more enjoyable, share it with your friends — it truly means the world to us!We'd also love to hear from you: drop us a message anytime at podgapp@gmail.comWant to dive deeper? By joining us on Patreon.com/podgapFull Persian transcriptions of every episodeA glossary & worksheets to practice withPlus extra learning goodies like Persian news, proverbs, vocabulary challenges, videos, and more!Let's keep learning and growing together — one word at a time

This episode we start to get more into the material culture of the period with court fashion, as we look at the court robes that went along with the updated court ranks.  Granted, we only have a few resources, but from those it does seem like we can construct at least a plausible idea of what the court may have looked like at this time. For more discussion, check out the blogpost:  https://sengokudaimyo.com/podcast/episode-137   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is Episode 137:  Courtly Fashion. In the New Year's ceremony, the court officials lined up in front of the Kiyomihara Palace, arranged by their relative court rank, dressed in their assigned court robes.  The effect was impressive—the rows of officials painting the courtyard like the bands of color in a rainbow, albeit one with only a couple of hues.  The fact that they were all wearing the same style of dress and black, stiffened gauze hats only added to the effect.  The individual officers were all but lost in what was, at least in outward form, a single, homogenous machine of government, just waiting for the command of their monarch to attend to the important matters of state. We are covering the reign of Ohoama no Ohokimi, aka Ama no Nunahara oki no mabito no Sumera no Mikoto, aka Temmu Tennou.  Last episode we went over the changes he had made to the family titles—the kabane—as well as to the courtly rank system.  For the former, he had consolidated the myriad kabane and traditional titles across Yamato into a series of eight—the Yakusa no Kabane.   These were, from highest to lowest: Mabito, Asomi, Sukune, Imiki, Michinoshi, Omi, Muraji, and Inaki.  By the way, you might notice that "Mabito" actually occurs in Ohoama's posthumous name:  Ama no Nunahara oki no mabito, which lends more credence to the idea that that kabane was for those with a special connection to the royal lineage. Besides simplifying and restructuring the kabane, Ohoama also reformed the court rank system.  He divided the Princely ranks into two categories:  Myou, or Bright, and Jou, or Pure.  For the court nobles the categories were:                Shou – Upright                Jiki – Straight                Gon – Diligent                Mu – Earnest                Tsui – Pursue                Shin – Advancement Each category was further divided into four grades (except for the very first princely category, Myou, which was only two).  Each grade was then further divided into large, "dai", or broad, "kou". And this brings us to our topic today. Along with this new rank system, Ohoama's administration also instituted a new set of court sumptuary laws. Some are vague in the record—we can just make assumptions for what is going on based on what we know from later fashion choices.  Others are a little more clear.  We'll take a look at those sumptuary laws, particularly those that were directly associated with the new court rank system, but we'll also look at the clothing styles more generally. To start with, let's talk about what we know about clothing in the archipelago in general.  Unfortunately, fabric doesn't tend to survive very well in the generally acidic soils of the Japanese archipelago.  Cloth tends to break down pretty quickly.  That said, we have fragments here and there and impressions in pottery, so we have some idea that there was some kind of woven fabric from which to make clothing out of. And before I go too far I want to give a shout out to the amazing people at the Kyoto Costume Museum.  They have a tremendous website and I will link to it in the comments.  While there may be some debate over particular interpretations of historical clothing, it is an excellent resource to get a feel for what we know of the fashion of the various periods.  I'll also plug our own website, SengokuDaimyo.com, which has a "Clothing and Accessory" section that, while more geared towards Heian and later periods, may still be of some use in looking up particular terms and getting to know the clothing and outfits. At the farthest reaches of pre-history, we really don't have a lot of information for clothing.  There is evidence of woven goods in the Jomon period, and we have Yayoi burials with bits of cloth here and there, but these are all scraps.  So at best we have some conjecture as to what people were wearing, and possibly some ability to look across the Korean peninsula and see what people had, there. There are scant to no reliable records from early on in Japanese history, and most of those don't really do a great job of describing the clothing.  Even where we do get something, like the Weizhi, one has to wonder given how they tended to crib notes from other entries. There is at least one picture scroll of interest: Portraits of Periodical Offering of Liang, or Liáng -Zhígòngtú.  It is said to have been painted by Xiao Yi in the early 6th century, and while the original no longer exists there is an 11th century copy from the time of the Song Dynasty.  The scroll shows  various ambassadors to the Liang court, including one from Wa.  The Wa ambassador is shown with what appears to be a wide piece of cloth around his hips and legs, tied in front.  His lower legs are covered in what we might call kyahan today: a rather simple wrap around leg from below the knee to the foot.  He has another, blue piece of cloth around his shoulders, almost like a shawl, and it is also tied in front.  Then there is a cloth wrapped and tied around his head. It's hard to know how much of this depiction is accurate and how much the artist was drawing on memory and descriptions from things like the Weizhi or Wei Chronicles, which stated that the Wa people wore wide cloths wrapped around and seamlessly tied As such, it may be more helpful to look at depictions actually from the archipelago: specifically, some of the human-figured haniwa, those clay cylinders and statues that adorned the burial mounds which gave the kofun period its name.  Some of these haniwa are fairly detailed, and we can see ties, collars, and similar features of clothing. These haniwa primarily seem to cluster towards the end of the Kofun period, in the later 6th century, so it is hard to say how much they can be used for earlier periods, though that is exactly what you will typically see for periods where we have little to know evidence.  I'm also not sure how regional certain fashions might have been, and we could very much be suffering from survivorship bias—that is we only know what survived and assume that was everything, or even the majority. Still, it is something. Much of what we see in these figures is some kind of upper garment that has relatively tight sleeves, like a modern shirt or jacket might have, with the front pieces overlapping create a V-shaped neckline.  The garment hem often hangs down to just above the knee, flaring out away from the body, and it's held closed with ties and some kind of belt, possibly leather in some cases, and in others it looks like a tied loop of cloth.  There is evidence of a kind of trouser, with two legs, and we see ties around the knee.  In some cases, they even have small bells hanging from the ties.  Presumably the trousers might have ties up towards the waist, but we cannot see that in the examples we have. We also see individuals who have no evidence of any kind of bifurcated lower garment.  That may indicate an underskirt of some kind, or possibly what's called a "mo"—but it could also be just a simplification for stability, since a haniwa has a cylindrical base anyway.  It is not always obvious when you are looking at a haniwa figure whether it depicts a man or woman: in some cases there are two dots on the chest that seem to make it obvious, but the haniwa do come from different artisans in different regions, so there is a lot of variability. We also see evidence of what seem to be decorative sashes that are worn across the body, though not in all cases.  There are various types of headgear and hairstyles.  Wide-brimmed and domed hats are not uncommon, and we also see combs and elaborate hairstyles depicted.  On some occasions we can even see that they had closed toed shoes.  For accessories, we see haniwa wearing jewelry, including necklaces (worn by both men and women), bracelets, and earrings.  In terms of actual human jewelry, early shell bracelets demonstrate trade routes, and the distinctive magatama, or comma shaped jewel, can be found in the archipelago and on the Korean peninsula, where it is known as "gogok".  Based on lines or even colored pigment on the haniwa, it appears that many of these outfits were actually quite heavily decorated.  Paint on the outfits is sometimes also placed on the face, suggesting that they either painted or tattooed themselves, something mentioned in the Wei Chronicles.  We also have archaeological examples of dyed cloth, so it is interesting that people are often depicted in undyed clothing.  There is one haniwa that I find particularly interesting, because they appear to be wearing more of a round-necked garment, and they have a hat that is reminiscent of the phrygian cap: a conical cap with the top bent forward.  These are traits common to some of the Sogdians and other Persian merchants along the silk road, raising the possibility that it is meant to depict a foreigner, though it is also possible that it was just another local style. If we compare this to the continent, we can see some immediate difference.  In the contemporaneous Sui dynasty, we can see long flowing robes, with large sleeves for men and women.  The shoes often had an upturned placket that appears to have been useful to prevent one from tripping on long, flowing garments.  Many of these outfits were also of the v-neck variety, with two overlapping pieces, though it is often shown held together with a fabric belt that is tied in front.  The hats appear to either be a kind of loose piece of fabric, often described as a turban, wrapped around the head, the ends where it ties together trailing behind, or black lacquered crowns—though there were also some fairly elaborate pieces for the sovereign. As Yamato started to import continental philosophy, governance, and religion, they would also start to pick up on continental fashion.  This seems particularly true as they adopted the continental concept of "cap rank" or "kan-i". Let's go over what we know about this system, from its first mention in the Chronicles up to where we are in Ohoama's reign. As a caveat, there is a lot we don't know about the details of these garments, but we can make some guesses. The first twelve cap-ranks, theoretically established in 603, are somewhat questionable in their historicity, as are so many things related to Shotoku Taishi.  And their names are clearly based on Confucian values:  Virtue, Humanity, Propriety, Faith, Justice, and Wisdom, or Toku, Nin, Rei, Shin, Gi, and Chi.  The five values and then just "Virtue", itself. The existence of this system does seem to be confirmed by the Sui Shu, the Book of Sui, which includes a note in the section on the country of Wa that they used a 12 rank system based on the Confucian values, but those values were given in the traditional Confucian order vice the order given in the Nihon Shoki.   The rank system of the contemporaneous Sui and Tang dynasties was different from these 12 ranks, suggesting that the Yamato system either came from older dynasties—perhaps from works on the Han dynasty or the Northern and Southern Dynasty, periods—or they got it from their neighbors, Baekje, Silla, and Goguryeo.  There does seem to be a common thread, though, that court rank was identifiable in one's clothes. As for the caps themselves, what did they look like?  One would assume that the Yamato court just adopted a continental style cap, and yet, which one? It isn't fully described, and there are a number of types of headwear that we see in the various continental courts. Given that, we aren't entirely sure exactly what it looked like, but we do have a couple of sources that we can look at and use to make some assumptions.  These sources l ead us to the idea of a round, colored cap made of fabric, around the brim that was probably the fabric or image prescribed for that rank.  It is also often depicted with a bulbous top, likely for the wearer's hair, and may have been tied to their top knot.     Our main source for this is the Tenjukoku Mandala Embroidery (Tenjukoku-mandara-shuuchou) at Chuuguuji temple, which was a temple built for the mother of Prince Umayado, aka Shotoku Taishi.    This embroidery was created in 622, so 19 years after the 12 ranks would have been implemented. It depicts individuals in round-necked jackets that appear to have a part straight down the center.  Beneath the jacket one can see a pleated hem, possibly something like a "hirami", a wrapped skirt that is still found in some ceremonial imperial robes.  It strikes me that this could also be the hem of something like the hanpi, which was kind of like a vest with a pleated lower edge.  Below that we see trousers—hakama—with a red colored hem—at least on one figure that we can see.  He also appears to be wearing a kind of slipper-like shoe. As for the women, there are a few that appear to be in the mandala, but it is hard to say for certain as the embroidery has been damaged over the years. That said, from what we can tell, women probably would have worn something similar to the men in terms of the jacket and the pleated under-skirt, but then, instead of hakama, we see a pleated full-length skirt, or mo.  We also don't have a lot of evidence for them wearing hats or anything like that. The round necked jacket is interesting as it appears to be similar to the hou that was common from northern China across the Silk Road, especially amongst foreigners.  This garment  came to displace the traditional robes of the Tang court and would become the basis for much of the court clothing from that period, onwards.  The round necked garment had central panels that overlapped, and small ties or fastenings at either side of the neck to allow for an entirely enclosed neckline.  This was more intricate than just two, straight collars, and so may have taken time to adopt, fully. The next change to the cap-rank system was made in 647, two years into the Taika Reform.  The ranks then were more directly named for the caps, or crowns—kanmuri—and their materials and colors.  The ranks translate to Woven, Embroidered, Purple, Brocade, Blue, Black, and finally "Establish Valor" for the entry level rank. The system gets updated two years later, but only slightly.  We still see a reference to Woven stuff, Embroidery, and Purple, but then the next several ranks change to Flower, Mountain, and Tiger—or possibly Kingfisher.  These were a little more removed from the cap color and material, and may have had something to do with designs that were meant to be embroidered on the cap or on the robes in some way, though that is just speculation based on later Ming and Qing court outfits. Naka no Ohoye then updates it again in 664, but again only a little.  He seems to add back in the "brocade" category, swapping out the "flower", and otherwise just adds extra grades within each category to expand to 26 total rank grades. And that brings us to the reforms of 685, mentioned last episode.  This new system was built around what appear to be moral exhortations—Upright, Straight, Diligent, Earnest, etc.  And that is great and all, but how does that match up with the official robes? What color goes with each rank category?  Fortunately, this time around, the Chronicle lays it out for us pretty clearly. First off we are given the color red for the Princely ranks—not purple as one might have thought.  Specifically, it is "Vermillion Flower", hanezu-iro, which Bentley translates as the color of the "Oriental bush" or salmon.  In the blogpost we'll link to a table of colors that the founder of Sengoku Daimyo, Anthony Bryant, had put together, with some explanation of how to apply it.  I would note that there is often no way to know exactly what a given color was like or what shades were considered an acceptable range.  Everything was hand-dyed, and leaving fabric in the dye a little longer, changing the proportions, or just fading over time could create slightly different variants in the hue, but we think we can get pretty close. From there we have the six "common" ranks for the nobility.  Starting with the first rank, Upright, we have "Dark Purple".  Then we have "Light Purple".  This pattern continues with Dark and Light Green and then Dark and Light Grape or Lilac.  Purple in this case is Murasaki, and green here is specifically Midori, which is more specifically green than the larger category of "Aoi", which covers a spectrum of blue to green.  The grape or lilac is specifically "suou", and based on Bentley's colors it would be a kind of purple or violet. The idea is that the official court outfits for each rank would be the proper color.  And yes, that means if you get promoted in rank, your first paycheck—or rice stipend—is probably going to pay for a new set of official clothes.  Fortunately for the existing court nobles at the time, in the last month of 685, the Queen provided court clothing for 55 Princes and Ministers, so they could all look the part. And the look at court was important.  In fact, several of the edicts from this time focus specifically on who was allowed—or expected—to wear what.  For instance, in the 4th month of 681, they established 92 articles of the law code, and among those were various sumptuary laws—that is to say, laws as to what you could wear.  We are told that they applied to everyone from Princes of the blood down to the common person, and it regulated the wearing of precious metals, pearls, and jewels; the type of fabric one could use, whether purple, brocade, embroidery, or fine silks; and it also regulated woollen carpets, caps, belts, and the colors of various things. And here I'd like to pause and give some brief thought to how this played into the goals of the court, generally, which is to say the goal of creating and establishing this new system of governance in the cultural psyche of the people of the archipelago.  From the continental style palaces, to the temples, and right down to the clothing that people were wearing, this was all orchestrated, consciously or otherwise, to emphasize and even normalize the changes that were being introduced.  When everything around you is conforming to the new rules, it makes it quite easy for others to get on board. The court had surrounded themselves with monumental architecture that was designed along continental models and could best be explained through continental reasoning.  Even if they weren't Confucian or Daoist, those lines of reasoning ran through the various cultural and material changes that they were taking up.  Sure, they put their own stamp on it, but at the same time, when everything is right in front of you, it would become that much harder to deny or push back against it. And when you participated in the important rituals of the state, the clothing itself became a part of the pageantry.  It reinforced the notion that this was something new and different, and yet also emphasized that pushing against it would be going against the majority.  So court uniforms were another arm of the state's propaganda machine, all designed to reinforce the idea that the heavenly sovereign—the Tennou—was the right and just center of political life and deserving of their position.  Getting back to the sumptuary laws and rank based regulations: It is unfortunate that the record in the Nihon Shoki doesn't tell us exactly how things were regulated, only that they were, at least in some cases.  So for anything more we can only make assumptions based on later rules and traditions.  A few things we can see right away, though.  First is the restriction of the color purple.  Much as in Europe and elsewhere in the world, getting a dark purple was something that was not as easy as one might think, and so it tended to be an expensive dye and thus it would be restricted to the upper classes—in this case the princely and ministerial rank, no doubt.  Similarly brocade and fine silks were also expensive items that were likely restricted to people of a particular social station for that reason. The mention of woolen rugs is particularly intriguing.  Bentley translates this as woven mattresses, but I think that woolen rugs makes sense, as we do have examples of woolen "rugs" in Japan in at least the 8th century, stored in the famous Shousouin repository at Toudaiji temple, in Nara.  These are all imported from the continent and are actually made of felt, rather than woven.  As an imported item, out of a material that you could not get in the archipelago, due to a notable lack of sheep, they would have no doubt been expensive. The funny thing is that the carpets in the Shousouin may not have been meant as carpets.  For the most part they are of a similar size and rectangular shape, and one could see how they may have been used as sleeping mattresses or floor coverings.  However, there is some conjecture that they came from the Silk Road and may have been originally meant as felt doors for the tents used by the nomadic steppe peoples.  This is only conjecture, as I do not believe any of these rugs have survived in the lands where they would have been made, but given the size and shape and the modern yurt, it is not hard to see how that may have been the case.  Either way, I tend to trust that this could very well have meant woolen rugs, as Aston and the kanji themselves suggest, though I would understand if there was confusion or if it meant something else as wool was not exactly common in the archipelago at that time or in the centuries following. The last section of the regulations talks about the use of caps and belts.  The caps here were probably of continental origin:  The kanmuri, or official cap of state of the court nobles, or the more relaxed eboshi—though at this time, they were no doubt closely related. In fact, a year later, we have the most specific mention to-date of what people were actually wearing on their heads: there is a mention of men tying up their hair and wearing caps of varnished gauze.  Earlier caps related to the cap rank system are often thought to be something like a simple hemisphere  that was placed upon the head, with a bulbous top where the wearer's hair could be pulled up as in a bun. The kanmuri seems to have evolved from the soft black headcloth that was worn on the continent, which would have tied around the head, leaving two ends hanging down behind.  Hairstyles of the time often meant that men had a small bun or similar gathering of hair towards the back of their head, and tying a cloth around the head gave the effect of a small bump.  This is probably what we see in depictions of the early caps of state.  Sometimes this topknot could be covered with a small crown or other decoration, or wrapped with a cloth, often referred to as a "Tokin" in Japanese.  But over time we see the development of hardened forms to be worn under a hat to provide the appropriate silhouette, whether or not you actually had a topknot (possibly helpful for gentlemen suffering from hair loss).  And then the hat becomes less of a piece of cloth and more just a hat of black, lacquered gauze made on a form, which was much easier to wear.  At this point in the Chronicle, the cap was likely still somewhat malleable, and would made to tie or be pinned to that bun or queue of hair.  This explains the mention of men wearing their hair up.  This pin would become important for several different types of headgear, but ties were also used for those who did not have hair to hold the hat on properly. Two years after the edict on hats, we get another edict on clothing, further suggesting that the court were wearing Tang inspired clothing.  In 685 we see that individuals are given leave to wear their outer robe either open or tied closed. This is a clue that this outer robe might something akin to the round-necked hou that we see in the Tenjukoku Mandala, where the neck seems to close with a small tie or button.  However, we do see some examples, later, of v-necked garments with a tie in the center of the neck, so that may be the reference..  Opening the collar of the formal robes was somewhat akin to loosening a necktie, or unbuttoning the top button of a shirt.  It provided a more relaxed and comfortable feeling.  It could also be a boon in the warm days of summer.  Leaving it closed could create a more formal appearance. The courtiers also had the option of whether or not to wear the "Susotsuki", which Bentley translates as "skirt-band".  I believe this refers to the nai'i, or inner garment.  This would often have a pleated hem—a suso or ran—which would show below the main robe as just a slight hem.  Again, this is something that many would dispense with in the summer, or just when dressing a bit more casually, but it was required at court, as well as making sure that the tassles were tied so that they hung down.  This was the uniform of the court.  We are also told that they would have trousers that could be tied up, which sounds like later sashinuki, though it may have referred to something slightly different.  We are also given some regulations specifically for women, such as the fact that women over 40 years of age were allowed the discretion on whether or not to tie up their hair, as well as whether they would ride horses astride or side-saddle.  Presumably, younger women did not get a choice in the matter.  Female shrine attendants and functionaries were likewise given some leeway with their hairstyles. A year later, in 686, they do seem to have relaxed the hairstyles a bit more: women were allowed to let their hair down to their backs as they had before, so it seems that, for at least a couple of years, women under the age of 40 were expected to wear their hair tied up in one fashion or another. In that same edict, men were then allowed to wear "habakimo".  Aston translates this as "leggings" while Bentley suggests it is a "waist skirt".  There are an example of extant habakimo in the Shousouin, once again, and they appear to be wrappings for the lower leg.  It actually seems very closely related to the "kyahan" depicted all the way back in the 6th century painting of the Wo ambassador to Liang. Even though these edicts give a lot more references to clothing, there is still plenty that is missing.  It isn't like the Chroniclers were giving a red carpet style stitch-by-stitch critique of what was being worn at court.  Fortunately, there is a rather remarkable archaeological discovery from about this time. Takamatsuzuka is a kofun, or ancient burial mound, found in Asuka and dated to the late 7th or early 8th century.  Compared to the keyhole shaped tombs of previous centuries, this tomb is quite simple: a two-tiered circular tomb nestled in the quiet hills.  What makes it remarkable is that the inside of the stone burial chamber was elaborately painted.  There are depictions of the four guardian animals, as well as the sun and the moon, as well as common constellations.  More importantly, though, are the intricate pictures of men and women dressed in elaborate clothing. The burial chamber of Takamatsuzuka is rectangular in shape.  There are images on the four vertical sides as well as on the ceiling.  The chamber is oriented north-south, with genbu, the black tortoise, on the north wall and presumably Suzaku, the vermillion bird, on the south wall—though that had been broken at some point and it is hard to make out exactly what is there. The east and west walls are about three times as long as the north and south walls.  In the center of each is a guardian animal—byakko, the white tiger, on the west wall and seiryuu, the blue—or green—dragon on the east.  All of these images are faded, and since opening of the tomb have faded even more, so while photos can help, it may require a bit more investigation and some extrapolation to understand all of what we are looking at. On the northern side of both the east and west wall we see groups of four women.  We can make out green, yellow, and red or vermillion outer robes with thin fabric belt sashes, or obi, tied loosely and low around the waist.  There is another, lightly colored—possibly white, cream or pink—that is so faded it is hard to make out, and I don't know if that is the original color.  These are v-necked robes, with what appear to be ties at the bottom of the "v".  Around the belt-sash we see a strip of white peaking out from between the two sides of the robe—most likely showing the lining on an edge that has turned back slightly.  The cuffs of the robe are folded back, showing a contrasting color—either the sleeves of an underrobe or a lining of some kind.  Below the outer robe is a white, pleated hem—possibly a hirami or similar, though where we can make it out, it seems to be the same or similar color as the sleeves.  Under all of that, they then have a relatively simple mo, or pleated skirt.  The ones in the foreground are vertically striped in alternating white, green, red, and blue stripes.  There is one that may just be red and blue stripes, but I'm not sure.  In the background we see a dark blue—and possibly a dark green—mo.  At the base of each mo is a pleated fringe that appears to be connected to the bottom of the skirt.  The toe of a shoe seems to peek out from underneath in at least one instance.  They don't have any obvious hair ornaments, and their hair appears to be swept back and tied in such a way that it actually comes back up in the back, slightly.  They appear to be holding fans and something that might be a fly swatter—a pole with what looks like tassels on the end. In comparison, at the southern end of the tomb we have two groups of men.  These are much more damaged and harder to make out clearly.  They have robes of green, yellow, grey, blue, and what looks like dark blue, purple, or even black.  The neckline appears to be a v-necked, but tied closed, similar to what we see on the women.  We also see a contrasting color at the cuff, where it looks like the sleeves have turned back, slightly.  They have belt-sashes similar to the women, made of contrasting fabric to the robe itself.  Below that we see white trousers, or hakama, and shallow, black shoes.  On some of the others it is suggested that maybe they have a kind of woven sandal, but that is hard to make out in the current image.  On their heads are hats or headgear of black, stiffened—probably lacquered—gauze.  They have a bump in the back, which is probably the wearer's hair, and there is evidence of small ties on top and larger ties in the back, hanging down.  Some interpretations also show a couple with chin straps, as well, or at least a black cord that goes down to the chin.  They carry a variety of implements, suggesting they are attendants, with an umbrella, a folding chair, a pouch worn around the neck, a pole or cane of some kind, and a bag with some kind of long thing—possibly a sword or similar. The tomb was originally found by farmers in 1962, but wasn't fully examined until 1970, with an excavation starting in 1972.  The stone at the entryway was broken, probably from graverobbers, who are thought to have looted the tomb in the Kamakura period.  Fortunately, along with the bones of the deceased and a few scattered grave goods that the robbers must have missed, the murals also survived, and somehow they remained largely intact through the centuries.  They have not been entirely safe, and many of the images are damaged or faded, but you can still make out a remarkable amount of detail, which is extremely helpful in determining what clothing might have looked like at this time—assuming it is depicting local individuals. And there is the rub, since we don't know exactly whom the tomb was for.  Furthermore, in style it has been compared with Goguryeo tombs from the peninsula, much as nearby Kitora kofun is.  Kitora had images as well, but just of the guardian animals and the constellations, not of human figures. There are three theories as to who might have been buried at Takamatsuzuka.  One theory is that it was one of Ohoama's sons.  Prince Osakabe is one theory, based on the time of his death and his age.  Others have suggested Prince Takechi.  Based on the teeth of the deceased, they were probably in their 40s to 60s when they passed away. Some scholars believe that it may be a later, Nara period vassal—possibly, Isonokami no Maro.  That would certainly place it later than the Asuka period. The third theory is that it is the tomb of a member of one of the royal families from the Korean peninsula—possibly someone who had taken up refuge in the archipelago as Silla came to dominate the entire peninsula.  This last theory matches with the fact that Takamatsuzuka appears to be similar to tombs found in Goguryeo, though that could just have to do with where the tomb builders were coming from, or what they had learned. That does bring up the question of the figures in the tomb.  Were they contemporary figures, indicating people and dress of the court at the time, or were they meant to depict people from the continent?  Without any other examples, we may never know, but even if was indicative of continental styles, those were the very styles that Yamato was importing, so it may not matter, in the long run.     One other garment that isn't mentioned here is the hire, a scarf that is typically associated with women.  It is unclear if it has any relationship to the sashes we see in the Kofun period, though there is at least one mention of a woman with a hire during one of the campaigns on the Korean peninsula.  Later we see it depicted as a fairly gauzy piece of silk, that is worn somewhat like a shawl.  It is ubiquitous in Sui and Tang paintings of women, indicating a wide-ranging fashion trend.  The hire is a fairly simple piece of clothing, and yet it creates a very distinctive look which we certainly see, later. Finally, I want to take a moment to acknowledge that almost everything we have discussed here has to do with the elites of society—the nobles of the court.  For most people, working the land, we can assume that they were probably not immediately adopting the latest continental fashions, and they probably weren't dressing in silk very much.  Instead, it is likely that they continued to wear some version of the same outfits we see in the haniwa figures of the kofun period.  This goes along with the fact that even as the elite are moving into palaces built to stand well above the ground, we still have evidence of common people building and living in pit dwellings, as they had been for centuries.  This would eventually change, but overall they stuck around for quite some time.  However, farmers and common people are often ignored by various sources—they aren't often written about, they often aren't shown in paintings or statues, and they did often not get specialized burials.  Nonetheless, they were the most populous group in the archipelago, supporting all of the rest. And with that, I think we will stop for now.  Still plenty more to cover this reign.  We are definitely into the more historical period, where we have more faith in the dates—though we should remember that this is also one of the reigns that our sources were specifically designed to prop up, so we can't necessarily take everything without at least a hint of salt and speculation, even if the dates themselves are more likely to be accurate. Until then, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

In this Fragrance Friday episode of Skin Anarchy, Dr. Ekta Yadav sits down with Hamed Arefian, co-founder of House of Dastan, the niche fragrance brand blending Persian heritage, Parisian craftsmanship, and New York sophistication. Rooted in the Persian word “Dastan,” meaning “stories,” the brand reimagines perfume as a medium for cultural storytelling—where every scent is a narrative, and every bottle, a work of art.Hamed shares how childhood memories of rosewater, cardamom, and tea inspired the sensory poetry behind Dastan's creations. Drawing from his family's deep connection to Persian culture and poetry, each fragrance captures emotion, memory, and identity—bridging generations through scent.Collaborating with renowned perfumer Richard Herpin (creator of Tom Ford's Oud Wood), House of Dastan brings to life a refined harmony of East and West. Their standout fragrance, You?, epitomizes this philosophy—crafted to adapt to each wearer's chemistry, creating a completely unique signature scent. “It's not just worn,” Hamed says. “It becomes you.”As luxury evolves, House of Dastan champions emotional craftsmanship over excess—where true artistry lies in care, integrity, and depth. With three new limited-edition fragrances on the horizon and a SoHo boutique opening this November, the brand continues to redefine what modern luxury means in 2025: intimate, personal, and timeless.Tune in to hear how House of Dastan is transforming fragrance into a living art form—one rooted in heritage, yet designed for the modern soul.CHAPTERS:0:02 – Introduction & Welcome1:00 – The Journey to Founding House of Dastan2:04 – Blending Persian, Parisian, and New York Influences3:42 – The Heritage of Persian Fragrance & Storytelling5:09 – Collaborating with Perfumer Richard Herpin7:09 – The Story Behind “You?”9:09 – The Rise of Middle Eastern Fragrance Culture12:07 – Crafting the First Collection & Fragrance Design Process15:03 – From Retail to Brand Building19:39 – Redefining Luxury & What's Next for House of DastanPlease fill out this survey to give us feedback on the show!Don't forget to subscribe to Skin Anarchy on Apple Podcasts, Spotify, or your preferred platform.Reach out to us through email with any questions.Sign up for our newsletter!Shop all our episodes and products mentioned through our ShopMy Shelf! Hosted on Acast. See acast.com/privacy for more information.

The dynamic and interconnected ways Afghans and Iranians invented their modern selves through literature. Contrary to the presumption that literary nationalism in the Global South emerged through contact with Europe alone, Reading Across Borders: Afghans, Iranians, and Literary Nationalism (University of Texas Press, 2024) demonstrates how the cultural forms of Iran and Afghanistan as nation-states arose from their shared Persian heritage and cross-cultural exchange in the twentieth century. In this book, Aria Fani charts the individuals, institutions, and conversations that made this exchange possible, detailing the dynamic and interconnected ways Afghans and Iranians invented their modern selves through new ideas about literature. Fani illustrates how voluntary and state-funded associations of readers helped formulate and propagate "literature" as a recognizable notion, adapting and changing Persian concepts to fit this modern idea. Focusing on early twentieth-century periodicals with readers in Afghan and Iranian cities and their diaspora, Fani exposes how nationalism intensified—rather than severed—cultural contact among two Persian-speaking societies amidst the diverging and competing demands of their respective nation-states. This interconnected history was ultimately forgotten, shaping many of the cultural disputes between Iran and Afghanistan today. Aria Fani is an associate professor and director of Persian and Iranian Studies at the University of Washington in Seattle. He serves as the current deputy editor of Iranian Studies and is a co-investigator of the Translation Studies Hub at UW. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: https://www.youtube.com/user/a48266/videos 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 dynamic and interconnected ways Afghans and Iranians invented their modern selves through literature. Contrary to the presumption that literary nationalism in the Global South emerged through contact with Europe alone, Reading Across Borders: Afghans, Iranians, and Literary Nationalism (University of Texas Press, 2024) demonstrates how the cultural forms of Iran and Afghanistan as nation-states arose from their shared Persian heritage and cross-cultural exchange in the twentieth century. In this book, Aria Fani charts the individuals, institutions, and conversations that made this exchange possible, detailing the dynamic and interconnected ways Afghans and Iranians invented their modern selves through new ideas about literature. Fani illustrates how voluntary and state-funded associations of readers helped formulate and propagate "literature" as a recognizable notion, adapting and changing Persian concepts to fit this modern idea. Focusing on early twentieth-century periodicals with readers in Afghan and Iranian cities and their diaspora, Fani exposes how nationalism intensified—rather than severed—cultural contact among two Persian-speaking societies amidst the diverging and competing demands of their respective nation-states. This interconnected history was ultimately forgotten, shaping many of the cultural disputes between Iran and Afghanistan today. Aria Fani is an associate professor and director of Persian and Iranian Studies at the University of Washington in Seattle. He serves as the current deputy editor of Iranian Studies and is a co-investigator of the Translation Studies Hub at UW. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: https://www.youtube.com/user/a48266/videos Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The dynamic and interconnected ways Afghans and Iranians invented their modern selves through literature. Contrary to the presumption that literary nationalism in the Global South emerged through contact with Europe alone, Reading Across Borders: Afghans, Iranians, and Literary Nationalism (University of Texas Press, 2024) demonstrates how the cultural forms of Iran and Afghanistan as nation-states arose from their shared Persian heritage and cross-cultural exchange in the twentieth century. In this book, Aria Fani charts the individuals, institutions, and conversations that made this exchange possible, detailing the dynamic and interconnected ways Afghans and Iranians invented their modern selves through new ideas about literature. Fani illustrates how voluntary and state-funded associations of readers helped formulate and propagate "literature" as a recognizable notion, adapting and changing Persian concepts to fit this modern idea. Focusing on early twentieth-century periodicals with readers in Afghan and Iranian cities and their diaspora, Fani exposes how nationalism intensified—rather than severed—cultural contact among two Persian-speaking societies amidst the diverging and competing demands of their respective nation-states. This interconnected history was ultimately forgotten, shaping many of the cultural disputes between Iran and Afghanistan today. Aria Fani is an associate professor and director of Persian and Iranian Studies at the University of Washington in Seattle. He serves as the current deputy editor of Iranian Studies and is a co-investigator of the Translation Studies Hub at UW. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: https://www.youtube.com/user/a48266/videos Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

The dynamic and interconnected ways Afghans and Iranians invented their modern selves through literature. Contrary to the presumption that literary nationalism in the Global South emerged through contact with Europe alone, Reading Across Borders: Afghans, Iranians, and Literary Nationalism (University of Texas Press, 2024) demonstrates how the cultural forms of Iran and Afghanistan as nation-states arose from their shared Persian heritage and cross-cultural exchange in the twentieth century. In this book, Aria Fani charts the individuals, institutions, and conversations that made this exchange possible, detailing the dynamic and interconnected ways Afghans and Iranians invented their modern selves through new ideas about literature. Fani illustrates how voluntary and state-funded associations of readers helped formulate and propagate "literature" as a recognizable notion, adapting and changing Persian concepts to fit this modern idea. Focusing on early twentieth-century periodicals with readers in Afghan and Iranian cities and their diaspora, Fani exposes how nationalism intensified—rather than severed—cultural contact among two Persian-speaking societies amidst the diverging and competing demands of their respective nation-states. This interconnected history was ultimately forgotten, shaping many of the cultural disputes between Iran and Afghanistan today. Aria Fani is an associate professor and director of Persian and Iranian Studies at the University of Washington in Seattle. He serves as the current deputy editor of Iranian Studies and is a co-investigator of the Translation Studies Hub at UW. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: https://www.youtube.com/user/a48266/videos Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

The dynamic and interconnected ways Afghans and Iranians invented their modern selves through literature. Contrary to the presumption that literary nationalism in the Global South emerged through contact with Europe alone, Reading Across Borders: Afghans, Iranians, and Literary Nationalism (University of Texas Press, 2024) demonstrates how the cultural forms of Iran and Afghanistan as nation-states arose from their shared Persian heritage and cross-cultural exchange in the twentieth century. In this book, Aria Fani charts the individuals, institutions, and conversations that made this exchange possible, detailing the dynamic and interconnected ways Afghans and Iranians invented their modern selves through new ideas about literature. Fani illustrates how voluntary and state-funded associations of readers helped formulate and propagate "literature" as a recognizable notion, adapting and changing Persian concepts to fit this modern idea. Focusing on early twentieth-century periodicals with readers in Afghan and Iranian cities and their diaspora, Fani exposes how nationalism intensified—rather than severed—cultural contact among two Persian-speaking societies amidst the diverging and competing demands of their respective nation-states. This interconnected history was ultimately forgotten, shaping many of the cultural disputes between Iran and Afghanistan today. Aria Fani is an associate professor and director of Persian and Iranian Studies at the University of Washington in Seattle. He serves as the current deputy editor of Iranian Studies and is a co-investigator of the Translation Studies Hub at UW. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: https://www.youtube.com/user/a48266/videos Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

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Descubrimos maravillosas músicas, muchas de ellas insólitas e inesperadas, siempre fascinantes y hermosas, a través de nuevos discos que nos traen conexiones persas, árabes y kurdas en la diáspora; encuentros de artistas chinos, indios y norteamericanos, y músicas únicas del pueblo tuareg, del Cáucaso del Norte y de Uganda. We discover wonderful music, much of it singular and unexpected, always fascinating and beautiful, through new albums that bring us Persian, Arab and Kurdish connections in the diaspora; encounters between Chinese, Indian and North American artists, and unique music from the Tuareg people, the North Caucasus and Uganda. - Mehrnam Rastegari - Naz - Dislocated pulse - Al Bilali Soudan - No. 27 - Chez Abellou - Tania Saleh - Ghasseel dmegh (Brainwash) - Fragile - Meral Polat - Ötme bülbül ötme - Meydan - Gao Hong & Baluji Shrivastav - Moonlight dance - Neelam - Paul Grabowsky & Mindy Meng Wang - Black diamond - Between dreams - Melodic Intersect - A silent whisper - Beyond borders - Muhamed Batit & Kavkaz Ensemble - Qerbech - Shopsh: Circassian vocal tradition of Zhiu [V.A.] - Katokye - Abanzira - Obuhangwa bwa Banyankore na Bahororo 📸 Katokye

The dynamic and interconnected ways Afghans and Iranians invented their modern selves through literature. Contrary to the presumption that literary nationalism in the Global South emerged through contact with Europe alone, Reading Across Borders: Afghans, Iranians, and Literary Nationalism (University of Texas Press, 2024) demonstrates how the cultural forms of Iran and Afghanistan as nation-states arose from their shared Persian heritage and cross-cultural exchange in the twentieth century. In this book, Aria Fani charts the individuals, institutions, and conversations that made this exchange possible, detailing the dynamic and interconnected ways Afghans and Iranians invented their modern selves through new ideas about literature. Fani illustrates how voluntary and state-funded associations of readers helped formulate and propagate "literature" as a recognizable notion, adapting and changing Persian concepts to fit this modern idea. Focusing on early twentieth-century periodicals with readers in Afghan and Iranian cities and their diaspora, Fani exposes how nationalism intensified—rather than severed—cultural contact among two Persian-speaking societies amidst the diverging and competing demands of their respective nation-states. This interconnected history was ultimately forgotten, shaping many of the cultural disputes between Iran and Afghanistan today. Aria Fani is an associate professor and director of Persian and Iranian Studies at the University of Washington in Seattle. He serves as the current deputy editor of Iranian Studies and is a co-investigator of the Translation Studies Hub at UW. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: https://www.youtube.com/user/a48266/videos Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Get on your dragon and join our magical quest, as Bahar Espiritu talks to us about her lifelong passion for fantasy novels. She recounts listening to her Iranian grandmother's bedtime stories, which inspired her to paint the scenes since she couldn't yet read or write. Bahar's reading journey progressed from Persian classics to Western fantasy staples, before arriving at contemporary dark fantasy series, featuring strong female protagonists who overcome childhood trauma to become heroes. She discusses how fantasy serves as a boundless creative space that triggers the imagination, draws parallels between fantasy literature and ancient mythology in teaching moral lessons, and describes her active participation in online fantasy reading communities. Guest BioBahar Espiritu (she/her) is an award-winning designer and internationally recognized artist, a visionary leader, and an Honorary Marquis Who's Who Listee, celebrated for her innovative contributions to design systems and brand development at Amazon Prime and Amazon Web Services Cloud. Her work has been instrumental in creating user-centric experiences that merge technology and art, delivering scalable and inclusive solutions for global audiences. Currently, she serves as a Creative Director at Essence of Hockey, where she continues to push boundaries in art, design and storytelling.LinksBahar on LinkedIn: https://www.linkedin.com/in/baharespiritu/Bahar on Instagram: https://www.instagram.com//baharespirituCreditsCover design by Raquel Breternitz.

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As recently as 1928, a vast swathe of Asia—India, Pakistan, Bangladesh, Burma, Nepal, Bhutan, Yemen, Oman, the United Arab Emirates, Qatar, Bahrain and Kuwait—were bound together under a single imperial banner, an entity known officially as the “Indian Empire,” or more simply as the British Raj. And then, in just fifty years, the Indian Empire shattered. Five partitions tore it apart, carving out new nations, redrawing maps, and leaving behind a legacy of war, exile and division.A new book the author Sam Dalrymple, Shattered Lands: Five Partitions and the Making of Modern Asia, presents the unknown back story of how the Indian Empire was unmade. Sam is a historian and award-winning filmmaker who grew up in Delhi. He graduated from Oxford University as a Persian and Sanskrit scholar. In 2018, he co-founded Project Dastaan, a peace-building initiative that reconnects refugees displaced by the 1947 Partition of India. His debut film, Child of Empire, premiered at the Sundance Film Festival in 2022, and he runs the history Substack @ travelsofsamwise.To talk more about his new book, Sam joins Milan on the podcast this week. They discuss Sam's personal journey with the Partition of the subcontinent, the forgotten separation of Burma from the Indian Empire, and Delhi's dismissiveness of its Gulf outposts. Plus, the two talk about the creation of Pakistan, the twin genocides of 1971, and the special resonance of the princely state of Junagadh in modern-day Gujarat.Episode notes:1. Sam Dalrymple, “The Gujarati Kingdom That Almost Joined Pakistan,” Travels of Samwise (Substack), July 5, 2025.2. Nishad Sanzagiri, “Shattered Lands by Sam Dalrymple review – the many partitions of southern Asia,” The Guardian, July 1, 2025.3. “Ramachandra Guha Revisits India After Gandhi,” Grand Tamasha, April 19, 2023.4. Preeti Zacharia, “Interview with historian Sam Dalrymple, author of Shattered Lands,” Hindu, July 8, 2025.5. Sam Dalrymple, “The Lingering Shadow of India's Painful Partition,” TIME, July 14, 2025.

Recently, the Victorian government celebrated the state's Senior of the Year Awards, recognising extraordinary contributions to community life. The Promotion of Multiculturalism Award went to Dilnaz Billimoria, an Indian-Australian of Persian heritage and Zoroastrian faith. In this podcast, she shares her journey of empowering older Victorians from diverse backgrounds, making sure their voices are heard, their stories are celebrated, and barriers are broken for seniors in CALD communities.

Was Halloween part of the ancient sacred tradition? In this episode of Hidden Wisdom, Meghan Farner uncovers the forgotten roots of All Hallow's Eve — from the Festival of the Dead to its connections with the Pleiades, divine feminine archetypes, and global flood myths. Explore how cultures across the world once honored death, rebirth, and ancestral connection at this sacred time of year. Learn how to reclaim the holy essence of Halloween through intention, gratitude, and light-filled observance.Timestamps & Key Discussion Points00:00 – 01:14 | Opening reflections and gratitude to Hidden Wisdom supporters01:14 – 02:05 | Why Meghan felt inspired to speak on Halloween and its controversy02:28 – 03:24 | Addressing misconceptions: Is Halloween demonic or meaningless?03:42 – 04:17 | Introducing the deeper purpose of exploring ancient origins04:32 – 05:26 | Quote from History of Halloween — witches, symbolism, and folklore05:26 – 06:53 | Global “Festival of the Dead” traditions across cultures and eras07:06 – 09:32 | Parallel celebrations: Celtic Samhain, Egyptian Osiris, Mayan, Persian, and Polynesian rites09:48 – 10:22 | The Pleiades constellation, comets, and the heavenly signs of the season10:46 – 12:41 | The Flood connection — how ancient trauma unified human remembrance13:57 – 15:15 | Death and rebirth as a universal cycle; spiritual implications15:32 – 17:10 | Feminine symbols in Halloween: Hathor, Isis, the flood, and the Seven Sisters17:28 – 18:30 | The misunderstood witch: wise women, midwives, and ancient wisdom18:46 – 20:28 | Modern misconceptions and redeeming the spiritual roots of the holiday20:51 – 22:13 | Reclaiming intention — celebrating with light, love, and purpose22:33 – 23:37 | Family traditions: “Switch Witch,” ancestral remembrance, and seasonal rituals23:54 – 25:33 | Honoring ancestors, creating altars, and feasting in gratitude25:33 – 26:44 | Reflection rituals: letting go of the old and writing a year's-end blessing26:44 – 27:10 | Avoiding fear and judgment — reclaiming joy in spiritual discernment27:40 – 28:49 | Closing blessings: seeing light, abundance, and love in all observance Donate to Hidden Wisdom: Venmo @Meghan-Farner

Friends of the Rosary,Today, October 28, we celebrate the feast day of two great apostles: St. Jude Thaddeus and St. Simon the ZealotSt. Jude Thaddeus, brother of St. James the Lesser, preached the Gospel in Judea, Samaria, Idumaea, Syria, Mesopotamia, and Libya. He suffered martyrdom in Armenia, which was then under Persian rule.He is the author of an epistle (letter) to the Churches of the East, in particular the Jewish converts, directed against the heresies of the Simonians, Nicolaites, and Gnostics.St. Jude was the one who asked Jesus at the Last Supper why He would not manifest Himself to the whole world after His resurrection.He is invoked as the patron of desperate, forgotten, and lost situations and causes because his New Testament letter stresses that the faithful should persevere in the environment of harsh, difficult circumstances, just as their forefathers had done before them.Every image of him depicts him wearing a medallion with a profile of Jesus.Saint Jude Thaddeus is not the same person as Judas Iscariot, who betrayed Our Lord and despaired because of his great sin and lack of trust in God's mercy.St. Simon, who had been called a Zealot, is thought to have preached in Egypt and then to have joined St. Jude in Persia. Here, he was supposedly martyred by being cut in half with a saw, a tool he is often depicted with.Today, we also celebrate the Fourth Anniversary of the departure for the glory of heaven of Maria Blanca, co-founder of the Rosary Network, along with Mikel A. Ave Maria!Come, Holy Spirit, come!To Jesus through Mary!Here I am, Lord; I come to do your will.Please give us the grace to respond with joy!+ Mikel Amigot w/ María Blanca | RosaryNetwork.com, New YorkEnhance your faith with the new Holy Rosary University app:Apple iOS | New! Android Google Play• October 28, 2025, Today's Rosary on YouTube | Daily broadcast at 7:30 pm ET

NHK WORLD RADIO JAPAN - Persian News at 15:30 (JST), October 28

How did Persian mythology seep into the texts of the Hebrew Bible? In this week's Biblical Time Machine, Helen and Lloyd are joined by Professor Mark Leuchter, who has recently argued that the 'dynastic myth-making' of the Persian Achaemenid rulers left its mark on Second Temple Jewish texts. Drawing on cognitive science, postcolonial theory, ancient letters and iconography, Mark guides us through the complex world of Persian myth-making and its effects on the Hebrew Bible. Mark Leuchter is Professor of Hebrew Bible and Ancient Judaism and Director of Jewish Studies at Temple University in Philadelphia. His publications include The Levites and the Boundaries of Israelite Identity (Oxford University Press, 2017) and more recently An Empire Far And Wide: The Achaemenid Dynastic Myth and Jewish Scribes in the Late Persian Period (Oxford University Press, 2024). He is one of the editors of the New Oxford Bible Commentary and is an executive board member of the Canadian Society for Biblical Studies. If you would like to gain a sense of the ancient Persian empire – the largest of its time – check out this map from our friends at SBL Bible Odyssey. SUPPORT BIBLICAL TIME MACHINEIf you enjoy the podcast, please (pretty please!) consider supporting the show through the Time Travellers Club, our Patreon. We are an independent, listener-supported show (no ads!), so please help us continue to showcase high-quality biblical scholarship with a monthly subscription.DOWNLOAD OUR STUDY GUIDE: MARK AS ANCIENT BIOGRAPHYCheck out our 4-part audio study guide called "The Gospel of Mark as an Ancient Biography." While you're there, get yourself a Biblical Time Machine mug or a cool sticker for your water bottle.Support the showTheme music written and performed by Dave Roos, creator of Biblical Time Machine. Season 4 produced by John Nelson.

Wesley Wright Lighthouse Bible Church Sunday, October 26, 2025 Title: Back to business Ezr 5:1-17 Chapter 5 starts out mentioning the prophecies of Haggai and Zechariah. Their prophecy spurred the Jews back on toward their work. Hag 1:12-15 Perhaps Tattenai thought Zerubbabel was the Branch that Zechariah prophesied about. Isa 11:1-6 Jer 23:5-8 Zec 3:8, 6:9-15 There's a great deal of Persian turmoil at this point in time, which might explain why Tattenai asks about their work (Ezra 5:3). The Persian army placed its support behind Darius. Darius I: King of Persia (Ezr 4:5) from 521 to 486 Succeeds... for full notes: http://www.lbible.org/index.php?proc=msg&sf=vw&tid=1760

Celine Rouben — an Iranian-Jewish speaker and storyteller — shares her powerful journey from Tehran's ancestral roots to modern-day Jerusalem. In this episode, she exposes media myths about Israel, Jewish identity, and what it truly means to reconnect with faith in today's world.Watch till the end for a raw discussion on heritage, Zionism, and spiritual awakening.Your spiritual path is yours to define. Learn how to embrace ancient wisdom, plant medicine, and inner transformation to reclaim your divine purpose.

Avik Mitra from A Chef's Tour is back on the podcast to talk about the cuisine of the Bengal region of India. Avik tells Brent about the surprising Persian origin of Biryani, samosas from Uzbekistan and momos from Nepal. Plus, we fit in a little Eric Clapton and Beatles talk. [Ep 360] Show Notes: Destination Eat Drink foodie travel guide ebooks Destination Eat Drink videos Avik's Kolkata Food Tour at A Chef's Tour Avik talking about Kolkata on Destination Eat Drink

A rare in-studio performance and conversation with TrioMoon - featuring Milad Derakhshani (tar), Dara Daraei (bass), and Bahar Falsafi (violin). Visiting from Iran, the trio delivers two breathtaking instrumental pieces - a fusion of Persian classical roots, improvisation, and modern texture - followed by an intimate discussion with Jian Ghomeshi on creativity, collaboration, and the flourishing new wave of Iranian music. Milad and Dara open up about living double musical lives - from pop and rock to sonati and fusion - and what it means to make art between worlds. At the top of the show, Jian reflects on Toronto's excitement as the Blue Jays head to the World Series and shares his recent streak of Persian concerts - from Alireza Ghorbani to Martik to Milad Derakhshani's captivating Toronto performance with Trio Moon.

Today, we're sharing an episode of the No Small Endeavor podcast. These days, our culture is marked by political unrest, polarization, and anxiety. Beauty and art feel like a luxury, or even a distraction. In a special series, No Small Endeavor is asking: What if art, beauty, and poetry are exactly what we need to face the crisis at hand? Can poetry help us protest, pray, lament, and even hope? Host Lee C. Camp talks to poets like Haleh Liza Gafori, a poet, musician, and acclaimed translator of the Persian poet Rumi; and Pádraig Ó Tuama, poet, theologian, and host of Poetry Unbound. Their conversations evoke thoughtfulness about how to fight for beauty in the current culture, and how to make it through the fires of our time together. In this episode, Lee talks to Joy Harjo, a musician, author, and three-term U.S. Poet Laureate. Camp and Harjo explore how poetry can act as a form of justice, a practice of self-development, and a tiny experiment in healing. You can listen to No Small Endeavor here. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The book of Nehemiah isn't just an ancient story about rebuilding walls. It's a masterclass in how we too can live a strategic, purposeful life for the Lord. Nehemiah shows us how to transform overwhelming situations into opportunities for restoration. Through his journey from cupbearer to wall-builder, we will discover a powerful pattern for living in our own challenging times.Themes of this podcast:Develop depth perception to truly care about others' struggles. Nehemiah models how to move beyond superficial concern when hearing about others' difficulties. Instead of simply expressing sympathy and moving on, he demonstrates the importance of actively listening, processing what's really happening in people's lives, and allowing yourself to feel genuine concern that moves you to action.Use strategic prayer before making any major plans or decisions. Rather than immediately jumping into action when faced with a challenge, Nehemiah spent months in prayer using a structured approach of praise, confession, thanksgiving, and request. This deliberate pause to seek God's direction first, rather than relying solely on our own wisdom and planning abilities, can transform how we approach life's obstacles.Recognize that your current position may be preparation for a greater purpose. Nehemiah understood that being a cupbearer to the Persian king wasn't just a job. It was strategic positioning by God for a specific moment of need. Whatever role or position you currently hold, no matter how ordinary it seems, it may be exactly where God has placed you to make a difference when the right opportunity arises.Show Notes:BlogPrayer GuideWe love feedback, but can't reply without your email address. Message us your thoughts and contact info!Contact Bible Book ClubDonate or pick up merch here Like, comment, or message us through Bible Book Club's InstagramLike or comment on Susan's Facebook or InstagramLeave us an Apple reviewContact us through our website formThanks for listening and happy podcasting!