Podcasts about Persian

In a Katie Halper Show exclusive, journalist Matthew Petti discusses for the first time, his reporting on Jeffrey Epstein, Israel, Qatar, Tom Barrack, Trump's Middle East envoy, and Sultan bin Sulayem, a very powerful Dubai businessman tied to the royal family and more. Then Katie gets an update from Zeyad Kadur about his nephew Mohammed Ibrahim, a 16 year old American Citizen who is languishing in an Israeli prison where he has been kept since early 2025. For the full discussion, please join us on Patreon at - https://www.patreon.com/posts/patreon-full-143899463 Links for Mohammed Ibrahim: Institute For Middle East Understanding Policy Project: https://www.imeupolicyproject.org/newsletters/lawmakers-call-on-trump-admin-to-free-mohammed-ibrahim-from-israeli-detention CAIR and CAIR-FL Urgent Action Alert: https://secure.ngpvan.com/DYkFiy0PwEiVEvRJaQFdIQ2 freeMohammedIbrahim: https://linktr.ee/freeMohammedIbrahim Matthew Petti is an assistant editor at Reason and a proud New Jersey native. He has previously reported for the BBC (in Persian and English), The Intercept, The Daily Beast, New Lines magazine, Responsible Statecraft, Middle East Eye, and The National Interest, among other publications. Matthew covers U.S. national security policy and its interactions with American society and domestic politics. In 2022, Matthew was awarded a Fulbright fellowship to research the ways in which Arab journalists interact with foreign media. Through the Fulbright program, he worked at a variety of newsrooms in Amman, including Jordan News and Radio al-Balad, where he hosted a program on Latin music. Previously, he was a Center for Arabic Study Abroad and Foreign Language Area Studies fellow in Amman. Matthew graduated from Columbia University with a bachelor's degree in Middle Eastern, South Asian, and African Studies. He got his start in journalism as a features writer at the Columbia Daily Spectator. **Please support The Katie Halper Show ** For bonus content, exclusive interviews, to support independent media & to help make this program possible, please join us on Patreon - / thekatiehalpershow Get your Katie Halper Show Merch here! https://katiehalper.myspreadshop.com/all Follow Katie on Twitter: https://x.com/kthalps Follow Katie on Instagram: / kthalps Follow Katie on TikTok: / kthalps

A faith born in the distant prehistoric past, rooted in ancient Iranian texts over 4,000 years old, Zoroastrianism is one of the world's oldest living religions. and one that shaped empires.In this episode of The Ancients, Tristan Hughes is joined by Professor Almut Hintze to explore the origins, beliefs, and enduring legacy of Zoroastrianism. From the teachings of the prophet Zarathustra and the central role of Ahura Mazda, to holy fire and its influence on the Achaemenid and Sasanian worlds, join us to discover how this ancient religion helped shape ancient empires and Persian identity for millenniaMOREThe Wise MenListen of AppleListen on SpotifyPersia Reborn: Rise of the SasaniansListen on AppleListen on Spotify Presented by Tristan Hughes. Audio editor is Aidan Lonergan, the producer is Joseph Knight. The senior producer is Anne-Marie Luff.Theme music from Motion Array, all other music from 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. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here:https://uk.surveymonkey.com/r/6FFT7MK Hosted on Acast. See acast.com/privacy for more information.

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/goodlifeprojectWatch Jonathan's new TEDxBoulder Talk on YouTube now: https://www.youtube.com/watch?v=2zUAM-euiVI Hosted on Acast. See acast.com/privacy for more information.

NHK WORLD RADIO JAPAN - Persian News at 15:30 (JST), November 18

When Rome's Emperor Valerian fell into Persian hands, his defeat became one of history's most grotesque legends — a tale of humiliation, torture, and a death said to come by molten gold. | #WDRadio WEEK OF NOV 11, 2025==========HOUR ONE: When it comes to receiving the death sentence, history has given us several ways to go about the execution. Hanging, firing squad, gas chamber, being stoned to death or burned at the stake… but you have to be some whole new level of “hated” by the people if your death blow comes by way of molten gold being poured down your throat. (Death By Golden Throat) *** Typically, when you hear the phrase “high speed chase”, you think of law enforcement trying to catch the bad guys who are in a getaway vehicle. Perhaps after a bank robbery, or after blowing a stop sign and simply refusing to pull over. But have you heard about the time that the police were involved in a high-speed chase up to 100-miles-per hour, trying to catch up to a flying saucer? (The 100mph UFO Chase) *** When the Black Plague arrived at their doorsteps, the villagers were forced to choose between life or certain doom. It's the tragic tale of England's Plague Village – the village of Eyam. (The Black Death Comes to Eyam) *** In the 1800s, women finding themselves “with child” but unmarried, were treated like second-class citizens or worse. And during a time when birth control was limited or even unavailable outside of the rhythm method, what was a girl to do if she found herself in such dire circumstances? Fortunately, there was a woman there ready to help – to take the baby off their hands and give it a good home. Or so everyone thought. (Minnie, The Baby Farmer) *** On frozen lakes near Manitowish Waters, a hooded figure appears to ice fishermen, silently guiding them to the best spots for a catch before vanishing into the winter air. (The Ice Fisherman Ghost)==========HOUR TWO: Ruth Snyder and Judd Gray devised a scheme to get rid of Ruth's husband – and they planned it so well that, okay… actually no. They were so inept they were caught immediately, and even the police publicly called them incompetent. (The Dumb-Bell Murder) *** For over 2,000 years across South and Southeast Asia, trained elephants served as living instruments of execution, crushing condemned prisoners with calculated brutality under the control of their handlers. (Execution By Elephant) *** Before he became a Civil War general, Congressman Dan E. Sickles' scandalous murder trial changed our legal system forever. He said outright that he had killed his wife's lover. So how did he avoid being found guilty of the crime he admitted to committing? (How A Congressman Got Away With Murder) *** In 1150, two children were found near Woolpit in England – they wore strange clothes, spoke oddly, but the most identifiable characteristic for both children was their skin was green. The children themselves were a mystery – but what happened when they grew up? Did they marry? Did they have children? Could there be decedents of the green children of Woolpit living among us today? (Great Grandkids of Green Children) *** In the summer of 1518, a mysterious dancing plague seized the French town of Strasbourg, compelling hundreds to dance without rest for months—some until they collapsed and died—in a frenzy that baffled authorities and remains unexplained to this day. (Dancing Plague)==========SUDDEN DEATH OVERTIME: “Tom" and "Lena" are in a loving relationship and have a young child together. It sounds like the perfect family – except for one tiny detail about their relationship. Tom and Lena are biological brother and sister. (I Fell In Love With My Sister) *** In Norfolk, England the village of Eccles was slowly gobbled by the rising waters of the sea in the early 1600s. But even today, sometimes during a particularly heavy story, you can see St. Mary's Church mysteriously reappear… bringing with it, the dead buried in the church graveyard who cannot find rest. (The Disappearing And Reappearing Village of Eccles) *** Lory Price and his wife Ethel mysteriously disappeared from Marion, Illinois. But then, sometimes that happens when you are mixed up with the mob or may have learned something you weren't supposed to. (The Vanishing of Lory Price) *** The Catacombs of St. Callixtus in Rome, Italy, hold the remains of sixteen popes, several martyrs, and around half a million Christians, and according to on author, a not-of-this world entity. (The Callixtus Catacombs Entity)==========SOURCES AND REFERENCES FROM TONIGHT'S SHOW:“Death By Golden Throat” by Genevieve Carlton for Weird History https://weirddarkness.tiny.us/3586qeqk, Rachel Nuwer for Smithsonian Magazine https://weirddarkness.tiny.us/18pu2d9b, and Laurie L. Dove for History https://weirddarkness.tiny.us/3vy6r2a9“The Black Death Comes to Eyam” by Stephanie Almazan for The Line Up: https://weirddarkness.tiny.us/1aptirxk“Minnie, The Baby Farmer” from The Scare Chamber: https://weirddarkness.tiny.us/2eqd77xa“The 100MPH UFO Chase” from The Parajournal for The Times Online: https://weirddarkness.tiny.us/ntcaqk3y“The Ice Fisherman Ghost” by Charlie Hinz: https://weirddarkness.tiny.us/2p8nzemt“The Dumb-Bell Murder” by Troy Taylor: https://weirddarkness.tiny.us/192wwaer (includes execution photo)“I Fell In Love With My Sister” by Jennifer Tillman for Vice: https://weirddarkness.tiny.us/y2dmtp2e“Execution by Elephant” by Joanna Gillan for Ancient Origins: https://weirddarkness.tiny.us/2p8jj255“The Cursing of Christopher Case” by Gurnoor Kaur for Conspiracy Theories: https://weirddarkness.tiny.us/145d147q“The Disappearing And Reappearing Village of Eccles” by Stacia Briggs for Eastern Daily Press:https://weirddarkness.tiny.us/5fopg2hq“The Vanishing of Lory Price” by Troy Taylor from his book “Bloody Illinois”: https://weirddarkness.tiny.us/lsi06qet“How A Congressman Got Away With Murder” by Genevieve Carlton for All That's Interesting:https://weirddarkness.tiny.us/2jantfjj“Great Grandkids of Green Children” from Ancient Code: https://weirddarkness.tiny.us/4u4xdypk“The Callixtus Catacombs Entity” by Ellen Lloyd for Ancient Pages: https://weirddarkness.tiny.us/aqhlme0r“Dancing Plague” by Cassandra Yorgey at HubPages: https://weirddarkness.tiny.us/ycke4fwe==========(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for material I use whenever possible. If I have overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it immediately. Some links may benefit me financially through qualifying purchases.)=========="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46==========WeirdDarkness®, WeirdDarkness© 2025==========To become a Weird Darkness Radio Show affiliate, contact Radio America at affiliates@radioamerica.com, or call 800-807-4703 (press 2 or dial ext 250).

The prophet Daniel, living in exile under Persian rule, studied Jeremiah's prophecy about Israel's 70-year captivity and was moved to pray for his people's restoration. His powerful prayer wasn't based on his own righteousness but on God's mercy, as he confessed the collective sins that led to exile: neglecting God's commands, treating people brutally, and worshipping false gods. God responded through the angel Gabriel with the Seventy Weeks prophecy, promising to finish transgression, end sin, atone for iniquity, bring everlasting righteousness, seal vision and prophet, and anoint a most holy place. These promises point directly to Christ's redemptive work. For us today, this teaches that we need hope and redemption rather than just pain relief, that true confession brings healing, and that God's perfect character gives us confidence in His timing.https://www.ankenyfree.church

“The Deliverance of God's Servant” Daniel 6              November 16, 2025 Pastor John Choi  Sermon Application [file]   ----more---- Daniel 6:19 Then, at break of day, the king arose and went in haste to the den of lions. 20 As he came near to the den where Daniel was, he cried out in a tone of anguish. The king declared to Daniel, “O Daniel, servant of the living God, has your God, whom you serve continually, been able to deliver you from the lions?” 21 Then Daniel said to the king, “O king, live forever! 22 My God sent his angel and shut the lions' mouths, and they have not harmed me, because I was found blameless before him; and also before you, O king, I have done no harm.” 23 Then the king was exceedingly glad, and commanded that Daniel be taken up out of the den. So Daniel was taken up out of the den, and no kind of harm was found on him, because he had trusted in his God. 24 And the king commanded, and those men who had maliciously accused Daniel were brought and cast into the den of lions—they, their children, and their wives. And before they reached the bottom of the den, the lions overpowered them and broke all their bones in pieces. 25 Then King Darius wrote to all the peoples, nations, and languages that dwell in all the earth: “Peace be multiplied to you. 26 I make a decree, that in all my royal dominion people are to tremble and fear before the God of Daniel, for he is the living God, enduring forever; his kingdom shall never be destroyed, and his dominion shall be to the end. 27 He delivers and rescues; he works signs and wonders in heaven and on earth, he who has saved Daniel from the power of the lions.” 28 So this Daniel prospered during the reign of Darius and the reign of Cyrus the Persian.   Through the deliverance of His Servant, God offers the good news of deliverance to all people.         I. The Same Theme in New Circumstances   II. Daniel's Excellence and the Conspiracy Against Him  III. Daniel's Disciplines: The Ordinary Means of Grace  IV. The Miracle in the Lion's Den: A Glimpse of True Peace   V. The Greater Daniel: Jesus Christ Our Deliverer  VI. Our Call as God's Children

In today's episode, we're learning 10 useful Persian verbs that use zadan as an auxiliary verb — and we'll show you how to use them naturally in a friendly conversation between two friends. Don't miss this fun and practical lesson!For extra practice, write a short story using all ten verbs and send it to us at: podgapp@gmail.com. We'd love to read your work!Want 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

learn 10 high-frequency expressions, including internet and phone-related vocabulary

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learn how to write ج (jim)

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

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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.

A Roman emperor grovelling to a Persian king: the message behind a new statue in Tehran https://theconversation.com/a-roman-emperor-grovelling-to-a-persian-king-the-message-behind-a-new-statue-in-tehran-269367 Iran faces unprecedented drought as water crisis hits Tehran https://www.bbc.com/news/articles/cy4p2yzmem0o Stunning Study finds Error in Nobel Prize Discovery https://youtu.be/2VpP-qXuJMc?si=k6wD1ikvBTsTIvyn Sean Carroll: Einstein's most radical thought https://youtu.be/rT7DMb3ZucU?si=CZU4vUXV2W0jkaPS Steven Pinker From my appearance on 60 Minutes: Me:  Research works. If ... Read more The post acharam um erro em um Prêmio Nobel? um monumento inoportuno a uma… humilhação appeared first on radinho de pilha.

We still can't quite believe that Angela Rippon agreed to be a guest on our humble little podcast but also the fact that she managed the whole process herself. No P.A's, no agents, no big hoohaa or over inflated ego that could be expected from someone of her standing, no…just the inspirational, incredible and adorable Angela.As part of Andrew Cuerden's “Why Dance?” series of the Soulhubber's podcast, he spoke to Angela about how she started dancing, the vision of her Let's Dance campaign to get the country dancing and the benefits of all types of dancing, even ‘Dad' dancing. As well as how dance supports those suffering with Parkinson's or Dementia. In particular, it was throughly interesting to gain an insight into why she felt she'd had a long, healthy and successful life, something which so many of us want to understand for ourselves and our loved ones.We always close our interviews with the question ‘What makes you feel soulful?', to which I was blown away by her response, as she shared the Persian poem…“If thou of fortune be bereft,and in thy store there be but lefttwo loaves, sell one, and with thedole, buy hyacinths to feed thy soul.”Enjoy…If you live in the UK and are looking for some inspiration on where to go dancing check out Angela's Let's Dance website. If you enjoyed this episode, please share with someone who you feel might appreciate it too.If you would like to be kept in the loop of all things soulful from Soulhub please subscribe below. Get full access to Sole to Soul Inspiration by Soulhub at soulhub.substack.com/subscribe

Breakfast with Martin Bester spoke to South African comedian Vafa Naraghi about his one-man comedy show, ‘Becoming South African', which traces his journey from growing up as a Persian boy in Mahikeng at the tail end of apartheid to becoming a multilingual performer who has lived and worked across South Africa.

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

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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

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

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.

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

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.

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.