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A cancelled election, a cancelled candidate and a divided country – is Romania's democracy under threat? Last December the country's Constitutional Court cancelled the presidential election two days before the final vote, citing outside interference, with the nationalist pro-Putin candidate, Calin Georgescu, riding high in the polls. TikTok sensation and portraying himself as an outsider, Georgescu's anti-EU and anti-NATO message resonated with an unhappy electorate. His sudden success was unprecedented, as was the cancelation of a European democratic election. The political establishment claim that cyberwarfare and Russian interference gave them no choice. Georgescu has now been eliminated from May's Presidential re-run. Historian Tessa Dunlop asks how this happened, why it matters and what next for this strategically important country on the eastern edge of the EU and NATO?Presenter: Dr. Tessa Dunlop Producer: John Murphy Studio Mix: James Beard Production co-ordinator: Gemma Ashman Series Editor: Penny Murphy

Wednesday, July 10, 2024 Presenter: Dr. Claradina Soto (Navajo/Jemez Pueblo) Associate Professor at the University of Southern California Keck School of Medicine Director for the Initiative for California American Indian Health Research and Evaluation Learning Objectives/Outcomes: At the conclusion of this activity, the healthcare team will be able to: Explore the development and goals of Project SUN. Analyze the challenges and successes of implementing culturally adapted smoking cessation programs. Examine the study findings on the effectiveness of Project SUN in reducing commercial tobacco use among AI/AN youth. Discuss the importance of cultural adaptations in public health initiatives and their impact on community engagement and outcomes. Description: This presentation delves into Project SUN (Stop the Use of Nicotine), an innovative, evidence-based smoking cessation program specifically designed for American Indian/Alaska Native (AIAN) youth. Given the alarming rate of commercial tobacco use among AIAN youth—up to 42%—this program represents a critical intervention. Adapted from Project EX by Dr. Steve Sussman and further refined by Native American experts, including USC professor Claradina Soto and community consultant Lou Moerner, Project SUN integrates culturally relevant elements such as Talking Circles and distinctions between commercial and traditional tobacco use. About Dr. Soto: Dr. Claradina Soto (Navajo/Jemez Pueblo) is an Associate Professor at the University of Southern California Keck School of Medicine in the Department of Population and Public Health Sciences and the Director for the Initiative for California American Indian Health Research and Evaluation. She has over 20 years of partnering with American Indian and Alaska Native (AI/AN) populations in public health, collaborating with urban and Tribal communities in California to reduce and prevent mental health disparities, cancer prevalence, commercial tobacco use, and substance use and opioid use disorders. She teaches courses in the Master of Public Health and Health Promotion programs at USC and mentors undergraduate and graduate students. Dr. Soto is a longtime advocate for the AI/AN communities and other priority populations to advance health equity and reduce health disparities. Target audience: Physicians, nurses, health educators, administrators, and support staff working with American Indian and/or Alaska Native populations. Full webinar archive and resources: https://keepitsacred.itcmi.org/project-sun-a-culturally-adapted-youth-smoking-cessation-for-american-indian-alaska-native-youth/

Register to attend the webinar or view the recording Presented by Dr. William Harvey on May 30, 2024, 1 pm ET. Enterprise excellence and inclusive excellence are closely linked, and real-world challenges have shown that both are essential to the success of any organization. To achieve enterprise excellence, organizations must focus on improving their operations and processes while creating an inclusive environment that engages everyone. In this interactive session, the facilitator will highlight commonly established business practices and how they limit our ability to engage everyone every day. More importantly, though, participants will likely gain increased awareness of what we can do differently to maximize enterprise excellence through deliberate inclusion.What is Enterprise Excellence?Enterprise Excellence is a holistic approach that's aimed at achieving world-class performance across all aspects of the organization.What might I learn?A way to engage all in creating Inclusive Excellence. Lessons from the US military and their parallels to the story of Harry Potter. How belt systems and CI teams can destroy inclusive practices. How leadership language invites people to the party. There are three things leaders can do to engage everyone every day: maximizing psychological safety to create environments where folks learn, contribute, and challenge the status quo.Who might benefit? Anyone and everyone leading folks from the shop floor to top floor.   About the Presenter:Dr. William Harvey Dr. William Harvey is a seasoned Operations Leader with extensive experience in chemical processing, manufacturing, and operations management. At Michelman, he currently oversees multiple sites, leading teams in strategic planning and coaching/practicing continuous improvement. William is set to start his eighth year of teaching at the University of Cincinnati where he teaches marketing, finance, and management. William holds various certifications in change management, quality, leadership, operational excellence, team building, and DiSC, among others.

In this slice of Fresh Bread we are reminded God has positioned us to succeed --- Send in a voice message: https://podcasters.spotify.com/pod/show/ricardo-henry/message

In this slice of Fresh Bread we are reminded that when we walk in righteous ways we will succeed. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ricardo-henry/message

On this slice of Fresh Bread we are encouraged not to give up. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ricardo-henry/message

A prophetic declaration concerning God's presence and our assured success. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ricardo-henry/message

In this slice of Fresh Bread we are reminded the sun will not smite us so we will succeed --- Send in a voice message: https://podcasters.spotify.com/pod/show/ricardo-henry/message

In this slice of Fresh Bread Dr Lavine reminds us that we will succeed because the Lord is our Light and Salvation --- Send in a voice message: https://podcasters.spotify.com/pod/show/ricardo-henry/message

In today's slice of Fresh Bread Dr Lavine reminds us we will success because the wicked will not prevail! --- Send in a voice message: https://podcasters.spotify.com/pod/show/ricardo-henry/message

In this slice of Fresh Bread we are reminded that we will succeed because He restores us --- Send in a voice message: https://podcasters.spotify.com/pod/show/ricardo-henry/message

Today we are reminded we will succeed because we have rest in the shepherd. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ricardo-henry/message

In this slice of Fresh Bread we are reminded that to he Lord is our provider therefore we will not lack and all we require to succeed is already provided. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ricardo-henry/message

On today's slice of Fresh Bread Dr Lavine reminds us we will success because we have Greater within us! --- Send in a voice message: https://podcasters.spotify.com/pod/show/ricardo-henry/message

Dr. Sarah Longair unseats European powers' efforts to control the East African coast, through a Kiti Cha Enzi, or Swahili Chair of Power, produced in the 19th century. Intricately decorated with an ivory inlay, a large, wooden throne sits proudly - not in its place of production of Witu, Kenya, but the stores of the British Museum. Kiti cha enzi, or seats of power, were used as thrones by Swahili rulers from the 18th century. Their distinctive form incorporates myriad cultural influences, highlighting the vibrant pre-colonial trading history of the Swahili community, while their symbolic use speaks to shifting patterns of power on the African coast. Produced as Germany and Britain competed for colonial control on the East African coast, this chair is a material symbol of how a small Swahili community resisted European expansion. Its seizure from the Swahili Sultan Fumo Bakari, and subsequent relocation by Admiral Fremantle to the National Maritime Museum, and later British Museum, speaks to our current interests in the colonial origins of museum objects. But it also reveals the complex rivalries between Western imperial pofwers, and how East African leaders exercised their own agency by playing them against each other. PRESENTER: Dr. Sarah Longair, Senior Lecturer in the History of Empire at the University of Lincoln. ART: Kiti Cha Enzi (Swahili Chair of Power), East Africa (19th Century). IMAGE: 'Sketch of Kiti Cha Enzi of the Sultan of Witu, British Museum Af1992,05.1. Drawing: S Longair'. SOUNDS: Radi Cultural Group. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Chris Spring tears up stereotypes of African textiles, through Araminta de Clermont's 2010 photograph, Thabo, Thabiso and Blackx. Three young men wait at a bus stop near Cape Town in South Africa, clad in blankets of brilliant blue and rose red. Historically, these 'African' woven textiles were originally manufactured by Europeans during the colonial period. Dutch imperial traders, who first entered the Indian Ocean trade in the mid-seventeenth century, only added to the existing vigorous trade in textiles which had been carried out by Indian, Arab, and Chinese traders for many centuries before the arrival of Europeans. From indigo resist-dyed blauwdruk, to Swahili kanga, and South African shweshwe, these ‘authentic' products are truly the hybrid product of places and peoples working across and within empires - from factories in Manchester, to migrant merchants from Kutch, and businesses within the Japanese Empire. This confident photograph speaks to how patterns and designs had always been dictated by African taste, aesthetics, and patronage, and utilised by women to communicate across gendered and religious social boundaries. Now representative of diverse African identities and indigeneity, these fabrics unsettle ideas of what an 'African' textile should look like, revealing innovation and modernity - all the way to the Marvel film, Black Panther. PRESENTER: Dr. Chris Spring, artist, writer and former curator in the Department of Africa, Oceania and the Americas at the British Museum He was the curator of Social Fabric: African Textiles Today, at the British Museum and William Morris Gallery. ART: Thabo, Thabiso and Blackx, Araminta de Clermont (2010). IMAGE: 'Thabo, Thabiso and Blackx'. SOUNDS: Chad Crouch. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Michele Lamprakos reconstructs the imperial flows of Islamic and Byzantine architecture from 8th century Spain, through the Mosque-Cathedral of Córdoba, or the Mezquita. A strange, hybrid building dominates the southern Spanish city of Córdoba. Part mosque, part cathedral, the Mezquita was first constructed by the early Islamic Umayyad dynasty - then seized, 'purified,' and consecrated as a Christian church in the 13th century. This infamous Christianised mosque, complete with crucero, epitomised the imperial 'Christian universe' of the Holy Roman Empire, and the Habsburg dynasty's victory over Islam. Still, much of the Islamic fabric was politically preserved – and even reconstructed - in testament to Spain's long history of religious rivalry and reconciliation. Tracing these unending cycles of Christianisation and re-Islamification reveals Spain's imperial ambitions in northern Africa, and how the Mezquita remained a political tool through the 20th century General Franco dictatorship to today. PRESENTER: Dr. Michele Lamprakos, Associate Professor of Architectural and Urban History at the School of Architecture, Planning and Preservation, University of Maryland-College Park. ART: The Mosque-Cathedral of Córdoba (8th Century). IMAGE: ‘Mezquita, Cornelia Steffens'. SOUNDS: Gnawledge. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Life Changing returns with more extraordinary real-life stories.

Dr. Peter Good traces the flows of Persian wine culture through precolonial India into Europe in the 17th and 18th centuries, via the Queen Anne Wine Bottle from Shiraz. No other alcoholic drink has inspired - or intoxicated - our imaginations quite like wine. Long considered the perfect gift from visitors, this striking sapphire blue bottle from Shiraz was presented to the English Queen Anne in 1708 - one of many bought and sold by the English from Persia, now Iran. Perhaps surprisingly common, this artefact of the Safavid Empire's multimillion pound wine industry reveals early modern Europe's obsession with Persian wine, from its mythical properties as an elixir of life, to the courtly manners of its taste and consumption. But it also speaks to attitudes towards non-European and Islamic powers before the rise of formal empires in the Indian Ocean. Far from imposing their 'superior' culture upon local powers, European elites adopted and mimicked the practices of their Asian counterparts, from cultivating grapevines and vineyards, to the paradisic Persian gardens of the English East India Company. Since swallowed into existing European tastes, the Queen Anne bottle brings Iran's unique viticulture to light, forcing us to reconsider our privileging of Western wines in popular culture and museum collections today. PRESENTER: Dr. Peter Good, Lecturer in Early Modern Europe and the Islamic World at the University of Kent. He specialises on cross-cultural and diplomatic exchanges between Europeans and Asian states in the Indian Ocean. He is the author of The East India Company in Persia: Trade and Cultural Exchange in the Eighteenth Century, published by Bloomsbury in January 2022. ART: Queen Anne Wine Bottle, Shiraz (1708). IMAGE: 'Saddle Flask - Type II PC-078 Queen Anne Flask'. SOUNDS: Blue Dot Sessions. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Presenter: Dr. Denzela Dorsey

Dr. Sonal Khullar sounds out how the Long Partition shapes Indian and Pakistani identities, through Bani Abidi's 2016 audio installation, Memorial to Lost Words. Memorial to Lost Words has been seen and heard across Edinburgh, Berlin, Sharjah, and Chicago. But its installation at Lahore Museum in Pakistan, as part of the city's inaugural Lahore Biennale in 2018, marked a kind of homecoming. Bani Abidi's eight-channel soundscape recalls over a million Indian soldiers who served in the British Indian Army during World War I, through Punjabi music, an oversized statue of Queen Victoria, and the English-translated letters of those who never returned home. A counter-monument, it remembers ordinary civilians and soldiers, rather than the generals and rulers celebrated by architects like Edwin Lutyens. It also exposes the lingering imperial legacies of literature, like Rudyard Kiping's Kim and the Zam-Zammah, and how museum collections, like people, were partitioned between post-colonial India and Pakistan. Part of EMPIRE LINES' Partition Season, marking the 75 year anniversary of the Partition of British India in August 1947, which led to the formation of India and Pakistan. Listen to the other episode with Dr. Nalini Iyer. PRESENTER: Dr. Sonal Khullar, W. Norman Brown Associate Professor of South Asian Studies in the Department of the History of Art at the University of Pennsylvania. She is the author of Worldly Affiliations (2015) and completing a book manuscript The Art of Dislocation on conflict, collaboration, and contemporary art from South Asia. ART: Memorial to Lost Words at the Lahore Museum, Bani Abidi (2016/2018) IMAGE: 'Memorial to Lost Words'. SOUNDS: Bani Abidi, Saad Sultan, Ali Aftab Saeed, Harsakhian. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Nalini Iyer rereads South Indian and diasporic experiences of Partition, through Balachandra Rajan's 1958 novel, The Dark Dancer. Born in British India but educated at Cambridge University, V. S. Krishnan finally returns to his home country on the eve of its independence in 1947. But after many years cut off from his family and culture, this South Indian civil servant has become a typical colonial product - the 'brown-skinned Englishman' and bureaucrat idealised by the likes of Lord Macauley. Krishnan's relationships with women reveal other Indias - of Gandhian independence and Hindu nationalism - that he has never known. Witnessing the bewilderment and gendered violence of the Long Partition through the eyes of the civil servant, writer Balachandra Rajan explores how the colonial experience caused existential identity crises. Drawing from his indirect experience, Rajan's novel platforms the perspectives of those diasporic South Indians, seemingly unaffected by the civil conflict, and how Britain too was irrevocably changed by the imperial experience. Part of EMPIRE LINES' Partition Season, marking the 75 year anniversary of the Partition of British India in August 1947, which led to the formation of India and Pakistan. Listen to the other episode with Dr. Sonal Khullar. PRESENTER: Dr. Nalini Iyer, Professor of English at Seattle University and Editor-in-Chief of South Asian Review. ART: The Dark Dancer, Balachandra Rajan (1958). IMAGE: 'Balachandra Rajan'. SOUNDS: G. Las. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Piotr Puchalski depicts interwar Poland's imperial aspirations, through the Maritime and Colonial League's 1938 poster, Colonial Days: We Demand Colonies For Poland. Facing economic crises and the onset of World War II, Poland looked to Africa as a source of material wealth, potential place of alternative appeasement, and site of refuge for its Jewish population. With their abundance of 'exotic' fruits and peoples, propaganda posters advertised Poland's Colonial Days events in April 1938, improving public awareness of places like Cameroon, Madagascar, and Liberia, and bolstering national support for elites' ever-shifting visions for colonialism. Colouring Eastern European perceptions of Africa, this poster highlights how colonialism was a truly global phenomenon, attracting the interest of powers without colonies of their own. Today, Poland is more often considered a victim of imperial exploitation – most famously by Nazi Germany and the Soviet Union - than a historic empire or colonial power. But Colonial Days reveals persistent Polish cultural and socioeconomic insecurities, and how European political and artistic trends, from racial pseudoscience to modernism, were moulded by colonial interactions. PRESENTER: Dr. Piotr Puchalski, Assistant Professor of Modern History at the Pedagogical University of Kraków. He specialises in the history of Poland, colonial empires, international relations, and contemporary tourism. He is the author of Poland in a Colonial World Order: Adjustments and Aspirations, 1918-1939, published by Routledge in 2022. ART: Colonial Days: We Demand Colonies For Poland Poster, Maritime and Colonial League (1938). IMAGE: 'Colonial Days Poster'. SOUNDS: Gary War. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Stephanie Porras carves out the Chinese connection between Spain's colonies in Mexico City and Manila in the Philippines, in a 17th century ivory statue of St. Michael the Archangel. With gently curving wings, the figure of St. Michael the Archangel has stood watch over Mexico City, the former Spanish colony of New Spain, since the 17th century. But this particular statue was actually produced far across the Pacific, in the smaller Spanish colony of the Philippines by Chinese or 'Sangley' sculptors, themselves immigrants to the archipelago. Whilst initially produced to furnish Catholic churches for the recently converted, such statues were quickly appropriated by those seeking to monetise mass production in Asia. Carved from African imported ivory, and modelled on artworks from the Spanish Flanders, this St. Michael from Manila embodies the intertwining of devotional and transpacific trading networks within the global Spanish empire. Rather than cultural hybrids, these statues challenge the very concept of 'Chineseness', highlighting how artists appropriated imperial Spain's territorial and mercantile ambitions for their own ends. PRESENTER: Dr. Stephanie Porras, Associate Professor and Chair of the Newcomb Art Department at Tulane University. She is the author of The First Viral Images, published by Pennsylvania State Press in 2023. ART: Ivory Statue of St. Michael the Archangel, Basilica of Guadalupe (17th Century). IMAGE: 'Ivory Statue of St. Michael the Archangel, Chinese Hispano-Philippine Carvers'. SOUNDS: The Anchorites. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Jared Hardesty picks up the party debris littered by New England's illegal imperialists, via John Greenwood's 1750s painting, Sea Captains Carousing in Surinam. Drinking, gambling, and debauchery reign in a private club in Paramaribo, then the Dutch colony of Surinam. John Greenwood's 18th century scene boasts of the illegal behaviour of ship captains and merchants from Britain's New England colonies in North America, painted for proud display in their Rhode Island offices. This souvenir of a colonial gap year obfuscates the cruelty of Dutch colonialism. But its Black figures hint at the exploitation of enslaved Africans, which underpinned these excesses of empire, and generated the wealth which transformed New England into the birthplace of US industrial capitalism. Painted at a time when it was officially illegal for outsiders to trade on the island, Greenwood's image suggests of the lucrative interimperial trade networks open to individual exploitation, which gave rise to goods like the so-called Surinam Horse. As the sole surviving painting of the artist's time in Surinam, Sea Captains is thus a unique, unintentionally subversive artefact. PRESENTER: Dr. Jared Ross Hardesty, Associate Professor of History at Western Washington University in Bellingham. He is the author of Mutiny on the Rising Sun: A Tragic Tale of Slavery, Smuggling, and Chocolate, and EMPIRE LINES listeners can get 30% off the text with the code RISINGSUN30. ART: Sea Captains Carousing in Surinam, John Greenwood (c. 1752-1758). IMAGE: 'Sea Captains Carousing in Surinam'. SOUNDS: MG Studios. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Caitlin Harvey maps out land transfers from Indigenous communities to European education institutions, through an 1873 Map of New Zealand's 'Colonial' University. Depicting the North Island of Aotearoa New Zealand, a vast map outlines the lands around the Kimihia and Hakanoa Lakes and Waikato River. It's largest feature, thousands of acres in size, is labelled 'Endowment for Colonial University' - referring to the British University of New Zealand, hundreds of miles away in Christchurch. Exporting the Oxford model, 19th century settler-governments across the world supplied higher education institutions with enormous tracts of Indigenous lands, sometimes violently seized, their lease and sale generating great income. Possibly the longest-lasting myth of the land-grant university is that its operations exist in one, fixed place. Indeed, students often nostalgically associate their university with its distinct city or campus. But this map exposes their mobile and broad territorial reach, how university-building was used as a tool of imperial expansion, and who was excluded from the production of new knowledge and wealth in these new 'progressive' institutions. PRESENTER: Dr. Caitlin Harvey, Research Fellow in History and POLIS at Fitzwilliam College, University of Cambridge. ART: Map of Endowments for 'Colonial' University, New Zealand (1873). IMAGE: 'Endowments'. SOUNDS: onion. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Saygin Salgirli mines the hidden link between four early modern empires, in a 17th century Painting of Silver Labourers in Potosí, Bolivia. In a peaceful mountain landscape, three labourers in colourful turbans and tunics mine silver together in a metric, obedient rhythm. Likely painted for the first non-European text on the Americas, this idyllic depiction of labour has a more complicated past. Its novel, imagined imperial ideal of work is unlocatable to any specific context. Instead, it speaks to the interconnected economies of the Ottoman and Spanish Empires, South Asia, and Safavid Iran - all of which restructured their labour forces to mine silver or to produce goods to trade for it - and how wealth was really generated. Previously part of the Inca Empire, Bolivia's silver output drastically increased under Spanish imperial rule. With widescale extraction, harsh economic reforms, and coercive and slave labour, Potosí's silver mines became the gossip of global imperial capitals, as imported metals flooded their markets. 'No longer workers, but the human shapes of wage-labour,' these figures reveal the overlooked connections between these newly globalised markets, the abstraction of labour rather than art, and how labour and land were reorganised to meet demand in new, capitalist modes of production. PRESENTER: Dr. Saygin Salgirli, Assistant Professor of Art History in the Department of Art History, Visual Art & Theory at the University of British Columbia. ART: Painting of Silver Labourers in Potosí, Bolivia, from Translation of the History of the New World (c. 17th Century). IMAGE: 'Mining Silver in Potosí (Bolivia)'. SOUNDS: CLOUDWARMER. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

How's the UK's refugee policy going? Luke speaks to 'Aziz' Afghan refugee who has been stuck in a hotel for six months, Presenter Dr. Bendor Grosvenor, Debbie Gaze and Jane Finlay Blackall about housing Ukrainian refugees in their homes in the UK.PLUS Libby Purves and Rachel Sylvester discuss Boris Johnson's leadership and going to university. See acast.com/privacy for privacy and opt-out information.

PART ONE of THREE Title: Beyond PSA: Utility of a urine gene expression assay for early detection of prostate cancer in the concierge setting Presenter: Dr. Phranq Tamburri, N.M.D. In today's presentation we discuss: • How has the pandemic changed how your practice approaches prostate cancer screening? • With the changing guidelines on PSA screening, how important is PSA in your assessment? • What benefit is there for having 3 genes analyzed in the ExoDx Prostate Test compared a single gene? Learning Objectives: • Review challenges of prostate cancer and importance of early detection • Discuss benefits and limitations of PSA screening • Understand how biomarkers can improve decision-making for early detection of prostate cancer in the concierge setting • Discuss prostate cancer staging and implications for practice About Phranq D Tamburri, NMD Phranq D Tamburri, NMD is the founder of Prostate Second Opinions (PSO). PSO treats an international patient base after one has received often conflicting advice from their urologist (PSA, biopsy, surgery) and their alternative practitioner (no trust in the PSA, “biopsy is dangerous”, treat with natural medicine) regarding prostate cancer. Dr. Tamburri utilizes highly conventional assessment tools such as advanced PSA kinetic calculations, PSA patterns, molecular testing (i.e. The ExoDx Prostate Test) and prostate ultrasound (TRUSP) with color Doppler to advise patients whether a biopsy is reasonable given an elevated PSA or radiation/surgery is best over less invasive treatments. He also specializes in constructing highly personalized Active Surveillance protocols. Dr. Tamburri is a licensed naturopathic physician residing in Arizona. He has been ‘cross-trained' in both conventional and naturopathic principles through his professional career. This includes Phase 4 testing for Merck Pharmaceuticals, tissue transplant procurement surgery, served as Chief Resident at his Alma Mater (Southwest College of Naturopathic Medicine), rotations with Mayo Clinic urologists, and continues to serve as urology professor at SCNM for the past 21 years. Dr. Tamburri is a regular speaker at physician conferences and is highlighted in the annual ‘Men's Health' issue of the prestigious Naturopathic Medicine News & Review (NDNR) regarding the numerous changes in prostate cancer assessment witnessed by the medical system today. Website: https://www.exosomedx.com/ Value of the ExoDx Prostate Test At-Home Collection Kit. Optimize office visits with the ExoDx Prostate Test • In-office OR At-Home collection kits available • Improved workflow • Telemedicine enabled • Easy reporting Learn More: https://www.exosomedx.com/ Disclaimer: This Podcast, it's authors, guests, interviewers, sponsors are not rendering medical, legal or accounting/financial advice. For full disclaimer, please visit: https://conciergemedicinetoday.org/tcpp/

Dr. Jeanne Morgan Zarucchi fires up legacies of British colonialism in contemporary American consumption, through Johnson Brothers' Old Britain Castles Ceramic Plate, produced from 1930. Manufactured for export to America, Old Britain Castles promised to connect consumers with their 18th century colonial origins. Produced by the British firm Johnson Brothers from 1930, designers used engravings of Blarney Castle in Ireland to target new immigrants, capitalising on class dynamics after the American Revolution. Miscalculated marketing strategies may have backfired, but the pattern remained in production for 84 years. Antiquated by design, these imagined heirlooms challenge the idea of the 'Roaring Twenties', revealing how many Americans longed to return to a time of perceived tradition, stability, and values. With their combination of fine art and function, they also speak to the neoimperial business practices of Staffordshire's Wedgwood pottery ever since. PRESENTER: Dr. Jeanne Morgan Zarucchi, Professor of Art History at the University of Missouri-St. Louis. She is the author of The Material Culture of Tableware: Staffordshire Pottery and American Values. ART: Old Britain Castles Ceramic Plate, Johnson Brothers (1930). IMAGE: 'Blarney Castle in 1792, Johnson Bros'. SOUNDS: sawsquarenoise. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Tim Murray smashes imperial stereotypes of Asia through tastes and trades, in a 19th century Standard Willow Ceramic Plate from Josiah Spode's Staffordshire pottery. Adorning dinner tables across the world, Josiah Spode's Chinese-inspired ‘Standard Willow' rapidly became the world's most popular ceramic pattern. Produced in Staffordshire from 1790, its blue-and-white pines and pagodas speak to Asia's ascendant economic and cultural status - and imperial European efforts to imitate and overtake China in the 19th century. Excavated from former settler societies as far as Australia, such tea sets are testament to the mutual expansion of the British Empire and the global ceramics market, connecting colonial territories with cultural tastes through new trading tactics, and aggressively advertised chinoiserie. Digging into the rise of mass-produced pottery unearths how European potteries came to provide the global standard and entry-point for England's rapidly expanding consumer classes, subverting our contemporary stereotypes around low quality, mass-produced Chinese goods. But this particular porcelain also reveals the hairline cracks in imperial control in Asia, and Europe's fragile competitive edge in modern markets. PRESENTER: Dr. Tim Murray, Emeritus Professor in Archaeology at La Trobe University and Honorary Professorial Fellow at the University of Melbourne. He is a Fellow of the Society of Antiquaries of London and of the Australian Academy of the Humanities. ART: Standard Willow Ceramic Plate, Josiah Spode (1800-1820). IMAGE: 'Standard Willow Ceramic Plate'. SOUNDS: Christian H. Soetemann. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Title: Beyond PSA: Utility of a urine gene expression assay for early detection of prostate cancer in the concierge setting Presenter: Dr. Phranq Tamburri, N.M.D. (Webinar) WATCH PART 1: https://youtu.be/_XnqviPeJWM (Webinar) WATCH PART 2: https://youtu.be/onzghpr70Kk (Webinar) WATCH PART 3: https://youtu.be/sKh23GhDwVQ In today's presentation we discuss: • How has the pandemic changed how your practice approaches prostate cancer screening? • With the changing guidelines on PSA screening, how important is PSA in your assessment? • What benefit is there for having 3 genes analyzed in the ExoDx Prostate Test compared a single gene? Learning Objectives: • Review challenges of prostate cancer and importance of early detection • Discuss benefits and limitations of PSA screening • Understand how biomarkers can improve decision-making for early detection of prostate cancer in the concierge setting • Discuss prostate cancer staging and implications for practice About Phranq D Tamburri, NMD Phranq D Tamburri, NMD is the founder of Prostate Second Opinions (PSO). PSO treats an international patient base after one has received often conflicting advice from their urologist (PSA, biopsy, surgery) and their alternative practitioner (no trust in the PSA, “biopsy is dangerous”, treat with natural medicine) regarding prostate cancer. Dr. Tamburri utilizes highly conventional assessment tools such as advanced PSA kinetic calculations, PSA patterns, molecular testing (i.e. The ExoDx Prostate Test) and prostate ultrasound (TRUSP) with color Doppler to advise patients whether a biopsy is reasonable given an elevated PSA or radiation/surgery is best over less invasive treatments. He also specializes in constructing highly personalized Active Surveillance protocols. Dr. Tamburri is a licensed naturopathic physician residing in Arizona. He has been ‘cross-trained' in both conventional and naturopathic principles through his professional career. This includes Phase 4 testing for Merck Pharmaceuticals, tissue transplant procurement surgery, served as Chief Resident at his Alma Mater (Southwest College of Naturopathic Medicine), rotations with Mayo Clinic urologists, and continues to serve as urology professor at SCNM for the past 21 years. Dr. Tamburri is a regular speaker at physician conferences and is highlighted in the annual ‘Men's Health' issue of the prestigious Naturopathic Medicine News & Review (NDNR) regarding the numerous changes in prostate cancer assessment witnessed by the medical system today. Website: https://www.exosomedx.com/ Value of the ExoDx Prostate Test At-Home Collection Kit. Optimize office visits with the ExoDx Prostate Test • In-office OR At-Home collection kits available • Improved workflow • Telemedicine enabled • Easy reporting Learn More: https://www.exosomedx.com/ Disclaimer: This Podcast, it's authors, guests, interviewers, sponsors are not rendering medical, legal or accounting/financial advice. For full disclaimer, please visit: https://conciergemedicinetoday.org/tcpp/

Dr. Mona Narain reimagines Britain through the eyes of the colonial Indian subject, via Elizabeth Hamilton's 1796 novel, Translation of the Letters of a Hindoo Rajah. Following the adventures of the fictional Indian Rajah Zāārmilla in London, Elizabeth Hamilton's Letters upends stereotypical narratives of the imagined east. Staged in a series of letters, her novel refocusses 18th century Britain through the eyes of the colonised, comparing cultures and challenges the Indian aristocrat's initial adoration of imperial Britain. From the 'benevolent' British East India Company to the Orientalist scholars of the Asiatic Society, Letters embodies Britain's bids to justify their presence in India, but also the public's ambivalence towards colonisation. Using Zāārmilla's outsider perspective, Hamilton scathingly satirises social ills closer to home, speaking to her own marginalisation as an Irish-Scottish, woman writer. PRESENTER: Dr. Mona Narain, professor of English at Texas Christian University and Scholarship Editor at ABO Interactive Journal for Women in the Arts, 1640-1830. She is a Consultant Chair on American Society for Eighteenth-Century Studies (ASECS) Women's Caucus, and co-edits the Bucknell University Press Transits book series. ART: Translation of the Letters of a Hindoo Rajah, Elizabeth Hamilton (1796). IMAGE: 'Translation of the letters of a Hindoo Rajah'. SOUNDS: Blue Dot Sessions. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Desmond Manderson lashes new layers atop Australia's colonial founding myths, through Gordon Bennett's 1991 painting, Possession Island. When Captain Cook planted the Union Jack on Possession Island in 1770, Australia was entirely subsumed within the British Empire. Colonial imaginings of this moment reinforced the legal myth around terra nullius, still propagated in constitutional classes today. Gordon Bennett whip-splashes alternative histories atop the time-worn tropes, exposing the hidden witnesses to violence at Australia's coming-of-age party. Possession Island perverts our expectations of empty, untamed lands, and collapses the strict divisions between aboriginal, colonial, and post-colonial art. Showing at the Tate Modern's 'A Year in Art: Australia 1992', the painting also challenges colonisation in the canon - from contemporary Australian artists like McCubbin, through to Jackson Pollock's American modernism. Part of EMPIRE LINES' Australia Season, marking the 30 year anniversary of the Mabo vs. Queensland Case (1992) and Tate Modern's A Year in Art: Australia 1992. Listen to the other episodes with Jeremy Eccles. PRESENTER: Dr. Desmond Manderson, Professor and Director of the Centre for Law, Arts and the Humanities at Australian National University. He is an Australian Research Council Future Fellow, and a Fellow of the Royal Society of Canada. ART: Possession Island (Abstraction), Gordon Bennett (1991). IMAGE: 'Possession Island/(Abstraction)'. SOUNDS: New Weird Australia. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Lily Filson reroutes religious loot through the 6th and 8th centuries, via the Teak Column of al-Qalis, produced in Yemen, and plundered for Saudi Arabia. A tall wooden column towers over pilgrims to the heart of the Islamic faith in Mecca, Saudi Arabia. Installed around the 8th century as Islamic pious plunder, it is one the last surviving remnants of the Christian church al-Qalis, erected in Sana'a, Yemen over a century beforehand. Revealing unique religious motifs, mosaics, and materials from Yemen, Ethiopia, and Egypt, it stands as a silent witness to centuries of conquest and cultural exchange between the Christian Byzantine and Aksumite, and emergent Islamic empires. But as Saudi Arabia's campaign of aerial bombardment continues to destroy Yemen today, its tales of tolerance make a loud call to rescue the region and its historical records, before they are forever lost. PRESENTER: Dr. Lily Filson, Visiting Professor of Art History at the University of Louisiana, Lafayette. ART: Teak Column of al-Qalis, Mecca (6th Century). IMAGE: ‘Teak Column'. SOUNDS: Traditional Music Channel. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Tessa Murphy retouches European renderings of colonial Caribbean commerce in the 18th century, through Agostino Brunias' oil painting, Linen Market, Dominica. Painted around 1780, Linen Market, Dominica depicts a Caribbean port town teeming with commerce. Great ships and local Kalinago canoes straddle the coastline, as people of all races and classes and barter for carrots, calabashes, and callaloo, the new global goods of imperial exchange. Italian artist Agostino Brunias' bustling waterfront conveys the convergence of cultures in Britain's so-called Ceded Islands, acquired from France following its success in the Seven Years War. Brunias' image of abundance depicts the extraordinary and everyday exchanges of empire for Western consumption. glossing over the realities of slavery, social hierarchy, and interconnected Caribbean colonies. The artist's paintings and own biography still hint at the island's intertwined indigenous and imperial, colonial and Creole histories. PRESENTER: Dr. Tessa Murphy, Assistant Professor of History at the Maxwell School of Citizenship and Public Affairs at Syracuse University. Her latest book is The Creole Archipelago: Race and Borders in the Colonial Caribbean. ART: Linen Market, Dominica, Agostino Brunias (c. 1780). IMAGE: 'Linen Market, Dominica'. SOUNDS: Toybox. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. David Damrosch intertwines imperial expectations in 18th century Europe with Middle Eastern realities, in Antoine Galland's Les Mille et Une Nuit, or The Thousand and One Nights. Filled with flying carpets and trapped genies, the tales of Aladdin, Ali Baba, and Scheherazade might seem little more than bedtime stories. But the tales of The Thousand and One Nights iwere born out of the real experiences of 8th century Middle Eastern empires, evolving at the crossroads of Sassanid Persia, Abbasid Baghdad, and Ottoman Cairo and Damascus. Published in 18th century Paris, Galland's epochal French edition brought the tales beyond the Arabian peninsula, adding Aladdin and Ali Baba to his Syrian source manuscript, and transforming the tales into a work of world literature. A thousand years on, it too was informed by the imperial dynamics of the aging Ottoman Empire, the young French empire of Louis XIV and Napoleon, and their mutual rival, the Holy Roman Empire of the Austrian Habsburgs. Galland's edition is embedded with the turquoiserie and territorial ambitions of 18th century Europe. But retelling the tale of the tales reveals their subversive potential, seized upon by souk storytellers, European orientalists, and contemporary Arabic novelists alike. PRESENTER: Dr. David Damrosch, Ernest Bernbaum Professor of Comparative Literature at Harvard University, and founder of the Institute for World Literature. He is the author of Around the World in 80 Books, published by Pelican Books in November 2021. ART: Fifth Edition of Les Mille et Une Nuit (The Thousand and One Nights), Antoine Galland (1729). IMAGE: 'Frontispiece and Title Page of Les Mille et Une Nuit'. SOUNDS: Lobo Loco. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Dorothy Armstrong untangles British efforts to redefine colonial Indian culture, through a 19th century knotted pile carpet woven in Lahore Central Jail. Produced with the low-cost labour of Indian prisoners, jail carpets were big business in the British Empire. Beyond physical coercion, imperial authorities also trapped India in their vision of 'authentic' oriental aesthetics, privileging Persian patterns and Parisian market demands over traditional Mughal methods. This particular carpet was one of a pair, purchased at the 1881 Punjab Exhibition for what would become the V&A Museum. Riding the history of both carpets - one surviving, and missing - into mass manufacture reveals how South Kensington intervened in the crafts of the colonised, centralising control and defining expectations both in India and at home, then and now. PRESENTER: Dr. Dorothy Armstrong, May Beattie Visiting Fellow in Carpet Studies at the Ashmolean Museum, University of Oxford. She was previously a lecturer and tutor in Material Histories of Asia for the V&A/Royal College of Art History of Design Programme. ART: Knotted Pile Carpet, Lahore Central Jail (c. 1880). IMAGE: 'Carpet with woollen pile, palmette and leaf designs on a black ground with a red ground border, woven in Lahore Jail, c.1880'. SOUNDS: V&A. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Robert Larson replays the sounds of activism against apartheid and American neo-imperial hegemony, through Artists United Against Apartheid's 1985 song, Sun City. Field recordings from South Africa's anti-segregation protests open Sun City, a single, album, and music video released in October 1985. Miles Davies, Bruce Springsteen, Bob Dylan, and Run DMC joined fifty Artists United Against Apartheid, a multicultural collective who boycotted performing in the racialised regime. Striking its Sun City casino complex, where capitalistic excess comingled alongside extreme poverty, these artists targeted the homeland seizures at apartheid's core. Their lyrics shine light on how apartheid accelerated British and Dutch colonial methods, and relied upon the United States' neo-imperial international hegemony. Yet Sun City's uniquely anti-West critique also speaks to American understandings of racial solidarity, questioning the role of Western musicians as political activists, fundraisers, and historians of Africa. PRESENTER: Dr. Robert Larson, independent historian and knowledge producer. He received his PhD in history from the Ohio State University in 2019, specialising in the anti-apartheid movement. ART: Sun City, Artists United Against Apartheid (1985), IMAGE: 'Coretta Scott King, Little Steven, Julian Bond, and Vernell Johnson (Manhattan Records) at a press conference hosted by Mayor Andrew Young in Atlanta'. SOUNDS: Artists United Against Apartheid. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Juan Luis Burke reorders urban spaces in colonial Mesoamerica, through Cristóbal de Villalpando's 1695 painting, View of the Plaza Mayor of Mexico City. The Plaza Mayor sits at the historical heart of the sprawling megalopolis of Mexico City. Previously the ancient Aztec capital of Tenochtitlán, it became the Mesoamerican capital of the Spanish Empire in the 16th century. With his expansive, bird's eye view, Cristóbal de Villalpando depicts everyday encounters between classes and clashes against the colonial urban order for the viceroyalty's eye. Now housed in England, this colonial commission shows the Plaza as a marketplace of imperial ideas, revealing co-option and cooperation between indigenous Mexicans, Asian merchants, and European and Spanish colonisers. Five hundred years after the fall of the ancient Aztec imperial capital, Tenochtitlán, the Plaza Mayor in Mexico City remains a site of protest today. PRESENTER: Dr. Juan Luis Burke, Assistant Professor of Architectural and Urban History at the University of Maryland. ART: View of the Plaza Mayor of Mexico City, Cristóbal de Villalpando, (c.1695). IMAGE: ‘View of the Plaza Mayor of Mexico City'. SOUNDS: Victrola. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Deniz Karakaş follows the flows of water pipeline politics in the Ottoman Empire, through Mimar Sinan's 16th century Uzun Kemer Ottoman Aqueduct Bridge. On the outskirts of Istanbul, the ruins of the Uzun Kemer Aqueduct symbolise the superhuman strength of modern Ottoman engineering. Yet, constructed on the foundations of old Constantinople, with methods drawn from the Roman and Byzantine Empires, these grand architectures really make visible the everyday actors of empire. Drawn from Serbia, Albania, Greece, and Armenia, the hired hands of suyolcu (water conduit experts) and lağımcı (diggers) were crucial in the transfer of knowledge, their skills often redirected for the imperial mines or military. Beyond the shallows, the pipeline politics of water supply reveals how power flowed within empires, exposing the Ottomans on - or under - the ground. PRESENTER: Dr. Deniz Karakaş, visiting scholar in the Newcomb Art Department at Tulane University. ART: Uzun Kemer Ottoman Aqueduct Bridge, Mimar Sinan (c. 1560s). IMAGE: ‘The Aqueduct of Uzun Kemer near Belgrade Forest'. SOUNDS: Daniel Birch. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines For the construction history of the Canal du Midi, see Chandra Mukerji, Impossible Engineering: Technology and Territoriality on the Canal du Midi. Princeton: Princeton University Press, 2009.

Dr. Mohamed Shafeeq Karinkurayil sounds out stories of migration between post-colonial Kerala and the Arab Gulf from the 1960s, through S. A. Jameel's Dubai Kathu Pattu (Dubai Letter Song). 'For the perusal of my most respected dear husband, your wife says with much love, assalaam'. Dubai Kathu Pattu is a letter song to a migrant labourer in the Arab Gulf, from his wife at home in India. By the late 1970s, 200,000 such migrants had left behind the post-colonial scarcities in Kerala, seeking cash from the crude oil industries of the Gulf. Jameel's ode obeys the strict formula of the Mappila tradition. Yet it speaks to Asia's 'cassette revolution', a time of transformation where tapes, telephones, and informal migrant networks challenged state-dominated cultural and gendered norms. PRESENTER: Dr. Mohamed Shafeeq Karinkurayil, assistant professor at the Manipal Centre for Humanities, India. ART: Dubai Kathu Pattu (Dubai Letter Song) // S. A. Jameel (1977). IMAGE: ‘Keralan Migrant Listening to Tapes, 1980s'. SOUNDS: S. Ambili. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Learn about the addictive nature of technology, the widespread social and psychological effects it's having on our society and what you can do to start changing it. Appropriate for 16+ years of age. Presenter: Dr. Paul Ralston Hi, my name is Dr. Paul Ralston, my natural health and wellness journey began back in high school as a member of our Olympic weightlifting team. I was constantly searching for natural ways to maintain the extremely demanding physical training involved in my sport through nutrition and proper recovery methods. Read more about Dr. Ralston. Find more Your Choice webinars: www.yourchoiceprevention.org/webinars --- Support this podcast: https://anchor.fm/preventthis/support

Dr. Lou Roper explores the uncharted history of enslaved Africans in England's 17th century colonies, via Philip Lea and John Seller's A New Map of the Island of Barbados. In 1686, Lea and Sellers meticulously mapped the tooth-shaped Caribbean island of Barbados, England's central and wealthiest colony. Great detail was given to ‘every parish, plantation, watermill, windmill, and cattlemill…with the name of the present possessor'. Yet they wholly excluded the island's most important element - the population of enslaved people of African descent. Peeling back the layers of the New Map uncovers how England's early empire was a private enterprise, with contemporary echoes down to Conservative MP Richard Drax. It also reveals how England's colonies were interdependent and detached from metropolitan involvement by design - and why seemingly distinct, competitive empires often overlapped and fuelled each other. PRESENTER: Dr. Lou Roper, SUNY Distinguished Professor of History at the State University of New York. He is the co-General Editor of The Journal of Early American History. ART: A New Map of the Island of Barbados, Philip Lea and John Seller (1686). IMAGE: ‘A new map of the Island of Barbadoes'. SOUNDS: Tuk Band. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Sonia Ocaña Ruiz illuminates New Spain at the continental crossroads of colonialism, Catholicism, and Japanese culture from the 16th century, through a Mexican Enconchado of the Virgin of Guadalupe. Mexico City was beating heart of the Spanish Empire in the 16th century, connecting the continents of Asia and the Americas. Exclusively produced in 'New Spain', mother-of-pearl paintings, or enconchados, embody the artistic and religious standards imposed by imperial Europe. But their shimmering façades also reveal how cross-continental flows of goods and peoples informed a uniquely New Spanish cultural identity - perhaps none more so than Japanese lacquers. Few enconchados still survive today. This vision of the Virgin of Guadalupe is a rare final testament to how Mexican and Asian artists received and resisted European cultural hegemony, and how colonial territories were often more cosmopolitan than their imperial cores. PRESENTER: Dr. Sonia Ocaña Ruiz, professor of history at Universidad Juárez Autónoma de Tabasco. She is a member of Japón y España: Relaciones a Través del Arte. ART: Mexican Enconchado of the Virgin of Guadalupe (c. 1700s). IMAGE: ‘The Virgin of Guadalupe'. SOUNDS: Manuel de Sumaya. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

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

Dr. Aleksandra Stamenkovic constructs the struggle to unify post-imperial South Slavic identities, through Josip Seissel's Yugoslavia Pavilion for the Paris Expo in 1937. The collapse of the Ottoman and Austro-Hungarian Empires in the First World War birthed a new European state – the Kingdom of Yugoslavia. National pavilions at international exhibitions, or Expos, became vital platforms to project the state's internal unity and external strength on the global stage. Yugoslavia's prize-winning pavilion for the Paris Expo in 1937 fused contemporary European and classical aesthetics, projecting a progressively modern culture steeped in diverse, Slavic histories. But it was also an identity-construction site, exposing elites' struggle to create a new, unified, post-imperial identity. PRESENTER: Dr. Aleksandra Stamenkovic, Belgrade-based art historian and independent researcher. She specialises in contemporary Serbian and European architectural history. ART: Yugoslavia Pavilion for the Paris Expo, Josip Seissel (1937). IMAGE: ‘International Exposition dedicated to Art and Technology in Modern Life, Yugoslavia Pavilion'. SOUNDS: Paniks. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Alison Miller depicts the domestic and feminine faces of 19th century Japanese imperialism, in Kobayashi Kiyochika's Illustration of the Empress Visiting a Field Hospital (in Hiroshima). The public-facing imperial family was a modern invention to Meiji Japan (1868-1912). Paparazzid in popular woodblock prints, Empress Shōken appeared in battlefields and blossom groves, symbolising Japan's shifting political landscape. But beyond propaganda, Illustration of the Empress hints at the interplay between printers, publishers, and popular markets, revealing how the public invested and participated in the national, imperial project. Challenging our masculine and overseas stereotypes, this print unveils how different Japanese women constructed the scaffolding of empire on the home front and with soft power. PRESENTER: Dr. Alison J. Miller, Assistant Professor of Art History at the University of the South in Sewanee, Tennessee. She specialises in modern and contemporary Japanese art history, with a focus on representations of gender, women, and the imperial family. ART: Illustration of the Empress Visiting a Field Hospital (in Hiroshima), Kobayashi Kiyochika (1895). IMAGE: ‘Illustration of the Empress Visiting a Field Hospital [in Hiroshima] (Yasen byōin gyōkō no zu)'. SOUNDS: Difondo. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Dr. Glaire Anderson traces artistic and intellectual interpretations of sovereignty within Islam, through two 10th century bronzes bearing the inscription, al-mulk. Bronzes bearing the Arabic word for sovereignty, al-mulk, were popular luxuries traded across the medieval Islamic territories. But these two objects - a large basin, and a small bowl – were both discovered far from home at opposite ends of Eurasia, in Inner Mongolia, and southern Spain. Remote yet related, they reveal how cultural hegemony wrestled with adaptation, religion with secularism, and tradition with modernity, exposing a period of transhemispheric modernisation. PRESENTER: Dr. Glaire Anderson, senior lecturer in Islamic Art and founder of the Digital Lab for Islamic Visual Culture and Collections at the University of Edinburgh. ART: Two Islamic Bronzes with Al-Mulk Inscription (c. 10th Century). IMAGE: ‘Metalware Bowl (probably High-Tin Bronze) with Al-Mulk Epigraphy'. SOUNDS: Sherita. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines