From the moment Poppy and Rubina stepped onto the stage of Soho Theatre in central London for Brown Girls Do It Too: Mama Told Me Not to Come, the energy was electric, the laughs non-stop, and the message loud and clear: British Asian women are done with silence.
What began as a ground-breaking, award-winning podcast that sparked online backlash for daring to talk openly about sex and relationships within South Asian communities has now evolved into arguably the most unique and fearless live show of the year.
Set against a cheekily colourful bedroom backdrop, this dynamic duo dived headfirst into everything from sex, shame, fantasies and motherhood to the layered realities of growing up as British Asian women. With sharp, smart transitions between confessional-style conversation and character-driven sketches, the show
managed to feel both intimately honest and wildly theatrical.
It is rare to witness a show that is both this hilarious and this importantAMG
One moment they were sat discussing sexual awakenings and mother–daughter culture clashes; the next, they were morphing into wickedly satirical versions of Priti Patel and Suella Braverman or belting out a catchy song – a side-splitting ode to Jolen bleach and body hair, brilliantly riffing off Dolly Parton’s Jolene. A recurring sketch involving a “Coconut Crimes Hotline” was a comedic masterstroke, and their hilarious mother–daughter bits had most in the audience instantly relating.
It is no surprise the crowd, largely women, many of them British Asian, responded with raucous joy. This representation, delivered with bite, boldness and belly laughs, made them feel seen. They did not just watch Mama Told Me Not to Come – they felt it, because it reflected them.
Poppy and Rubina’s magnetic chemistry, unstoppable presence and ability to straddle personal vulnerability with political satire was nothing short of genius. It is rare to witness a show that is both this hilarious and this important. And just when you think it is all laughs, they deliver a powerful emotional gut punch, ending the evening with heartfelt letters to their respective mothers, which brought tears to many eyes and underlined just how deeply the show resonates.
This is not just a standout – it is the show that is going to take the Edinburgh Fringe by storm in August. Bold,
brilliant, blisteringly funny and ultimately moving, Brown Girls Do It Too is a fantastic five-star triumph in every sense.
MONISHA RAJESH, who has achieved distinction as a travel writer, tells Eastern Eye that a good way – possibly the ideal way – to discover India is by train.
She was given a session at the FT Weekend Festival to talk about her new book, Moonlight Express: Around the World by Night Train, which focuses mainly on travel across Europe in sleeper trains.
She took her two young daughters – they were seated in the front row in the FT audience – on a double-decker sleeper called the Santa Klaus Express on a 12-hour journey in Finland from Helsinki to Rovaniemi.
But Moonlight Express also has a chapter, “The Shalimar Express”, on India, the subject of her first book, Around India in 80 Trains, which came out in 2012, followed by Around the Worldin 80 Trains (2019) and Epic Train Journeys (2021).
In Moonlight Express, she writes: “In 2010 I lost my heart to Indian Railways and being back on these clanking, dusty rails felt like a homecoming.”
On board during her travels
She decided to find out.
At the FT Weekend Festival, she appeared alongside fellow travel writer Andrew Martin. Her session, The new age of the train: why are holidays by rail this year’s hottest ticket?, was moderated by the FT’s political editor, George Parker, who asked: “Monisha, are we seeing a rail renaissance at the moment? And indeed, are train holidays the hot ticket?”
She replied: “I personally feel railway travel is having a renaissance. From everyone I have spoken to on board, a lot of it has been pushed by the climate crisis. People want to give up flying but are also embracing the slowness of travel and engaging a bit more with the places you’re moving through and the people you’re meeting. Trains are definitely having a renaissance in terms of sleepers even though a lot of the rolling stock (in Europe) is dilapidated.”
Since it takes an extra engine to operate a dining car, some companies dispense with it. But people tend to gather in a dining car if there is one.
Asked about the books she took on train journeys, Monisha said: “I really enjoy fiction about the places I‘m travelling through, just to have that point of reflection along the way. It’s a cliché but I love coming back to (Agatha Christie’s) Murder on the Orient Express.”
The cover of an earlier book
Monisha was born in Norfolk of medic parents who came to Britain from Madras (now Chennai) and grew up in Yorkshire.
She tells Eastern Eye that when she was nine, her parents moved back to India but abandoned the experiment after two years and returned to the UK.
For her debut book, Around India in 80 Trains, Monisha – “I am not a fan of flying generally” – spent January to May in 2010 travelling across the country. Her itinerary was drawn up in London and she also “bought a 90-day rail pass, which I still have, for $540 (£397)”.
She travelled in a number of luxury sleepers, among them the Indian Maharaja- Deccan Odyssey (from Mumbai to Delhi); the Deccan Queen (from Mumbai to Pune); and the Golden Chariot (from Mysore to Vasco da Gama) which she liked best of all.
The latter journey was seven days and took her to places like Hampi, Badami and Nagaraahole which were all new to her. Monisha’s 80 Indian train journeys, crisscrossing the country, included: Nagercoil to Kanyakumari; Okha-Puri Express from Dwarka to Ahmedabad; Jaisalmer Express from Jodhpur to Jaisalmer; Himalayan Queen toy train from Shimla to Kalka; Chennai Rajdhani Express from Delhi to Chennai; Kolkata Mail from Mumbai to Katni; Darjeeling Mail from New Jalpaiguri to Kolkata; and Konarak Express from Bhubaneshwar to Hyderabad.
Anyone from Britain who has travelled by train in India will know fellow passengers are not exactly shy about asking personal questions: “Of, you are from England? Have you dated an English girl? (if a man). What salary are you drawing? Are you married? (if a woman) No? Why aren’t you married? You should be.”
Monisha, who records many of the conversations that she has had, remembers: “There were quite a lot of Indian families, who had brought their children, on the luxury trains. I like that because passengers in luxury trains in the Golden Triangle (in Rajasthan) tend to be western tourists for the most part. It wasn’t like that in the south.”
In 2023, she went back to do a piece marking the 170th anniversary of Indian Railways for the National Geographic Traveller. She took the Mondovi Express from Mumbai to Goa, and came back to Rajasthan for a journey from Jaipur to Jodhpur. She was introduced to Ghanshyam Gowalini, who is better known as “Omelette Man” because he “cracked open more than one thousand eggs a day”. She moved on to Jaisalmer from where she caught the Shalimar Express sleeper to Delhi.
On another journey in India
The trip was India revisited: “I wanted to see what I felt about the trains again, how things have changed and evolved, whether the charm and character I found the first time were still there.”
She wasn’t disappointed: “It was a real refresher.” She encourages her readers and her own friends to undertake a train adventure in India. “They’re quite pleasantly surprised because a lot of people who have never been to India before feel a bit nervous about negotiating it by themselves.”
Some English folk in their sixties took her book and told her later it was a “nice little guide”.
Monisha says: “Once you hop on board, you’re surrounded by people who give you very good advice about where to stay, what to eat, what not to eat, where to go, things that you don’t find in guidebooks. You get that instant interaction with people in India who are always very helpful, very friendly. They love the fact that people are travelling around and want to know a bit more about their country.”
n Moonlight Express: Around the World by Night Train by Monisha Rajesh is published by Bloomsbury at £22.
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BAFTA nominee Imran Perretta explores fractured youth in 'Ish'
Turner Prize Bursary-winning filmmaker explores fractured friendships in Ish
Inspired by his own teenage experiences
Cast two real-life friends as the leads
Film tackles race, policing, and belonging in Britain
Screening at this year’s BFI London Film Festival
Returning to the friendships of youth
Imran Perretta, the London-based artist and Turner Prize Bursary-winning filmmaker behind The Destructors, says his new work Ish was born out of reflection on his own teenage friendships.
“It was an excuse to go back to those times and relive what it means to have friendships that are so deep in your teenage years,” he explains. “Even though what happens between the boys is difficult, there’s also joy and heartbreak.”
Portraying the stop-and-search
At the heart of the story is a police stop-and-search that shatters the relationship between two boys, Ish and Maram. Perretta was determined to avoid sensationalism.
“I wanted to shoot that scene in a way that reflected how it unfolds in real life—the pauses, the waiting, the trauma of seeing a young boy step out. I didn’t try to overthink it. I just wanted to give it the rhythm and emotional weight it has in real life.”
Perretta was determined to avoid sensationalism BFI
Friendship, self-determination, and identity
Although friendship and identity frame the film, Perretta prefers to speak of “self-determination.”
“Identity as a notion is manifold. Really, it’s about finding yourself in a nuanced way. I wanted the actors to bring themselves to it. That way it becomes more contemporary, more true to their experience as young people.”
Writing from life, but letting go
The film draws heavily on Perretta’s own life, a challenge he found both personal and universal. Co-writing with Enda Walsh allowed him to step back.
“Sometimes when you write from your life, it can feel problematic, like you’re lying to make it fit a narrative. Sharing the writing meant I didn’t have to hold on so tightly. And when the boys played it out, it became their story. That was freeing, both creatively and personally.”
Casting real-life friends
For Perretta, authenticity was key. He and casting director Lara Manwaring rounded up nearly a thousand boys in Luton, seeking non-actors rooted in the community. The final choice was serendipitous: Farhad and Yahya, who not only impressed in auditions but turned out to be real-life friends since nursery.
“The chemistry was off the charts. They’d been building it since they were kids. We didn’t have to work on it at all.”
Contributing to wider conversations
Perretta hopes Ish resonates beyond cinema.
“My practice has always been to look at how government policy and state power affect people’s intimate lives. With stop-and-search, I want people to see the young person at the centre of it, to understand how it can change their life, their sense of self, their relationship with authority. It’s not a spectacle, it’s deeply personal.”
Supporting the young cast
Though the subject matter was heavy, Perretta insists the young cast carried it with remarkable maturity. His role, he says, was more like an older brother.
“Film sets are pressurised environments. Our job was to make sure the boys felt valued, so they could express themselves freely. None of them had acted before, but they gave everything of themselves. It felt like a family.”
Perretta insists the young cast carried it with remarkable maturity BFI
The importance of silence and stillness
Moments of quiet are as vital as the dramatic ones.
“Life is filled with silence and stillness, and so are friendships. Falling asleep under a tree, waiting at a bus stop, drifting off after watching something troubling—those moments carry their own weight. They’re just as important as the high drama.”
Screening at BFI London Film Festival
Ish will be screening at this year’s BFI London Film Festival as part of the First Feature Competition.
Screening dates & venues:
Wednesday 15th October at 8:45pm
Thursday 16th October at 2:15pm Location: BFI Southbank, NFT2
The 69th BFI London Film Festival runs from 8–19 October at venues in London and across the UK. More information:www.bfi.org.uk/lff
What audiences should take away
Ultimately, Perretta wants Ish to prompt reflection.
“I hope audiences think about their own friendships and heartbreaks. And I hope they see that it’s okay to leave a relationship, whether with a best friend or a parent, that grief can be a positive energy. Beyond that, I want people to stay aware of the lives of young people, and the very adult things they have to contend with.”
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The lost ‘Punjabi Disco’ record that quietly changed UK British Asian club culture is finally back
A ground-breaking 1982 album combined Punjabi folk with electronic disco.
It was made to break down gender segregation at British Asian weddings.
Only 500 copies were ever pressed before it vanished into obscurity.
The original master tapes were rescued just before they turned to dust.
Its 2025 reissue finally gives a lost classic its proper moment.
Imagine a sound so ahead of its time it simply disappeared. Raw synths and a woman singing Punjabi like she was calling people to the floor. There’s anger in the story. Pride too. Mohinder Kaur Bhamra made something that did not fit then. Now it is back. Punjabi Disco was always meant to pull people into one room. To stop the quiet rules that kept women in a corner. It was a record born in West London that dared to smash traditions together, creating a revolutionary beat to get everyone dancing. Now, this lost chapter of British music is finally being heard, and it changes the story of our dance floors.
The lost ‘Punjabi Disco’ record that quietly changed UK British Asian club culture is finally back Instagram/naya.beat/mohinder.kaurbhamra
How did Punjabi Disco try to change society?
For the British Asian community in the early 1980s, racism was a constant pressure. Inside, the community held itself together, but with strict rules. At Punjabi weddings in the UK, men and women were often kept separate. The dance floor was a male space and Mohinder Kaur Bhamra had had enough. She started using her voice, her authority, to call the women in. "I felt it wasn’t fair," she said. Her son, Kuljit Bhamra, watched this and saw the power of music as a tool. He soaked up the disco energy from clubs and decided to build a new sound specifically for these new, mixed dance floors. The music was the engine for a quiet social revolution.
The lost \u2018Punjabi Disco\u2019 record that quietly changed UK British Asian club culture is finally back Instagram/naya.beat/mohinder.kaurbhamra
The basement sessions that built a new sound
Let’s get this straight. Kuljit Bhamra was not in a fancy studio. He was a 22-year-old with a head full of ideas, working out of his basement. His tools? A Roland SH-1000, one of the first synthesizers you could buy, and a clunky CR-8000 drum machine played by his 11-year-old brother, Ambi.
They brought in bassist Trevor Michael Georges and recorded at a small studio owned by Roxy Music’s bass player. But the heart of it was that basement. Kuljit took his mother Mohinder’s powerful voice trained in Punjabi folk, and wove it through these gritty, electronic rhythms.
Why did this revolutionary Punjabi Disco album vanish?
Punjabi Disco is a nine-track record made in London in 1982 by Mohinder Kaur Bhamra with production by her son Kuljit. It combined Punjabi folk singing with early synths and drum machines, a sound that prefigures later British Asian electronic music. Here is where the story turns sour. After being promised a deal, the Bhamras found a cassette in a Southall shop called Punjabi Disco but with a different singer. Someone had stolen their idea. Devastated, they managed a tiny release of just 500 copies. With no real marketing, Kuljit took to his bike, dropping off copies at local corner shops himself.
It was a hopeless task. The record sank without a trace. Mohinder went back to singing at weddings. Kuljit moved on, later becoming a legendary Bhangra producer. The album’s scarcity gave it myth status until recent rediscovery.
What does the 2025 reissue of Punjabi Disco mean now?
This is where the ghost gets a second chance. DJ Raghav Mani, who calls the album "the holy grail," spent three years tracking down the original master tapes. They were found and digitised just before they decayed forever. It is like connecting a 40-year-old vision to today’s dance culture. For Mohinder, now 89, it is a moment of quiet pride for what her family created. The beat, it turns out, was always there. We just had to find it.
The record arrives on 31 October 2025 as a remastered 2xLP and across streaming services. The reissue includes a roaring lost track, Dohai Ni Dohai, that never got released, plus remixes and covers by Peaking Lights, Baalti, Psychemagik, Mystic Jungle, and others. Naya Beat has pre-orders and single previews available now. The reissue lets club producers and listeners meet the original grooves head-on.
Why Punjabi Disco matters for British Asian culture today
This is not just a curious relic. It is proof of something often forgotten: experimentation and social change were happening in community halls long before the mainstream noticed. Mohinder actively invited women onto the main floor at family events and Kuljit scored music for that moment. That social aim, to make the dance floor mixed, is as important as the sound. The reissue, in fact, restores a piece of social history that shows how music shaped how a community moved and mixed.
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Visitors view gowns and displays at the Marie Antoinette Style exhibition at the V&A
For Eastern Eye visitors to the sumptuous new Marie Antoinette Style exhibition at the V&A, the whole show has to be seen in the context of India’s relations with France and especially that between Tipu Sultan, ruler of Mysore, and the young fashion queen.
Marie Antoinette, the Princess Diana of her day, loved to wear the muslin and printed cotton gowns sent from India.
In return, she sent Tipu delicate Sèvres porcelain, plus busts of herself and her husband, King Louis XVI.
Tipu’s plan was to form an alliance with the French in his fight against the British. The alliance never materialised, although Tipu did send ambassadors to France.
A portrait of Tipu Sultan
Tipu and Marie Antoinette’s exchange of gifts was immortalised in paintings and sketches.
The exhibition’s curator, Sarah Grant, told Eastern Eye of Marie Antoinette’s connection with Tipu: “Tipu Sultan sent his ambassadors to the court of France on an official visit. They presented gifts to Marie Antoinette – Indian muslins and beautiful gowns. And she presented gifts which they took back. But one of the busts (of herself) was looted by British soldiers in the 19th century and brought to England. So it had this extraordinary history. There was this interesting exchange of style and fashion between India and France.
A painting of Marie Antoinette and Louis XVI receiving Tipu Sultan’s ambassadors in 1788
“All this is well documented. There are paintings of the ambassadors arriving at court in Versailles. There was an exhibition, Visitors to Versailles, which looked at diplomatic visits from India and China. But it seems Tipu Sultan and Marie Antoinette had a particular connection.
“India had developed the technology for printed and dyed cotton, something in which they were leaders in the world. France tried to steal that knowledge and technology, and sent spies to observe the processes. There was a ban on importing Indian printed cottons into France. So many people were wearing them that officials feared importing would damage France’s native industries. But cotton cloth was still being imported from India. They were printing it in France and selling it.”
She agreed “100 per cent” with the V&A’s director, Tristram Hunt, who described Marie Antoinette as “the most fashionable queen in history across 230 years of design, dress and film”.
Hunt added: “The exhibition combines her infamy with her influence. Balancing the sumptuous 18th century gowns on show are contemporary fashion pieces in the final room, including couture works by designers such as Moschino, Dior, Chanel and Vivienne Westwood, and, of course, the wonderful costumes designed for Sofia Coppola’s brilliant Oscar winning Marie Antoinette.”
Grant said: “Part of it is she was very fashionable. She loved fashion. Obviously, most monarchs, most queens, most emperors, most empresses, dress in finery. But she was particularly interested in new fashions, new styles. The pace of fashion accelerated under her.
The Sutherland Diamonds
“She’s not just stylish. She’s not just wearing what everyone else is wearing. She is creating new fashions and inspiring other people. Certainly, people in the Anglo-Saxon world, in North America and in Britain, were following very closely what Marie Antoinette was wearing in France. She dies young, and we never see her age.”
Tipu, who was born on December 1, 1751, was the Sultan of Mysore from 1782 until he was killed in battle defending his stronghold of Srirangapatnam on May 4, 1799. He was defeated in the Fourth Anglo-Mysore War by a combined force of the British East India Company troops supported by the Marathas and the Nizam of Hyderabad.
Marie Antoinette born Maria Antonia Josepha Johanna von Habsburg-Lothringen, archduchess of Austria, in Vienna on November 2, 1755, the daughter of Empress Maria Theresa and Emperor Francis I. She married Louis Auguste, Dauphin of France, in May 1770 at the age of 14, becoming the Dauphine of France.
On May 10, 1774, her husband ascended the throne as King Louis XVI, and she became queen. She was the last queen of France before the French Revolution and the establishment of the First Republic. Her husband was sent to the guillotine on January 21, 1793, in Paris, during the French Revolution. She was similarly executed on October 16, 1793.
A portrait of Marie Antoinette by François Hubert Drouais (1773)
Marie Antoinette was accused of saying, “Let them eat cake”, when informed the poor couldn’t afford bread. She said no such thing. But the quote has stuck and her alleged heartlessness used to justify her execution.
The exhibition has a sketch of the executioner waving her head. There is also the chemise she wore in her death cell. It very much resembles an Indian kurta. There is also a plaster cast of her severed head.
The exhibition displays a muslin dress from 1785-90, similar to the one Marie Antoinette had worn.
Antoinette had worn. “This is one of only two muslin chemise dresses from Marie Antoinette’s time that survives, a style that the queen helped to popularise,” says a note. “In her memoirs, Madame Campan described the queen and her friends in the summer of 1778 dressed in ‘muslin gowns, with large straw hats and muslin veils, a costume universally adopted by women at that time’. The queen also wore a muslin gown given to her by Tipu Sultan in 1788.”
There is another “Robe à la francaise”, from 1775-80: “In the late 1770s, Marie Antoinette and her circle embraced gowns made of cotton and linen as lighter and fresher alternatives to silk. This gown’s pink silk lining, visible through the fine white muslin, creates a blush effect, which was a specific contemporary trend. France’s East India Company imported many cotton fabrics from India, such as this figured and embroidered muslin.”
The exhibition has a reference to diamonds, probably sourced from India.
The “Diamond Necklace Affair” is explained: “In 1784 and 1785, a necklace became the centre of a theft that captivated the French public. With diamonds totalling 2,842 carats, it was the most expensive necklace ever made in France. Louis XV commissioned it for his mistress, Madame du Barry, but died before it was completed. The necklace was offered to Marie Antoinette who refused it, but a con artist, Jeanne de la Motte, tricked a courtier, the Cardinal de Rohan, into paying for part of it, supposedly on behalf of the queen. La Motte then absconded with the diamonds. Although Marie Antoinette was entirely innocent, the fallout dealt a fatal blow to her already ailing reputation.”
A muslin gown worn by the French queen
There is a display of the “Sutherland Diamonds”, with the setting from 1780-90: “The stolen necklace from the ‘Diamond Necklace Affair’ was broken up and brought to England. These diamonds almost certainly come from that sale. Probably mined in Golconda, India, the stones are of the finest clarity and brilliance. The central diamond alone weighs about 15 carats. They were worn by successive Duchesses of Sutherland to the coronations of Queen Victoria and George VI.”
The steel tycoon Lakshmi Mittal could consider dropping in to see the exhibition, since some of the 250 objects on display come from Chateau de Versailles, the main royal residence (although Marie Antoinette also had a private residence, Petit Trianon, in the palace grounds). When Mittal’s daughter, Vanisha Mittal, married Amit Bhatia in 2004 in a £30m wedding, there was a glittering feast for 1,000 guests at the Palace in Versailles hired for the occasion.
Marie Antoinette Style is at the V&A until March 22, 2026.
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The book traces his mother’s journey from a small village near Jalandhar in Punjab
Memoir traces a mother’s journey from rural Punjab to post-war Britain
Blends personal history with wider South Asian migration narratives
Aims to challenge negative portrayals of immigrant communities
A family story that became a book
Origins: The Roots We Stand On, published in 2025 under the pseudonym Omar Hassan, began with a deeply personal request. In 2016, as her health declined, the author’s mother asked him to give a lecture about her life during a large family reunion. That presentation, first delivered through PowerPoint slides to a hundred relatives, became the foundation for a manuscript that evolved into a published memoir.
The book grew from family notes and stories meant for children, who were enthralled by the characters and history, into a wider project that sought to preserve a legacy. “It slowly dawned on us all that with that small, unusual and apparently innocent request my mum had managed to cement in us all a deeper appreciation for our origins and respect for our family’s struggle,” Omar writes.
From Punjab to post-war England
The book traces his mother’s journey from a small village near Jalandhar in Punjab, then part of British India, through Pakistan and finally to Britain in the 1960s. She had never travelled before her marriage, and found herself in the grey industrial landscape of post-war England, unable to speak the language and cut off from her roots.
Her experience reflected a broader migration wave. These were not refugees, Omar stresses, but workers invited under Britain’s post-war plan to rebuild key industries. “They were, in fact, invited guests – part of a plan to rebuild a Britain battered by World War II.”
Building a life and legacy
For Omar’s parents, education and work were central milestones. His father earned a PhD, a defining achievement, while his mother eventually returned to teaching, which she had loved in Pakistan. Family milestones, such as their first holiday abroad, often combined necessity with ingenuity, and became part of the shared memory that fills the book.
Blending memory and history
Origins draws on oral history through countless conversations, supported by archival research including immigration records, newspapers and maps. One unexpected treasure came from a school project where Omar’s niece asked her grandparents detailed questions about their early lives. Their written answers later became invaluable, offering insights that might otherwise have been lost.
Omar notes that these stories are not just about struggle, but also about humour and warmthTariq
Giving voice to women’s stories
While many accounts of migration focus on men’s work, Origins highlights the overlooked experiences of women who came through arranged marriages. Often isolated, they became the architects of their families’ futures, raising children, enduring hardship and creating stability. Omar notes that these stories are not just about struggle, but also about humour and warmth.
Writing, publishing and what’s next
The writing process took shape slowly, shaped by emotion and reflection, before Omar and his sisters completed the manuscript and self-published on Amazon in paperback and Kindle formats. Wider distribution through independent bookshops is being explored, and a follow-up book is planned on the second generation’s experience.
Pride in immigrant communities
At its core, Origins seeks to highlight dignity in everyday sacrifice. “Pride doesn’t always look like loud success or headline-making stories,” Omar writes. “Sometimes it looks like mothers ironing uniforms late into the night, fathers working weekends to send money home, families crowding into small spaces so their children could have bigger lives.”
In turbulent times, he hopes the book can counter negative media portrayals of immigrants by affirming their struggles and celebrating their contributions. “Yes we would be delighted to answer any questions you have. I hope in these turbulent times we could specifically have the opportunity to highlight pride that immigrant communities should feel, contrary to the often negative depictions of current mainstream media.”
Origins: The Roots We Stand On is available now onAmazon.