Young people are forgetting value of free speech: Salman Rushdie
Rushdie, who has lived under the shadow of a death threat due to his controversial writings, made a rare public appearance on Sunday since he faced a near-fatal stabbing in 2022 that left him partially blind.
Vivek Mishra works as an Assistant Editor with Eastern Eye and has over 13 years of experience in journalism. His areas of interest include politics, international affairs, current events, and sports. With a background in newsroom operations and editorial planning, he has reported and edited stories on major national and global developments.
Salman Rushdie has cautioned young individuals about the importance of preserving free speech and has weighed in on the potential repercussions of a second Donald Trump presidency.
Rushdie, who has lived under the shadow of a death threat due to his controversial writings, made a rare public appearance on Sunday since he faced a near-fatal stabbing in 2022 that left him partially blind.
Speaking from his residence in New York at an English PEN event at the Southbank Centre, the renowned author expressed his support for free expression, stating, “The defence of free expression begins at the point at which somebody says something you don’t like. It’s a very simple thing, but it’s being forgotten.”
“I have a very old-fashioned view about free speech. The defence of free expression begins at the point at which somebody says something you don’t like,” said Rushdie, appearing by video to mark the launch of his new memoir, Knife: Meditations After an Attempted Murder.
"In the US, you feel there’s a younger generation that’s kind of forgetting the value of that. Often, for reasons they would believe to be virtuous, they’re prepared to suppress kinds of speech with which they don’t sympathise. It’s a slippery slope. And look out, because the person slipping down that slope could be you,” he said.
Regarding the state of academia in America, Rushdie criticised the political divisions. "Academia in America is in serious trouble because of colossal political divisions. And everybody is so angry that it seems very difficult to find a common place,” he said.
Reflecting on the potential implications of another Trump presidency, Rushdie said, “The impact would be very big and negative. He’d be worse a second time around, because he’d be unleashed and vengeful. All he talks about is revenge.”
“In New York, people had got the point of Donald Trump long before he ever tried to run for office. Everybody knew that he was a buffoon and a liar. And unfortunately, America had to find out the hard way. I just hope they don’t fall for it again,” he said.
Recalling the attack on him in August 2022, Rushdie described the initial difficulty in returning to writing after the trauma. He detailed his struggles in penning the first chapter of his new memoir, which recounts the attack and his subsequent recovery, reported The Guardian.
Addressing the trial of his assailant, Hadi Matar, Rushdie expressed his willingness to testify and criticised Matar's not-guilty plea as "absurd." In his memoir, Rushdie refers to Matar as "the A," inspired by a desire to deny him further attention.
Recently, during an appearance on the CBS News program “60 Minutes,” Rushdie said that when he faced his attacker, his immediate reaction was, “So it’s you.” “I confess, I had sometimes imagined my assassin rising up in some public forum or other, and coming for me in just this way. So my first thought when I saw this murderous shape rushing towards me was, ‘So it’s you. Here you are,'” Rushdie recounted.
Rushdie, originally from Mumbai and famous for his novel “Midnight’s Children,” faced severe backlash from the Muslim community after publishing “The Satanic Verses” in 1988. The book’s dream sequences concerning early Islam and the Prophet Mohammed led Ayatollah Ruhollah Khomeini, Iran’s revolutionary leader, to issue a fatwa in 1989 urging Muslims to kill Rushdie, forcing him into hiding in Britain. He later became a naturalised American.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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