samedi 31 décembre 2016

So you think 2016 was a bad year? There were plenty worse

Bowie launches into his first solo song of a six-week concert tour of North America in 1995
Bowie launches into his first solo song of a six-week concert tour of North America in 1995

As early as January, when David Bowie departed the scene, some were already looking dubiously at 2016. Bowie was an icon of the 1970s, the era when what is now the dominant section of the population in most Western societies in terms of spending power – the post-war baby boomers – came to maturity. As more cultural legends from that age also died – many without the last burst of creativity that made Bowie’s so poignant – began to feel like the end of an era.

And when came in the summer, it was clear that in some ways it was. Articles began to appear listing the horrors of – from virus to the Turkish coup. By the time was elected in November, on the same wave of rejection of established politics as Brexit, the feeling that had a peculiar quality was entrenched.

This fin de siècle atmosphere was captured in what became the word of the year: post-truth. Both and Trump suggested it was open season for bare-faced lying and demagoguery. Yet for those social conservatives who voted for Trump he spoke their truths – and tapped into their fear of an unsettling future of rapid cultural and economic change.

Like the referendum voters in Italy, where Alfio Caruso’s 1960: Il Migliore anno della nostra vita (1960: the best year of our lives) was a bestseller, they nostalgically looked back to an imagined past rather than forward to an uncertain future. Similar fears of rapid change to their communities seem to have been key drivers of the voting behaviour of 2016’s social conservatives, who were if anything more post-trust than post-truth.

They were also post-irony, as the notion that Trump was the anti-establishment candidate demonstrated. In another irony, the tide of refugees that sparked some of these social conservative anxieties began to recede. Syria nonetheless remained a killing field. However, despite fears that Islamic State (IS) are seeking to export their theatrical brand of terrorism to the West through events such as Nice or Berlin, terrorism’s main victims remained in the same five countries of Iraq, Afghanistan, Nigeria, Pakistan and Syria. That was a particularly bad year is very much a Western narrative.

Sometimes bad is bad

How do you measure bad years? The easiest way is probably through human deaths. In that case, the worst year proportionately may well have been the unrecorded one some 75,000 years ago when Mount Toba erupted with devastating force, causing a “volcanic winter” and nearly killing off humans altogether. The Black pandemic of the 1340s is the closest we as a species have come to a similar cataclysm since.

Within the past 100 years, the worst year in terms of indices may be 1918, when the closing stages of World War I coincided with the deadly outbreak of so-called “Spanish Flu” which killed between 20m and 50m people. Such pandemics are, of course, natural disasters. Human activity can, however, spread them faster and further, as we see by comparing the global impact of the influenza pandemic of 1918-20 with the much more localised effects of the 541 Plague of Justinian.

So globalisation might seem as risky as 2016’s social conservatives fear – though of course it can also help humanity to intervene against pandemics.

Other human activities, notably wars, have the opposite effect. Wars are only the most obvious of the various anthropogenic ways in which humanity can drive up the index in a given year, not least because they usually bring in their wake the other horsemen of the apocalypse. On such a measure, barely registers on the worst year index.

Shape of things to come

Humanity’s efforts collectively to win the Darwin Awards through self-destructive warfare were far more noticeable in 1939-1945, the Mongol conquests or the European assault on the Americas. Famines, those other disasters often hastened by anthropogenic mismanagement, have also been far more noticeable in the past, with the estimated 11m deaths of the Great Bengal famine of 1769-1773 both absolutely and proportionately a notable example.

So humanity won no Darwin Awards, thank goodness, in 2016. The year’s peculiar quality – at least for the West – lay more in the way in which it felt like the end of an era. If so, then it also marks the start of a new one. As is becoming clear with Brexit, it is highly unlikely that this new era will bring the comforting certainties social conservatives crave. Instead, it is worth bearing in mind that the kind of economic nationalism many of them seek has in the past proved a gateway to Darwin Award winning conflicts.

Meanwhile, unpredictable figures such as Trump now have their fingers on the nuclear trigger – when they are not busily riling China. If felt like the end of an era, there are definitely risks that the one about to begin could be a whole lot worse.
 


The article was published on The Conversation. You can read it here.

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So you think 2016 was a bad year? There were plenty worse

Year 2016 was a mixed bag for Bollywood

While many movies were Box Office hits, demonetisation and the ban on Pak stars left a bitter taste

Pratyush Raj  |  New Delhi 

The year had its fair share of ups and downs for Bollywood. While movies like Aligarh, Pink, Parched, M S Dhoni-The untold story  made their mark, the ban on Pakistani artists and the demonetisation drive didn't go down too well with the industry. However, there was something to cheer about at the end of the year, with Aamir Khan's getting an overwhelming response at the box office.

Business Standard brings you the highs and lows for in 2016:

a year of biopics

It was an exciting year for movie lovers as some wonderful movies got released in 2016. After the success of some major biographical movies like Mary Kom, Bhaag Milkha Bhaag and Pan Singh Tomar, writing scripts based on real life incidents became a new fad in Bollywood, for good reason. Biopics provide all the ingredients necessary for an emotional reach out and in most cases, are appreciated by critics and masses alike. Here are the top three such films of 2016:


1. Neerja  


Directed by Ram Madhvani and with Sonam Kapoor playing the lead role, Neerja is a biographical thriller movie based on a real incident in the life -- and eventual death -- of Neerja Bhanot. She was the head flight attendant of Pan AM flight 73, which was flying from Mumbai to New York via Karachi, Pakistan. The flight got hijacked by Libyan terrorists on September 5, 1986 in Karachi. The movie revolves around Bhanot and her 17-hour face-off against the terrorists. Neerja was released on February 19.


2. Dangal


The movie based on the life of wrestler Mahavir Singh Phogat, and directed by Nitesh Tiwari with in the lead role.

Though the film received positive reviews on release, there was some tension over the cash crisis caused by demonetisation. However, with Aamir Khan's perfectionism, a crisp script and Nitesh Tiwari's direction, the movie came up trumps, collecting nearly Rs 100 crore within the first weekend itself. It is, at the time of writing this report, set to enter the Rs 300 crore club. The film showcases Phogat's struggle to help his daughter win an international medal in wrestling.


3. M S Dhoni–The untold story


The movie is a biopic based on the life of current captain of the Indian cricket team, Mahendra Singh Dhoni. The movie showcases his journey from a ticket collector to one of the most celebrated captains in the history of Indian cricket. Sushant Singh Rajput is played the lead and the movie under Neeraj Pandey's direction. 


2016: a triumph for women

Looking back at movies of the year, one interesting fact is the increase in number of films that portray life and struggles of women in India. Scripts dwelled on them in a unique and extraordinary way. has traditionally treated women characters as second fiddle.


From to Neerja, Pink to Parched, Dear Zindagi to Kahaani 2, the best films of have all been about women. The performances in all these movies were scintillating and heart warming

A movie about homosexuality

Aligarh broke protocol in a country in which film makers hesitate to touch contemporary realities and struggles. The movie made its mark in theatres in a year when the nation-wide debate on the rights of LGBT (lesbian gay bisexual transgender) persons was louder than it had ever been before.


This film is based on Professor Shrinivas Ramchandra Siras of the Aligarh Muslim University. Professor Siras, a homosexual, was suspended for having consensual sex with a rickshaw puller in his house. He took his case up in the Allahabad high court and won in 2010. However, he never got back to his post and was found dead days after the court ruled in his favour.


And now, the controversies

Amitabh Bachchan and Panama papers


Big B was in news for the wrong reason this time. The Indian Express as part of its ongoing investigation into The broke a story about Bachchan being a director of four offshore shipping companies between 1993 and 1997.  The superstar through a statement denied all the allegations levelled against him. 

His daughter in law and former Miss World Aishwarya Rai’s name also cropped up and the actress made similar denials.


Ban on Pakistani artists


On the heels of the Indian army announcing surgical strikes to neutralise terror launchpads across the Line of Control in Pakistan-occupied Kashmir, the Indian motion picture producers’ association (IMPPA) banned Pakistani actors and technicians from Bollywood's new projects till normalcy between the two nations returned.


The worst affected producer from the ban was Karan Johar. MNS chief Raj Thackrey used the Uri attacks as the perfect platform to launch himself. His first demand was to delete all Pakistan actors sequences from like Ae Dil Hai Mushkil and others. The MNS supremo also made it clear no Pakistani actors were welcome in India anymore. Johar initially maintained calm but as Raj got more belligerent, a few single-screen owners joined his chorus by deciding not to screen ADHM as their mark of solidarity to the martyrs. Things started getting worse and allegations of Johar being unpatriotic started doing the rounds. That is when the harrowed film maker posted a video to prove his patriotism and to request one and all to allow his movie to be screened. Finally, Raj relented after Maharashtra CM Devendra Fadnavis brokered a peace. Raj, however, asked filmmakers engaging Pakistani artistes to pay Rs 5 crore to the Army fund.

Salman Khan’s 'raped woman' remark


Bollywood’s controversy child found himself sailing in hot waters once again. In an interview he had for promoting his movie Sultan, Salman said his condition after undergoing wrestling training was akin to that of a raped women. That sparked a storm, forcing Papa Salim Khan to apologise yet again for his son’s misadventures.

However, there was no let-up. too ditched the actor and many including Kangana slammed him for a rather insensitive remark. The women’s commission jumped into the bandwagon. The actor decided to stay mum and weathered the storm.

Year 2016 was a mixed bag for Bollywood

While many movies were Box Office hits, demonetisation and the ban on Pak stars left a bitter taste

While many movies were Box Office hits, demonetisation and the ban on Pak stars left a bitter taste
The year had its fair share of ups and downs for Bollywood. While movies like Aligarh, Pink, Parched, M S Dhoni-The untold story  made their mark, the ban on Pakistani artists and the demonetisation drive didn't go down too well with the industry. However, there was something to cheer about at the end of the year, with Aamir Khan's getting an overwhelming response at the box office.

Business Standard brings you the highs and lows for in 2016:

a year of biopics

It was an exciting year for movie lovers as some wonderful movies got released in 2016. After the success of some major biographical movies like Mary Kom, Bhaag Milkha Bhaag and Pan Singh Tomar, writing scripts based on real life incidents became a new fad in Bollywood, for good reason. Biopics provide all the ingredients necessary for an emotional reach out and in most cases, are appreciated by critics and masses alike. Here are the top three such films of 2016:


1. Neerja  


Directed by Ram Madhvani and with Sonam Kapoor playing the lead role, Neerja is a biographical thriller movie based on a real incident in the life -- and eventual death -- of Neerja Bhanot. She was the head flight attendant of Pan AM flight 73, which was flying from Mumbai to New York via Karachi, Pakistan. The flight got hijacked by Libyan terrorists on September 5, 1986 in Karachi. The movie revolves around Bhanot and her 17-hour face-off against the terrorists. Neerja was released on February 19.


2. Dangal


The movie based on the life of wrestler Mahavir Singh Phogat, and directed by Nitesh Tiwari with in the lead role.

Though the film received positive reviews on release, there was some tension over the cash crisis caused by demonetisation. However, with Aamir Khan's perfectionism, a crisp script and Nitesh Tiwari's direction, the movie came up trumps, collecting nearly Rs 100 crore within the first weekend itself. It is, at the time of writing this report, set to enter the Rs 300 crore club. The film showcases Phogat's struggle to help his daughter win an international medal in wrestling.


3. M S Dhoni–The untold story


The movie is a biopic based on the life of current captain of the Indian cricket team, Mahendra Singh Dhoni. The movie showcases his journey from a ticket collector to one of the most celebrated captains in the history of Indian cricket. Sushant Singh Rajput is played the lead and the movie under Neeraj Pandey's direction. 


2016: a triumph for women

Looking back at movies of the year, one interesting fact is the increase in number of films that portray life and struggles of women in India. Scripts dwelled on them in a unique and extraordinary way. has traditionally treated women characters as second fiddle.


From to Neerja, Pink to Parched, Dear Zindagi to Kahaani 2, the best films of have all been about women. The performances in all these movies were scintillating and heart warming

A movie about homosexuality

Aligarh broke protocol in a country in which film makers hesitate to touch contemporary realities and struggles. The movie made its mark in theatres in a year when the nation-wide debate on the rights of LGBT (lesbian gay bisexual transgender) persons was louder than it had ever been before.


This film is based on Professor Shrinivas Ramchandra Siras of the Aligarh Muslim University. Professor Siras, a homosexual, was suspended for having consensual sex with a rickshaw puller in his house. He took his case up in the Allahabad high court and won in 2010. However, he never got back to his post and was found dead days after the court ruled in his favour.


And now, the controversies

Amitabh Bachchan and Panama papers


Big B was in news for the wrong reason this time. The Indian Express as part of its ongoing investigation into The broke a story about Bachchan being a director of four offshore shipping companies between 1993 and 1997.  The superstar through a statement denied all the allegations levelled against him. 

His daughter in law and former Miss World Aishwarya Rai’s name also cropped up and the actress made similar denials.


Ban on Pakistani artists


On the heels of the Indian army announcing surgical strikes to neutralise terror launchpads across the Line of Control in Pakistan-occupied Kashmir, the Indian motion picture producers’ association (IMPPA) banned Pakistani actors and technicians from Bollywood's new projects till normalcy between the two nations returned.


The worst affected producer from the ban was Karan Johar. MNS chief Raj Thackrey used the Uri attacks as the perfect platform to launch himself. His first demand was to delete all Pakistan actors sequences from like Ae Dil Hai Mushkil and others. The MNS supremo also made it clear no Pakistani actors were welcome in India anymore. Johar initially maintained calm but as Raj got more belligerent, a few single-screen owners joined his chorus by deciding not to screen ADHM as their mark of solidarity to the martyrs. Things started getting worse and allegations of Johar being unpatriotic started doing the rounds. That is when the harrowed film maker posted a video to prove his patriotism and to request one and all to allow his movie to be screened. Finally, Raj relented after Maharashtra CM Devendra Fadnavis brokered a peace. Raj, however, asked filmmakers engaging Pakistani artistes to pay Rs 5 crore to the Army fund.

Salman Khan’s 'raped woman' remark


Bollywood’s controversy child found himself sailing in hot waters once again. In an interview he had for promoting his movie Sultan, Salman said his condition after undergoing wrestling training was akin to that of a raped women. That sparked a storm, forcing Papa Salim Khan to apologise yet again for his son’s misadventures.

However, there was no let-up. too ditched the actor and many including Kangana slammed him for a rather insensitive remark. The women’s commission jumped into the bandwagon. The actor decided to stay mum and weathered the storm.

image

Pratyush Raj

Business Standard

177 22

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Year 2016 was a mixed bag for Bollywood

vendredi 30 décembre 2016

Zoom into the new year

It promises to be a year of amazing cars and bikes

P Tharyan and Joshua David Luther list the most exciting launches in 2017   New Chevrolet Cruze   General Motors India is determined to rock 2017 with new models like the Beat Activ and the Chevrolet Essentia. But all eyes would be on the new Chevrolet Cruze. GM has done away with the old design language and may also bring in the 1.4L turbocharged petrol engine. The new Cruze will get features like Apple CarPlay and Android Auto. Launch: Late 2017 Price: Rs 13 lakh onwards   Maruti Suzuki Ignis   A compact SUV, the Ignis will take on the ...

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Zoom into the new year

Let the music play

Nikita Puri lines up the other musical events to look forward to in 2017

Nikita Puri 

From David Bowie and Prince to Leonard Cohen and, most recently, George Michael, we’ve lost many to 2016. Even Coldplay’s Global Citizen Festival in Mumbai, which once shone brightly on everyone's radar, was buried under heaps of ‘other’ performances. But with a host of new beginnings, the New Year seems promising enough, like the proposed-resurrection of the Backstreet Boys. The boy band is headed to Las Vegas for a trial residency and, if all goes well, they’ll announce new gigs. Nikita Puri lines up the other musical events to look forward to in 2017. A ...

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Let the music play

Ramp it up

Avantika Bhuyan tells you about the sleeves, colours and styles that will be in vogue in 2017

Avanyika Bhuyan  |  New Delhi 

Create a splashwith colour   With the Pantone Colour Institute — a global authority on colour and provider of professional colour standards for the design industries — having just announced “greenery” as the colour of 2017, the coming year will see this fresh, zesty shade liven up the international ramp like never before. An article by Pantone on the choice states: “A constant on the periphery, Greenery is now being pulled to the forefront — it is an omnipresent hue around the world”. Rhea Gupte, photographer and stylist, feels that this ...

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Ramp it up

The Bookshelf in 2017

From novel by Arundhati Roy to Nanavati case, 2017 offers a range of eclectic reading

From new novels by Arundhati Roy and Jeet Thayil to a translation of an 1857 eyewitness memoir, from the Nanavati case and a definitive investigation of Osama bin Laden to a fabulous history of spices, 2017 offers a range of eclectic reading. Nilanjana S Roy picks the best of the lot:  The Exile    ADRIAN LEVY AND CATHERINE SCOTT-CLARK   Bloomsbury From the authors of The Meadow and The Siege, this promises to be another unforgettable work of investigative journalism, as they follow Osama bin Laden and al-Qaeda in the years after 9/11. Neither ...

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The Bookshelf in 2017

Kishore Singh: A date with art in 2017

Here are some pick-me-ups one can expect from 2017

Kishore Singh As 2016 slips into 2017, it is with a sense of ennui. Will the new year bring anything that is different? Has the collectorati been impacted by demonetisation? Prophesying anything at this point is a little like gazing into a dodgy crystal ball, but here are some pick-me-ups one can expect from 2017.   January: While the government pumps more currency into the system, it might be a good thing to flee from the ATM queues to the Shanghai Biennale that opened in November and is scheduled to close in March. Supported by the government, the biennale has been curated by our own Raqs Media ...

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Kishore Singh: A date with art in 2017

The year in 140 characters

2016 brought with apart from the usual distastefulness and expansive desolation

Dhruv Munjal  |  New Delhi 

Twitter’s propensity for caustic jibes and sardonic criticism has seen it painfully fall behind in the endearment stakes for a few years now, but 2016 brought with — apart from the usual distastefulness — expansive desolation. #RIP, #Brexit and #Trump made Twitter a pretty distressing place in 2016. Add to that the unfortunate killing of black people in America and the grisly happenings in Aleppo, and you were handed a tumultuous dose of social media that seldom made for pleasant viewing.   The year was welcomed with gasping awes and unrestrained glee at the sight ...

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The year in 140 characters

Ashish SharmaA: Great time to go live

Facebook must never have anticipated such frivolous behaviour on its social media site

Ashish Sharma A friend fighting his fear of “peeing in public” struggled to spring a leak while live-streaming himself on Facebook. Most of the 200 people watching his ego-driven broadcast were aware of the performance anxiety that usually arose around other men. “I can’t do it. I’m never going to pee. I’m such an idiot,” he stammered to himself and then squirmed, even as hundreds waited to see the promise of an alcohol-induced man finally pour out his fears into the public toilet.   The spectators started pushing it in the Facebook feed.   Indeed, ...

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Ashish SharmaA: Great time to go live

CHESS#1232

Magnus Carlsen has been the world's best player for a major part in the last seven years

Magnus Carlsen has been the world’s best player for a major part in the last seven years. He first hit #1 in January 2010. He’s been #1 continuously since July 2011. He won the world title in 2013, ousting Viswanathan Anand.   In 2016, Carlsen showed the first signs of mortality. Challenger Sergei Karjakin fought a bitterly contested title match that went to tiebreakers. In the end, Carlsen kept his crown. But the halo has been destroyed. The Norwegian made errors under pressure.  Every player with title ambitions will have taken note. Several members ...

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CHESS#1232

Now playing

What does 2017 hold for the cinema lover?

Bollywood: Masala mix Director Rahul Dholakia’s track record is curious; it includes the dud Kehta Hai Dil Baar Baar as well as the moving Parzania. Raees could go either way but its cast and punchline-heavy trailer make it the most-anticipated popular release of next year.   Vishal Bhardwaj’s next, Rangoon, is set in the World War II period. It will star Shahid Kapoor, Kangana Ranaut and Saif Ali Khan. Bhardwaj reportedly considers it his most ambitious venture.   After his memorable outing as the romantic lead in Piku, Irrfan Khan will play one half of a ...

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Eyeing top spot

A number of athletes will look to cement their place at the pinnacle of their sport in 2017

A number of athletes will look to cement their place at the pinnacle of their sport in 2017. Shakya Mitra lists a few of them: Virat Kohli    He is Indian cricket’s golden boy, having scored 2,595 international runs in 2016, and a further 973 if you include Indian Premier League (IPL). If Kohli, 28, does scale more peaks from here, he is likely to become immortal. The Indian Test captain already averages over 50 in all three formats of the game, and is well on course to break Sachin Tendulkar’s record of 49 one-day international centuries — he ...

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Eyeing top spot

Modi in the age of populism

With all his efforts to transform the economy stymied, PM wants to redefine the political narrative

T N Ninan 

Exactly mid-way through his five-year term, Narendra Modi has changed gears, and possibly direction. Till November, his was an administration seemingly determined to follow a path of sustained incrementalism — a steady flow of small steps whose cumulative impact would be transformative.  Or so it was hoped. Then, with virtually no advance warning, Modi launched a “big bang” initiative, bearing the stamp of bold radicalism that many observers had expected of him from the beginning of his administration. Undeterred by widespread criticism of the ...

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Modi in the age of populism

Scriptwriters were the true stars of Hindi cinema in 2016

In a singularly sombre year for the Indian people, Hindi cinema offered some bright sparks in 2016. Some thoughtful, creative and inventive films with unusual themes and real people, were on offer.


The true star of this year was the scriptwriter. If Hindi cinema today is several notches above that of a decade and a half ago, it is because now scripts explore ideas and backdrops that were earlier unthinkable in mainstream cinema.


For many decades since the 1970s, the peasant and the working class protagonist had disappeared from popular Hindi cinema. Whereas, the wealthy, groomed, glamorous and often NRI characters and glitzy, mostly foreign locales, are still the mainstay.

Several successful films today are after many years returning to the long-forgotten countryside and to real homes and work-places of vigorous and interesting subaltern characters.


This year, two films about the earthy rural sport of wrestling set in pastoral Haryana were winners, precisely because the rural environment in which they were located was engaging and believable. There was also a harrowing portrayal of the pervasive drug obsession in rural Punjab that again rang true. Two of the most attractive films of the year were small films about children in the deserts of Rajasthan and about a  single mother who works as a domestic help and her stubborn dreams for her rebellious teenaged child.


2016 was also the year of the biopic in Hindi cinema. There were a large number of films that drew from real life characters and incidents. We saw persuasive and absorbing fictionalised recreations of a young air hostess who saved the lives of hostages in an airplane in Ram Madhvani’s Neerja, the audacious rescue of nearly two lakh Indians stranded in the strife-torn Kuwait by a businessman after the US attack on Saddam Hussein’s Iraq in Raja Krishna Menon’s Airlift, another version of the sensational 1950s murder by naval officer Rustom Nanavati of his wife’s lover, the early struggles of India’s much-admired cricket hero Mahendra Singh Dhoni in Neeraj Pandey’s film M. S. Dhoni: The Untold Story and wrestler Mahavir Singh Phogat’s fierce battle against the patriarchy of rural Haryana to groom his two daughters to triumph in what was seen to be a quintessentially male game of wrestling in Nitesh Tiwari’s Dangal.


Pre-eminent among the year’s biopics, and for me the best film of 2016, was the gentle, understated and ineffably tragic Aligarh directed by Hansal Mehta. The film reconstructs the public humiliation of a lonely homosexual professor in Aligarh Muslim University, Shrinivas Ramchandra Siras, after his relations with a rickshaw puller of the city were exposed by two men who raided his bedroom. The film is shown through the eyes of a young journalist who develops a deep bond with the professor while investigating his story. The persecuted aging teacher played masterfully by Manoj Bajpayee, emerges as a person of muted dignity. The film is minimalist, subtle and low-key, and yet builds into a devastating testimony of the wages of bigotry.


Prejudice is the driving theme in another powerful film, Aniruddha Roy Chowdhury’s Pink. It explores the patriarchal attitude towards young and single working women who refuse to abide by the traditional conventional restraints of attire, male company and public drinking. The predicament of the three women depicted with a raw immediacy is harrowing because it is so frighteningly real.


What unfolds in the film could happen to you, to people you know, befriend and love on any evening and in any city. The terrifying persisting intimidation and the malicious shaming in court make the aftermath of rape an on-going nightmare for the three women. A riveting narrative is skilfully spun by the debutant director using the format of a thriller and courtroom drama until the last scene that plays out when the credits roll.


Interestingly, Ritesh Shah’s script also creates three older men who are the allies of these women – their landlord who resists intimidation by their rapists, the fair-minded judge and their depressive lawyer resoundingly affirms that men must understand that when a woman says no, it means no.


Some feminists complain why the young women are ultimately saved by men in the film? I feel that it is the women protagonists who overcome the prejudices because of their spirit, solidarity and courage and that the fight against patriarchy is as much the responsibility of men as it is the women.


Another dark film that makes it into my list of the best films of 2016 is Abhishek Chaubey’s Udta Punjab. It is that rare sort of film that anticipates rather than follows the headlines. For two decades, the entrapment of an entire generation of young men in drugs and the criminal-politician-police nexus that facilitates and nurtures the pervasive drug-trade was the open secret of Punjab. In the Punjab assembly election campaign, drug addiction and crime have emerged as probably the most important concerns for the electorate. Across the state, we are hearing people complain, “We lost one generation to militancy, and a second to drugs. We cannot afford now to lose a third.”


Sudip Sharma and Abhishek Chaubey’s script is brave enough to unflinchingly depict the ways drugs have eaten into, corroded and collapsed the moral centre of Punjab’s society and wrecked so many of its homes. One of the most affecting sequences of the film is one in which two young brothers who are in jail without any remorse boast about how they killed their mother because she refused to give them money to buy drugs. Equally traumatic is the wrenching predicament of the young Bihari migrant woman who is forced into drugs and sexual slavery. Censors had wanted to make 89 deletions in the film. The court consented only to one – the climatic sequence in which the cocaine-abusing singer urinates on his audience in his ultimate public humiliation. I wish this sequence was retained, as this was a necessary part of the film’s mission to strip drug-use from its last veneer of faux-glamour.


The other two films in my top five list are low-budget sunshine films which display a very different lightness of touch. I particularly loved another debutant woman director Ashwini Iyer Tiwari’s Nil Battey Sannata. This story – which she wrote along with Neeraj Singh, Pranjal Choudhary and Nitesh Tiwari – of a single mother, a domestic help and her relationship with her rebellious teenaged daughter, is universal in many ways and is yet wonderfully grounded in the specific realities of their contexts of a single woman-led household in an urban slum.


Swara Bhaskar skilfully transforms herself into her part of an urban domestic help who slaves in her various menial jobs and dreams doggedly of a better life for her daughter, a familiar figure in many middle-class homes but one whose inner world we barely know, understand or care about. The government school, the site where much of the story unfolds, also rings true, as do the teenage girl’s struggles with mathematics, with her teachers, with ambition and with her mother’s burdensome dreams for her. We showed the film to the teenaged girls who are in our care, many of who have homeless mothers who beg on the streets, and they loved the film. They laughed and cried alternately, identifying closely with the adolescent skirmishes depicted in the film.


The last film in my list is Dhanak, written and directed by Nagesh Kukunoor. This charming little feature is a glowing road-film about the adventures of a spirited 12-year-old girl from a remote village in Rajasthan, about her impish blind younger brother and all the people she meets along the way. She runs away from home with her brother, convinced that her hero film actor Shah Rukh Khan would help him get back his eyesight. She must reach a town where the celebrated actor is scheduled to shoot a film. The film is in the same genre as many Iranian films about children, and speaks like them to audiences of every age from every culture of universal truths, of the strength and power of both love and resolve.


In these ways, in a year in which the Indian people were embroiled year-long in bitter disputations about sedition, cow slaughter and nationalism and then assaulted by the year-end tsunami of demonetisation, the film theater was a small refuge, of intelligent, reflective, combative, sometimes dark and sometimes iridescent cinema. For this at least one can cheer.

Harsh Mander is a social worker and writer.
 

In arrangement with thewire.in

Scriptwriters were the true stars of Hindi cinema in 2016

The peasant and the working class protagonist had disappeared from popular Hindi cinema

The peasant and the working class protagonist had disappeared from popular Hindi cinema

In a singularly sombre year for the Indian people, Hindi cinema offered some bright sparks in 2016. Some thoughtful, creative and inventive films with unusual themes and real people, were on offer.


The true star of this year was the scriptwriter. If Hindi cinema today is several notches above that of a decade and a half ago, it is because now scripts explore ideas and backdrops that were earlier unthinkable in mainstream cinema.


For many decades since the 1970s, the peasant and the working class protagonist had disappeared from popular Hindi cinema. Whereas, the wealthy, groomed, glamorous and often NRI characters and glitzy, mostly foreign locales, are still the mainstay.


Several successful films today are after many years returning to the long-forgotten countryside and to real homes and work-places of vigorous and interesting subaltern characters.


This year, two films about the earthy rural sport of wrestling set in pastoral Haryana were winners, precisely because the rural environment in which they were located was engaging and believable. There was also a harrowing portrayal of the pervasive drug obsession in rural Punjab that again rang true. Two of the most attractive films of the year were small films about children in the deserts of Rajasthan and about a  single mother who works as a domestic help and her stubborn dreams for her rebellious teenaged child.


2016 was also the year of the biopic in Hindi cinema. There were a large number of films that drew from real life characters and incidents. We saw persuasive and absorbing fictionalised recreations of a young air hostess who saved the lives of hostages in an airplane in Ram Madhvani’s Neerja, the audacious rescue of nearly two lakh Indians stranded in the strife-torn Kuwait by a businessman after the US attack on Saddam Hussein’s Iraq in Raja Krishna Menon’s Airlift, another version of the sensational 1950s murder by naval officer Rustom Nanavati of his wife’s lover, the early struggles of India’s much-admired cricket hero Mahendra Singh Dhoni in Neeraj Pandey’s film M. S. Dhoni: The Untold Story and wrestler Mahavir Singh Phogat’s fierce battle against the patriarchy of rural Haryana to groom his two daughters to triumph in what was seen to be a quintessentially male game of wrestling in Nitesh Tiwari’s Dangal.


Pre-eminent among the year’s biopics, and for me the best film of 2016, was the gentle, understated and ineffably tragic Aligarh directed by Hansal Mehta. The film reconstructs the public humiliation of a lonely homosexual professor in Aligarh Muslim University, Shrinivas Ramchandra Siras, after his relations with a rickshaw puller of the city were exposed by two men who raided his bedroom. The film is shown through the eyes of a young journalist who develops a deep bond with the professor while investigating his story. The persecuted aging teacher played masterfully by Manoj Bajpayee, emerges as a person of muted dignity. The film is minimalist, subtle and low-key, and yet builds into a devastating testimony of the wages of bigotry.


Prejudice is the driving theme in another powerful film, Aniruddha Roy Chowdhury’s Pink. It explores the patriarchal attitude towards young and single working women who refuse to abide by the traditional conventional restraints of attire, male company and public drinking. The predicament of the three women depicted with a raw immediacy is harrowing because it is so frighteningly real.


What unfolds in the film could happen to you, to people you know, befriend and love on any evening and in any city. The terrifying persisting intimidation and the malicious shaming in court make the aftermath of rape an on-going nightmare for the three women. A riveting narrative is skilfully spun by the debutant director using the format of a thriller and courtroom drama until the last scene that plays out when the credits roll.


Interestingly, Ritesh Shah’s script also creates three older men who are the allies of these women – their landlord who resists intimidation by their rapists, the fair-minded judge and their depressive lawyer resoundingly affirms that men must understand that when a woman says no, it means no.


Some feminists complain why the young women are ultimately saved by men in the film? I feel that it is the women protagonists who overcome the prejudices because of their spirit, solidarity and courage and that the fight against patriarchy is as much the responsibility of men as it is the women.


Another dark film that makes it into my list of the best films of 2016 is Abhishek Chaubey’s Udta Punjab. It is that rare sort of film that anticipates rather than follows the headlines. For two decades, the entrapment of an entire generation of young men in drugs and the criminal-politician-police nexus that facilitates and nurtures the pervasive drug-trade was the open secret of Punjab. In the Punjab assembly election campaign, drug addiction and crime have emerged as probably the most important concerns for the electorate. Across the state, we are hearing people complain, “We lost one generation to militancy, and a second to drugs. We cannot afford now to lose a third.”


Sudip Sharma and Abhishek Chaubey’s script is brave enough to unflinchingly depict the ways drugs have eaten into, corroded and collapsed the moral centre of Punjab’s society and wrecked so many of its homes. One of the most affecting sequences of the film is one in which two young brothers who are in jail without any remorse boast about how they killed their mother because she refused to give them money to buy drugs. Equally traumatic is the wrenching predicament of the young Bihari migrant woman who is forced into drugs and sexual slavery. Censors had wanted to make 89 deletions in the film. The court consented only to one – the climatic sequence in which the cocaine-abusing singer urinates on his audience in his ultimate public humiliation. I wish this sequence was retained, as this was a necessary part of the film’s mission to strip drug-use from its last veneer of faux-glamour.


The other two films in my top five list are low-budget sunshine films which display a very different lightness of touch. I particularly loved another debutant woman director Ashwini Iyer Tiwari’s Nil Battey Sannata. This story – which she wrote along with Neeraj Singh, Pranjal Choudhary and Nitesh Tiwari – of a single mother, a domestic help and her relationship with her rebellious teenaged daughter, is universal in many ways and is yet wonderfully grounded in the specific realities of their contexts of a single woman-led household in an urban slum.


Swara Bhaskar skilfully transforms herself into her part of an urban domestic help who slaves in her various menial jobs and dreams doggedly of a better life for her daughter, a familiar figure in many middle-class homes but one whose inner world we barely know, understand or care about. The government school, the site where much of the story unfolds, also rings true, as do the teenage girl’s struggles with mathematics, with her teachers, with ambition and with her mother’s burdensome dreams for her. We showed the film to the teenaged girls who are in our care, many of who have homeless mothers who beg on the streets, and they loved the film. They laughed and cried alternately, identifying closely with the adolescent skirmishes depicted in the film.


The last film in my list is Dhanak, written and directed by Nagesh Kukunoor. This charming little feature is a glowing road-film about the adventures of a spirited 12-year-old girl from a remote village in Rajasthan, about her impish blind younger brother and all the people she meets along the way. She runs away from home with her brother, convinced that her hero film actor Shah Rukh Khan would help him get back his eyesight. She must reach a town where the celebrated actor is scheduled to shoot a film. The film is in the same genre as many Iranian films about children, and speaks like them to audiences of every age from every culture of universal truths, of the strength and power of both love and resolve.


In these ways, in a year in which the Indian people were embroiled year-long in bitter disputations about sedition, cow slaughter and nationalism and then assaulted by the year-end tsunami of demonetisation, the film theater was a small refuge, of intelligent, reflective, combative, sometimes dark and sometimes iridescent cinema. For this at least one can cheer.

Harsh Mander is a social worker and writer.
 

In arrangement with thewire.in

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Harsh Mander

Business Standard

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Scriptwriters were the true stars of Hindi cinema in 2016

jeudi 29 décembre 2016

Apollo's wheel of fortune

Onkar Singh Kanwar of Apollo Tyres is that rare breed of businessmen who shoot straight from the hip

The Man Behind the Wheel: How Onkar S Kanwar Created a Global Giant Tim Bouquet  Rupa Publications; 296 pages; Rs 595 Onkar Singh Kanwar of Apollo Tyres is that rare breed of businessmen who shoot straight from the hip. He speaks freely and refuses to lace his words with diplomatese, qualities that make him extremely likeable. His biography, too, is like the man: Straightforward and open. It makes no attempts to sweep under the carpet unsavoury controversies that have dogged the company and the Kanwar family from time to time. The result is a delightful story of ...

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mercredi 28 décembre 2016

I am a troll: Inside the secret world of BJP's digital army

Trolling is an organised political activity

Vir Sanghvi 

I Am a Troll:
Inside the Secret World of the BJP’s
Digital Army


Swati Chaturvedi
Juggernaut Books; Rs 250; 192 pages

Here’s what we know about online trolls. We know that trolls tend to be lonely or socially dysfunctional men whose own sexual inadequacies lead them to be (often violently) misogynistic. We know that all trolls like to escape the sad and solitary nature of their everyday existence by attacking (or abusing or even threatening) famous people. And we know that the anonymity provided by such social media handles as Twitter (a laboratory-grade petri-dish for the breeding of sleazy abusers) tends to embolden even the most diffident and timorous of men.
 
But, Swati Chaturvedi argues in this slender volume, those are global generalisations that hardly capture the Indian reality. In India, she says, trolling is an organised political activity and trolls are the Twitter equivalent of a communally-charged mob out to burn down somebody’s home (or village) as part of a pogrom.
 
Her book, I Am a Troll: Inside the Secret World of the BJP’s Digital Army, is less about trolls in general and more about what she claims is “the BJP’s digital army”. In her telling, the Bharatiya Janata Party (or the larger Sangh Parivar) uses volunteers and paid employees to function in concert and to execute centralised directives to “constantly peddle hate tweets and conspiracy theories and slander journalists”. Worse still, she claims, the hate-filled tweets are packed with communally volatile misinformation (a mythical exodus of Hindus from in UP, for instance) and contain threats: Hire so-and-so and we will boycott your company/paper/channel/product or  even worse.
 
Although there are many examples in the book, the one that has received the most public attention is the threatened boycott of if it did not sack Aamir Khan as its brand ambassador after the actor had spoken about growing intolerance in India. According to Sadhavi Khosla, who worked with the BJP’s Social Media team, was intimidated by an organised trolling campaign co-ordinated by the and duly fired Mr Khan.
 
What are we to make of Ms Chaturvedi’s claims? Some of them, certainly, are difficult to substantiate with the possible exception of Ms Khosla’s testimony and the messages she claims to have received from the BJP’s social media co-ordinators. The has already responded by saying that yes, its sympathisers may have been involved in some of the activities Ms Chaturvedi mentions but that does not prove that they were centrally directed. And it has gone to great lengths to dispute Ms Khosla's story.
 
It is a valid defence but it runs into two problems. One: Less discreet leaders have bragged about the power of the Social Media team. Defence Minister Manohar Parrikar gloated about the campaign: “There was a team working on this. They were telling people to order and return. The company should learn a lesson; they had to pull the advertisement.” This does seem fairly conclusive.
 
The second problem is more serious. has around 26 million Twitter followers but follows only 1,549 people. How unfortunate, then, that this select band should include people who use the vilest abuse (which cannot be reproduced in this paper) and those who disagree with the line. Some of these trolls have had FIRs registered against them and one was briefly suspended by Twitter. (A minister led a campaign to have the account re-instated.) Some of the trolls have even been invited to meet the prime minister at Race Course Road.
 
Of course, Mr Modi has the right to follow whom he wants. But it is time to wonder if the troll-cuddling is backfiring on him. activists say — with some justification — that ten years ago when the mainstream media insisted on viewing Mr Modi through the prism of the Gujarat riots, it was social media that took his message to every corner of India, turned him into a respectable national leader and, eventually, won him the election.
 
But that was then. And this is now. If the prime minister wants to be seen as a global statesman, then is it not embarrassing to be so closely associated with a gang of foul-mouthed bullies? Besides, Mr Modi may have needed social media in the days when the press was hostile. But as any reader or TV viewer will tell you, that era is long gone. These days, the media are about as threatening as a gaggle of eager cocker spaniels. 
 
Perhaps it is time for more statesmanship and less abuse. A prime minister should leave the bully-boys to their own devices. So should his party.

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I am a troll: Inside the secret world of BJP's digital army

From David Bowie to George Michael: 2016 was a grim year for music

Few genres are left that have not mourned an important loss in 2016

The deaths of pop superstar George Michael and Status Quo’s Rick Parfitt within a two-day period over Christmas might once have seemed extraordinary for the world of popular music. But it capped a year strewn with such losses. David Bowie, Prince and Leonard Cohen were major-league headliners. But the list is long: George Martin, the Eagles’ Glenn Frey, Sharon Jones, Earth, Wind and Fire founder Maurice White, Leon Russell, Merle Haggard, Phife Dawg, Keith Emerson, Greg Lake. From top-billed stars, to producers and session players, few genres are left that have not mourned an important loss in 2016.

Social media has an amplifying effect, as shared clips and memories drive awareness, encourage public responses and magnify a sense of epidemic.

It’s also possible that the post-war baby boom generation reaching old age – and the growing number of entertainers attaining household name appeal with the increase of mass media since the 1950s and 1960s – means that sheer demographics play a part. There are simply more celebrities around, more ways to find out about their death and a larger public space in which to respond.

Any way you cut it, though, 2016 has been a grim year for music – and indeed popular culture at large. TV and cinema have fared no better – as I write this, news has just broken of the death of one of Hollywood’s favourite daughters, actor and writer Carrie Fisher.

That’s entertainment

The widespread posting of recollections and thoughts of Parfitt and also illustrates an aspect of popular music that can get lost in eulogies to genre defining (or defying) “genius” – entertainment pure and simple, as a good in and of itself. Ascriptions of “authenticity” in popular music are often attached to a sense of folk roots – speaking a broader truth – or aspirations to “high art”, pushing the boundaries of a field. Both and George Michael, though very different, travelled at an oblique angle to these categories.

Status Quo evolved from psychedelically infused rock to the straight ahead, 12-bar based, boogie-driven hits for which they became best known. Often noted for their lack of variety, including in their own self-mocking references, they exemplified instead another, less frequently celebrated, aspect of the popular music continuum – reliability.

There was almost a pantomime quality to the instant familiarity of their work. But, like it or not, pantomime is a staple of the British entertainment pantheon. Though hardly at the vanguard of musical invention, their “end-of-the-pier” appeal remained undimmed and saw continuing healthy audiences for live shows.

George Michael’s trajectory was different, and hinged on an overt effort to move from teen idol status with Wham to being taken seriously – his second solo album was titled Listen Without Prejudice – as a songwriter and record producer. His success in doing so helped to seal the idea that crossing over between markets was a part of the pop process.

To an extent, his greatest lasting effect came outside of his music, though very much dependent on it, as his candour and humour in response to revelations about his sexuality drove forward the mainstream acceptance of gay pop icons. Likewise, if his lawsuit against record label Sony was ultimately unsuccessful in court, his public battles helped to shine a light on the inequities of major label deals.

Cultural currency of the mainstream

Parfitt and Michael occupied different spaces within the mainstream, though illustrated just how wide it has become. If Status Quo were the exemplars of pre-punk 70s straight ahead rock shorn of frills, Michael’s tight productions laid down a marker for the glamour of 80s and 90s post-Thatcherite pop (somewhat ironically, given Wham’s support for striking miners and the ambivalent stance on consumerism lying beneath the sheen of his music).

But, despite the differences between Parfitt’s unadorned rhythm guitar chug and Michael’s crafted pop confections, their work was characterised by an underlying factor: accessibility – something that is often overlooked but deceptively difficult to achieve and a necessary condition for the mass appeal that they sustained.

Certainly the tragic, early passing of entertainers is nothing new. When music hall singer Mark Sheridan took his own life in 1918, it was after a period in the commercial and critical doldrums, as the popularity of music hall waned. Yet despite his comparative obscurity now, his hit “I Do Like to Be Beside the Seaside” has passed into the national consciousness.

Simon Frith – sociologist, music critic and founding chair of the Mercury Prize – has argued that popular music helps us to negotiate the relationship between our inner and public lives – that: “Pop tastes do not just derive from our socially constructed identities; they also help to shape them”. From music hall through rock ‘n’ roll to Top of the Pops and televised extravaganzas such as Live Aid, one of pop’s abiding functions has been to serve as common cultural currency.

The Conversation logo

Status Quo and may not have been marked by Bowie’s chameleon-like propensity for redefining pop’s aesthetic limits. They may not have matched Cohen’s lyrical intricacy or Prince’s virtuosity. But large swaths of the British public will have danced and sung along enthusiastically and unironically to: “Whatever You Want” and “Wake Me Up Before You Go Go” – threaded through the fabric of their social lives, from school discos to Christmas parties and weddings.

If the bad news is that the loss of beloved entertainers appears remorseless, the good news is that this shows how our stock of shared cultural memories is larger and richer than ever before.


The Conversation

Adam Behr, Lecturer in Popular and Contemporary Music, Newcastle University

This article was originally published on The Conversation. Read the original article.

The Conversation

From David Bowie to George Michael: 2016 was a grim year for music

Few genres are left that have not mourned an important loss in 2016

Few genres are left that have not mourned an important loss in 2016

The deaths of pop superstar George Michael and Status Quo’s Rick Parfitt within a two-day period over Christmas might once have seemed extraordinary for the world of popular music. But it capped a year strewn with such losses. David Bowie, Prince and Leonard Cohen were major-league headliners. But the list is long: George Martin, the Eagles’ Glenn Frey, Sharon Jones, Earth, Wind and Fire founder Maurice White, Leon Russell, Merle Haggard, Phife Dawg, Keith Emerson, Greg Lake. From top-billed stars, to producers and session players, few genres are left that have not mourned an important loss in 2016.

Social media has an amplifying effect, as shared clips and memories drive awareness, encourage public responses and magnify a sense of epidemic.

It’s also possible that the post-war baby boom generation reaching old age – and the growing number of entertainers attaining household name appeal with the increase of mass media since the 1950s and 1960s – means that sheer demographics play a part. There are simply more celebrities around, more ways to find out about their death and a larger public space in which to respond.

Any way you cut it, though, 2016 has been a grim year for music – and indeed popular culture at large. TV and cinema have fared no better – as I write this, news has just broken of the death of one of Hollywood’s favourite daughters, actor and writer Carrie Fisher.

That’s entertainment

The widespread posting of recollections and thoughts of Parfitt and also illustrates an aspect of popular music that can get lost in eulogies to genre defining (or defying) “genius” – entertainment pure and simple, as a good in and of itself. Ascriptions of “authenticity” in popular music are often attached to a sense of folk roots – speaking a broader truth – or aspirations to “high art”, pushing the boundaries of a field. Both and George Michael, though very different, travelled at an oblique angle to these categories.

Status Quo evolved from psychedelically infused rock to the straight ahead, 12-bar based, boogie-driven hits for which they became best known. Often noted for their lack of variety, including in their own self-mocking references, they exemplified instead another, less frequently celebrated, aspect of the popular music continuum – reliability.

There was almost a pantomime quality to the instant familiarity of their work. But, like it or not, pantomime is a staple of the British entertainment pantheon. Though hardly at the vanguard of musical invention, their “end-of-the-pier” appeal remained undimmed and saw continuing healthy audiences for live shows.

George Michael’s trajectory was different, and hinged on an overt effort to move from teen idol status with Wham to being taken seriously – his second solo album was titled Listen Without Prejudice – as a songwriter and record producer. His success in doing so helped to seal the idea that crossing over between markets was a part of the pop process.

To an extent, his greatest lasting effect came outside of his music, though very much dependent on it, as his candour and humour in response to revelations about his sexuality drove forward the mainstream acceptance of gay pop icons. Likewise, if his lawsuit against record label Sony was ultimately unsuccessful in court, his public battles helped to shine a light on the inequities of major label deals.

Cultural currency of the mainstream

Parfitt and Michael occupied different spaces within the mainstream, though illustrated just how wide it has become. If Status Quo were the exemplars of pre-punk 70s straight ahead rock shorn of frills, Michael’s tight productions laid down a marker for the glamour of 80s and 90s post-Thatcherite pop (somewhat ironically, given Wham’s support for striking miners and the ambivalent stance on consumerism lying beneath the sheen of his music).

But, despite the differences between Parfitt’s unadorned rhythm guitar chug and Michael’s crafted pop confections, their work was characterised by an underlying factor: accessibility – something that is often overlooked but deceptively difficult to achieve and a necessary condition for the mass appeal that they sustained.

Certainly the tragic, early passing of entertainers is nothing new. When music hall singer Mark Sheridan took his own life in 1918, it was after a period in the commercial and critical doldrums, as the popularity of music hall waned. Yet despite his comparative obscurity now, his hit “I Do Like to Be Beside the Seaside” has passed into the national consciousness.

Simon Frith – sociologist, music critic and founding chair of the Mercury Prize – has argued that popular music helps us to negotiate the relationship between our inner and public lives – that: “Pop tastes do not just derive from our socially constructed identities; they also help to shape them”. From music hall through rock ‘n’ roll to Top of the Pops and televised extravaganzas such as Live Aid, one of pop’s abiding functions has been to serve as common cultural currency.

The Conversation logo

Status Quo and may not have been marked by Bowie’s chameleon-like propensity for redefining pop’s aesthetic limits. They may not have matched Cohen’s lyrical intricacy or Prince’s virtuosity. But large swaths of the British public will have danced and sung along enthusiastically and unironically to: “Whatever You Want” and “Wake Me Up Before You Go Go” – threaded through the fabric of their social lives, from school discos to Christmas parties and weddings.

If the bad news is that the loss of beloved entertainers appears remorseless, the good news is that this shows how our stock of shared cultural memories is larger and richer than ever before.


The Conversation

Adam Behr, Lecturer in Popular and Contemporary Music, Newcastle University

This article was originally published on The Conversation. Read the original article.

The Conversation

image

Adam Behr I The Conversation

Business Standard

177 22

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From David Bowie to George Michael: 2016 was a grim year for music

The BJP's online bully-boys

Trolling is an organised political activity

Vir Sanghvi 

I Am a Troll:
Inside the Secret World of the BJP’s
Digital Army


Swati Chaturvedi
Juggernaut Books; Rs 250; 192 pages

Here’s what we know about online trolls. We know that trolls tend to be lonely or socially dysfunctional men whose own sexual inadequacies lead them to be (often violently) misogynistic. We know that all trolls like to escape the sad and solitary nature of their everyday existence by attacking (or abusing or even threatening) famous people. And we know that the anonymity provided by such social media handles as Twitter (a laboratory-grade petri-dish for the breeding of sleazy abusers) tends to embolden even the most diffident and timorous of men.
 
But, Swati Chaturvedi argues in this slender volume, those are global generalisations that hardly capture the Indian reality. In India, she says, trolling is an organised political activity and trolls are the Twitter equivalent of a communally-charged mob out to burn down somebody’s home (or village) as part of a pogrom.
 
Her book, I Am a Troll: Inside the Secret World of the BJP’s Digital Army, is less about trolls in general and more about what she claims is “the BJP’s digital army”. In her telling, the Bharatiya Janata Party (or the larger Sangh Parivar) uses volunteers and paid employees to function in concert and to execute centralised directives to “constantly peddle hate tweets and conspiracy theories and slander journalists”. Worse still, she claims, the hate-filled tweets are packed with communally volatile misinformation (a mythical exodus of Hindus from in UP, for instance) and contain threats: Hire so-and-so and we will boycott your company/paper/channel/product or  even worse.
 
Although there are many examples in the book, the one that has received the most public attention is the threatened boycott of if it did not sack Aamir Khan as its brand ambassador after the actor had spoken about growing intolerance in India. According to Sadhavi Khosla, who worked with the BJP’s Social Media team, was intimidated by an organised trolling campaign co-ordinated by the and duly fired Mr Khan.
 
What are we to make of Ms Chaturvedi’s claims? Some of them, certainly, are difficult to substantiate with the possible exception of Ms Khosla’s testimony and the messages she claims to have received from the BJP’s social media co-ordinators. The has already responded by saying that yes, its sympathisers may have been involved in some of the activities Ms Chaturvedi mentions but that does not prove that they were centrally directed. And it has gone to great lengths to dispute Ms Khosla's story.
 
It is a valid defence but it runs into two problems. One: Less discreet leaders have bragged about the power of the Social Media team. Defence Minister Manohar Parrikar gloated about the campaign: “There was a team working on this. They were telling people to order and return. The company should learn a lesson; they had to pull the advertisement.” This does seem fairly conclusive.
 
The second problem is more serious. has around 26 million Twitter followers but follows only 1,549 people. How unfortunate, then, that this select band should include people who use the vilest abuse (which cannot be reproduced in this paper) and those who disagree with the line. Some of these trolls have had FIRs registered against them and one was briefly suspended by Twitter. (A minister led a campaign to have the account re-instated.) Some of the trolls have even been invited to meet the prime minister at Race Course Road.
 
Of course, Mr Modi has the right to follow whom he wants. But it is time to wonder if the troll-cuddling is backfiring on him. activists say — with some justification — that ten years ago when the mainstream media insisted on viewing Mr Modi through the prism of the Gujarat riots, it was social media that took his message to every corner of India, turned him into a respectable national leader and, eventually, won him the election.
 
But that was then. And this is now. If the prime minister wants to be seen as a global statesman, then is it not embarrassing to be so closely associated with a gang of foul-mouthed bullies? Besides, Mr Modi may have needed social media in the days when the press was hostile. But as any reader or TV viewer will tell you, that era is long gone. These days, the media are about as threatening as a gaggle of eager cocker spaniels. 
 
Perhaps it is time for more statesmanship and less abuse. A prime minister should leave the bully-boys to their own devices. So should his party.

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The BJP's online bully-boys