vendredi 30 juin 2017

The terminally ill who teased death as first-time stand-up comedians

She's got her make-up done nicely and is taking stock of the audience with a hawk-like gaze when the spotlight envelopes her small frame. She's nervous, but musters enough courage to make her way to the mike. The monologue she delivers over the next few minutes draws considerable applause and laughter, laced though it is with dark humour. Sample this: "I am a Sikh. In fact so Sikh, that I had to be admitted to Guru Nanak Hospital."

Pooran Issar Singh, 85, is no Atul Khatri or Amit Tandon. This is her first gig as a stand-up comedian. But what makes her performance incredible is that Issar Singh is terminally ill and the subject of her humour is her illness which she is well aware is consuming her.


Issar Singh is not the only such stand-up comedian in the country to have found the power within her to laugh in the face of death.

She is part of a unique initiative, spearheaded by the Indian Association of Palliative Care (IAPC), that is attempting to help patients like her cope with the pain, fear and despair preceding death. The public awareness campaign on palliative, or end-of-life, care was conceived by Medulla Communications, a healthcare communications agency.

The show, staged at the Cuckoo Club in Bandra, Mumbai, has been captured in a video tagged #LaughAtDeath, which is reported to have drawn more than 387,000 views in just a day on YouTube, apart from trending on Twitter within 45 minutes of being posted.


Prior to performing before an audience of loved ones and doctors, the performers – Issar Singh, Janice Powell, Narendra Mhatre and Manudevi Singh – who are part of the network of were trained for a few weeks by professional stand-up comedians such as Kunal Kamra, Kashyap Swaroop, Vinay Sharma, Punit Pania, Shriram R and Anand Reghu.

Getting the show rolling, however, wasn't easy. “Getting all the patients together for a shoot was a challenge,” says Mihir Chitre, creative group head, Medulla Communications. “Most visit hospitals regularly for treatment. One patient, in fact, couldn't get up from the bed.”

Says Pania, a professional comic and producer of Chalta Hai Comedy, “To do comedy on a sensitive subject such as death isn't easy. People usually cringe at the thought of dying.” The biggest challenge was to get the patients to laugh at themselves, he says. “What helped was that they were very comfortable being on stage.” 

Before Pania started training kidney transplant patient Mhatre, he met his doctors to understand how to broach the subject of death. 

The campaign also drew flak from some quarters. “Talking about death in India is taboo and the first reaction we got was: 'Death is not funny'. But we went ahead anyway,” says Praful Akali, founder and MD, Medulla. The move paid off. “The patients turned the whole thing around. We also faced criticism from their families but managed to convince them about the benefits of the campaign.”

While the experiences shared were from the lives of patients themselves, some were linked to common events or noted personalities in order to connect with the audience. A case in point is 64-year-old Mhatre's dig at Donald Trump: “Americans wish their new president would be like me, so he doesn't last long.” 

Other forms of humour are strictly personal, such as this quip by 65-year-old cancer patient Janice Powell: “This is the first time I am doing this type of a show. Who knows, maybe it's the last time.” 

Or this one by Issar Singh: “We were six sisters. I am the fourth one. After my three (elder) sisters died, I became the eldest, which means I was promoted. Now my younger sister is waiting to be promoted.” 

Issar Singh, in fact, got so involved in the act that she jokingly admonished a latecomer with this barb: “If you were late by another five minutes, not only the show would have finished but also I would have finished (sic)." 


Caring for – those unlikely to survive beyond six months under the assumption that their disease is irreversible – is also an arduous task for their loved ones and works to address this issue as well.

“In India, most people don’t even know palliative care exists. We wanted to make people understand the meaning of palliative care and to convey that one should make people feel very happy when they are under palliative care,” says Chitre. “If a family member is terminally ill, you can’t start a conversation about death with them.”


In the present scenario, only 3 per cent of cancer patients get even simple pain relief, says Mary Ann Muckaden, president, “A campaign such as this can change all that.”

While it was a difficult project, both for the organisers and the patients, the mood was never morose, though there was the stage fright that first-time performers normally feel, says Amit Akali, chief creative officer, Medulla Communication. “They took on the challenge of performing before an audience and opened their lives to the professional stand-up comics, rehearsing hard for days.”
 

Mhatre, whose daughter told him about the campaign, says he thoroughly enjoyed performing on stage. “The show has changed my thinking about life.”


“# talks about how close I am to dying and yet it doesn’t,” adds Issar Singh. “The whole idea of laughing at it really touched my heart and so I decided to tease death.” Issar Singh has had high blood pressure and a heart condition for years. In November 2016, dengue struck and “I almost died. But I must thank god for giving me another lifeline.”

The campaign helped the patients increase their will power and confidence, and gave them the zest to live life to its fullest.

Initially hesitant like the others, Issar Singh now says, “It is for a good cause. Whenever I feel tired, I tell myself I'm educating people about palliative care in some way.” And then she adds, “See, you live life king size; and when you die, you die.”


According to one study, India has three million with one million cases being added every year. And, one million die every year, mainly due to lack of palliative care. Many are left to fend for themselves in their most painful hours.

Ravinder Mohan, a doctor with CanSupport, a pioneer in palliative care for cancer patients, says, "Proper palliative care can improve a patient's quality of life even when doctors predict limited survival.”

Cancer patients, for instance, remain cut off from society due to general weakness, chemotherapy-induced hair loss and frequent visits to hospital, says CanSupport coordinator Anjali Singh. Palliative care in her organisation includes sessions on laughter therapy, clown therapy, music therapy and art conducted by volunteers who themselves are cancer survivors.


The # campaign is an in-your-face step towards creating awareness about palliative care. The patients who have joined it realise they are helping both themselves and others.

“For as long as I have lived, I have faced every problem laughing,” says Mhatre. “So when these guys (at Medulla) told me to make comedy out of my sickness, I was ready.”

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The terminally ill who teased death as first-time stand-up comedians

Sony Xperia XZ Premium: Near perfect

The competes with the likes of in terms of specs. Its 5.5-inch screen with plastic sides makes it look less like a flagship, but the phone is considerably lightweight and great for one-handed use.
 
It has coating on both sides, but the back is prone to fingerprint smudges, although it is dust- and water-resistant.  Sony has ditched the rear fingerprint scanner for one on the side that doubles as power button, which provides for faster unlocking.


 
The phone boasts of 4K display akin to the The colours are enhanced and watching was a visual treat. 
 
The phone houses a with a 4GB RAM. Sony’s emphasis on performance ensures the phone doesn’t buckle with RAM-heavy games and apps. The phone supports PS4 Remote Play that syncs with a PS4. I finished a side mission in Tom Clancy’s Ghost Recon: Wildlands without any lag.
 
It runs Android 7 Nougat and the operating system is a delight to use. The phone’s 3,230 mAh battery lasted me a full day on moderate usage, which included gaming and Netflix sessions.
 
But even better is the phone’s camera. The device comes with 19 MP primary and 13 MP secondary cameras. The brilliant slow motion feature captures footage at 960fps — a higher rate than in iPhone 7. You can also add the slow motion effect after shooting the video. In pictures, the colours are balanced. It performs great even in low light.
 
At Rs 61,990, the is for people who are looking for pure performance, which is at par, if not better, than the best flagship in the market.

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Sony Xperia XZ Premium: Near perfect

Wimbledon: Far away from Centre Court

The brain has an amazing capacity for recognising faces. It can identify a face in a few thousandths of a second, form a first impression of its owner and retain the memory for decades. In the week before the start of Wimbledon’s main draw, the tournament’s qualifying matches are held three and a half miles away. But it might as well be a different world.


“Definitely you don’t have a feeling that you’re playing Wimbledon,” said Aleksandra Krunic of Serbia, the top seed in women’s qualifying. “Other than it’s a grass tournament, there is really nothing in common with It is what it is, and it takes three matches to get out of here and go to

There are some telltales — strict enforcement of the tournament’s all-white apparel rule left one player painting white nail polish over the red swooshes on her shoes — but otherwise, it feels like an entirely separate tournament.

The tournament is difficult to reach by public transportation — nearly a mile from the nearest bus stop — and there is no signage directing fans to the site. In fact, every year during qualifying, many fans show up at Wimbledon’s main grounds, on the assumption that the are held there. The feeling is entirely reasonable: At every other event on tour, qualifying and the main draw are played at the same site. Qualifying competitors, who can normally claim that they are playing at a Grand Slam event, sometimes hesitate when it comes to

“It’s not as glorious as being able to play on site, like the other slams,” Peter Polansky of Canada said. “Coming here with friends, you tell them, ‘Oh, I’m playing — well, qualies, and it’s actually at a different location.’ It’s not quite embarrassing, but it’s different.”

Marcus Willis, who came through the qualifiers last year, before losing to Roger Federer in the second round
Besides the lack of creature comforts, there are the standard trials of the grass-court season, which this year have included rain delays and unseasonably cold weather (chilly even for England, at around 60 degrees Fahrenheit). The rain and cold kept hundreds of players, coaches and their entourages indoors, which made the site’s newly expanded areas crowded.

“I think it’s falling short in the player areas here: the player lounge, the food, the restaurant,” said the American Rajeev Ram, who was playing in for the first time since 2014.

Marina Erakovic of New Zealand, who said she always loved playing on grass, tried to put a more positive spin on the challenge: “I always say that if you can make it through Roehampton, you can make it through anything.”


For the first time in its history, qualifying was a ticketed event, and action on one court was streamed online. Four rows of permanent seats were added for spectators, who otherwise must stand, sit on the ground or bring their own chairs.

The most significant improvements have been for the players’ paychecks. Prize money for qualifying players has more than doubled in the last five years. Players who lose in the first round of qualifying now receive £4,375 (about $5,590), second-round losers make £8,750 (about $11,380) and final-round losers get £17,500 (almost $22,760). Ram acknowledged that increase but said, “I think possibly the next step would be upgrading a facility like this to make it more on par.”

Several players said they had hoped a star’s presence might have provide a catalyst for change: Maria Sharapova, still rebuilding her ranking after it was erased by a 15-month suspension, was set to compete here before a thigh injury forced her to miss the entire grass-court season.


“I would have to imagine she would have said something like, ‘I can’t believe you make these people, these qualifiers, play at a site like that,’” the American Tim Smyczek said of Sharapova. “I feel bad for being negative about it, but I’ve been over to the main site, and it just doesn’t really compare. It’s too bad she’s not here.” Smyczek, who has twice played in Wimbledon’s main draw, said he wanted to be diplomatic, but he made his disappointment clear. “Everybody here does a really good job — the volunteers and everyone are really good,” Smyczek said. “But itself, they do a really good job of making you feel like you’re not a part of the tournament.”

is a tournament with many clear “Upstairs, Downstairs” stratifications, perhaps most evident in its ticket policy for Debentures for tickets are sold for a five-year period at £50,000 a seat. Those who can’t afford that can get tickets only by waiting in a queue, which for seats normally requires sleeping outdoors overnight.

© 2017 The New York Times

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Wimbledon: Far away from Centre Court

Volkswagen Tiguan: Eye catcher

Even before I drove the Tiguan, I was excited to explore the new features of Volkswagen’s latest Sauve best describes its looks. Crisp and neat lines make the Tiguan sculpted and chiseled.
 
The facade gets a bold and butch look with a boxy design for the LED headlamps and DRLs, and the chrome finished grille integrates well. A broad bumper adds class to the Tiguan. It gets honeycomb air ducts as well as crafty fog lamps and cornering lights. Prominent wheel arches, a pronounced shoulder line and a gently sloping roofline add to its visual appeal. The rear looks classy with and a high mounted Compared to some of its competitors, the new Tiguan definitely stands out in the crowd. The finish is premium like its rivals. We know Germans are obsessed with fine quality and it shows in their latest offering in India.


 
On offer are seats with inserts and bolsters in Vienna leather. The front seats also get individual heating functions with three different levels of intensity. has also added flat bottom leather wrapped multi-function steering and a leather wrapped gear shift knob. To enhance the luxurious feel in the cabin, the car has a massive panoramic sunroof. The cabin is airy and there is ample room to seat five adults .
 
What else? It has 3-zone automatic air conditioning, electrically adjustable driver seat with a memory function for seat position, ORVMs, self-sealing tyres, automatic headlamps, rain sensing wipers, keyless entry with push button, electrically operated tailgate release, among a truckload of features.
 
Safety has been given a lot of attention. The car features pedestrian protection — wherein the hood gets raised by a few inches in case of a frontal impact with a pedestrian. This acts like a buffer cushion for the pedestrian. Other safety features include driver and passenger curtains, front and side airbags, hill descent control, electronic stability control with driver steering recommendations, ABS, ASR, EDL, EDTC and a lot more. All this ensures the car scores some solid points over its rivals.
 
Volkswagen Tiguan
At the heart of this posh is a 2.0 litre, turbocharged, 4-cylinder diesel engine that churns out approximately 140hp and 340Nm of torque. The engine has been mated to a slick 7-speed DSG transmission. The power delivery is smooth and linear. Driving this in the city or on the highways  is seamless with smooth gear shifts. If you want to accelerate at the word go and milk the engine for more performance, you have the option of a sports mode that allows you to shift gears manually. Adding a little more flavour to the sporty appeal are paddle shifters. The car also has an AWD (all wheel drive) setup tucked under its belt in case you want to travel on some bumpy roads. The 4MOTION AWD gives the driver adequate torque distribution and enhanced off-road capability. Also on offer are different drive modes, which can be selected via a dial on the centre floor panel.

Engine: 1,968cc, 4 cylinder, turbocharged diesel

Power: 140.8hp@4,000rpm

Torque: 340Nm@1,750-2,750rpm

Transmission: 7-speed automatic

Ground clearance: 149mm

Fuel efficiency:  17.06kmpl

Price: Rs 31.38 lakh (ex-showroom Delhi)

 
The suspension of the leans slightly towards the stiffer side. It gets a McPherson strut with lower transverse link, stabiliser bar in the front and a multi-link suspension in the rear. The ride is smooth over most terrain and the suspension gobbles up undulations rather easily. The in-cabin comfort is also at par with other premium offerings. has bolted on disc brakes in the front and rear, which ensure that braking is rock solid. I feel the steering could have been fine-tuned to get a better feedback from the wheels. Nonetheless, the Tiguan </a>is a pleasure to drive.

Report: Motown India; www.motownindia.com

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Volkswagen Tiguan: Eye catcher

The terminally ill who teased death as first-time stand-up comedians

She's got her make-up done nicely and is taking stock of the audience with a hawk-like gaze when the spotlight envelopes her small frame. She's nervous, but musters enough courage to make her way to the mike. The monologue she delivers over the next few minutes draws considerable applause and laughter, laced though it is with dark humour. Sample this: "I am a Sikh. In fact so Sikh, that I had to be admitted to Guru Nanak Hospital."

Pooran Issar Singh, 85, is no Atul Khatri or Amit Tandon. This is her first gig as a stand-up comedian. But what makes her performance incredible is that Issar Singh is terminally ill and the subject of her humour is her illness which she is well aware is consuming her.


Issar Singh is not the only such stand-up comedian in the country to have found the power within her to laugh in the face of death.

She is part of a unique initiative, spearheaded by the Indian Association of Palliative Care (IAPC), that is attempting to help patients like her cope with the pain, fear and despair preceding death. The public awareness campaign on palliative, or end-of-life, care was conceived by Medulla Communications, a healthcare communications agency.

The show, staged at the Cuckoo Club in Bandra, Mumbai, has been captured in a video tagged #LaughAtDeath, which is reported to have drawn more than 387,000 views in just a day on YouTube, apart from trending on Twitter within 45 minutes of being posted.


Prior to performing before an audience of loved ones and doctors, the performers – Issar Singh, Janice Powell, Narendra Mhatre and Manudevi Singh – who are part of the network of were trained for a few weeks by professional stand-up comedians such as Kunal Kamra, Kashyap Swaroop, Vinay Sharma, Punit Pania, Shriram R and Anand Reghu.

Getting the show rolling, however, wasn't easy. “Getting all the patients together for a shoot was a challenge,” says Mihir Chitre, creative group head, Medulla Communications. “Most visit hospitals regularly for treatment. One patient, in fact, couldn't get up from the bed.”

Says Pania, a professional comic and producer of Chalta Hai Comedy, “To do comedy on a sensitive subject such as death isn't easy. People usually cringe at the thought of dying.” The biggest challenge was to get the patients to laugh at themselves, he says. “What helped was that they were very comfortable being on stage.” 

Before Pania started training kidney transplant patient Mhatre, he met his doctors to understand how to broach the subject of death. 

The campaign also drew flak from some quarters. “Talking about death in India is taboo and the first reaction we got was: 'Death is not funny'. But we went ahead anyway,” says Praful Akali, founder and MD, Medulla. The move paid off. “The patients turned the whole thing around. We also faced criticism from their families but managed to convince them about the benefits of the campaign.”

While the experiences shared were from the lives of patients themselves, some were linked to common events or noted personalities in order to connect with the audience. A case in point is 64-year-old Mhatre's dig at Donald Trump: “Americans wish their new president would be like me, so he doesn't last long.” 

Other forms of humour are strictly personal, such as this quip by 65-year-old cancer patient Janice Powell: “This is the first time I am doing this type of a show. Who knows, maybe it's the last time.” 

Or this one by Issar Singh: “We were six sisters. I am the fourth one. After my three (elder) sisters died, I became the eldest, which means I was promoted. Now my younger sister is waiting to be promoted.” 

Issar Singh, in fact, got so involved in the act that she jokingly admonished a latecomer with this barb: “If you were late by another five minutes, not only the show would have finished but also I would have finished (sic)." 


Caring for – those unlikely to survive beyond six months under the assumption that their disease is irreversible – is also an arduous task for their loved ones and works to address this issue as well.

“In India, most people don’t even know palliative care exists. We wanted to make people understand the meaning of palliative care and to convey that one should make people feel very happy when they are under palliative care,” says Chitre. “If a family member is terminally ill, you can’t start a conversation about death with them.”


In the present scenario, only 3 per cent of cancer patients get even simple pain relief, says Mary Ann Muckaden, president, “A campaign such as this can change all that.”

While it was a difficult project, both for the organisers and the patients, the mood was never morose, though there was the stage fright that first-time performers normally feel, says Amit Akali, chief creative officer, Medulla Communication. “They took on the challenge of performing before an audience and opened their lives to the professional stand-up comics, rehearsing hard for days.”
 

Mhatre, whose daughter told him about the campaign, says he thoroughly enjoyed performing on stage. “The show has changed my thinking about life.”


“# talks about how close I am to dying and yet it doesn’t,” adds Issar Singh. “The whole idea of laughing at it really touched my heart and so I decided to tease death.” Issar Singh has had high blood pressure and a heart condition for years. In November 2016, dengue struck and “I almost died. But I must thank god for giving me another lifeline.”

The campaign helped the patients increase their will power and confidence, and gave them the zest to live life to its fullest.

Initially hesitant like the others, Issar Singh now says, “It is for a good cause. Whenever I feel tired, I tell myself I'm educating people about palliative care in some way.” And then she adds, “See, you live life king size; and when you die, you die.”


According to one study, India has three million with one million cases being added every year. And, one million die every year, mainly due to lack of palliative care. Many are left to fend for themselves in their most painful hours.

Ravinder Mohan, a doctor with CanSupport, a pioneer in palliative care for cancer patients, says, "Proper palliative care can improve a patient's quality of life even when doctors predict limited survival.”

Cancer patients, for instance, remain cut off from society due to general weakness, chemotherapy-induced hair loss and frequent visits to hospital, says CanSupport coordinator Anjali Singh. Palliative care in her organisation includes sessions on laughter therapy, clown therapy, music therapy and art conducted by volunteers who themselves are cancer survivors.


The # campaign is an in-your-face step towards creating awareness about palliative care. The patients who have joined it realise they are helping both themselves and others.

“For as long as I have lived, I have faced every problem laughing,” says Mhatre. “So when these guys (at Medulla) told me to make comedy out of my sickness, I was ready.”

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The terminally ill who teased death as first-time stand-up comedians

New range of coffee offers different blends for different times of the day

A robust, rich-bodied brew for the morning, a smooth mix of sweet and spice in your cuppa for the afternoon and a brew with clean notes and hints of for the post-work hours — a new range of now offers different blends for different times of the day. 

The basic premise is that if you don’t feel the same throughout the day, then why should your cuppa taste the same. This is a first-of-its kind offering by Classic Coffees, a 150-year-old specialty company, with five generations having grown and exported green over the years. 

Unique offerings such as these are increasingly making their way into the market to cater to the growing numbers of enthusiasts in the country. In the last five years, Indian roasters have got the youth hooked onto indigenous by creating awareness about the high-quality beans grown in the plantations of Chikmagalur, Coorg and Kodaikanal. Premium single-origin and artisanal coffees, which used to be exported to markets in Europe, can now be seen on the shelves of Indian supermarkets as well. is a stark example of this. “Our coffees from the Harley and Kalledevarapura estates are exported to premium and micro roasters in several countries,” says Tapaswini Purnesh, director (marketing and promotion). From 2002 to 2007, the specialty Arabicas were also supplied to Illy Cafe (a premier Italian roasting company).

However, the team wanted the Indian consumer to experience the same quality of gourmet coffees as well, and hence, it launched the and — two premium roast and ground blends — in the Indian retail market some years ago. The new premium range has been created to take this enhanced interest in artisanal coffees further.  
These single-origin, pure Arabica blends, drawn from high-quality beans of the Kalledevarapura Estate in Chikmagalur, have been created after discussions with customer representatives, tasters and blending experts.

“We tasted different kinds of coffees at different times of the day to arrive at the final range,” says Purnesh. 

So you have ‘Blaze’ for the morning — a heavy-bodied brew with a rich mouth feel and nutty, malty notes. The ‘Matinee’ is ideal for the afternoon as it is light around the stomach, with hints of berry underlining the spicy notes. For post-work hours, there is the ‘Sundowner’, with its slight bitter aftertaste acting as a precursor to dinner. 


The fourth varietal is the ‘Afterhours’, which is made with and is mellow and smooth. It is proving to be quite a favourite with Classic Coffees’ regular customers. “While I never have issues with sleep, with or without coffee, the introduction of Afterhours is something that nobody has ever done before,” says Soham Shoney, a Bengaluru-based food photographer. 

To know more about the brewing instructions and equipment needed for each, log on to classiccoffees.in. For instance, Blaze can be made using a south Indian filter. For Matinee and the Sundowner, the is recommended for maximum extraction of flavour, but I have been making the two with a regular French Press, and the results have turned out to be close. 

“We asked people why they chose tea over and they said it was because brewing the latter was more cumbersome. It is for this reason that we made easy to understand videos on our site on how to brew a cup with each offering,” says Purnesh. Moreover, with the brewing equipment now easily available online, people are willing to try different methods. 

The premium range is priced at Rs 300 for 250 grams and is available nationwide on e-commerce sites such as Amazon, and Place of Origin, besides being retailed on the company’s website. 

In the physical retail space, it is available only in Bengaluru at outlets of Godrej Nature’s Basket, Westside Gourmet, Namdhari, as well as

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A French affair with clay

Tucked away in the south of is the quaint village of la Poterie — a gem straight out of a fairy tale. With its colourful, tiled pavements, exquisite ceramic museums and earthy outdoor cafés, the place looks like it has been scooped right out of a Grimm’s story and daintily planted in the south of  

According to guidebooks, is a typical Mediterranean village, in terms of both its landscape and culture. It is located in the agricultural plain of the Gard, about five kilometre from the town of Uzes, and is nestled between the foothills of the Cévennes mountain range and the beaches of the Camargue. 

The village’s relationship with goes back all the way to the 14th century — a love affair still going strong. Today, it is dotted with galleries and workshops that house and ceramic works of different styles and origins. Most of the hamlet’s inhabitants are themselves artists, and almost every window offers a vibrant array of sculptures and figurines. It’s easy to while one’s time away, strolling along its snaking streets, admiring the numerous ceramic stores that pepper the sidewalk and grabbing a snack at the rustic eateries that pop up every block or so, but no trip to would be complete without a tour of its museum. 

Housed in an old oil mill, the Museum of Mediterranean has on display an impressive collection of pipes, terraces and utensils that are spread out over two floors and 11 rooms. Originally constructed as a passion project by Arnaud Maurieres and Eric Ossart, the museum is now an award-winning property that hosts temporary exhibitions and expositions by artists throughout the year. 

Sculptures visible from window of a house in Saint Quentin la Porterie village in France
Sculptures visible from window of a house in la Porterie village in France
Once inside, we were taken on a thorough tour of the building by Nicole Bouyala, a friend and founding member of the museum as well as the mayor of Saint Quentin, who has donated parts of her own private collection to the establishment. She explains the significance of each work and the history surrounding it in just enough detail and keeps it interactive by asking us rounds of lively questions. 

The inside of the museum is decorated with over 12,000 sculptures that are as beautiful as they are diverse. As we walk from the entrance to the building all the way to the top floor and then back down, we’re taken on a journey through time as we view pieces that are centuries old as well as ones that are barely a decade. 


You don’t just get to look at what is housed there; you also get to see how it came to be. The thick walls that divide the area into rooms sometimes sport a television or two that constantly play footage of either the process or the outcomes of A particularly interesting video takes the viewer through the entire procedure, right from obtaining the to sprucing up the finished product — my sister found herself unable to tear her eyes away till it was over. 

Sandwiched between the museum and a patch of monochrome cottages is Terra Viva, one of the largest stores in the village that doubles as an exposition centre. The brightly-lit shop is manned by a buzzing young woman who shows us all of the stunning masterpieces up for sale before taking us on a tour of an ongoing exhibition. 

Some of the pieces have a smooth, shimmering finish that completely change their look and feel. Others have incredibly detailed illustrations of goldfish or other forms of life etched on them and, of course, a lot of them are devoid of any extra embellishment. But however they are sculpted and designed, they all manage to look a true sight for sore eyes.


We ended up succumbing to the pull of and bought ourselves a couple of knick-knacks from some of the dear little family-run stores. Skipping down by-lanes and peeking into a dozen studios, we broke the monotony of window-shopping by admiring the ornate tile work that trails all along the main street of and squealing excited “bonjours” to startled locals.

The true magic of the place, though, doesn’t come from the charming landscape, but from the artsy atmosphere that seems to cloak pretty much everything within Saint Quentin’s aesthetic borders. Even the village’s habitants are enveloped by an aura that lends a tranquil feel to the entire neighbourhood. 


Although it doesn’t feature in too many tourist guides or in the list of “Top 10 Things to do in France”, la Poterie certainly deserves a visit, if not two. I’d rate the enchanting place five ceramic bowls out of five for its uniqueness, its lovely people and for looking like the set of an 18th century fairy tale.

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A French affair with clay

T N Ninan on former RBI governor Y V Reddy's new book

Yaga Venugopal Reddy was blessed with the opportunity to serve in interesting times: in the finance ministry during the foreign exchange crisis and reform burst of 1990-93, in the Reserve Bank of India (RBI) for more than a decade when the rules for the financial sector were being re-written, and then as chairman of the that re-defined the fiscal relationship between the Centre and states. There is unlikely to be another quarter-century that sees so much action.

Among the key players of the time, Manmohan Singh has decided not to write his memoirs, does not seem inclined to go beyond newspaper columns on current issues, and while Montek Singh Ahluwalia is writing his account it is intended as a much broader sweep of time and events. So it is just as well that we have from Reddy at least one insider’s view of what was going on in perhaps the most interesting period of Indian economic policy-making.

His account offers rich pickings for those who wish to understand the debates and differences within government on economic policy. About half the book is on his days in the RBI, first as deputy and then as governor; Reddy goes into the battles over interest rates and interventions in the currency market, the policy on participatory notes and how much room foreign banks should be given. The title, Advice & Dissent, forewarns you that Reddy quite often cast himself in the role of nay-sayer — with occasional consequences like an unwanted transfer or not getting a desired posting. Quite often, he simply wanted to get away from all the bother.

The story is told frankly but with restraint. Reddy is more forthcoming on individual encounters than, say, I G Patel with his terse manner of describing events. He is forthright in describing his run-ins with bosses, notably Chidambaram. And though he has admiration for Bimal Jalan’s crisis management, there is a constant back and forth between the two. On at least four occasions in his career, Reddy wanted to quit — or at least escape to some other place.


Everyone who has known Reddy is familiar with his capacity for intellectual flourish, his puckish humour, his willingness to stick his neck out and his wide reading (gifting to those he met was a habit). This account of his working days shows also that he was (as he rightly describes it) “conservative but innovative” in his approach to issues, while being willing to disregard the finance minister’s wishes — to the point that Chidambaram complained to Manmohan Singh, who summoned Reddy to tell him, “I cannot be taking sides between Chidambaram and you.” Reddy went and apologised to his minister. Modestly, he says that the shine put on his record as posthumously was only because of the turn of events after his term was over in 2008.

Much of Reddy’s sense of independence and even prickliness must come, as people in Andhra Pradesh will tell you, from his being a Rayalaseema Reddy — a place and community known for hot-blooded responses. He came from a rural middle-class family that, despite owning agricultural lands and enjoying the regular income of a government salary, had constant financial worries — a drought would destroy the family’s fruit orchard, for instance. There is a hilarious account of his ambition, and efforts, to acquire a tooth-brush (which an older cousin used, whereas Reddy used fingers and tooth powder). English came late in his schooling, and at the rambunctious Government Arts College in Anantapur he took to attending communist rallies and sitting on rail tracks to agitate for liberating Goa. He was all of 15 then.


Reddy, Advice & Dissent

Advice & Dissent

My Life in Public Service

Author: Y Venugopal Reddy

Publisher: HarperCollins

Pages: 480

Price: Rs 799

Moving to the staid Vivekananda College in Chennai, he instilled some intellectual variety in the place as a student leader. Earlier, he had been keen on joining the with its parade ground drills, training camps and firing practice; when told by the recruiting officer that he was smaller than the rifle he had to hold, his ready repartee was typical: “Sir, I will grow taller; the rifle won’t!” Whatever he did, this Rayalaseema Reddy was not going through life quietly — or without a wisecrack.

Reddy began reading economics by accident, but took to teaching it as well as doing research for a PhD. He joined the government because his civil servant-father was intent on his joining the Indian Administrative Service, whose extraordinary social cachet is hard for someone outside the government system to fully grasp. Having joined the “tribe”, as he calls it, he increased his faith in the almighty as soon as he mounted a horse at the training academy in Mussoorie. Within months, he acquired the reputation of being a “difficult” officer.
 

Still, he was hand-picked by N T Rama Rao (NTR), the film star-turned-politician whose conversations with Reddy seem to have begun with questions like: “Venugopal Reddy garu, am I not a great man?” As for the Telugu Desam’s MLAs, NTR told Reddy: “You see those fellows?... If you put one rupee on their heads and auction them in the bazaar, they will be sold for half a rupee.”

A good bureaucrat knows how to manoeuvre his way to an objective, and to duck if he can’t. As governor, Reddy knew how to stymie announcements in the finance minister’s Budget speech. Much earlier, as Collector of Hyderabad, he was critical of Indira Gandhi’s Emergency rule, and had no wish to receive Sanjay Gandhi at Hyderabad airport, as instructed. The solution that a senior suggested: go on leave. In Reddy’s case, the manoeuvring and ducking was combined with a strong sense of commitment to the public good and to the under-privileged. Unlike many of his compatriots, he was also more than willing to stand his ground, as he did (futilely) on government guarantees for the Enron power project. For his pains, he was transferred to the commerce ministry.

In many ways, this is just the kind of book that you would want from a person who has spent time in the corridors of power. Some early history places the author in his context. The focus is on public policy choices and debates, the tale garnished with anecdotal flavouring. And two of the obvious traps are avoided: settling old scores, and/or reducing the tale to an account of what the butler saw. All of which makes this well worth a read.


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T N Ninan on former RBI governor Y V Reddy's new book

Rifath Shaarook, the boy who has built the world's lightest satellite

In the early 1960s, rocket and former president was part of a seven-member team at US space agency NASA’s launch site in Virginia. Decades later, a satellite named after him was launched from the same site: at 64 gm, is the world’s lightest satellite. 

The launch a few days ago is also significant because this is the first time that a satellite’s structure was completely 3D printed with reinforced carbon fibre polymer. Moreover, the oldest on the team of six behind this satellite is 21. The lead on the project, Rifath Shaarook, is the youngest at 18. 

Since the satellite’s launch, Shaarook has been the subject of many news stories.  All of these paint him as a one-man army. “How can anyone make a satellite on their own?” asks Shaarook, insisting his team members be given due credit. 

Others on the team include Tanishq Dwivedi (flight engineer), Vinay S Bhardwaj (design engineer), Yagna Sai (lead technician), Mohammed Abdul Kashif (lead engineer) and Gobi Nath (biologist). For the past four years, these young minds have been working on rocket and space technology under the mentorship of Chennai-based Srimathy Kesan.  Kesan is the founder and CEO of Space Kidz India, an organisation that seeks to provide a platform for children who have a “madness for technology”. 


When Kesan’s team of students won a contest organised by and an education company called I Doodle Learning, they realised that if successful, they’d go down in history for proving that one could look beyond “space-grade metal” to build satellites, thus bringing down costs.  

While Shaarook is from Karur in Tamil Nadu, the rest of the team is spread out in different cities. is the result of Kesan’s students logging on to Skype every night for four years, between 11 pm and 4:30 am, and discussing the work to be done. Whenever they had to work together, they would gather in Kesan’s house in a makeshift lab.  

Shaarook has been interested in space technology for as long as he can remember. “My dad was also a scientist’. He’d do independent research on astronomy. We’d spend hours watching the space through a telescope,” he says. His father, Mohamed Farook, passed away when Shaarook was in Class V. 

While adults think about what “others would say if this mission fails,” Kesan believes  “children are more courageous. There’s a big difference in their attitude.” 


was launched on a sub-orbital spaceflight, meaning it wouldn’t stay in space long enough to complete one orbit around the Earth: only satellites launched on orbital flights can do that. It can take about $80,000 to do an orbital launch. 

Ever since their team came together, Shaarook has been wanting to do an orbital launch. “I tell him over and over again that we should be content with sub-orbital launches for now, and he enthusiastically says ‘okay Ma’am’. But the moment we finish talking, he turns around and asks, ‘Ma’am, can we do an orbital launch?’” says Kesan. 

The child-likeness in him, she says, is only equal to the single-minded dedication he has towards space technology. 


A satellite is sensitive to the slightest of shakes, so great care had to be taken to ship to NASA’s site. When the authorities were waiting for Space Kidz to hand over the package to them, Shaarook turned around and asked Kesan if he could have a plate of rasam, rice and potato curry to calm his nerves. “Can you believe that?” says Kesan, “Even extremely talented people have their quirks.”  

“We are happy, but we really don’t want to waste time on celebrations. We are already working on our next mission,” says Shaarook. “That should remain a surprise for now.”

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Rifath Shaarook, the boy who has built the world's lightest satellite

jeudi 29 juin 2017

So your dog works as a model? Don't quit your day job

Amy Peller, a marketing consultant who lives in Hoboken, NJ, was in the flagship Banana Republic store in London last winter when she looked up and recognised the model whose picture greeted her.


“I think I gasped or screamed and said, ‘That’s my dog!’” Peller said. There was her white labradoodle, Benny Hana, pictured in the middle of a party of other and human models on a grand staircase.

Benny has appeared in two ad campaigns and a calendar for his breed. Peller says her pet’s star turn has been an enjoyable bonding experience, but not something she plans to quit her day job for, even if he does get more work.

“I view this as a fun extracurricular activity,” said  Peller, who estimates that she and Benny earn $500 per day on a shoot. And, she said, there are the bragging rights: “I get to tell people I officially live with a male model.”


All owners think their pets are cute, but only a rare few of those cute pets make it in A or cat (or bird or rabbit or llama) has to have the “look” that a client is seeking. Animals with more training tend to book more work, especially if they can perform a variety of tasks or actions — and can sit still during the inevitable downtime of a photo shoot. And preference goes to animals that are already social media stars.

“I just did a job, and the client selected the from their Instagram account,” said Gloria Winship, the owner and head trainer for two animal talent agencies. That and another one the client chose had lots of Instagram followers — one had at least 200,000, she recalled — but that did not mean they were prepared for the work. “The dogs weren’t trained,” Winship said, “and I had to train them right there on the set.”

Even before people’s pets had viral followings,  Winship did not have to do much recruiting. Prospective models usually find her. “I get 20 emails a day, ‘My is so cute,’” she said. “They don’t necessarily get anywhere because their isn’t trained.”

Denise Truelove, a marketing director for Mars Petcare, said animal models were important visual touchstones for the company’s foods and care products. “The Cesar packaging will always have a Westie on it,” she said, and “Sheba will always have a Blue Russian cat.” These recognisable mascots help customers find the items more easily. “We try to keep the same animal to help consumers navigate when they get to the shelf,” Ms. Truelove said.  Because packaging changes infrequently, the same Westie has appeared on Cesar foods since 2015 and will most likely remain there for years to come. But different dogs can appear in other print and television ads, she said, so long as they look like the on the package.

“We will bring several Westies to set,” as many as four or five for one shoot, “all groomed in a similar way,”  Truelove explained.  Even if your Westie books a major campaign, you may not quite be ready for an early retirement. The same model is not always used in multiple campaigns, and the pay scale is fairly low. Animals are usually considered props and therefore do not get residual payments. The average owner would quite likely get only a one-time fee of around $200 to $500 per day.

People like Peller, who has only one working animal, may book a handful of shoots as a source of supplementary income, but people with larger stables can make a living working with their pets.


“I think if you have one animal, it has to be a side thing, because one animal is not going to get booked enough,” said Nancy Novograd, the owner of All Tame Animals, the talent agency in New York City that represents Peller’s

© The New York Times News Service


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mercredi 28 juin 2017

A nationalist's history of India

The author has made a heroic effort to refute the colonial description of India

The Ruler’s Gaze
A Study of Over India from a Saidian Perspective
Arvind Sharma


Harper Collins; 432 pages; Rs 699
 
Scholars and sundry analysts have paid considerable attention to studying the “encounter” between British colonisers of India and the subjugated. Predictably, British, European and Indian historians have adopted different ways to pitch their analyses. The “Saidian perspective” from which the author of The Ruler’s Gaze seeks to present Indian history stems from the seminal thesis of the late Palestinian scholar, Edward Said, as set out in his famous book Orientalism.
 
Power defines knowledge, Said had contended, arguing that perspectives of oriental history was defined by imperialist scholars who caricatured Arab society and culture. says it is not only the Arabs who were painted as “backward” by the colonisers, Said’s thesis applies to Indian history as well, and he sets out to refute the historiography of India as written by British colonisers.
 
In doing so, the author appears to be performing a highly patriotic duty. As a nationalist, he offers “corrected” history on the basis of Indian historical sources and Sanskrit scriptures — the Mahabharata, Ramayana, Vedas, and the Smritis, including Manu Smriti.
 
The first two chapters — (a) over India: A Discursive History and (b) The Anomalous Nature of over India — offer a context-based description of the real intention of the British colonisers while writing Indian history. The author maintains that the British attitude towards Indians can be divided into two parts. The first phase when the East India Company and its employees were generously disposed towards Indians. The second phase between the Battle of Plassey (1757) and the Mutiny (1857), when the British started looking at India from the perspective of conquerors and rulers.
 
The best example of this divergence, Mr Sharma says, is the difference between Thomas Babington Macaulay and William Jones. William Jones (1746-1794) bases his understanding of Indian society by learning and promoting Sanskrit. Not only this. The Asiatic Society was established to study Indology, culture and civilisation of India. Macaulay (1800-1859), who comes on the scene when colonisers were busy conquering India, considered Sanskrit “a language barren of useful knowledge”.
 
This change of attitude towards Sanskrit is deemed important enough for the author to maintain that after consolidating its rule over the conquered, the Orientalist approach to knowledge changed. The “modern, “civilized” and “enlightened” British/Europeans had to “civilise”, the “savage” and “primitive” people of India. The native education system was dismantled and replaced by the British educational system, a policy that, according to the author, made Indians illiterate.
 
The author has devoted three chapters — (a) The British Description of Indian Society; (b) ‘Us’ and ‘Them’: The Status of the Sudras and Aryan Invasion; and (c) Ancient Greek and Modern European Accounts of India — to test the validity of British descriptions against Indian sources of knowledge. On the evidence of all the sources mentioned above, he concludes that the British distorted history and focused on the idea of portraying Indians as primitive and did not identify the cause of underdevelopment, which was very real British robbery of India.
 
On the caste system, Mr Sharma says the concept of “untouchables”, ie. a fifth caste outside Hindu society, was a British construct and a complete misrepresentation. The author observes that “the Hindu word for caste proper is jati,” which denotes the social unit in which one is born. It is important, he continues, to identify jati thus, because Hinduism contains another word, varna, with which it is sometimes confused. Further, while “castes rise and fall in the social scale”, varnas or the “four great classes are stable”. The result is when ancient Hindus talked of “linking of varna as jati”, they united society, whereas western Indologists “divided the society and the country into separate castes,” the effect of which continues to unfold in India today.
 
Chapter 4 is further testimony to the author’s argument, who makes the point that western egalitarianism is projected as the “us” and the varna-ridden and caste-ridden Hindus as “them”. The author scrutinises the ideas of race as it emerged in British India with signboards like “Dogs and Indians not allowed”. The crank ideas of race — the Aryans, the racial difference between Aryans, a “white race”, and the Dasas and Dasyus, a “dark race”, the Aryans as outsiders — are all creations of the British. The author devotes a lot of attention to the writings of B R Ambedkar who rejects the idea of “the advent of Aryans in India”, though many Indians were taken by the idea without realising that it was the colonisers who had introduced this idea to govern an “inferior race”.
 
Chapter 5 discusses the contrasting views of between the Greeks and the British colonisers. No matter that many centuries separate the two, the author presents vastly differing perspectives — of fertile India versus famine-ridden India; oriental despots versus ancient Indian republics; philosophical, rational India versus “spiritual” India and so on. The author quotes Greek writers who acknowledged that the ancients in India had knowledge of astronomy, astrology, yoga and medicine. It is not only the British, Muslim rulers also had a negative assessment of Sanskrit, Mr Sharma claims.
 
The author has made a heroic effort to refute the colonial description of India by concentrating on the theme that ancient Hindus were quite literate, economically developed and enjoyed an advanced culture and civilisation. His hard work is shown by his notes and bibliography which run to more than 100 pages.
 
This book is bound to please the Nagpur-based Sangh Parivar, which is trying to make Hindus develop a national pride based on rich antiquity. The trouble with this somewhat non-nuanced analysis is this: The history of civilisation always has a context, so the achievements or non-achievements of a society should be evaluated against the stages of societal development. Just because the colonisers chose to paint a negative picture of India does not mean that we should glorify everything about the past.

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A nationalist's history of India

mardi 27 juin 2017

Men preferred over women in hiring at work; is gender diversity a farce?

may be a politically correct proposition, but when it comes to corporate hiring, the reality is men are preferred to women even if the two are equally qualified for the same

This is one of the findings by a Randstad Workmonitor survey, where 55 per cent of overall respondents from indicated that men are favoured over women when two candidates are equally qualified for the same set of responsibilities.

Giving a break-up, 61 per cent males and 47 per cent females held this view. Globally, the figure stood at 70 per cent.

But there is a silver lining. Interestingly, despite numerous reports on gender pay gap, a whopping 91 per cent of respondents from believed that both men and women in similar roles were rewarded equally at their workplace, much higher than the global average of 79 per cent who thought so.

Besides, 88 per cent felt that both men and women are equally supported while seeking a promotion, the report added.

" may be high on the agenda for Inc today, but what I believe is diversity is not just a goal or a guideline, it is a business imperative. All the corporate and government initiatives are just a start, the real change can happen only when we succeed in addressing the deep-rooted mindsets about the role of women at work," said Paul Dupuis, MD and CEO, Randstad

Nearly 57 per cent respondents from had a male manager preference and a vast majority (70 per cent) pointed out that currently, they with a male manager.

"This was even higher than the global average of 67 per cent, who said they currently with a male superior," the report said.

Moreover, team diversity is highly appreciated by all employees globally. In India, 89 per cent said they prefer to in a gender-diverse team while 86 per cent believed that such teams perform and achieve better results than single gender ones.

The Randstad Workmonitor study covers 33 countries around the world. It is conducted online among employees aged 18-65 years, working a minimum of 24 hours a week in a paid (not self-employed). The minimum sample size is 400 interviews per country.

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lundi 26 juin 2017

Why grown-up muggles should read 'Harry Potter'

I started reading the “Harry Potter” series, which turned 20 on Monday, in a dormitory in Hod HaSharon, Israel, alongside about two dozen other teenage muggles who had flown (by plane) from the United States. I’d completely succumbed to Potter hysteria at a friend’s urging even before I’d read the books, so the night before I left, I hadn’t hesitated to make room for the first four of them, all in hardback, by tossing out an extra pair of pants. Who needed pants? I wanted a good story.


Time on that trip had the magical quality of a “Harry Potter” camping tent: It was bigger on the inside than the outside. The two months flew by, but each day seemed endless, with hours enough to form close friendships and fall in love for the first time. After each packed day, while my best friend performed late-night mitzvahs for the girl I pined for, I consoled myself with my own affair, throwing myself at each of the first four “Harry Potter” in turn. Alone in the common room with Harry and and Hermione, I was as happy as I’ve ever been.

This feeling of consuming a book while simultaneously being consumed was not itself new. I grew up as an under-the-covers, flashlight-holding binge-reader. What was new was the intensity of my obsession, and the feeling of pining for a book that hadn’t been written yet. That trip was in 2001, when I was a junior in high school. I had to wait two long years for the next in J.K. Rowling’s series. I began in the Barnes & Noble where I purchased it, continued as I was walking home, and finished about 8 hours later in my apartment.


Being a “Harry Potter” fan in the early- to mid-2000s mostly consisted of fantasizing about each new installment of the fantasy. I never stood in a midnight line for the like many fellow fans because I knew a spell for time-traveling into the next day: going to sleep. In 2003, 2005 and 2007 — in Chicago, in Alaska and in Otisfield, Maine — I picked up my copy of the book the morning after it was released, then spent the entire day reading it in a couple long gulps.

These memories might have something to do with why I — an arguably well-adjusted — recently cried as I reread the last book in the series, “ and the Deathly Hallows.” The scene that got me came near the end, before the climax. Harry had just returned to the Room of Requirement to find an army of his peers — all the people we’d gotten to know in the course of seven and 20 years — prepared to risk their lives and help him. I had the feeling that I too was reuniting with old friends, yet there was more to my reaction than nostalgia. The reappearance of so many minor characters made me appreciate the scope of Ms. Rowling’s achievement, the chiseled and fastidiously arranged stones which form the series’s vast arc.

It’s hard to write or talk about “Harry Potter” as an without thinking of Ruth Graham’s 2014 Slate op-ed, “Against YA,” which argues that adults should be embarrassed to read for teenagers. YA stands for “Young ” Adults, by implication, should stick to AA: Baked into Ms. Graham’s argument — and the argument of many critics who rallied to her banner — is a false dilemma, an assumption that time spent reading “Harry Potter” is time that might otherwise be spent reading, say, “Portrait of a Lady.” I can’t speak for everyone, but I myself have never come home from work and said, “How shall I while away these next hours — with Rowling or with James?” If I do choose to pick up Rowling, or Phillip Pullman, or Rainbow Rowell, it probably comes at the cost of Netflix, not nineteenth-century

Ms. Graham and the critics who agree with her aren’t Puritans; they don’t believe that ought to instruct and improve On the contrary, they tend to rely on the concept of pleasure. The core sentiment is approximately this: “It’s weird that adults find YA so enjoyable. Those are so basic.”

But having matured as I waited for each installment of the book — I was 17 when I started the series in 2001, 23 when I finished it in 2007 — I saw how the matured too. Not only did the series become darker, it became more interesting. Yes, “Harry Potter” is about the life of a young wizard and his friends. But it’s also about the wish to be special — and the fear of being ordinary.

Voldemort, the villain of the series, fears death (his minions are called “Death Eaters”) because death is the great leveler, eating eminent wizards and poor muggles alike. (In the words of Hamlet, “Your fat king and your lean beggar is but variable service — two dishes, but to one table.”) By the end of the series, it’s not just Harry who has to grow up and accept hard truths, but his nemesis.


Like many readers, I was drawn to the because they tapped into my fantasy of being special, but they teach about the inescapability of the ordinary. Ultimately, though, I don’t read J.K. Rowling — or M.T. Anderson, or Ursula K. Leguin — because of what their have to tell me about life. I read them because these writers have mastered the ancient magic of storytelling, and because they remind me of what it’s like to be young, living in a world that seems both simple and incomprehensible. Childhood taught that wonder is our only true defense against the ordinary. We forget that at our peril.
David Busis lives in Brooklyn. He is at work on his first young novel.

©2017 The New York Times News Service

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Kidambi Srikanth's gender may pit him against cricketers for endorsements

With his second international win in as many weeks, shuttler has definitely grabbed the nation's attention. Whether he has, however, grabbed the attention of brands hoping to rope him in as an endorser remains to be seen.

Srikanth finds himself in a unique place, almost peerless when it comes to brand endorsements. While badminton as a sport is not new to successful players turning to brand endorsements, the field has been dominated by women. While has been a known face in the endorsement circuit, her recent exploits at the Olympics have pushed into the limelight as well. As such, Srikanth is in a peculiar niche, where his gender may force him to be pitted against cricketers. However, in his own sport, he remains peerless as an endorser today.

Ramakrishnan R, co-founder and director at Baseline Ventures, the agency that manages the badminton player, reveals that brands were not unaware of Srikanth. "As his managers, we realised the potential he has. We have been acquainting brands with his game and his personality since 2015," he says.


Ramakrishnan believes that just like on the court, Srikanth has the potential for endorsements as well. Currently, the shuttler has Bank of Baroda under his belt, an endorsement he shares with his peer (who is, incidentally, also managed by Baseline). He is yet to sign other brands for endorsement but, given his current form, his managers are optimistic.

ALSO READ: Kidambi Srikanth rewriting badminton order with his successive title wins

"Badminton is an individual sport. So, the way to measure success or consistency needs to be different. Unlike a team sport, the credit and responsibility of each match ride on only the player’s shoulders," adds Ramakrishnan.

Experts, however, say that there is no way to determine for sure what fee bracket Srikanth may find himself in. "It’s too early to say. He does not have any individual endorsements so far and it depends on the brand’s requirement and his ability to commit time the year around," says a brand manager.

While the fee may not be clear yet, Baseline has a very clear idea of how the shuttler is being positioned. "Controlled aggression, discipline, and agility are his main qualities as a sportsman. Any brand that matches these, or requires these qualities in an endorser, can look at Srikanth. While the sport may be different, his personality is a lot like Rahul Dravid. He does not believe in shouting from the rooftops; he channels his aggression into his game and is nimble on his feet and disciplined," says Ramakrishnan.

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Femina Miss India World 2017: Haryana's Manushi Chhillar gets the crown

The 54th World 2017 winner is Manushi Chhillar from Haryana, while the first runner-up is Sana Dua from and the second runner-up is Priyanka Kumari from

The event was held at Yash Raj Studios in on Sunday night.

Manushi, born to doctor parents, studied in St. Thomas School in Delhi and Bhagat Phool Singh Government Medical College for Women in Sonepat.

In an interview during her grooming, she said: "The only thing I believe is certain in life is uncertainty and this is what is amazing about the pageant."

Besides, Vinali Bhatnagar won the Miss Active crown whereas Vamika Nidhi won the special award of 'Body Beautiful'.

Following a new format this year, the beauty pageant toured 30 states across the country and young girls have participated from various places like Tripura, Arunachal Pradesh, Uttarakhand, among others.

This is the first time the participants wore Indian dress at the finale designed by

All the 30 participants, came from all parts of the country were mentored by Neha Dhupia, Waluscha De Sousa, Dipannita Sharma and Parvathy Omanakuttan.

The pageant judged by Miss World 2016 Stephanie Del Valle, along with Bollywood stars like Arjun Rampal, Bipasha Basu, fashion designer Manish Malhotra, Abhishek Kapoor, Vidyut Jammwal, Ileana D'Cruz among others.

While the show was hosted by and Riteish Deshmukh, to ease the stress among participants and to entertain the guests at the audience, Sonu Nigam, Alia Bhatt, Sushant Singh Rajput and Ranbir Kapoor performed live on-stage that added up the glamour and glitz to the evening.

The finale will be telecast on Colors channel on July 9 from 1 p.m.

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Femina Miss India World 2017: Haryana's Manushi Chhillar gets the crown

Harry Potter a harmless fantasy: What protests about books teach us

On Monday, June 26, 2017, Harry James Potter – the world’s most famous wizard – will celebrate his 20th birthday. His many fans will likely mark the occasion by rereading a favorite novel or rewatching one of the blockbuster films. Some may even raise a butterbeer toast in Harry’s honor at one of three Harry Potter-themed amusement parks.

But not everyone will be celebrating Harry’s big day. In fact, a vocal group of Christians – usually identified as “Bible-believing” or fundamentalist Christians – has been resistant to Harry’s charms from the start. Members of this community, who believe the Bible to be literal truth, campaigned vigorously to keep J.K. Rowling’s best-selling novels out of classrooms and libraries. They even staged public book burnings across the country, at which children and parents were invited to cast Rowling’s books into the flames. These fiery spectacles garnered widespread media coverage, sparking reactions ranging from bemusement to outrage.

What could justify the use of such drastic measures to keep these books out of the hands of young readers?

The different views on Harry Potter

Book burnings may be relatively rare in modern America, but efforts to protect young readers from “dangerous” texts are not. Such texts, and the efforts to limit their readership, are the subject of a class I teach at the University of Southern California.

In this class, students survey a collection of books that have been challenged on moral, political and religious grounds. These include classics such as “1984” and “To Kill a Mockingbird,” as well as newer texts like “Persepolis” and “The Perks of Being a Wallflower.” The point is not to determine which challenges are “good” and which are “bad.” Instead, we seek to understand how differing beliefs about reading and subjectivity make certain texts seem dangerous and others seem safe to particular populations of readers.

is one of the first books we discuss.

Most readers of Rowling’s novel – including many Christian readers – interpret the characters’ tutelage in spells and potions as harmless fantasy, or as metaphors for the development of wisdom and knowledge. Similarly, they read incidents in which Harry and his friends disobey adults or make questionable choices as opportunities for characters and readers alike to learn important lessons and begin to develop their own moral and ethical codes.

For some fundamentalist Christians, however, Harry’s magical exploits pose an active danger. According to them, Hogwarts teaches the kinds of witchcraft explicitly condemned as punishable by death and damnation in the biblical books of Deuteronomy and Exodus. They believe the books must be banned – even burned – because their positive portrayal of magic is likely to attract unsuspecting children to real-world witchcraft.

Similarly, they think that when Harry disobeys his cruel Muggle guardians or flouts Dumbledore’s rules to save his friends, he actively encourages child readers to engage in lying and disobedience, which are explicitly forbidden by the Bible. As Evangelical writer Richard Abanes puts it,

“The morals and ethics in Rowling’s fantasy tales are at best unclear, and at worst, patently unbiblical.”

Making assumptions

Why don’t Bible-believing Christians trust young readers to discern the difference between fantasy and reality? And why don’t they think children can learn positive lessons from Harry’s adventures – like the importance of standing up to injustice?

According to scholar Christine Jenkins, people who try to censor texts often hold a set of false assumptions about how reading works.

One of those assumptions is that particular literary content (like positive portrayals of witchcraft) will invariably produce particular effects (more witches in real life). Another is that reactions to a particular text are likely to be consistent across readers. In other words, if one reader finds a passage scary, funny or offensive, the assumption is that other readers invariably will do so as well.

As Jenkins points out, however, research has shown that readers’ responses are highly variable and contextual. In fact, psychologists Amie Senland and Elizabeth Vozzolahave demonstrated this about readers of

In their study comparing the perceptions of fundamentalist and liberal Christian readers of Harry Potter, Senland and Vozzola reveal that different reading responses are possible in even relatively homogeneous groups. On the one hand, despite adults’ fears to the contrary, few children in either group believed that the magic practiced in could be replicated in real life. On the other, the children disagreed about a number of things, including whether or not Dumbledore’s bending of the rules for Harry made Dumbledore harder to respect.

Senland and Vozzola’s study joins a body of scholarship that indicates that children perform complex negotiations as they read. Children’s reading experiences are informed by both their unique personal histories and their cultural contexts.

In other words, there’s no “normal” way to read – or any other book, for that matter.

Distrusting child readers

Fundamentalist Christians aren’t the only group who have trouble trusting the capabilities of child readers.

Take the case of “To Kill a Mockingbird.”

For decades, parents have argued that Harper Lee’s novel poses a danger to young readers, and have sought to remove it from classrooms for this reason. Some parents worry that the novel’s vulgar language and sexual content will corrupt children’s morals, while others fear that the novel’s marginalization of black characters will damage the self-image of black readers.

Despite their different ideological orientations, I believe that both of these groups of protesters – like the fundamentalists who attempt to censor – are driven by surprisingly similar misapprehensions about reading.

In all of these cases, the protesters presume that being exposed to a phenomenon in literature (whether witchcraft, foul language or racism) naturally leads to a reproduction of that phenomenon in life. They also believe that their individual experience of a text is correct and applicable to disparate readers.

The ConversationThese cases of attempted censorship show a profound distrust of child readers and their imaginations. And they ignore evidence that child readers are far more sophisticated than adults tend to credit them for.


Trisha Tucker, Assistant Professor of Writing, University of Southern California – Dornsife College of Letters, Arts and Sciences

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

The Conversation
 

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Harry Potter a harmless fantasy: What protests about books teach us

dimanche 25 juin 2017

Creative disruptions

WILD RIDE

Inside Uber’s Quest for World Domination 

Adam Lashinsky 

Portfolio/Penguin

228 pages; $28

THE AIRBNB STORY

How Three Ordinary Guys Disrupted an Industry, Made Billions... and Created Plenty of Controversy 

Leigh Gallagher 

Houghton Mifflin Harcourt; 236 pages; $28

THE UPSTARTS 

How Uber, Airbnb, and the Killer Companies of the New Silicon Valley Are Changing the World 

Brad Stone

Little, Brown & Company; 372 pages; $30

MOVE FAST AND BREAK THINGS

How Facebook, Google, and Amazon Cornered Culture and Undermined Democracy 

Jonathan Taplin 

Little, Brown & Company; 308 pages; $29

During the week of Barack Obama’s inauguration in January 2009, three young would-be entrepreneurs — Brian Chesky, Joe Gebbia and Nathan Blecharczyk — crashed on air mattresses in unfurnished rooms they had rented in a rundown house in Washington. They spent some of their days at a Metro station handing out fliers that urged strangers to offer rooms for rent, and in the evenings they fielded angry email complaints from a woman who had rented space in the basement. Despite the difficulties they faced that week, the huge demand for accommodations from people who had flocked to the inauguration convinced the group that the business they were hoping to create would succeed if they persisted. 

Also in town for the festivities were two other hustling San Francisco start-up jockeys, Travis Kalanick and Garrett Camp. They had used a website to find more comfortable accommodations, but on Inauguration Day they couldn’t get a cab and had to sprint miles in the wicked cold to get to the mall on time. The cab problems they had in Washington helped persuade him that the company, then called UberCab, had potential. 

At certain moments in history, a confluence of technological and social advances creates the opportunity for a new field of innovation. That was happening at the beginning of 2009. A few months earlier, a reluctant Steve Jobs had been persuaded by his colleagues to allow other companies to develop apps for the iPhone. That happened just as Google Maps and GPS and other tools were enabling more wondrous mobile-based services. And as the 2008 financial crisis receded, the overcaffeinated venture capitalists of Silicon Valley became frenzied in the pursuit of new potential unicorns. 


Three new fast-paced narrative written by seasoned business journalists. In addition to these narratives, which are generally celebratory, it is also useful to read a darker counterpoint, Jonathan Taplin’s Move Fast and Break Things, which argues that the radical libertarian ideology and monopolistic greed of many Silicon Valley entrepreneurs helped to decimate the livelihood of musicians and is now undermining the communal idealism of the early internet. “The original mission of the internet,” he writes, “was hijacked by a small group of right-wing radicals to whom the ideas of democracy and decentralisation were anathema.” 

In the case of Uber, both co-founders were already somewhat successful serial entrepreneurs. The idea for an on-demand car service originated with Camp, but Kalanick shaped it. He was a maestro of collaborative brainstorming. He turned his San Francisco apartment into a gathering place he called the Jam Pad. 

Collaboration, however, can only go so far. It is also necessary to have an intense, driven leader with the visionary brilliance and obstinacy of a Steve Jobs. After finally signing up full-time as CEO in 2010 and edging Ryan Graves down a notch, Kalanick became that. 

A good litmus test to determine a person’s basic ideological outlook is to ask about Uber’s use of surge pricing. To some, it is a sensible way to match supply and demand by encouraging more drivers to come out and some consumers to find other transportation during periods of peak demand. Hotels and airlines use variable pricing all the time. Some of the problems could have been avoided with a bit more sensitivity — Uber would have been wise to kick in its own financial incentives for drivers during a major crisis — but that was not an instinct that came naturally to Kalanick. “Anyone who whined about surge pricing, in his eyes, was too thick to understand the laws of supply and demand,” Lashinsky writes. The hard-driving testosterone-fuelled culture of Uber eventually caused problems.  Chesky has been more sensitive to public concerns, but the complex issues raised by Airbnb are as challenging, especially in places where the service is dominated not by easygoing millennials renting out a spare bedroom but instead by developers who buy up multiple houses and apartments to convert into short-term rentals. That can destroy residential neighbourhoods and decimate the supply of affordable housing. To his credit, Chesky has tried to deal with these issues as well as the problem of racial discrimination that had infected the service. I watched in admiration earlier this year as Airbnb and my hometown, New Orleans, painstakingly negotiated a complex agreement, with enforcement and taxing mechanisms, specifying the number of days per year each type of place could be rented on Airbnb. 


What these show is that societies must find ways to absorb economic transformations, because it is futile to resist them. Peer-to-peer technology may be disruptive, and its effects can be messy. But it has an inexorable tendency to empower people to find — and produce — new offerings that improve our lives by reinforcing the most basic rule of entrepreneurship, which is to make something that people really want.
 

© 2017 The New York Times News Service


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Creative disruptions