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Virat Kohli: The trial and error in Dhaka

Written By Unknown on Senin, 03 Maret 2014 | 21.17

Not just Mahendra Singh Dhoni, the entire Indian team can rest now, after failing to win two consecutive encounters — first against Sri Lanka, then on Sunday against Pakistan. India is out of the Asia Cup. For now, Virat Kohli comes back alive from Dhaka, but he has lost the trial.

Debate on how well Kohli led India in the lost matches against Sri Lanka and Pakistan is purely academic. Let's go by the results. India was hardly in control of both matches after losing the toss. Both Sri Lanka and Pakistan were totally in control of the chase, and given India's bowling resources and rivals who know our weaknesses inside out, Kohli stood little chance of pulling off a miracle.

But this is the way as it should be. There cannot be a better MRI of Indian cricket team than the results in Asia Cup. India has problems in all departments of the game—Dhoni's absence has only worsened it. India cannot continue to escape, riding the wave of one or two individual performance. Had Kohli succeeded against Pakistan with the bat, the result would have been different, and India still in the reckoning for the final. But that alone would not have addressed the team's fatal flaws in building and accelerating an innings, restricting the opposition to take crucial wickets and support the bowling effort by smart on field movements.

As captain Kohli, however, deserves credit for giving leg-spinner Amit Mishra a game against Pakistan. Ignored for long by Dhoni, Mishra justified Kohli's faith in him by bowling well, taking two wickets and tightening the flow of runs.

But Kohli has frittered opportunity as well. It should have been important to include Cheteshwar Pujara in the XI from the beginning of the tournament. Pujara, who likes to bide his time to play strokes, should not be seen as a handicap in the 50- over format. The game against Bangladesh would have been ideal to Test Pujara, but for all his aggressive body language on the field, Kohli froze in the dressing room. Winning every game is a must in a tournament but you should also be willing to consider long term solutions for the team's good. Now it is certain that Pujara will get his game against Afghanistan on Wednesday. But it is a loser's match and what does it do to the confidence of Pujara the one-day player? And it is important that for India to have a successful defence of its title in the 2015 World Cup in Australia and New Zealand, the team cannot depend only on flat-track bullies.

That Kohli is fast learning skipper-talk is quite interesting. His calm and claim that the side showed a lot of character in taking the game against Pakistan into the final over will not have many takers. May be he is forgetting the fact that he is leading India, not Bangladesh or Afghanistan. Then, again, Kohli's confession is worth noting. "We are making mistakes regularly, which we need to correct because they are costing us in international cricket. If we make three or four crucial errors in each game, it's quite costly in the end. That is one thing we have to learn from and improve on because there's quite a bit of inexperience in batting and bowling. People learn from mistakes and I hope in the coming games we don't repeat these mistakes and play more smartly at crucial times."

Of course, you learn from mistakes. But India has made enough of it leaving fans wondering about the learning abilities of everyone involved.

Dhoni, too, would have learnt his lessons while giving rest to his 'side-strain'. The stage is now set for Dhoni to come back as captain for the T20 World Cup to begin in Dhaka. And the Pakistan challenge awaits them on March 21. May be the result could differ.


21.17 | 0 komentar | Read More

Rock Art to Self Publishing

Veeresh Malik
03 March 2014, 12:44 PM IST

 

Hiking through the Sahyadris, about 9 years ago with my friend Nitin Dhond of Wildernest-Goa, we passed close to some caves that he told me had rock cut paintings from the Upper Paleolithic and Mesolithic phases, or around 20,000-30,000 BC, which had been found inside, and other evolutions including petroglyphs which certainly looked like early languages and messages.

Later on, I was shown photos, as the caves themselves were quite inaccessible. To me, once they were explained, they looked like early news media, since they did appear to report about issues like food, water, life, death, birth, entertainment, and even forms of power. All done, apparently, as a means to let other people know not just what they were doing, but also as a method of passing information and knowledge down to other people as well as future generations, without any friction, transactional costs, let or hindrance.

Anybody find a semblance to online social media of the sort that we see exploding on the internet?

One big similarity is that both forms of expression are placed out there in the public domain with some amount of effort and knowledge for all to benefit from. At no charge and with no middlemen, agents, publishers, editors or any other transactional aspects.

The other big similarity is the best use possible of the written word as well as pictures. Some of the pictures, if viewed in sequence, are actually like early movies - frame by frame progress and instructions.

Over the centuries, however, between the day and age of rock art and the internet, we've had papyrus, paper and film as the basic new mediums on which these messages were distributed. In each of these cases, in the name of "Intellectual Property Rights", we've seen additional layers of inefficiency brought in with a host of people and commercial entities in between doing everything possible to reduce access to information for people who did not have money or goods or services in exchange.

I would venture further - the evolution of these layers of inefficiency were co-terminus with the evolution of organiser centralised religions. One effect of religions was to segregate those who could have access to valuable information and those who could not.

The arrival of social media with its vast amount of free information for all who want it, whether they climbed the mountain to reach the cave or they hit a search engine is symbolical but similar, is one way to look at it. The even stronger advent of late, of self-publishing at very low prices and often zero price to readers and high royalties to writers, is the next evolution - akin to giving the rock artist a reward or a status in society.

As somebody who writes for pleasure as well as to try and share, money not being the primary objective, I've seen this in the many messages I get when my self-published books reach people who otherwise would have had to spend minor fortunes for picking up print hard copy versions. I've seen this when best of breed writers like Stephen King adopt this medium, self-publishing, and make the proceeds for a short novel or book on the subject of gun control, over to an organisation fighting the proliferation of guns, for example.

What do you think? 

Sure, the medium is the message. Sure, the writer has to eat. But does the thick layer of inefficiency in the middle have to swallow the cream as well as starve the reader, too?


21.17 | 0 komentar | Read More

Total Siyapaa

Meeta Kabra
03 March 2014, 03:21 PM IST

A Punjabi girl brings a Pakistani guy home as the one she wants to marry. Siyapaa indeed - that, I am told, means trouble, lots of it. There's lots of potential for serious melodrama or rib-tickling gags or nasty India-Pakistan one-liners. Total Siyapaa seems to aim for some regular rom-com stuff. Which brings up the question - why have the India-Pakistan angle at all then?

Now, here lies my hope once again, that I am pre-judging wrong. I hope there is something more to Total Siyapaa than just the regular romcom stuff. Fortunately, there is reason enough to have hope. This one is written by the writer/director of a movie I loved, A Wednesday. A completely different genre, which makes it even more intriguing.

It doesn't make the fact that Ali Zafar is jarring as an actor any more tolerable though. But, hopefully, Yami Gautam will engage as she did in Vicky Donor. Kirron Kher seems to be doing her usual loud, Punjabi thing. Only this time, she seems to have better lines.

These are then countered by crass jokes in the form of whatever it is Anupam Kher and the grandfather(?) (separately) are up to in the trailer.

With all of the fors and againsts and its average music, Total Siyapaa just might be an average flick that brings in a few laughs, nothing more, nothing less.

Music Reviews:
Bollyspice - "2.5/5"
Bollywood Hungama - "2.5/5"
Milliblog - "Ali offering a good demonstration of his multi-facetedness."
Music Aloud - "7/10"


21.17 | 0 komentar | Read More

10 Terrific Songs of Sahir Ludhianvi

Written By Unknown on Minggu, 02 Maret 2014 | 21.16

Abhijit Bhaduri
02 March 2014, 09:42 AM IST

Sahir Ludhianvi (8 March 1921 – 25 October 1980) had the gift of a genius and perhaps the curse of one as well. His poetry drew people to him and his ego ruined every working relationship sooner or later. Whether it was because he insisted on getting a rupee more than Lata to establish equality with her or his ascribing the success of his songs to his skill alone that broke the best professional partnership he had with SD Burman. That he was a genius is without question. At the age of 22, he had written his collection of Urdu poetry Talkhiyan (bitterness), a book that is perhaps second only to Ghalib's in terms of popularity.

In his fabulously well researched biography, Sahir Ludhianvi – The People's Poet, journalist Akshay Manwani writes that Sahir's reputation as a poet came in the way of his acceptance as a lyricist. While poetry is written without any constraints, lyrics for Bollywood have to fit the melody, the situation in the film and must be in the language of the actors singing those words. The time was also ripe for Bollywood to accept several poets  turned lyricist -many with strong roots in the Progressive Writers Movement. One can think of Majrooh Sultanpuri, Shakeel Badayuni, Rajinder Krishan, Shailendra, Kaifi Azmi, Hasrat Jaipuri who all contributed to the golden era of film music in Hindi cinema. The lyricists of '30s and '40s like Kidar Sharma, DN Madhok and Kavi Pradeep had written Sanskritized Hindi with strong nationalist undercurrents. Sahir and his peers made lyrics as a way of moving the story forward and not just a summary of the preceding scene.

Sahir's break in Hindi films came from his meeting with SD Burman who was unaware of Sahir's reputation as an Urdu poet. When Sahir went to meet him, SDB gave him the first few notes of a tune he was working on. Sahir spontaneously wrote, "Thandi hawaaein lehra ke aayein, rut hai jawaan, tum ho yahan, kaise bhulayein". This song was used in Naujawan ('51) starring Nalini Jaywant and Prem Nath. It was Sahir's ability to bring nature into his love songs that makes the songs immortal.

 

The Sahir-SD Burman combination took off with Baazi ('51) a film that marked the directorial debut of Guru Dutt. The song Tadbeer se bigdi hui takdeer bana le from Baazi became such a hit according to Dev Anand that at the Air Force station in Jodhpur, people would come in just to listen to the song. Sahir of course was peeved at his deep poetry being used in a nightclub setting.  But who can argue with success. Listen to the way he urges the protagonist to use tadbeer (deliberation) to takdeer (fate) back on track. What a way to say nothing ventured nothing gained.

 

Sahir's skill as a lyricist is tested in songs such as Aan milo aan milo shyam saanware in the film Devdas ('55). The song was visualized as a kirtan sung in the baul tradition of Bengal. SDB and Sahir repeated the feat in Pyaasa ('57) when they created the gem Aaj sajan mohe ang laga lo.

 

Sahir and SD was a magical combination. They were just getting better and better with each film. In the Dev Anand-Kalpana Karthik starrer House No 44, they came up with Chup Hai Dharti Chup Hain Chand Sitaare a song that again establishes Sahir's style of using nature as a way of describing the depths of love. It is another song Teri duniya mein jeene se sung by Hemant Kumar (one of his best) that brings out the bitterness that was a part of Sahir's life.

 

Sahir did 15 films with SD Burman between 1951 and 1957 and became the most successful duo of the fifties. Their success can outrival Shailendra-Shankar Jaikishan or the other popular combination of  Naushad and Shakeel Badayuni.

Sahir's best work was left for the last film he did with SD – Pyaasa, a film that has ten songs – each with terrific lyrics. The film had Sahir being mentioned in the film posters along with SD Burman. Sahir went about announcing that the success of the film was entirely because of his lyrics – a comment that hurt SD enough to end their relationship.

I had a tough time choosing just one song from this film. No wonder Pyaasa was rated as one of the 100 best films of all time by Time Magazine. The toss-up was between Jinhe Naaz Hai Hind Par Who Kahan Hain  and the one I finally chose:

 

While 1957 saw the end of Sahir's partnership with SD, it saw the beginning of his partnership with OP Nayyar in Naya Daur and Tumsa Nahi Dekha. Naya Daur had Dilip Kumar and Vyjayantimala in the lead and set the stage for what came to be known as "Tonga songs" like Yun to hamnein laakh haseen dekhe hain that remains the trademark of OP Nayyar's music.

 

1957-58 saw Sahir producing some of his most memorable lyrics. Based on an adaption of Fyodor Dostoevsky's, Crime and Punishment, the Raj Kapoor starrer Phir Subah Hogi saw the first of Sahir-Khaiyyam films. The powerful lyrics of woh subah kabhi to ayegi were based on Sahir's poem Ummeed. But the pinnacle of their success came in Kabhi Kabhi ('76)

 

It is not possible to talk about Sahir's body of work without writing about Hum Dono ('61). Set to music by Jaidev who was once an assistant of SD Burman, this film had a prayer Allah Tero Naam and several  Rafi classics Kabhi Khud Pe Kabhi Haalaat Pe or Main Zindagi Ka Saath Nibhata . My favorite lyrics would be this one:

 

Sahir's list of ten best songs would not be complete without a mention of the gem he composed for the film Chitralekha ('64). Music Director Roshan composed the song in Raga Yaman and invited Rafi to take this to another level.

 

Sahir did produce the odd gem with music director RD Burman. I had to choose between Tera Mujh Se Hai Pehle Ka Naata Koi from Aa Gale Lag Ja ('73). But I voted finally for the RDB-Kishore song that brings out brings out the best from Sahir even when he was well past his prime. The song is from Joshila ('73)

 

If you could pick only ten songs of Sahir, which ones would you pick? Do put down your list in the comments.

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Ten Best Songs of RD Burman

Join me on Twitter @AbhijitBhaduri


21.16 | 0 komentar | Read More

Is this really February?

Sukanti Ghosh
02 March 2014, 11:26 AM IST

How many of you have asked yourselves this question in the past couple of weeks? Well, I definitely have, and with increasing frequency at that. Caught up with the intense pressures of work, deadlines, weekly chores and frenetic socializing, 2014 year has already started to rest heavy on my shoulders. 'Is it really still February?' I asked myself and a number of my friends and associates last week. For all I could tell, we could easily have been the second half of the year given the extent of battle weariness that had already set in. And, I wasn't surprised to hear that many of them felt the same way.

But then, nature has a funny way of reminding you of things when you least expect it. Laid low with a nasty bout of food poisoning during the week, I was forced – much against my wishes and professional instincts – to take a step back from things; to slow down and put away the phones and laptops and all the problems we tend to grapple with, and let my body heal. Relax.

Surprisingly, in the process, I have found my mind starting to unwind as well and notice many of the things that I had taken for granted from the beginning of the year – yes, there is still a delightful nip in the air every morning and evening; the sunlight still appears to shine a light on each and every leaf around us in sparkling clarity; a mid-morning walk in the gardens still feels pleasant, and is not a sign of one's rapidly depleting mental senses; and that there are few things that can compete with a good chat with a loved one or a book and a cup of steaming coffee on a lazy weekend afternoon, even if it is on an e-reader. Spring is still very much amongst us.

Is it we who drive ourselves into a frenzy, at the cost of everyone and everything else around us? Or are we creatures of circumstance? I would wager the former. I remember telling you all last year about my commitment to take a holiday every time I could feel the gall rising above my perceived 'danger levels' and starting to cloud my vision and better judgment. Thankfully, I have been able to maintain that commitment to myself and to my family, and I intend to continue to do so going forward. And while I agree that planning to take a holiday in February (or March, as is indeed the case!) is a bit much, perhaps it is time I thought of other ways to retain/ regain my sanity.

For starters, how many of us have watched - with what must be a mixture of envy, awe and surprise - at the ease with which many of our global associates are able to raise a strong embankment that separates personal time from the professional? At how they 'switch off' when they leave work, and remain unreachable over weekends, while we continue to stay, 'always on'? Is this a reflection of our servile nature, our robust work ethic, our fragile belief that we are indispensable, our compelling need to prove ourselves to everyone around us, or our inability to separate the personal from the professional?

I recently bumped into a new neighbor in the lobby of our building only to find that he was a frequent traveler and compulsive workaholic, much like me. Swapping stories of our trips and our work, he told me about how bad things had to get for him before he decided he needed to change his ways: "I travel so much that waking up, I often have no idea where I was am for a couple of moments; you know, I need a couple of moments to come to terms with the lay out of the room, and understand which city or hotel I am in". I smiled in agreement. "Well, all that changed recently". "How" I asked. "Well, the other day, I woke up to find a strange woman lying next to me in bed, and it took me a couple of minutes to realize that she was my wife! I knew then that if I didn't change things, things would change for me forever."

While I don't necessarily believe in making such hard demarcations, and believe that the proverbial work-life balance is subjective and needs at best to be elastic at different stages of your life and career, I must admit that there is some merit in exploring this embankment in slightly greater detail; particularly, if it allows me (and people around me) to actually be more productive and efficient in the hours when we are supposed to be 'switched on', even as we appreciate everything around us.

So the next time you feel that you are not sure of where you are and what day of the week / month it is, could I urge you to take a breather and smell the coffee? Trust me, it might help.


21.16 | 0 komentar | Read More

Krishen Khana drawings @ Sakshi Mumbai

Uma Nair
02 March 2014, 02:15 PM IST

"The function of art is not decorative. True art defeats time, place and people. Art must go beyond a pretty picture. My gaze is independent of my pencil holding hand. I think I could shut my eyes without ceasing to scribble. Someone says 'A map of an unknown galaxy' ..... 'The pencil has become an extension of the nerves of my hand' and other such nonsense. Sustained scribbling achieves only a small inroad which may dislodge an image. Sounds dramatic doesn't it? It isn't always so. I would fain repeat the contours of a subject I've tackled before, which is not to say that I would not go back to the same subject in the hope of discovering another dimension," said Krishen Khanna to TOI at ITC Maurya so many years ago.

For an artist whose work engages the social, historical and political landscape of India, Krishen Khanna needs no introduction. And Geetha Mehra's idea of bringing his drawings to her prestigious Sakshi Gallery in Mumbai is more like a swansong in a journey of art dos in the cultural extravaganza of the city of Mumbai which seems to have more class than loud blaring Delhi.

Krishen Khanna is an erstwhile banker who sold his first painting to Homi Bhabha for the Tata Institute of Fundamental Research. He is also the creator of the historic 'Procession of Life' painting at the dome of ITC Maurya Hotel, Delhi.

But this show is about the facility and felicity of Khanna's deft handling of drawing in an age when modern day artists do not want to draw. It also shows the somber side of Khanna.

One recalls that Khanna has done drawings of Christ, and Rumi series, to paintings of the trucks and the figures and Bandwallahs the line of evolution is a study in art history. Reminiscing over his poignant Bandwallah series, Khanna said:  I am moved by Chaplinesque situations which involve dual emotions. On the face of it, they can be very funny, even ridiculous. But there is a kind of pathos beneath it all. I see the bandwallah as a relic of the past appropriated by Punjabis and people in the north in general for their marriage processions and the like. They turn into areas of colour and have little correspondence with those who instigated them. Their cacophony too turns into a clash of colours which I think is more coherent to the senses. It follows that my subject matter is of importance to me and is not fortuitous. Dependent on this choice are the means which will reveal it. Nor is it ever certain that every venture will be successful. What is certain, and this gives me some comfort, is that a moment of my life was spent in such absorption which bypassed Time'.

Compositional integrity can be a curious thing. And that is what signifies itself as you walk through this mesmeric meandering of the drawings. Artist and writer and iconoclast Swaminathan penned the pulse of Krishen Khanna's overview of an artistic life, with a sensitive reading when he wrote: From the series on the truck - the ramshackle juggernaut hurtling into space piled up with construction materials and brutalized labour, to the generals and politicians negotiating peace around the table with the skeleton of humanity lying under it, to Jesus and his betrayal, to the cacophonic irrelevance of the marching band, Krishen has been preoccupied in his work with the state and fate of man in our times.

In a sense, his work is a graphic record, a visual documentation. What makes it art and lifts it out of the transient, are the abiding elements of the tragic, the sublime and the ridiculous -which are woven into it'. This show at Sakshi Mumbai has the promise of all that and more.


21.16 | 0 komentar | Read More

Rethink reservations

Written By Unknown on Sabtu, 01 Maret 2014 | 21.16

Jug Suraiya
28 February 2014, 01:32 PM IST

Are political parties having reservations – or second thoughts – about caste-based reservations, or quotas, in jobs and educational institutions?

In what has been described as a 'bombshell', a BJP spokesman, a former minister in the NDA government and a scheduled caste morcha chief, Sanjay Paswan, has said that if voted into office in the forthcoming elections, his party was "actively considering" having a re-look at the reservation policy for SC/STs which has been in place ever since Independence.

One of the proposals being considered is that no member of a dalit family with a monthly income of Rs 1 lakh and above will be eligible for a government job on the basis of reserved quotas. Children whose parents both have Class II government jobs, and children one of whose parents has a Class I sarkari job will not be eligible for government employment through the quota system.

The BJP is reportedly also planning to produce a white paper on the status of dalits over the past 60 years. While a few have benefited thanks to the reservation policy – creating what have come to be called self-perpetuating 'creamy layers' among the lowest castes – many dalits, particularly in the rural areas, are still subject to brutal social and economic oppression by upper castes. Violence against dalits, particularly sexual violence against dalit women, remains a deep-rooted stigma on Indian society.

Affirmative action is still very much needed, not only for dalits but for all persecuted minorities, of which there are far too many in the country. But as shown by the increasingly glaring inequalities which are obvious within the dalit community, the current reservations policy has to be radically reformulated, by bringing class – economic status – as well as caste into the equation.

However, linking class and caste has long been anathema in mainstream Indian politics. When senior Congressman Janardan Dwivedi recently suggested that perhaps it was time that reservations were based on economic criteria instead of only caste, his unorthodox views was dismissed by the party as being his 'personal opinion' and not reflective of the official Congress line.

Indeed the Congress has sponsored a scheme by which dalits entrepreneurs will be favoured in the bestowing of government contracts, and is also seeking to make SC/ST reservations mandatory in the private sector.

The Congress's take on this issue – as on other related issues on poverty alleviation and social uplift – seems to be hopelessly behind the times. There is a huge internal diaspora taking place as people – particularly young people – are moving out of caste-stratified rural areas into urban environments, where class – economic status – matters much more than caste.

In the melting pot of urban India, the millennia-old Indian reality of caste identity is swiftly giving way to class, or economic, status. A  BPO employee earning Rs 30,000 a month is, in terms of social discrimination, no longer a dalit – or a Yadav, or a Brahmin, or any other caste.

Increasingly, voters particularly young, urban voters, want politicians to give priority to growth and job creation rather than play the caste card by promising populist freebies based on caste distinctions, which only further Mandalise our already caste-divided polity.

The BJP's reported proposal to reformulate the reservations policy, giving greater weightage to economic factors, is a welcome and bold breakthrough. Will such an initiative help eventually to break the stranglehold that caste continues to have on Indian politics? That can only happen when elections can be made to break free from the stranglehold of vote bank politics. And that depends not on our politicians, but on us as voters, who should cast our votes on the basis not of caste but of merit.

 

jug.suraiya@timesgroup.com


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Hypocritical India

Sanjeev Ahluwalia
28 February 2014, 09:19 AM IST

Indians are affably, argumentative (Amartya Sen, 2005). Less likably, the Indian State is intensely hypocritical. It remains very medieval despite its veneer of modernism. 

Examples of medievalism abound. We value Indian lives very low. No minister has ever resigned because citizens, in their charge, starved to death or died due to lack of emergency medical aid or if large numbers of students fail to pass in public schools. Corruption is a leitmotif of even the simplest public transaction like lodging a First Information Report at a police station (this is something which should even be possible by email or sms or whatsapp); avoiding getting arrested for drunk driving; getting a copy of case records from the lower courts or seeking protection from physical harassment and assault.

The best illustration of lingering medievalism and nascent modernism is the conscious use of hypocrisy by the State, to keep alive the hope of change without disturbing the status quo. There are many such State hypocrisies but five major ones stand out.

The biggest hypocrisy is the Constitutional provision that religion does not matter for State policy formulation and execution. Everything points to a different truth. The Shah Bano episode (1986) is the best example of how religion and politics have been inseparable. In this case the Supreme Court granted maintenance to a divorced Muslim woman (as is the right of any Indian woman) but the government rescinded this progressive judgment through a perverse, new law to appease orthodox Muslim sentiment. Meanwhile, to placate orthodox Hindu sentiment, which was being fanned by the Vishwa Hindu Parishad (a Hindu rights outfit), it also opened the gates of the disputed site of the Babri Masjid which had been locked by the government since 1885 to preserve the status quo on counter claims to possession rights by Muslims and Hindus. Incidentally 1885 is also the year the Indian National Congress was founded. By 1986 (a century later) the Congress was not averse to play the communal card with an eye to the 1989 elections.

Other more visible "red flags" of regressive religious politics are the low pan-Indian representation of Muslims in government; the increasing ghettoization of Muslims even in new urban areas; blatantly pro-Muslim or Hindu political parties and decreasing levels of productive social interaction between the two major communities since 1947. Let's face it. The religious cleavage exists in an antagonistic form and is increasing. It is only once we accept this that we can get to talk about how to bridge it.

The second big hypocrisy is that all Indians are created equal. Democracy and the positive affirmation (reservations) policy have solidified caste much more than the dilution effect from urbanization. If Pandit Nehru saw Sardar Patel as a biased Hindu he would be shocked at the manner in which political leaders today pander to narrow interests of backward caste and Dalit vote banks. After religion, caste is the next most significant political identity of Indians. The majority of Indians wed within their caste and vote for caste candidates. Indians are not born equal. They struggle to overcome the inherited, rigid social and economic barriers of caste and very few succeed, despite the Constitution and a range of laws prohibiting caste based biases.

The third big hypocrisy (which we share with much of the World) is that women are treated equal to men. They are not and never have been. The good news here is that since this is an international problem, the state of play is fairly advanced. Policy, law and programs are working to empower women economically in the hope that social change will follow; to measure their levels of satisfaction; to assess results and to provide special protection to them in the transition period.

The fourth big hypocrisy is that poverty is reducing at a satisfactory rate. This is far from true. Even worse, asserting this statistically, as the government does, lulls us into believing that following the current path and simply doing more of what we do already, will get us to a poverty free India. It cannot.

Average per capita income needs to triple in real terms and inequality to reduce significantly before we can even claim to have found the correct direction. Some measurable indicators are a consistent growth above 8% per year; a more equal sharing between the rich and 70% of the rest of the benefits of incremental growth (we don't monitor this periodically) and the rate of job creation in the formal economy. 

The fifth hypocrisy is that the existing governance architecture of Parliamentary Democracy is suitable for India. It is not. Both Parliament and Cabinet have ceased to play their intended role as checks on personal aggrandizement and protecting minority interests. This has been true for State Governments over the last three decades but over the past decade even the GOI Cabinet has become the poodle of Party bosses. The sanctity and effectiveness of Parliament is eroded by the behavior of lumpen elements, more familiar with brute force than reasoned argument or moral persuasion. Corruption vitiates executive decision making to the extent that the judiciary becomes the aam admi's "de-facto government" for seeking redress.

How can this familiar tale of woe be altered?

First what is not measured and recorded cannot be dealt with. Enumerate caste/tribe and religion in the census so we know the numbers; the spatial distribution and their wellbeing. Map caste and religion data on a publicly available GIS down to the village and urban ward level so that government interventions can be calibrated to local social norms and results assessed by third parties. Assess poverty levels bi-annually using mobile based rapid data collection instruments to better relate schemes (like the Right to Food or the Right to Work) to poverty reduction outcomes.

Second review the existing incentive structures for diluting religion, caste, gender inequality, poverty and improving the functioning of the executive, parliament and judiciary.

Caste based affirmative action (reservations) clearly perpetuates an "us versus them" psychology. Diluting it by adding poverty criterion, requires more data and monitoring, but can lead to the dominance of more modern pressure groups like professional affiliations (farmers, business owners, employees), locational interests (Biharis or Mumbaikars) or ideological solidarity (environmentalists, big or small government advocates, gay rights advocates).

All government programs and projects should be evaluated for their poverty reduction potential before approval by the government and income enhancement targets fixed. Achievement against targets must be monitored by third parties with the results made public. This will reduce pork (roads to nowhere) and gold plating (capital heavy projects which do nothing for jobs-why not let private business do these?).

The Constitution should be revised to completely separate the Executive from Parliament. The PM and her deputy to be directly elected with minimum vote shares prescribed in each constituency to ensure inclusion. The ministerial executive team to be nominated by the PM and endorsed by the Parliament. The internal emergency provisions should similarly require the endorsement of parliament to protect state government autonomy from an aggressive PM. The 2014 elections are being fought in any case on the basis of "US President like" identities.

This simple change can ensure that the PM is popularly elected and is not just a "shoo-in". It can also improve the quality of MPs by getting rid of those who contest for Parliament seats (often by paying for them) only as an avenue for eventually getting into lucrative executive positions. Legislative ability requires skills in law and social sciences apart from a feel for the local interests an MP represents. Executive ability requires specialization and narrow experience. The system must present separate choices to the electorate and to those desiring to enter politics.

The bottom line is to transit from being an affable but hypocritical India to a more results oriented and honest India. In the modern world time is money and the long route to poverty reduction whilst changing incrementally is costly. Social stability is a merit good in the Indian plural context. But the price for social stability must be paid by the rich and not the poor or the marginalized. 


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Shaadi ke side effects

Sharmila Ravinder
01 March 2014, 03:34 PM IST

It's an amusing matter that the most bizarre affiliations and flirtatious behaviour are suddenly springing up in our current desi political shaadi halls. All of a sudden, there are many who are rather desperate to have an affair with one another and if they can push their luck further to a shaadi and even polygamy. No longer is Rahul the most sought groom by promiscuous netas, they prefer being caught red handed with Modi, on the dais, in the chambers, in the car, flying a kite, revelling in Kutch. They declare their 'crush' on national debates. People are swooning around him, they do not mind being affiliated with 'Modi' just about anywhere whilst doing just about anything, even the mighty US is taking a leaf out of the Lovers guide to Modi. They whisper sweet nothings about him, some in croaking voices too. Only today the enticing Karunanidhi in complete Kollywood style has declared Modi a good 'friend' and a hard worker. We can but only arch our eyebrows at this statement. But which of these affairs will result in a Shaadi? Who will lead the baaraat? Can you hear the wedding bells? And more importantly what will be the side effects of the plethora of potential shaadis that are around the corner, with or without Modi at the helm. Or will Modi prefer being a bachelor boy and thank his stars he never tied the 'knot'? It is all a bit too overwhelming to worry about the fallouts and break downs of political shaadis over a summer weekend. Politics after all invents strange bedfellows and we will never comprehend its workings fully. Instead of wasting time mulling over it, I found the escapist route and decided to watch the movie " Shaadi ke side effects' in an entertainment hall instead.

And what a good decision that turned out to be. I have not been to the cinemas in the longest of time and glad I have returned to the halls to watch this delightful entertainer. A movie that explores the if, buts, commas, exclamations and full stops in a marriage in a most endearing, witty and uncomplicated fashion. There are no moments when you are bored, albeit a small portion of the second half gets a bit serious and you wish it were not since you have been fully spoilt by the jauntiness and pace of the story until then. Farhan Akhtar's (Sid) sense of comic timing is immaculate. How real is this chap? He sheds his old skin and walks into a new skin time and time again. His metamorphosis from one role to another with ease and style is bewitching. Stereotyping cannot exist in his dictionary. Farhan plays the role of both the husband and the Daddy and with it portrays his dilemma in handling his responsibilities. And what can one say about Vidya (Trisha)? Another splendidly 'tangible' Actor. The coming together of Farhan and Vidya is most certainly a casting coup. Their on screen relationship is unfeigned, something only bona fide Actors can pull off minus the fluff and the hoopla. And there are also these little nuggets in the movie like Vir Das, Ram Kapoor and Ila Arun who add to the alluring quotient.

If there is one thing that is most annoying is when the Director is pushing you against the wall, holding a gun on your head and forcing you to laugh. It can be quite traumatic. I felt like this with Chennai Express and thanked my lucky stars I watched the movie in the comfort of my home without having to empty my pockets to occupy a comfortable seat at the multiplex. You have no such angst and endure no such pain with this sunny movie. What is to be appreciated in the story line is it's tilt towards feminism. Now, this is something I do not come across in predictable Bollywood where the woman usually is in misery, lives in misery and waits for the man to pull her out of an infinite pond of misery. No such nonsense here, Trisha knows how to have fun as much as Sid, and hey, that's the way it ought to be! The money you have spent / will be spending to place yours and your loved one's posteriors on those comfortable multiplex seats is worth it. Paisa Vasool as they say, to not or 'knot' as you are left wondering. 

Follow Sharmila @supershamz on Twitter 


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Snap it up

Written By Unknown on Jumat, 28 Februari 2014 | 21.16

Jug Suraiya
27 February 2014, 10:46 PM IST

Why 'selfies' have become all the rage, and what they'll do to us

President Barack Obama likes to do it to himself. So does British Prime Minister David Cameron. Maybe so do Rahul Gandhi, Narendra Modi and Arvind Kejriwal. Why not? After all, everyone — or almost everyone — seems to be doing it to themselves these days. Taking selfies, that is.

When i first heard the term selfie, it puzzled me. What on earth did it refer to? Was a selfie someone who belonged to the so-called 'me, my, mine' generation, a selfish person, in short? Was a selfie a self-appraisal form that you had to fill in and give to the head of HR in your company if you wanted a raise? Was a selfie an act of auto-eroticism so hush-hush it wasn't even mentioned in the Kama Sutra?

As it turned out, a selfie was none of these things. A selfie was you taking a picture of yourself — along with a couple of your pals perhaps — on your cellphone. And selfies have become all the rage these days.

Telephones were invented so that people could speak to each other from long distances. While talking to people over long distances is still one of their functions, the primary use of phones now is to take pictures of the owner of the phone from a very short distance.

How and why this happened is a story of technological progress. Thanks to the invention of the jetliner, people began to travel to far off places, which boasted exotic landmarks, like the Taj Mahal.

Now what was the point of taking all the trouble and expense of going to all those exotic places if you couldn't prove to people back home that you'd been there, done that? Problem was, even if you remembered to take your camera with you, you had to depend on other people — often total strangers, other tourists like you — to take your snap against the Taj, or the Mysore Palace, or Mukesh Ambani's humble abode of Antilia, or whatever other marvel of the ancient or modern world you'd travelled far and wide to sightsee.

And sure enough, the person would take a picture of you with the backdrop of the Taj, Mysore Palace, Antilia, whatever. Except while the person had got the backdrop (Taj, etc) in perfect focus, he'd knocked your head out of the frame. So what you had was a picture of a headless person posing against a famous landmark. And no proof whatsoever that the headless person in question was you.

That's when the selfie invented itself. Now you didn't have to depend on some dumbass stranger to shoot you and in the process cut your head off. Now you could shoot yourself, head and all. Say cheeeese!

Selfies have changed the primary function of the cellphone, which is no longer an instrument for talking to other people, but an instrument to provide visual evidence of you having been to wondrous places and seen spectacular sights.

There is only one problem. While technology is ensuring that selfies become sharper and clearer, there is an anatomical problem to the taking of the perfect selfie: the length of the human arm. If our arms were longer our selfies would have that much more pictorial depth, be that much better.

Will genetics kick in? Will the innate urge for selfies cause our arms to grow longer so that, orangutan-like, they dangle down past our knees? If so, the next step in human evolution will have been taken. Homo sapiens sapiens will have become homo selfies selfies.


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