In 1967, the Films Division of India1 asked all kinds of 20-year olds about their dreams and how they felt about the future of a nation that was, itself, 20 years old. Here’s the original video. A lot of the kids who speak English in the video (starting at 5:00) attend the august Indian Institute of Technology, Bombay.
A colorized and edited version of that video went viral. Here’s a most fascinating “Where are They Now?” follow-up by the author where he tracks down seven people in the video. It’s a mix of Hindi and English. Lessons learned: Life is way too short, way too fickle, and almost never pans out the way you think it will. Privilege helps a lot.
The Chess Sets used at the World Chess Championships cost $350 (plus $700 if you want the electronic piece tracking), are likely out of stock if you’d like one, take a lot of training and practice to make, are woodworked in Amritsar, India, and were designed by Daniel Weil, a former partner at Pentagram.
About half the set’s value lies with the most difficult piece to make: the Knight ♘
This is one of the most seriously badass representations of Shakti I’ve seen in a while.
The goddess is shown seated on obsessed boy (Corpse or Preta). The corpse is placed on a pedestal. The deity has a skeletal body, veins can be seen clearly. Its face is ferocious and wrathful; eyes are popping out with open mouth and frown on face. This may be influenced by the concept of Yogeshvari as third eye shown prominently over the forehead. The hair stands are erected (urdhvakesha) which look like fire flames (jvalakesha) (Rao 1989). The hairs are tied firmly with a snake and skull. On the right side of headgear a small hand in abhayamudra is depicted; same feature can be seen on left but it is an eroded condition. The goddess is wearing a skull garland, mundamala consist of 44 skulls and sarpakundalas in ears. A snake encircling around the neck. The deity is shown wearing a bajubandh made by the design of snake, Same ornaments are replicated at wrist and ankle. It is an artistic excellence where snake is shown holding its own tail in mouth which has formed a beautiful circle. The deity is shown wearing ornate mekhala. The parikara of the image is ornate depicting the elephant skin in low relief. The representations of pair of owls carrying garland is shown on portion of elephant’s ear on a left side. The depiction of peacock, bell and conch shell can be observed on a right side. The depiction of devotee is seen beside the right foot of the deity. The devotee is shown sitting in vajrasana has a prominent headgear with circular karnakundalas. It is holding a sword in its right arm shown wearing an ornate bajubandha and keyur. The devotee is in namaskarmudra, head is shown slightly raised upwards watching a divine appearance of the goddess. The five jackals are shown fetching flesh from corpse which is beneath of the deity. The small female attendant (11.5 cm) of the goddess is shown on a left side of the pedestal below the left foot of the corpse. This female attendance replicates the main goddess shown in skeletal form holding dagger and kapala in right and left hand respectively.
A wafer-thin afterthought of a plot undergirds an important and harrowing commentary on the history, pervasiveness, and evil of the caste system in India.
Excellent cinematography and performances by Ayushmann Khurrana, Kumud Mishra as Jatav, and Sushil Pandey as Nihal Singh.
“As I see it, there are two primary products that second generation Indian American comedians sell - the ridiculousness of their parents’ ‘culture’ (arranged marriage and ‘my son, the doctor’ are the commonest tropes); and the racism of white Americans,” Professor Chakravorty, who teaches at Temple University in Pennsylvania, told me in an email interview .
“It is not hard to see why these two lowest hanging fruits are plucked all the time. This is very standard fare. Apu is also very standard fare. What Kondabulu has done is nothing new. He picked almost the most identifiable Indian project possible in the US. And he plugged into the market for identity-based outrage.”
and
“I like Apu, in fact I love him. He has a PhD in computer science, but enjoys running his store, he is a valued citizen of Springfield, a ladies man and adores cricket and is funny,” Sidharth Bhatia, Mumbai-based founder-editor of The Wire, told me.
“It reflects true American diversity. The controversy about the stereotyping is classist snobbery - Indians in America don’t want to be reminded of a certain kind of immigrant from their country - the shop keepers, the taxi drivers, the burger flippers,” says Mr Bhatia.
“They would rather project only Silicon Valley successes, the Wall Street players and the Ivy League products, with the proper accents, people they meet for dinner - by itself a stereotype. The millions of Apus in America, the salt-of-the-earth types, with their less ‘posh’ accents, are an inconvenience to that self-image of this small group of Indian-Americans.”
Bingo.
His accent apart, Apu is a Midwestern pillar. Would the critics really have him speak like the other characters in the show, as if to say you’re not American unless you sound like someone from Des Moines? Are all caricatured accents racist? Should we ban “foreigners” from comedy shows altogether?
Naturally not—because we wouldn’t, then, have Apu. And can you really imagine America without him?
Chauhan: One day the Guru summoned a meeting of his closest male devotees. There were about 400 to 500 people. He said “We are going to remove your virility. After that, your mind isn’t going to wander. You’ll come closer to God.”
Narrator: Chauhan says he didn’t understand that the Guru was talking about castration.
[. . .]
Chauhan: Guru had put a lot of property under the names of castrated devotees. He knew that we would never get married or have children. When we died, we would leave the property here and he would put his name on our Power of Attorney.
The charlatan is responsible for the most horrifying song I’ve ever seen:
