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hystericalfeminist · 3 years

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BUILD ME A CANON

Earlier this week, Delhi University's Oversight Committee removed works by writers Bama, Mahasweta Devi and Sukirtharani from the university's syllabus for undergraduate students of English. Bama and Sukirtharani are Tamil Dalit writers whose work looks at the experiences of the marginalised. Mahasweta Devi, a Bengali writer, was well-known for her Left-leaning politics and for being an advocate for tribal communities and their rights. She passed away in 2016.

I'd suggest one moment's silence for the Oversight Committee committing an oversight, except this is not an oversight. An oversight is an unintentional mistake, but this seems very intentional. As the DU clarified in a statement later, "the syllabus of the course has been passed through a democratic process with the involvement of all the relevant stakeholders and necessary deliberations at appropriate forums” (emphases mine). The university claims the English syllabus is suitably diverse and inclusive (suitably being the key word here) and it's interesting that as part of its defence of the Oversight Committee's decision, DU has pointed out the process of coming to that decision was "democratic". What it doesn't acknowledge is that if the committee is full of people who belong to dominant groups and doesn't have members who represent the minorities and the marginalised, then the committee's "democratic process" is critically flawed.

The DU statement came after the Academic Council submitted a dissent note, protesting the Oversight Committee's decision. The Academic Council described the Oversight Committee's functioning as vandalism and alleged it has been harassing liberal arts departments. "It is important to note that the Oversight Committee does not have any member from the Dalit or the Tribal community who can possibly bring in some sensitivity to the issue," said the Academic Council in its note.

There was some noise on social media about the decision to drop works by these three writers. Most of the discussion that I saw was about Mahasweta Devi's dropped short story, Draupadi. (Apparently the Oversight Committee chair complained the short story doesn't show the military in a good light. From what I remember, it's the police. They carry out wrongful arrests and brutally gangrape a tribal woman.) There's been far less discussion of Bama and Sukirtharani's works on English Twitter, who have mostly been referred to as the "two Dalit writers", like an addendum to Mahasweta, which is infuriating in itself. I know that this is probably because not enough people read translations. Particularly translations of literature from Indian languages.

There is also little talk about what has replaced the dropped works. One of the authors who has been included is apparently Pandita Ramabai, identified as an upper caste writer (Brahmin, if I'm not mistaken). I've no idea if her writing continues to feel relevant and/ or engaging, but it is all sorts of bizarre to "replace" a 20th century author with someone who died in 1922. Also, if she was included because she was Brahmin, I hope they have fun reading her book The High Caste Hindu Woman which is, I'm told, deeply critical of how sexist Hinduism. Whether or not Pandita Ramabai voiced any opinions of casteism in Hinduism, I don't know.

Even though translations don't get read as much, the fact is, the writings of Bama, Mahasweta Devi and Sukirtharani have been translated to English and other languages. They're part of different university's syllabi and for better or for worse, DU is not such an influential player in academia. If DU's decision to drop these writers convinces some Indian universities to do the same, we can only hope that other universities (in India and abroad) will start thinking about including them in their syllabi (if the writers aren't in them already). In a not-so-distant future, it's very likely that there will be universities abroad that will have a more diverse, inclusive and representative portrait of Indian culture in their syllabi while institutions like DU remain mired in a casteist, Hindutva bog. At that point, who should decide what will make the canon for Indian literature? The Indians or the foreigners?

It's the second time this week that we've heard conversations about erasure in the Indian cultural scene. Earlier this week, social media was on fire after the Indian edition of the Rolling Stone carried a cover story about the record label and music platform Majja, featuring two artists best known for their collaborations with Dalit rapper and lyricist Arivu. Rumour has it that the Rolling Stone cover was bought by Majja, presumably to promote upcoming albums by those two artists. However, since Dhee and Shan Vincent de Paul are currently riding a popularity wave because of their work with Arivu, many readers — beginning with director Pa Ranjith — expected the cover story would be as much about Arivu as Dhee and Shan Vincent de Paul. People also pointed out that Arivu had effectively been removed from a (disastrous) remix of "Enjoy Enjaami" (the original song is amazing).

Shan Vincent de Paul, one of the artists featured on the Rolling Stone cover, issued a statement on social media saying he had the utmost respect for Arivu and had no intention of erasing him. He clarified that the story was part of his efforts to promote his new album Made in Jaffna, which he's releasing with Majja. "I have no control over how the Press chooses their messaging or what narratives they push," de Paul wrote, which would be an excellent point if the cover wasn't bought. He may not have control over the narrative, but he's hardly an irrelevant cog in the wheel. Instead of attempting to exonerate himself, de Paul could have acknowledged that the story doesn't give as much space to Arivu as it should. I am, of course, presuming he's read the story.

If the rumour about the cover being bought is true then Rolling Stone and Majja are complicit in deciding a narrative that sidelines Arivu, either intentionally or carelessly. More than half of Rolling Stone's cover story is about "Enjoy Enjaami" and there is just one quote from Arivu. This sidelining may not be deliberate — the way DU's Oversight Committee's decision was — and it could be an example of the kind of unthinking oversight that the privileged commit all the time when it comes to acknowledging the contribution of the marginalised. Either way, the impression conveyed by the two organisations is that Arivu is not the person they want to promote. Countering the decision of the establishment — it doesn't get more establishment than Rolling Stone and Majja. One of Majja's founders is legendary music director AR Rahman — is the reaction on social media. The songs being freely available on multiple platforms and the (relatively) free access to the artwork and arguments by Dalit creators and critics on social media makes it difficult to invisibilise Arivu.

A translation of Mahasweta Devi's Draupadi is available online as are some of Sukirtharani's poems. DU has dropped Bama's novel Sangati. I'm not sure if there's an extract that's available online. It is not lost on me that it's easier to listen to a song than it is to read a novel, or a short story, or a poem. It is also not lost on me that the fact you can bob to an infectious beat makes it easier to not register the deep-rooted casteism referenced in the lyric, "Enna kora, enna kora, yein chella peraandikku enna kora? (In what way is my darling grandson any less?)" There are no such distractions when you read, for example, Sukirtharani's My Room Needs No Calendar: "As they write on me/ with their penises,/ I will my body to stop/ slithering away."

Sukirtharani and Bama minced no words when they were asked to respond to their works being dropped from the DU syllabus. "I was not surprised at all. Dalit voices such as myself and Bama’s are speaking for all oppressed women, not just Dalit women," said Sukirtharani. "I don’t see this necessary as an exclusion of just Dalit writers as we have seen how progressive writers whose works speak against caste, Hindutva, fundamentalism have also been removed in the recent past. These things will happen in our society, but we cannot be ignored." She said she wasn't going to ask for an explanation, but believed DU owed her an explanation. At the very least, they should have intimated her about the works being dropped. "When they want to project an image of India wherein there are no caste and religious inequalities, our works point out that caste and religious inequalities exist in our society. So, it is obvious that they want such works removed from the syllabus," she said.

Bama said, "For more than 2,000 years, we have been segregated, our histories have not been written. This government is trying to strangulate our voices, but we will shout. The youth of this nation have understood [what is happening]. Rather than being upset, we are angry. The anger will reflect in our works in future.”

I find myself wondering if the business of building a canon was always so complicated and rife with uncertainties. Will the books, music and art propped up by commerce and politics be the ones that make up our mainstream cultural identity? Could we build a better literary canon for Indian literature if more excerpts and poems were available online for free, if more works were translated? Would we care more if the literature was easier to access or would we still dismiss it because they're translations, because the works are by Dalit women? Can the conversations that we hold in the informal spaces of the internet be loud enough to make the canon more inclusive, to make the mainstream expand its narrow definitions? What is more likely to make it into an archive and survive into posterity — the Rolling Stone Cover image or the many "fixed it" versions that people created online? Is it possible that both can and will be preserved? Does dropping the works of writers like Bama and Sukirtharani and Mahasweta Devi make them invisible? Will the dissent make a few more people buy Bama's novel? Will it make some curious enough to look up Sukirtharani's poems?

The words, the tech, the platforms, the imagery — are all these still the master's tools? How long must one wield them before they can claim the tools to be theirs? Will they always be the master's tools and not "our" tools? Is the master the one who cares for the tools and uses them better? Is the master the one with the loudest voice and the deepest pockets, the one who can bribe the boys and hire the deadliest mercenaries? Who decides when the tools have been reclaimed?

#Building a canon #Indian academia #Life in a progressively undemocratic country #Arivu #Bama #Sukirtharani #Mahasweta Devi #Indian literature #Culture and identity #Rolling Stone #Music #Enjoy Enjaami

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arjuna-vallabha · 3 years

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In the years leading upto the Battle of Plassey , Bengal was going through some extremely tough times . Accounts by contemporary writers describes vividly the problems faced by the common man . This was a period when the East India company was gaining more political power . The true ruling class , the Nawab of Bengal and his aides immersed themselves in luxury and debauchery . On the other hand infamous zamindaars such as Devi Singha made life miserable for the common folk . And then there was famines , epidemics , droughts and inability to pay taxes . But still the people fought on with a smile on their lips . But even that seemed to disappear with the onset of Maratha raids into Bengal in mid 18th century . The “bargee” attacks , as they became popularly known , was so devastating and horrifying that they have been permanently etched in Bengali memory in form of lullaby songs . Even today bengali mothers lull their babies to sleep singing “ Sleep fast my child , for the bargees are coming ! The bulbul birds have eaten all crops , how are we going to pay taxes ? “But who were these ‘bargees’ ?The word bargee is thought to derive from Persian ‘Baargee’ which denoted a cavalry soldier . The other type of cavalry men used to be called Shiledaars . The government used to provide horses and weaponry to the baargees . The shiledaars on the other hand had to source these themselves . In those times , the sultans of Ahmednagar developed the art of sudden stealth attacks , which came to be known as ‘baargeer-giri’ . This mode of guerrilla warfare was effective and gained massive popularity all throughout the Deccan , including Maharashtra . In the year 1740 Alivardi Khan defeated and killed his master and the then Nawab of Bengal , Sarafaraz Khan and himself sat on the throne of Bengal . But the brother in law of Sarfaraz , Naib Nazeem of Orissa Rustam Jung turned against Alivardi to avenge the wrong done to his brother . Alivardi defeated Rustam Jung and dethroned him from his Orissa office . In retaliation , Rustam Jung went to Nagpur and sought the help of Raghuji Bhonsle , the then ruler of the region . Raghuji Bhonsle’s Diwan , Bhaskar Kolhatkar AKA Bhaskar Pandit launched an attack on Bengal with all his might . The raids continued for a period spanning 9 years and according to contemporary Dutch estimates , four lakh people died in the bloodbath . It devastated the economy of Bengal and created a period of anarchy and terror . The bargees gradually approached uptill the capital at Murshidabad and sacked the city and plundered the houses of the rich . The Britishers of East India Company on the other hand became anxious about a possible attack on the emerging prosperous city of Calcutta , their main hub . To deter any attack , they began digging a giant moat around the entire town . Luckily the bargees did not attack Calcutta and the work on the moat was discarded midway . The moat was eventually filled up in 1890s and made into upper and lower circular roads ( Acharya Jagadish Chandra Bose road & Acharya Prafulla Chandra road presently ) A certain poet named Gangaram composed a poetry describing the affairs of the bargee raids in his book called “Maharashtra Puran” . Parts of it describe the horrors faced by civilians in those times – “ They round up everyone and loot their gold and silver . They cut off the hands of some . To others they cut off the nose and the ears . For the rest they simply chop off their heads . The pretty ladies they take away and tie them up . Then they take turns to rape until they start crying to be spared . The set the homes of the rich on fire and destroy all the temples of Vishnu . They tie up their captives , fold up their hands and kick on their chest with their heavy boots . Those who have money give it to them and escape death . Those who don’t have money have no other option other than to surrender to death . The Brahmins flee with their sacred books under their arms ! The goldsmiths flee with their measuring insruments . The shopkeepers flee with their wares . The metal workers flee with their copper and brass . The blaksmiths flee along with earthen pot makers . The fishermen flee with their nets . Rich men’s wives unaccustomed to walking flee with loads over their heads ! The khetris and the rajputs also flee in fear dropping their swords . The gosais and the mohants of temples flee on palanquins . The Mughals , sayeds and sheikhs also flee in terror hearing of the bargees . The pregnant women are forced to deliver their child along roadways . “None managed to escape the wrath of the bargees. Numerous temples of Bengal were looted and plundered . Fables narrate how the iconic neem wood deity of Dhameshwar Gouranga ( Chaitanya mahaprabhu ) , worshipped by Bishnupriya ( Consort of Mahaprabhu himself ) also had to be buried for quite a few years to save him from the bargee raids! Such lawlessness continued for almost 9 years . In the end , the nawab of Bengal entered into a pact of truce with the bargees conceding Orissa to them on the condition that they would never return to Bengal . During such tumultuous times , the bargees reached upto the capital of the Malla dynasty kings – Bishnupur . Mallas have been a dominant power in that part of the state for more than a 1000 years ! When the bargees approached , the people panicked and started praying to the presiding deity of the town , Madanmohan . It is said that during this time people saw Madanmohan manifest and rush into battlefield ! He lifted up a giant iron cannon and started firing into the bargee hordes that were trying to enter the city . The cannon would later get the name ‘Dala-mardana’ or “destroyer of hordes” and can still be seen in Bishnupur . Madanmohan successfully defeated the bargees and protected his devotees . This tale has been narrated for centuries in Bishnupur and has become one of the popular religious folklores of Bengal . But this Madanmohan is not originally a deity of Bishnupur . He is said to have been brought to Bishnupur from elsewhere by Malla king Bir Hambir .One source opines that Madanmohan originally resided at the ShriPaat Chaatraa of Srirampore . This was the residence of Kashishwar Pandita , one of the associates of Chaitanya . Bir Hambir brought Madanmohan to his kingdom and after installing a new deity of Radharani beside him , honoured him with the status of ‘Nagar devata’ of Bishnupur . The entire story raises some fundamental questions and doubts – The first question is , if the marathas are considered the champions of Hinduism and viewed largely as upholders of indian valour , why did they plunder and loot the Bengali temples ?! The second question that may arise is , did Madanmohan indeed manifest and do this impossible act ? In order to answer this , one must understand that history is never unidimensional and one pointed as we tend to think . History has many complex layers . As the saying goes – “ history is written by victors “ . If we twist it slightly it would be safe to say that history is written by the privileged . Or perhaps , History is most often written with an agenda ! Therefore history , by its very nature , can never be complete nor foolproof . We tend to overlook the fact that in history two opposing ideas can also be true simultaneously . Therefore , every Brahmin need not be a tyrant evil oppressor nor every low caste an oppressed . Every deity taken away from a temple may not amount to a sacrilege and dishonour of hinduism . Taj mahal is not a name changed hindu shaivite temple . Gyan Vapi is not a mosque built on virgin soil . A thousand such historical over simplifications or agenda driven narratives have done more damage to true history than good . It is very necessary to have an open mind while discussing such a tricky subject as ‘bargee attack’ . I will lay down some points which will provide the readers with food for thought . But it is upto them to interpret why the bargees did what they did .1 – Bhaskar pandit organised a full fledged Bengali styled Durgotsav in Dainhaat of Bardhaman district . New pratima was built , new chandi mandap temple constructed and thousands of sacrificial animals were brought in and grand preparations were begun . But in the night of MahaNavami , Alivardi Khan sent a message of truce and took Bhaskar Pandit into confidence and had him killed . The puja remained unfinished . Even today ruins of the chandi mandap can be seen at Dainhaat . Understandably , Bhaskar pandit was not anti bengali or anti hindu per se and he embraced Bengali customs and culture . In this context it is worth remembering that the cult deity of Marathas , Tulja Bhawani ( from whom legend says Chatrapati Shivaji received his sword ) is also an image of Mahishamardini . Presumably , the marathas quickly saw the sameness in the rituals and ideas and were glad to adapt . 2- Just like the Mughal army had hindus in their ranks or the british indian army was largely constituted of the Indian soldiers , in the same way the bargees also had men of all castes and religions in their ranks . They even had large battalions of muslim men . It would be unfair to expect that the Islamic bargees would be respectful towards bengali idolators and their practices . 3- human ethics and moral values have underwent massive changes in recent times . In ancient times , we did not have human rights commission , supreme court or the like . Survival of the fittest was the mantra for the times . In an event of attack it was normal for the army to indulge in plunder and loot . The rulers unofficially allowed their men to have a free hand in ‘exploits of war’ after a hard earned victory . This was a sort of incentive for the men ! Remember in those days warfare had more to do with brute strength and direct combat than with intelligence as it has become nowadays after advent of computer controlled war machinery ! During such post war plunders , rape , looting , rampage and selling humans into slavery became the norm .This was true for the entire world throught history !4 – The temples in Bengal which harbour tales of bargee attacks are mostly vaishnavaite shrines , namely Radha Krishna or Gouranga ( Chaitanya ) temples . Both these divinities would have been unknown to the Marathas whose own brand of Vaishnavism were centered around Vithhal , Rukmini and Satyabhama . It is possible that unknown gods attracted more wrath .5- But interestingly the marathas were also one of the chief patrons of the Puri Jagannath temple . The hati vesha or Gaja vesha of Jagannath was directly due to Maratha influence over Jagannatha cult . The form of Jagannatha too would have been largely unknown to the marathas . That being said , they would have definitely been aqquianted with the tirtha mahatmya of Puri and the name of Jagannath from the puranas and scriptures . 6- In all probabilities Bhaskar Pandit did receive some support from the local hindu populace . The records of his durgotsav mentions throngs of villagers coming to participate in his puja . Presumably , there was both an element of fear and awe working amongst the masses . 7- It is hard to answer whether Madanmohan manifested in form or not , from a point of view of history . Such things are matters of faith and are best left untouched by history ( or even historians ) . However if we introspect purely from a historical perspective some hypothetical probabilities may be suggested . In hindu society when a man narrowly escapes a danger , he often attributes his miraculous escape to the mercy and compassion of his cherished deity . Its common for such a bhakta to say – “ I got saved due to intervention or madanmohan “ . It is very much possible that the Malla dynasty kings who ruled over a jungle infested tricky terrain and whose subjects largely comprised of martial races and tribes , overrun the bargees by their military strength and the pious king attributed the win to the mercy of Madanmohan . In due course of time this popular way of saying aqquired more realistic and literal connotations and became etched in collective memory as madanmohan manifesting in person ! Just a “what if” …. but worth a thought nonetheless !8 – It is also possible that the bargees themselves chose not to attack the malla kings , who in any case had been famous as champions of Hinduism for the last 1000 years . I have laid out the points to contemplate on . It is upto you to draw the final conclusion . History is never straightforward . All we can do is record and mention the loose ends . If the ends meet , well and fine . If they do not , it is best to be honest and admit that history is unclear thereafter , rather than to try make them meet by force and end up projecting a personal political or sociological agenda unto history . But even after so much , the people of Bishnupur could not keep their beloved Madanmohan in their town . Malla Raja Chaitanya Singha got into a financial debacle and had to take a loan of a thefty sum of money from rich zamindar businessman Gokul Mitra of Calcutta . By this time , the sun had already began to set on the glories of Malla dynasty and Calcutta had begun to emerge as the next economic and political capital of India . In exchange of the money , Chaitanya Singha mortgaged his nagar devata Madanmohan to Gokul Mitra . When Malla king was unable to return the money back in due time , Madanmohan was left back at disposal of Gokul who went to build him a grand new temple . Even today visitors to Kumartuli in Calcutta can see the grand temple of madanmohan built in typical greaco roman neoclassical colonial style . At Bishnupur a replica deity was installed which also got stolen a few decades back . A second replica of Madanmohan is presently housed in the original temple back at bishnupur . So did Madanmohan really manifest ? Well, the eyes of a rationalist seek out different things from the eyes of an artist . To an artist , his divine manifestation is of much more importance because it has ‘rasa’ . It has the power to soothe the mind and senses from the drudgery of daily monotonous existence . To the artist , the supernatural is more appealing than the natural . But then again it is the ‘natural’ that gives birth to the ‘supernatural’ . In this painting I have strived to bridge the gap between the two with the string of bhakti . Jay Madanmohan .

Text an art by Halley Goswami

#Krishna #hindu art #bengal #vaishnavism

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richincolor · 3 years

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New Releases

It's a new week and that means new releases out this Tuesday. Check them out:

Version Zero by David Yoon

Reboot the present. Save the future. Max, a data whiz at the Facebook-like social media company Wren, has gotten a firsthand glimpse of the dark side of big tech. When he starts asking questions about what his company is doing with the data they collect, he finds himself fired…and then blackballed across all of Silicon Valley.

With time on his hands and inside knowledge about the biggest tech companies, Max and his longtime friend—and sometime crush—Akiko, decide to get even by…essentially, rebooting the internet. After all, in order to fix things, sometimes you have to break them. But when Max and Akiko join forces with a reclusive tech baron, they learn that breaking things can have unintended—and disastrous—consequences. And those consequences will ripple across the world, effecting every level of society in ways no one could have imagined. — Cover image and summary via Goodreads

A Sitting in St. James by Rita Williams-Garcia An unmissable tour de force from three-time National Book Award finalist and Coretta Scott King Award–winning author Rita Williams-Garcia, who memorably tells the stories of one white family and the enslaved people who work for them. Essential reading for teens and adults who are grappling with our country’s history of racism.

This astonishing novel about the interwoven lives of those bound to a plantation in antebellum America is an epic masterwork—empathetic, brutal, and entirely human.

1860, Louisiana. After serving as mistress of Le Petit Cottage for more than six decades, Madame Sylvie Guilbert has decided, in spite of her family’s indifference, to sit for a portrait. But there are other important stories to be told on the Guilbert plantation. Stories that span generations, from the big house to out in the fields, of routine horrors, secrets buried as deep as the family fortune, and the tangled bonds of descendants and enslaved. — Cover image and summary via Goodreads

Hani and Ishu’s Guide to Fake Dating by Adiba Jaigirdar Everyone likes Humaira “Hani” Khan—she’s easy going and one of the most popular girls at school. But when she comes out to her friends as bisexual, they invalidate her identity, saying she can’t be bi if she’s only dated guys. Panicked, Hani blurts out that she’s in a relationship…with a girl her friends absolutely hate—Ishita “Ishu” Dey. Ishu is the complete opposite of Hani. She’s an academic overachiever who hopes that becoming head girl will set her on the right track for college. But Ishita agrees to help Hani, if Hani will help her become more popular so that she stands a chance of being elected head girl. Despite their mutually beneficial pact, they start developing real feelings for each other. But relationships are complicated, and some people will do anything to stop two Bengali girls from achieving happily ever after. — Cover image and summary via Goodreads

Sister of the Bollywood Bride by Nandini Bajpai Mini’s big sister, Vinnie, is getting married. Their mom passed away seven years ago and between Dad’s new start-up and Vinnie’s medical residency, there’s no one but Mini to plan the wedding. Dad raised her to know more about computers, calculus, and cars than desi weddings but from the moment Mini held the jewelry Mom left them, she wanted her sister to have the wedding Mom would’ve planned.

Now Mini has only two months to get it done and she’s not going to let anything distract her, not even the persistent, mysterious, and smoking-hot Vir Mirchandani. Flower garlands, decorations, music, even a white wedding horse—everything is in place. That is, until a monster hurricane heads for Boston that could ruin everything. Will Mini come through as sister of the bride and save the day? — Cover image and summary via Goodreads

Misfit in Love (Saints and Misfits #2) by S.K. Ali Janna Yusuf is so excited for the weekend: her brother Muhammad’s getting married, and she’s reuniting with her mom, whom she’s missed the whole summer.

And Nuah’s arriving for the weekend too. Sweet, constant Nuah. The last time she saw him, Janna wasn’t ready to reciprocate his feelings for her. But things are different now. She’s finished high school, ready for college…and ready for Nuah. It’s time for Janna’s (carefully planned) summer of love to begin—starting right at the wedding.

But it wouldn’t be a wedding if everything went according to plan. Muhammad’s party choices aren’t in line with his fiancée’s taste at all, Janna’s dad is acting strange, and her mom is spending more time with an old friend (and maybe love interest?) than Janna.

And Nuah’s treating her differently. Just when things couldn’t get more complicated, two newcomers—the dreamy Haytham and brooding Layth—have Janna more confused than ever about what her misfit heart really wants. Janna’s summer of love is turning out to be super crowded and painfully unpredictable. — Cover image and summary via Goodreads

#version zero #misfit in love #sister of the bollywood bride #a sitting in st. james #Hani and Ishu’s Guide to Fake Dating #new releases #long post

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mdshohagbd · 3 years

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What is Off-Page SEO? Essentials for Off-Page SEO?

Another name for off-site SEO is off-site SEO. This is called off-page SEO because off-page SEO work is basically done off-site. Off-page SEO is the process of doing SEO off-site SEO to increase the traffic that comes from search engines to get a better position on the search engine results page. The most common off-page SEO tasks are creating backlinks, sharing social media, promoting websites, and branding websites.

Some new SEO professionals don’t realize that the days of idle SEO are over! But Google makes it clear that they still value backlinks when it comes to setting up a website. At the same time, Google determines the level of search by considering the value of the page rank. So the importance of off-page SEO is still there and will be in the future.

In addition, Google still considers website optimization to be very important. Thanks to the marketing of the most popular websites on the Internet, Google offers them excellent rankings. At the same time, when users review and recommend the website properly, Google takes them seriously and determines the level of search. Off-page SEO is therefore of great value in increasing the search engine rankings of the website and increasing the traffic from search engines.

In today’s post, I will share a complete guide to Off-Page SEO

2021. You can learn more about what you need to do outside of the current SEO page of your blog. In addition to learning about the differences between off-page SEO strategies and off-page SEO strategies, you can apply new techniques to your blog by knowing all the important aspects of off-page SEO.

The final SEO guide on the page?

has been shared on our blog. Many people say they like our post and ask to share the post about off-page SEO. Basically, we share this post to keep everyone asking.

Many would say that you make this post just to save the request. I would also say yes, I only share posts to keep readers' requests on our blog. Because after writing a post about SEO with great effort, the expected visitors are not available in that post. This is because less than 2% of the people in our country like SEO. Furthermore, it does not mean that SEO is not searchable at all on Google. There is no point in writing an SEO post to him. Even then you have to write about SEO from time to time in order to maintain the reputation of the blog and the application of readers.

Other than that, all the off-page SEO posts I have seen on other Bengali blogs are almost identical. Everyone posted a few years ago but never received a review. Basically looking at old off-page SEO posts made me interested in writing this post today.

What Is the Difference Between Page-On and Off-Page SEO?

Before you understand the difference between on-page SEO and off-page SEO, read our blog post on the SEO page. After that, you will get a clear idea about the SEO on the page.

SEO on a web page is done within the website. Such as content optimization, title tags, meta tags, keyword research and usage, internal links and image optimization are some of the things that can be improved by opening a website in person.

But off-page SEO cannot work within your website. In comparison, off-page SEO is much more complex than on-page SEO. Because off-page SEO has to be done without blogs, off-page SEO is difficult and time-consuming. An SEO professional has a lot of problems, especially when it comes to link building. The main difference between the two is that on-page SEO can be done within a website but off-page SEO cannot be done within a website.

BackLinks and Off-Page SEO?

Freelancing is the process of making money by reaching out to customers online by concluding employment contracts with various online customers at home. You may not be clear about freelancing yet. I try to introduce this article easily.

Usually, a person submits their CV to get a job in the company when they graduate. After looking at the CV and at the end of the interview, the company hires him if he sees fit. The person then earns a fixed monthly salary for performing normal work for the company from 9 a.m. to 5 p.m.

In the same way that freelancing does?

a person applies for jobs in various internet freelancing markets to get a job in a course in which he or she has experience or can work well and hire him or her to do the work. That’s why freelancing.

#off-page seo #LOCAL SEO #backlinks

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lakecountylibrary · 3 years

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Highly Recommended Diverse YA Books!

(Editor's note: Image description in alt text. Below summaries provided by publishers)

If I Was Your Girl by Meredith Russo

New girl at school Amanda Hardy just wants to make friends and fit in, but the secret she's keeping makes it hard to get too close to anyone. When she starts spending time with easygoing Grant, Amanda realizes just how much she is losing by guarding her heart. But she's terrified that once she tells him the truth, he won't be able to see past it. Because at her old school, she used to be Andrew...

Displacement by Kiku Hughes

Kiku is on vacation in San Francisco when suddenly she finds herself displaced to the 1940s Japanese-American internment camp that her late grandmother, Ernestina, was forcibly relocated to during World War II. These displacements keep occurring until Kiku finds herself "stuck" back in time. Living alongside her young grandmother and other Japanese-American citizens in internment camps, Kiku gets the education she never received in history class.

Sia Martinez and the Moonlit Beginning of Everything by Raquel Vasquez Gilliland

Arizona. It's been three years since the ICE raids, since Artemisia (Sia) Martinez's mother disappeared. Sia knows her mom must be dead, but she drives into the desert to light candles to guide her mom home. One night a blue-lit spacecraft crashes in front of Sia's car-- and it's carrying her mom, who is very much alive. Now she needs to save her mom from the armed, quite-possibly-alien soldiers.

You Bring the Distant Near by Mitali Perkins

Ranee worries that her children are losing their Indian culture. Sonia is wrapped up in a forbidden biracial love affair .Tara seeks the limelight to hide her true self. Shanti desperately tries to make peace in the family. Anna fights to preserve Bengal tigers and her Bengali identity. As each Das woman decides which Bengali traditions to uphold in America, one hard truth remains: some scars take generations to heal.

All American Boys by Jason Reynolds and Brendan Kiely

When Rashad is mistakenly accused of stealing, classmate Quinn witnesses his brutal beating at the hands of a police officer who happens to be the older brother of his best friend. Told through Rashad and Quinn's alternating viewpoints.

If You Come Softly by Jacqueline Woodson

In his Brooklyn neighborhood, Jeremiah feels good inside his own skin. But now he's going to be attending a fancy prep school in Manhattan, and black teenage boys don't exactly fit in there. So it's a surprise when he meets Ellie the first week of school. In one frozen moment their eyes lock, and after that they know they fit together-- even though she's Jewish and he's black. Their worlds are so different, but to them that's not what matters. Too bad the rest of the world has to get in their way.

See more of Kate's recs

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recentanimenews · 3 years

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INTERVIEW: Rajorshi Basu on Creating Studio Durga and the State of Anime in India

All images via Studio Durga

What constitutes “anime” is a topic of much debate. The general public associates the word “anime” with a particular visual style. Purists, on the other hand, believe that only animation made in Japan can be considered anime, regardless of whether the visuals are on the K-On! end of the spectrum or the Panty and Stocking with Garterbelt end of the spectrum. This is, to an extent, understandable. But can such a strict definition continue to hold weight in an era where anime is becoming increasingly global? Can a production from outside Japan that possesses all the traits we have come to associate with anime be called anime?

The members of Studio Durga — an independent animation studio based in New Delhi, India — certainly seem to think so. They proudly claim to be India’s first anime studio. While India has worked on anime in the past — in the form of co-productions with Japan (such as Ramayana: the Legend of Prince Rama) — what sets Studio Durga apart is the fact that they work without any foreign assistance, be it from Japan or elsewhere. Their debut work Karmachakra — an 80-minute Bengali-language film, the first in a series of films — is an entirely independent film, made by a core team of only seven members for animation production. Karmachakra is pending release, but the first 20 minutes of the film have been uploaded on YouTube as a “pilot episode” — which won awards at the Independent Shorts Awards 2020: the Platinum Award for Best Animation Short, and Honorable Mentions for Best Web Series/TV Pilot and Best Original Score. Karmachakra is a supernatural mystery-drama, aimed at an older audience — something that is rare in India, where animation has long been seen as a medium for younger audiences only. The Indian anime community has reacted very favorably to Karmachakra, with many heralding it as a step forward for animation in India.

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I reached out to Studio Durga founder and CEO Rajorshi Basu, who was kind enough to answer my questions. We had a great discussion, not only about Karmachakra, but about anime and 2D animation in general. Here’s what he had to say:

(The following questions and answers are lightly edited for clarity and content.)

How did you get into anime and manga?

Rajorshi: The first anime I recall watching was Ninja Robots on Cartoon Network — way back when I was three or four years old and didn’t really know it was called anime. There was Heidi, Girl of the Alps, also on Cartoon Network, a title from the World Masterpiece Theater collection of anime. It was my first exposure to the work of many old masters, including Hayao Miyazaki. Then they started showing anime on the Toonami programming block, with Cardcaptors and Dragon Ball and all that stuff.

Animax was also a huge factor. I used to check out a lot of stuff on Animax before it finally went away. And then of course streaming services happened. But yeah, it was tough to get your hands on anime and manga back then. I remember that you would just chance upon secondhand manga in shops. That was procurement back in the day. But now it’s a different ballgame; one can just open up Netflix and find all kinds of different shows. Throughout the years there have been a lot of different shows that have influenced me, and all of that comes into the stuff that we are doing. I think this idea of doing an Indian anime was something I’ve had since my early teens to late teens.

So you decided pretty early on that you wanted to make an Indian anime, is that right?

Rajorshi: Yeah, this idea has been with me for roughly half my life. It's just that I actually knew how to do it after a whole lot of experiences. Especially after visiting Japan in 2013. I went there for a pop culture research program where we were actually given access to facilities that make Japanese entertainment, including animation.

So did you face any opposition in pursuing this path?

Rajorshi: We faced nothing but opposition, actually. In 2017 we’d put out a trailer on YouTube and, you know, it was just a sort of demo. It's not there anymore; we took it off. This was way before we brought out the actual trailer that you see right now. It was only after we took it to the quality that we wanted that people started thinking about the possibility of, you know, Indian anime. Especially after 2019, when the two movies (Weathering With You and Dragon Ball Super: Broly) were released in India. The community started considering the possibility that Indian anime can happen.

I think there are two main challenges. One challenge (which we’ve kind of got past) was finding the right people for the production because hand-drawn animation is a lost art and it's very tough to find people who pursue that. It was tough finding people, which is also why we are a very small team. We somehow managed, over a number of years, to finish the movie production.

The other challenge (one we are facing right now) is distribution. I think that’s because India does not have a proper distributor for anime. Of course, we see some anime on Netflix, Amazon Prime Video, and Crunchyroll. Disney+ Hotstar, which actually has the biggest reach in India, don't showcase any anime. There is a solid market and demand for anime in India but there's hardly any supply, which is why we thought we’d fill that gap in the market. It depends on what kind of channels you go through when it comes to distribution. I mean, we are in talks with Netflix and Amazon Prime Video, and we want to be in talks with Crunchyroll. But it's very hard to find people, to find the correct approach or routes through which you take this product. I think that's what matters. In terms of distribution, routes matter more than the product itself because if you are talking about Netflix or Amazon Prime, they are going to look at it as an independent movie and they are also going to want to see examples of such production that has made it in the market and things like that.

Obviously, there's a huge demand but there needs to be a distributor that recognizes the demand and what it means when something like our product (or anyone who is doing an animated film that is not for kids) gets licensed. Distribution is the final roadblock we are facing right now because when it comes to quality and production values, all of the people that we have talked to have appreciated our work. But when it comes to actually slating on an acquisition session, there's always some kind of discrepancy there. There's no one to handle animated movies when it comes to India, unless you’re talking about the kids’ market. That's a totally different topic.

You raise an important point about 2D animation being something of a lost art. In particular, the whole Japanese anime workflow is totally different from what most people are used to doing. So, how did you learn it, and how did you find people with this skill?

Rajorshi: So the current core team is a team of four people, including myself. I personally handle everything other than the actual drawing, because although I’ve studied design and art and all of those things, music and film production is what I have primarily been trained in and what I have experience in (the former of which I'd been recognized with a scholarship for from Berklee College of Music). Compositing — the final “look” of anime — is something that I learnt entirely on my own through observation and software/workflow research. So I know the process of anime production. There is hardly anyone who makes animation through this process in India. So I would say it is something very unique to our studio.

The people that I have, they were actually making the transition to college back when I hired them. They had considerable skill when it came to illustration and making animation, but it was this project that got everybody up to a certain level. The core team that I started with are still working together — basically the four of us, but we extend sometimes to 10 people. And if you’re talking about the total number of people involved in this project, it’s over 30. But finding the core team took a long time. I’d actually thought of starting a business with this around four or five years back, and since then it’s been about finding people to execute and help out in the process.

When it comes to hand-drawn animation, there is talent out there. There just needs to be a product that makes use of those talents. I wanted to create a forum where talented artists could join in and showcase their capabilities. It’s not that 2D animation is completely not there, it’s just that it’s not focused on by people as a career option because there are no outlets for it that are monetizable. I think that’s more of the problem. When you look at some talented students from NIDs [National Institutes of Design, India], you will find that they are very much capable of doing everything that we do. It’s just that there’s no forum or platform to create a product like this which makes use of both the anime production process as well as the hand-drawn aspect of it.

So if you look at, say, Chinese animation studios, the way they started off was by doing subcontract work for Japanese anime studios. They slowly built up their own base, their own talent pool, and then started to make originals of their own. So, why did you decide to start off with an original rather than go through this process?

Rajorshi: Chinese animation actually has a much richer history. They’ve been doing their own intellectual properties for longer than they’ve been outsourcing. But with India that is actually not the case. When it comes to 2D animation we’ve had collaborations with Japan in the past, whether it’s Ramayana or Batu Gaiden. But our main aim was to do something that was completely Indian-produced. I think that’s the main draw, so that we could call it India’s first anime.

Let’s talk a bit about outsourcing outside our realm of animation: when it comes to 3D animation and VFX. India is actually a world player in the market when it comes to 3D assets and VFX being outsourced to us. But when it comes to intellectual properties, there’s pockets of brilliance that surface from time to time, especially in the non-3D space, because the 3D space is a framework in itself, a framework that I personally have also been very connected with in the past, in all the projects that I’ve freelanced for (when it comes to music, editing, and the post-production side of things). When it comes to hand-drawn animation, I would say that there are these pockets of independent production which do not find the correct outlet or distribution platform. But they’re there; they’ve been there for a very long time. They’re not necessarily practicing the anime art style like we’re doing, but they’re doing hand-drawn animation nonetheless. And the quality and execution is something that’s worth showing to the world, it’s just that there’s no proper distribution channel as I was saying. Why anime? That’s because there’s huge demand for this particular art style. Since there was already a demand for it, as well as respect in the community for something that is a product made by India for India, that is where we came in and thought “this is a niche we want to fill.”

And look, most of the artists who worked on this project have already worked on commissions for foreign clients all of their lives. We don’t look at outsourcing as a route that we necessarily have to do first before we make our own intellectual property. Because we do that anyway: when it comes to making small animations for brands, or working for clients that are primarily non-Indian. The whole idea about this project is that it’s by India and for India. I wouldn’t go so far as to call it a statement, but it is a specific niche that’s appealing to a lot of people, thankfully.

So let’s talk a bit more about Karmachakra itself. When I saw the trailer on YouTube, the art style stood out to me, and it reminded me of a couple of things. One was the works of Mamoru Hosoda, with his distinctive style of flat shading. The other was Shin Sekai Yori, which has sticker-like 2-dimensional character designs but with mood lighting and effects and appropriate color palettes to create an atmosphere. Were any of these your inspirations, or were there other influences?

Rajorshi: I mean, Mamoru Hosoda is an inspiration for any animation filmmaker. My personal inspiration, in terms of direction and in terms of storytelling, is Satoshi Kon. You know, works like Perfect Blue, Millennium Actress, Paranoia Agent: all these films and shows that are very loved, conceptually and thematically. My second influence would be the directorial signature of Tetsuro Araki (Death Note, Attack on Titan); I think that directorial signature is very alluring. In terms of how to tell a story through many characters, I’d say Durarara is an influence. I mainly chose to go with urban fantasy, inspired by the unique approach that light novels like Boogiepop or Nisio Isin's works take. Other than that, I think my all-time favorite director is Shinichiro Watanabe (Cowboy Bebop).

Some more important key influences that left a huge mark on my imagination of what the medium can be are:

Wolf's Rain, Black Lagoon, the Steins;Gate franchise, Terror in Resonance, Michiko and Hatchin, Barakamon, Mushi-Shi, Great Pretender

Spirit-world action-comedies like The Devil is a Part-Timer, Blood Lad, Hoozuki’s Coolheadedness, and Noragami

Mind Game from director Masaaki Yuasa

Any project involving character designer Yoshitoshi Abe, like Texhnolyze, Serial Experiments Lain, etc

There's also the noitaminA block stuff; short, offbeat 11-episode per cour series with a broader audience in mind. Brings to mind the makers of the noitaminA logo animation, Studio Rikka and their charming sci-fi works such as Time of Eve and the like.

In terms of manga:

The superlative, mind-game ridden works of Shinobu Kaitani

The out-of-this-world panelling in works by Keiichi Koike

The poignant interpersonal/social drama from folks like Shuzo Oshimi and Inio Asano

The artful, satirical guro manga from people like Shintaro Kago

The sprawling, epic series from the legendary Naoki Urasawa, such as Monster and the like

Brilliant food/drink manga such as Bartender and Sommeliere by Araki Joh, or even Oishinbo.

These are just names I can think of right now, but there’s actually plenty of influences for all of us here at Studio Durga.

Let’s talk about the OP. From Episode 0 of Karmachakra, what strikes me as its most "anime" element is its OP. From the song itself, with its “anime theme song” vibes, to the color palette reminiscent of the Psycho-Pass OP, to the character-focused cuts reminiscent of the Baccano and Durarara OPs, to the text on screen reminiscent of the Cowboy Bebop OP: this OP screams "anime." OPs usually are a studio's way of enticing viewers to watch an anime, so clearly, a lot of effort went into this OP. And it's a really attractive and alluring OP. What went into the making of this OP? How did you storyboard it, and how did you compose the opening song? How much more effort was it to animate, comparatively?

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Rajorshi: The OP song was composed, arranged, produced, and played by me more than six years ago. At the time, I was inspired to make a melody and instrumentation that sounds “classic anime.” It was a personal project back then, and I had no idea I was going to be using it for an anime production of my own in the future. So when it was time, my mom helped with the lyrics and I asked Tanisha (the singer who I've collaborated with on the ED as well) to sing out the lyrics composed for the song. It was a blast to make. Unlike the ED, which I composed much more recently, the OP arrangement is more busy than minimal, which was my style back then and which probably works better for the usual high-energy anime OP.

Unlike background scoring, which is set to edited bits of animation, the animation for the OP was set to the music instead. We were using a scratch track and timing every cut to whichever hit we wanted it to fall on. The choreography and transitions took more time than standard animation, as the entire thing was meant to seamlessly flow with non-stop fluid animation. The effort varies in anime production from shot to shot, but in the case of the OP, it was about tying together an entire string of money-shots. Apart from the animation, we had a lot of fun with the compositing as well. Doing MVs is the most enjoyable activity for us.

Let’s talk about the world of Karmachakra. What inspired it? Personal, lived experience or literature and other media?

Rajorshi: Karmachakra is a series of movies. The second and third are what we’re working on right now. The second is more of the action-thriller kind, and the third/finale is along the lines of philosophical sci-fi. But the first one is more of a mystery-drama. I’m a huge mystery buff; that’s a sort of personal favorite genre of mine. So thematically I think the first movie of Karmachakra is mostly a mystery-drama with certain supernatural elements and certain cultural elements to those supernatural elements. So there’s many different layers. I usually like to do something that is layered, something that is character-driven but layered not only in the histories of the characters but in the lore that ties it all together with a supernatural theme, and also the third layer that puts them in a cultural context. These are basically the three levels that we’re working on when it comes to Karmachakra.

When it comes to cultural influences, there’s me being a Bengali and hence making this in Bengali. That is something I had in mind from the beginning. Having connections to the Bengali film industry, getting some of the best names from there to do voice acting on this: that was definitely part of the plan.

For the script, I’ve had many, many different influences. My background is quite varied. Since I was a kid I’ve always been a music buff. I was very much into classic/prog rock and concept albums from the '70s and '80s, apart from my production and performance background in jazz, jazz fusion, RnB, soul, and funk. So storytelling is a huge part of music for me, whether it’s through film scoring or whether it’s through a concept album where you tell stories through music itself. Other than that, I graduated in English literature, which is a huge part of the general approach I take to things when it comes to layering and writing for film. For this production, between film, literary works, musical works, and anime, there’s a LOT of influences. I wanted to take all those influences and make something that was cohesive enough for someone who was watching, but at the same time wasn’t predictable or cookie-cutter like.

Are there any talented Indian animators you’d like to spotlight?

Rajorshi: I would like to talk about Ghost Animation. They’ve been working on little animated clips for Bollywood movies for a very long time, but recently they made a short film, Wade, set during a flood that happened in Bengal. They put it up on Kickstarter, promoted it, and successfully got it funded. I think it won an award at Annecy or something. And it’s all hand-drawn.

Apart from that, there’s a couple of guys who’ve been in the Indian anime community and illustrator community for a very long time. Their names are Krishna and Balram Bannerjee, but they’re informally called the Xong Bros. They’re primarily comic artists, so they don’t do a lot of animation, but they also work on animation for indie games made by foreign studios: they make some trailers and the like for them.

There was also this short film that was commissioned by Royal Stag Short Films, called Death of a Father. Entirely hand-drawn. Not the anime artstyle, but entirely hand-drawn.

Lastly, there’s Jazyl Homavazir. A long-time animator, illustrator, and coach in the Indian comics/animation scene in the art style of manga. Both him and the Xongs are dear friends of ours who support and appreciate our initiative.

Do you have any parting thoughts for our readers?

Rajorshi: I would say don’t make any compromises. If you know you’re capable of doing something, whether it is independently or whether you have backing or whatever it is, don’t make any compromises and do something that is only an approximation of what you actually want to do. If you have a vision, just go ahead and do it, and then see what happens. You might succeed, or you might fail, but that will be a learning experience. Just because something is tangentially related to whatever vision you might have, don’t settle for less.

Are you excited for Karmachakra? Let us know in the comments!

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: Manas B. Sharma

#Anime #News #Latest in Anime News by Crunchyroll!

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ramaarya · 4 years

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Dosa Scomp, the ultimate adjective order guide

Do you like dosas? They easily one of my favourite Indian dishes.

If I asked you to describe the above dosa, which one would you say is the correct adjective order?

a) a delicious round South Indian urad dal dosa. b) a South Indian urad dal delicious round dosa. c) a South Indian round delicious urad dal dosa.

Confused?

Yes, there is an adjective order when placing two or more adjectives before a noun.

And this order, luckily for us is called DOSASCOMP. It is easier to remember a rule when it has an Indian food word in it, I am sure you will agree. 😊

So, the DOSASCOMP rule is as follows. It states there are 9 different types of adjectives and this is the order in which they HAVE TO BE placed:

[Note: I have included some examples to clarify each type.]

D – Determiner [a, an, the, my, your, a number, this, that, some …] O – Opinion [these are subjective observations and comprise words like delicious, beautiful, nice, dirty, shiny …] S – Size [big, small, huge, tiny, tall, short …] A – Age [new, old, young, ancient, X-year …] S – Shape [round, square, flat, bent, straight, twisted …] C – Colour [black, white, red, orange, yellow, green, blue, indigo, violet …] O – Origin [Indian, Chinese, American, Punjabi, Bengali, African …] M – Material [the material the noun is made of such as paper, cotton, dal, silk …] P – Purpose [what is the noun used for: eating, sleeping, cooking, writing … TIP: The purpose adjective usually ends with the suffix -ing]

To get back to my question at the beginning of this mailer. The correct answer is option 'a'.

A [determiner] delicious [opinion] round [shape] South Indian [origin] urad dal [material] dosa [noun].

If you got it right, many congratulations!

There’s a bit more when it comes to adjectives. If you have also wondered whether there should be commas or not between adjectives, there is a rule for that too. Stay tuned and in next month’s post we’ll delve into that part of adjective grammar.

Till then, stay safe and healthy, and make sure the DOSASCOMPs are in the right order when communicating.

[Image source: https://ranveerbrar.com/recipes/masala-dosa]

#English Grammar #Writing Skills #Adjective Order #Dosa Scomp

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braincoins · 4 years

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Unusual Halloween Movies

Tired of Jason, Freddy, and Michael? Want something new this year? Boy, do I have some treats lined up for you! I’ve used JustWatch to list the streaming options (though these are US streaming options; I maaaaay be up for some streaming fun on Halloween...). I’ll tell you right now, this list can almost perfectly be broken into three categories: Horror-Comedy, Sci-Fi Horror, or International Horror.

American Mary - A medical student drowning under tuition debt finds a lucrative practice when she enters the world of body modification. ngl, I remember liking this movie but it’s been a bit since I saw it, so for the CONTENT WARNINGS I’m going to straight up rip the MPAA here: Rated R for strong aberrant violent content including disturbing images, torture, a rape, sexual content, graphic nudity, language and brief drug use

Ava’s Possessions - Ever wonder what life is like once all your demons have been exorcised - literally? Now that Ava is free of the demon that once possessed her, she’s out of a job, down a few friends, and facing charges for the acts of violence her demon did. The only way to get out of trouble is to go to the demon-equivalent of AA. CONTENT WARNINGS: mostly blood and bad language; some mild sexual content

Behind the Mask: The Rise of Leslie Vernon - A journalism grad student interviews a young man in training to be the next slasher killer, ala Jason/Freddy/Michael. An absolute treat of a movie for anyone who loves slasher films; it’s about 3/4 mockumentary, 1/4 actual horror film when she realizes that, no, really, he’s going to go kill all those co-eds. CONTENT WARNINGS: Blood, gore, naked boobs (”Ugh. Is that REALLY necessary?” “Now, Taylor, who’s telling this story?”), sex, occasional panty shots (because, again, slasher films).

Bubba Ho-Tep - OH MAN another one I had to go back and add in ‘cause REALLY NOW. Elvis is in a nursing home (at least, he says he’s the real Elvis) and he and JFK (who is played by Ossie Davis - who you will note is NOT white) have to fight off a resurrected mummy who sucks the souls of the living out of their assholes. Bruce Campbell stars. HOW IS THAT NOT AWESOME ENOUGH FOR YOU?! CONTENT WARNING: Um... look, I think you kinda already know what sort of content to expect given what I just told you about the story.

Bulbbul (Netflix Original) - (Hindi Language) During the 19th century Bengali Presidency, something - or someone? - is haunting the woods around a lord’s estate, killing men in gruesome ways. The lord has left his estate in charge of his young wife, while his younger brother, who’d been away studying in London, returns to hunt down whatever is causing these mysterious deaths. CONTENT WARNINGS: child bride, blood, and what Netflix calls “sexual violence”, meaning a rape scene so graphic (despite not showing any nudity or genitalia) that it is GUARANTEED to make you uncomfortable. The movie was written and directed by a woman, so there is nothing intended to be “sexy” about this at all. If you can make it through that scene, though, there is a definite payoff for it. (Or should I say “payback”?)

Eli (Netflix Original) - A young, incredibly sick boy with a fragile immune system is brought by his parents to a clinic for an experimental treatment that may be their last hope. But all is not as it seems within the walls of this place... perhaps literally. CONTENT WARNINGS: mostly just language, a few mild jump scares. People get set on fire at one point. No biggie.

Errementari: the Blacksmith and the Devil (Netflix Original) - (Basque Language) Based on a Basque folk tale. Eight years after the First Carlist War, a government official comes to a small, impoverished Basque town asking after the blacksmith. Everyone tries to warn him away; the blacksmith is an evil, evil man. But he is on the trail of some Carlist gold that might be in the smithy, and the prospect of the gold wins him some helpers. And while everyone is distracted by that, a young orphan girl manages to get onto the blacksmith’s property. And what she finds there, no one could have expected... CONTENT WARNINGS: I took a screenshot of Netflix’s list of warnings just because it amuses me:

[sings “One of these things is not like the others...”]

Europa Report - Look, I really can’t recommend this enough for fans of found-footage features and people who can stand slower-paced, constantly-building terror. An international mission is sent to investigate Europa, one of the moons of Jupiter. (Those of you who are fans of real-world space exploration know that Europa is considered a prime target for extraterrestrial life within our solar system.) Contact was lost with the mission for a long time, until the data streams came flooding into Earth all at once. And what they showed... CONTENT WARNINGS: Like I said: slower pace than most horror/thriller movies. It builds slow and steady. There’s really not much in the way of blood and gore, though; an excellent example of terror without resorting to buckets of red corn syrup.

Event Horizon - Hellraiser in Space? Hellraiser in Space. Except the Lamentation Configuration is a fucking SPACE SHIP. Also, props for genre-savvy cast. CONTENT WARNINGS: EYE SCREAM. Blood, gore, and, no really, THE EYE THING. Did I mention the gore and the blood? Oh, and language. And blink-and-you-miss it nudity & sex.

Grabbers - Strange creatures are attacking a small Irish coastal town and the only way to protect yourself is... to be drunk? CONTENT WARNINGS: I mean, it’s Irish and everyone’s drunk, so bad language (by American standards) is a given. That’s... really about it, unless you have a tentacle phobia.

Green Room - An up-and-coming punk band show up to play a gig and realize too late that they’re playing at a Neo-Nazi club. And when they happen to see something they... really shouldn’t have, it becomes an all-out fight for survival. Same director as Murder Party, though this movie was made later with a much better budget. CONTENT WARNINGS: Violence, blood, gore, and yes, some dogs die because they were trained to be vicious attack dogs by Neo-Nazis. :( Also, the most important content warning of all? PATRICK STEWART PLAYS A NEO-NAZI. (You think I’m joking, but for someone who grew up with him as Jean-Luc Picard, it is downright unsettling to see, okay?)

Life - Think Alien meets Europa Report (above). The six-member crew of the International Space Station are given a sample from Mars that might contain actual extraterrestrial life. CONTENT WARNINGS: Blood. No, let me say that again: BLOOD. Sounds of bones breaking. Alien creature entering someone’s mouth and killing them from the inside (probably through a combination of choking them/asphyxiating them on their own blood/devouring their blood? It’s not clear, it’s just UNSETTLING).

Murder Party - This is what happens when snobby art school brats try to kill someone. (Read: it doesn’t go well.) Fuckin’ bop of a Halloween song over the end credits, too. Also, at least two characters are canonically bisexual. Same director as Green Room, though this movie was made first (with a much lower budget). CONTENT WARNINGS: bad language, blood, gore, nudity, mild sexual content (the nudity is supposed to be “artistic”). The dog probably DOES die, given the circumstances, but it doesn’t happen on screen, at least? And the dog gets some pretty decent comeuppance first... Also, 1000000% accurate cat representation.

The Perfection (Netflix Original) - A former cello virtuoso (virtuosa?) gets in touch with her former teacher and meets his new star pupil. An instant connection is formed between the two women... or is it? (Yes, there are lesbians!) CONTENT WARNINGS: oh chaos, where do I start? Bugs under the skin, hacking off body parts, blood, gore, mild sexual content, sexual abuse, and the movie itself is complete and utter MINDFUCKERY. Did you like “Tales from the Crypt” as a kid? You’ll probably dig this.

Ravenous - With apologies to all Native Americans, but at least they did get actual Native American actors for those parts (George is played by a Pueblo actor; his sister Martha is played by an actress of Menominee and Stockbridge-Munsee descent). A soldier who won a questionable victory during the Mexican-American war is given a hero’s status and then an exile to a remote fort in the Sierra Nevadas. Not long after he arrives, a would-be settler arrives with a harrowing tale, calling for help for what few survivors there are of his wagon train. The two friendly Native Americans at the fort issue warnings that go unheeded, of course. CONTENT WARNINGS: Blood, gore, cannibalism, PTSD.

Slither - James Gunn’s 2006 Feature Movie Directorial Debut! He wrote it, too. An homage to B-movie gore flicks like you’d see at the drive-in. I am just copying and pasting the IMDB summary ‘cause I love this movie too much to be concise about it: A small town is taken over by an alien plague, turning residents into zombies and all forms of mutant monsters. (Oh, but don’t forget the nasty, slithery blood worm things!) CONTENT WARNINGS: Nasty, slithery blood worm things. GORE, BLOOD, GORE, GORE. A very uncomfortable sex scene. Michael Rooker.

They’re Watching - An American TV crew filming what is essentially “House Hunters: Eastern Europe” stumble into superstitions, folklore, and... TERROR!! MWAHAHAHAHA. No, seriously, I LOVE how it’s basically “What if some HGTV crew wound up waaaaaaaay in over their heads, in a horrible and bloody way?” CONTENT WARNINGS: Blood, gore, and NO WI-FI.

#Halloween Movies #added Event Horizon because Pengy convinced me that not enough people know it

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ayushkejriwal · 3 years

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The Brand Logo for ‘Ayush Kejriwal’. . I am a great believer in the power of symbolism in storytelling. In the blink of an eye, a symbol can transcend language barriers and communicate complex ideas and narratives. The Ayush Kejriwal brand has evolved over the years and it is now an intrinsic part of my life story. When I reflect on the path that I’ve trodden, I see symbolism everywhere I look and some of it is quite remarkable. My brand logo tells my story through the symbols which are most potent - it is all about ‘Mai’ (Me). The number 27 has special significance. When I started out in 2013, I lived at 27 Huntly Gardens in Glasgow. I used the number 27 in some of my early branding simply to acknowledge where it all began. However, I have come to understand that 27 is an Angel Number and when it turns up in life it means that angels are calling you to have faith in yourself and your abilities, as well as your inner knowing. The city of Glasgow has a special place in my life story. In recognition of this, my logo includes symbols which represent the life and legends of saint Mungo - the patron saint of Glasgow. Look closely and see if you can find the tree that never grew; the bird that never flew; the fish that never swam and the bell that never rang. Glasgow may be my adopted home however Kolkata is the place where my character was formed, and my heart remains in the city. Kolkata is a city of many symbols but, to me, the hand pulled rickshaw symbolizes true grit and determination - qualities that Bengali’s have in abundance as symbolized in একলা চলো রে (Ekla Chalo Re). Rabindranath Tagore’s song resonates with me in terms of the struggles I faced in developing my brand when doors seemed to be closed and obstacles seemed insurmountable. Michelangelo’s The Creation of Adam is all about new beginnings and breathing life into new creations. The iconic image of two hands touching is incorporated into my logo as a representation of the creativity involved in the design and production of my pieces. The flower motif represents universal beauty which reinforces the message that everyone one is beautiful. . #ayushkejriwal #ayushkejriwallogo https://www.instagram.com/p/CL1byXFHvHG/?igshid=1e4ai2zh3awma

#ayushkejriwal #ayushkejriwallogo

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ucflibrary · 4 years

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Welcome to May which is Asian Pacific American Heritage Month!

As you can imagine, Asian Pacific American as a topic covers vast oceans of identity and information. In fact, an Asian Pacific American is an American (whether born, naturalized, or other) who was born on or has heritage from anywhere on the Asian continent and the Pacific islands of Melanesia (New Guinea, New Caledonia, Vanuatu, Fiji and the Solomon Islands), Micronesia (Marianas, Guam, Wake Island, Palau, Marshall Islands, Kiribati, Nauru and the Federated States of Micronesia) and Polynesia (New Zealand, Hawaiian Islands, Rotuma, Midway Islands, Samoa, American Samoa, Tonga, Tuvalu, Cook Islands, French Polynesia and Easter Island). These areas cover a wide array of languages, cultures, religions, and ethnicities that have brought countless skills, hopes and dreams to the United States.

UCF Libraries faculty and staff have suggested these books and movies within the library’s collection by or about Asian Pacific Americans. Click the link below to see the full list, descriptions, and catalog links. With the Libraries still on remote access, we do not have our usual extended physical display, but have created a reading list full of additional ebooks and streaming videos for you to enjoy: Asian Pacific American Heritage ereading.

Aloha Rodeo: three Hawaiian cowboys, the world's greatest rodeo, and a hidden history of the American West by David Wolman and Julian Smith In August 1908, three unknown riders arrived in Cheyenne, Wyoming, their hats adorned with wildflowers, to compete in the world’s greatest rodeo. Steer-roping virtuoso Ikua Purdy and his cousins Jack Low and Archie Ka’au’a had travelled 4,200 miles from Hawaii to test themselves against the toughest riders in the West. Dismissed by whites, who considered themselves the only true cowboys, the native Hawaiians would astonish the country, returning home champions—and American legends. Suggested by Megan Haught, Student Learning & Engagement/Research & Information Services

America for Americans: a history of xenophobia in the United States by Erika Lee The United States is known as a nation of immigrants. But it is also a nation of xenophobia. Acclaimed historian Erika Lee shows that an irrational fear, hatred, and hostility toward immigrants has been a defining feature of our nation from the colonial era to the Trump era. Americans have been wary of almost every group of foreigners that has come to the United States. Xenophobia has not been an exception to America's immigration tradition, an episodic aberration on an inevitable march toward inclusion. It is, in fact, Lee argues, an American tradition in its own right, deeply embedded in our society, economy, and politics, Forcing us to confront this history, Lee explains how xenophobia works, why it has endured, and how it threatens us all. It is a necessary corrective and spur to action for any concerned citizen. Suggested by Peter Spyers-Duran, Cataloging

Anatomy of a Springroll written and directed by Paul Kwan and Arnold Iger This dazzling film is a gigantic stirfry of savory images - Paul and his mother cooking in his San Francisco kitchen, street vendors simmering their soups, bustling markets piled with peppers, cilantro, and chilis. In America, cooking is often a solitary experience, but in Vietnam it is a family affair, with everyone cutting, chopping, and stirring while chattering. Suggested by Missy Murphey, Research & Information Services

Asian American X: an intersection of twenty-first-century Asian American voices edited by Arar Han and John Hsu This refreshing and timely collection of coming-of-age essays, edited and written by young Asian Americans, powerfully captures the joys and struggles of their evolving identities as one of the fastest-growing groups in the nation and poignantly depicts the many oft-conflicting ties they feel to both American and Asian cultures. The essays also highlight the vast cultural diversity within the category of Asian American, yet ultimately reveal how these young people are truly American in their ideals and dreams. Suggested by Sandy Avila, Research & Information Services

Asian American Youth: culture, identity and ethnicity edited by Jennifer Lee and Min Zhou Lee and Zhou cover topics such as Asian immigration, acculturation, assimilation, intermarriage, socialization, sexuality, and ethnic identification. The distinguished contributors show how Asian American youth have created an identity and space for themselves historically and in contemporary multicultural America. Suggested by Missy Murphey, Research & Information Services

Asian and Pacific Islander Americans in Congress, 1900-2017 edited by Albin J. Kowalewski The most comprehensive history available on the Asian and Pacific Islander Americans who have served in Congress. Suggested by Megan Haught, Student Learning & Engagement/Research & Information Services

At America's Gates: Chinese immigration during the exclusion era, 1882-1943 by Erika Lee Drawing on a rich trove of historical sources--including recently released immigration records, oral histories, interviews, and letters--Lee brings alive the forgotten journeys, secrets, hardships, and triumphs of Chinese immigrants. Her timely book exposes the legacy of Chinese exclusion in current American immigration control and race relations. Suggested by Peter Spyers-Duran, Cataloging

City Girls: the Nisei social world in Los Angeles, 1920-1950 by Valerie J. Matsumoto Matsumoto recovers and explores the forgotten world of urban Nisei girls' ethnocultural networks in California. By the 1920s Nisei girls' clubs had taken root in Los Angeles and provided a key venue in which young urban women could claim modern femininity, an American identity, and public space. These groups served as a bulwark against racial discrimination, offering a bridge between the immigrant community's expectations of young women and the lure of popular culture. Suggested by Missy Murphey, Research & Information Services

Keywords for Asian American Studies edited by Cathy J. Schlund-Vials, Linda Trinh Võ, and K. Scott Wong Born out of the Civil Rights and Third World Liberation movements of the 1960s and 1970s, Asian American Studies has grown significantly over the past four decades, both as a distinct field of inquiry and as a potent site of critique. Characterized by transnational, trans-Pacific, and trans-hemispheric considerations of race, ethnicity, migration, immigration, gender, sexuality, and class, this multidisciplinary field engages with a set of concepts profoundly shaped by past and present histories of racialization and social formation. Spanning multiple histories, numerous migrations, and diverse populations, this work reconsiders and recalibrates the ever-shifting borders of Asian American studies as a distinctly interdisciplinary field Suggested by Sandy Avila, Research & Information Services

Not Quite Not White: losing and finding race in America by Sharmila Sen At the age of 12, Sharmila Sen emigrated from India to the U.S. and everywhere she turned, she was asked to self-report her race: on INS forms, at the doctor's office, in middle school. Never identifying with a race in the India of her childhood, she rejects her new "not quite" designation: not quite white, not quite black, not quite Asian, and spends much of her life attempting to blend into American whiteness. But after her teen years trying to assimilate, she is forced to reckon with the hard questions: What does it mean to be white, why does whiteness retain the magic cloak of invisibility while other colors are made hypervisible, and how much does whiteness figure into Americanness? Suggested by Ven Basco, Research & Information Services

Shoal of Time: the history of the Hawaiian islands by Gavan Daws Gavan Daws' remarkable achievement is to free Hawaiian history from the dust of antiquity. Based on years of work in the documentary sources, Shoal of Time emerges as the most readable of all Hawaiian histories. Suggested by Tim Ryan, Administration

The End of Peril, the End of Enmity, the End of Strife, a Haven by Thirii Myo Kyaw Myint An unnamed narrator returns to her ancestral home in an environmentally depleted harbor city with a baby in her care. She has escaped from what she calls "the breach"--the collapse of the climate-controlled domed city where she grew up. The narrator's mother disappears, and the baby falls ill. The narrator then journeys to city's river to perform the funeral rites for her mother and cure the baby. At the river, the three narrative threads come together. Suggested by Ven Basco, Research & Information Services

The American dream?: a journey on Route 66, discovering dinosaur statues, muffler men, and the perfect breakfast burrito by Shing Yin Khor An illustrated comic travelogue about an American immigrant driving alone through all that's left of "The Mother Road," Route 66. Suggested by Jacqui Johnson, Cataloging

The Atlas of Reds and Blues: a novel by Devi S. Laskar When a woman known only as Mother moves her family from Atlanta to its wealthy suburbs, she discovers that neither the times nor the people have changed since her childhood in a small Southern town. She is met with the same questions: Where are you from? No, where are you really from? The American-born daughter of Bengali immigrants, she finds that her answer is never enough. One morning, during a violent and unfounded police raid on her home, Mother finally refuses to be complacent. As she lies bleeding from a gunshot wound, her thoughts race through her life, and what it means to be a woman of color in today's America. Suggested by Peter Spyers-Duran, Cataloging

They Called Us Enemy written by George Takei, Justin Eisinger, Steven Scott ; art by Harmony Becker A stunning graphic memoir recounting actor/author/activist George Takei's childhood imprisoned within American concentration camps during World War II. Experience the forces that shaped an American icon -- and America itself -- in this gripping tale of courage, country, loyalty, and love. Suggested by Ven Basco, Research & Information Services

You Don't Know Jack: the Jack Soo story directed by Jeff Adachi This film tells the fascinating story of a pioneering American entertainer Jack Soo, an Oakland native who became the first Asian American to be cast in the lead role in a regular television series Valentine's Day (1963), and later starred in the popular comedy show Barney Miller (1975-1978). Featuring rare footage and interviews with Soo's co-stars and friends, the film traces Jack's early beginnings as a nightclub singer and comedian, to his breakthrough role as Sammy Fong in Rogers and Hammerstein's Broadway play and film version of The Flower Drum Song. The film also explores why Soo, a former internee who was actually born Goro Suzuki, was forced to change his name in the post WWII era, in order to perform in clubs in the mid-west. Because of his experiences, throughout his career in films and television, Soo refused to play roles that were demeaning to Asian Americans and often spoke out against negative ethnic portrayals. Suggested by Peggy Nuhn, Connect Libraries

#featured bookshelf #ucflibrary #ucf library #asian pacific american heritage #diverse reads #representation matters

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creepingsharia · 4 years

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New Jersey: Muslim-proposed ordinance will let Paterson mosques blast Muslim call to prayer across city

A proposed ordinance before the City Council will allow mosques in Paterson to broadcast the Adhan or the Muslim call to prayer.

Under the ordinance, mosques will be allowed to use loudspeakers to announce the call to prayer during a 16-hour span. The ordinance states: “The city shall permit ‘Adhan’, call to prayer’, ‘church bells’ and other reasonable means of announcing religious meetings to be amplified between the hours of 6:00 a.m. and 10:00 p.m. for duration not to exceed five minutes.”

Councilman Shahin Khalique proposed the ordinance on Tuesday night as an amendment to the existing noise control ordinance.

Council members spent three minutes discussing the measure.

Paterson has approximately 30,000 Muslims. It has a dozen mosques scattered throughout the city. Presently, mosques make the call to prayer five times a day; however, the sound is not amplified outside the buildings.

Late last year, Khalique, who is up for reelection in May, promised local leaders he planned to introduce the measure modeled on an ordinance in effect in Hamtramck, Mich. At the time, Khalique said he had been in discussions with other members of the City Council to get the measure passed.

Khalique has styled himself as a pious and devout Muslim amongst his mostly Bengali-American supporters. He suffered a blow to his image earlier in the month when it was revealed he had been arrested for intoxicated driving by New Jersey State Police in 2010.

Council members will consider the measure for preliminary approval next Tuesday.

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h/t Jihad Watch who writes:

Notice the ridiculous comparison to church bells. The Adhan is not merely the sound of a bell. It is the loud shouting and declaration of Islamic supremacism over infidels. Paterson residents now have to be subject to this:

Allah is greater (Allahu akbar); intoned four times. I testify that there is no God but Allah (Ashhadu anna la ila ill Allah); intoned twice. I testify that Mohammed is Allah’s Prophet (Ashhadu anna Muhammadan rasul Allah); intoned twice. Come to prayer (Hayya alas salah); intoned twice. Come to security/salvation (Hayya alal falah); intoned twice. Allah is greater (Allahu akbar); intoned twice. There is no God but Allah (La ilah ill Allah); intoned once.

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Paterson, aka Paterstine aka “Little Ramallah” , a notorious Hamas hotspot, is rapidly being Islamized.

At least 10 public district schools converted their lunch menus to Islamic, sharia-compliant only menus (aka halal).

More background on one of Chris Christie’s favorite Muslim enclaves.

Here’s what it sounds like in the Muslim-conquered sections of Brooklyn, New York:

youtube

Update: Terror-linked Hamas front group CAIR is attempting to sway the council’s decision by demanding Islamic call to prayer be permitted

#Islam #Muslim #Sharia #Jihad #Immigration #News #Politics #Mosque #Religion #ZoningJihad #Media

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tikitakafullmovie · 4 years

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Tiki Taka 2020 ZEE5 Download Hindi Full Movie

Tiki Taka ZEE5 Movie Download 720p HD GDrive, Tiki Taka 2020 Hindi Full Movie Download 1080p Free, Tiki Taka 2020 Movie Watch Online Free

IMDB Ratings: N/A Directed: Parambrata Chattopadhyay Released Date: 11 September 2020 (India) Genres: Comedy, Sport Languages: Hindi Film Stars: Parambrata Chattopadhyay, Saswata Chatterjee, Ritabhari Chakraborty Movie Quality: 720p HDRip File Size: 710MB

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The up and coming parody film Tiki Taka on Zee5 is being examined via online media since the time the film's trailer was delivered on September 4. The trailer has gathered more than 1 million perspectives in only six days of its delivery. Tiki Taka on Zee5 is a variation of the first Bengali film 'Khelechi Ajguba'. Kenichi is an African footballer who has come to Bengal to meet PK, one of the mafias situated in the Indian State. The parody of mistakes starts when Khelechi meets numerous individuals on his excursion to discover PK in West Bengal. Peruse on to discover," What time does Tiki Taka delivered on Zee5?" Read | Vijay Sethupathi starrer cop-dramatization 'Sethupathi'

to debut on Zee5; check subtleties Tiki Taka delivery date is Friday, September 11. The film will be delivered on the OTT stage at 12:00 AM IST. When the film is delivered on the stage, all the ZEE5 endorsers across India will have the option to stream it. Tiki Taka on ZEE5 will be accessible to stream on various occasions as long as the watcher has a functioning membership of the OTT stage. Peruse | What time does 'Illegal Love' discharge on Zee5? Insights regarding each of the four parts Tiki Taka on ZEE5: About the film In the account of Tiki Taka when Khelechi Ajguba shows up in West Bengal he meets a taxi driver named Raju played by entertainer Parambrata Chattopadhyay.

As the two youngsters get to know each other Raju chooses to help Khelechi in his mission to discover PK. Raju likewise turns into a compatriot for Khelechi who has gone far away from his family and is attempting to comprehend life in an unfamiliar land. The part of PK in the film will be played by Bengali entertainer Saswat Chatterjee. Nonetheless, little does Raju realize the African footballer is concealing a major mystery which he will bit by bit unwind as the story advances. Peruse | 'Dark Widow' Indian redo to deliver soon on ZEE5 as indicated by Sharad Kelkar Tiki Taka is a family parody film that takes us through a story woven with comic scenes a large portion of which emerge out of the mistakes and misconceptions the characters experience.

Khelechi and Raju are the lead teams of this film, yet neither of them communicates in one another's dialect. Thus, fans will see them hurrying over the roads of Bengal, getting into more entangled circumstances the story advances. Peruse | Filmyzilla Leaks ZEE5's Latest Web Series 'Virgin Bhasskar 2' Promo Image Source: Parambrata Chattopadhyay (Instagram) Get the most recent diversion news from India & around the globe. Presently follow your preferred TV celebs and TV refreshes. Republic World is your one-stop objective for drifting Bollywood news. Tune in today to remain refreshed with all the most recent news and features from the universe of amusement.

Welcome Readers. In this article, you are going to see the new up and coming web arrangement of ZEE5 named "Tiki-Taka" which is booked to deliver on eleventh September 2020. Tiki-Taka is a forthcoming parody sport Bengali language arrangement of ZEE5 which depends on the Spanish style football match-up Tiki-Taka. This will be fascinating to watch on the grounds that the trailer of this arrangement is looking astonishing and it accompanies an intriguing story and the bearing of this film is splendid. The areas and the sets in this arrangement look astounding.

The arrangement is chosen to debut on eleventh September 2020 at around 12:00 PM IST just on the ZEE5 application. Tiki-Taka is coordinated by Parambrata Chattopadhyay and composed by Shouvik Banerjee and Rohan Ghose under the dispersion of ZEE5 Original Film and the entire shooting was done in the Kolkata, which is in India. The skilled and flexible entertainers and entertainer are Saswata Chatterjee, which shows in a lead function of the arrangement, Parambrata Chattopadhyay.

Ritabhari Chakraborty, Emona Enabula, and Bruno Venchuro. The account of this spins around an African person who comes to India and the conditions and the scene gets changed and he is pursued by certain cops. To realize the entire story remember to watch this astounding arrangement on eleventh September at 12:00PM IST just on ZEE5 Original Film. CAST: Saswata Chatterjee. Parambrata Chattopadhyay. Ritabhari Chakraborty. Emona Enabula. Bruno Venchuro.

On third September 2020, the arrangement trailer was transferred on the ZEE5 official youtube channel and inside a couple of days, it crosses around 8 Lakh sees with 1,000 preferences. On sixth September 2020, Zee5premium official Instagram posted a banner of it and expressed that "Are Raju and Khelechi outsiders or just companions who haven't met at this point? #TikiTaka debuts on eleventh September #ZEE5Premium #GoalMaal". Discussing the storyline then Khelechi, who was an African man shows up in India with a football loaded down with drugs. At the air terminal, the medication ruler's men get an inappropriate man while Khelechi goes with an extortionist, and afterward the story makes a turn, and entire the circumstance gets changed.

Appreciate this parody of blunders on ZEE5. Debuts eleventh September 2020. Till then read our different articles and follow Dekhnews and stay tuned with us.

At whatever point we've met Ritabhari Chakraborty in the recent years, 'Khelechi Ajgubi' has surfaced in discussions, with the pretty and multitalented entertainer enthusiastically anticipating the Parambrata Chattopadhyay-coordinated film. Depending on a mixed up character, the film is currently set to debut on Zee5 as Tiki Taka on September 11. A talk with Ritabhari who had twofold the motivation to celebrate — the film's delivery and the way that she got to glitz up for this meeting.

The film was at first called Khelechi Ajgubi and is presently delivering as Tiki Taka… Now the film is delivering in both Hindi and Bangla and they needed to go with a title which fits in well with a bilingual film and something that football fans, skillet India, would have the option to identify with. We named it during the lockdown. The film should have a dramatic delivery and now as a result of the current circumstance, we have needed to go for a computerized discharge. In spite of the fact that there is somewhat of a failure since you are passing up a dramatic delivery, the great part is it will contact a greater crowd.

When did you shoot it? 2018. It is Param's executive endeavor and he got truly occupied. The film additionally has a great deal of embellishments and he puts stock in flawlessness. I was continually following up. At that point the pandemic hit us. Presently when I see the yield, I feel pleased that I am an aspect of this film. It's perfect by they way it looks. I am in any event not living in an air pocket and realize what's going on out there, devour a ton of public and worldwide substance and I am glad that the substance I am related with, it's very today and upmarket and pair with the contemporary work that is occurring.

Who is Bonny, your character in the film? She is a writer, very bhola and marginally moronic however with a brilliant heart. Mon ta puro clear and mathatao khanikta clear (snickers). That is what I look like at Bonny. No savvy individual would have purchased that thought in any case. The way Param's character (Raju, a cab driver) disclosed it to her (about Khelechi Ajgubi, an African public, being a footballer) and she gets it, even while shooting it, I felt OMG! (Giggles) Param continued saying she isn't imbecilic, only a little bhola bhala.

She is from the mofussil and on the off chance that she can't break a major news and get a strong balance in the city, she'll be offered. In this way, she has a ton in question. Bonny isn't me, yet I adored playing her. I am a major aficionado of Joey from F.R.I.E.N.D.S and I have for the longest time been itching to play a stupid character. Despite the fact that Bonny isn't Joey imbecilic. Raju and Bonny kind of meet incidentally. He takes a gander at me and thinks of this arrangement. He comes selling me a phony story and I get it and what follows is the film. The entire kind of the film is interesting. A ton of entertainers feel that parody is the most troublesome kind.

What do you feel? It is troublesome in light of the fact that your planning must be correct. You need to include your own flavors which, we continued doing while at the same time shooting Ogo Bodhu Sundori (the mainstream uber sequential which saw Ritabhari become an easily recognized name). Lolita never attempted to be amusing. Same for Bonny and Raju and Khelechi. The outfit cast includes interesting amusing characters… be it Paranda (Paran Bandopadhyay), Kharajda (Kharaj Mukherjee), Kanchanda (Kanchan Mullick), or Saswatada (Chatterjee). I don't actually think satire is the hardest.

Being a persuading reprobate or vamp is the hardest without trying too hard. Unthinkable in Andhadhun isn't exaggerating anything or Priyanka Chopra in Aitraaz or state Bob Biswas in Kahaani. I figure I would need to work the hardest for that sort of a job since I am totally a white individual. Was it scaring to be encircled by entertainers who are known for their comic planning? Truly, I never feel threatened by anybody I work with on the grounds that at whatever point I step on the shooting floor, I sense that I am going to class and there are bunches of educators and there is the head instructor who will manage me. I get truly jumbled if the chief isn't arranged... I realize that the chief must be arranged with his vision. They are so easily acceptable… stunning. Furthermore, the vitality was so high on the sets. One thing I have truly detracted from the experience is to be unconstrained.

Do you follow football? No! Sports isn't my thing. In the event that I was playing, I would appreciate. Thus, I loath watching a shoot. In the event that I am shooting, I will appreciate. I went for the Mukkabaaz shoot since I respect Anurag (Kashyap) to such an extent as a chief. I was there for the peak go for two hours and afterward was chilling with my closest companion since I got so exhausted following two hours. AK is so chill and arranged with his vision. That is everything I could accumulate. Individuals figure you can truly get a great deal.

You really can't on the grounds that film-production is an entire cycle. Things being what they are, you've never really liked an athlete? Not on the grounds that how great a player he is, yet, state… (David) Beckham. I have my reasons. Take a gander at him and you will likewise have your own reasons. Anyway, did you gaze upward 'tiki taka'? I asked Maddy (Madhuja B

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