#moses koul

[k-wame]

Balli Sehrawat & Sharan Gujral [Christian & Polo in Élitǝ] 2023 • CLA$$ • S1·E05 • Teen Drama • Crime

[carladuquette]

Naina & Moses’ friendship >>> whatever it is Koel and Sharan got going on

[how-to-be-a-tree]

About koel, sharan and balli; each one of them wanting the other two to be with them and not wanting the other two to be together; and may be if the three of them have a healthy discussion, they would make a perfect throuple. Just saying! Lol.

the way sharan and koel judge the 3 newbies in early episodes and both of them going down on balli later, is just balli's supremacy. Just me and my random thoughts!!

[ramascreen]

Official Trailer For India's Version of Spanish Hit Netflix Series 'Elite,' CLASS

When the need to survive is high, emotions run rife and all rationality is corrupted; where even the slightest trigger can lead to a lapse in judgment, or  even a crime! Joining the elite academy of students who have the world in the palm of their hands, are three scholarship students, from the other side of the track, with nothing to lose. What happens when these two stark worlds collide?…

[ilyricshub]

Tu Naazneen Lyrics - Nakash Aziz

Tu Naazneen Lyrics Nakash Aziz #TuNaazneen #Nakashaziz #oriyonmusic #oriyonmusicbyarijitsingh

[movienized-com]

Class

Class (Serie 2023) #GurfatehPirzada #PiyushKhati #AnjaliSivaraman #MadhyamaSegal #CwaayalSingh #ZeynShaw Mehr auf:

Serie Jahr: 2023- (Februar) Genre: Krimi / Drama / Thriller Hauptrollen: Gurfateh Pirzada, Piyush Khati, Anjali Sivaraman, Madhyama Segal, Cwaayal Singh, Zeyn Shaw, Ayesha Kanga, Naina Bhan, Moses Koul, Chayan Chopra, Chintan Rachh … Serienbeschreibung: Die drei Jugendlichen Dheeraj (Piyush Kati), Saba (Madhyama Segal) und Balli (Cwayaal Singh) wechseln aus einem Armenviertel an eine exlusive…

[nwemovie]

Class OTT Release Date, OTT Platform, Time, Cast, Watch Online

Class OTT Release Date, Cast, OTT platform, Time, Trailer, and many more details are available in this article. Class web series digital streaming rights are bagged by Netflix OTT platform. Class is a new web series announced by Netflix starring Gurfateh Pirzada, who has impressed with his performance from the latest blockbuster ‘Brahmastra’. This series is said to be a ground breaking series that will start a new trend in Indian cinema industry. A shorty teaser of this series was released on September 24 on YouTube and grabbed the attention of Indian youth.

Class OTT Platform

Class web series is all set to have a digital premiere on Netflix OTT platform from February 03, 2023. Anjali Sivaraman, who had impressed with her performance in the role of Anuja from the 2022 released movie ‘Cobalt Blue’, will be seen in a leading role in this series. Hope she gets the recognition she deserves for her performance with this series. Class series digital streaming rights are bagged by Netflix OTT platform.

Class OTT Release Date

Chayan Chopra was impressive with his limited role in the film ‘Guilty’ starring Kiara Advani in the leading role that got released in 2020. But the actor was later not seen any of the films and now coming back with this series. Hope this series gives the break he needed in Hindi film industry and this series will be available for streaming on Netflix very soon. Official OTT release date is yet to be announced by the makers.

Story

When three new students from vastly different backgrounds challenge the established order at New Delhi’s prestigious Hampton International School, tensions flare. Class examines the upheaval that occurs in the lives of kids from privileged backgrounds when two contrasting cultures collide.

Cast & Crew

The cast of the class web series includes Gurfateh Pirzada, Anjali Sivaraman, Ayesha Kanga, Chayan Chopra, Chintan Rach, Cyaawal Singh, Madhyama Segal, Moses Koul, Naina Bhan, Piyush Khati, and Zeyn Shaw. The series is directed by Ashim Ahluwalia, and the producers are Sukesh Motwani, Mautik Tolia, and Persis Siganporia.

[newssy]

Darkness Overpowers This Obnoxious World As Goodness Exits From The Back Door; Much More Than Just An Adaptation

Class Review ( Photo Credit – A Still From Class ) Class Review : Star Rating: Cast: Gurfateh Pirzada, Anjali Sivaraman, Ayesha Kanga, Chayan Chopra, Chintan Rachchh, Cwaayal Singh, Madhyama Segal, Moses Koul, Naina Bhan, Piyush Khati, Zeyn Shaw, and ensemble. Creator: Ashim Ahluwalia Director: Ashim Ahluwalia, Gul Dharmani & Kabir Mehta. Streaming On: Netflix. Language: Hindi (with…

[bausabour]

Class (Netflix) Cast & Crew, Release Date, Roles, Wiki & More

Class (Netflix) Cast & Crew, Release Date, Roles, Wiki & More

Class (Netflix): Series Cast, Wiki, Real Name, Crew Details, Release Date, and More. Class is a Netflix film. In this film,Gurfateh Singh Pirzada, Anjali Sivaraman, Ayesha Kanga, Piyush Khati, Chintan Rachchh, Chayan Chopra, Naina B, Moses Koul, Zeyn Shaw, Cwaayal Singh, Ritu Shivpuri, Chandan Mohinder Anand, Suparna Moitra, Ratnabali Bhattacharjee, Kettan Singh, Aviral Gupta played the lead…

[newsaza]

Young adult series 'Class' teaser out- Cinema express

Young adult series ‘Class’ teaser out- Cinema express

The teaser of class, the Netflix series, was released at the Global Fan Event Tudum on Saturday. Produced by Bodhitree Multimedia Limited in association with Future East and directed by Ashim Ahluwalia, the series stars Gurfateh Pirzada, Anjali Sivaraman, Ayesha Kanga, Chayan Chopra, Chintan Rach, Cyaawal Singh, Madhyama Segal, Moses Koul, Naina Bhan, Piyush Khati and Zeyn Shaw in leading…

[strathshepard]

Stunningly beautiful photos for this story for Vogue shot in New Delhi by Tenzin Lhagyal and Ashish Shah. Above: Moses Koul and Dito Praha in Harago’s upcycled and hand-woven menswear in New Delhi, by Tenzin Lhagyal

[k-wame]

Balli Sehrawat & Sharan Gujral [Christian & Polo in Élitǝ] 2023 • CLA$$ • S1·E07 • Teen Drama • Crime

[dreamhour]

Meet the #VLLNS

New album featuring Powernerd, PJ D’atri and Moses Koul out now on @newretrowave Order here: https://newretrowave.bandcamp.com/album/vllns

Art and story by Visual Amnesia

[dissertation-delhimetal]

Chapter 4: I: The Metal Scene in Delhi

Beginnings:

The Delhi metal scene, as partially inactive as it may seem on the surface, has similar origins as that of the national metal scene. But almost all (of the very few) earliest metal bands from Delhi, for instance, Nightmare on Elm Street and Vishnu, used to play covers of other well known bands like Metallica, Megadeth and Iron Maiden; all other heavier bands at that time were either covering rock or grunge tunes, or playing a Guns N’ Roses inspired hard rock. The earliest metal bands to create their own original compositions started emerging only in the early 2000s; bands like Prestorika and Acrid Semblance were the first of Delhi’s crop of metal artists making their own music.

Though it may seem detrimental to the creative environment of a subculture at first for metal bands from the capital to have only played covers during the beginning of the scene, it is the same that seems to have laid the groundwork for original material to surface, as Noble [Artillerie] explained:

“… they were trying to prove a point, by doing all that… it was necessary because what happened is that in that process, a lot of guitar players became really good at their skill, a lot of drummers became really good at their skill, a lot of vocalists became really good at their skill. Which is what we did as well, we just played a lot of covers in the beginning.”

Luke, N. [Artillerie]. (2018, February 26). Personal Interview.

Vikas [ex-Prestorika; Acrid Semblance; Drohkaal] pointed out the early environment of the Delhi metal scene around the time metal bands started to play original music in an interview:

“They were basically playing covers. I would say we were one of the few bands that started with a full originals set in our shows. So we were there, Demonic Resurrection from Bombay, Myndsnare, Pin Drop Violence. Bombay had a good number of bands who were doing originals… Basically, in those days, everyone started with IIT Rendezvous (2002), where they had a competition for bands. So we played at a few of those, and we got invited by RSJ for GIR. Then people from RSJ started organizing pub shows all throughout Delhi. So we used to be there with a couple of other bands like Undying Inc., who had just started, and a couple of other bands who are no more active now. So we started from there, and started getting calls for outstation gigs from Bombay and Bangalore. Sahil Makhija from Demonic Resurrection was big into organizing metal shows in Bombay, so he helped us a lot. He offered us a lot of gigs there. That was a good time, lots of shows.”

Dharmsattu, V. [ex- Prestorika; Acrid Semblance; Dhrokaal]. (2018, March 3). Personal Interview.

This is also the time when Rock Street Journal, an independent music magazine started by independent musicians and enthusiasts in the year 1993, started operating the RSJ forum, which proved to be an integral part in the movement in Delhi’s metal scene (as well as the Indian metal scene) from a seemingly unoriginal atmosphere to a scene producing original compositions. It becomes necessary to point out Rock Street Journal’s role in all of this because now with the presence of a platform where artists and their songs could be reviewed and scrutinized, a place where metal fans could express their opinions on prevailing metal artists and the state of the scene became integral for the development of the scene.

“To this day, I think those forums were really important, which is something we sorely miss and lack now… Suddenly you had people commenting. They had a place where they could go to, they didn’t have to reveal who they were and they could be scathing in their reviews of bands, sometimes unnecessarily, but this forced bands to become better. I remember that at that time it felt very detrimental, it felt as if no one gives a shit, no one cares… but now that I look back, I think those things were necessary. And that’s what truly makes a scene, you know? When people get real about what they think. And so, bands tried to outdo each other in terms of being creative and that changed everything. Suddenly people who were writing on these forums, some of them went on to become critics; they went on to write for RSJ. And it’s sad to say, but at that time, it was only RSJ that was really driving the machine, actively coming out with articles about Indian bands, full page articles, double page articles; no one had ever thought about that.”

Luke, N. [Artillerie]. (2018, February 26). Personal Interview.

It is quite necessary here to point out that here because of the presence of a driving force like Rock Street Journal, a focus from the mainstream could now be shifted not only on the independent music scene in India and metal scene in India, on top of that, there was now an incentive for metal artists to have their art appreciated and reviewed by enthusiasts and music critics alike. And most importantly with a certain level of constant socialization now made possible through the medium of the forums, the metal scene in Delhi could now operate as an independent and powerful creative cultural movement.

A Crack in the Bone:

Ever since 2007, international metal bands finally started to fly over to India, starting with possibly the biggest and most important metal concert even to this day where Iron Maiden performed in Bengaluru. Iron Maiden’s 2007 performance is the key moment when metal in India was put on the front page of mainstream music. Iron Maiden then visited India again in 2009, but it is their performance in 2007 that one can argue opened the gates for countless metal giants to then come and perform in India over the next decade. To present this graphically,

Fig. 4.1: Number of performances by international metal/rock bands in India from 2006-2014                                                                  Source: metalbase.in; 2017

The increase in performances from international metal artists is encouraging because that provides an opportunity for cultural crossovers that enable not only sustain the scene but also bring new ideas and exposure to native metal artists.

Fig. 4.2. Twelve Foot Ninja’s (Australia) first ever concert performance at the Hard Rock Café in Delhi, India. October 27th, 2017.

The state of the Delhi metal scene at present is a little disappointing given the lack of genuine and creative engagement owing to various factors, within the genre and even the functioning of the capital and its infrastructure, physical or otherwise. This was pointed out by a number of participants in the questionnaire responses and interviews, where metalheads stated that the metal scenes in Mumbai and Bengaluru are far more active precisely because of the presence of the required infrastructure, an ease to secure venues for gigs and concerts, and support from the fans of the music, a “different kind of excitement and fervor” coupled with an equally high amount of will to participate in events and the organization of the same. And some metal artists echoed the same during interviews, that just to play in other cities somewhat more rewarding because metalheads in Delhi tend to “hold back” during shows and the reception by fans in other cities has often been more visible.

But to be reflexive in our understanding of the scene it is extremely necessary to be self critical, and that is where part of the responsibility for the lull in the Delhi metal scene lies on the performers as well. Moses [Kraken.], speculating on the possible reasons behind the lack of activity in the metal scene pointed out at something that might be far more concerning for a metal enthusiast seemingly unaware of the happenings within the scene than the lull itself:

“I feel there’s this very strong superiority complex that exists among metal musicians, at least the ones there are in India, or Delhi for that matter which is this ‘holier than thou’, ‘we are better than you musically’, or ‘we understand life better than you’. That sort of translates into the attitude that they sort of put forth, which is extremely off-putting for fellow musicians and also people who come to attend their shows. I guess this is also what sort of caused this sudden decay and decomposition... If you’re playing a genre of music that is very off centre and has a very niche crowd, and on top of that niche crowd you’re playing to a very niche crowd in India where Bollywood takes most of the cake, there is no reason for one to feel like they are Steve Vai, or Alexi Laiho, but it’s just the attitude that exists among musicians.

So that is something that’s  made me feel very uncomfortable and not feel a part of it because I don’t really see my band or myself as someone who’s ‘holier than thou’; given the right context, I’ll enjoy any sort of music. That’s one thing. Then I guess the audience as well. At least in Delhi, they’re not very forthcoming when it comes to coming out to enjoy metal music, maybe it’s because of the quality of metal bands, maybe it’s the venues, or maybe it’s just the timing of the whole thing.”

Koul, M. [Kraken.]. (2018, March 4). Personal Interview.

Now, the following three narratives from performers who have seen the changes in the metal scene in Delhi over the years are presented here in order to best reflect the current state of the Delhi metal scene.

“Now it’s pretty scarce, and mostly shows happen elsewhere (Bombay, Bengaluru). I mean, they happen in Delhi but the scale has gone down. Earlier we used to have GIR, NH7, those were big platforms, but now as international bands have become so accessible, so people prefer calling them. So that has hurt the local Indian bands a bit. It boils down to lack of bands and lack of interest, but yeah, lots of fans are here in Delhi, it’s just that the scene is more or less dead because a lot of fans wish to see international bands, and now they can.”

Dharmsattu, V. [ex- Prestorika; Acrid Semblance; Dhrokaal]. (2018, March 3). Personal Interview.

But surely with the present state of the scene, its lack of engagement or inactivity can’t just be put on the shoulders of international metal acts to help and resuscitate. So to systematically increase our net of reasons for this decline, Moses [Kraken.] points out:

“When it comes to the metal scene in Delhi, or India at the moment, it’s going through a very deep lull. No one’s releasing any music, I don’t think there’s hardly any metal shows in line, so I hope, fingers crossed, that this is a temporary lull and not a permanent lull. But there’s a very strong quiet in the metal scene at the moment. To add to that, people are sort of going towards more experimental sides of metal which is like modern, instrument based… like Plini just did a tour, so did Twelve Foot Ninja.

So in terms of international bands coming in, there’s a huge influx but the metal bands in India, or Delhi for that matter, sort of just wake themselves up when there’s an international guy coming in to play; they play the opening slot and sort of die out, they don’t release any new stuff or don’t go out of their way to push their own band. Which has a lot to do with, you know, the crowds, the people, the audience, the opportunities, and just the output compared to the input. You have to put in a lot more than you get out of it, and then you have day jobs, or people get married.”

Koul, M. [Kraken.]. (2018, March 4). Personal Interview.

And a lack of engagement due to a lack of will to even create or play music owing to personal preferences does make sense while trying to reason out just why the metal scene in Delhi has been now left to the hands of a presence of international metal acts. Now to bring these arguments to a close and provide the final narrative that sheds a little more light on just why the metal scene in Delhi is now not as exciting as earlier to say the least:

“The scene dropped the moment that scathing review, the idea of weighing the band on how creative they were, the moment that fell through, you know? Like when it came back to just playing covers, like in tribute acts and all that. It came back to that and that’s how it all fell apart. I remember the Norwegian embassy was very interested. We never went to Norway, but there were those that did (Undying Inc., Bhayanak Maut, Scribe) and this cultural exchange happened and that’s how scenes are built, you know? At the moment, we lack that infrastructure; no one’s filling that gap… GIR used to run because people were genuinely interested. It’s show business after all, people were interested in seeing ‘Ye kya karenge?’ (What are they going to do?), ‘how heavy was that band?’, and ‘was it heavier than that band?’ It’s not like people don’t give a shit. There are some who really genuinely enjoy music and they do give a shit, but the talk is not happening anymore.”

Luke, N. [Artillerie]. (2018, February 26). Personal Interview.

A Future of the Delhi Metal Scene?

Given the bleak picture that one might arrive to from the narratives that I’ve included in this paper so far, it is necessary to come to terms with the present situation, and to look forward optimistically to a more engaging and relatively more active, self regenerating subcultural scene. As difficult it is to speculate where exactly the Delhi metal scene would head next, it is necessary to try to understand how and where metal artists perceive Delhi’s metal scene to move forward. Given that the two excerpts provided here are from the first very metal artists from Delhi, who unfortunately no longer perform with their earlier bands, there is undoubtedly a much clearer insight that can draw from these.

“The local bands need the fans’ and organizers’ support. And organizers will only support these bands when they see a large enough audience for this kind of music, to whom they can market it as a gig, right?... For example, 1833 AD almost sounds like an international band now, so musically they are evolving. But without the support, it’s difficult. You can’t keep on spending your own cash just for the love of it. You can do it for 4-5 years, but after that you need some kind of support.

Plus this kind of music, as a performer, you need certain kinds of financial support and backup. Without that you can’t really do it. If you look at bands from US, South America, most of the international bands that made it big, they used to be really poor or were from a very humble background. But over here, it’s a totally different scene. So to buy good instruments, to buy good technology, you need that financial backup and only then will you be able to really go on stage. But it will take time, I think around another 15-20 years for people to really accept… but yeah, at the end of the day it all boils down to the fans. The fans have to make a stand and support. Personally, I knew two bands who at that time used to sound like most international bands but they were from a very humble background and after 3-4 years, they just faded away. I’ve seen instances like that.”

Dharmsattu, V. [ex- Prestorika; Acrid Semblance; Dhrokaal]. (2018, March 3). Personal Interview.

“I would like to believe that just like all these electronic artists that we’re getting to see now, who were sitting in their bedrooms all these years and working on their craft, I’m sure that I would like to believe truly that there are some artists in Delhi who have been relegated to those bedrooms and they haven’t stopped working. No one will come and tell them that their music is good, not right now; it’ll be many years before they’ll be found again. Maybe they have a few friends who’ll come and tell them that they’re good, that they truly believe in what they’re doing because no one cares right now. But as long as it just stays stubborn, we have a future.”

Luke, N. [Artillerie]. (2018, February 26). Personal Interview.

[readingcanadianlit-blog]

Ten Interesting Canadian Novels

1.) Waste by Andrew F. Sullivan 

“Larkhill, Ontario. 1989. A city on the brink of utter economic collapse. On the brink of violence. Driving home one night, unlikely passengers Jamie Garrison and Moses Moon hit a lion at fifty miles an hour. Both men stumble away from the freak accident unharmed, but neither reports the bizarre incident.” (Amazon)

2.) I’m Thinking of Ending Things by Iain Reid

“In this deeply suspenseful and irresistibly unnerving debut novel, a man and his girlfriend are on their way to a secluded farm. When the two take an unexpected detour, she is left stranded in a deserted high school, wondering if there is any escape at all. What follows is a twisted unraveling that will haunt you long after the last page is turned.” (Goodreads)

3.) Anne of Green Gables by L.M. Montgomery 

“Everyone's favorite redhead, the spunky Anne Shirley, begins her adventures at Green Gables, a farm outside Avonlea, Prince Edward Island. When the freckled girl realizes that the elderly Cuthberts wanted to adopt a boy instead, she begins to try to win them and, consequently, the reader, over.” (Goodreads)

4.) The Blind Assassin by Margaret Atwood 

“The novel opens with these simple, resonant words: "Ten days after the war ended, my sister drove a car off the bridge." They are spoken by Iris, whose terse account of her sister Laura's death in 1945 is followed by an inquest report proclaiming the death accidental. But just as the reader expects to settle into Laura's story, Atwood introduces a novel-within-a- novel. Entitled The Blind Assassin, it is a science fiction story told by two unnamed lovers who meet in dingy backstreet rooms. When we return to Iris, it is through a 1947 newspaper article announcing the discovery of a sailboat carrying the dead body of her husband, a distinguished industrialist.” (Goodreads)

5.) Dear Life by Alice Munro

“Suffused with Munro's clarity of vision and her unparalleled gift for storytelling, these tales about departures and beginnings, accidents and dangers, and outgoings and homecomings both imagined and real, paint a radiant, indelible portrait of how strange, perilous, and extraordinary ordinary life can be.” (Goodreads)

6.) Room by Emma Donoghue 

“To five-year-old-Jack, Room is the world. . . . It's where he was born, it's where he and his Ma eat and sleep and play and learn. At night, his Ma shuts him safely in the wardrobe, where he is meant to be asleep when Old Nick visits. Room is home to Jack, but to Ma it's the prison where she has been held for seven years. Through her fierce love for her son, she has created a life for him in this eleven-by-eleven-foot space. But with Jack's curiosity building alongside her own desperation, she knows that Room cannot contain either much longer.” (Amazon)

7.) Caught by Lisa Moore 

“Caught begins with a prison break. Twenty-five-year-old David Slaney, locked up on charges of marijuana possession, has escaped his cell and sprinted to the highway. There, he is picked up by a friend of his sister’s and transported to a strip bar where he survives his first night on the run. But evading the cops isn’t his only objective; Slaney intends to track down his old partner, Hearn, and get back into the drug business. Along the way, Slaney’s fugitive journey across Canada rushes vibrantly to life as he visits an old flame and adopts numerous guises to outpace authorities: hitchhiker, houseguest, student, lover. When finally he reunites with Hearn just steps ahead of a detective hell-bent on making a high-profile arrest, their scheme sends Slaney to Mexico, Colombia, and back again on an epic quest fueled by luck, charm, and unbending conviction. “ (Goodreads)

8.) Life of Pie by Yann Martel 

“The ship sinks. Pi finds himself alone in a lifeboat, his only companions a hyena, an orangutan, a wounded zebra, and Richard Parker, a 450-pound Bengal tiger. Soon the tiger has dispatched all but Pi, whose fear, knowledge, and cunning allow him to coexist with Richard Parker for 227 days while lost at sea. When they finally reach the coast of Mexico, Richard Parker flees to the jungle, never to be seen again. The Japanese authorities who interrogate Pi refuse to believe his story and press him to tell them "the truth." After hours of coercion, Pi tells a second story, a story much less fantastical, much more conventional--but is it more true?” (Amazon)

9.) The Sisters Brothers by Patrick deWitt

“Hermann Kermit Warm is going to die. The enigmatic and powerful man known only as the Commodore has ordered it, and his henchmen, Eli and Charlie Sisters, will make sure of it. Though Eli doesn't share his brother's appetite for whiskey and killing, he's never known anything else. But their prey isn't an easy mark, and on the road from Oregon City to Warm's gold-mining claim outside Sacramento, Eli begins to question what he does for a living - and whom he does it for.” (Goodreads)

10.) One Day We’ll Be Dead and None of This Will Matter by Scaachi Koul 

“In One Day We’ll All Be Dead and None of This Will Matter, Scaachi deploys her razor-sharp humour to share her fears, outrages and mortifying experiences as an outsider growing up in Canada. Her subjects range from shaving her knuckles in grade school, to a shopping trip gone horribly awry, to dealing with internet trolls, to feeling out of place at an Indian wedding (as an Indian woman), to parsing the trajectory of fears and anxieties that pressed upon her immigrant parents and bled down a generation. Alongside these personal stories are pointed observations about life as a woman of colour, where every aspect of her appearance is open for critique, derision or outright scorn. Where strict gender rules bind in both Western and Indian cultures, forcing her to confront questions about gender dynamics, racial tensions, ethnic stereotypes and her father’s creeping mortality—all as she tries to find her feet in the world.” (Goodreads)

[k-wame]

Balli Sehrawat & Sharan Gujral [Christian & Polo in Élitǝ] 2023 • CLA$$ • S1·E07 • Teen Drama • Crime