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sabugabr · 2 years ago

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RRR, Black Adam and the Response of the Oppressed

OR: The Colonial Wound and how to approach Violence as a solution against the mechanisms of oppression

OR: how to get the debate right VS how to ruin it completely

Spoiler: RRR gets it right

So, I was keeping this one to myself because it's a very delicate subject, but rejoicing in RRR's recent Golden Globe nomination, I thought hell might as well talk about it.

First of all, a very important disclaimer:

I am not here, in any way, defending or endorsing any side in this debate. My personal views on violence and armed struggle and guerrilla warfare are not what I will be addressing. Armed struggle, is an extremely complex issue that is still being debated today by theorists and academics much more qualified than I am, so no.

Rather, my aim here is simply to address how this debate has been represented, and my take on this issue: media portrayals of social, historical and most importantly, decolonial debates. And recently in 2022, we've had two approaches (And yes, I am fully aware that this topic is much better covered in dozens of media that have this debate entirely as their main focus, but I am talking about superhero blockbusters here, so keep that in mind) that may seem similar, but are fundamentally completely divergent:

The Telugu movie RRR (Rise, Roar, Revolt)

And curiously, DC Film's Black Adam

No need to say, there'll be major spoilers ahead, so be warned

1. THE RESPONSE OF THE OPRESSED

Before I start, I would like to clarify as briefly as I can some terms and concepts that I consider necessary to begin to understand decolonialism and the response of the oppressed, a term that was coined in the famous quote by Jaylen Brown during the height of the BLM movement, "Do not confuse the response of the oppressed with the violence of the oppressor".

Pierre Bourdieu differentiates the violence of the oppressor into two categories:

explicit violence – in which the action of the dominant subject is visible (and therefore, in our current society, subject to questioning and legal or moral limitations)

and symbolic violence – conceptualized by Bourdieu when he addressed the issue of male domination in society and all the faces in which it presents itself – and we see it everywhere, from racial demographics in income distribution to that homophobic joke your uncle always makes.

This relationship of systematic domination can be understood as a chain, and in view of the necessary rise of awareness and consequent rupture of this chain, Audre Lorde presents the uses of anger.

By connecting the idea of symbolic power and the breaking of the domination relationship with the use of anger, we have the explosion of a natural reaction of the oppressed triggered by centuries of imprisonment in their own fear and, bringing this reality specifically to colonial relations, using anger over your own fear results in liberation. (source)

And although it wouldn't hurt to address the revolutionary terms in its most famous roots in the French Revolution and etc, here it seems more fitting to comment on Marx. And class struggle.

Briefly, Marx and Engels saw revolution as the result of organized political action by the exploited. Therefore, one can only speak of revolution when there is a rupture with the old political, social and economic order; and in its place, new standards of social relations are established whose principle is to ensure freedom and social equality among men.

This is what we mean when we talk about inverting the social order, and Marx will also use the terms infrastructure (productive forces + relations of production) and superstructure (politics, police, army, law, morals, religion, etc.).

The superstructure, for Marx, is created by the most favored and dominant class, but determined or conditioned by the infrastructure.

Therefore, the revolution would happen when the working class (and in that logic, any oppressed group) reversed the order and took control of the superstructure.

In short, this can be understood as the basis of revolutionary thinking.

Now apply this to the invasion, colonization and genocide scenario, and you'll see where I'm going here.

KKKKKKKKKKKKKK THAT'S A BIT EXTREME EXAMPLE SORRY but actually in Black Panther I the plot could very well be read through Marxist lens (and that has certainly been done), but I won't even go into that here, god forbid Wakanda Forever hahahah imagine that, anyway going back to my thread

2. ARMED STRUGGLE

A quick definition of armed struggle, which can be found in dictionaries, is armed resistance against oppressive regimes. In the armed struggle, the militants understand that the situation of society requires drastic action so that it can be modified, and for this reason they decide to take up arms and declare war on the oppressive regime. Guerrilla warfare is an example of armed struggle.

In the armed struggle, a group of militants opposed to the current regime in a given society, organize actions that can be strikes, attacks on barracks or public buildings, etc, aiming to destabilize the current power with the aim of overthrowing it and placing a different regime in its place, like a democracy, for example – in general, the armed struggle follows a leftist tendency. (source)

In Brazil, for example, the armed struggle appeared mainly as resistance to the Military Dictatorship between 1964 and 1985.

All of this goes along the idea of using violence as resistance to oppression (as already pointed out before): fire is answered with fire. In the specific scenario of the guerrilla, the French philosopher, journalist, former government official and academic Jules Régis Debray writes the controversial book Révolution Dans La Révolution, where he points out that "The main objective of a revolutionary guerrilla is the destruction of the enemy's military potential"; the enemy is stripped of it's military power (it's weapons) to ensure a greater chance of victory.

"To destroy an army you need another army.", Debray says. "Precisely because it is a mass struggle, and the most radical of all, the guerrillas need, in order to triumph militarily, to gather politically around themselves the active and organized majority, since it is the general strike and the generalized urban insurrection which will give the coup de grace to the regime and destroy its latest maneuvers - last minute coup d'état, provisional junta, elections - by extending the struggle throughout the country." (source)

Does that all ring a bell?

Sure it does.

Now, these are all historical scenarios, and nowadays the moral debates about armed struggle have become extremely more complex (as they should), and the disarmament discourse is taking more and more space in these debates. Is armed struggle the only solution? Wouldn't there be others?

But it is still a complex debate. The Brazilian rapper (and political thinker and, dare I say, philosopher) Mano Brown, a strong advocate of disarmament, staunchly defends that violence, most of the time, bounces back on the oppressed, not the oppressor.

Look at him all precious

He argues, however, that one cannot simply condemn the oppressed who react violently. Already in 2006 he presented in an interview that:

"I am in favor of disarmament, but this argument is difficult, things should be done differently […] People are coming as a class struggle, you know? Rich people don't want poor people to arm themselves and remain unarmed. And poor people don't want rich people to arm themselves and remain unarmed. Did you see the kid's argument: "How are the police allowed to carry guns while I remain unarmed? " It's kind of uneven. It's confusing." (source - translated by me)

Mano Brown is part of the Brazilian rap band Racionais formed by 4 black men from the periphery, who revamped their music after realizing that it could be used to foment violence. They front a series of social programs, and revolutionized the way peripheral music is seen and consumed. Nowadays, in 2023, Mano Brown hosts one of the biggest political interview podcasts in Brazil (having even interviewed Angela Davis), is considered one of the most active leaders of the racial struggle, and along with the other members of Racionais, has taught open classes in estate universities.

The Brazilian educator and philosopher Paulo Freire, considered one of the most notable thinkers in the history of world pedagogy, inaugurates in his book Pedagogy of the Oppressed (you can read it translated right here) the idea of the liberation pedagogy. He strongly emphasizes that liberation pedagogy is a political process that aims to awaken individuals from their oppression and generate actions for social transformation – through education.

NOW WITH ALL THAT IN MIND WE CAN FINALLY MOVE ON TO WHAT MATTERS,

3. THE MOVIES

I'm going to talk about RRR here first because it makes me happier, but for reasons of time and your patience I'm not going to extend myself so much in the analysis of this film technically, and if you want a more detailed look at the grandeur and the importance and the genius of this film, please watch any of the many videos that are now appearing on youtube on the subject (I recommend RRR: Make Movies EPIC Again, by Jared Bauer, and The Importance of RRR, by the wonderful Accented Cinema)

ONCE AGAIN ATTENTION FOR BIG, MAJOR SPOILERS AHEAD

The story therefore revolves around two men: Raju, who infiltrates the British army to steal fireguns and deliver them to the people's guerrilla, and Bheem, a Gond leader who is after Mali, a child of his people who was kidnapped by the British to basically serve as a pet.

They meet under false identities, and unaware that they were both fighting for the liberation of India (through different methods), the two men form an extremely strong bond of love and friendship, which results in their struggles coalescing into an evocation of patriotic unity and popular resurgence against the colonial forces.

First of all, RRR is a fictionalized biography of two real-life Indian revolutionaries, Alluri Sitarama Raju and Komaram Bheem. So, in real life, Alluri Raju actually stole guns from the British to stage uprisings against the British Raj, and Komaram Bheem really was a Gond revolutionary leader who coined the slogan Jal, Jangal, Zameen (transl. Water, Forest, Land) wich became a call to action for Adivasis (or Scheduled Tribes) peoples.

You can see the flag in the last scenes

This "historical aspect" (in addition to the incredible, completely impossible and impossibly glorious action scenes) makes it plausible to draw parallels between RRR and Tarantino's historical revisionism films like Django Unchained (2013) and Inglourious Basterds (2009), where in all cases we see scenes of extreme violence that somehow feel justified, or cathartic, for being directed against oppressors (slave masters, Nazis, British colonizers, etc etc)

The parallels are just there.

Black Adam, on the other hand, states in its synopsis that "After nearly five thousand years of imprisonment, Black Adam, an anti-hero from the ancient city of Kahndaq, is released in modern times. His brutal tactics and righteous ways attract the attention of the Justice Society of America, who try to stop his rampage by teaching him to be more of a hero than a villain, and they all must band together to stop a force more powerful than Adam himself."

So we have a superhero story set in the present day in a fictional country on the Sinai Peninsula (that means, right there besides the Gaza Strip and the Suez Canal), occupied by a mercenary crime syndicate called Intergang, who brutally oppresses the Kahndaqi people while robbing their mineral resources. All good, all great.

But as stated in the synopsis, the film's great moral conflict revolves around whether the use of violence against mechanisms of oppression is justified or not.

Basically,

And while these two scenarios may seem similar, the approach the two films take to this debate, which, as I've said before, is EXTREMELY DELICATED, and EXTREMELY COMPLEX, is completely different. Firstly, because RRR is the only one of the two that treats it as, well, a debate.

From the beginning, RRR establishes the two characters as essentially polar opposites; Raju is fire

Look at the scenery with the european buildings in the background

Bheem is water

And here, the native, untouched forest with pure cristaline water

Bheem is the god Bhima, immovable, patient and resilient

(like water)

And Raju is the god Rama, heroic, springy and skillful

(and hot)

Bheem is the legs (the foundation) while Raju is the arms (the action)

They ✨ complement ✨ each other

And this is translated into their different approaches to the revolution: Raju with his arms policy (inherited from his guerrilla father), who operates within the system to overthrow it, and Bheem with his native philosophy, using the land, the fauna, the culture, the religion, the people themselves as agents against oppression, operating from outside the system to overthrow it.

At the beginning of the film, Raju dresses Bheem in western clothing so that he can attend a British party (which allows him to know the building and locate Mali), and at the end of the film, Bheem dresses Raju in the traditional clothing of the god Rama, and arms him not with european firearms but with a sacred bow and arrow, evoking his native homeland in what configures the real defeat of the colonizers.

Not even getting into the merits of comparing these two films technically, just talking about the discourse itself, what for me fundamentally separates RRR from Black Adam, and even Django and Inglourious Basterds, is precisely Bheem's character. It's the other way to fight (but fight nonetheless)

This does not mean that the armed struggle is delegitimized, or diminished. On the contrary, it is explained, justified (within that historical and social context) and respected. People who fought in the armed struggle, and died in the armed struggle, are honored and respected. It allows you to understand where the idea of arming the population is coming from (in a certain parallel with Mano Brown's interview that I mentioned above), but it also presents other discussions on the subject, that happened at the time, and still happens today.

And above all, as I mentioned before, the film presents and reinforces the idea of inspiration. Even if education is presented only very briefly, in a popular assembly, in the long term, the film still gives extreme focus to the importance of raising awareness among the oppressed people.

This can be clearly seen in the scene where Bheem is being tortured in a public square by the British government, and refuses to kneel.

So when the torture becomes too much to bear, he starts to sing

Now, this is the most important scene in this movie and I'll die on this hill

And then, this happens

Bheem inspires not only the population, but also Raju, who even after years of enticement by his own father, steps back on his original (armamentist) plan when he realizes that "I was under the impression that guns would bring us freedom. But Bheem inspired a whole crowd with one song"

Even though in the context of the film the "path of choice" was still violent (this still is, after all, an action superhero movie), the message of this scene is extremely metaphorical. The idea of a song (art) inspiring all people to "become a weapon" against an oppressive regime is very powerful, and it resonates deeply in anti-opression movements all over History. It is, literally, the power of the people.

Furthermore, at crucial moments in the plot, both Bheem and Raju put aside their collective struggles for the other's individual good; Unlike his father, who readily accepts the militarization of his child son for the greater good, Raju, when questioned by his guerrilla companion for abandoning 15 years of work to save Bheem, says that "I will bear it for another 25 years, but I won't sacrifice Bheem for my goal".

Bheem, here, represents not only the friendship and love between them, but, metaphorically, an entire ideal of the people. Ultimately, one can say that this film addresses the idea of "what are the limits in my revolution": I will not sacrifice the other for my revolution; the limits of my revolution must be the wellness of the other (and in our metaphorical reading here, the wellness of the people).

Parallel, the torture scene can be metaphorically read as: the only valid sacrifice is my own, never that of the other. (and I won't be commenting on the revolutionary character of ideas like martyrdom and self-sacrifice, but yes). That's what Bheem and Raju do throughout the entire film, they put the other above themselves.

And in the end, they kill the british defeat oppression together✨

Now, as I've mentioned before, yes, this movie still ends violently, yes, it still glorifies and celebrates this violence in some of the best action scenes I've seen in my whole life, yes, it is heavily patriotic and sometimes a little bit too on the nose about it, yes, and did I rejoyce in it? Yes.

But it cannot be denied that RRR at least presents a reflection not often seen in films of the genre, which is the mere existence of real debate. In addition, the film is placed in an extremely specific historical context, portraying real historical figures, real life revolutionaries, folkloric parallels, a gigantic symbolic charge, in short, a whole other deal.

Besides it, the only difference between this film and idk, Braveheart, or Star Wars, is that in this film the social and racial parallels, the guerrilla warfare and class struggle (and the colonial wound) become clearer – and perhaps this is a more responsible way of representing a revolution.

NOW, BLACK ADAM ON THE OTHER HAND KKKKKKK

As mentioned in the synopsis, the background of Black Adam is curiously similar: we have an oppressed people, we have the militia, a clear racial reference to a real-life conflict, which affects thousands of people daily, and the figure of a mythologically evocative hero with super powers who will free the people from oppression through violent means. And yes, there is debate: we have the Justice Society, which condemns Black Adam's methods and questions his use of violence, only to be proven wrong at the end of the movie.

But the "proved wrong" isn't really built, or developed (as Intergang is quickly forgotten when they all start fighting each other and then… Satan? For some reason??), and it basically boils down to this:

KKKKKKKKKKKKKKKKKK

And that's so funny because he actually just… killed like 3 soldiers in the second act of the movie. That's all he did.

And it gets even funnier because at some point we have a scene that genuinely makes a VERY VALID point that made me very hopeful when I was in the theater watching it

Like, this is SO VALID and she is SO RIGHT and this is such a great argument and a great debate point and then it just... goes nowhere

He just killed like 3 guys he didn't even talk to the people he just, quite literally, killed some pawn soldiers and went on to fight his own individual battles that had nothing to do with the actual opression state of the country besides them telling you that "it was bad".

The problem with Black Adam's is ac how shallow the argument is. Nothing is justified, nothing is not even debated, we just have Hawk Man going "killing is bad" and Black Adam going "yeah but I do it caused I'm disruptive like that", and even when we have this "inspire the people" moment is just... this kid with a cape doing this symbol and yes, symbols of struggle are a great tool in fighting oppression, and yes they work and they're so, so great, but this one specifically kind of just…was there?

LIKE OK THIS IS ALL GREAT but then it lead to people… fighting zombies?????

zombies ??!?!??!!!????

Like, how, seriously, how does this have to do with any of your previous state of opression? How does this change absolutely anything??? Are we going to have elections after the zombies thing, or... ?

And that, to me, is such a poor and wasteful way of representing people power that, even though I didn't take this film seriously, I couldn't help but feel mildly frustrated. Much of the recent wave of blockbuster media about decolonialism, in my opinion, has been making this same mistake, which is apparently thinking that just because a movie is made to be a blockbuster, or a superhero movie, or an action movie and easy entertainment, it cannot tackle complex topics. It cannot deepen a discussion. It can't take 10 minutes off a fight scene to establish a full dialogue. As if that would, idk, tire the audience maybe? Idk.

As if a universe of superheroes, or fantasy and action, couldn't contain a scene like this:

This scene seems so simple but it is so, so huge

Andor is perhaps an example out of the curve, because Andor is a series that makes a great effort to represent the fight against oppression in a very serious and responsible way, making it its main theme, of representing what a fascist government is,how a fascist government acts and affects all layers of a population, what is the immigrant cause, what is the armed struggle, what is it like to be a person of color in an far-right government. And it does all of this in an unprecedented way in the genre so far, indeed.

But as I said before, perhaps this should be how all media represent these themes. Because otherwise, even the best of intentions can turn against the causes you sought to defend. And ok, I know that Black Adam is "just a superhero movie" and that maybe it's unfair to demand so much from a movie that only came to propose a simple entertainment with fight scenes and jokes, and I had fun watching it indeed. I love Dwayne Jhonson we all do. But the thing is, if you're going to represent that debate, I genuinely believe it can't be done as simply, or as poorly explained, as it was in this film. A poorly presented arms discourse can become an attack on the legitimization of the armed struggle in its historical context, it can become a justification for a shootout against anti-oppression demonstrations, it can become the excuse for why a policeman mistook an umbrella for a rifle, or a piece of wood for a gun, and killed innocent (and peripheral) men.

In the best of scenarios, the intent is simply forgotten, or it's so hidden in the metaphorical layers of the work that it's easy to miss them. If that weren't the case, there wouldn't be so many racist, misogynistic, right-wing Star Wars fans, for example (just to be clear, I'm not attacking Star Wars here at all, ok, I'm just using it as an example – you'll agree with me that I've never seen any Cambridge professors attack Star Wars)

And fair is fair, Luke did explode a moon-sized military base full of millions of people and all that...

SO ANYWAY

Armamentism is an extremely serious issue, and it must be handled very, very carefully. As I mentioned before, RRR has a historical context, and an argument builded throughout the entire film; I hardly think anyone comes out of RRR, or WomanKing, wanting to pick up a gun and simply shoot someone (I hope). But the way this idea was presented in Black Adam, it is not an exaggeration to say that someone might have had this impression after watching it. At the very least, the movie took no care making sure this wasn't the case, and that for me is troubling enough.

The struggle against oppression and decolonialism are extremely important topics, and I am happy that these themes are increasingly making themselves present in more and more media works (and we have had several very good ones recently) – and Black Adam does have good ideas in the middle of the mess. But if you're going to make a film to talk about oppression, without actually commiting to approach it responsibly, why do it?

And ok, RRR does have a very imperative call to action but well, look at them, would you not answer???

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newwallpapershd92 · 3 months ago

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Aarthi Agarwal Indian-American Actress Wallpapers

Aarthi Agarwal (March 5, 1984 — June 6, 2015) was an American actress known for her work in Telugu cinema (Tollywood). She passed away on June 6, 2015, at the age of 31 at Atlantic Care Regional Medical Center in Atlantic City, New Jersey. Aarthi had been dealing with obesity and underwent surgery six weeks before her death. According to her manager, she died due to a heart attack. At the time of her death, she was living with her parents in Egg Harbor Township.

Early Life Aarthi was born on March 5, 1984, in New Jersey, USA, to a family originally from Gujarat, India. Her father, Shashank, worked in the hotel industry, and her mother, Veema, was a housewife. She had two siblings, including her younger sister, Aditi Agarwal, who also acted in movies.

Acting Career Aarthi began acting at a young age. At 16, she made her debut in the Bollywood movie “Paagalpan.” Later, she became popular in Telugu cinema, even though she didn’t speak Telugu. Her notable films include “Indra” (2002), “Nuvvu Leka Nenu Lenu,” and “Allari Ramudu.” She won several awards for her performances.

Personal Struggles and Challenges Aarthi faced personal difficulties throughout her life. In 2005, she attempted suicide due to rumors about her relationship with a co-star. In 2006, she was hospitalized after suffering head injuries from a fall. In 2007, she married a software engineer named Tasval Kumar, but they divorced in 2009. After that, she lived in New Jersey with her parents and struggled with health issues, including weight problems. She returned to acting in 2014.

Untimely Death Sadly, Aarthi passed away on June 6, 2015, after suffering a heart attack. She had undergone liposuction surgery six weeks before her death and had experienced breathing problems afterward.

Notable Films Some of Aarthi’s well-known movies include “Nuvvu Leka Nenu Lenu,” “Indra,” and “Andala Ramudu.” She continued acting until her final film, “Aame Evaru?” was released posthumously in 2016.

Though her life was short, Aarthi Agarwal Indian-American Actress Wallpapers left a lasting impact on the Telugu film industry. Her beauty, talent, and determination are still remembered by her fans.

Profile:

Full Name: Aarthi Agarwal

Date of Birth: March 5, 1984

Date of Death: June 6, 2015

Occupation: Actress, Model

Spouse: Tasval Kumar (2007–2009)

Relatives: Aditi Agarwal (sister)

Notable Films: “Nuvvu Leka Nenu Lenu,” “Indra,” “Andala Ramudu��

Cause of Death: Heart Attack

Aarthi’s fans can find her pictures and wallpapers online to celebrate her legacy and memory. Her presence in the Telugu film industry and her unforgettable performances continue to be cherished.

#wallpaper

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telomeke · 2 years ago

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TAG 9 PEOPLE YOU WANT TO GET TO KNOW BETTER

Got tagged by the ever effervescent @waitmyturtles (on this post linked here). Thanks dearie! 💖

THREE SHIPS 🔹 It wasn't intentional but mine are the same as @waitmyturtles–

Pat and Pran

Kurosawa and Adachi

Togawa and Nozue.

FIRST SHIP 🔹 The legendary MaxTul.

LAST SONG 🔹 I can't just put one down here; my taste is eclectic and random, and just the last song will paint the wrong picture.

A selection paints a fuller picture (but it's still curious): Clean Bandit and Zara Larsson's "Symphony" (because it was playing in the gym, and the music video is a masterpiece of an LGBT short film that brings me to tears every time – do watch if you haven't yet. It's beautiful). Also Miley Cyrus' "Flowers", the MSP boys' "You've Got Ma Back" and Tilly Birds' "Just Being Friendly." Gonna mention Dolly Parton's "9 to 5" and Dusty Springfield's "Son of a Preacher Man" too because they both popped up on YouTube. And Adam Lambert's version of Bonnie Tyler's "Holding Out for a Hero" because Tumblr decided to take a complaint about bots and set it to music (blogpost linked here).

LAST MOVIE 🔹 This one is way out of left field: Ponniyin Selvan Part 1 (the first Tamil movie I've watched in years, and it was SO GOOD). The book it's based on is also a classic. I'm not Tamil (or even of Indian ancestry) but the culture and language have a special place in my heart because of a childhood housekeeper/nanny who was more like family. Now thinking of watching RRR, but don't know if I will get around to it, because the energy in the clips seems a bit overwhelming. (Yes, I'm aware it's Telugu and not Tamil.) Prior to this – it was either Dune or Encanto (no hang on, maybe it was Everything Everywhere AAO; have been avoiding the cinema for a while since I couldn't get vaccinated earlier due to allergies and had to stay indoors quite a bit).

CURRENTLY READING 🔹 Don't hate on this – read the full explanation please – but with a tinge of guilt about the ethics of it all I'm re-reading a book about a certain boy wizard and his journey to self-actualization. Yes, I'm aware the author (whom I shall refrain from naming – like a Voldeuxmort) has in recent years fallen out of favor due to her views on trans issues, and is now a pariah among vast swathes of Tumblr, so please don't come at me, but I have my reasons.

When the books first came out I was fascinated by the world-building and concocted etymologies, but that's not the reason I'm re-reading. Thing is, I'm trying to learn another language (vastly different from the ones I do know) and the books are very useful for this. They have translations readily available in almost any language you could want, and I can cross-check any difficult bits with the English version, and I already know the story anyway. Plus there's lots of dialogue and the original author's style (or lack of it) isn't hugely literary – the prose is mostly functional, even pedestrian. And the plainness of the language helps when you're not ready (at learner level) for any leaps of linguistic trickery (except for the fantastical made-up bits, which you wouldn't need to learn anyway).

Also – and this is a big reason – my late mom loved these books, and they were the basis for a lot of shared memories for us. I remember watching the films with her and visiting the memorabilia stores too. They made her very happy, and this in turn made me happy. Mom also passed before any of the author's less savory views became public. So having them about reminds me of Mom a lot, back when things were simpler and without the current climate of nastiness.

So yes the books have become tarnished in my view, but the way I'm looking at it – these are books I already had even before the author's controversies broke to the surface, so it's not like I bought them recently and am indirectly supporting her here. I used to treasure these books for their imaginative content, rather less so now. There is still beauty in them, but they're also devalued in other ways. I'm not going to throw them out just yet (not right now anyway) – because for now they're also portkeys to happy memories and happier times.

I think of them like this – they're like the heirloom antiques passed down from generations before, but then you get them appraised and suddenly you find out they're not quite the precious artifacts you thought they were. But just because Mom's old clock or statue turned out to be a dud, it doesn't mean I can't use it as a doorstop or paperweight (or just another decorative tchotchke). You don't have to give it pride of place on the mantelpiece, but you can keep it for different uses that bring utility to your life in other ways. (And as always the other voice in my head is going "Yeaaah well, but that clock face has radium and the statue is flaking lead paint! You have a toxic doorstop that could kill the dog and that paperweight is also poisoning the worktable!" OK, valid points; just give me a little bit more time to figure this one out, please. 🤷‍♂️)

For now I'm using these books as functional learning aids, rather than throwing them out straightaway (it's better for the environment too, I tell myself). When my grief over Mom's passing fades (as it will, it must) maybe I can let them go of them then. 😥💖

CURRENTLY WATCHING 🔹 These shows:

Moonlight Chicken

My School President

Bad Buddy (always coming back to this one – but I watch my favorite bits on repeat, rather than going sequentially in full chrono)

The Amazing Race 34 (missed out on this when it first came out, so it's a binge watch now).

CURRENTLY CONSUMING 🔹 Gluten-free fruitcake – I have one in the fridge being quickly depleted and two others stashed in the freezer awaiting their turn; a dear friend and relation is a great baker, and when we recently got together after a years-long break (kept apart by the pandemic), he gave me several of these delicious beauties because he knows how much I love them and covet quality baked goods that are also GF (not always easy to find). SO GOOD with hot coffee and Thai BL. Also munching on the odd slice of gourmet bak kwa from a secret source, plus arrowhead chips.

CURRENTLY CRAVING 🔹 Chicken rice because of Moonlight Chicken.

ONWARD TAGS 🔹 Would like to get to know you more: @miscellar, @colourme-feral, @theheightofdishonor, @airenyah, @crzshaly437, @dribs-and-drabbles, @gennianydots, @faillen, @bengiyo. Ah and @respectthepetty too! Oops, I've gone past nine. 🤷‍♂️🤦‍♂️

As always, no obligation to play! But fun if you do. 🥰

#the tag game

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sachinkumar1997 · 2 years ago

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RRR at Oscars 2023: Why India's Naatu Naatu song wowed the jury

A track from Telugu blockbuster RRR, short for Rise Thunder Revolt, Naatu was the main Indian film melody to be selected for an Oscar.

Its artists likewise performed at the Foundation Grants, which are being broadcasted in India on Monday morning.

The tune turned into a worldwide sensation - moving perpetual Instagram reels and dance patterns via web-based entertainment - after the film's delivery in US last year, where its fast rhythm and synchronized movement were a moment hit with the crowds.

Created by MM Keeravani with verses wrote by Chandrabose, Naatu previously left a mark on the world once in January when it won the Brilliant Globe for best unique tune, overcoming competitors like Rihanna, Taylor Quick and Woman Crazy. That very month, the melody additionally won the Pundits Decision grant for the best tune.

"It's not a result of the music or the dance - the whole story of RRR can be summed up inside these 10 minutes of Naatu," the movie's chief, SS Rajamouli, told Vanity Fair.

A verifiable dream, highlighting hotshots Slam Charan and Jr NTR in lead jobs, RRR recounts the imaginary story of two progressives who battle contrary to English rule in India.

Rajamouli says he imagined Naatu as a "battle scene" in which two political dissidents push an English official to the brink of collapse - through dance.

"The melody is a story inside the bigger story of the film," the producer said.

Back in 2020, when RRR was still under creation, all Rajamouli told Keeravani was that he wanted a tune that would feature the moving ability of his legends.

Keeravani then, at that point, went to his number one lyricist Chandrabose and said: "Compose anything you like. In any case, this story happens during the 1920s, so use words proper to the time."

With no song or tune to work with, Chandrabose previously concocted the snare line of "Naatu" and that signifies "Dance, Dance" in Telugu.

He let BBC Telugu know that he composed an uptempo tune with a quick beat, which he realized Keeravani leaned toward. The beat is generally utilized in society tunes of the two Telugu-talking provinces of India - Andhra Pradesh and Telangana.

Attracting motivation from his experience growing up Telangana, Chandrabose incorporated a few folksy references - like eating bean stew with jowar roti (red sorghum bread) - in the tune.

Most of the melody was finished in two days, Chandrabose said. Yet, it required 19 months for the leftover piece to meet up.

Rajamouli and Keeravani credit a lot of Naatu's prosperity to the melody's choreographer, Prem Rakshit, who made around 95 dance ventures for the track.

"Every one of them [the actors] have their own style," Rajamouli said in a prior interview. "So he needed to find something that fit the two of them."

Rakshit said he made 30 forms of the mark step in which NTR Jr and Smash Charan hit the dance floor with their arms around one another. The wonderful arrangement must be additionally made do after Charan asked the chief "in the event that they could follow through with something" with the ensemble.

The melody comes full circle in a long distance race dance-off as every one of the artists kick up a tempest, gradually imploding individually in depletion until just the legends stay standing.

Slam Charan and NTR Jr then go to take on one another and a dance rivalry between the two legends follows. Rajamouli said he attempted to set out the film's subjects of fellowship, contention and fortitude through the grouping.

Also, the rest is history.

Since the film's delivery last year, fans have been attempting to duplicate the unpredictable foot turns and infectious dance moves. At film screenings in Los Angeles, crowds were much of the time seen racing to the stage to move when the tune played.

Despite the fact that the track was shot before the Mariinskyi Castle, a beautiful ocean blue design in Ukraine, Rajamouli said his point was to reproduce the environment of an Indian town. In past meetings, the chief has admitted that individuals referred to him as "insane" for shooting in a country very nearly war.

The group shot the tune north of 15 days, working 12 hours every day with 150 artists and a team of 200 individuals.

Rakshit said that each time he approved a take, Rajamouli would request "one more" shot.

"He went outline by casing to ensure we were in a state of harmony," Charan said in a meeting.

#RRR #Oscars #news #2023 #newsblog #world news

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buzzook · 2 years ago

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A track from the Telugu blockbuster RRR, Short for Rise Roar Revolt, Naatu Naatu was the first Indian film song to be nominated for an Oscar. Now ‘RRR’ creates history, ‘Naatu Naatu’ wins Best Original Song. With this win, ‘RRR’ has become the first Indian feature production to win an Oscar.

#oscar #rrr #naatu naatu #naatu song #winner

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hungama123 · 2 years ago

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my-music-1460 · 5 days ago

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Nikhita Gandhi: The Journey of a Rising Star in Indian Music

In the dynamic world of Indian music, where new talent emerges almost every day, few artists manage to capture the nation’s heart and make an indelible mark. Nikhita Gandhi, with her unique voice and incredible versatility, is one such star. From her roots in Chennai to her rise as one of Bollywood’s most sought-after playback singers, Nikhita’s journey is both inspiring and exceptional. Unlike many artists who stick to a single genre or language, Nikhita seamlessly bridges the gap between different styles and cultures, bringing Indian audiences closer to a variety of sounds and musical traditions. This journey, filled with dedication and hard work, has not only earned her fame but also a devoted fan base that spans the globe. Let’s take a closer look at how Nikhita Gandhi has risen to stardom and what makes her story so compelling.

1. Early Life and Musical Influences

Nikhita Gandhi was born in Kolkata but spent most of her formative years in Chennai, where she grew up surrounded by South Indian culture and music. Her upbringing played a major role in shaping her musical tastes, which are as diverse as her roots. Nikhita was exposed to a range of musical genres, from Carnatic classical music to Western classical, and her family encouraged her to explore her interests. During her early years, she took formal training in classical music, but her curiosity soon led her to explore more contemporary sounds, including jazz and pop. This early mix of influences set the foundation for her future as an eclectic artist who could adapt her voice to various styles.

2. Educational Background and Artistic Growth

Nikhita didn’t initially pursue music as a full-time career. She studied dentistry at the prestigious SRM Institute in Chennai, showing her dedication and passion for both science and the arts. While her academic pursuits were focused on becoming a dentist, her love for music never faded. During her college years, she continued to perform and took part in various music events and competitions. She even traveled abroad for a short stint at Berklee College of Music, Boston, where she delved deeper into jazz and Western classical music. Her time at Berklee not only improved her technical skills but also inspired her to think of music as a potential career path.

3. Breakthrough in Bollywood

Nikhita Gandhi’s big break came when she was offered to sing the title track of the Bollywood movie Raabta in 2017. The song, composed by Pritam and sung alongside Arijit Singh, became an instant hit. Nikhita’s powerful voice and ability to convey emotion through her singing quickly drew attention. “Raabta” wasn’t just a song; it was a game-changer for Nikhita. She was no longer just a student or an emerging artist — she was now a recognized playback singer in Bollywood. This milestone opened the door to numerous opportunities in the industry, and soon, she was lending her voice to several Bollywood movies.

4. Diverse Genres and Languages

One of the factors that make Nikhita Gandhi so unique is her ability to sing in multiple languages. She has sung in Hindi, Tamil, Telugu, Bengali, and even English, allowing her to reach audiences across India and beyond. Her linguistic versatility has made her a popular choice not only in Bollywood but also in the South Indian film industry, where she has delivered some of her most popular songs. Songs like “Aao Kabhi Haveli Pe” (Stree) and “Qaafirana” (Kedarnath) showcase her ability to seamlessly transition between different styles and languages, adding depth to her discography. Nikhita’s willingness to experiment with different languages and genres sets her apart in an industry where many artists stick to a single niche.

5. Global Recognition and Cross-Cultural Collaborations

As Nikhita Gandhi’s fame grew in India, her music began to reach international audiences as well. She started collaborating with global artists, experimenting with different sounds and exploring cross-cultural influences. Her collaboration with popular artists and her work on projects with international appeal have made her a familiar name even outside of India. These collaborations have allowed her to bring a global dimension to her music, making her one of the few Indian artists to achieve such recognition.

6. Nikhita Gandhi’s Evolving Sound

Over the years, Nikhita’s sound has evolved significantly, adapting to the demands of both her artistic vision and the changing tastes of her audience. While her early work is known for its rawness and emotion, her recent releases show a more polished and mature approach. Nikhita has grown not only as a vocalist but also as a performer and a storyteller. Her work now includes independent singles and collaborations, giving her the freedom to experiment with her music and present her true self to her fans.

7. Challenges and Overcoming Setbacks

Like many artists, Nikhita Gandhi has faced her share of challenges. The entertainment industry can be a tough place, with intense competition and high expectations. But Nikhita’s resilience and determination have seen her through. She has spoken openly about the importance of staying grounded and focused, even during challenging times. Her ability to push through these obstacles and maintain her authenticity has won her respect in the industry, making her a role model for young artists aspiring to make their mark in music.

8. What’s Next for Nikhita Gandhi?

Looking ahead, Nikhita Gandhi shows no signs of slowing down. She is currently exploring independent music, collaborating with other artists, and creating new content that resonates with today’s generation. Fans can expect more unique and experimental music from her, as she continues to expand her horizons and redefine what it means to be an Indian artist on the global stage.

Conclusion: Nikhita Gandhi’s journey from a young girl with a love for music to a celebrated singer is a remarkable story of dedication, versatility, and resilience. Her willingness to explore different languages, genres, and styles has set her apart in the competitive Indian music industry, earning her fans from all walks of life. Today, Nikhita Gandhi is not just a playback singer but a cultural icon who continues to inspire young musicians. As she steps into the next phase of her career, it’s clear that her passion and unique voice will keep her at the forefront of Indian music. Her journey reminds us all of the power of pursuing one’s dreams and embracing diversity in art.

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