Deconstructing Pictures Posted on Social Media Part 3

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srk

[Continued from here. The second part]

If there is one thing Hindi movies have taught us it’s that the most important thing in life isn’t gari, bangla, rupaiyya, adventure sports or conspicuous consumption.

It’s love.(pronounced lowe)

Which is why when painting the panorama of perfection that is your life on the canvass of social media, one must reserve the most expansive brushstrokes for love.

Remember har kisi ko naheen milta yahan pyar zindagi mein.  And even if they do get pyar, not everyone gets gigantic-sized stuffed toys for Valentine’s Day, or a hand-written note that says “Because you are there for me”  or a new iPhone <latest model number> for their birthday or a dinner for two on a romantic yacht for their anniversary (may be substituted for a surprise “breakfast in bed” every alternate year for that sweet spontaneous vibe) or comments on their Facebook Wall that say “Janooo I love you: your Sanam” even though the Sanam may be sitting in the same room as the Janoo.

Which is why if you are the few who indeed are blessed suchly, you must remember to rub your fortune into the faces of the other denizens of your social media world, keeping in mind that the perfection of your life is contrasted only by the imperfection of the others—-the lonely, the broken, the one whose love only texts her four times a day from work or does the anniversary dinner at a chain restaurant (Burger King) or never “Likes” her photos or forgets to give sweet comments like “You are looking so beautiful” on her profile picture.

crying

Because only when someone somewhere in the world screams, “Why can’t you love me like he does her” or  weeps into a handkerchief ‘Why isn’t my marriage like his?” does your chronic posting of pictures on Facebook find fruition.

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An Independence Day Story

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She:  Dadu, what should Independence Day mean for me?

Dadu (Grandfather): Why this question?

She: I know you won’t like my saying this but, for me at least,  Independence Day means nothing. When I was younger, I used to think of it as fun. Standing in line at school and waving little flags, no classes, coming home and watching yet another rerun of Gandhi. But now that I can think for myself, I find this…I don’t know…

Dadu: What don’t you know?

She:  I don’t know what I am supposed to feel. I don’t see what’s special. I really don’t.

Dadu: Hmmm.

She: I mean, they force it on you everywhere.  As if making you stand every time before a movie isn’t bad enough every day of the year, here is one day devoted solely to standing up and saluting.

Dadu: Well, some might say, that this is a little sign of respect for those that made it possible for you to watch a movie, as first-class citizens in your own country.

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Regressiveness

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Mallika Sherawat recently gave an interview at Cannes. It’s kind of news I guess because, after all, who interviews Mallika nowadays? Well in case you haven’t seen it, I encourage you to do so [video], particularly if you need a good laugh. (And come on, who doesn’t?). Since it is very difficult to remember what she said, after the few minutes you spend laughing or cringing, let me summarize her main thesis—- “India is regressive, I am very progressive” with the subtext being that she is victimized because of her progressiveness. Why does she  claim to be progressive? Because she was the first person to kiss and first person to wear a bikini.

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Regressive Narratives

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As a pop-culture aficionado, I have always been intrigued by how popular media (movies, music, books) influences the way we think and act. Some of this influence is, of course, perfunctory like the “Friend” cap from “Maine Pyar Kiya” or the Amitabh-hair-cut or the Rajani goggles-move. But much of it is insidious and covert, affecting the way we reason about our world and our perceptions of that which is morally justifiable and that which is not.

Hence it is no surprise, that given the tragic incidents in New Delhi and the national conversation triggered over sexual violence in its wake, that Indian popular culture, frequently given the catch-all-label Bollywood, would be the second most popular target of blame (The first being of course the government, an even bigger catch-all-label than Bollywood).

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The Sexual Violence National Outrage Playbook

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1. Not every rape can shock-spark the starter-circuit of the national outrage factory. No sir it cannot. The act has to be egregious in its sexual violence (shock and awe compulsory hain boss), must have occurred in a “decent” area of a Tier 1 metro (smaller cities, villages and metro slums—you are out of luck, the outrage factory cannot empathize with you folks) and the lady in question must have been “innocent” (i.e. no prostitutes please, we are Indians). Remember, if the crime does not pass the sansani test or make you feel that the victim could have been you, or your maa-behen, it will not make it to Step 2.

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Some Thoughts On the Olympics

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The Olympics take place once every four years. India plays Sri Lanka every four days and yet I care more for that than for the Olympics.

The reason for the simple. Any cricket engagement allows me, an Indian, to be optimistic about our chances. In Olympics, leaving aside hopes of superb individual performances from a few talented athletes or a “May I Hebb Your Attention Pliss” walk d’grace from Madame Madhura, we know, even before we take the stage, that on the list of medal winners, we will be near the bottom.

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On FDI In Retail

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Looking at the BJP, one often gets the impression that they have been afflicted by the Subhash Ghai disease, an obsessive compulsive disorder wherein the sufferer tries to recycle in the 2010s what worked in the 90s. With disastrous results. For instance, who else believes in 2011 that calling a jeep a “Rath” will make those riding in it appear like mythic Hindu heroes?

Well I might have been wrong about the exact decade in which the BJP’s clock stopped working. It was not the 90s after all. Hearing Arun Jaitley speak of the perils of having our food supply in “foreign” hands, all I see is a desperate attempt to revive the pop-culture bogeyman of the license-raj 70s days, that phirang Bob-Christo archetype snarling in his accented Hindi about “dirty Indians” while the noble Manoj Kumar would be tied up in a galley, looking to the side surreptitiously at Hema Malini,a symbol of India (or more precisely its food security) caught in the vice-grip of foreign avarice, writhing sensuously on deck.

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Agni The Fire

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Like many of my fellow countrymen, I am drawn to Big Boss [my column in Sunday's DNA] in the same way that I find myself fascinated by the sight of  maggots infesting an apple. For years, this attrition-based reality show has provided the nation with a cultured clash of ideas, public debate, civilized discourse, tension, solitude and most importantly, bouncing bosoms, wagging fingers and bad language.

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