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Home › News & Blogs › Hive-minded: what's working for inclusion in apiculture?
Hive-minded: what's working for inclusion in apiculture?
By Caspar Swinkels, Belmost Ongom, Hope Agwang and Phionah Birungi
Damien Tupinier / Unsplash
Inclusive development, to INCLUDE, is development that aims to reduce poverty and inequality through ensuring participation of marginalised/excluded groups of people in the development process, in terms of both non-income and income dimensions of poverty (1). Productive employment is identified as one of the domains in which poverty and inequality can be reduced. The linkage here is increased access to decent jobs in a formalised and non-formalised labour markets especially in developing countries like Uganda is key to improving living conditions and it is a critical element in achieving sustainable development
Various renditions of the concept inclusive development have become part of development policy making and programming. Whereas inclusion is taking over the discourse of development, the exact meaning and operationalisation of this concept are not entirely clear. For development organisations this concept can play out in various ways. Rather than focusing on the word of inclusion, this blog focuses on the work of inclusion. The aim of this blog is to show a concrete example of inclusion in practice, embodied by the Inclusion officer at The Uganda National Apiculture Development Organisation (TUNADO), a member-based national apex organisation for apiculture in Uganda. Beekeeping, they argue, should be an accessible option for everyone because anyone can do beekeeping. A permanently staffed Inclusion Officer is in place to ensure that this focus is observed. This blog asks the questions what is inclusion in the apiculture sector on top of other aspects of value chain development? How does the inclusion officer work, and how does TUNADO facilitate the inclusion officer and inclusion in practice?
Challenges for beekeepers
Before understanding vulnerabilities and barriers to inclusion for various social groups, the general challenges of the beekeeping sector should be understood. Common challenges in the apiculture value chain exist for all its actors. For more on the apiculture value chain in general, read this blog. The challenges stem from structural aspects of the value chain, such as its fragmentation, and the links to markets that are often not optimal. These challenges apply – although unequally – to most beekeepers starting their apiaries in Uganda, and to most of them who have managed to expand beyond critical mass of 15 beehives (with 10 colonies). Besides these structural challenges, beekeeping itself for smallholders or beginning beekeepers can become difficult when faced with practical problems. For example, due to the responsibility the beekeeper has for their bees, which are considered lethal livestock in Uganda, a fence is necessary to avoid accidents with cattle or neighbours which can result in injuries and sometimes casualties on one side, and heavy legal repercussions on the other. The fence may also prevent neighbours from stealing honey. If one has a plot of land and a few hives at their disposal, getting bees into them requires technical know-how and experience. A beehive without bees is as good as not having one. The next step is apiary management and ultimately harvesting. To safely monitor and harvest the colonised beehives, one needs equipment such as a bee suit with gloves and gumboots, a bee brush, harvesting knife, hive tool, smoker and airtight buckets.
Beekeeper with visual impairment using string to navigate his apiary / Image credit: Stephen Muwanguzi TUNADO
Beekeeping can be profitable from 15 colonised hives onwards. Including the equipment, the beekeeper would have to invest an estimated (15 traditional beehives*30,000 + bee suit 150,000 + smoker 50,000 + boots 25,000 + gloves 30,000 + bucket 25,000 =) 430,000 Ugandan Shillings based on World of Bees prices (which is about 122 U$D in January 2022). To maintain and protect the apiary, a fence should also be factored in. The beehives can be made locally, which can cause the price to go down, or they can be produced by beekeepers themselves. Some of the equipment is available through the Rural Transformation Centres (one-stop-shops for beekeeping training, equipment and inputs connected to TUNADO) for communal use. This means that some of the initial investments could go down or could be postponed.
As most informal smallholder rural agricultural entrepreneurs, beekeepers face a structural challenge to gain access to finance, in the form of credit or loans from formal sources. The Microfinance institutions are not geared towards the apiculture sector. On top of that, beekeepers are not able to show records and present collateral to meet the KYC requirements. This means that even though investments may be small at first, a starting beekeeper may struggle to meet them without external credit.
Inclusion analysis in the apiculture sector
In organising a historically fragmented sector with little organisation and mostly smallholders, TUNADO identifies 6 social categories facing extra challenges towards participation in apiculture. People falling in one or more of these categories face sometimes overlapping challenges to partake in activities along the apiculture value chain, be it in beekeeping (primary production), processing and packaging, marketing, or trading. First, youth are finding access to the required assets and capital (land, credit) hard. Often youth do not own or access land and do not have the resources or independence to start up beekeeping. Secondly, women face these challenges more disproportionally, adding other social and traditional expectations of care work, marriage, and mobility to their situations. According to a survey conducted by Woord en Daad PMEL Expert in Uganda in December 2021 under Human Centred Design technical support by Palladium, female youth find it harder to get land compared to their male counterparts due to patriarchal nature of Ugandan society. Thirdly, persons with disabilities face similar constraints, e.g., physical obstacles to persons with vision impairment (PwVI) and persons with hearing impairment (PWHI), who need extra adaptations in their communication and apiary work sites.
Fourthly, there are ethnic minorities that face peculiar vulnerabilities due to historical processes of marginalisation, such as the Batwa people in the west, and the Ik people in Karamoja close to Kenya. The Batwa, historically forest dwellers, have been evicted from their ancestral grounds and find hardships in securing alternative livelihoods. The Ik, who are situated between cattle keepers of Turkana and the Karamojong close to the Kenyan border, face cattle raids from both sides and are being pushed out. Refugees, of which there are many in Uganda, form the fifth vulnerable group. The refugees are located mostly in refugee settlements near the Sudanese and Congolese borders and face multiple barriers to engage in beekeeping, e.g., they are congested in the settlements and have small plots (3 x 3m) which makes primary production difficult, lack skills and there exists mistrust between them and host communities, which makes integration into host community apiary groups difficult.
Uganda employs a national poverty index that identifies regions with higher levels of poverty to guide policy and programs of poverty alleviation. This method of poverty targeting may overlook people living in poverty in regions that are not considered to be the poorest. TUNADO calls these groups that miss the boat the active poor; these face constraints in levels of education, skills, and access to land, finance, and assets, and require a tailored and intensive supportive approach to set up a business in beekeeping. This is the sixth and final category TUNADO uses for its focus on inclusion. These categories are not mutually exclusive, as one person may fall in one or several of these categories and face some or all challenges above depending on their personal context and environment.
The inclusion officer
The above mentioned social categories add their own challenges on top of the more general access to finance, land, and knowledge barriers for rural smallholders to successful beekeeping. This also shows that inclusion is highly context sensitive and depends on an interplay of factors. The inclusion officer, and TUNADO in a broader way, addresses these vulnerabilities and challenges. This function originated from a pilot project to improve the inclusion of persons with disabilities in beekeeping: a project officer with a background in sign language interpretation was recruited to facilitate the process with persons with hearing impairment and persons with vision impairment that are keeping bees in Gulu and Jinja. TUNADO realised that a focus on inclusion should transcend project level and be applied programme wide to increase participation of excluded and marginalised categories of people. After this project was successful, it was considered as a pilot for a more programmatic approach to inclusion. The project officer was incorporated in the permanent staff and involved in other projects as inclusion officer. She has been involved in a scoping study on inclusion for the five-year strategic plan of 2022-2027 and among other things worked to improve accessibility of the construction of a new building that will host TUNADO office, an export hub, a demo apiary, and a beekeeping museum. The inclusion officer is mandated by the organisation to address issues of inclusion and propose changes. One of the roles is to ensure that inclusion policy is being implemented according to an implementation framework, while addressing issues of inclusion in interventions to come.
Inclusion Officer Hope Agwang working with person with visual impairment / Image credit: Stephen Muwanguzi TUNADO
The effectiveness of the work of this inclusion officer depends on several factors. First, the experience, background and seniority of the person fulfilling the function matters greatly for its effectiveness. Secondly, the policies and implementation roadmaps and timelines in place within the organisation provide the inclusion officer with the necessary tools. These policies and implementation guidelines should be concrete, workable, specific, and realistic. Lastly, the embeddedness of the position within the organisation and the commitment to inclusion as a core value play a role. Arguably, an organisation that does not consider inclusion as a core value is less likely to employ an inclusion officer.
Inclusion as a strategic core value
On a strategic level, TUNADO has committed to inclusion in several ways. A gender policy guides on the budget commitments towards gender inclusion (30% of the annual budget), same with disability policy (2%). All projects and programmes have mainstreamed the Gender Action Learning System methodology, which is a gender empowerment methodology that is based on dialogues in communities and households that are used as a negotiation tool for women inclusion. Staff and board have been trained in disability and gender inclusion within the projects and in the organisation. A gender analysis for the honey value chain was conducted to guide programming and it will continue to be updated. Programmes and projects are directed to spend effort to bridge the gap for persons with specific challenges due to intersecting (2) characteristics. In practice this means monitoring the quantitative and qualitative indicators of inclusion, such as proportion of women in beekeeping, differences in production, access to equipment, capital, and assets, and so forth.
Beekeeper trying on a bee suit during a training / Image credit: Stephen Muwanguzi TUNADO
Whereas gender parity is a common first approach on the inclusion front, a wider focus on intersections of multiple characteristics that pose particular challenges is necessary. The mechanisms behind inclusion and exclusion play a central role in inclusion policy as input for analyses and policies. However, without the organisational and strategic backing of principles of inclusion, it is very difficult to put it into concrete practices. It is necessary to weave inclusion into the organisational structure with internal policies, embedded in concrete implementation guides that set clear and realistic goals, combined with staff training and monitoring.
This blog is a cooperation between INCLUDE, Woord en Daad, TRIAS and TUNADO. The three organisations implement Trees x Bees in Uganda, as a consortium under the Challenge Fund for Youth Employment. This project seeks to connect coffee farming, beekeeping and tree planting for pollination, honey production, reforestation, and climate resilient agroforestry.
(1) Reinders, S., Dekker, M., van Kesteren, F., Oudenhuijsen, L., 2019. Inclusive Development in Africa (Synthesis report), Synthesis Report series. INCLUDE Knowledge Platform, Leiden, the Netherlands. https://includeplatform.net/publications/synthesis-report-inclusive-development-in-africa/
(2) Intersectionality refers to each one's unique experience due to anything that affects marginalisation in their lifetimes, which can be gender, family composition, assets, and other individual and social characteristics. First coined by Prof. Kimberlé Crenshaw in 1989 (Crenshaw, 1991).
One response to "Hive-minded: what's working for inclusion in apiculture?"
Lawrence Tusimomuhangi says:
The intervention of TUNADO to mobilise, strengthen farmer groups is key. The involvement of vulnerable groups like neglected communities like the batwa, in Kisoro, Disabled persons but could be resourceful in some areas along the apiculture value chain.
Mobilisation of communities along protected areas would be a great opportunity to tap the natural benefits from those areas.
Value addition from the farm, is key in honey, bees wax and propolis production. Our beekeepers are still facing challenges in accessing value addition equipment. There is need to receive a strong advocacy for tax waiver on a number of value addition equipment.
Capacity building of our youths in small equipment management, items like honey presses that would be hired out during honey harvesting,
Flight paths of the beekeeping sector in Uganda
Systemic development of the apiculture value chain is at the heart of the work of…
By Dickson Biryomumaisho +2 more
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What's working for Inclusion in the apiculture Sector?
Inclusion is a nice word, but how do you put it into work? This two-pager…
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Gôruden suranbâ 2010
When easy-going Aoyagi meets an old friend for a fishing trip, he ends up drugged, framed for the Prime Minister's assassination, and on the run from corrupt cops. It's only the beginning of what quickly becomes the worst, weirdest day of his life. But he'll get by with a little help from his friends, who include a famous pop diva, a rockabilly deliveryman, a crippled old gangster, and the world's most cheerful serial killer. Among the many puzzles of this twisty, clever film is how Nakamura manages to sneak a genuinely moving tribute to friendship into the madcap procession of perilous events. No matter what befalls Aoyagi, his friends and parents believe in him because of his steadfast, almost irrational pleasantness.
Genre: Action, Comedy, Mystery
Director: Yoshihiro Nakamura
Actors: Gaku Hamada, Nao Ômori, Yûko Takeuchi
Keywords:ゴールデンスランバー
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redpajama_set_name: RedPajamaCommonCrawl


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Adriano (Letzte Warnung) ist ein Lied des deutschen Rap-Musikprojektes Brothers Keepers. Das Stück ist die einzige Singleauskopplung aus ihrem Debütalbum Lightkultur.

Entstehung und Artwork
Geschrieben wurde das Lied von Da Germ, Frederik Hahn (Torch), Chris Kindt (Ebony Prince), Daniel Kretschmer (D-Flame), Dennis Lisk (Denyo 77), Xavier Naidoo, Sékou Neblett, Ono Ngcala, Abiodun Odukoya, Adegoke Odukoya, Chima Onyele, Tyron Ricketts, Samy Sorge (Samy Deluxe) und Robert Zemichiel (Afrob). Die Komposition des Stückes entstammt von DJ Desue und Naidoo. Produziert wurde die Single von DJ Desue, Adegoke Odukoya und Thomas Hürtgen, wobei die beiden letzteren genannten nur als ausführende Produzenten (Executive Producer) fungierten. Die Abmischung erfolgte unter der Leitung von Roe Beardie; gemeinsam mit DJ Duse zeichnete sich dieser auch für das Arrangement verantwortlich. Die Single wurde unter den Musiklabels Downbeat Records und Nitty Gritty Music veröffentlicht und durch Warner Music vertrieben. Auf dem beige-schwarz gehaltenen Cover der Maxi-Single ist eine stilisierte Abbildung des Gesichts von Alberto Adriano zu sehen. Die Artworkarbeiten und Fotografie des Covers stammen von Pecher und Soiron sowie Mika Väisänen. Als Koordinatoren während des Projektes fungierten Adegoke Odukoya und Thomas Hürtgen.

Veröffentlichung und Promotion
Die Erstveröffentlichung von Adriano (Letzte Warnung) erfolgte am 2. Juli 2001 in Deutschland, Österreich und der Schweiz. Das Stück ist auf vier verschiedenen Maxi-Singles erhältlich, die sich alle durch die Anzahl und Auswahl ihrer B-Seiten unterscheiden. Die B-Seiten bestehen zumeist aus Remixen und dem Musikvideo zu Adriano (Letzte Warnung). Um die Single auch öfters im Hörfunk und Fernsehen platzieren zu können, wurde sie wegen ihrer überdurchschnittlichen Länge in zwei Abschnitte unterteilt, sodass es zwei Versionen mit jeweils einer Länge von etwa 3:30 und 4:30 Minuten gab.

Durch die zahlreiche Besetzung war es sehr schwierig alle mitwirkenden Musiker auf einer Bühne zu versammeln, wodurch die Brothers Keepers nur selten im Gesamtkollektiv auftraten. Zum größten Teil vollzählig waren sie unter anderem bei den Liveauftritten während der Verleihung des VIVA Comet 2001 und den Musikfestivals Beats 4 Life 2001 sowie dem Splash 2001.

Veröffentlichungen
 Adriano (Letzte Warnung) (Headrush Remix) (Remix von Headrush)
 Adriano (Letzte Warnung) (Headrush Remix Instr) (Instrumentalremix von Headrush)
 Adriano (Letzte Warnung) (Main Mix) (Offizielle Singleversion)
 Adriano (Letzte Warnung) (Main Mix Instr) (Instrumental der offiziellen Singleversion)
 Adriano (Letzte Warnung) (Outernational Version) (Blood-A-Go-Run) (Remix von Trulaikes)
 Adriano (Letzte Warnung) (Radio Mix 1) (1. Hälfte der offiziellen Singleversion)
 Adriano (Letzte Warnung) (Radio Mix 2) (2. Hälfte der offiziellen Singleversion)

Hintergrundinformation

Musikvideo
Das schwarz-weiß gefilmte Musikvideo zu Adriano (Letzte Warnung) wurde in Berlin gedreht. Zu sehen sind alle Mitwirkenden, die sich durch Berlin bewegen und dabei das Lied rappen beziehungsweise singen. Zu Beginn sind Torch, Germ und Naidoo zu sehen, die sich zu einer Gruppe zusammenschließen. Die nachfolgenden Interpreten sind einzeln zu sehen, wie sie ihren Beitrag vortragen und sich danach ebenfalls der Gruppe anschließen. Im Vordergrund der Gruppe ist immer Naidoo zu sehen, der wie ein Anführer der Gruppierung wirkt. Zwischendurch sind immer wieder kurze, farbige Einspieler mit nazistisch oder rassistischen Hintergründen zu sehen. Die Gesamtlänge des Videos beträgt 7:07 Minuten. Regie führte der Schweizer Regisseur Dani Levy. Bis heute zählt das Musikvideo über 6,7 Millionen Aufrufe bei YouTube (Stand: Dezember 2021).

Mitwirkende

Rezeption

Auszeichnungen
Die Single konnte sich rund 210.000 Mal verkaufen. Ende 2001 wurde Adriano (Letzte Warnung) mit der 1 Live Krone in der Kategorie "Beste Single" ausgezeichnet.

Charts und Chartplatzierungen
Adriano (Letzte Warnung) erreichte in Deutschland Position fünf der Singlecharts und konnte sich sechs Wochen in den Top 10 und 13 Wochen in den Charts halten. In Österreich erreichte die Single in 15 Chartwochen Position 13 und in der Schweiz in 14 Chartwochen Position 19 der Single-Charts. Obwohl es das Lied nicht auf Platz eins schaffte, war es trotzdem für einen Zeitraum von acht Wochen der erfolgreichste deutschsprachige Song in den deutschen Singlecharts, sowie ebenfalls für acht Wochen der erfolgreichste deutschsprachige Song in den österreichischen Singlecharts. Adriano (Letzte Warnung) konnte sich in Deutschland in den Jahrescharts von 2001 auf Platz 45 platzieren. Bis heute ist dies die erfolgreichste Single der Brothers Keepers in allen D-A-CH-Staaten.

Distanzierung Xavier Naidoos
Naidoo distanzierte sich in einem Videointerview mit dem rechtspopulistischen Magazin Compact im Juni 2020 von Teilen des Liedes und stellte seine Mitwirkung in Frage. Er fühle sich, aus heutiger Sicht, durch die Situation damals "vergewaltigt" und äußert, man hätte andere Mittel wählen können. Naidoo betont im Interview, er sei mittlerweile auch vorsichtig mit der damaligen "Behauptung", dass der Angriff aus rechten Kreisen komme, erwähnt V-Männer und behauptet es gäbe laut Europol keine rechte Gewalt in Deutschland. In den Monaten vorher fiel Naidoo unter anderem durch Nähe zum rechtsextremen Rapper Chris Ares sowie der Verbreitung von QAnon- und Flache-Erde-Mythen auf.

Coverversion von Samy Deluxe
2018 nahm Samy Deluxe das Stück im Zuge eines MTV Unpluggeds neu auf. Unterstützung erhielt er dabei von den ehemaligen Brothers Keepers Weggefährten Afrob, Denyo, Xavier Naidoo und Torch, die schon bei dem Original aus dem Jahr 2001 mitwirkten. Darüber hinaus nahm mit Megaloh ein neues Mitglied an dem Projekt teil. Inhaltlich wurde das Stück den aktuellen Zeitgeschehen angepasst und beinhaltet Anspielungen auf Barack Obama, den NSU-Prozess und Anschläge auf Flüchtlingsunterkünfte. Die Aufnahme erfolgte an zwei Abenden am 14. und 15. April 2018 auf dem Museumsschiff MS Bleichen im Hamburger Hafen. Produziert wurde die Neuauflage von Deluxe selbst. Die Erstveröffentlichung von Adriano (SaMTV Unplugged) erfolgte als Single am 2. August 2018. Das Stück ist Teil der "Deluxe Version" von Samy Deluxe' Konzertalbum SaMTV Unplugged.

Weblinks

 Liedtext mit Interpretationsanregungen auf Rap Genius

Einzelnachweise

Lied 2001
Popsong
Rapsong
Antirassismus
Fundraising
Afrob
Samy Deluxe
Xavier-Naidoo-Lied
Politisches Lied
Lied von Xavier Naidoo

redpajama_set_name: RedPajamaWikipedia


North American Sculpture Exhibition, Golden CO first prize in sculpture Knickerbocker Artists silver medal Peddlers Village Outdoor Art Best of Show National Sculpture Society - Youth Awards, Gloria Medal, and Ben Hawkins and Marian Weisberg Award Doylestown Art League - Grumbacher medal Gallery in the Park - second prize in professional, Sellersville, PA Phillips Mill - Patrons Award for Sculpture Hazelton Art Alliance - Purchase Award EDUCATION Sculpture study and apprenticeship with master sculptor Zenos Frudakis, 1983-1997 (while an apprentice, worked on many large-scale and small-scale pieces.
Figure Study with Jacques Fabert, 1980-1983 York Academy of Arts, Diploma awarded, 1980 TEACHING Sculpt Today - Consultant and Model builder with Steve Golden, at Art Skills, to produce a box set for teaching home school students the art of sculpture.
Banana Factory, Bethlehem PA Classical Portraiture Easton Clay Works - Instructor Northampton Community College Adjunct Professor, 2001-2005 ARTIST IN RESIDENCE Studio 337 at the Banana Factory- Bethlehem, PA 2008-Current East Stroudsburg High School Pleasant Valley High School - PA Council of the Arts PROFESSIONAL MEMBERSHIP National Sculpture Society Elected Member Catharine Lorillard Wolfe Art Club ACE Arts Community of Easton Lehigh Valley Arts Council.
When people see my work, I hope they are moved by the subject matter. But it is just as important that they discover how intricate, beautiful, and sturdy sculpture made from recycled materials can be.
I create cast paper sculpture entirely from post consumer pulp which is pressed into molds made from my original art.
It's my small way of keeping the earth green by producing green art. Who knows, if more of us thought about ways of turning garbage into gold, waste into wonder, trash into treasure, it might not be such a bad thing. Mother Nature would certainly approve.
The work begins with a clay model, then a mold is built, removed, and recycled paper pulp is pushed into the cavity. Cast paper is made with shredded egg cartons and an additive to make it acid-free. The works are painted with acrylics, and metallic paints.
My professional work is primarily commission based; portraits, life-style, editorial, commercial, food and architectural. Personal work is usually anything that catches my eye, but tends towards figure work, landscape and abstract.


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Why Buyers, Sellers File Claims Under M&A Insurance: AIG
Nearly 14 percent of mergers and acquisitions (M&A) insurance policies written globally by American International Group Inc. resulted in a claim, according to a study by the insurer, one of the largest writers of M&A policies in the world.
AIG said its study of its representation and warranties (R&W) insurance claims data between 2011 and 2014 suggests a significant number of M&A transactions worldwide may see issues from breaches of deal terms discovered after closing.
Financial statement misrepresentations were the leading cause of these M&A insurance claims, accounting for 28 percent of all claims during the period. Tax errors or misrepresentations were the second most frequent claim type, accounting for 13 percent of filed claims, followed by 11 percent of claims filed due to discrepancies that emerge from a company's contracts.
"A deal can come back to haunt," said Mary Duffy, global head of M&A Insurance. "From AIG's perspective, transactions pose risks to a significant number of companies, despite the best efforts during due diligence. Even the most sophisticated and largest companies can and do miss critical issues during the deal process."
A deal can come back to haunt.
Buyers in a transaction purchase R&W insurance to protect against breaches of representations and warranties (whether innocent or otherwise) made by a seller during the deal process. Sellers also purchase the insurance to protect against buyers claiming such breaches.
The study found that companies in deals worth $1 billion or more were the most likely to claim damages following the close of a transaction, with 19 percent of policies covering this deal size seeing a claim. Companies involved in transactions under $100 million were the next likeliest with 15 percent of policies covering this deal size seeing a claim.
The study also found:
Buyers in a transaction were most likely to buy an M&A policy, accounting for 75 percent of policy purchases. Approximately 13 percent of them reported a claim after a deal closed.
Sellers accounted for 25 percent of policy uptake. They were much more likely to report a claim, with nearly one-in-five (19 percent) doing so.
While buyers were less likely to file a claim, their claims were more severe. The majority of the top 15 largest claims reported to AIG during the study period were from buyer-side policies.
The study revealed global variations in M&A claim frequency and severity, as well as the length of time it typically takes for a claim to be filed after a deal closes. The data showed the tail on this type of M&A policy can extend well more than a year beyond a deal's closing date.
Clients in the Asia Pacific region were the most likely to file claims, with about 18 percent of policyholders there reporting a claim during the study period. EMEA (Europe, the Middle East and Africa) had the lowest rate of claims reported with 11 percent of policyholders submitting a claim.
However, EMEA claims tended to be more severe, accounting for the majority of the largest claims paid out by AIG during the time period.
While 74 percent of claims were filed by policyholders within 18 months of the close of transaction, a significant 26 percent were filed after the 18-month mark.
"More and more, M&A insurance is becoming part of the transaction process worldwide," Duffy said. "Companies see it as a better alternative to closing a deal than contentious negotiations to allocate potential risks and unknowns."
The claims data between 2011 and 2014 cover a significantly larger pool of transactions than in prior periods, reflecting an increase in M&A activity and the growing acceptance and use of R&W policies as part of the deal process, according to AIG.
The total number of claims during the study period was 132, which can be considered low volume relative to other insurance lines. However, the claims data spans policies covering roughly 1,000 deals worth more than $200 billion, and policies written during the study period still hold the potential for a claim.
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Categories: Features, National Section


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Digital Paternalism: A Recap of our Conversation about Australia's Cashless Debit Card with Eve Vincent
December 4, 2020 Victoria Adelmant |
Digital Welfare State and Human Rights ProjectTechnologyEconomic and Social RightsSocial ProtectionIndigenous PeoplesAustralia
By Victoria Adelmant
On November 23, 2020, the Center for Human Rights and Global Justice's Digital Welfare State and Human Rights Project hosted the third virtual conversation in its "Transformer States: A Conversation Series on Digital Government and Human Rights" series.Christiaan van Veen and Victoria Adelmant interviewed Eve Vincent, senior lecturer in the Department of Anthropology at Macquarie University and author of a crucial report on the lived experiences of one of the first Cashless Debit Card trials in Ceduna, South Australia. A captioned video of the event is available here and additional materials are linked below.
The Cashless Debit Card is a debit card which is currently used in parts of Australia to deliver benefit income to welfare recipients. Vitally, it is a tool of compulsory income management: the card "quarantines" 80% of a recipient's payment, preventing this 80% from being withdrawn as cash and blocking attempted purchases of alcohol or gambling products. It is similar to, and intensifies, a previous scheme of debit card-based income management, known as the "Basics Card." This earlier card was introduced after a 2007 report into child sexual abuse in indigenous communities in Australia's Northern Territory which identified alcoholism, substance abuse, and gambling as major causes of such abuse. One of the measures taken was the requirement that indigenous communities' benefit income be received on a Basics Card which quarantined 50% of benefit payments. The Basics Card was later extended to non-indigenous welfare recipients, but it remained disproportionately targeted at indigenous communities.
Following a 2014 report by mining magnate Andrew Forrest on inequality between indigenous and non-indigenous groups in Australia, the government launched the Cashless Debit Card to gradually replace the Basics Card. The Cashless Debit Card would quarantine 80% of benefit income on the card, and the card would block spending where alcohol is sold or where gambling takes place. Initial trials were targeted, again, in remote indigenous areas. The communities in the first trials were presented as parasitic on the welfare state and in crisis with regard to alcohol abuse, assault, and gambling. It was argued that drastic intervention was warranted: the government should step in to take care of these communities as they were unable to look after themselves. Income management would assist in this paternalistic intervention, fostering responsibility and curbing alcoholism and gambling through blocking their purchases. Many of Eve's research participants found these justifications offensive and infantilizing. The Cashless Debit Card is now being trialed in more populous areas with more non-indigenous people, and the narrative has shifted. Justifications for cards for non-indigenous people have focused more on the need to teach financial literacy and budgeting skills.
Beyond the humiliating underlying stereotypes, the Cashless Debit Card itself leads cardholders feeling stigmatized. While the non-acceptance of Basics Cards at certain shops had led to prominent "Basics Card not accepted here" signs, the Cashless Debit Card was intended to be more subtle. It is integrated with EFTPOS technology, meaning it can theoretically be used in any shop with one of these ubiquitous card-reading devices. ETPOS terminals in casinos or pubs are blocked, but these establishments can arrange with the government to have some discretion. A pub can arrange to allow Cashless Debit Card-holders to pay for food but not alcohol, for example, thereby not excluding them entirely. Despite this purported subtlety, individuals reported feeling anxious about using the card as the technology was proving unreliable and inconsistent, accepted one day but not the next. When the card was declined, sometimes seemingly randomly, this was deeply humiliating. Card-holders would have to gather their shopping and return it to the shelves under the judging gaze of others, potentially of people they know.
Separately, some card-holders had to use public computers to log into their accounts to check their cards' balance, highlighting the reliance of such schemes on strong digital infrastructure and on individuals' access to connected devices. But some Cashless Debit Card-holders were quite positive about the card: there is, of course, a diversity of opinions and experiences. Some found that the card's fortnightly cycle had helped them with budgeting and thought the app upon which they could check their balance was a user-friendly and effective budgeting tool.
The Cashless Debit Card scheme is run by a company named Indue, continuing decades-long trends of outsourcing welfare delivery. Many participants in Eve's research spoke positively of their experience with Indue, finding staff on helplines to be helpful and efficient. But many objected to the principle that the card is privatized and that profits are being made on the basis of their poverty. The Cashless Debit Card costs AUD 10,000 per participant per year to administer: many card-holders were outraged that such an expense is outlaid to try to control how they spend their very meagre income. Recently, the biggest four banks in Australia and government-owned Australia Post have been in talks about taking over the management of the scheme. This raises an interesting parallel with South Africa, where social grants were originally paid through a private provider but, following a scandal regarding the tender process and the financial exploitation of poor grant recipients, public providers stepped in again.
As an anthropologist, Eve's research takes as a starting point the importance of listening to the people affected and foregrounding their lived experience, resonating with a common approach to human rights research. Interestingly, many Cashless Debit Card-holders used the language of human rights to express indignation about the scheme and what it represents. Reminiscent of Sally Engle Merry's work on the 'vernacularization' of human rights, card-holders invoked human rights in a manner quite specific to the Aboriginal Australian context and history. Eve's research participants often compared the Cashless Debit Card trials to the past, when the wages of indigenous peoples had been stolen and their access to money was tightly controlled. They referred to that time as the "time before rights"; before legislative equal citizen rights had been gained. Today, they argued, now that indigenous communities have rights, this kind of intervention and control of communities by government is unacceptable. As one of Eve's research participants put it, the government has through the Cashless Debit Card "taken away our rights."
Eve Vincent, Lived experiences of the Cashless Debit Card trial, Ceduna, South Australia (2019)
Eve Vincent, We've lost our vision. A card cannot give vision to the community, Inside Story (March 2019)
Australian National Audit Office, The Implementation and Performance of the Cashless Debit Card Trial (2018)
Elise Kein and Sarouche Razi, The Cashless Debit Card trial in the East Kimberley (2017)
Eve Vincent, Storytelling, Statistics, and the Ethics of Responsibility, Commoning Ethnography (2019)
Nijole Naujokas, I feel sick thinking about being forced on to cashless welfare. It's so insulting, The Guardian (February 2020)
ACOSS, Cashless debit cards & income management: a briefing note on the evidence October 2020 (October 2020)
For Welfare or For Profit? Aadhaar and Private Exploitation of the Poor in India
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Development From the Bottom Up and the Top Down
November 28, 2008 By John Sewell
From Poverty to Power: How Active Citizens and Effective States Can Change the World, by Oxfam's Duncan Green, is a very important book—one that should be read by everyone at the World Bank, International Monetary Fund, and bilateral aid agencies. It combines a critique of current development policies and institutions with insights from community organizing and grassroots empowerment. Furthermore, it is comprehensive, covering not only aid but also politics, inequality, vulnerability, and reform of global governance structures. Finally, the book links the two critical components of the development equation: citizen participation and competent governance. The dichotomy between these two has always been a false one.
Green's central message is that "development, and in particular efforts to tackle inequality, is best achieved through a combination of active citizens and effective states." This should become part of the operational code of every development institution.
Green points out that "shocks and changes" can be important catalysts for reform. The current financial crisis is one of these shocks, and for our political leaders, it has made global governance a problem to be dealt with—as opposed to an issue too easily ignored. Just look at the recent G20 meeting. My colleagues and I spent a fair amount of time a decade ago designing and trying to sell leaders on an expanded summit to deal with the challenges of globalization. There were no takers. Yet this month we had a heads-of-state meeting that included leaders previously excluded from the G7.
No one really knows how long this crisis will last. But if leaders and their governments do not respond wisely and creatively, the human costs in both rich and poor countries will be immense. Leaders must understand that market forces left unregulated can ultimately prove destructive. This is the lesson of the struggle to regulate the U.S. national economy during the 19th century and of the period after World War I.
The financial crisis also provides an opportunity to raise fundamental questions about long-standing development policies. I strongly believe that the world, and particularly the United States, needs to adopt a new type of realpolitik—call it global realpolitik if you wish. For the United States, a global agenda should include:
An energy strategy that transitions to a less oil-dependent energy supply;
A climate policy that recognizes one of the greatest threats to our well-being;
A renewed emphasis on agriculture so that food production increases, particularly in poor countries;
A health policy that deals with major health threats, old and new, and equips the world to deal with the next pandemic;
An international effort to deal with failing states and internal conflicts; and
A major emphasis on ending poverty.
In all of these areas, development promotion provides an important set of tools. No matter how good our intentions, we cannot accomplish these goals without competent partners: states with the capacity to manage their own affairs and cooperate on global problems—states in which rights and freedoms are guaranteed, and in which people feel they have a voice in the policies that affect them. International development is critical to helping foster such states.
I have two additional comments on From Poverty to Power. First, I think the section on aid could have been stronger. The aid "business" is in considerable disrepair, with simply too many donors trying to do too many things in too many places with too little coordination. There are many ways to make aid more effective, but they will not be easy to implement, and Green could have delved into the complexities a bit more.
Second, the book's strength is also its weakness. It is nearly 500 pages long and has 792 endnotes! Fortunately, there are summaries in English, French, Spanish, and Portuguese available online—but there needs to be a version aimed specifically at policymakers. Imagine you had 10 minutes to brief President-Elect Obama on the key findings of the book. What would you tell him? For better or worse, in this town, your insights are only as good as your elevator speech.
John W. Sewell is a senior scholar at the Woodrow Wilson Center and the former president of the Overseas Development Council.
Topics: development, Guest Contributor, poverty


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Have a look at this gorgeous boy, only 11 month old, not yet neutered, fully vaccinated and chipped.
Sadly Duke has been allowed to be dominant over his older owners and he now thinks he is in charge and they can no longer control or handle him and want him to go to someone who can correct these issues and give him the training and boundaries he so needs.
Our assessor found him to be friendly boy who after an initial bark came over for a fuss. He was very strong on his normal collar but did walk lovely on a halti, he loves to play with a ball and fine for you to take it from him.
He has boundless energy due to not going out as much as he needs and more stimulation will help with this too.
He has shown dominance to his mum around food and she is now afraid of him.
Do you have the experience to start this boy off in the right direction?


text:
Blackham Coliseum
Experience the Acadiana region's largest craft beer festival this July at Blackham Coliseum. Grab your brew book and make your rounds to taste over 200 beers from Schilling Distributing, Crescent Crown, and local home brewers alike. Described in the recent years as "Oktoberfest in the Summer," Gulf Brew brings a southern festival feel to tasting the finest craft brews. While you're sipping, enjoy live music, good food, and great company and know that your ticket purchase is making an impact.
Gulf Brew Tickets
Thirsty for More Info? Click Here
All Lodging	Bed & Breakfast Inns	Hotels, Motels & Inns	Resorts, Retreats & Lodges	RV & Campgrounds	Vacation Rentals & Cabins
Hear, hear! Raise a Glass of Craft Beer!
*Note: Article is from Gulf Brew 2019; Check back for updated 2020 aritcle with schedule of events.
There's no better pairing than a hot Louisiana night with a cold craft beer. On July 20, Acadiana's premier beer festival, Gulf Brew, will be pouring some of the state's most popular beer and serving up great food and music. All of the proceeds benefit downtown Lafayette's Acadiana Center for the Arts and its popular Louisiana Crossroads music series, held from September through March every year.
"Gulf Brew began with 13 beers in our parking lot 11 years ago when craft beer was just coming onto the scene," says Brian Crutchfield, Special Events Director for Acadiana Center for the Arts.
Image courtesy of Gulf Brew
At the inaugural event, the beer ran out in just one hour. Over the years, Gulf Brew attracted more and more people, outgrowing several locations before landing at Blackham Coliseum with more than 300 types of beer. The event's popularity is a testament that the craft beer movement isn't losing momentum anytime soon, especially in a culinary destination like Lafayette.
"For visitors coming from out of town, Gulf Brew is really a great way to try some of our favorite craft beer here in Louisiana," says Crutchfield. "All of the major breweries will be here."
Two of Acadiana's most renowned breweries, Bayou Teche Brewing and Parish Brewing Co., will be attending the festival again this year. Bayou Teche Brewing is a popular brewery and hangout in Arnaudville where it produces Rajun' Cajuns Ale. Parish Brewing Co. out of Broussard produces the best-selling Canebrake, including Strawberry Canebrake for summer.
Some of the other top breweries from around Louisiana will also be participating in this year's Gulf Brew, including Abita from St. Tammany Parish, Tin Roof from Baton Rouge, NOLA from New Orleans, Great Raft from Shreveport and Crying Eagle from Lake Charles. Beer lovers can also try homebrews created by the Dead Yeast Society as well as watch a few DIY demonstrations.
"Participating in Gulf Brew is a win-win for us," says William McGehee, who owns Tin Roof with his wife Cammy, a Lafayette native. "Not only do we get to share our great beer with Acadiana, but we are supporting the AcA, the cultural music and arts hub for Lafayette. It's always a really fun event."
Outside the Coliseum, a half dozen food trucks will be lined up, serving everything from traditional Cajun cuisine to tacos and farm-to-table fare.
The event will be held from 6-9 p.m. on Saturday, July 20. General admission tickets are $50 and provide access to all 300 samples. A VIP Package is available for $75, which includes an early access hour and a VIP gift.
Click here for more information on the upcoming Gulf Brew. And as they say in Cajun County, "Laissez bon temps Rouler!" Let the good times roll.


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Vikku Vinayakram - Youtube.
Grammy Award–winning Vikku Vinayakram to perform in Cairo, Alex, Portsaid
By: Egypt Today
Wed, Mar. 13, 2019
CAIRO – 12 March 2019: As part of the seventh edition of India by the Nile, world acclaimed Indian percussionist Vikku Vinayakram will perform in Cairo, Alexandria and Port Said.
Vinayakram will perform three concerts on Tuesday, March 12 in Alexandria; on Friday, March 15 in Port Said and on Saturday, March 16 in Cairo.
The renowned Indian percussionist will perform in Egypt along with his project dubbed 3G, or Three Generations of Percussions "Vikku, Vinayakram and Selvaganesh".
The troupe houses three generations of musicians who are Vinayakram's two sons Selvaganesh and Umashankar, and his grandson Swaminathan
The Embassy of India in Egypt, in collaboration with Teamwork Arts, presents the seventh edition of India by the Nile Festival (IBN).
IBN is a celebration of the essence of India through classical and contemporary performances and visual arts, food and popular culture.
This annual cultural festival, supported by TCI Sanmar, kicked off on March 5 and will run until March 17 in Cairo, Alexandria and Port Said.
"India by the Nile encapsulates India's animated cultural matrix like no other international festival in Egypt. Over the past 7 years, the festival has received immense appreciation from audiences in Egypt," India's Ambassador to Egypt Rahul Kulshreshth previously said.
IBN, the biggest international festival in Egypt, provides audiences a keen flavour of India's spirited aesthetic traditions while strengthening artistic collaborations and bilateral ties between the two countries.
"It is indeed due to their love for India that IBN is billed as one of the biggest foreign cultural festivals in Egypt. We are proud to present the seventh edition of IBN and, as before, bring the vibrant, colourful and diverse facets of India's artistic traditions in celebration of the historical and civilizational bonds between our peoples. This year the festival is slated to be even wider in its grasp and canvas of activities," Kulshreshth added.
India by the Nile
Vikku Vinayakram
SIS issues publication on "Egypt and Africa"
Libyan MPs vow to resolve current crisis
Libyan lawmakers emphasize Libya's civilian status, democratic transition
Goethe Institute in Alex launches competition on environment protection
Hany Salama: A Dramatic Turn
Culture min. underscores state's great efforts to combat extremism, terrorism
Sat, Jul. 6, 2019
Biblical bad guys the ancient Philistines came from Europe, DNA shows
Thu, Jul. 4, 2019


For more information on the Brother machines listed here, visit www.brother.com. For information on new releases by other manufacturers, see The Latest in Sewing Machines.
Brother International Corporation has introduced the Circular Attachment Bundle. This new accessory tool creates precise circles. This unique, time-saving accessory allows for all creative minds to add dimension to their projects by incorporating precise circles of varying sizes to be highlighted with decorative stitches and threads.
The Circular Attachment Bundle incorporates an automated fabric pivoting to create circles with a radii ranging from 30mm to 130mm. Precise measuring and accurate stitching is easy with the included Semicircular Protractor Template. For enhanced creativity, the included Braiding Foot with adjustable guide offers hands-free placement of cords, ribbons and braiding of up to 5mm (3/16") in width. The included Cording Foot for 7mm (just under 1/4") horizontal bobbin case machines can be used for embellishing projects with one, two or three cords for decorative stitches. In addition to the easy-to-use instruction manual, the Brother website also includes educational information and a how-to video that includes creative tips, instructions and project ideas for inspiration.
An inspiration to modish mavens and fashionistas, this sewing and embroidery combination machine brings new creative potential to a designer's palette. It contains 70 built-in embroidery designs, five monogramming fonts, 120 frame pattern combinations, 67 built-in stitches, 98 stitch functions and 10 styles of one-step automatic buttonholes. Tote this limited edition machine to classes and workshops using the included Project Runway custom fashion rolling bag. Make your mark on the runway with added dimension, color, texture, and sophistication using the LB6770 PRW.
The ultimate creative partner in sewing, embroidery, quilting and crafting, Brother gives you Creativity™ Times Four™. The Quattro™6000D boasts 100 new and improved features including industry firsts such as InnovEye™ Technology, an Up Close™ Viewer function and Runway™Lighting. Sew effortlessly while the embroidery arm is still attached using 30 inches of work space. Embroider with brilliance using over 600 built-in embroidery designs and the new Jumbo 12-inch x 8-inch hoop. Inspiration is standard. Let the Quattro™6000D inspire you with its ground breaking technology only from Brother.
With the Innov-ís 900D computerized sewing and embroidery machine, you can enjoy the same great features of the SE-350, plus more. The Innov-is 900D also includes 35 built-in embroidery designs based on Disney/Pixar characters, computer connectivity with update capability, Brother's exclusive My Custom Stitch™ feature, a Sew Nice Pic™ frame to customize your machine, 1 additional monogramming font and 3 sewing fonts with spacing adjustment. Starting at $599*, the Innov-is 900D is the ideal machine for "on-the-go" hobbyists. Luxury features do not have to come with a luxury price tag.
The SE-350 combination embroidery and sewing machine is priced to fit your budget but designed to give your projects that customized, higher-end look. With 67 built-in stitches and 70 built-in embroidery designs, take pride in your work by adding your own personal style to your creations. The SE-350 boasts a push-button automatic thread trimmer, backlit touch screen LCD, Quick-Set™ bobbin, embroidery editing, low bobbin indicator, 10 styles of one-step automatic buttonholes and much more. Affordable and feature-full, use your SE-350 to fashion trendy designs with the added touch of embroidery embellishment.
Brother Quattro Creativity Times Four.
That circular attachment looks like a dream come true!
i think the circular attachment is the cat's pajamas.
my mother, however, laughed at my purchase.
one day...just maybe, i sew as good as her.
I was shopping at a sewing store and saw a Brother project runway LB6770 for $600 dollars, is this reasonable?


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A leading member and ideologue of the CPI, Anil Rajimwale (AR for short), has honoured us by his important critique (Mainstream, vol. LI, number 27, June 22) of our position on the question of workers' (revolutionary) consciousness, published earlier in the same weekly.
As Lenin's idea on this question was the object of our critique, AR naturally starts with a defence of Lenin with the opening salvo: "Among the great figures of the world revolutionary movement Lenin was the one who really mastered Hegel's dialectic as none else." A tall claim indeed! First of all, the author has not made clear how this question of philosophy is relevant for workers' revolutionary consciousnesss. Secondly this claim (pre)supposes the claimer's own complete 'mastery' of Hegel's dialectic as well as the claimer's complete information on the philosophical writings of "all the great figures of the world revolutionary movement". Indeed, this is the first time that we come across such a learned and well-informed individual to his credit.
AR has faulted us for having "gone to wrong places in Marx and Engels" in our critique of Lenin. Presumably, the 'right places' would be those which support Lenin's position. We have not found any such place in Marx and Engels, and AR has not provided us with any. The Engels text to which Lenin refers in his 1901-02 What is to be done, speaks not of workers' (revolutionary) consciousness—least of all its export to the workers by foreign bodies, that is, non-proletarian intelligentsia—but of the importance of acquiring scientific theory by the workers. Theory is neither identical with nor equivalent to consciousness. And naturally there is no reference to any text by Marx in this sense.
Unable to develop revolutionary consciousness on their own, the workers will be incapacitated to make their own revolution and emancipate themselves from the existing social order. It is a process of their self-emancipation ("the emancipation of the working class is the task of the workers themselves," as Marx told the International in 1864). Indeed the historical record of workers' movement in the 20th century shows, without exception, that consciousness exported to the workers, in the name of revolution, by the elements foreign to them and forming no integral part of them, has really meant that the consciousness-givers ended up by being power-takers and power-monopolisers, the workers being reduced to simple followers of their commands. Capitalism cannot be defeated and socialism in the sense of association of free individuals established without the independent revolutionary action of the workers, even when proper objective conditions exist.
And this independent revolutionary action depends on the workers' revolutionary consciousness which they gain through their own daily class struggles, through their own life experience. Indeed, as Marx and Engels under-lined (1845), "the consciousness of the necessity of revolution, communist consciousness emanates from the (working) class itself". Years later Engels, in his 1890 Preface to the Communist Manifesto, stressing the workers' own action to liberate themselves, referred to Marx and wrote: "For the ultimate triumph of the ideas set forth in the Manifesto Marx relied solely and uniquely on the intellectual development of the working class as it necessarily had to ensue from the united action and discussion." Indeed, the non-proletarian intelligentsia can help the movement principally by imparting general scientific education .to the workers.


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redpajama_set_name: RedPajamaGithub


text:
"I waited for my chance" - Gilmour after Lincoln win
Tranmere Rovers midfielder Harvey Gilmour believes that the change in formation allowed Rovers to get a grip on the match, which Rovers went on to win 1-0.
Gilmour was part of a tactical switch at half time in the 1-0 victory against the league leaders LincolnCity.
"You could tell we were struggling a bit because we were playing 4-4-2and they were just overpowering us. We stuck to it and got to half time when we changed to a 4-3-3," Gilmour told the media.
"They just put balls into the box and credit to the back four and Scotty, who dealt with it very well," he added.
The on loan Sheffield United midfielder was quick to praise his team mate and goal scorer James Norwood for his way of playing.
Norwood scored the only goal in an end to end match, slotting past goalkeeper Josh Vickers, after beating the offside trap.
"He just surprises me in every game. He can be quiet in a game and then comes to score the winner," Gilmour said.
The 19-year old has had to wait for his chance this season and after playing for half an hour against MK Dons, Gilmour got another 45 minutes in the bank tonight.
"The Gaffer has a lot of belief in me and I waited for my chance which I got. I played half an hour last week and I keep improving, hopefully I'll get my start sometime.
Ollie Banks and Luke McCullough were linking up with the nineteen year old and they are a massive help to the young midfielder
"They help me massively in training, even off the pitch, always giving me advice. It is great to be on the pitch with them, helping me throughout the game.
Gilmour is still learning the trade and learning from Steve McNulty is exactly what the midfielder has done since joining from Sheffield United, he looks up to him like a "dad".
"He is like a dad to us, he is literally the heart of the defence. He talks to everyone and is good to have at the back, we learn so much from him."
You can watch his full interview on our iFollow by clicking here.
Tranmere Rovers vs Lincoln City on 02 Oct 18


Kapoor & Sons starring Alia Bhatt, Sidharth Malhotra and Fawad Khan is all set to hit theaters this week. The film is a family drama directed by Shakun Batra. The music has been composed by Badshah, Amaal Mallik, Arko and Tanishk Bagchi.
Touted to be the party track of the year, Kar Gayi Chull is a high on energy foot tapping number. Composed by Badshah, the song has been crooned by Badshah, Neha Kakkar, Faazilpuria and Sukriti Kakar. The catchy musical arrangement and lyrics, make this track instantly likable. The groovy number will make sure you dance to this tune.
A slow-paced romantic number, Bolna is quite commercial with its musical arrangement. The song has been composed by Tanishk Bagchi and he chooses Bollywood's most trusted playback singer, Arijit Singh, to create his magic over the same. The female vocals have been given by Asees Kaur. The song's romantic feel is quite good and is high on commercial viability quotient.
Buddhu Sa Mann is Amaal Mallik's composition from the film. The composer who has quickly become an instant favorite for many filmmakers unfortunately does not deliver up to the mark with this track. The song has striking resemblance to his own previous works. The light-hearted, easy going track, may be a great watch on-screen but fails to come across as a promising audio track.
Saathi Rey is a mellow track in the album, composed and sung by Arko. The song starts off well and mostly rests on Arko's vocals than the music to leave you spellbound. It is not the album's best track but somehow manages to give this album a little depth with its style.
Let's Nacho is the second party track in the film after Kar Gayi Chull. This too will become the second most popular after the first track. Like most party tracks, the lyrics hardly make any sense in this one. Nonetheless, Benny Dayal's energy and Badshah's rap portions make sure you groove to them soon enough.
Kapoor & Sons soundtrack has a young and fresh vibe, just like its star cast. Kar Gayi Chull, Let's Nacho and Bolna are sure shot hits thanks to their commercially viable nature. I am going with a 3/5 for this album.