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Archive for the 'British Pakistanis' Category
Ever the blushing bride, I didn't dare allow myself the indulgence of a lie-in with the man I'd just married. It seemed vulgar to linger behind a bolted bedroom door screaming 'do not disturb' while the in-laws ate breakfast downstairs. My reasoning was all thanks to the old fashioned values I'd honed back in Bradford. Despite my British birth, I was mindful of the implications of being female from an early age, because my gender was bestowed with the millstone of preserving a valuable commodity – family values. Even though it was sometimes a sham, I was used to manipulating my behaviour because it was usually subject to feedback. "What will people say" was a dominant theme in our home long before my marriage. I was taught that women's conduct needed greater protection and control because it was worth more, so much more in fact that the entire family's honour depended on it. And now, with all eyes trained on me as I moved in with the in-laws in Islamabad, I knew it was my conduct rather than my husband's that would be scrutinised. Besides, he was already within his comfort zone because this was his home. Now it was my home too but it didn't feel like it yet.
I presumed that being watchful of the unspoken rule that bars public displays of affection, I might exemplify my model upbringing and the Pakistani values I'd inherited from mum. I had after all been trained to switch channels instantly if a sordid kissing scene caught us out on the TV. Mum once deserted a bus stop because she couldn't bear to stand behind a couple absorbed in a snog. Indeed, I'd never seen a Pakistani married couple holding hands or even sitting snugly on the sofa. Then there was the story of my maternal grandmother which typified the conduct of an entire generation. She moved into the large household that was already occupied by her husband's parents as well as his many siblings. That old house, with its enclosed courtyard and rooms leading off the veranda, is still standing in our ancestral village of Neela. Only married couples were assigned the privacy of a separate room, primarily for use at night, since much of the day to day activity took place in the communal spaces of the courtyard and veranda. Mum says if my grandmother went inside and her husband inadvertently followed her in, she would quickly retreat lest anyone think the couple was snatching a private moment together!
So there I was in my new surroundings, trying to display the sort of modesty that I thought was socially appropriate. As a naïve 23 year old just entering my first relationship, it never even crossed my mind that my sense of decorum might be based on the antiquated rules from the 1950s, that mum had hauled to Bradford in her suitcase! I wanted someone to tell me to relax and be myself. I wished there was some sort of guidebook that explained the code of conduct a British bride should adopt as she assimilates into a new household in Pakistan. Instead I felt a sort of cultural confusion. That's why I put myself on a rota of self-imposed early starts. Ignoring my husband's protests, I would fling myself out of bed, get dressed as quickly as possible and present myself downstairs as soon as I heard activity in the kitchen. In my own way, I was making sure nobody could even accuse me of alluding to intimacy with my other half.
My early mornings might have been entirely voluntary but they were still a struggle because I was also enduring continuous late nights. You see, with the official ceremonies behind us, we had now embarked on a whirlwind of dinner parties, which confirmed beyond any doubt that our wedding was more about a family alliance than the union of two individuals. Ostensibly laid on to honour the bride and groom, the dinners were ultimately a chance for the two families to get to know each other. The invitations always extended to the entire family which meant cooking was abandoned in several households for many days after the wedding. With so many cousins and aunts lining up to host the happy couple and their entourage, the dinners demonstrated how influential and popular each family was, the extent of their clan, as well as the value they placed on kinship ties. And so, my husband and I found ourselves, lunch after lunch, night after night, feasting with the same bunch of people at different tables across Islamabad. The induction was ingenious if a little intense and irritating, since the entourage seemed oblivious to sabotaging our chances of spending quality time together.
Even Bollywood films couldn't help me in this unchartered territory. My own love story had only just got going after the wedding, whereas it was courtship that tended to be the focus of most of the romantic films I'd seen. The first half was usually devoted to the declaration of love. Then the couple spent the second half ironing out the obstacles that prevented them from marrying – their fathers were arch enemies, the girl was already promised to someone else, the girl was richer than the boy, and so on. Such was the emphasis on love blossoming before marriage, that I couldn't even recall a Bollywood film where the romance focussed on newlyweds. Recent films have dealt with themes of adultery, separation and divorce yet the notion of romance between husband and wife is rarely explored. Just like this example from Waqt (Yash Chopra, 1965), a song featuring a married couple is likely to be incidental, and generally acts as a precursor to some great calamity. The evergreen 'Ae Meri Zohra Jabeen' establishes the couple's happy family life. Just after the husband publicly serenades his wife at a party, the family is torn apart by a major earthquake in this classic lost and found story.
Interestingly, romantic songs within marriage often feature older couples, even grandparents. There's a song in the film Baghban (Ravi Chopra, 2003) where the sons, their wives and children help to celebrate a senior couple's wedding anniversary. Since the grandparents' roles are played by Amitabh Bachchan and the astonishingly youthful Hema Malini, I can't help wondering if the song was little more than a ploy to relive the magic these veteran actors created some 20 years earlier in films like Naseeb (Manmohan Desai, 1981).
The exception is 'Payalay Chunmun Chunmun' from Virasat (Priyadarshan, 1997) featuring Tabu, my favourite actress. Anil Kapoor (from Slumdog Millionaire) marries out of obligation, but isn't sure if he'll be able to fall in love with his bride. The song beautifully portrays the newlyweds' blossoming romance. Towards the end of the song, there's a delightfully telling scene in which the husband playfully drenches his wife whilst they water their crops. When she runs inside to remove her soaking sari, he sheepishly checks for onlookers before rushing inside to join her.
My own bedtime routine was being compromised by a pressing matter. After returning from yet another dinner party close to midnight, I would wearily remove my makeup and jewellery, and set about rummaging through the various suitcases containing my clothes which now occupied our bedroom. In anticipation of my early starts, I would plan my outfit the night before. This was time well invested because as a new bride, it wasn't just my behaviour that was under scrutiny, my appearance was too. The scrutiny had started the moment I set foot in my new home on the wedding day. I received a diamond ring from my husband, his first gift to me, as part of the 'munh dikhai' ceremony which literally means 'unveiling the face'. And in the days after marriage, I was similarly 'viewed' in exchange for a cash gift, by family, friends and nosy neighbours. You know how it is when your house is up for sale, and the thought of potential viewings, as well as the pressure to promote your property compel you to spruce up your home to an impossibly high standard. Well, that's just how I felt at times, although the term 'strictly by appointment' was often lost on the people coming to greet me.
The problem was that planning the outfits took much longer than usual. All the belongings I'd packed at my mum's house now sat in suitcases around my new bedroom. The new outfits mum had paid for had already been displaced by an entire wardrobe courtesy of my husband's family. This was my 'bari', the traditional gift of clothing and jewellery to welcome a bride into the fold. It would now be tactful to show my acceptance and appreciation by wearing these outfits. But you see, although the bari was prepared especially for me, my taste and preference had been irrelevant – apart from a request for my measurements and shoe size, I wasn't even consulted. In fact, the bari was put together secretly, partly to amplify the impact of its presentation. But then, the whole point of the bari is to allow the donors to make a statement about their status and style.
Luckily, it was my good fortune that the wife of my husband's older brother was in charge, because she was renowned for her fine taste and had a degree in home economics to boot. Still, putting the bari together is no mean feat. It's a huge undertaking requiring the skills of an experienced project manager – a methodical approach, budgeting and brokering skills, sound judgment, chasing up deadlines, discretion and flair. Then there were the months of shopping trips to bazaars in the gruelling summer heat. Fabrics were selected and delivered to a trusted tailor, and there were discussions about the design of each outfit. An embroiderer was commissioned to create intricate beadwork on the neckline and hem of the kameezes. Dupattas were delivered to the dyer to ensure they matched the accompanying shalwar kameez suits perfectly. Then they were edged with gold or silver trimming to make them appropriate for 'occasion wear'. Matching shoes, handbags and make-up also needed to be bought or preferably imported.
You'd hardly go to all that trouble if the results weren't going to be publicly appreciated. In fact, the grand unveiling is precisely the occasion to showcase the efforts and enthusiasm with which the bride is being welcomed. And so the big reveal took place on the eve of my wedding during the mehndi celebrations. With the ceremonies conducted, the food eaten, the bride-to-be poised in her ringside seat, out came the suitcases. Every single item from those suitcases was unveiled to the gathered crowd of women. Each of the 21 outfits had been pinned together to facilitate its exhibition. My sister-in-law and her team held up each outfit with outstretched arms, conscientiously revealing the front as well as the back, then turning 180 degrees to ensure everyone in the audience could appreciate the detailed embroidery. I smirked beneath my yellow dupatta as the scene reminded me of the glamorous hostesses on the TV programme, Sale of the Century. The ladies would then turn the outfit towards the cameraman to ensure an eternal record was being kept of their triumph on video.
The most spectacular outfits were revealed first, like the lengha I would wear on the walima (the celebration to mark the consummation of the marriage). I gasped with delight when a shimmering red shalwar kameez was held up. An aunt sitting nearby instructed me to wear the white China silk outfit when it was her turn to host a dinner. The women nodded admiringly, approving the extent of embroidery on a particular kameez, or acknowledging the quality of the imported court shoes. Now a green towel was held up, forming a canvas for the skin coloured bras and knickers stitched on to it, presumably to make them easier to display. The obligatory gold jewellery was refreshingly tasteful. I spotted a bottle of Lou Lou perfume, a nightie I'd never wear, some very usable clutch bags, as well as a couple of hand knitted cardigans. The clothes were then spread out on a charpoy for closer inspection. Each outfit had been impressively packaged to allow them to be handled by curious women without being damaged.
Ideally, I'd have scheduled 48 hours to unpack and organise my wardrobe; to try on the new outfits at my leisure and identify the shoes, bags and earrings that were the best match. I could have done with some order in my surroundings to counter the confusion I was feeling already. It seemed ironic that the person I was supposed to adorn myself for was the one I wasn't spending much time with. Rather than bonding as a new couple, our first days together seemed to focus on the social ties that our union had created.
I greeted the end of the honeymoon period with a huge sense of relief. The flurry of activity had died down with the final relatives returning to their homes in different cities, leaving just me, my husband and his father. With the return to normality, I would finally have time to catch up on sleep, sort out my wardrobe and rearrange the bedroom furniture. But there was sadness too. My husband said goodbye to me with a handshake in the driveway as his friend prepared to drive him to the airport. After two and a half weeks of married life, it was time for him to return to his job in the Middle East.
THE NEXT INSTALMENT: LOST IN BRADFORD
PREVIOUS: THE WEDDING NIGHT
Posted in Bollywood, Bradford, British Muslims, British Pakistanis, Hindi Cinema
Tagged with Ae Meri Zohra Jabeen, Amitabh Bachchan, Anil Kapoor, Baghban, bari, dowry, Hema Malini, Islamabad, marriage, Meri Makhna, munh dikhai, Naseeb, Payalay Chunmun Chunmun, Tabu, trousseau, vari, Virasat, walima, Waqt, wedding, Yash Chopra
What troubled me most about my wedding night was the lack of privacy. Obviously we had our own bedroom at my in-laws', but I wasn't keen on spending my wedding night in a house swarming with guests. To anyone unfamiliar with Pakistani culture, this may seem a tad inconsiderate, perverse even, so allow me to explain. You see, where I come from, families are huge, the bonds are strong, and lineage is a source of strength and pride. Take my mum, for instance. Her father alone was the eldest of 14 siblings. Even though most of mum's immediate aunts and uncles have now passed away, the younger generations of the different branches remain close. I can reel off the names of my grandfather's 14 siblings as naturally as the alphabet, and I can do it according to their birth order. At a push, I could probably also name their spouses and offspring. Needless to say, several generations of each branch were represented at my wedding. Of course my mum also gave due consideration to her mother's side of the family. It won't surprise you to learn that even the daughter-in-law of my maternal grandmother's deceased step brother got an invitation.
You can state 'Mr and Mrs only' as loudly as you like on the invitation; it's still best to assume the entire family will decamp for the celebrations, especially those travelling from further afield. Most come for the three day feast involving the mehndi (the henna party prior to the wedding), the wedding day, and the walima (the groom's celebration of the consummation of the marriage). We don't compile guest lists according to individuals. I've watched as relatives name the head of a household and then add up all the people in his family unit. And sending out a list of hotels in different price ranges close to the wedding venue would be inconceivable. You see, if our guests can make the effort to attend the wedding, then it's their prerogative to be accommodated, with three decent meals per day, as well as transportation to the various venues, all at the host's expense naturally. I've known aunts and uncles to rent out houses for a matter of days especially to accommodate wedding guests.
Now I hope you won't think me selfish for saying so, but here's the thing; as much as I love a houseful of people, it can all seem a little chaotic when you have to line up for the loo on your wedding day. I might have been the bride-to-be, but for several days I'd been sleeping on a quilt on the living room floor because so many people were sleeping at our house in Islamabad. It was a relief to be able to escape to the beauty parlour to be professionally plucked, preened and polished to Pakistani bridal standards. It was an even greater relief when I later learned that the groom had the good sense to book us into a hotel for a couple of nights – for all I knew, our bedroom was probably already in use!
It took much longer than expected to reach the hotel bridal suite. It was around 10pm and I'd been sitting demurely and with some patience for several hours now; first on the stage in the specially erected marquee on my mum's lawn where the wedding ceremony was held, and now on the sofa in the lounge in my matrimonial home. I felt wiped out, disorientated and emotionally drained. Meanwhile, it seemed my husband had mysteriously disappeared to run an errand with some friends, so my new in-laws were left to make small talk and to keep me company. Given the occasion, my initial amusement about the delay soon turned to unease as I pondered the possible reasons for the groom's apparent lack of urgency.
It turned out his friends had taken him out for a drive with an ulterior motive. As is customary at Pakistani weddings, they planned to fleece the groom. You see, the groom spends much of the wedding day collecting envelopes stuffed with cash from wedding guests, in line with the tenet that boxed gifts are useless and cash is always king. So, with a cash reward as an incentive, it's little wonder that young relatives are keen to goad the groom. The bride's sisters or cousins start the proceedings. It's customary for them to find a way to remove one of the groom's shoes and demand a decent pay-out for its return. The 'joota chupai' (hiding the shoe) tradition apparently stems from an old Hindu belief that by touching the groom's feet, the bride's sister can help the happy couple to ward off bad luck. Of course the bride's sisters have an unfair advantage. They know all too well that the groom will be on his best behaviour. He'll obviously want to impress his new family with his sense of humour, warmth and bigheartedness; no man wants to be labelled a miser by his in-laws, not least on his wedding day!
The groom's own friends, siblings and cousins reserve their teasing until he returns home with his bride. On my cousin's wedding night, I was one of a gang of 25 relatives who mischievously blocked the door to his bedroom where the bride was already waiting, and we demanded payment. The groom wanted to be left in peace with his bride while we wanted cash for a midnight feast at one of Lahore's smartest restaurants. Needless to say, the groom quickly relented. On another occasion, my cousins sought revenge after realising that a young uncle had pre-empted their plans by taking refuge with his bride at Lahore's Pearl Continental Hotel. While the newlyweds relaxed in their room, my wicked cousins made themselves at home in the hotel's swanky restaurant. There, with the help of some willing friends, they ran up a considerable bill over the course of a couple of hours. Naturally, they had no intention of paying. After countless interruptions from reception about the outstanding bill, the unfortunate groom finally emerged from his hotel room in a rage and in little more than his shorts and vest.
My husband's friends too seized the opportunity to play their own prank. Like my cousins, they knew the optimum time to test the groom's patience is when he is finally sanctioned religiously and socially to be alone with his bride. It turned out my husband's enterprising friends had driven him into the secluded Margalla Hills where they threatened to abandon him unless he paid up!
Many old Indian films I've watched from the 50s, 60s and 70s have depicted the moment the bejewelled bride sits alone on a bed strewn with rose petals, bosom heaving and lips quivering with anticipation, in an elaborately decorated room. The dashing groom makes a polite entrance and takes his first real look at his bride. While he gazes at her poetically and presumably with some relief (that she hasn't turned out to be a dog), the bride is too bashful to meet his gaze. After a brief and harmless caress, the lights go out!
I think the most daring portrayal of the 'suhaag raat' (maiden night) in Indian cinema terms is probably in the following iconic song from an equally iconic movie, Kabhi Kabhie (Yash Chopra, 1976). To appreciate the scene and for the sake of continuity, you need to know that the bride broke off her relationship with a well-known poet after her parents decided to marry her elsewhere. Ironically, her ex-lover is also her husband's favourite poet. As he admires his beautiful bride, he asks her to recite a favourite song by the poet to commemorate their wedding night. This explains the bride's wistful tears and the brief entrance by Amitabh Bachchan (the poet), although rest assured he appears purely in her imagination!
I was nine years old when Kabhi Kabhie was released and I remember watching it on television in Pakistan. As I sat through this bold scene countless times, I was still too young to understand the symbolism it contained. Little did I know then that the bride's long, dark, silken tresses, now unravelled, alluded to her state of undress. Her hair also cleverly obstructed my view, in line with the unspoken 'no kissing' rule that existed in the classic Bollywood films of yesteryear that I grew up watching. This immortal scene beautifully depicts the couple's growing intimacy through the groom's removal of the bride's jewellery, one piece at a time – the pearl and gold 'tikka' hanging over her forehead, necklace, earrings, and finally the nose ring. The song ends as the groom removes his bride's nose ring, a crude reference to her loss of virginity. The term 'nath utarna' (removal of the nose ring) traditionally signified a dancing girl's initiation into the sex trade, and is still sometimes used today.
A similar theme is portrayed in a song from the classic film Gunga Jumna (Nitin Bose, 1961). When Vyjayanthimala wakes up beside her husband for the first time, she ventures outside and coquettishly sings about her lost jhumka earring, while the other one remains intact. When her husband comes to find her, the missing earring stuck to the back of his shirt alludes to their intimate night.
I spent the morning after my wedding fending off distant female relatives who seemed particularly interested in my wellbeing: "You look tired dear. Didn't he let you get much rest last night?" The women giggled knowingly, expecting me to blush like a new bride should, implying just like those Bollywood song sequences did, that what we'd set out to achieve on our maiden night had been duly accomplished. It was a couple of days later that I received a more perceptive enquiry, one that for the first time seemed to imply that there might be more to marriage than making it through the maiden night. A distant uncle asked me, "Understanding ho gayee? Click ho gaya?" What he meant was this: "Have you worked things out? Have you clicked?"
I'd often heard Pakistani women in Bradford mocking youngsters like me about our illusory aspirations to settle down with someone with whom we 'clicked'. When friends wanted to dismiss an unsuitable match during heated discussions with parents, that's what they'd say: "We just didn't click!" meaning there was no spark.
"What is this click business?" The parents would moan as they ridiculed our unreasonable standards. Wasn't it enough to be found a 'sharif' (decent) man who didn't drink or gamble, who had a stable job and a strong family background?
I sensed this uncle wasn't interested in my reply. I must have smiled and nodded shyly to his satisfaction, but here's what I was really thinking: "Worked things out? Understood each other? Isn't that rather a lot to accomplish in 48 hours?"
We had only just broken the ice. Where exactly do you begin when your terms of reference are totally different and you've got a lifetime's worth of catching up to do? Besides, I was still waiting for the click.
THE NEXT INSTALMENT: OBLIGATION AND INTIMACY
PREVIOUS: THE WEDDING DAY
Posted in Bollywood, British Muslims, British Pakistanis, Hindi Cinema, Indian Cinema, Muslim Women, Muslims Women, Social History in Britain, South Asians in Britain
Tagged with Amitabh Bachchan, Dhoondho Re Sajna More Kaan Ka Bala, Dhundo Dhundo Re Sajna Dhundo kan ka bala, Dilip Kumar, family, Gunga Jumna, Islamabad, joota chupai, Kabhi Kabhi mere dil mein khayal aata hai, Kabhi Kabhie, Lahore, maiden night, marriage, Moreh Kaan Ka Bala, nath utara, nath utarna, no kissing rule, Pakistani weddings, Rakhi, Shashi Kapoor, suhaag raat, Vyjayanthimala, wedding, wedding customs, wedding day, wedding gifts, wedding night, wedding traditions, Yash Chopra
My wedding day was probably the closest that my life has ever got to resembling an Indian film. The year was 1990. At 23, I was at a good marriageable age. A bit like a graduate trainee who has all the potential to excel with the right sort of guidance, I was still pliable enough for my in-laws to mould me to their requirements. It's not a decision I took lightly. Throughout my teens, I was conscious of two conflicting paths laid out before me, and I would have to choose one or the other. There could be no in-between. Could I see myself waltzing down the aisle in a big white marshmallow dress? For this option to ring true, I realised I would need to date an English fellow, and this could surely only happen by defecting. I could see myself marrying an English gent if only in my fantasy world. Let's gloss over the backlash that might have ensued. I imagined having an English husband would make me seem alternative. He would be the ultimate accessory. Such a marriage would speak volumes about my degree of integration. I would leap several social classes overnight, and people would marvel at my confidence to be able to maintain my culture whilst also taking on someone else's. That's what I thought.
The reality was quite different. On a practical level, I could never see myself being with someone who didn't speak my mother tongue, even though I mostly spoke in English. I couldn't imagine having to explain the machinations of every Indian movie we watched together. There were plenty of minor headaches too that my dream somehow glossed over – the minefield of behavioural do's and don'ts when sitting with the family. We might even have overcome the whole alcohol, pork and halal hurdle if my Mr Darcy miraculously turned out to be teetotal and vegetarian. But, the reality was that in the absence of anyone sweeping me off my feet, English or otherwise, my options were limited. I didn't want the headache and the hassle of all that cultural intervention anyway – telling my husband to hide his beer cans in case my family turned up unannounced, and making him use a dedicated frying pan and separate washing up sponge for his un-Islamic bacon breakfasts.
I knew I had to marry someone. There's no such thing as being single in my culture. In fact, marriage is so critical that we refer to the state of being single as being unmarried. And so, I was really happy to take the traditional route, even though it wasn't so much a "yes please!" as a "well, why not then."
And love? Well, despite my 23 years I was inexperienced, just as I was expected to be, in matters of romance. Therefore my decision was quite pragmatic really. I realised it wasn't an affair of the heart or even a meeting of minds, but I hoped it might be once we got to know each other. I did have a serious talk with my mum about it. "You know I don't love him," I started tentatively a few months before the wedding. "Of course you don't," she reassured me. "You see, English people do things the other way round. They marry the person they love, but we grow to love the person we marry."
So that's how I found myself on that September evening, wearing an exquisitely embroidered gharara (bridal outfit), sitting on a purpose built stage inside the marquee erected on our front lawn in Islamabad. My neck was stooped forward with the weight of the chunky gold necklaces around it and my eyes were demurely downcast, with dozens of aunts, cousins and neighbours clucking around me. Mum had done well to stretch that savings plan she'd taken out with the Prudential when I was in my early teens. She must have felt like she was throwing money into a bottomless pit: yard upon yard of fabric from Bombay Stores; jewellery from the goldsmith working out of his lounge just off Horton Grange Road; extravagant gifts for the groom and in-laws; our flights from Bradford to Islamabad; household items and new furniture for the bedroom I would share with my husband at his parental home; bedding for my new bedroom; catering for hundreds of guests; the fairy lights that adorned our house; as well as the stage that I was now shyly sitting on.
I was merely emulating the blushing brides I'd conscientiously observed at the countless weddings I'd attended over the years in Bradford. We didn't really know the sorts of people that held receptions in the Holiday Inns and the Hiltons. The people we knew hosted weddings at the Pakistani Community Centre off Lumb Lane, or the Manningham Sports Centre, although I'd been lucky enough to attend a number of upmarket affairs at Rio's nightclub near the university. I think the best time to go to weddings is in your innocence, when you care enough to notice every detail of the bride's outfit and demeanour. That's what us Asian girls did. How unhurriedly did the bride walk? How large did the earrings have to be before they looked tawdry? How big was the clutch bag she carried? How dark was the stain of the mehndi? I also lapped up elaborate wedding scenes in the Indian films I watched. The best films were the ones where the wedding was central to the storyline because that's when you were treated to several song sequences, each dedicated to a different element of the wedding. There might be a mehndi song to mark the eve of the wedding, where the bride and her friends decorate their hands and feet with elaborate henna patterns, and where one of the bride's friends might perform a celebratory dance before the gathered crowd.
Then there was the baraat song, another opportunity for a jovial dance sequence, where the groom's wedding party arrive at the bride's house (or wedding venue) to take her away. This song from Kaala Pathar (Chopra, 1979) was featured on my own wedding video, when my groom's procession arrived at our house by car. Although I was already dressed in my finery, I concealed myself with a huge chaddar so I could stand on the balcony to watch their arrival. I was quickly ushered back inside but later watched the video with pride as my family formally welcomed the groom's party with garlands of marigolds and roses, and scores of young cousins lined up to shower them with rose petals. After the religious formalities were conducted and food had been served, I was finally brought out to take my place beside the groom on the stage. My face was as expressionless as the bride's in the following song. It wasn't misery, I assure you. Think of it as a sort of cultural coyness.
Thankfully, brides I've seen at real weddings lately as well as in Indian films don't look like that anymore. But when I got married back in 1990, that look was part of the behaviour expected of the bride, at least among the Pakistani branch of my family. Even though I knew the guests were judging me purely on ornamentation rather than personality or my computer literacy skills, I adored being the centre of attention sitting up on that stage with all eyes on me, my dress and my jewellery. Senior female relatives expressly reminded me not to smile or speak too much, not even for the official photographs. And speaking to the groom was out of the question. I wasn't even supposed to acknowledge him. It was unbecoming. People would think the bride was shameless, openly looking forward to her wedding night rather than silently squirming with apprehension!
In fact, I was much more excited about unpacking my magnificent trousseau which mum and I had spent a number of years assembling. The furniture I'd chosen for my new bedroom had already been sent on, awaiting my arrival. Mum and I hadn't seen the bedroom and we didn't know the room's proportions, but that's just how it was then. Little did it matter whether the goods would fit or match the rest of the house, or indeed if they were required at all. My mum had to be seen to have done her duty by providing her daughter with everything she would need to commence her new life. And I wasn't complaining. I was rather looking forward to arranging my newly purchased lipsticks and nail varnishes on my shiny new dressing table. I'd also finally get to use the various pots, pans and pressure cookers we'd bought, the set of dishes and my new red whistling kettle from Marks & Spencer. I had enough newly stitched shalwar kameez outfits, most of them with matching shoes and handbags, to be able to wear a new one every single day for at least six weeks. In hindsight, shopping for matching bags and shoes was probably a constructive distraction and offered the thrill that was alas absent elsewhere. At the time though, I felt like a very lucky girl, with a wonderful incentive to get married.
Call me materialistic but let me assure you that all this shopping was entirely necessary. In fact it was actively encouraged. My mum was much happier for me to spend my secretarial earnings on yet another evening clutch from BHS than fritter it away on vinyl at the HMV shop round the corner. You see, people of my mum's generation expected to see a physical transformation in my appearance after marriage. I was taught that women should only adorn themselves after they have a husband to appreciate their efforts. As was tradition, I gave away my old outfits, shoes and Top Shop bangle collection to my friends because these items represented my old life. I'd be delving into my new wardrobe every day to wear embroidered outfits and high heeled shoes befitting a new bride. There's a famous story about the legendary actor Amitabh Bachchan and his wife Jaya. They married in real life midway through the filming of Abhimaan (Mukherjee, 1973) in which their characters also became man and wife. Audiences flocked to the cinemas because they wanted to see Jaya transformed from a simply dressed young woman to a dazzling bride. To add to the hype, her married character in Abhimaan was much talked about for her stylish silk saris, radiant make-up and jhumka earrings.
The rukhsati scene, the bride's ceremonial send-off, marks the most poignant part of the wedding ceremony in any Bollywood film. Featuring a sombre song with tender lyrics, it's a time of high emotion for the bride's family as they bid their tearful farewells. It's also in the rukhsati scene that the spotlight shines firmly on the bride. This is where she stops behaving like a mannequin and becomes animated with emotion. I loved these touching scenes and I would spend ages rewinding the video so I could study the bride closely. How many tears? How prolonged was her pain? Did she still look graceful? I remember being particularly awestruck by a bride at a wedding I attended in Islamabad. When the time came for her rukhsati, she dramatically fainted. As an impressionable young teenager, I looked forward to the day when I might have such a remarkable rukhsati of my own.
And so, the moment came for me to leave the stage. In that short walk through the marquee erected on our lawn out into the street to the waiting car, I bade farewell not only to my family but also to my life in Bradford. With each step, I moved closer towards the unfamiliarity of new people and a new home in Islamabad. My sister and cousin led me slowly and ceremoniously. While the groom's party trailed behind us, my family solemnly lined up on either side. The celebrations for the groom's family were just about to begin since they were gaining a family member. My family were losing one. Every few steps, a much-loved aunt, uncle or cousin would step forward to kiss me tenderly on my forehead – everyone but my mum who intentionally kept her distance. An embrace from her at this hour would have made my departure more difficult. In one of the loneliest moments of my life, those were some of the heaviest steps I have ever taken. I didn't know my new family all that well, nor did I know the groom well enough to seize his hand for comfort. Besides, can you imagine the scorn from the assembled crowd! As we reached the send-off car, with the groom waiting pathetically at one side, my sister and I, both of us by now inconsolable, held on to one another so tightly and for so long that someone eventually had to wrench us apart.
It wasn't until my own rukhsati that the significance of those tears really dawned on me. I realised then that the merriment of the wedding was over and the drudgery of marriage was about to begin. I cried for my mum and I cried for myself. I realised my mum had been preparing me for this day for a long, long time. As I began my new life with the in-laws, I'd be her little representative, clinging on to her values to help me to assimilate. I cried for the weight of expectation on my shoulders but I hoped I wouldn't let her down. I cried for what I was leaving behind and I cried for what I hoped I'd find ahead. I cried like the bewitching Waheeda Rehman did in Neel Kamal (Maheshwari, 1968), as her distraught father bids her farewell with these heartfelt lines:
Take my prayers with you as you leave
May you find happiness in your new life
May you find so much love with your in-laws
That you never think about those you leave behind
THE NEXT INSTALMENT: THE WEDDING NIGHT
PREVIOUS: YORKSHIRE BOLLYWOOD AND HISTORY
Posted in Bollywood, Bradford, British Muslims, British Pakistanis, Hindi Cinema, Indian Cinema, Muslim Women, Social History in Britain, South Asians in Britain
Tagged with Abhimaan, Amitach Bachchan, Babul Ki Duaayen Leti Ja, baraat, dowry, Islamabad, Jaya Bachchan, Jaya Bhaduri, Kaala Pathar, marriage, mehndi, Meri Dooron Se Aayi Baraat, Neel Kamal, rukhsati, Teri Bindiya Re, trousseau, Waheeda Rehman, Weddings
In the previous instalment, I explained that Yorkshire is one of Britain's most sought-after filming destinations: scenes from The King's Speech and several Harry Potter movies were filmed here, not to mention TV stalwarts like Emmerdale and Heartbeat. It was with this legacy in mind that the region decided to bid for the International Indian Film Academy Awards (IIFAs). If the team behind Yorkshire's bid could pull it off, the 'Bollywood Oscars' would offer a massive boost to the region's economy and tourism. It would give Yorkshire the perfect opportunity to inspire Indian film directors with its stunning landscape, castles and abbeys. But in order to understand Yorkshire's offering, and the strength of its case, you first need to appreciate how love works in Bollywood.
If you know only one thing about Indian films, it's probably that they feature several song and dance sequences. Songs create a spectacle but also have an important function; they are often used to declare love and emotion in the narrative so it's vital that the backdrop matches the romantic sentiment. Nowadays, most protagonists in Indian films expect to choose their own life partners, yet their behaviour still endorses strong family values. The age old technique is to show the unmarried couple cavorting outdoors rather than confining them within four walls. This is Bollywood's answer to damage limitation: if the couple are in a public space, no matter how remote, they won't be tempted to indulge in physical intimacy. Being outdoors somehow dissipates sexual tension.
Most settings are chosen purely for their visual beauty. The priority given to aesthetics over any sense of continuity actually gives the director a great deal of freedom. He can use a song and dance sequence to display exotic locations without the background being part of the story. As long as the backdrop contributes to the mood of the scene, it doesn't matter if the protagonists were travelling in a dusty rickshaw seconds earlier; they can be suspended on the Swiss Alps long enough to frolic gaily in the snow with multiple costume changes. We don't need an explanation about how the characters got from A to B because we know they'll go back to reality as soon as the song ends.
Songs also act as a key marketing tool. The sequences are a bit like mini pop promos, and they're aired on Indian music channels before the actual film hits the big screen. Songs offer audiences a real flavour of the film and they're critical in determining the film's popularity. No wonder that filming the song and dance sequences in glamorous foreign locations eats up a huge chunk of the budget. While foreign locations bring a sense of excitement, escapism, adventure and aspiration to the film, they also have a practical purpose. Having all the cast available in one location away from home can minimise disruptions sometimes caused by an unpunctual or absent diva!
Film makers are permanently on the quest for the perfect romantic backdrop. During the 60s and 70s, exotic meant snow. In fact, the first time I saw snow was probably in Junglee (Subodh Mukherjee, 1961). However, having endured my share of severe British winters, it's difficult to see how sliding down a snow clad mountain on your front can inspire romance, particularly when you're inappropriately dressed in a flimsy shalwar kameez and court shoes!
This scene was shot in Kashmir in India, which was widely regarded as 'heaven on earth'. The pure white snow, crystal clear lakes, the spectacle of snowy mountains presented idyllic surroundings for falling in love on screen during the 50s, 60s and 70s. In fact, Kashmir's scenery and landscape became so popular that lakes, trees and mountains became synonymous with romance in Bollywood. So much so, that when the militancy and terrorism threats of the late 1980s made the place inaccessible to film makers, substitutes for Kashmir had to be found overseas. This was a move that did wonders for my geography. Somewhat shamefully, I must admit that my initial knowledge of Europe's beauty spots was probably culled from repeat viewings of favourite Indian films.
Switzerland and its lakes, snow-capped mountains and impossibly green alpine valleys quickly became an obvious replacement for Kashmir. Actually, you could argue that film director Yash Chopra (nicknamed the godfather of love because of his contribution to the romance genre), has single-handedly placed Switzerland in the Indian consciousness as an aspirational place to visit. Seriously, he has filmed so often at a particular lake that the Swiss Tourism Board has unofficially named it The Chopra Lake. Now, remember those relaxed rules of continuity? The heroine in Chandni (Yash Chopra, 1989) is fast asleep in her bed in India, and probably doesn't even have the means to fly to Switzerland. Yet she is conveniently transported to the idyllic location, after a detour to the beauty salon it would seem, as she dreams about the man she loves.
I've never been to Switzerland, and to this day, what I know about the country is probably scraped together from Indian films I've seen that were shot there. You see, we were taught to look to Pakistan for inspiration. Pakistan was the ideal and we were leading second best lives in Bradford; there were times it felt like mum's heart was still beating in Rawalpindi. Circumstance had brought us to Britain. After my father took another wife, mum didn't want to depend on her parents. Thankfully, our British passports meant we could return to Bradford and the council quickly put a roof over our heads. It's easier to make a life for yourself on your own in Britain. It's less judgmental and more forgiving. And the distance allowed mum to pretend to her family that life here was much better than it actually was. It also meant she could indulge us in a love affair with her homeland. It became the place where everything was good, where the sun shone brighter and where the mangoes were sweeter. And so, I was conditioned to believe that my family's dream destination could only ever be Pakistan, traipsing after mum who'd be diligently catching up on 10 years' worth of births, deaths and marriages among her extended family.
I didn't know much about The Netherlands either. It was only after watching Rekha and Amitabh Bachchan in Silsila (Yash Chopra, 1981), running through endless stretches of tulip fields that I linked the flower with the country. Actually, I doubt I'd ever seen a tulip until I watched Silsila. If I was to recreate this scene, my heroine would be running through pots of red geraniums because that's the only blessed flower we had growing in our house throughout my teens. Mum wanted to grow something pretty on the window sill in front of the net curtains. Being the cheapest of all pot plants, and the only ones available in Morrisons anyway, even we could afford them on our budget. Not only were geraniums easy to grow meaning results were guaranteed, they came in a variety of colours and proved to be incredibly good value. If one of the long stems broke off accidentally, you simply buried it in moist soil and it would soon take root, without any fuss. So with her initial investment, mum soon had geraniums lined up all along our window sill.
Thanks to their glossy portrayal in Bollywood blockbusters, many overseas destinations have enjoyed a real boost from Indian tourists. Although the story of Fanaa (Kunal Kohli, 2006) was set in Kashmir, the snow clad terrain of the Tatra Mountains in Poland was used as a Kashmir replacement. This created a lot of interest from Indian tourists wanting to walk in the footsteps of Kajol and Aamir Khan. Singapore Tourism Board launched a tour package to coincide with the release of the superhero film Krrish (Rakesh Roshan, 2006) which was shot there. In her debut film, Jeans (Shankar, 1998), Aishwarya Rai managed to complete a round-the-world trip in just one song, taking in The Great Wall of China, Eiffel Tower, Empire State Building, Taj Mahal, Pyramids, Roman Colosseum, as well as the Leaning Tower of Pisa. Unsurprisingly, filming for the song Poovukkul (Tamil) involved a budget breaking 30 day round-the-world trip with the cast and crew.
Britain too has become a very popular screen location in Bollywood films. So much so that VisitBritain produced a Bollywood Movie Map to encourage Indian film fans to visit the British locations shown in their favourite films. The map highlighted old and recent Bollywood productions and included Kuch Kuch Hota Hai (Karan Johar, 1998), whose title track was filmed at Glencoe, Ross Priory and Loch Lomond in Scotland.
Thanks to the casual approach to continuity, Scotland's diverse landscape could provide the backdrop for the song even though Scotland had nothing to do with the storyline. However, recent Bollywood storylines have featured non-resident Indians (NRIs) to appeal to the huge number of Bollywood fans living outside India. It's well worth keeping them happy because the higher ticket prices paid by audiences in Canada, USA, Middle East and Britain can recoup more than half the total earnings of a film. For instance, my cinema ticket guarantees a higher return because I probably pay twenty times more for it than someone in India! With all this in mind, it makes sense for Britain and Bollywood to strengthen their ties, which is exactly what Yorkshire had in mind when it successfully bid to host the prestigious International Indian Film Academy Awards in 2007. It goes without saying that the region would offer an impressive backdrop to song and dance sequences. However, in my next blog post, I'll reveal Yorkshire's other unique selling points which convinced the organisers to bring the Bollywood Oscars to our doorstep.
THE NEXT INSTALMENT: YORKSHIRE BOLLYWOOD AND HISTORY
PREVIOUS: YORKSHIRE BOLLYWOOD AND KEIGHLEY
Posted in Bollywood, Bradford, British Pakistanis, Hindi Cinema, Indian Cinema
Tagged with Aishwarya Rai, Ajooba, Amitabh Bachchan, Bollywood Oscars, Bollywood romance, Chahe Koi Mujhe Junglee Kahay, Chandni, Dekha Ek Khwab, Fanaa, Glencoe, IIFAs, International Indian Film Academy Awards, Jeans, Junglee, Kashmir, Krrish, Kuch Kuch Hota Hai, Loch Lomond, Love in Bollywood, non-resident Indians, NRIs, Poovukkul, Rakesh Roshan, Rekha, Rishi Kapoor, Ross Priory, Saira Bano, Shahrukh Khan, Shammi Kapoor, Silsila, song and dance sequence, Sridevi, Tatra Mountains, Tere Mere Honton Pe, Tere Mere Hoton Pe, The Chopra Lake, Tulip Fields of Amsterdam, Visit Britain, VisitBritain, Yahoo, Yash Chopra
There weren't many memorable romantic heroes in Indian films to choose from back in the 1980s. There was Amitabh Bachchan of course – hugely popular, but not conventionally good looking. I ruled him out on the grounds that he was too intense, too moody and frankly too old. Besides, he was in the midst of his angry young man phase and those films about factory politics just didn't appeal to me. There was the rugged Anil Kapoor (the quiz master in Slumdog Millionaire) romancing Madhuri Dixit in Tezaab (N Chandra, 1988) and Ram Lakhan (Subhash Ghai, 1989), but he seemed too cool and handsome for his own good. Then there was Rishi Kapoor, my favourite romantic hero. He looked sincere and had a playful glint in his eye. He may have lacked Amitabh's stature and swagger, nor could he dance like Anil Kapoor, but there was something accessible and non-threatening about him, like the boy next door I suppose. He seemed like a decent chap, and I felt genuinely sorry for him if he didn't get the heroine, although of course he usually did. Some of his outfits were so awful that he couldn't possibly have had a stylist. And yet, my enjoyment couldn't even be dented by the dreadful thought that Rishi might actually own the unflattering jumpers and tight white trousers he often paraded in. There were times I thought his hair could benefit from a slap of Brylcreem, but honestly, I didn't even mind that. As much as I liked Rishi Kapoor though, I didn't deliberately seek out his films in the way that I might do now with Shahrukh Khan. It was much more organic than that. Rishi Kapoor just happened to be the hero in the films that struck a chord with me. These tended to be romantic blockbusters, with minimal gratuitous violence, lashings of glamour and superb soundtracks – films like Prem Rog (Raj Kapoor, 1982), Chandni (Yash Chopra, 1989) and Kabhi Kabhie (Yash Chopra, 1976):
I suppose my interest in Indian films back then was quite superficial. It wasn't like my interest in say Duran Duran, which was actually an obsession that involved, for a number of years, keeping up to date with the hairstyles and girlfriends of all five band members. My knowledge of Indian films was much more abridged. In our household, we watched the film but didn't really talk about the celebrity of Bollywood, who's who, or who's dating who. I certainly didn't discuss Bollywood films with my mostly English classmates. So I remained oblivious to an entire subtext that was at play in the films I was watching. I didn't realise Rishi Kapoor had married one of his leading ladies, Neetu Singh (see the second song clip from Kabhi Kabhie above, the one with the snow). Neither did I know that Rishi Kapoor hailed from Bollywood royalty, or that some of his best known films were made by his celebrated father. I'd heard of Raj Kapoor but only in the same way that I'd heard of Chuck Berry. He was some sort of legend apparently but I wasn't sure why. In the back of my mind, I had a hunch that there must be some link because every other Bollywood actor seemed to go by the surname 'Kapoor'.
In fact, the Kapoors are to Indian cinema what the Redgraves are to British acting or the Kennedys to American politics. Raj Kapoor's father, Prithviraj, was himself a revered actor. Prithviraj's travelling theatre company became the training ground for his three sons. While Shammi and Shashi enjoyed considerable success in Indian cinema, Raj Kapoor set up his own film studio and dominated the industry for almost forty years. He produced, directed and starred in some of Indian cinema's most enduring classics. His films were renowned for their social themes, romance, timeless songs, and Nargis, his favourite leading lady on-screen and allegedly in real life. Thanks to the phenomenal success of his films, Raj Kapoor became something of a cultural ambassador for his country. To this day, he holds a unique place in Indian cinema. When his son Rishi was a teenager, Raj Kapoor decided to launch him in a teen romance (Bobby, 1973). Rishi remained a major romantic hero for two decades. He is still appearing in films today and according to the rumour mill, is being considered as a judge for the Indian version of the X Factor. Rishi's son (Ranbir) and niece (Kareena) are dominant stars of Indian cinema today; their distinguished lineage is such common knowledge that it precedes their on-screen roles.
I, however, remained oblivious to Rishi Kapoor's real life credentials for years, and grasped the significance of his legendary father in the most surreal circumstances. The year was 1994. I had bagged a dream job that involved making tea for Rolf Harris on the TV programme, Animal Hospital. Rolf would encourage me to make two mugs of tea from the same teabag. One day he asked, "Do you know any Hindi songs?" "A few," I said, a little taken aback. I was completely gobsmacked when he got down on one knee, threw open his arms and serenaded me with the chorus of a famous song I knew:
Mera Joota Hai Japani
Yeh Patloon Inglistani
Sar pay laal topi Roosi
Phir bhi dil hai Hindustani
Which roughly translated goes something like this:
My shoes are Japanese
These trousers are British
On my head I wear a Russian hat
Yet my heart belongs to India
It turned out Rolf had travelled around India as a young man. Not knowing any Hindi, he was looking for an alternative way to break the language barrier, so someone taught him this song. "Mera Joota Hai Japani" comes from Raj Kapoor's Shree 420 (1955), one of the most iconic Bollywood films of all time. It tells the story of a poor country boy who travels to a big city dreaming of a better life. The character's tramp like appearance was heavily influenced by Charlie Chaplin. The film attained cult status in Russia and apparently, it was one of Mao Tse-tung's favourite films.
Rolf knew nothing about Indian films and hadn't even seen a clip of the song until I rented the film for him. But he had recognised the song's popularity by the reaction it had garnered during his travels in India. You see, film songs are the equivalent of pop music in India – the soundtrack can make or break a film, and is usually released before the film as a marketing ploy. So it's not unusual for songs to take on a life of their own beyond the films they feature in. Also, in a country of many languages, religions and ethnicities, Bollywood films act as a universal language. This is because irrespective of mother tongue, most people can understand the language used in films. For instance, Hindi and Urdu are sister languages, sharing a large common vocabulary, so it's easy for speakers of both languages to understand Bollywood films [thanks Vandana for prodding me to make this point!]. This also explains the popularity of Bollywood among British Asian audiences; whether they're Indian, Pakistani or Bangladeshi, and regardless of mother tongue, the language of Bollywood brings them together in the cinemas. So whoever taught Rolf Harris that iconic song did him a huge favour – it came from one of Raj Kapoor's most famous films, and the lyrics were highly patriotic. By singing those four lines alone, Rolf was able to say more about his appreciation of Indian culture than he could have done in any other way.
I have my mum to thank for many of these insights. It turns out that Raj Kapoor was the actor of the day when mum was growing up so it was his songs which formed the soundtrack to her life. 1964 was the year Raj Kapoor released his first colour film, Sangam. It was also the year mum left Rawalpindi to begin married life in Yorkshire. It must have taken some courage for her parents to marry off their daughter to a Pakistani settled so far away. In the days leading up to mum's departure, my grandmother would repeat a sobering Punjabi saying: "Off you go, my beloved daughter, to the other side of the River Ravi, to where no-one goes and from where no-one returns". And so mum left Rawalpindi for a 2 up 2 down in Keighley. She was used to houses with terraces and courtyards so the novelty of stepping outside the front door to see the sky quickly wore off. Dad slept all day and worked six nights a week as a wool comber in a spinning mill. It's difficult to believe that there was only one halal meat shop in all of Keighley. What's equally implausible is that Pakistani women were a rare sight; the trend among migrant mill workers to call over their families was only just beginning. Mum once chased after a woman she spotted in a shalwar kameez, just to have the chance to speak to someone like herself. One of mum's favourite uncles, himself a fan of Prithviraj Kapoor, telephoned one day to see how mum was settling in. She reminisced about hearing the latest Indian film songs on Radio Ceylon and asked him to send her the Sangam soundtrack. Sure enough, a few weeks later, a bubble wrapped package arrived at 1 Alpha Street containing a bundle of vinyl LPs. And so it was that songs like this one, from the films of Raj Kapoor – the father of my number one romantic hero, Rishi – sustained mum as she adjusted to her new life in Britain.
THE NEXT INSTALMENT: YORKSHIRE BOLLYWOOD AND KEIGHLEY
PREVIOUS: JOSIE THE DANCING GIRL
Posted in Bollywood, Bradford, British Muslims, British Pakistanis, Indian Cinema, Keighley, Muslim Women, Oral History, Social History in Britain, South Asians in Britain
Tagged with Chandni, Charlie Chaplin, Kabhi Kabhie, Mera Joota Hai Japani, Neetu Singh, O Mere Sanam O Mere Sanam, Parbat Se Kaali Ghata Takraee, Prithviraj Kapoor, Raj Kapoor, Rishi Kapoor, Rolf Harris, Sangam, Shree 420, Tere Chehre Se


text:
Marcius Willson:
American History: comprising Historical Sketches of the Indian Tribes; a Description of American Antiquities, with an Inquiry into their origin and the origin of the Indian Tribes; History of the United States, with appendices showing its connection with European History; History of the present British Provinces; History of Mexico; and History of Texas, brought down to the time of its Admission into the American Union.
New York: Mark H. Newman & Co., 1847. First edition. Hardcover. 688pp, illustrated with drawings and maps. Slight cockling and faint soling to the prelims and some of the earlier pages. Contents generally very clean throughout, with occasional light soiling. Text usefully arranged with a printed column of 'analysis' in.....	More
The Author of the Wars of England [ Mante, Thomas:]; and [Vol IV]: Henry-Francois le Blois:
A New and Authentic History of France, from the earliest records of time, to the end of the grand revolutional contest. [Vol IV title ends instead: 'to the Peace of Presburg, in 1806'.] 4 volumes.
London: Printed for the author, and sold by Champante and Whitrow, Jewry St.... and at the British Directory Office:, n.d. [1805-06]. Presumed first edition. Hardcover. Vol I: iv, 454; Vol II: [vi], (iii-)480; Vol III: (vi), (3-)500; Vol IV: (viii), 624. With the folding map and 64 of the 66.....	More

redpajama_set_name: RedPajamaCommonCrawl


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Floor flanges are used to mount your chain link fence to concrete or cement. Just cut your post to length, set inside and weld to mount in place. This chain link floor flange is made of malleable steel and is rust resistant.
Secure floor flange with 3/8" anchor bolts. Bolts sold separately.


text:
Populists in East Expose EU's Weakness Before Critical Summit
Wojciech Moskwa
Zoltan Simon
Jul 14 2020, 9:30 AM Jul 15 2020, 10:38 AM July 14 2020, 9:30 AM July 15 2020, 10:38 AM
(Bloomberg) -- As European Union leaders haggle over a coronavirus recovery plan, they have a headache in the east that just won't go away.
Hungary's parliament approved a resolution on Tuesday that calls on Prime Minister Viktor Orban to reject the EU's proposal and its seven-year budget until it withdraws an investigation into democratic rule of law in the country.
It came two days after a presidential election in Poland laid bare how divided the country is over its relationship with Brussels, with nationalist incumbent Andrzej Duda winning by 51% to 49% against a pro-EU opponent.
"The EU's rule-of-law procedures have turned into ideology-based political witch-hunts," Hungary's ruling Fidesz party said in the bill. "Ending these has become a necessary condition for assuming common debt and deciding together on a future for European nations."
Read More: Orban Raises Ante Over EU Virus Aid With Rule-of-Law 'Blackmail'
Poland and Hungary have long been at odds with the European mainstream, clashing over everything from the independence of courts and control of the media to climate change and immigration. But the latest developments come at an awkward time for the continent as it tries to corral the political support to address the economic fallout from the pandemic. Leaders are due to meet in Brussels on Friday.
The question is what the EU can do to respond. So far, the authorities haven't managed to bring Poland or Hungary back into the fold. While it opened up legal proceedings over their power grab of democratic insitutions, any conclusion -- let alone potential sanctions -- are a long way off.
Veto Power
There are murmurings from fiscally conservative countries that there should be strings attached to how the EU's central seven-year budget is distributed, as a way of encouraging countries to stick to the rule of law.
Officials say, though, they don't expect any wholesale changes when the 27 leaders meet for their summit to thrash out the framework until 2027. In any case, a decision has to be agreed unanimously by all the government heads -- that includes the Polish prime minister, and his Hungarian ally.
"The EU can engage in further infringement actions and cut the money," said Laurent Pech, professor of European law at Middlesex University in London. That would need political backing for sanctions, he said. "You would think that the EU will try to get ahead of the curve, but they are refusing to learn from their mistakes."
Read More: Trump Ally Wins Again in Poland, Boosting Nationalist Makeover
Poland, in particular, is the paradigm of the European project, a country that defined the continent's tumultuous 20th century history and then its efforts to heal the wounds in the 21st. Poles receive more money from the EU on a net basis than any of the 27 members.
Indeed, hundreds of billions of euros have transformed the economies of Poland and Hungary over the past 16 years. The Hungarian resolution is non-binding, but by driving a hard bargain on the spending plan, Orban may also try avert any reduction in funds earmarked for Hungary.
Brexit Specter
The behavior of Poland and Hungary presents an ongoing dilemma for the EU. While politicians from its European allies speak up against the unpicking of democratic institutions, they are fearful of pushing against the will of the electorate. The concern is that it might tempt another country to follow the U.K. out of the bloc.
Over the past five years, Polish measures introduced by the governing Law & Justice party and endorsed by Duda have already raised alarms in other European capitals. With its "Poland first" mantra, the government in Warsaw waged a campaign against independent judges, turned public media into its mouthpiece and railed against refugees and the gay community.
Duda's victory means the government can now rely again on the support of a president handpicked by party chief Jaroslaw Kaczynski.
For some, Poland turning its back on the EU represents a wasted opportunity for a country that's now the bloc's fifth-biggest member.
"But this would require Law & Justice to end its rhetoric from past years -- that we want EU money, but not their EU values," said Andrzej Rychard, a sociology professor at the Polish Academy of Science. "After Brexit, there is room for a more active Polish role in the EU."
There's nothing to suggest that Poland or any other eastern member is planning to leave the EU. Law & Justice officials say they are "euro-realists" rather than "euroskeptics."
But the support for Duda, albeit by a much tighter margin than polls predicted before the Covid-19 pandemic, was another warning to an increasingly fractured bloc during another pivotal test of its cohesion.
A politician who in 2018 described the EU as "an imaginary community from which we don't gain much," Duda, 48, based his campaign on Polish nationalism. He portrayed neighboring Germany as an enemy and lambasted foreign media as trying undermine the country's conservative Catholic values.
That stood in contrast to his challenger, Rafal Trzaskowski, the mayor of Warsaw, who said his top foreign policy goal would be to restore close political ties with Paris and Berlin. Also 48, he addressed supporters surrounded by the blue-and-yellow EU flag as well as Polish ones.
Poland has now cemented its role as a European rogue alongside Hungary. As if to underscore the significance of Duda's victory, Nigel Farage, one of the most prominent campaigners for Brexit in the U.K., expressed his support on Twitter. "Good to see a euroskeptic win in Poland," he said.


There is nothing more comforting, more relaxing, than being invited into someones home for a meal. Sitting down at their dining room table, with friends and strangers alike, and sharing a meal is one of life's greatest intimacies. Terrence Rogers, owner of TBD Foods, has been extending this incredible hospitality to his diners for the past few months and treating them to his take on haute cuisine.
The night we joined the Chef Rogers and his tight knit followers, he was collaborating with Chef John Suh a classically trained chef who has had several high end sushi spots during his career. Their partnership for this meal resulted in some truly creative, out of the box dishes.
We started with arancini stuffed with pickled mushrooms, and resting on a parsnip miso puree. I loved the pop of flavors that burst through with this dish. Where arancini are normally heavy and decadent, these were elevated with the vinegar and bright flavors making them the perfect way to kick off a meal.
They further awakened our senses with our second course- a Sopa de Ajo.
Spicy tomato based soup, enhanced with roasted garlic, Spanish ham, and, the piece du resistance- a poached egg. I was urged by my friend who had accompanied me to break the yolk early as its creamy goodness provided the perfect contrast to the spice of the soup. The soup itself though had tremendous depth of flavor - a perfect soup to warm up with.
Up next was gorgeous raw Kabachi Tuna paired with a wakami salad and a sake and soy reduction. After the spice and the richness of the soup, this was a wonderful way to refresh the palate. Fresh and clean with accoutrement's of pickled ginger and wasabi, the dish felt as light as sushi, and was a wonderful precursor to the remainder of the courses.
What I loved about the meal was the chances that Terrence was happy to take.
His next course was a grilled kale salad with lightly pickled golden beets, candied pistachios and fennel pollen. The mix of textures was spot on, but more exciting was the way in which the kale was prepared. Grilling kale brought out sweet notes, and infiltrated it with robust smokey flavor. It was something Id never considered before and I really enjoyed it!
Keeping with the smokey notes, our final savory course offered smoked lamb shoulder paired with popcorn grits, anchovy salsa verde and fried potatoes. Let's pause for a moment- popcorn grits. Buttery, a touch salty, like sitting down with a giant bowl of popcorn, but mashed into submission. I literally could have eaten a vat of these- a vat. Totally fantastic. The lamb paired so nicely with it, light flavors of smoke just created a feeling of nostalgia for outside BBQs and lighthearted summertime fun. These comforting notes were contrasted beautifully with the bright and acidic salsa verde which held everything together and made the dish.
They finished our meal on the sweet side with gorgeous slice of Chocolate Decadence Cake paired with a fresh raspberry sauce and salted whipped cream. The cake alone, deep, rich, bittersweet and fabulous would have been enough, but when paired with that classic raspberry sauce it sang. I loved the idea of incorporating salt into the whipped cream instead of what has become a standard sprinkle on top of chocolate desserts. It was a creative and well executed twist.
Chefs Terrence and John did an incredible job with this meal. Their concept is fabulous, their execution fantastic and generally know how to make a Saturday night delicious. Terrence is currently moving his operation into a bigger space so he's able to host more of these, so I definitely urge you to go, dine at TBD Foods table. Relish the conversation among new friends who become old friends by the last sip of wine, and savor every bite. This is what food is all about.


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Home → Parents, carers and children → Teen and Young Adult books to buy for Christmas 2016
Teen and Young Adult books to buy for Christmas 2016
Written by Jo Dixon · Published Nov 29, 2016
Tim Collins - The Vlogger Diaries: confessions of an internet sensation
This well illustrated diary is a truly laugh-out-loud read-in-one-sitting book, with a good subtext about the importance of friendship. The blurb says "Discover the hilarious story of one teenage girl's journey from geeky nobody to online superstar - sort of." A good present for cheering up a gloomy day over Christmas.
Sally Gardener - The Door That Led To Where
A really exciting time-slip novel set in contemporary and Victorian London. It's a crime novel and tackles big issues about purpose and respect too. A great read.
Simon Mayo - Blame
A brilliant thriller about "heritage crime" in which people are imprisoned for the so-called crimes against society committed by their parents. It's real edge of the seat stuff, with a lot to think about too. It should appeal to both sexes, and to parents who want a gripping read over the holiday.
Simon Mayo's series of books about Itch are great reads too.
Susin Nielson - Word Nerd
This latest book from Susan Nielsen is an excellent read about a boy who never quite fits in, and his life with an over-protective mother. Ambrose, home-schooled in a loose kind of a way after being bullied at school, develops an unlikely friendship which changes his life.
Zoe Sugg - Going Solo
"As Penny starts the school year she's ready to face the world - alone. Noah has gone off the radar after ending his world tour early and no one, including Penny, knows where he is. So when she accepts Megan's invitation to visit her performing arts school it seems like an opportunity to make some new friends. Helping everyone else seems to be the right remedy. Elliot needs her friendship more than ever, and she meets Posey - struggling with stage fright and in need of support. But is charming Scottish boy Callum the right kind of distraction? And can Penny truly move on when Noah's shadow seems to haunt her round every corner?"
We expect this book, the second in internet sensation Zoella's Girl Online series, is on a lot of Christmas present lists this year!
Oli White - Generation Next
"Things haven't been easy for Jack recently - life as a teenager has its ups and downs. But when he meets a new group of friends, who are every bit as geek as they are chic, his luck seems to be changing. Each of the group is talented and when they pool together to create Generation Next, an incredible new kind of social media platform, it's clear that they're on to something special. What if your Instagram account grew by hundreds of thousands of followers overnight, and big companies were fighting each other to offer you photoshoots? When GenNext suddenly goes viral, Jack and his friends are thrust into a crazy world of fame which is as terrifying as it is awesome"
Tara Altebrando - The Leaving
One of the best YA titles of the year, this thriller is set in a small town in America, where children missing for 11 years have re-appeared. It's compulsive reading and would be a great gift for Christmas.
Claire Furniss - How Not To Disappear
Hattie's life changes forever when she meets the great aunt she never knew she had in this wonderful bittersweet story about self-discovery, memories and cross-generational friendship. We can also recommend Claire Furniss' first book, The Year of the Rat which was another emotional rollercoaster of a read.
Andy Mulligan - Liquidator
Some kids on work-experience placements in London discover that the "brand-new, delicious and wildly popular energy drink LIQUIDATOR!", about to be launched by a multi-national company "For those who wanna win!" is unsafe and only suitable for those who want to die. Another thrilling read.
Robert Muchamore - Gone Wild
The third title in the Rock War series about corruption surrounding a reality music show is as exciting as the first 2. It can be read alone, but better still give it along with Rock War and Boot Camp for a truly great Christmas present.
Maggie Stiefvater - The Raven King
"All her life, Blue has been warned that she will cause her true love's death. She doesn't believe in true love and never thought this would be a problem, but as her life becomes caught up in the strange and sinister world of the Raven Boys, she's not so sure any more."
This, the fourth and final title in the popular fantasy series Raven Cycle , has had rave reviews.
Young Adult non-fiction</cite>
Tanya Burr - Tanya Bakes
> "Following the phenomenally successful Love, Tanya , Tanya Burr is back with her very first cookbook. In Tanya Bakes , she shares her passion for baking along with all her favourite recipes. As well as cakes and bakes, readers will love Tanya's delicious and simple puddings, loaves and pastries. From everyday staple bakes to sweet treats for special occasions, Tanya's got the perfect recipe, every time."
Caspar Lee and Emily Riordan Lee - Caspar Lee
This very popular vlogger has co-written his life story with his mum. > "Let me tell you now that 98% of it is total lies. Actually, I'm pretty sure this book is illegal. So if you've bought it, you've basically supported a criminal. How does that feel? I think she's getting me back for my first day in this world when I mayyy have tried to kill her. She won't not be able to mention that ... You might also find out about my first day at school, why my head is so massive, how I've always been a hit with the ladies and other things like that. You know, important stuff." It's just bound to be a popular present this Christmas.
Jo Dixon
I work for Suffolk Libraries Stock Team.
Parents, carers and children
New in & book ideas
Parenting advice: Books to help with raising every sort of family
Bookstart and storytime resources
Getting the best out of the library service
Dyslexia and Irlen syndrome
Library cards and welcome packs for children in care
Let's Talk Reading
More Children's books
Explore the Milky Way with our top children's non-fiction about space
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New children's books for July 2019
Find a new favourite with the inaugural STEAM Children's Book Prize shortlists
Pick up some top children's non-fiction from the 2019 Information Book Award shortlist
Check out our top children's titles for Refugee Week
Check out the latest super-readable titles from Barrington Stoke
Celebrate Father's Day with some of our favourite titles about dads
Celebrate BookTrust's Pyjamarama campaign with some of our favourite bedtime stories
Check out our top children's titles for Pride 2019


Living Image Music are a small team of music and digital media specialists offering a broad range of creative services. The team required a full service makeover starting with their core branding and identity. This then fed into the extensive development of the company's online platform and web presence, including integrated media and social engagement as well as over-arching SEO and content strategy.
The primary brief leant on a visual which played on the idea of 'old Hollywood' and 1950's picture houses or classic movie studio idents.
In contrast the supporting imagery needed to have a contemporary feel, but attractive to clients of all ages.
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Q: What does it mean for a (non-smooth) homeomorphism between oriented smooth manifolds to be orientation preserving? The definitions I know of orientability of manifolds are in terms of tangent spaces. However, for example in this answer there is mention of orientation preserving homeomophisms (between orientable complex manifolds).
My first thought would be something like instead of considering a basis of tangent vectors (or their determinant), to integrate these to consider a set of short curves emanating from a point on the manifold (e.g. by mapping curves in a coordinate chart), and considering the ordering of their image under the homeomorphism. It is not clear to me that this would work however, since a curve through a point could get folded in such a way that one end of it would give you one ordering, but the other a different one, or so it seems. Probably there could be other kinds of pathological behaviour as well.
In any case my questions are

*

*How can we define if a homeomorphism between oriented smooth manifolds is orientation-preserving?

*More generally, can we speak of orientability of topological manifolds without relying on any differentiable structure? Or even for more general topological spaces?

Thanks!

A: Orientation can be defined on manifolds using singular homology theory.
The easiest case is where $M$ is a compact $n$-manifold. Then $H_n(M;\Bbb Z)$
is isomorphic to $\Bbb Z$ when $M$ is orientable, and is zero when $M$
is non-orientable. An orientation of $M$ is a choice of a generator
of $H_n(M;\Bbb Z)$. A homeomorphism $f:M\to M'$ is orientation-preserving
if $f^*$ maps your favoured generator of $H_n(M;\Bbb Z)$
to your favoured generator of $H_n(M';\Bbb Z)$.
More generally one can use local homology groups; these are relative
homology groups $H_n(M,M-\{x\};\Bbb Z)$ where $x\in M$. These determine
whether or not a map between manifolds is orientation-preserving at a given
point.
For details, see texts in algebraic topology, for instance Hatcher's.

A: Lord Shark the Unknown has completely answered the question, but let me draw your attention to the concept of a "microbundle" introduced by Milnor. See for example https://en.wikipedia.org/wiki/Microbundle and
Switzer, Robert M. Algebraic topology - homotopy and homology. Springer, 2017.
As you certainly know, an orientation of a smooth manifold can be defined as an orientation of its tangent bundle. Topological manifolds $M$ do not have a tangent bundle, but you can consider the triple $E = (M,\Delta,p)$, where $\Delta : M \to M \times M$ is the diagonal map and $p : M \times M \to M$ is the projection onto the first coordinate. Around $\Delta(M)$ the space $ M \times M$ looks like a vector bundle. In fact, let $p \in M$ and $U$ be an open neighborhood homeomorphic to $\mathbb{R}^n$. Then $U \times U$ is an open neighborhood of $\Delta(p)$ which is homeomorphic to $U \times \mathbb{R}^n$, and the restriction of $p$ to $U \times U$ corresponds to the projection  $U \times \mathbb{R}^n \to U$. This means that $(M,\Delta,p)$ is a microbundle.
Orientations of microbundles can be defined homologically. See again Lord Shark the Unknown's answer. Intuitively, each microbundle with fiber $\mathbb{R}^n$ admits a sphere bundle with fiber $S^{n-1}$ around the zero section of the base space. An orientation of such a sphere bundle is a "compatible family" of orientations of the fibers $S_p \approx S^{n-1}$, and this is given by a family of generators of $H_{n-1}(S_p)$. For a topological manifold you easily see that $H_{n-1}(S_p) \approx H_n(M,M \setminus p)$.

redpajama_set_name: RedPajamaStackExchange


It's okay, I don't bite.
Well, I do, but I've had all my shots.
First up, if you're in the Marion, Ohio area I will be speaking at a Pad Party at OSU Marion Campus. What's a Pad Party? It's to benefit local women who don't have access to basic (and expensive) feminine hygiene needs. Neither WIC nor SNAP cover pads or tampons, if you can believe that. My speech is highly entertaining. At least, I think so.
I'll also be signing and selling books at the event!
Then, on April 2 from 2-4 PM I will be teaching a class on writing YA fiction at the Worthington Library. Registration is required for this event so if you're interested you should let people in charge know about that. (Hint: I'm not in charge. Follow this link).
Next ›Book Talk: DON'T GET CAUGHT by Kurt Dinan, Trailer & Giveaway!


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The snow plough is easily attached to the front of the bucket. Ideal for removing snow from pathways etc, use on farms for the removal of slurry and it can even be used for grading. The blade can be raised for maneuvering and angled to remove the snow in the desired direction.
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Type: Frontal hinged. Category of tractor: 1,4;2. Maximum width, mm, no more: straight spade: 2 500, turning angle, 30о: 2 100. Overall dimensions of the snow-plough equipment, mm, no more: length: 1 900, width: 2 500, height: 1 350. Weight, kg, no more: 420. Working speed, km/h, no more: 12. Transport speed, km/h, no more: 30.


The six Governors in the South-West states have jointly expressed concerns over the constant Apapa gridlock, urging the Federal Government to be proactive in solving the heavy traffic jam on the road.
According to them, the perpetual heavy traffic on the Apapa road is having adverse effect on the economy of the region and that of Nigeria at large, saying that the road has become a nightmare for commuters.
The Governors jointly spoke at the Quarterly Western Nigeria Governors Forum meeting, hosted by Governor Rauf Aregbesola of Osun state last Monday.
They charged the Federal Government to engage the Nigeria Railway Corporation as an alternative route to alleviate the gridlock situation, urging the FG to enhance the NRC capacity to use rail facility for the evacuation of goods from the port to alternative terminals away from Apapa.
The governors want the Federal Government to create alternative route as palliatives from Apapa to Ibafo, noting that creation of alternative route will mitigate the effect the daily heavy traffic on the economy and as well as relief the road users.
They called on the FG to revive the designed alternative routes linking Tin Can Island through Tomoro Island to Ibafo in Ogun state, urging the Federal Government to intervene by creating these alternative routes as permanent solution to the Apapa gridlock.
The meeting which was put in place by the Development Agenda of Western Nigeria Commission, had in attendance, Lagos State Deputy Governor, Dr Mrs Idiat Oluranti Adebule, Deputy Governor of Oyo state, Moses Adeyemo and the Secretary to the Ekiti State Government, Hon. AbiodunOyebamiji.
DAWN is a tool for regional integration by the Western Nigeria's Governors Forum to maximize the potentials in human and materials resources in the regions.
Addressing the closing session of the meeting, Aregbesola called for total overhauling of the Nigeria's constitution to enhance regional development and remove inhibitions to barriers militating against economic and investment drives of the region.
Aregbesola renewed his call for the restructuring of Nigeria, saying that he believes in the federal system of governance to accelerate the development of each region.
In his address, Adeyemo said: "Western part of the country must come back to the old region which was the first among other regions. We can hinge on agriculture, make use of the land in the absence of oil for the development of our region.
Ekiti state SSG, Oyebamiji who read the communique of the meeting, said DAWN commission initiates the process to start leveraging opportunities the Nigerian Constitution offers, in order to put in place regional processes and institutions to mitigate the decline in critical sectors of education, sport, agriculture and security.


text:
Home Disney Cruise Line Disney's First Cruise Ship, Disney Magic, Offers Guests Brand-New Experiences and Reimagined...
Disney's First Cruise Ship, Disney Magic, Offers Guests Brand-New Experiences and Reimagined Spaces
There's an extra dose of magic coming aboard the Disney Magic, when the Disney Cruise Line vessel relaunches with new spaces, reimagined areas and exciting additions for the whole family. Guests will experience new adventures from stem to stern throughout their journey on the cruise ship that set the standard for oceangoing majesty and family fun.
From a new grand atrium lobby and a children's area of "super hero" proportions to a three-story water thrill slide and a spa to stimulate the "Senses," there are plenty of new and magical surprises in store for cruise guests. The ship features fun new experiences with Marvel characters – the first time Super Hero icons from the Marvel Universe have been introduced on a Disney Cruise Line ship.
"We have always been committed to reinvesting in our fleet and continuously making shipboard enhancements that elevate the guest experience," said Karl L. Holz, president of Disney Cruise Line. "What we're doing with the Disney Magic is yet another step forward in our commitment to delivering the absolute best family vacations at sea."
"Storytelling is at the heart of everything we do," says Joe Lanzisero, senior creative vice president for Walt Disney Imagineering. "Walt Disney was a master storyteller and knew how to engage people's emotions into stories. Our job is to take what we learned from Walt and apply it to the experiences on board our ships."
Here are some highlights of new "magic" in store for guests aboard the Disney Magic after the "reimagineering" transformation of the ship that takes place during dry dock Sept. 7-Oct. 10, 2013 in Cadiz, Spain:
http://www.youtube.com/watch?v=ZPMNEKNg1w4&list=UUlHZgjZJ6S8wrqngXYpY6sQ&index=1
A Grand First Impression
When guests board the Disney Magic, they enter the grand atrium lobby that is redesigned to be "elegant art deco, inspired by elements of the sea," according to Lanzisero.
"Filmmaking is the history of our company and in film the 'establishing shot' sets the scene," he says. "This is the same with the atrium, as we begin telling our story."
The spacious and spectacular three-deck lobby features hand-tufted, custom-made carpet that dazzles in a palette of vibrant coral, blue and aquamarine seashell-inspired designs. The art deco atrium chandelier is inspired by rays of the sun and the glisten of the surface of the ocean. Opulent furnishings, a grand piano and giant portholes recall the days of early 20th century ocean liners.
The lobby's centerpiece is a cold-cast bronze statue of "Helmsman Mickey," ever-smiling and keeping watch as guests stroll past. The famed statue, which has stood in the atrium since the ship was launched, will receive a special makeover bringing new luster to its golden hue.
Disney, Disney-Pixar & Marvel Characters Join the Fun
Disney's Oceaneer Club, open to 3- to 12-year-old children, is a completely re-imagined area that transports children to the magical realms of brave super heroes, adventuresome toys, fanciful fairies and Mickey Mouse's club for creativity and fun.
With Marvel now a part of the Walt Disney Company family, this will mark the first time the Super Hero icons of Marvel have been introduced on a Disney Cruise Line ship. Marvel and Walt Disney Imagineers have created a new space for children to enter into the Marvel Universe.
Marvel's The Avengers will make their presence known in an epic way aboard the Disney Magic, with Marvel's Avengers Academy calling Disney's Oceaneer Club its new seaward home. Young crime-fighters will be transported to a high-tech command post used by The Avengers for special missions and operations training.
Throughout the base, displays featuring some of the equipment that helps to make The Avengers the earth's mightiest heroes – Iron Man's suit of armor, Captain America's shield and Thor's hammer — inspire super hero "recruits" through their academy missions. Avengers Academy is a multi-day, immersive entertainment experience where children interact with Marvel characters and unleash their inner super heroes.
Adjacent to Marvel's Avengers Academy is Andy's Room, where stars of the Disney-Pixar "Toy Story" trilogy come to life in a multi-level space. Stocked with all of Andy's favorite toys, the room features a larger-than-life Mr. Potato Head, a giant version of the lovable piggy bank, Hamm, and a Slinky Dog slide.
Next door is Pixie Hollow, the enchanted land of Tinker Bell and her fairy friends. In this magical forest setting, Tinker Bell's teapot house serves as a costume closet and children can make crafts while sitting on stools shaped like mushrooms and acorns.
In Disney's Oceaneer Club guests will find the Mickey Mouse Club, another new children's area. Inside a room splashed with Mickey's signature colors of red, yellow and black, kids can create crafts and play games on ear-shaped tables. The club also features Goofy Gears, an oversized activity where kids play with wacky, magnetic spinning gears.
Disney Dining With an Extra Dash of Pixie Dust
New restaurants and new technology are on the menu for the restaurants aboard Disney Magic.
Animator's Palate, one of the most popular restaurants on the Disney ships, is updated with all-new, animation-adorned walls and larger high-definition flat-screens to provide the best views of the animation magic that takes place all around.
A heaping helping of entertainment is served up during the brand-new "Drawn to Magic" experience at Animator's Palate. Throughout this deliciously fresh take on Disney Cruise Line's much beloved classic dinner celebration, the restaurant's black and white "blank canvas" explodes into full color as favorite Disney and Disney-Pixar characters, such as Rapunzel from "Tangled" and Remy from "Ratatouille," come to life right before guests' eyes.
On every Disney Magic cruise, guests will have an opportunity to experience the tremendously popular "Animation Magic" dinner show that celebrates the magic of Disney animation and allows families to create and participate in an innovative way. First unveiled on the Disney Fantasy, "Animation Magic" invites guests to create their own characters that magically spring to life, become fully animated and join the show onscreen.
The vibrancy of Rio de Janeiro creates an energetic atmosphere in Carioca's, a new restaurant named after Donald Duck's parrot pal in "The Three Caballeros," Jose Carioca. Festooned with lighted lanterns, the restaurant is designed to be "fun by day, elegant by night," says Lanzisero.
During the day, there's a festival theme and, when night falls, the atmosphere transforms into an after-hours scene of Rio de Janiero, with city-side windows softly illuminated and lanterns flickering overhead. Carioca's replaces Parrot Cay restaurant, currently on the Disney Magic.
Another new restaurant to the Disney Magic is Cabanas, a casual dining experience with food and beverage stations during daytime hours and a table-service restaurant during dinner. The Australian setting of the Disney-Pixar animated classic "Finding Nemo" inspires the décor with hints of the film's fishy and feathered friends throughout the restaurant.
Cabanas, which replaces the current Topsider Buffet, also is expanding. More inside space is being added, increasing the total square-footage of air-conditioned area by nearly 3,400 square feet to more than 9,460 square feet and a total of 455 seats.
Disney Cruise Line's popular Palo restaurant for adults receives a makeover with stylish fixtures, glass artwork and new stone floors. Red and white striped poles reminiscent of those found throughout the canals in Venice are a design feature.
Putting more "room" in staterooms
Disney Cruise Line knows that traveling families always need more space, so features are included in each room to provide more usable space. Bed frames are elevated to provide storage space underneath. The bathrooms include the split-bath feature that Disney introduced to the cruise industry — providing even greater convenience to guests.
To learn more about Disney Cruise Line or to book a vacation, guests can visit www.disneycruise.com, call Disney Cruise Line at 888-325-2500 or contact a travel agent.
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Have you ever stopped to think, just what do your pictures say about you?
At one2one Photography we have four multi award winning portrait photographers that specialise in Lifestyle Photography and Portrait Journalism.
We like to photograph people, from new born babies, pregnancy shots, through to 'the olds', individuals through to family groups and even your family pets. Portrait Journalism allows us to capture what we see without too much interference or guidance from the photographer, sometimes capturing an image without you even knowing.
One thing we will guarantee is absolutely no more formal images of 'look here and smile', more capturing the moment of now.
We must stress, we don't do competitions at supermarket entrances or trade shows to entice people to enter and win a portrait sitting, because you all win you know! I once completed 3 competition forms at my local New World on 3 different dates and I got 3 calls saying I had won a free portrait sitting. We didn't go of course as we knew how it works. You turn up and get some nice images captured (that's a gimmee if they are professionals) but when you return to see your wonderful images, you get caught with buying the photos one by one, and not for small fees either.
So how does one2one do their portrait shoots?
Well... its not rocket science, we choose to charge you for our time to capture your photos and edit your images. We will release to you every image that we capture in full-resolution on a disc, the Copyright is yours. We will NOT even ask you to print the images through one2one for horrendously inflated prices, we send you to Imageland in Hamilton where we get all our own professional printing done. Imageland will recognise our work and you will get our rates for all your printing needs.
Once the portrait shoot is complete and we have supplied you with all your original images, often by email, we ask you to send us a list of your favourite images so we can edit them for you. Editing is basically taking the standard 'as shot' image and creating effects like black and white, or adding space to images to create a 'letter box' style of image size. There are plenty of examples on the Photo Gallery, all have been edited. We aim to complete the edit within 2 weeks, and then you are ready to print your portrait art.
one2one Photography continues to win awards every year the World over for our Portrait Images - Kodak Gold Awards NZ - 16 awards in 3 years.


Just as Obamacare is more affordable, it just cost more money, so too, the leftist Democrats are more peace loving and tolerant, just in a more violent manner.
I must be showing my age and my years. Because despite standing so far to the left I'm practically knee deep in Socialism and finding Tucker Carlson to be an utterly odious specimen of a human being it never occurs to me to even want to know where he lives never mind show up on his driveway in the dark, sing nasty songs, spray paint slogans on his personal property and terrify his wife and children. I just change the channel, turn the television off altogether and don't venture into printed material where I'm likely to run into his opinions. It works wonders!!