lodhie

Observing someone on how they are with the furry ones around tells you a lot about them, don’t you agree?
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Picture by @the_travel_tart
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#delhi #delhigram #delhilove #delhidiaries #dilli #india #dog #dogstagram #dogs #doglove #furry #furryfriend #furryfriends #cute #sodelhi #dfordelhi #delhi_igers #saadidilli #doggy #beautiful #amazing (at Lodhi Garden, Delhi)

Popular political cartoonist Sudhir Tailang passes away

Popular political cartoonist Sudhir Tailang passed away on Saturday in New Delhi after a prolonged battle with brain cancer. Rajesh Tailang, his younger brother, said Sudhir would be cremated at the Lodhi crematorium tomorrow at 2 p.m. Sudhir was awarded the Padma Shri in 2004 for his contribution to the field of cartooning.
Juvenile who ‘killed’ 5 months ago, kills again: Police took two days to suspect foul play

Mithilesh Jain’s (68) favourite past time was scrolling through Facebook. Her son-in-law Ashok Agarwal, a charted accountant by profession, owned an office space in the first floor of the building in Lodhi Colony where she lived and said she used the WiFi from the office.

“She browsed the internet on her iPad. It was stolen and she was killed for it,” said a senior police officer. Mithilesh’s body was discovered by her son-in-law the next day and police initially declared it a natural death. Two days later, when the preliminary autopsy report said the cause of death was smothering, police registered a case of murder.

A retired Military Engineering Services officer, Mithilesh spent her time visiting her daughters. While one daughter lives in Delhi, the other stays in the US. She was supposed to visit Singapore in March.

Police said a neighbour spotted the juvenile at about 3 pm on January 31. “She saw Mithilesh letting the boy inside her house. The neighbour thought he was a relative,” said police, adding that the body was discovered the next day. It took two days for police to suspect foul play.

While money and phones were missing from the house, the jewelry on the body was intact, said a police officer.

“Initially, we wondered why anyone would one leave jewellery intact if they needed money. Later, the family reported that most of the jewellery in the kept in a cupboard was missing,” added the officer.

Police said the juvenile practiced dance in a community hall nearby every day and had done a recce of the house before committing the crime.

Police said after he killed Mithilesh, he went to his father’s shop in Lodhi Colony.

Police sources said they tracked the juvenile down after he switched on one of the stolen phones. “The woman’s phones were initially switched off but on Wednesday, we noticed one of her numbers was active. We tracked the location to Faridabad and apprehended the juvenile. He was sleeping in his house,” said the officer. He added that police also recovered two phones and the iPad.

He had spent Rs 1,300 of the Rs 7,000 he stole to buy a pair of jeans and shoes.

He told police that he wanted to save that money for applying for a talent hunt. He also told police that he approached one of his friends to store some songs into that mobile phone so that he could practice on them.

“His old phone had some problems due to which he could not load songs and practice his dance moves,” said the officer.

One of two paintings of our work “see through / see beyond”, just realized in New Delhi for @startindia with the support of Pro Helvetia New Delhi - Swiss Arts Council.

#nevercrew #seethrough #seebeyond #asteroid #prism #streetartdelhi #streetartindia #startindia #startdelhi #newdelhi #india #prohelvetia #lodhicolony #lodhi #streetart #urbanart #mural #painting http://ift.tt/1L04YSH

STREET SMART

The fourth edition of the Urban Street Art Festival is painting the Capital in all kinds of colours

STREETS of Delhi will light up with fun and quirky art again, thanks to the fourth edition of the Urban Street Art Festival organised by St+ Art India Foundation.

So, expect more surprises in corners of the city, just like the Mahatma Gandhi portrait on the PWD headquarters building or the flying black birds in CP. This time, the focus is on Lodhi Colony. The work to re- invigorate the area started in December, and the St+ art India Foundation has been working in close collaboration with the Central Public Works Department ( CPWD). Acclaimed international and national street artists are working on walls between Khanna Market and Meherchand Market to convert Lodhi Colony into India’s first Public Art District.

Grimy walls will turn into fresh canvasses and dirty corners will become challenging muses in the hands of over 24 artists from India and around the world.

Says Hanif Kureshi, co- founder and artistic director of the campaign, “ Centrally- located and pedestrianfriendly Lodhi Colony is an ideal place for the public art gallery in Delhi. The perfectly- aligned walls of Lodhi Colony serve as a perfect canvas for each participating artist. With each mural located within walking distance, Lodhi Art District will be the first public space of its kind in the country. Hopefully, after completion, this will fuel the growth of street art in India and also open up the idea of choosing public art as career for the younger generation.” Remember taking a walk through the winding lanes of Hauz Khas Village and ending up staring at a wall that allowed each one of us to conjure a tale? Now, imagine walking around a city where every wall has such a story to tell.

Kureshi’s dream, if realised, will create a city that will not only make art accessible to general public, but also involve people in public art and encourage them to re- imagine public spaces.

The Lodhi Art District project, which will end in February, also builds on the idea of the Swachh Bharat Mission and will be initiated throughout the next two months with a focus on the involvement of RWAs ( Resident Welfare Associations). Together with the RWAs of Lodhi Colony, the festival will also see the making of a wall specifically for the Swachh Bharat Mission with participation of Lodhi Colony residents.

Apart from Lodhi Colony, the festival also has an exhibition called WIP- Work in Progress, which is a month- long show that opens on January 31 at the Inland Container Depot ( ICD) in Tughlakabad, the largest dry port in Asia. The parking lot of ICD will be transformed into an art hub using around 100

turned into a massive exhibition space which will see artists making the containers their own by painting the outside in their distinct style whilst exhibiting their works inside. This is being done in collaboration with CONCOR — Container Corporation of India — and aims to activate the spirit of the previous St+art shows by reinventing a space unknown to the general public and exposing a hidden and vibrant part of the city. Says Sanjay Bajpai, chief manager at CONCOR, “ICD Tughlakabad is a hub of green logistics for Delhi. Through this partnership we wish to draw attention of citizens of Delhi to the thriving public spaces in and around Inland Container Depot Tughlakabad. We hope this would be the first step towards rejuvenation of the neighbourhood for all to cherish.” Among the artists who will undertake the colourful task are Nafir (Iran), Amitabh (Bengaluru), Anpu (Delhi), Shoe (Netherlands) and NeverCrew (Switzerland). Additional to the two-month festival, Italian artist Agostino Iacurci will paint the Govind Puri Metro Station with murals, as a part of yet another project that St+art has undertaken in collaboration with DMRC. So, if you think you have seen it all in Delhi, hold your breath. The city is getting a fresh coat of paint! The fourth edition of St+Art Festival will be on till February 2016

South Asian Games: From high-arm action to high-jump, Tejaswin Shankar raises bar

In just over two years since taking up high-jump on the insistence of his physical education teacher, 17-year-old Tejaswin Shankar, an aspiring fast bowler, has improved his personal best by 47 centimetres. Shankar might make batsmen hop, but Sunil Kumar, the physical trainer at his school in Delhi, has advised his ward to give the run-up modelled on Glenn McGrath a break, and focus on the gravity-defying Fosbury Flop instead.

On Tuesday evening, at the Indira Gandhi Athletics Stadium in Sarusajai, where the South Asian Games are being held, Shankar was up against Sri Lanka’s W P Manjula Kumara, an Olympian who has won gold at the Asian Championships. The final of the men’s high-jump was Shankar’s first senior international event, but he matched Kumara.

Though Shankar and Kumara were tied at 2.17 metres, the Class XI commerce student of Sardar Patel Vidyalaya, Lodhi Road, had to settle for silver. Shankar had dropped the bar in his first attempt at 2.08 metres, a folly he blames on complacency, while Kumara didn’t have a cross against his name. But there was a takeaway for the youngster. He proved that he had the mettle to compete at the senior level and he also improved his personal best once again, from 2.15 metres to 2.17 metres, in less than a fortnight.

The decade-old senior national record of 2.25 metres is well within Shankar’s range, believes Gurbachan Singh Randhawa, the former Asian Games gold medallist in the decathlon. “The mark could fall within a year or two, if not sooner,” Randhawa says.

Shankar came to Guwahati fresh from his gold medal at the national school games in Kozhikode. From competing against schoolchildren, Shankar had to face the challenge posed by multiple South Asian Games and Asian Games veterans. His silver-medal winning jump on Tuesday not only helped him qualify for the World Junior Championships later this year, but also propelled him to No. 4 in the IAAF’s World Youth rankings.

Shankar, an Asian Youth Championships medal-winner, has also been very consistent. The only time he missed out on finishing on the podium was at the world youth championships earlier this year. An update of his latest achievement on Facebook has earned him 500 likes, Shankar says. Being the youngest in the Indian athletics contingent, he is being pampered by seniors, who check whether he has eaten on time and advise him not to upset his body clock by staying up late. “As I am the baby in the team, everyone is taking good care of me. It has been wonderful to stay in the hotel of the senior team and meet some of India’s star athletes. This is a big moment for me,” the 6’4” tall Shankar says.

Being taller than most boys his age, Shankar tried his hand at fast bowling in school. “It was my father who told me about the skill and accuracy of McGrath. ‘If the batsman misses, you hit,’ my father would tell me. I recently played for my school at a tournament organised by Delhi Daredevils. To my surprise, batsmen ko meri ball dikh hi nahi rahi thi (batsmen couldn’t see the ball). I could bowl at about 120 kmph but I may be faster now because of the strength training I have done for high-jump,” says Shankar, who has put away his cricket shoes for the time being.

His preference for athletics has a back story. “My first medal in high jump was at the Delhi CBSE school meet. I had a mathematics unit test but did not tell my father that I was missing it to participate in athletics. When I came home, my father had ordered pastries because he got to know from my mother I had won a medal. My father wanted me to become a lawyer, but after seeing my first medal and my passion for athletics, he encouraged me.”

Shankar’s father Hari was afflicted by blood cancer and passed away three years ago. “I want to study law but at the same time I want to excel in athletics too. I know my father would have been happy seeing the way I have progressed.”

Shankar knows he will have to raise the bar further if he is to consistently win medals.

Next up is the Senior Asian Indoor Championships later this month. “Over the next three months, I want to be able to jump 2.20-plus. Now I have confidence that I can compete at the senior level, but I also need to continue improving and not stagnate after a point.”

Randhawa, who is the chief coach of the Delhi Development Authority sports scheme, has drawn up a plan to send Shankar for training to the United States. “I have not seen a high jumper with such potential in years. He has immense talent but what makes him special is his ability to rise to the occasion during competition,” Randhawa says.

@startindia continues to beautify Delhi! A Shekhawati painting (miniature art) by Mahendra Pawar and his team from Samode, Rajasthan. This wall is in continuation of St+Art India Foundation’s endeavour of being inclusive of indigenous art forms along with international street artists to create India’s first Public Art District. This beautiful mural can be found opposite Khanna Market in Lodhi Colony. Photo by @_tahska #startindia #startdelhi #asianpaints #lodhiartdistrict #streetart #streetartdelhi #streetartindia #shekhawati #miniatureart #urbanart #publicart #streetartist #newdelhi #indiapictures #ip_art

http://dlvr.it/KRxVM7 #indipin

jihadwatch.org
At UN, Pakistan calls on world to combat not jihad terrorism, but “Islamophobia”
This is how the charge of “Islamophobia” works. When a Muslim cleric such as Abu Hamza Ashur says “Kill them! Poison your daggers, and then stab or slaughter them. Blow them up, shed their blood, pounce on them, dismember them, paralyze them, make the earth quake under their feet, trample on their heads….By Allah, we will use it to turn you into body parts, and we will send you messages written in blood. By Allah, we will annihilate you with it. We will turn you into lifeless corpses, and into scattered body parts, Allah willing,” Pakistan and the OIC say nothing. But if I quote Abu Hamza Ashur, that’s “Islamophobia.”

“Pakistan calls on world to combat Islamophobia,” by Masood Haider, Dawn, February 5, 2016 (thanks to Lookmann):

UNITED NATIONS: Decrying the rise of Islamophobia worldwide, Pakistan called on Thursday for action to combat the forces of xenophobia and warned that if timely steps were not taken to check this disturbing trend, it could threaten regional and global peace and security.

Speaking at an event organised at the UN by Pakistan Mission and the OIC on “Countering Xenophobia through Interfaith Cooperation”, Ambassador Maleeha Lodhi said that Islamophobic acts were unfortunately taking place in countries known as traditional champions of human rights and humanitarianism.

Note the conflation of “Islamophobia,” an invented term designed to intimidate people into thinking it wrong to oppose jihad terror, with xenophobia. Yet there is no problem in Europe or North America with Hindu immigrants or any immigrant group other than Muslims. Those who are concerned about jihad terror and Sharia oppression aren’t motivated by xenophobia, but by a desire to protect their countries and communities.

She regretted that some unprincipled politicians in the West had sought to build their political fortunes by spreading fear and xenophobia – promising to build walls against migrants; barring refugees, even widows and orphans; threatening to ban the adherents of a specific religion from entry to their countries’ shores.

Unfortunately, she said, this campaign of hate and prejudice had received a fillip from ignorant Western media portrayals of Muslims.

See above. If a Muslim cleric spews hatred and incitement to violence, Maleeha Lodhi says nothing. But if a non-Muslim in the West quotes that cleric, it’s another ignorant Western media portrayal of Muslims.

Initiating the discussion Ambassador Lodhi said the purpose of the event– during a week at the UN, devoted to interfaith harmony – was to highlight the concern of Pakistan and OIC countries over certain recent developments which were posing a danger to such harmony, to social cohesion and to the observance of human rights and humanitarian norms.

The instances of insults against Islam and Muslims were now legion, she said. Islam has been called unspeakable names; minarets have been portrayed as missiles.

Turkey’s President Recep Tayyip Erdogan once quoted a poem: “The mosques are our barracks, the domes our helmets, the minarets our bayonets and the faithful our soldiers.” That wasn’t “Islamophobia.” But a non-Muslim quoting Erdogan quoting the poem? That’s “Islamophobia.”

These have not been empty insults. “Expressions of such hate and prejudice have provoked physical and psychological violence against Muslims and their businesses, mosques and community centres in some countries.

No actual vigilante violence against Muslims and their businesses, mosques and community centres is ever justified. The scope of this violence is far smaller than the scope of jihad terror attacks by Muslims in the West: 130 killed in Paris, 14 in San Bernardino — and that’s just the last few months. But that doesn’t get UN or Pakistani government attention.

“Almost all Muslim communities have been subjected to such intolerance. Many live in fear. Their alienation expands the divide between faiths and cultures within and among nations.”

Ms Lodhi quoted President Obama who acknowledged during his visit to a mosque earlier this week that “an attack on one faith is an attack on all our faiths. And when any religious group is targeted, we all have a responsibility to speak up.”

She also highlighted the plight of refugees and migrants pouring into Europe. While initially this evoked many heart-warming acts of generosity, humanity and solidarity, the purveyors of hate have sought to turn the tide against the advocates of openness and humanitarianism, especially after the horrific terrorist attacks in Paris.

She added: “They have equated helpless refugees and migrants with violent extremists in order to generate political support for the forces of hate, prejudice, intolerance and xenophobia.”

How does Maleeha Lodhi propose to distinguish helpless refugees and migrants from violent extremists? Neither she nor anyone else has explained how this can possibly be done.

Terming such xenophobia and discrimination a ‘dangerous trend’, she warned that such profiling of entire peoples and communities by religion or ethnicity, has grave antecedents. Seventy-five years ago, this led to the Holocaust.

Ambassador Lodhi said those who had declared the denial of the Holocaust a crime should hardly argue that the freedom of expression allowed insults against Islam and hate speech and incitement to violence against Muslims.

As hate inevitably breeds hate, Islamophobia will breed its antithesis. “It is a recipe for a clash of cultures – a clash we must avoid if the world is to have any hope of collective action to end the chaos in the Middle East and eliminate all forms of terrorism”, she added….

She makes it clear that freedom of expression does not allow insults against Islam and what she considers to be hate speech. This makes clear yet again what the entire “Islamophobia” initiative is all about: compelling Western nations to adopt free speech restrictions in line with Sharia blasphemy laws.

Change of art

VISITORS AND passersby to the capital’s Lodhi Colony these days are spellbound by the riot of colours adorning the walls. Turning the dull and faded spaces into lively works of art are some beautiful murals by national and international artists. Take, for instance, Amitabh Kumar’s Dead Dahlias at Block 10, Meharchand Market, Lodhi Colony. The root of the image is a story. In the Mahabharata, when the Pandavas lost the game of dice, they were exiled to Khandavaprastha, the city of ruins. Lord Krishna, who accompanied them, helped them turn it into Indraprastha, the city of gods. But this city, made of magic, is now crumbling apart. “Through this mural, I would like the viewer to see its crumbling pieces,” says 31-year-old Kumar, who is based in Bengaluru. He finished the mural in 10 days in January as part of an ongoing street art festival organised by non-profit organisation St+art India with paints manufacturer Asian Paints.

A similar sight greets you at Lajpat Nagar. On a wall near MCD Dhalao, Captain Gaur Marg, is a mural showing two children, a boy and a girl, sitting near a cart. Uruguay-based artists Colectivo Licuado (Florencia Duran and Camilo Nuñez) and Nicolas Sanchez (who goes by the name AlfAlfa) spent a few weeks in Delhi before painting this mural for St+art India. It is inspired by several elements, characteristics and people they found interesting in the city. In fact, if you look closely, you can spot a small tribute, too, on the painted cart. It’s for the tea vendor who has a stall right next to the wall. With the help of a local sign painter, the artists have written “Yeh gaadi Chhote Lal ki hai (This cart belongs to Chhote Lal)”.

Move over to DLF Emporio mall in Vasant Kunj and you can see artist Lucas Munoz’s artwork Delhi Lung installed there. Made with bamboo sticks, 18 ventilators and muslin cloth, the device will suck the air of the city for a month and blow it through the white muslin cloth. The aim is to make the residents more aware of air pollution. “I thought this was one of the most relevant issues,” says Munoz, who made the installation for the latest edition of Publica, a public arts festival organised by Floodlight Foundation, a non-profit artist mentoring agency.

Public spaces have been artists’ canvas for a while now. However, the concept remains constrained in India and not without incidents of vandalism. So what makes these projects tick for the artists? For Kumar, it helps him connect with the environment. “Working in a gallery is a little unsatisfying because my art doesn’t come back to the world. On the contrary, when I am working in public spaces, the biggest joy is that my artworks become a part of the environment. When we work in a public space, we immerse ourselves in the site, its history, context, geography, the community around it, etc. So what we draw becomes a part of the complex environment. Working in public spaces helps me creatively, lets me become a part of the world again.”

For others like artist Vibhor Sogani, public art is what differentiates a play from a movie, so to speak. “All artists long for reactions. The kind of cross-section of reactions that you get in a public space can never happen in a controlled environment like a museum or a gallery,” says Sogani, the creator of Sprouts, a 40-ft-high stainless steel installation spread over six acres near the AIIMS flyover in Delhi. “That’s the most beautiful part of being in the public space.”

Sprouts, installed in 2008, survived the initial scepticism to see a lot of interest, especially from students of design and architecture, says Sogani.

And, of course, there is the massive reach factor as well. “Initiatives like these give us a lot of exposure and help us reach a wider audience. More people can interact with art and understand the artist’s thought process,” says 33-year-old New Delhi-based artist Anant Mishra, who has put up an installation on loss of freedom, titled Are we human yet? for Publica. Helping these artists unleash their creativity are the increasing number of public art events in the country like St+art India’s street art fest and Publica.

With the objective of transforming dull cityscapes into vibrant spaces of art, St+art India brought on board over 22 artists from India and abroad for its festival, which began in December 2015 and will conclude this month. The first part of the festival, which has the support of the ministry of urban development, saw artists painting on walls in areas like Lodhi Colony, Lajpat Nagar, Defence Colony, etc. For the second part of the festival, which began this month, the artists were asked to paint shipping containers at Inland Container Depot, Tughlakabad, Okhla, for a walk-through exhibition for visitors all this month. Once the festival is over, the containers will remain painted and will be used for their initial purpose of transporting goods.

The idea behind the ongoing month-long Publica, too, is to remove artworks from their traditional setting of museums and galleries and put them in view of broader audiences. For its second edition, Publica invited Indian and international artists—including Gigi Scaria, Anant Mishra, Rajesh Ram, Lucas Munoz, Krishna Murari, among others—to produce works under the curatorial theme ‘Touch’. These artworks have now been spread over many venues in the capital like Indira Gandhi International Airport, Nehru Park, DLF Emporio mall, India Habitat Centre, etc. “From cultural centres and bustling street markets to parks and teeming shopping malls, we have chosen many high-footfall venues,” says Surbhi Modi, founder and chief curator, Publica.

Besides helping the artists reach a wider audience, these initiatives are very important, especially for a country like India, where the common man doesn’t get to experience art much. “There are not too many museums in India and even lesser galleries. Also, people often can’t afford to pay the money to visit a gallery or museum. Initiatives like ours aim to bring art to public spaces for these people. Compared to other countries, India is 20-30 years behind when it comes to street art, but we are slowly catching up,” says Arjun Bahl, festival director and co-founder, St+art India.

“Initiatives like these are important, as only a certain category of people go to galleries and museums in India,” says renowned artist Gigi Scaria, who has made Who directs who?, a 17-ft-high installation, which reimagines a city as a grandfather clock, for Publica this year. “It is, therefore, important to have art at public places, so that there is more awareness about art and artists among common people… to understand how a work of art can also carry messages. To look at a piece of art and understand its meaning is important.”

And things are only going to get bigger and better from here. “We want to get hold of airports, housing complexes, etc, so we can reach out to more people,” says Modi. There is an important gap in the cultural landscape market that needs to be filled.”

Coat of Many Colours

Believed to be the last colony set up by the British before they left India, Lodhi Colony in Delhi now has new colours and patterns to boast. Its walls are the canvas for artists from around the world — Iran, Germany and Japan, among others. Thirteen artists have spent the last few weeks in the area, stretching from Khanna Market to Meherchand Market, with an endeavour to turn it into an art district. “This area has been neglected by the people living around it, one can see posters spoiling several walls,” says Akshat Nauriyal, content director and co-founder of the Street Art Festival.

The area has seen a steady footfall over the last couple of years, with the opening of high-end bakeries, boutique designer stores, organic food outlets coupled with existing and popular kirana shops, tailoring units and street food options. It sits as a rurban (rural urban) combine, making it accessible to people from all sections of society.

Hanif Kureshi, co-founder and artistic director of the festival, says that the project was initiated almost a year back, but has gained pace now. “We had started the project last year on two walls, in collaboration with the New Delhi Municipal Council, but couldn’t continue as we did not have permission from the Central Public Works Department and Ministry of Urban Development. This year, however, they are also part of the project.”

The renderings range from lotus flowers painted by Japanese artist Suiko to “Calligraffiti”, an interpretation of a self-written poem, by Dutch artist Niels Shoe Meulman, who dwells on his love for the greens. Delhi-based Anpu Varkey has volcanic lava forming a tree that consumes entire buildings, “shadowing the menace in the minds of the people”. Japanese artist Lady AIKO has the legendary Rani of Jhansi on a horse, with a child tied on her back, brandishing a sword, at Lodhi Colony. A similar mural is on the F Block walls in Connaught Place.

The coming weeks will see several more artists painting on the walls in this part of Delhi. Among others, German artist Hendrick Beikirch will be seen designing a mural of a “truck-sign writer”, and French duo Lek and Sowat will also be seen with their brush working around an Indian proverb with a group of painters from India.

“Art and culture are two very powerful tools that can make people come out of their houses and appreciate the public spaces around them, and this is exactly what we are aiming through this project,” says Giulia Ambrogi, curator of Lodhi Art District.

Cartoonist Sudhir Tailang passes away

Well known cartoonist Sudhir Tailang, who was suffering from a brain tumour passed away on Saturday (February 6), his family said. He would have turned 56 on February 26. Tailang’s daughter Aditi told IANS that he breathed his last at 12.30 PM. He would be cremated at 2 PM on Sunday at Lodhi road crematorium. Tailang was under treatment for the last two years. He was in hospital for more than a month before he was brought home after doctors had given up all hopes of his recovery. Tailang, who was suffering from GBM-4 stage brain tumour, had undergone two surgeries and chemotherapy during the course of his treatment over two years, Aditi said.
Cartoonist Sudhir Tailang passes away

New Delhi, Feb 6 (IANS) Well known cartoonist Sudhir Tailang, who was suffering from a brain tumour passed away on Saturday, his family said. He would have turned 56 on February 26.


Tailang’s daughter Aditi told IANS that he breathed his last at 12.30 p.m. He would be cremated at 2 p.m. on Sunday at Lodhi road crematorium.


Tailang was under treatment for the last two years. He was in hospital for more than a month before he was brought home after doctors had given up all hopes of his recovery.

Tailang, who was suffering from GBM-4 stage brain tumour, had undergone two surgeries and chemotherapy during the course of his treatment over two years, Aditi said.

He worked with almost all the well-known banners including Hindustan Times, Times of India, Indian Express. His last assignment was with the Asian Age.

Late prime minister Indira Gandhi was the first prey of Tailang’s pen.

Thereafter, there was hardly any known personality in political world or other sphere of life who could escape his brush.

He was awarded Padma Shri in 2004 for his contribution to the art of cartooning.

Pak envoy calls on world to combat 'Islamophobia' at UN

Karachi, Feb.6 (ANI): Pakistan’s Permanent Representative to the United Nations Maleeha Lodhi has said that Islamophobic acts were unfortunately taking place in countries known as traditional champions of human rights and humanitarianism. She was participating in an event organised at the United Nations by the Pakistan mission and the OIC on ‘Countering Xenophobia through Interfaith Cooperation’.

Decrying the rise of Islamophobia worldwide, Pakistan called for action to combat the forces of xenophobia and warned that if timely steps were not taken to check this disturbing trend, it could threaten regional and global peace and security.

Ambassador Lodhi said the purpose of the event during a week at the UN was devoted to interfaith harmony and to highlight the concern of Pakistan and OIC countries over certain recent developments which were posing a danger to social cohesion and to the observance of human rights.

The Dawn reported that Islam has been called by unspeakable names and minarets have been portrayed as missiles, she added.

Lodhi quoted President Obama who acknowledged during his visit to a mosque earlier this week that 'an attack on one faith is an attack on all our faiths’.
She further said that 'if any religious group is targeted, we all have a responsibility to speak up.’

Lodhi also highlighted the plight of refugees and migrants pouring into Europe.(ANI)