G C Lichtenberg: “It is as if our languages were confounded: when we want a thought, they bring us a word; when we ask for a word, they give us a dash; and when we expect a dash, there comes a piece of bawdy.”
H. P. Lovecraft: "What a man does for pay is of little significance. What he is, as a sensitive instrument responsive to the world's beauty, is everything!"
Martin Amis: “Gogol is funny, Tolstoy in his merciless clarity is funny, and Dostoyevsky, funnily enough, is very funny indeed; moreover, the final generation of Russian literature, before it was destroyed by Lenin and Stalin, remained emphatically comic — Bunin, Bely, Bulgakov, Zamyatin. The novel is comic because life is comic (until the inevitable tragedy of the fifth act);...”
Werner Herzog: “We are surrounded by worn-out, banal, useless and exhausted images, limping and dragging themselves behind the rest of our cultural evolution.”
John Gray: "Unlike Schopenhauer, who lamented the human lot, Leopardi believed that the best response to life is laughter. What fascinated Schopenhauer, along with many later writers, was Leopardi’s insistence that illusion is necessary to human happiness."
Justin E.H. Smith: “One should of course take seriously serious efforts to improve society. But when these efforts fail, in whole or in part, it is only humor that offers redemption. So far, human expectations have always been strained, and have always come, give or take a bit, to nothing. In this respect reality itself has the form of a joke, and humor the force of truth.”
विलास सारंग: "… इ. स. 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."
Friday, February 08, 2008
Since January 24, 2008, it made news for different reasons.
The Economist January 26, 2008 had this story:
“I CAN only dance when I'm drunk,” confides Srijana, a 20-year-old employee of the Pussy Cat Bar and Shower, a tavern in Thamel, Kathmandu's main tourist hangout. A few slurps from a customer's glass later and she mounts a small stage. There, to whoops from a few tipsy locals, she sheds most of her clothes and gyrates to a Hindi pop tune. Dangling above her is the Damoclean sword included in the bar's name: a silver shower nozzle, positioned to spray flesh-revealing water on a dancer below.
Such gimmicks are common in Thamel's bars, where competition for lascivious males is fierce. Until a few years ago Nepal had no obvious sex industry. There are now an estimated 200 massage parlours and 35 “dance bars”, such as the Pussy Cat, in Thamel alone—with over 1,000 girls and women working in them. Many sell sex. In the Pussy Cat, another dancer admits to turning tricks, for 1,800 rupees ($28).
That is a tidy sum in Nepal, South Asia's poorest country. It is much more than Nepali women are paid in India's flesh-pots—to which over 5,000 are trafficked each year, according to the UN. But the dancers in Thamel are chasing a richer sort of Indian: tourists. And their government seems to be encouraging them. In an advertisement for “Wild Stag Weekends”, the Nepal Tourism Board offers this advice: “Don't forget to have a drink at one of the local dance bars, where beautiful Nepali belles will dance circles around your pals.”
In a country with a rich tradition of dance, where paying for sex is illegal, this might be harmless innuendo. But not everybody thinks so. During the recently-ended civil war, Nepal's Himalayan tourism industry collapsed. Some activists think that sex tourism is replacing it. According to John Frederick, an expert on South Asia's sex trade, “Ten years ago the sex industry was underground in Nepal. Now it's like Bangkok, it's like Phnom Penh.”
The war, which put much of rural Nepal under the control of Maoist insurgents, has increased the supply of sex workers…”
A silver shower nozzle, positioned to spray flesh-revealing water on a dancer below?!
Hindi films indeed have shaped carnal desires of millions. Me included.
Times of India reported on February 3, 2008:
“ (Nepali film) Kagbeni also has the distinction of having Nepal's first onscreen amorous kiss. And a large section of the Himalayan kingdom has been tickled by the minute-long liplock between the lead pair Saugat Malla and Deeya Maskey…”