March-April | The Pathways Gazette

[Note: After listening to your comments, I’ve realized that I should talk about new things in the streetwear culture except for shoes, so here you go!]

With summer in its full swing, Suicoke and Tyler The Creator’s brand GOLF just came out with a marvellous collaboration to save the day. Centred around the popular KAW-CAB model, an urban mix of sandal and slides, the duo decided to give their sandals a summer-themed makeover along with discontinuing the oversized branding across the model. To finish off this trendy, summery look, a sporty-blue trim borders the suede with yellow upper and white webbing straps which can also be used to adjust the fit. These stylistic sandals will be available in a mocha and lemon-yellow hue to exhibit Tyler the Creator’s adoration of a bright colour palette for his Golf Wang line.

These are definitely not your average cop, but surely something new to try this season.

A solid 6/10.

A period drama with an incredible ensemble cast, enchanting music and fifteen years in the making, expectations couldn’t possibly be higher for Karan Johar’s much-awaited “Kalank”.

Set during partition-era Lahore in the mid-1940s, Kalank narrates a complicated love story, which goes beyond the norms and questions the high morals of the society then. The highest opener of 2019 garnering over 21.6 crores on opening day, Kalank offers an extravagant screenplay with lavish sets and extravagant costumes which help bring the grandeur alive.

As the story unfolds, the weak and foreseeable plot masked by the glamorous sets begins to reveal itself. However, the movie is salvaged by the incredible performances of its lead stars. Alia Bhatt (as Roop) manages to beautifully convey her character’s strength as well as her vulnerability and shares compelling chemistry with her co-star Varun Dhawan (as Zafar). Aditya Roy Kapur (as Dev Chaudhary) surpasses all expectations and plays his role remarkably as the charming and compassionate husband. Much to our disappointment, the screenplay doesn’t permit the ensemble cast sufficient room, yet Madhuri Dixit (as Bahar Begum) leaves the audience stunned with her renowned grace and expressions; while Sonakshi Sinha (as Satya) and Sanjay Dutt (as Balraj Chaudhary) appear for an extended cameo and complement the drama quite well. Finally, Kunal Kemmu (as Abdul) effortlessly shows off his talent as the despicable villain, stirring up gripping conflict. The melodious tunes by Pritam paired with Shreya Ghoshal’s vocals in Ghar More Pardesiya and Tabaah Ho Gaye and Arijit Singh’s performance in Kalank (title track) adds value to this highly-immersive experience.

In 2019’s pragmatic times, classical movies like Kalank are often objectified as ‘clichéd’ and ‘predictable’ by the public as well as the critics. But, it is movies like these, that transport us to another era altogether, where elaborate costumes were worn for everyday grocery shopping, chivalry was still common and unconditional romance was all one could dream about. With phenomenal dialogues and complex relationships, what Kalank lacked in its screenplay (which made me yawn 20 times), it made up with its impressive cinematography, acting and music.

The name "Shibuya" takes inspiration from one of the busiest business districts of Tokyo with many restaurants and eateries. Located in GK2, Shibuya Food & Bar offers a variety of delicious Asian cuisines. With soothing and subtle interiors, the place has a very warm staff and an elegant atmosphere.

Being an expert at trying out the newest fusions of cuisines I can assure you that the food was simply mouth-watering. The #sushi, Crab Sticks and Shrimp Tempura were a delight for the taste buds. The Apple Cooler is a must-have, especially in this scorching weather. The Schezwan Rice Bowl’ was also quite delectable in addition to the fragrant Jasmine Rice. The spicy ‘Schezwan Curry’ was a distinct experience, which was topped with exotic veggies. The desserts, especially the Cheese Tarts were at another level altogether.

If you relish Pan- Asian food, I'd definitely recommend you visit Shibuya. Let me know what you think!

The 2012 Delhi gang-rape incident, that took place on the 16th of December 2012 and shook the country to its core, is an issue that fundamentally contributed to the ongoing discourse about women’s issues in India. Frankly, they cannot be summarised by mere news articles or a handful of interviews. However, a new perceptive television series called Delhi Crime is changing the game. The name itself foreshadows an objective stance, which creates an atmosphere of anticipation. From its authentic cinematography, a very dynamic arena of subplots, painstaking attention to details to the stellar performances from the whole cast, Delhi Crime is a highly immersive and emotional experience for the audience.

Moreover, the series tries to showcase a completely fresh perspective, focusing on the investigation instead of the heinous crime. This creates a gripping thriller that unfolds in a quick span of time. It weaves the personal conflicts of the protagonists with the tangles of the case to reveal the national and departmental politics behind the scenes. It follows an extremely real set-up, helping Delhi Crime portray the varied reactions of different stakeholders, making it an emotionally powerful and stirring narrative.

‘And Then There Were None,’ an apt title for a thrilling murder mystery. Agatha Christie, an icon in the literary world, has once again cast a spell on my mind and engrossed me in her genius.

The book illustrates a series of 10 brilliant murders, performed according to a rhyme introduced at the beginning of the book. 10 strangers are invited to an island and abandoned there. When a series of murders start happening, each character turns on the others and becomes a little too self-aware.

In the beginning, the first chapter introduces each of the ten characters and their various differing lives. As someone who hates introductions and prefers a book that dives headfirst into chaos, that was difficult for me to read. However, once all of them met, I was hooked. Each character reacted differently to every provocative action taking place, as all of them had ten little deadly secrets. The secrets were revealed in the beginning to the readers as well as to the rest of the characters in this novel. This provided a sense of transparency between the characters and readers and helped them understand each persona a little better.

As I read on, I identified an odd habit of Christie’s. In school, we have always been taught that one should show not tell while writing. However, Christie did the exact opposite. At some instances, instead of describing some mental states, she explicitly stated them. This makes me think that she prefers to keep her readers thoroughly informed of everything that is happening, which is ironical since she is a mystery writer.

Interestingly, and saving me from much chagrin, unlike many authors, Christie did not attempt to incorporate any kind of romance in this plot. A lot of writers believe that a story will not be engrossing without an angle of love. It has become a cliché and it was admirable and freshening to see that Christie did not fall into that trap.

All in all, this is a story that will keep you guessing until the end. I adored the book and it was one of a kind. The ending was incredible, with a final letter from the killer explaining it all (telling, not showing - but also providing much-needed clarity). She could’ve ended with a cliff-hanger to give a rise of revolting theories, but that is not Christie. Her brilliant characterisation and her flair for mysteries make this a perfect summer read.

Evolution of Bollywood

By Anahita Devsi and

Rajal Monga

Growing up in the 2000s, jamming to the iconic tunes of movies like “Main Hoon Na” and “Kabhi Khushi Kabhie Gham”, the majority of us are quite familiar with the Hindi Cinema, and its dynamic world. Even the word Bollywood conjures up images of elaborately choreographed dance numbers in the brightest of clothes, with the heroine’s sari casually flowing in the wind and a boy-meets-girl story with a scary villain but ultimately a happy ending. Always.

Bollywood is a movie industry like no other and has influenced the entire culture of our country. From being used as a medium to popularise nationalism in the 1910s[SA(PA1] to being one of our main sources of entertainment through the commercialised masala films. Since its inception in 1913, Indian cinema has existed through a multitude of social changes that have made it the sensation that it is today.

The industry started with the Marathi movie by Dadasaheb Phalke called Raja Harishchandra which established the Marathi dominance over this industry and made Bombay the capital of Bollywood. Although this was the silent film era, movies inspired people to join the nationalist movements. The 1930s was when the “talkies” started and movies were made on the everyday lives of poor people. Most of these movies had the premise of a poor man and his daily struggle with life. This is quite a contrast to the recent years of the Indian cinema when most of the movies portrayed the idolised lifestyle of rich people. The 40s to 50s were the “Golden Years” of Bollywood. Several critically acclaimed films were made in this period, including Mughal-e-Azam, Kaghaz Ke Phool, Mother India and Pyaasa. Each of these movies inspired Indian cinema for decades to follow. Many of Hindi cinema’s most prolific directors came to the scene during this era—from legendary actor-directors such as Guru Dutt and Raj Kapoor, pioneers of the film industry such as Mehboob Khan, Vijay Bhatt, and Bimal Roy and the comedy, romance and tragedy trio comprising of Dev Anand, Raj Kapoor and the king of tragedy Dilip Kumar. This was the time when the wounds of the partition were still fresh but India saw hope and willed to move forward keeping the past behind.

The 60s to 70s introduced actors that would continue to be legends to this day. The 70s, according to me, was the best decade of Bollywood. It popularised the role of villains and made the best movies in the industry. Sholay, Ganga Jamuna, Deewar, Don, Amar Akbar Anthony and Mera Naam Joker. Symbolising the frustration of the generation of the dashed hopes given by the freedom, these movies established many great actors like Amitabh Bachchan, Rishi Kapoor, Hema Malini, Rekha, Rajesh Khanna, Zeenat Aman and Sharmila Tagore. The 1980s is considered as the slump decade of Bollywood due to a large number of intolerable B- grade movies dominating the scene. The late 1990s and early 2000s produced many critically acclaimed movies like Dilwale Dulhania Le Jayenge, Kabhi Khushi Kabhie Gham, Kuch Kuch Hota Hai, Jo Jeeta Wohi Sikandar and countless others that launched the three Khans: Shahrukh Khan, Amir Khan and Salman Khan into the movie industry.

The late 2000s is famous for the commercialised cinema of Bollywood where the money matters more than the quality of the movie. Ten years later, Masala films do exist but if one looks deeper, you will find gems that portray reality and how good cinema should be. Recently, although biopics and historical fictions are slightly overdone, audiences have quit chasing superstars, and instead really started enjoying underrated movies with original and innovative ideas.

FUTURECRAFT.LOOP, The New Wave?

By Manan Vaid and Rusheen Bansal

Music and food are said to transcend boundaries. The statement may have been true until the arrival of the sneaker culture - giving rise to innovative fashion philosophies, uniting genders and generations across social culture. What was just a shoe that we put on hurriedly on the way out, has now transformed into an industry worth a staggering 3.4 billion dollars (that’s USD, *brain explosion sound-effect*). Who would’ve thought that shoes would become a status symbol?

2019, the year of simplistic yet genius innovations, with newly developed fibres and dyes that are biodegradable, has seen big brands like Salvatore Ferragamo and Adidas at the forefront of the latest fashion technology.

More specifically, Adidas, after years and years of retro models, has finally announced the trendy and sustainable future for its sneakerheads. A completely recyclable runner, the FUTURECRAFT.LOOP has been created with the wonderful aim of contributing to the global battle against plastic waste. The designers at the Adidas creative labs have utilized, reclaimed and recycled “yarns and filaments” from “marine plastic waste and illegal deep-sea gillnets,” allowing every inch of the shoe to be crafted using 100% recycled TPU (thermoplastic polyurethane). In fact, instead of simply glueing the sole to the shoe, Adidas instead decided to use its futuristic knitting, moulding and clean-fusing technique -- to create a closer cushioning contact to feel more boost -- first used in its SPEEDFACTORY model.

On the other hand, while Adidas competitors like the giant swoosh still rely on traditional and outdated materials to make their over-hyped shoes, Adidas has taken the first step towards a cleaner environment, with deciding to collaborate with Parley -- a movement started by creators to collaborate on projects that can end the destruction of the beauty and fragility of oceans. Products in their series include trainers made of recycled plastic along with swimwear made from upcycled fishing nets and debris. The main aim is to create a closed loop system, as mentioned by Adidas executive board member Eric Liedtke. “The solution of the Loop is that it is made of one single material and can be recycled in one dongle process and one stable demonstration, and can be recycled again and again and again," he continued. "It's a statement for us to show to the world that we can do better."

Lastly, while there are no exact dates or cost stated by the company, the mere idea of me buying sneakers that would be a small step towards cleaner oceans does sound incredibly fascinating to me.

FUTURECRAFT.LOOP, The New Wave?

By Manan Vaid and Rusheen Bansal

Music and food are said to transcend boundaries. The statement may have been true until the arrival of the sneaker culture - giving rise to innovative fashion philosophies, uniting genders and generations across social culture. What was just a shoe that we put on hurriedly on the way out, has now transformed into an industry worth a staggering 3.4 billion dollars (that’s USD, *brain explosion sound-effect*). Who would’ve thought that shoes would become a status symbol?

2019, the year of simplistic yet genius innovations, with newly developed fibres and dyes that are biodegradable, has seen big brands like Salvatore Ferragamo and Adidas at the forefront of the latest fashion technology.

More specifically, Adidas, after years and years of retro models, has finally announced the trendy and sustainable future for its sneakerheads. A completely recyclable runner, the FUTURECRAFT.LOOP has been created with the wonderful aim of contributing to the global battle against plastic waste. The designers at the Adidas creative labs have utilized, reclaimed and recycled “yarns and filaments” from “marine plastic waste and illegal deep-sea gillnets,” allowing every inch of the shoe to be crafted using 100% recycled TPU (thermoplastic polyurethane). In fact, instead of simply glueing the sole to the shoe, Adidas instead decided to use its futuristic knitting, moulding and clean-fusing technique -- to create a closer cushioning contact to feel more boost -- first used in its SPEEDFACTORY model.

On the other hand, while Adidas competitors like the giant swoosh still rely on traditional and outdated materials to make their over-hyped shoes, Adidas has taken the first step towards a cleaner environment, with deciding to collaborate with Parley -- a movement started by creators to collaborate on projects that can end the destruction of the beauty and fragility of oceans. Products in their series include trainers made of recycled plastic along with swimwear made from upcycled fishing nets and debris. The main aim is to create a closed loop system, as mentioned by Adidas executive board member Eric Liedtke. “The solution of the Loop is that it is made of one single material and can be recycled in one dongle process and one stable demonstration, and can be recycled again and again and again," he continued. "It's a statement for us to show to the world that we can do better."

Lastly, while there are no exact dates or cost stated by the company, the mere idea of me buying sneakers that would be a small step towards cleaner oceans does sound incredibly fascinating to me.

Leaving Neverland

By Akshita Mathur

In a recent HBO documentary titled ‘Leaving Neverland’, Michael Jackson, was revealed to be another in the ever-growing list of morally corrupt men in Hollywood on a count of sexual assault on two minors.

It is a well-known fact that victims of sexual abuse have a difficult time coming forward due to the stigma surrounding their stories. It is understandably more challenging for male victims to do so due to countless social pressures that limit them to the role of being ‘strong’ and ‘tough’ removing all scope of vulnerability. By sharing such stories, it is hoped that more victims gain the strength to come forward and demand justice without fear of being told that they “wanted it” and that they “should have enjoyed it”.

Overcoming this stigma, Wade Robson and James Safechuck claim that through the late 1980s and early 1990s they were abused by Jackson. Wade Robson first met Jackson at the age of 7, after winning a ‘Michael Jackson dance contest’. Michael maintained a relationship with his family, inviting them to vacation and tours. James Safechuck co-starred with Michael Jackson in a Pepsi commercial at the age of 10, and again, Jackson maintained a relationship with the boy’s family. It can be understood that the amity that Michael had created with these boys’ families was in fact just a ruse to pursue sexual relations with them.

These cases are in addition to the court case in 1993 wherein Jackson was accused by Evan Chandler of sexually abusing his 13-year-old son and another in 2005. During the 2005 investigation, both Robinson and Safechuck had testified under oath in favour of Jackson. The lawyer on that case and many other sexual assault cases state that it made sense that the men came forward now due to the stigma surrounding male victims. Furthermore, Safechuck has also come forward and stated that he struggled with substance abuse throughout his twenties as what he believes to be a coping mechanism. He told The Independent that after he had sought help for his addiction, he was finally able to come to terms with his childhood suffering and decided that it was time to share his story.

There may have been reluctance on part of the victims due to Jackson’s constant insistence that their relations must be kept a secret. In 1993 as well Jackson’s lawyers allegedly ‘trained’ James Safechuck to testify in favour of Jackson, making him feel as if it was his ‘job to do that for Michael’. Wade Robson has said that he was pressured into performing perverse acts for Michael, in exchange for what he then believed to be ‘friendship’.

The above cases are only the most recent in the list of five boys who have accused Jackson of sexual relationships with minors. Jordie Chandler, Jason Francia and Gavin Arvizo have all previously come forward to testify against Jackson. In 1993 Jackson settled a lawsuit with Chandler for $25 million. At the time, he claimed that this was done to avoid a long, drawn-out, trial but now it can be inferred it to be an admission of guilt.

To counter the new claims, Jackson’s estate has sued HBO over the documentary, insisting on the singer’s innocence. It can be expected that this attempt to save face will not go well with Safechuck, Robson and the HBO group, who have maintained that the purpose of the documentary was not to incriminate Jackson, but instead to create a safe space for conversation about male victims of sexual assault. Robson and Safechuck have both stated that the documentary was a way for them to “tell their truth”.

There is little that can be done to bring justice for Jackson’s victims other than ensuring that Jackson’s legacy is not limited to a musician, rather his whole truth is revealed. In an attempt to do so, various DJs, radio stations, and even tv shows like the Simpsons, have removed his music from rotation. While this may not be much, it is at least a small step towards a materialistic consequence for such degrading actions.

However, this sparks an important question: Should we separate the art from the artist? More on that in the next issue :)