This move stands in direct defiance of the landmark 2014 NALSA v. Union of India verdict, in which the Supreme Court of India ruled that the individual—and only the individual—is the sovereign authority over their own gender. Today, that sovereignty is being subdued by a state that treats legal history as something that can be undone with a single signature.

The scale is staggering. While the 2011 Census officially recorded 4.87 lakh transgender individuals, the National AIDS Control Organisation and community advocates estimate the actual figure is closer to one crore. By replacing self-identification with a medical tribunal, the state is attempting to funnel millions of diverse lives through a single clinical needle—a bureaucratic bottleneck designed to exhaust a population into invisibility.

For Priyadarshini, a 29-year-old non-binary femme lesbian brand manager, and gender and sexual rights activist in Kolkata, the speed of the legislation felt like a physical strike. "The bill came to the floor of the lower house—passed amidst opposition—and within a week it went to the upper house, and the President gave it an assent," she recalls. Priyadarshini, who has spent years balancing a corporate career with front-line advocacy, sees the timing as a deliberate tactic of exhaustion.

"By 11 o’clock at night, we start hearing things, and by the very next morning, there’s a gazetted copy. If our government really works so fast, why does our country have so many issues?” She says wearily, “It feels like they are moving under the cover of night to overwrite our humanity before we can even organise a response. How can the legislature go against what the Supreme Court has already said?"

The intrusion of the cis gaze

The ‘audacity’ at the heart of this crisis doesn’t belong to the protestors screaming in the streets— it belongs to the architects of this erasure. There is a grotesque irony in watching a room of cisgender politicians legislate the boundaries of trans existence.

"Imagine a stranger, who has never lived a day in your skin, deciding if you are `real` enough to exist in the eyes of the law. It is a profound violation to have your truth treated as a debatable topic by people who have no skin in the game," counters Priyadarshini.

This is the institutionalisation of the ‘cis gaze’—the state’s declaration that an internal truth is a mere suggestion, while a clinical observation is the absolute fact. When laws are built on the assumptions of those who have never navigated the vulnerabilities of gender nonconformity, the result is a framework of indifference. By reversing the burden of proof, the Act forces trans individuals to justify their existence to a committee of cisgender strangers, transforming a birthright into a medical permit.

"It forces my trans siblings to stand before a medical board, to potentially strip, to be `assessed` by people who have likely never read the NALSA judgment. We are being told to wait for a stranger’s verdict on our own identity. This amendment is fundamentally broken,” she insists.

The clinical weapon: Assessment as assault

The amendment introduces a mandatory ‘District Screening Committee’ and a medical verification process for anyone seeking a gender certificate. This isn’t just a new layer of red tape—it is a psychological siege. Adityuh, a 24-year-old trans-masculine psychology student and community support worker in Delhi, views the move as state-sponsored gaslighting.

"Identity isn`t something you prove; it’s something you are," they say. This clinical turn is particularly harrowing given the existing healthcare landscape. According to a report by the National Human Rights Commission, roughly 92 per cent of transgender people in India are deprived of the right to participate in any form of economic activity, due to institutional discrimination.

For Adityuh, the hospital—a place that should theoretically be a sanctuary of healing—is being repurposed. "When I think of a hospital now, I don`t think of care. I think of trauma and doctors with God complexes who treat you like a fascinating specimen," they recoil. 

Under the 2026 amendment, the clinic is transformed into an outpost of the police station—a site for reporting and verification. The white coat becomes a uniform of the state.  "The state is saying, ‘We’ll let you live, provided you transition on our terms’. But who is ensuring that process isn`t a nightmare? Trans individuals are treated with blatant transphobia by the very staff supposed to `verify` us," Adityuh questions. 

A safety net in flames

Beyond the individual struggle for a piece of identification, the Act threatens the informal support systems the community has spent decades weaving together. In India, where traditional family structures often reject queer children, the ‘chosen family’ or the Gharana system has been a literal life-saver. Rio, a 25-year-old trans-masculine non-binary corporate professional and community advocate in Delhi, points to the calculated vagueness of the amendment as a tool for systemic erasure.

"The language here is a trap," Rio elaborates. "By making self-identification illegal and requiring `medical proof` for legal recognition, the bill endangers the safe homes, the NGOs, and even the families who choose to stand by us. If you aren`t legally recognised, anyone harbouring you could be accused of kidnapping or enticing a minor, even if you are an adult."

Rio, the primary earner for their family, faces a terrifying paradox. Even their supportive mother now lives in terror, "My mom told me, `Don`t leave me if you are thinking of doing that.` The government criminalises her with the kind of vague language it brings into action. That fear is now a permanent resident in our home.”
This ambiguity systematically abolishes the support systems that have historically buffered trans individuals from homelessness and violence. "I fear what’s next—will they take my citizenship? My right to breathe?" he admits. "The government isn`t just targeting my wallet or my job; it`s targeting my right to a family. We are being watched, and our right to associate is being strangled."

The ideal citizen and the margins

The violence of this legislation is not distributed equally. A recurring theme in these conversations is the intersection of caste and class. The Act appears designed to protect a very specific, sanitised image of the Indian citizen—one that has no room for those on the periphery.

“The blueprint for the `ideal` citizen under the current regime is clear: upper-caste, Hindu, cisgender, heterosexual male,” Priyadarshini notes, acknowledging that while the law targets the entire community, the blow falls heaviest on those already pushed to the furthest margins.

"I’ve been able to navigate certain spaces because I have the privilege of education. But for a Dalit trans woman in a rural village, or a Hijra elder who has never owned a birth certificate, this law is an invisible wall. It isn’t just transphobic; it is classist and casteist to its core," she points out. 

The data support this grim reality. The 2011 Census noted that the literacy rate among the trans community was only 46 per cent, far below the national average.

For those already on the margins, a law requiring complex documentation and medical proof is essentially an expulsion order. The state counts on this exhaustion.

As Adityuh puts it, "The state knows that if they make life hard enough, eventually, we might just stop fighting."

The audacity of vocabulary

Despite what Priyadarshini terms a ‘death warrant,’ the community finds its strength in the very vocabulary the state seeks to regulate. For many, finding the right words for themselves wasn`t about a label—it was about finding a map home. In a society that often uses ‘transgender’ as a catch-all for anything outside the binary, the nuance of modern identity is a shield.

"When you finally find the word that defines you—whether it`s non-binary, genderqueer, or trans-femme—it feels like oxygen," Priyadarshini reveals. She recalls how meeting a non-binary person for the first time in Brighton changed her life: "Growing up, I never thought of myself as a man... Then I met a non-binary person. That one conversation changed my life."

Adityuh finds a similar power in bridging the gap between their identity and their mother tongue. "There’s always been a disconnect with me and my mother tongue, Hindi, because there were not a lot of instances where I could really explain... this is exactly how I feel, and there is a terminology for it," they observe. 
In the face of systemic erasure, this vocabulary isn`t just a label—it`s a refusal to be edited out. For Adityuh, this reclamation is the foundation of their survival.

"Identity, for us, has always been synonymous with resilience. We’ve had to invent ourselves because the world didn`t have a space for us," they reflect. 
The long road ahead

As India moves further into 2026, the trans community faces a threshold of survival. Compounding the fear of the Amendment is the government’s recent legislative pivot toward re-examining the nuances of Section 377. After the 2018 decriminalisation, many now fear a stifling return to criminalisation under the guise of new morality frameworks.

The Act envisions a nation where everybody is standardised, categorised, and controlled. The community isn`t just fighting for labels—they are fighting to exist without being vetted by those whose lives are entirely unimpacted by the laws they sign.

"This is a signal," Priyadarshini concludes. "Bodies that don`t fit the mould are being told to vanish. But even a minority of one has a truth that no gazette can erase. I will keep fighting for a world where we don’t have to beg for our humanity from an apathetic state. We are not asking for a favour; we are reclaiming what was always ours."

The protests continue. While the rest of the country sleeps under the ‘protection’ of these laws, the trans community is awake, rewriting the script, and proving that audacity isn`t just about survival—it`s about the refusal to be erased.

"If you think they won`t come for you because you are `normal,` you’re wrong. Once they finish with us, they will find something `abnormal` about you too,” Rio warns. “We are being treated not as citizens, but as something to be cleared away. Don`t look away."

With over 10,000 attendees gathered at Biswa Bangla Mela Prangan, WBTP0, the performance honoured tradition and culture while celebrating the art of experimentation. 

Produced by Team Innovation and District by Zomato, the 10-city `Sitar for Mental Health India Tour` opened with its classic meditative opening that set the tone for an emotionally rich musical journey, with Gen Z hot favourite exploring intricate ragas ragas including `Bihaag`, `Kedar`, `Tilak Kamod` and `Shyam Kalyan` while weaving in his signature fusion style and lighting up the stage fashionably in bespoke Tarun Tahliani attire. 

Armed with the SITARA, which he calls the next-generation electric sitar custom-created sitar by his father and master luthier Sanjay Sharma added a striking visual dimension, the performance saw him perform some of his biggest hits spanning original compositions like `Shankara`, `Shiv Kailash`, `Burning Ghat`, `Belua` and `Roslyn` to reimagined popular melodies including `Harry Potter x Game of Thrones`, alongside Bollywood classics like `Kal Ho Naa Ho`, `Zara Zara` and `Tumhi Dekho Naa` kept the audience deeply engaged. 

As a special performance for his fans in Kolkata, he also performed ‘Ekla Cholo’, the timeless masterpiece by Rabindranath Tagore. The performance concluded with a powerful finale with `Chanakya`, `Kautilya`, `Venkateswara` and `Tandavam` that earned prolonged applause. 
 
Following a remarkable run across Bengaluru, Mumbai, Pune, Hyderabad, Jaipur, Chennai, Ahmedabad, he landed in Kolkata before he travels to Chandigarh on April 17 and ends the tour in Delhi on April 19.

The ongoing convention has brought together over 250 tattoo artists from around 25 countries, showcasing a diverse mix of styles, techniques and cultural influences. The event, which began on Friday, features artists inking a wide range of designs, including Hindu deities such as Ganesh, Hanuman, Lord Buddha, the Living Goddess Kumari, as well as contemporary and abstract concepts that fuse tradition with modern aesthetics.

Organisers said the event has become a major global platform for cultural exchange in tattoo artistry.

"We have around 250 tattoo artists from all around the world, about 25 countries, out of which we think it is around sixty per cent international and forty per cent national. Countries from Colombia, Mexico, Australia, New Zealand, China, Taiwan, there are about 25 countries, of course, from India and Nepal," Bijay Shrestha, Director at the International Nepal Tattoo Convention being held in Lalitpur, told ANI.

Organised annually by Nepal Tattoo, the convention also features competitions among the exhibitors on a daily basis. Artists are assigned to their respective stalls to paint tattoos on the bodies of customers, following certain measurements and utilising permitted ink.

The competition broadens its scope with "Ornamental, Tribal, and Dot Tattoo," welcoming entries of any size and colour. This competition not only promises to be a feast for the eyes but also a testament to the artists` creativity and skill under pressure.

"The whole point of doing this is to teach and show our national artists, because back then, it was not easy for them to travel to other conventions. So what we did was to have a convention here where we could bring artists from all around the world--different styles, techniques, and approaches to the tattoo world and art. Also, for them (international artists) to see what Nepal is all about, our rich culture and arts. It`s a kind of exchange between the two sections, and that`s how we have been doing it. In the past fifteen years, the quality of our artists has gone really high. Artists now travel to different conventions, countries, and they have guest spots around the world," Shrestha added.

Tattoo culture in Nepal is one of the oldest traditions practised widely by Newa, Tharu, Gurungs, and Magar, the aboriginals of the Himalayan nation. As per the younger generation, traditional tattoos lacked precise details, linking them more to communities and spiritual beliefs, but modern tattoo designs focus more on aesthetics.

Being driven by aesthetic values, younger generations are now making a fusion of traditional beliefs with modern designs to ink on various parts of their bodies. In the Kathmandu Valley, tattoos in earlier days were mostly done during Jatras (festivals) and Melas (carnivals) like Rato Machindra Jatra and Indra Jatra. Kathmandu`s Tebahal and Bhaktapur`s Thimi were famous for tattoo art, which is called "Lha: Chyogu" in the Nepali Bhasha or the Newa: language.

`Lha` in Newa: means `flesh` and `chyogu` means `writing`; tattoos on the legs of Newari women symbolise their strength, and a belief follows that a person takes nothing but the tattoos on his or her body after death. On the way to heaven, if one faces hardships, he or she can sell the tattoos and thus make the journey more comfortable.

Earlier, coal and milk were mixed with plants to produce colours for the ink used to design tattoos. Now, inks are widely used, poured into machines, and then run over the sketched areas of the body.

"It`s really nice to be in a sense of community and getting to meet all the local artists and connect. It creates a nice community here and it runs for the art of creativity and hanging out, which is awesome. There is no feeling of too much pressure, not many expectations--go with the flow of the Nepali people and get connected," Jaya, a tattoo artist based in Australia, told ANI.

In Nepal, the trend of cultural tattooing has evolved and taken different forms. Nowadays, getting a tattoo is a way a person expresses themselves through art, words, or symbols. Nepal is now known as one of the best destinations for getting inked. Many Nepalese artists have gained international recognition for their artistic work and creativity. Nepal is a very affordable and special place for getting inked.

However, the ongoing tension in the Middle East has had a ripple effect on this year`s convention. As per the director of the convention, Bijay Shrestha, many artists are now absent.

"The last-minute cancellations because of the ban on flight routes meant people had to take different routes; even I had to take a different route. Many of my friends couldn`t come because flight tickets are expensive and cancellations occurred. It has affected us--not in a big way, but it has. I miss some of my close friends who had been coming with us for the past ten years; they couldn`t come because they couldn`t fly," Shrestha told ANI.

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Pilgrims between the ages of 13 and 70 can undertake the yatra and registrations will begin from April 15, the LG told reporters at the Lok Bhavan in Jammu.

The dates for the yatra were decided at a meeting of the Shri Amarnath Ji Shrine Board (SASB) under the chairmanship of Sinha.

"The Amarnath Yatra will commence on July 3 and conclude on August 28. Overall, this year`s pilgrimage will be slightly longer, lasting about 57 days," the LG said.

Registration for the pilgrimage has been made mandatory and will begin from April 15. The minimum age for pilgrims has been fixed at 13 years and the maximum at 70 years, he said.

"Advance registration can be carried out through about 556 designated bank branches across the country, while online registration will also be available through the official website of the Shri Amarnathji Shrine Board," Sinha said.

Yes Bank, ICICI Bank, Punjab National Bank, State Bank of India and Axis Bank will facilitate registrations through their branches, he said.

The LG said the first puja will be performed on June 19, on the occasion of Jyeshtha Purnima.

The pilgrimage will commence from the twin tracks, the traditional 48-km Nunwan-Pahalgam route in Anantnag district and the 14-km shorter but steeper Baltal route in Ganderbal district.

A total of 101 students of the College of Agriculture joined the programme, which began at 6 am on Saturday.

College dean Dr Babasaheb Thombre stressed the importance of time management and self-study, recalling how Dr Ambedkar himself studied for long hours. "Make the best use of every moment - that is the true mantra of progress," he said.

Former principal of another Latur-based college, Dr Sanjay Gawai, said the initiative aims to instil a strong habit of reading and self-learning. He urged students to adopt at least one principle from Phule and Ambedkar`s teachings, and to rely on original texts even in the age of artificial intelligence.

According to college authorities, the 18-hour study activity has been organised annually for the past 22 years.

Phule`s birth anniversary falls on April 11 and Ambedkar`s on April 14.

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Lata Mangeshkar`s voice became synonymous with soulful, evocative singing. Spanning over seven decades, she recorded more than 30,000 songs in over 36 languages.

Whether it was the melancholic "Lag Jaa Gale" or the vibrant "Ajeeb Dastaan Hai Yeh," her voice resonated with audiences across the world.

Mangeshkar`s songs have become timeless classics. From "Pyaar Kiya To Darna Kya" to the patriotic "Ae Mere Watan Ke Logo," she sang in every genre imaginable, capturing the nuances of love, sorrow, joy, and patriotism.

These songs continue to be passed down through generations, keeping her musical legacy alive.

Lata Mangeshkar`s collaborations with India`s most celebrated music composers and lyricists, including S.D. Burman, R.D. Burman, Madan Mohan, and Shankar Jaikishan, produced some of the most memorable hits of Indian cinema.

Her voice complemented the melodies of these musical maestros, creating magic that still resonates with fans of Hindi film music.

Lata Mangeshkar was the voice behind countless iconic Bollywood heroines, from Nargis and Madhubala to Sridevi and Aishwarya Rai.

Her ability to adapt her voice to match the personalities of different actresses made her the go-to playback singer for generations of filmmakers and actors.

Her contributions to music earned her numerous accolades, including the Bharat Ratna, India`s highest civilian award.

Lata Mangeshkar was also honoured with Padma Bhushan, Padma Vibhushan, and several Filmfare Awards.

Lata Mangeshkar`s voice had a unique quality--timeless, ageless, and capable of capturing a range of emotions.

She sang for generations of listeners, from the youth of the 1950s to the listeners of today.

Apart from her singing career, Lata Mangeshkar`s philanthropic efforts earned her respect. She was involved in charity work, supporting causes ranging from education to healthcare.

Mangeshkar passed away at the age of 92, following a battle with multiple organ dysfunction syndrome. She had spent 28 days receiving intensive treatment for pneumonia and COVID-19.

After her death, Prime Minister Narendra Modi visited the Mangeshkar family and her sister Asha Bhosle in Mumbai to offer his condolences, following a tribute to the legendary singer.

In honour of her immense contribution to Indian music and culture, the Government of India declared a two-day period of national mourning, with the national flag flown at half-mast from February 6 to 7 across the country.

Leaders from all walks of life, including the then President Ram Nath Kovind, Vice President Venkaiah Naidu, Prime Minister Modi, Union Ministers, Chief Ministers, along with members of the Indian music and film industries, celebrities, and fans, all expressed their sorrow and paid tribute to the musical icon.

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Algeria is the first stop on an 11-day tour of four African nations, covering 18,000 kilometres and also taking in Cameroon, Angola and Equatorial Guinea from April 13 to 23.

No other pontiff has visited Algeria, a North African country where Islam is the state religion, and the 70-year-old`s arrival is being eagerly awaited by the Catholic minority.

The visit also holds a strong personal dimension for Pope Leo, as modern-day Algeria was home to Saint Augustine (354-430), a great Christian theologian whose spiritual legacy permeates his pontificate.

As the world watches anxiously with war raging in the Middle East, peaceful coexistence will be at the heart of the pope`s message in a country where 99 percent of its 47 million inhabitants are Muslim.

Vatican spokesman Matteo Bruni said the pope`s aim was to "address the Islamic world, but also to confront a common challenge of coexistence".

Algeria`s constitution guarantees freedom of worship, although the authorities must approve both the place of worship and the preacher.

Yet human rights groups say the repression of religious minorities has continued in Algeria in recent years.

Three organisations -- Human Rights Watch, EuroMed Rights and MENA Rights Group -- issued a joint letter last week calling on the pontiff to push the issue during his visit.

Soft power

The trip has been hailed in the local press for its "symbolic and historical significance," extending far beyond Algeria`s 9,000 Catholics.

For the government daily El Moudjahid, it is a symbol of "Algerian soft power", that reflects the country`s "stability, its role as a regional mediator, and its capacity to engage in dialogue with global actors," the newspaper stated.

In Algiers Monday morning, Pope Leo will meet with President Abdelmadjid Tebboune and deliver a speech to the authorities and the diplomatic corps.

No public appearances are planned in the capital, and the famous popemobile, the white vehicle pontiffs use to drive past crowds of the faithful, will remain at the airport, according to the Casbah Tribune news site.

In the afternoon, the pope will visit the Great Mosque of Algiers -- one of the largest mosques in the world -- and also meet with the Catholic community.

Leo will also pray privately in the chapel dedicated to 19 priests and nuns murdered during the dark decade of civil war (1992-2002).

However, he will not visit the Tibhirine monastery, whose monks were kidnapped and murdered in 1996, an event still shrouded in mystery.

Son of St Augustine

The most symbolic stop for the pope will be on Tuesday with a trip to the eastern city of Annaba, the one-time home of Saint Augustine, where Leo will hold a mass.

From the moment he became pope on May 8, 2025, following the death of Pope Francis, Leo has presented himself as a "son" of the famed theologian.

The former Robert Francis Prevost is a member of the Augustinian order, which was founded in the 13th century and is based on the ideals of communal living and sharing.

Father Fred Wekesa, rector of the Saint Augustine Basilica at Annaba, said Leo`s visit was a "deeply significant moment" that would give his small flock a "message of encouragement and solidarity".

"All too often, some people view this country only through the lens of the `dark years`," he added, alluding to the country`s bloody civil war from 1992 to 2002, when 200,000 people were killed in the conflict between Islamists and security forces.

"With the Holy Father`s visit... the whole world will see the hospitality and generosity of the Algerian people," said Wekesa.

"We are capable of living together in peace."

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Gaga and Doechii shared the news with a collaborative post on their respective Instagram handles on Friday. It featured the poster with the title of the track.

"Runway w/ @doechii @ladygaga Out Now | `The Devil Wears Prada 2`," read the caption.

The track is co-produced by Andrew Watt alongside Bruno Mars, Cirkut, and Dernst "D`Mile" Emile II. Watt also co-wrote the song with Gaga, Mars, Doechii, Cirkut, D`Mile, and Jayda Love.

"The Devil Wears Prada 2" is directed by David Frankel and written by Aline Brosh McKenna. The film is set to release on May 1 and features Meryl Streep, Anne Hathaway and Emily Blunt.

It is a sequel to the 2006 film with the same title, which went on to earn over USD 300 million at the global box office.

The first film revolved around Andy Sachs (Hathaway), a smart but fashion-clueless journalism graduate who moves to New York City with dreams of becoming a serious writer. Desperate for work, she lands a job as a junior personal assistant to Miranda Priestly, the cold and tyrannical editor-in-chief of the elite fashion magazine Runway.

The second film will follow Streep`s character, Priestly, navigating the decline of traditional print media, forced to face off against her former assistant, Emily Charlton (Blunt), who is now a high-powered luxury group executive controlling vital advertising funds.

Lady Gaga will also have a cameo in the film.

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`The Mountain Tour` follows the release of the band’s India-inspired critically-acclaimed ninth studio album `The Mountain`, which features collaborations with Indian artists including Asha Bhosle, Anoushka Shankar, Ajay Prasanna, Asha Puthli, Amaan Ali Bangash and Ayaan Ali Bangash.

The announcement follows a triumphant 13-date run of shows across the UK and Ireland and marks a monumental moment for Indian music fans as Gorillaz co-creators Damon Albarn and Jamie Hewlett bring their groundbreaking virtual band to life on Indian soil, with Albarn joined onstage by the full Gorillaz live band and special guest performers, including many of Gorillaz’ Indian collaborators, for what promises to be two very special shows. 

“It has been and remains a dream of mine to bring Gorillaz in all its technicolour glory to India,” says Damon Albarn. “It’s just the beginning and I truly look forward to the experience.” Jamie Hewlett adds, “Our dream has always been to do a tour of India. We’re very excited about returning to play shows in Mumbai and Bengaluru.”

The Mountain Tour India Schedule 2027 will see Gorillaz perform on Sunday, January 23 in 2027 at the District Arena at Terraform in Bengaluru, and on Wednesday, January 27 in 2027 at the Jio World Garden in Bandra Kurla Complex in Mumbai.

Released on February 27 in 2026 via the band’s independent label KONG, Gorillaz’s ninth studio album `The Mountain` includes the joyously received singles The Happy Dictator (featuring Sparks), The Manifesto (ft. Trueno and Proof), The God of Lying (featuring IDLES), Damascus (ft. Omar Souleyman and Yasiin Bey) and Orange County (ft. Bizarrap, Kara Jackson & Anoushka Shankar)/The Hardest Thing (ft. Tony Allen). Featuring collaborations with artists from India and across the globe, The Mountain continues Gorillaz` tradition of boundary-pushing collaboration and sonic exploration, marking the latest installment in the incomparable Gorillaz discography.

As the producers and exclusive ticketing partners of The Mountain Tour, Rahul Ganjoo, CEO, District by Zomato said, “Gorillaz coming to India for the first time in their 25-year history is momentous, and what makes it even more special is that their latest album was born here. India is woven into the very DNA of The Mountain, and there`s something remarkable about bringing that music back to the country that inspired it. For Indian audiences, this will be a truly novel experience: witnessing a genre-defying band that has seamlessly integrated the textures and rhythms of Indian music into their work, performing it live for the very first time on home soil. ”

The Gorillaz live experience draws on a quarter century of genre-bending, paradigm-shifting, consistently innovative musical brilliance. Since the band’s creation more than 25 years ago, Gorillaz has amassed an unparalleled arsenal of classic tunes including “Feel Good Inc.", “Clint Eastwood", “On Melancholy Hill", “DARE", “Dirty Harry", “Stylo", “Kids with Guns", “Tomorrow Comes Today", “Rhinestone Eyes” and dozens more.  

Gorillaz is a truly global phenomenon, achieving success in entirely unique and groundbreaking ways, touring the world from San Diego to Syria, Montevideo to Manchester and winning numerous awards including the coveted Jim Henson Creativity Honor. Opening in Manchester, England on March 20, `The Mountain Tour` continues across major international markets this year, including the UK, Europe and North America.

Exclusive pre-sale tickets for certain cardholders will be live exclusively on the District app from 1 pm, on April 13 in 2026, until 1 pm on April 18 in 2026. Following this, general tickets for The Mountain Tour will be available for purchase starting go live exclusively on the District app at 2:00 PM IST on April 18, 2026. 

Attendees can also opt to book through the Reserve Now, Pay Later method on the District app. Witness Gorillaz live by paying 25 per cent at the time of booking, with the remaining balance due by 6 pm on June 2 in 2026. The option is available for bookings made on the app before 6 pm on May 20 in 2026.

A former Sarpanch of Bibipur village in Jind, he said the idea is to use Artificial Intelligence to evoke the deep, unconditional bond between parents and daughters.

"AI Selfie with Daughter will not only create an emotional bond with daughters but will also generate positive feelings towards girl child education, health, safety and rights," he said.

Jaglan (43), a father of two daughters, Nandini (14) and Yachika (12), said the "Selfie with Daughter" campaign traces its roots to 2015 when he clicked a selfie with his daughter Nandini in Bibipur village in Haryana and shared it online to raise awareness against female foeticide.

He said he never imagined it would become a worldwide movement.

The initiative soon grew into a global movement and received praise from Prime Minister Narendra Modi, including mentions in the `Mann Ki Baat` programme.

"Prime Minister Narendra Modi praised the campaign and mentioned it in his Mann Ki Baat programme. The Prime Minister`s mention helped popularise the campaign globally for daughters," said Jaglan.

Building on that success, Jaglan said the new AI-driven campaign allows parents, especially those without daughters, to create a virtual image of a daughter using AI tools and pose for a "selfie" with her.

"This is not just technology, but emotion meeting innovation," he said.

"Using any AI image generator, parents who do not have a daughter can now bring their dream daughter to life...," said Jaglan.

He said the campaign could also encourage social change by inspiring people to value daughters, support their education and well-being, and reconsider harmful practices like female foeticide.

Participants can upload their AI-generated selfies on the campaign website, selfiewithdaughter.org, name their virtual daughter, and share messages as #AISelfieWithDaughter, #AISWD, #AIDaughter, along with reels.

Jaglan said the best entries will be recognised on June 9, along with a panchayat where every household participates.

He urged parents to join the campaign and celebrate the idea that "a daughter lives not just in our homes, but in our hearts."

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Melvin Benn, the managing director at Festival Republic, shared a statement on Monday backing his company`s decision to book Ye.

"Forgiveness and giving people a second chance are becoming a lost virtue in this ever-increasing divisive world," he wrote. "I would ask people to reflect on their instant comments of disgust at the likelihood of him performing (as was mine) and offer some forgiveness and hope to him as I have decided to do."

Ye, who changed his name in 2021, is booked to perform in front of around 150,000 revellers over the course of the festival`s three nights, July 10 - 12.

The rapper has drawn widespread condemnation in recent years for antisemitic remarks and voicing admiration for Adolf Hitler. Last year, he released a song called "Heil Hitler" and advertised a Hakenkreuz T-shirt for sale on his website.

The 48-year-old apologised this past January for his antisemitic remarks in a letter, published as a full-page advertisement in the Wall Street Journal. He said his bipolar disorder led him to fall into "a four-month long, manic episode of psychotic, paranoid and impulsive behaviour that destroyed my life".

Wireless sponsors Pepsi, Rockstar Energy and Diageo have pulled out of the festival since Ye was announced as the headliner, although lead sponsor Pepsi didn`t offer a reason. UK Prime Minister Keir Starmer called the booking "deeply concerning".

"Ye`s music is played on commercial radio stations in this country. It is available via live streams and downloads in this country without comment or vitriol from anyone and he has a legal right to come into the country and to perform in this country," Benn`s statement said.

"We are not giving him a platform to extol opinion of whatever nature, only to perform the songs that are currently played on the radio stations in our country and the streaming platforms in our country and listened to and enjoyed by millions," the statement continued.

Last week, Kanye West, popularly known as Ye now, held two concerts at SoFi Stadium in Los Angeles, marking his first major US performances in nearly five years. There, fans appeared to separate his personal beliefs and public statements from his music - and were ready to forgive after his January apology letter.

"I don`t really bring into politics or the way someone`s personal opinion are. I`m into the music artistry," said Yovani Contreras, one fan in attendance. "Like, I just, to me, Ye is always gonna be Ye. Kanye is always gonna be Kanye."

A representative for Ye didn`t immediately reply to a request for comment Monday. 

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It is also the first time the exhibition has invited participation from Indian artists along with those from the Gulf Cooperation Council (GCC) countries.

"`Art Here` 2026 will be conceptualised by guest curator Kamini Sawhney, a distinguished museum leader, known for shaping accessible, audience centered cultural institutions in India. Artists from GCC (nationals and residents) and India (nationals) are invited to submit proposals," it said in a statement.

The art exhibition will be held at Louvre Abu Dhabi from November 11 in 2026 to February 28, 2027.

The annual event will be centred around the theme "Confluences", which explores how the contemporary world is shaped by overlapping histories, cultures and ecologies, and how encounters can emerge as sites of exchange, friction, hybridity and transformation.

"I am honoured to curate this year`s edition of Art Here that turns its focus on India and provides an opportunity for artists from the country and the diaspora to engage with audiences in the Gulf region, through work that explores our shared historical and cultural connections dating back to the third millennium BC.

"Over the centuries from ancient to more contemporary times it is these maritime routes that have been at the heart of the relationship between India and the GCC," Sawhney told PTI.

She added that the theme "Confluences" uses the ocean as a metaphor "to explore the complex nature of this relationship which was regulated by the rhythm of the sea; winds that carried traders, scholars and migrants to distant shores and then home again".

"The ocean determines arrivals and departures, family festivities and reunions, times of togetherness and separation. Confluences invites artists to examine this shared history of movement and encounter, reflecting on how these journeys have created a cultural landscape that is fluid, diverse, and profoundly connected," Sawhney said.

As part of this edition, artists will need to create proposals for site specific monumental artworks that engage with the outdoor spaces beneath Louvre Abu Dhabi`s iconic dome, beginning around the Damascene fountain and continuing through a passageway towards a contemplative shallow pool and Jenny Holzer`s public art wall installation.

The call for proposals will remain open till May 31, and artists can submit their proposals via Louvre Abu Dhabi`s website.

One of the shortlisted artists will also receive the Richard Mille Art Prize worth USD 60,000.

The prize aims "to support and showcase contemporary artists, in line with the museum`s mission to connect cultures and spotlight regional talent".

The winner of the Richard Mille Art Prize will be announced in December.

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In a post on X, CM Banerjee highlighted that the rapturous melodies of Pandit Ravi Shankar`s music have introduced Indian classical music to a new global recognition.

"On the birth anniversary of the world-renowned sitarist, one of the foremost cultural torchbearers of Bengal`s Renaissance, and the pride of Bengal and Bengalis -- Pandit Ravi Shankar -- I offer him my deepest reverence and heartfelt respect. The rapturous melodies of his music have introduced Indian classical music to a new global recognition," Banerjee posted on X.

Pandit Ravi Shankar (1920-2012) was much more than a sitar virtuoso; he was a global cultural bridge who virtually single-handedly introduced the complexities of Indian classical music to the Western world.

Born in Varanasi, he spent his youth dancing in his brother Uday Shankar`s troupe before dedicating himself to the sitar under the rigorous tutelage of Ustad Allauddin Khan.

He is credited with the "sitar explosion" of the 1960s. His performance at the Monterey Pop Festival (1967) and Woodstock (1969) brought Indian ragas to the hippie counterculture, though he famously insisted that audiences "don`t come high" so they could truly appreciate the discipline of the music.

He was a mentor and "guru" to George Harrison (The Beatles). This relationship didn`t just add an exotic sound to pop music; it fundamentally changed how Western musicians thought about drone, structure, and spirituality.

Together with Harrison, he organised the first-ever major benefit concert of its kind, setting the blueprint for future global humanitarian efforts like Live Aid.

He composed the hauntingly beautiful scores for Satyajit Ray`s Apu Trilogy and Richard Attenborough`s Gandhi, for which he received an Academy Award nomination.

Ravi Shankar`s trophy cabinet was one of the most distinguished in musical history: Bharat Ratna (1999), India`s highest civilian honour. He won five Grammys, including a Lifetime Achievement Award. He served in the Rajya Sabha (the upper house of India`s Parliament) from 1986 to 1992.

His legacy continues through his daughters, Anoushka Shankar, a world-renowned sitarist who carries on the classical and crossover tradition and Norah Jones, a multi-Grammy-winning singer-songwriter (his daughter with Sue Jones).

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The elaborate sculpture, standing approximately six feet tall, was crafted using several tonnes of sand and showcased Pattnaik’s signature style of blending art with social messaging. Assisted by students from his sand art institute, the installation depicted human figures symbolising unity, compassion, and the crucial role of science in safeguarding global health.

Observed annually on April 7, World Health Day aims to draw attention to pressing global health issues and inspire collective action toward improving public well-being. Pattnaik’s artwork served as a visual reminder of the importance of solidarity, scientific awareness, and shared responsibility in building a healthier and safer world.

Speaking on the occasion, Pattnaik emphasised the need to support science and strengthen healthcare systems in an ever-evolving global landscape. He urged people to adopt healthier lifestyles and contribute to the well-being of society. Through his sand art, he paid tribute to healthcare workers and others who serve tirelessly day and night for the betterment of humanity.

On this World Health Day, I created a sand sculpture at Puri Beach with the message: “Together for Health, Stand with Science.”
Let’s unite for a healthier future and trust the power of science. #WorldHealthDay #StandWithScience pic.twitter.com/Ph9DH1FJpX

— Sudarsan Pattnaik (@sudarsansand) April 7, 2026

A globally acclaimed sand artist, Pattnaik has represented India in over 65 international sand sculpture championships and festivals, earning numerous accolades. He is widely recognised for using his art as a medium to raise awareness on critical social and environmental issues, including HIV/AIDS, COVID-19, global warming, terrorism, plastic pollution, and environmental conservation.

The theme for World Health Day 2026, “Together for Health, Stand with Science”, has been launched by the World Health Organisation as part of a year-long campaign celebrating the power of scientific collaboration. The initiative highlights key objectives such as the “One Health” approach, which recognises the interconnected health of humans, animals, and the environment, combating misinformation, and promoting scientific multilateralism through global cooperation.

World Health Day commemorates the establishment of the World Health Organisation in 1948. The WHO Constitution was signed in 1946 by 61 nations and came into force on April 7, 1948. Although the first observance took place in 1949, it was officially shifted to April 7 from 1950 onwards to align with the organisation’s founding anniversary.

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Kiran Desai was only 35 when she won the Booker for her 2006 novel "The Inheritance of Loss", the youngest woman author to do so at the time. She came close to it again last November when "The Loneliness of Sonia and Sunny" was shortlisted for the coveted prize. That second Booker didn`t happen. But there are no regrets.

"I`ve learned over time that, of course, it`s an honour to win, but there is a real upside to loss. I remember telling my mother, `I don`t want to win` because I knew how much it takes out of you to have everyone`s eyes on you. My mother, she`s 88, 89 now, I want to focus on her. She`s my priority," Desai told PTI during her recent visit to India.

"And also, when there are no eyes on you, as I was telling my editor, you can go back to scratching in the dirt like a chicken in the yard, which is what writing is all about. You`re alone, you`re not self-conscious, and you`re really free to work. So yes, there`s an upside to loss," she added.

Desai recalls how overwhelming the first Booker win was.

The New York-based author, now 54, chuckles at the memory, noting that she barely grew outside the world of her book then.

Her mother Anita Desai, who has been shortlisted three times for the Booker Prize -- for "Clear Light of Day" (1980), "In Custody" (1984), and "Fasting, Feasting" (1999) -- knows too well about the weight of recognition.

Her words of wisdom after the close-call this time -- Kiran Desai lost out to Hungarian-British author David Szalay who won the Booker 2025 for his book "Flesh" -- landed perfectly for the daughter.

"She told me, `Now you`re free to experiment with your life and your work`," Desai recalled.

"That`s exactly what I felt -- it gave me freedom."

Her latest work, at nearly 700 pages, spans India, Mexico and the United States, tracing the intertwined lives of Sonia, a literature student wrestling with heartbreak and creative longing, and Sunny, a young journalist navigating cultural expectations and loneliness.

Their paths eventually cross in India, sparking a deep, complex connection that unfolds against themes of family, identity and the global ache for connection and meaning.

Desai, who like her mother writes daily and finds any interruption in her routine "upsetting", said she felt an enormous sense of relief after finally finishing "The Loneliness of Sonia and Sunny" which took nearly two decades to complete.

"The sigh of relief was immense because, of course, after 20 years, it is far too long. If I had waited another 20 years, I would be 74. And if I want to write a few more books, there`s an urgency to finish them now," she said.

Notwithstanding the anxiety over the passage of time, the joy of creation remained the heart of the process, Desai said.

"I was very happy working on this book. And I still think all the time, I could have done this differently, that could have been better. But that`s part of writing," she added. After living with these characters for so long, the questions linger: do they ever truly recede, or do they quietly accompany her as she turns to new stories?

As Desai sees it, the characters never fully disappear. Her first novel, "Hullabaloo in the Guava Orchard", was published in 1998.

"They have a space for themselves. They kind of change you -- you become the characters you write. So in a way they stay with you, because you feel like after all of this time that they have kind of shaped you as well as a writer. Like so much exploring of these different people, that they become you," she explained.

Based in New York for over two decades, Desai left India with her mother at 14. She is conscious that "The Loneliness of Sonia and Sunny" may be her "last in-depth" engagement with a country she has visited less often since her father`s death in 2008. "During the process of writing this book, my father was still alive. I was keeping notes. I was going home (India). And I knew I would lose the ability to write about India. So I wanted to write one last book in this way," she said.

The Delhi-born author often returns to the question of identity that also runs through the novel.

She points to the protagonist, Sunny, who returns to India and wonders "if India is more familiar to him than he is to himself".

It`s a sentiment Kiran recognises, too: in the pull of a place the "body remembers", even as time and distance render her a stranger.

"I sometimes feel that way. I come back and I am in the landscape I grew up in, so somehow my body remembers, even though I am a stranger now... there is something still profoundly familiar," Desai said.

The sense of being "insider-outsider" persists in India as much as in the US, where the current political dispensation has unsettled the "little bit" sense of belonging she had of the place.

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Established by the sage Veda Vyasa, the famous temple in Telangana dedicated to the "three Goddesses" will captivate the hearts of devotees even more deeply with the addition of a towering "Rajagopuram "(main tower), a sacred pond, an enhanced Northern Gateway, and meditation halls. All these new structures are being designed in strict adherence to traditional rituals.

According to Telangana CMO, the state government has already allocated Rs225 Crores for the reconstruction of the Basara Gnana Saraswati Temple.

Chief Minister Revanth Reddy will perform Bhoomi Puja (groundbreaking ceremony) for the reconstruction works on Monday. The temple is situated on the banks of the sacred river Godavari, which is also revered as the "Dakshina Ganga" (Southern Ganges).

Following the Kurukshetra War, Veda Vyasa sought tranquillity and came to reside on the banks of the Godavari at Basara. During his stay. Vyasa personally sculpted and consecrated the idols of Goddesses, Gnana Saraswati, Mahalakshmi and Mahakali by using the locally available sand of the river Godavari. From then, Basara gained popularity as a holy site with the enshrine of "Trimataas".

The abode of Goddess Gnana Saraswati is witnessing an influx of visitors every year. The devotees come to perform Aksharabhyasam (the traditional initiation ceremony into formal education for their children) for their children. The temple bustles with religious activity with Aksharabhyasam during the auspicious occasion of Vasantha Panchami and other festive days every year.

However, the increasing number of visitors has been facing hardships due to a lack of adequate facilities in the temple.

The authorities consulted with the spiritual heads of the Sringeri Peethadhipatis before formulating the Master Plan and obtained their approval for the construction of the Sanctum Sanctorum (Garbhalayam), Artha Mandapam, Raja Gopuram (main tower), other towers, Mada Veedhulu (processional streets), temple tank (Koneru) and the Northern Gateway.

In view of the growing number of devotees and future requirements, the Sanctum Sanctorum and Artha Mandapam, currently spanning 2,000 square feet, are being expanded to cover 5,000 square feet. The plans included the construction of a nine-storey Raja Gopuram on the northern side, seven-storey towers in the remaining three directions, Mada Veedhulu (processional streets) 33 feet in width encircling the temple on all four sides and a northern Gateway. In total, the temple`s built-up area is being expanded from 20,000 square feet to 62,000 square feet.

Stone is only being used for the entire construction and development of the temple. The construction works will commence at several facilities, queue complexes spanning 70,000 square feet and equipped with all amenities (including feeding rooms, food stalls, restrooms, etc.) to accommodate 6,000 devotees. A meditation hall was designed to allow 200 people to meditate simultaneously. Kitchen, dining halls, and a prasadam distribution centre covering an area of 20,000 square feet will be part of the master plan.

A sacred pond (Koneru) situated in the northeast corner, magnificent ornamental arches, designed to radiate a spiritual aura, will also be erected on the eastern side, alongside an information centre. Road development works will be undertaken to the north and east of the temple. An underpass will be constructed to facilitate movement from the temple premises to the opposite side. A vehicle parking facility with a solar rooftop will be established on the other side.

A flower garden with pleasant greenery will also be developed in the temple premises. A health centre will be established outside the temple complex. Saplings will be planted behind the temple to ensure that the area eventually flourishes with big trees.

Godavari Pushkaralu will start in June next year.

In view of the visit of lakhs of devotees to Basara to perform a holy bath in the river Godavari, all necessary amenities required for the devotees will be developed. CM Revanth Reddy ordered the officials to develop facilities in accordance with temple traditions and the beliefs of devotees.

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This year, he is preaching from a Beirut suburb, beside a cardboard cutout depicting his church in Alma al-Shaab, now caught in the crossfire between Israeli forces and Hezbollah fighters.

Since hostilities erupted last month between Israel and Lebanon`s Iran-backed Hezbollah militant group, in the shadow of the wider US-Israeli war on Iran, over 1,400 people have been killed in Lebanon, and more than 1 million have been forced to flee their homes.

Among those displaced from the war-torn south are thousands of Christians. They now find themselves far from their ancestral churches in Lebanon, where Christians have maintained a strong presence through centuries of Byzantine, Arab and Ottoman conquest and plenty of modern-day crises.

Christians are estimated to make up around a third of Lebanon`s population of roughly 5.5 million people. With 12 Christian sects, the country is home to the largest proportion of Christians of any nation in the Arab world.

Despite being far from the strikes in and around their villages in southern Lebanon, they were reminded of the war by the deep rumbling of Israeli jets and the sounds of deadly airstrikes over Beirut`s southern suburbs.

Huddling in a church, hoping for protection

Christian villagers who stayed behind in southern Lebanon, ignoring Israel`s blanket evacuation warnings for the area, have increasingly hardened into enclaves surrounded by fierce clashes.

And though villagers in Alma al-Shaab had been uprooted before, in the 2024 Israel-Hezbollah war, this time around, they were adamant they wouldn`t leave, even as airstrikes came closer and closer.

The villagers huddled in their church for protection as Israeli warplanes pounded large swaths of southern and eastern Lebanon while Israeli troops stepped up a ground invasion and Hezbollah kept firing rockets at Israel.

In his annual Easter homily, Patriarch Beshara al-Rai of Lebanon`s Maronite Church blamed both Hezbollah and Israel for the suffering wrought by the war.

"The country is going through a critical situation due to Iranian interference through Hezbollah and Israeli aggression," he said. "Our hearts bleed for the victims of the conflict imposed on Lebanon."

Ghafari`s brother, 70-year-old Sami Ghafari, was among the villagers who sought refuge at the church in Alma al-Shaab.

But he dashed out briefly on March 8 to tend to his garden, and was killed by an Israeli drone strike. His killing prompted the remaining villagers - including his brother - to pack up their belongings.

The UN peacekeepers in the area - a force known as UNIFIL that has monitored the region for nearly five decades - evacuated them to the northern suburbs of Beirut.

"We wanted to stay, but it was always possible that one of us could be targeted or killed at any moment," the Rev Maroun Ghafari told The Associated Press from St Anthony Church in the northern Beirut suburb of Jdeideh, where the displaced from Alma al-Shaab came to worship on Saturday.

"Everyone is tired, and we see that war brings nothing but destruction, death and displacement."

Missing the `smell of home`

For many Lebanese Christians, it`s a tradition on Holy Saturday - the day between Good Friday, which commemorates the crucifixion and death of Jesus, and Easter Sunday, which marks his resurrection according to the Gospels - to visit the graves of their loved ones.

This year, displaced Christians could only reflect from afar.

Nabila Farah, dressed in black for the Saturday service at St Anthony Church, was among the last to leave Alma al-Shaab. She still feels heartbroken, a month later.

"You miss the smell of home, the lovely traditions and customs, the sounds of the bells of three churches ringing," she said, reminiscing about her village. "As much as we experience the Easter atmosphere here, it will never be as it is over there."

Those who remain face other challenges.

Marius Khairallah, a priest in the southern Lebanese city of Tyre, where much of the Christian community has hunkered down, says that he and his congregants are staying put "not out of stubbornness, but out of a sense of mission, to remain alongside their fellow faithful, as witnesses."

"A significant number of parishioners have been displaced or are absent," he said. "Yet churches still open their doors. Prayers are still raised - even with fewer voices."

Worries are mounting among Christians in the area as the Lebanese army - which seeks to stay neutral in the Israel-Hezbollah war - pulls out from parts of southern Lebanon, leaving them exposed to Israeli forces pushing deeper into the territory.

St Antony`s main priest, the Rev Dori Fayyad, used his Good Friday sermon to take solemn note of the war`s widening toll on the southern Lebanese Christians, as the faithful recited prayers in Arabic and Syriac, a dialect of the Aramaic language spoken by Jesus.

"Today, you understand what the cross means, not as an idea, not as a concept, but because you are going through it," he told the fully packed pews, the crowd so thick that dozens had to stand or crouch on the back stairs.

Some wiped away tears as Fayyad named one by one the southern churches, illustrated in the cardboard cutouts next to the pulpit.

"These churches in these villages are not only places of worship," he said. "They are silent witnesses to suffering and to faith."

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The state-wide festivities commemorated the resurrection of Jesus Christ following his crucifixion, bringing together thousands in a display of faith and traditional gaiety.

Christian devotees across various denominations congregated at their local churches for special services during which biblical sermons on the resurrection were delivered, and prayers were held.

Local choirs also performed, and church members sang hymns during such worship services.

The sounds of the famous hymn "He Is Arisen" echoed through towns and villages as band parties of Salvation Army church took to the streets in the morning.

Various local churches also held "sunrise services," a staple of the local observance where church members gathered at daybreak to offer special prayers.

The Easter Sunday celebration began on Saturday evening with special worship services by different churches and Catholic communities holding the Easter vigil.

On Sunday, most churches served high tea with Easter Eggs after worship services, while some churches, particularly United Pentecostal Church and Roman Catholic Church, held community feasts in the afternoon to celebrate the occasion.

Catholic communities also organised mass on Sunday, and they will also hold Easter procession or candlelight procession in the evening.

Easter is an important Christian festival or religious observance commemorating the resurrection of Jesus Christ from the dead. It is celebrated on the third day (first Sunday) after the crucifixion of Jesus Christ (Good Friday).

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The disgraced 48-year-old hip-hop star -- now known as Ye -- is due to play three nights at the Wireless Festival in London in July as part of a European comeback tour.

A spokesperson for Pepsi, the festival`s top sponsor, told AFP on Sunday that the brand "has decided to withdraw its sponsorship of Wireless Festival", without giving a reason.

British Prime Minister Keir Starmer expressed concern about West`s appearances, while campaigners against antisemitism urged the government to stop the rapper entering the UK.

Starmer told The Sun newspaper it was "deeply concerning Kanye West has been booked to perform at Wireless despite his previous antisemitic remarks and celebration of Nazism".

He added that "antisemitism in any form is abhorrent and must be confronted firmly".

Diageo, whose labels Johnnie Walker and Captain Morgan were slated to be partner brands, also dropped out.

"We have informed the organisers of our concerns and as it stands, Diageo will not sponsor the 2026 Wireless Festival," a spokesman told AFP.

The festival`s operating company, Live Nation, has not so far responded to a request for comment from AFP.

Festival organisers announced West`s appearance on social media last month, prompting criticism from Jewish organisations and London Mayor Sadiq Khan.

Campaign Against Antisemitism, a British charity, on Sunday urged Starmer not to be a "bystander" and to ban West from entering the country.

"Surely this is a clear case," the charity said on X, suggesting West could be banned as a non-citizen whose presence is not "conducive to the public good".

West`s European tour has already provoked controversy. In France, the mayor of Marseille said the rapper was "not welcome" for a concert there in June.

West has expressed regret over his antisemitic rants, which he blamed on his bipolar disorder.

In May 2025, he released a song called "Heil Hitler" to mark the 80th anniversary of the defeat of Nazi Germany in World War II.

The song was banned by major streaming platforms.

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The private Space Astrotainment Planetarium & Observatory (SAPO) is located on 3.5 acres in Sakadbav village, featuring a state-of-the-art 56-seat digital dome planetarium with 360-degree projection technology, offering shows in Marathi, Hindi, and English.

The facility houses an open-sky observatory equipped with powerful telescopes for real-time stargazing of celestial bodies like Saturn`s rings and the Moon. To encourage multi-day learning sessions, the centre also offers stay options for visitors.

Shahapur MLA Daulat Daroda on Sunday said the facility would inspire children to learn astronomy.

Astronomer D.K. Soman, who attended as the chief guest, called for the facility to be developed into a dedicated education and research hub for astronomy.

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This setup also dramatically boosts light conversion effects, turning infrared into visible blue light. The advance could pave the way for smaller, faster photonic technologies.

Researchers from the Faculty of Physics at the University of Warsaw, working with teams from the Lodz University of Technology, the Warsaw University of Technology, and the Polish Academy of Sciences, have created a structure capable of trapping infrared light in a layer just 40 nanometres thick.

Their approach relies on a design known as a subwavelength grating made from a specialised material called molybdenum diselenide (MoSe2). The findings were reported in the journal ACS Nano.

Manipulating light at extremely small scales is key to advancing modern technology. As traditional electronics begin to reach their limits, photonics offers an alternative by using light instead of electrons to carry information because photons move faster and do not have mass like electrons; devices based on light could become both quicker and smaller, opening the door to more powerful and compact technologies.

The challenge of light`s wavelength

Light behaves both as a particle and as a wave, and this wave nature introduces a limitation. Each type of light has a wavelength, which determines how small a structure can be while still controlling it effectively. Visible light has wavelengths of several hundred nanometres, while infrared light extends to a micrometre or more. This raises an important question: can light be confined in structures smaller than its own wavelength?

The research team demonstrated that this is indeed possible. By engineering a subwavelength grating, they were able to trap infrared light within a layer only 40 nanometers thick. This structure consists of closely spaced parallel strips that interact with light similarly to a prism. When these strips are positioned closer together than the wavelength of light, the grating can act like a near-perfect mirror while also holding the light inside a very small volume.

Why molybdenum diselenide works so well

Earlier versions of such gratings, made from materials like silicon or gallium compounds, required thicknesses of several hundred nanometers to function effectively. Reducing their size caused them to lose their ability to confine light. The key difference in this new approach is the use of molybdenum diselenide, which has a much higher refractive index. In simple terms, light slows down more inside this material than in others. While light slows by about 1.5 times in glass and roughly 3.5 times in silicon or gallium arsenide, it slows by about 4.5 times in MoSe2. This strong slowing effect allows the structure to shrink dramatically while still trapping light efficiently, resulting in a layer more than a thousand times thinner than a human hair.

Turning infrared light into blue light

MoSe2 also brings additional advantages. Like graphene, it forms layered structures, but unlike graphene, it is a semiconductor. It also exhibits nonlinear optical behavior, including a process known as third harmonic generation. In this process, three infrared photons combine into one photon with a higher frequency, effectively converting infrared light into visible blue light. Because the grating strongly concentrates infrared light, this conversion becomes much more efficient. The researchers found that the effect is more than 1,500 times stronger compared to a flat layer of the same material.

Another major advance lies in how the material was produced. Previously, thin layers of MoSe2 were created using exfoliation -- a method similar to peeling layers off a crystal with adhesive tape. While simple, this technique is inconsistent and limited to very small areas, typically around ten square micrometers, which is not suitable for real-world devices.

To overcome this, the team used molecular beam epitaxy (MBE), a well-established method for growing semiconductor layers. This approach allowed them to produce large, uniform MoSe2 films spanning several square inches. Despite this large size, the layer maintained a thickness of just 40 nanometers, giving it an extreme aspect ratio. For comparison, the thickness-to-size ratio of this layer is about one to a million, while a typical A4 sheet of paper has a ratio closer to 1:2000.

Toward practical photonic applications

These results suggest that molybdenum diselenide produced in this way could significantly change how light is controlled in future technologies. Structures no longer need to be thick to manipulate light effectively. Instead, extremely thin layers can perform the same function, and in some cases even better. Because the production method is scalable, the path toward real-world applications, such as photonic integrated circuits, is becoming increasingly realistic.

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What is Raja Ravi Varma`s artwork `Yashoda and Krishna`?

Painted in the 1890s, during the height of the artist’s career, the artwork `Yashoda and Krishna` presents a nuanced interpretation of maternal love through the mythological figures of the infant Lord Krishna and his foster mother, Yashoda. 

Known for some of the most breathtaking artworks by Indian artists, this is also regarded as one of Varma’s most significant and evocative compositions. The painting was offered with a pre-sale estimate of Rs 80–120 crore (USD 8.6–12.9 million).

Breaking records

Commenting on the acquisition, Dr Cyrus S. Poonawalla said, “I am privileged to have the opportunity to acquire, preserve, and care for the iconic Raja Ravi Varma painting `Yashoda and Krishna`. This national treasure deserves to be made available for public viewing periodically, and it will be my endeavour to facilitate this going forward.”

Its final sale price surpasses the previous record held by M. F. Husain’s Untitled (Gram Yatra), which achieved over Rs 118 crore (USD 13.8 million) at auction last year.

“Great art has a way of reaffirming its timeless value. The record-breaking sale of Raja Ravi Varma’s work not only underscores the strength of the art market, but also sets a new benchmark as the highest-value work of Indian art ever sold. It is not just a milestone for the market, but a powerful reminder of the enduring cultural and emotional resonance of Indian art,” said Minal Vazirani, who is the president and co-founder of Saffronart.

The unveiling marked the occasion of Hanuman Jayanti in Chhatarpur.

The statue has been made using 171 quintals of Ashtadhatu, a traditional alloy composed of eight metals, often used in the creation of sacred idols in India. The use of Ashtadhatu is considered significant in religious traditions due to its durability and spiritual importance.

A large number of devotees thronged the Mansapuran Hanuman Mandir in Madhya Pradesh on Thursday to attend the `mangal aarti` and offer prayers on the auspicious occasion.

Visuals from Shri Hanuman Mandir Jam Sawli in Pandhurna district of Madhya Pradesh also showed devotees assembling in significant numbers to mark the auspicious occasion and seek blessings.

Earlier, Prime Minister Narendra Modi extended greetings on the occasion of Hanuman Jayanti, praising Lord Hanuman as a symbol of devotion and strength.

In a post on X, the Prime Minister said, "Lord Hanuman Ji is the unparalleled symbol of devotion, strength, and unwavering dedication. May the grace of the mighty one infuse courage and positivity into all his devotees."

He also shared a Sanskrit verse, "Manojavam marutatulyavegam jiteindriyam buddhimatam varishtham, Vatatmajam vanarayuthamukhyam Sriramadutam shirasa namami," highlighting the virtues and greatness of Lord Hanuman.

Union Home Minister Amit Shah also extended greetings to citizens on the occasion of Hanuman Jayanti, highlighting the virtues of Lord Hanuman.

Hanuman Jayanti marks the birth of Lord Hanuman and is observed on the day of the full moon in the Hindu month of Chaitra. It also goes by the name Chaitra Poornima.

This day typically falls in March or April. The festivities are marked by colourful processions, cultural performances, and the sharing of prasad.

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The 2025 edition of Mumbai Comic Con captured the city’s bubbling spirit, welcoming thousands of fans who showed up in full force to celebrate comics, anime, gaming, cosplay, and collectibles. The atmosphere reflected Mumbai’s deep connection with entertainment and its openness to global and homegrown narratives alike. 

One of the most memorable highlights from last year was the presence of iconic Japanese voice actors Kappei Yamaguchi and Hiroaki Hirata, celebrated for bringing to life the beloved One Piece characters Usopp and Sanji. Their appearance created an electric connection with fans, offering rare insight into the craft of voice acting and the creative discipline behind some of anime’s most enduring performances. Building on that excitement, a special panel at Mumbai Comic Con 2026 will see artists from various popular pop culture offerings share perspectives from their professional journeys, creative processes, and methods, promising a moment fans will carry with them long after the curtains close. 

Akshat Rathee, co-founder and MD, NODWIN Gaming, said, “Mumbai is often called the city of dreams, but it’s equally a city of opportunities, a place where people arrive with big aspirations and the freedom to express who they are. That spirit comes alive at Comic Con. You see fans showing up in cosplay despite the city’s fast pace, artists bringing influences from its streets, and communities celebrating fandom with effortless confidence. There’s a scale, ambition, and creative spark here that feels unmistakably “Aamchi Mumbai”. We are excited to return with a showstopper that captures the city’s energy, diversity, and love for great stories.” 

Shefali Johnson, CEO, Comic Con India, added, “There is something special about walking along the promenade of the newly constructed Mumbai Coastal Road on a beautiful evening, the hum of the city, the sea breeze, and the feeling that you belong to a place full of possibility. Mumbai brings that same warmth and openness to Comic Con. Fans show up wholeheartedly, friendships form easily, and creativity naturally finds its space. From dedicated cosplayers and artists to first-time visitors discovering a new fandom, the coming together of communities here feels effortless and joyful. We are thrilled to return this May to create another unforgettable celebration in a city that embraces both dreams and fandom with all its heart.” 

Mumbai Comic Con has historically also spotlighted India’s rapidly evolving gaming culture, with initiatives such as creating meaningful visibility for emerging developers, studios, and original titles. By bringing independent creators closer to passionate audiences, publishers, and brands, Comic Con continues to encourage a culture where new ideas are discovered, supported, and celebrated. 

The city’s thriving fan culture continues to grow through cosplay groups, collector circles, artist communities, and creator-led gatherings that keep the spirit of pop culture alive year-round. Mumbai Comic Con serves as a stage for this creativity, giving cosplayers the opportunity to showcase their craftsmanship and earn a place at the national finals of the Indian Championship of Cosplay, while enabling creators to connect, collaborate, and spark new ideas. 

At Mumbai Comic Con, attendees can browse a wide range of comics, discover the latest in anime and manga, meet Indian and international creators, and take home exclusive merchandise. The event will feature expansive gaming zones, engaging panel discussions, live performances, comedy acts, musical showcases, and immersive experiences designed to capture the energy of contemporary pop culture. 

Tickets for Mumbai Comic Con 2026 will be available exclusively on the District app by Zomato. 

Now going beyond music on land, Sunburn Europe Croatia Sail Week 2026 will take place this year, in partnership with The Playmaker Group.

Sunburn’s Europe debut taps into the fast-growing global phenomenon of jet-set tourism, a growing movement of culturally attuned, experience-led travellers who are increasingly choosing destinations based on curated entertainment, social energy and immersive storytelling rather than just location. 

As electronic music continues to expand globally, festivals are evolving into destination-driven formats where travel and culture are as integral as the line-up. 

Croatia, with its established reputation as a hub for music tourism and its ecosystem of beach clubs, historic venues and island circuits, offers a natural stage for this evolution. In bringing together premium travel, curated community and high-energy programming, Sunburn positions itself at the intersection of music tourism and lifestyle, aligning with some of the world’s most progressive festival formats while introducing a distinctly Indian-born perspective to the global stage.

Shedding more light on the new experience, Karan Singh, who is the CEO of Sunburn, said, “The way the community experiences music today has fundamentally evolved. They’re no longer just showing up for a festival, they’re travelling for it, seeking deeper, more immersive experiences that bring together music, culture and connection. With Sunburn Europe Croatia Sail Week 2026, we’re responding to that shift by creating a format where the journey itself becomes the festival: across destinations, on the water and through shared moments that go far beyond a single stage.” 

Kristijan Grzetic, who is the chief marketing officer, The Playmaker Group, added, “Croatia has emerged as one of the world’s leading destinations for experiential and music-led tourism. This collaboration represents a meaningful cultural exchange, bringing together diverse audiences through a shared love for music and travel.”

The festival not only charts a path through Croatia’s most iconic coastal destinations, but also places the country’s natural beauty and cultural landmarks at the centre of the experience, reinforcing its position as a premier Mediterranean hub for high-value, experience-led tourism. 

The experience begins with yacht boarding in Split and Trogir, unfolding into a sunset opening at the historic Kamerlengo Fortress, where electronic music meets centuries-old stone walls. From there, the rhythm shifts to the sunlit shores of Bol, where beachside sessions at Zlatni Rat transition seamlessly into high-energy, open-air nightlife. At Stari Grad, the format reaches one of its most defining expressions with a signature raft party, a floating arena formed in open water, where yachts converge and the sea itself becomes the dancefloor, dissolving the boundaries between stage and crowd in an immersive, communal setting.

The on-water experience will be delivered in partnership with The Bucketlust, a leading operator of curated yacht-based travel experiences, bringing proven expertise in delivering premium, ‘floating festival’ sailing events across Europe.”

Hvar anchors the journey with its unmistakable duality, equal parts indulgence and intensity. From iconic beachside gatherings to sunset dining, curated wine experiences and late-night sessions, the island unfolds as a seamless continuum of sound, culture and social energy. In Vis, the experience turns more elemental. Attendees move through the luminous stillness of the Blue Cave before transitioning into one of the festival’s most striking moments, a night at Fort George, where a historic fortress is transformed into a high-energy electronic venue overlooking the Adriatic. The closing stretch softens into a slower, more reflective rhythm, with secluded beaches, hidden coves and open horizons giving way to a final sunset set as the fleet returns.

Throughout, music remains constant but never static, a curated blend of house, techno and commercial EDM delivered by an international roster of artists, flowing seamlessly from sunrise into after-hours. Without a singular fixed stage, the environment itself becomes part of the performance, with shifting coastlines, open water and historic structures shaping an experience that is as much about movement and place as it is about sound.

Tickets for the Sunburn Europe Croatia Sail Week 2026 will be available soon on BookMyShow.

The Archaeological Survey of India (ASI) should permit restoration of the bastion to its original form with a roof, and a demand would be raised for it, Raigad Development Authority (RDA) Chairman Sambhaji Chhatrapati, a descendant of Maratha king Chhatrapati Shivaji Maharaj, told PTI over the phone on Tuesday.

Raigad Fort, a historic hill structure in Raigad district, had served as the capital of Shivaji Maharaj`s Maratha Empire. It was here that he was crowned the first Chhatrapati on June 6, 1674, marking the formal establishment of Hindavi Swarajya (self-rule). The fort is among 12 structures included in the Maratha Military Landscape, nominated for UNESCO`s World Heritage site list.

During the conservation work, the RDA found a unique feature.

"We discovered the base stones (column sockets) of wooden pillars during the documentation and conservation work. This means the Khubladha bastion had a roof, which is a unique feature. No other bastion on this fort has this feature," Sambhaji Chhatrapati said.

"This is unique and it shows that this was not merely a bastion but also an all-weather watchtower and the first line of defence for the Raigad Fort. It also has gunpoints, which signify its military architecture," he said.

The RDA recently completed the conservation work of Khubladha bastion (burj), located below the main fort complex.

According to historian Shantaram Awalskar, this bastion, standing 27 feet high and measuring 50 feet in circumference, is a part of Raigad Fort.

The RDA chief said they will demand the erection of a roof on this bastion.

"We have evidence of the roof now. We can recreate the roof of the Khubladha bastion. We will seek permission from the ASI for this work," he added.

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The play displays a love story between a bodhisattva and Alexander with a blend of queer narratives spanning across space, culture and times. The duo on a surreal journey that begins with their legendary encounter, unfolding into a tapestry of stories drawn from Western and Indian traditions, and marking the beginning of a dreamlike exploration of their relationship. 

The play explores the challenges and complexities of loving across cultures, delving into fragile connections through a visually stunning and emotionally driven narrative. Classic tales such as the Monkey and the Crocodile, Chandravati and Malavati, Shams and Rumi, and the goddesses Fortuna and Jyotish are reinterpreted to reflect on the cost of loving across cultures. What it means to truly accept, understand and love one another is redefined through a blend of contemporary artistic expression, curiosity and desire.

Age limit: 13 years and above
Duration: 75 minutes
When: April 2 to April 5 
Time: 7.30 pm
Member price: Rs 450 plus taxes
Non Member Price: Rs 500 plus taxes

Ankahi continues the previous season’s tradition of transforming classical texts into immersive, theatrical experiences. It is a Hindi adaptation of Susan Hill’s celebrated horror story, The Woman In Black. Its English adaptation for the stage by Stephen Mallatratt, became one of the longest-running West End productions. It follows the story of a middle-aged lawyer, Sandeepan Chauhan, who is carrying the baggage of a haunted truth. In an attempt to free himself from it, he finds an unusual channel in a young, sceptical theatre actor who helps him stage his horror - the account of how a simple legal matter of settling deceased Fatima Illyas’ estate unfolds a darker truth hidden in the marshes of West Bengal.

The events turn grimmer as the Locals become increasingly evasive and the marshes an echo chamber of secrets. And at the centre of it all is the“Hunkaarni,” a phantom figure whose curse inflicts a shadow that, once encountered, never truly leaves you. 

This story within a story blurs the boundaries between reality and performance, between confession and consequence. As Sandeepan bares his unsettling secret, the actor unknowingly gets entangled in a web of truth, fiction, and revelation. The play poses a question for the audience: Does revealing our darkest secrets guide us towards light, or does it pull us further into darker trenches? 

Ankahi’s world is mounted by director Vikranth Pawar, making this his first play for Aadyam Theatre. The director has been instrumental in bringing Broadway-style musicals to India for the first time with Beauty And The Beast. Vikranth`s experience in mounting riveting stories helped bring a rare sonic and visual ambition to Ankahi. The meticulously developed set and sound design create a world that the audience doesn’t just experience; they immerse themselves in it.

Talking about his experience, Vikranth Pawar said, “Ankahi marks my first play with Aadyam Theatre, and the experience has been nothing short of exciting. My decision to adapt this classic horror story for the Indian stage was purely based on my conviction that the Indian audience has been waiting for a supernatural thriller to unfold on a live stage. The play packs some real scares and pulls you into pure drama and thrill for 90 minutes. It is a story that stays with you even when the lights turn back on.”

The play’s cast includes two powerhouse performers - Gopal Datt (Tere Naam, Delhi Crime, Bunty Aur Babli 2) as Sandeepan Chauhan, and Rohit Chaudhary (Bareilly ki Barfi, Jabariya Jodi, The Forgotten Army) as the young actor. 

The Mumbai run is slated for April 18 and 19 at Jamshed Bhabha Theatre, NCPA, and May 2 and 3 at Bal Gandharva Rang Mandir. Tickets are available on BookMyShow.

What began over a decade ago as a small indie pop-up has grown into one of India’s most loved cultural festivals. This milestone edition is a celebration of that journey — bringing together everything The Lil Flea stands for: homegrown creativity, unforgettable experiences, and a community that keeps coming back for more. 

Here`s what you can expect at The Lil Flea`s 12th anniversary edition 

Over 500 homegrown brands including 200 from outside Mumbai: A massive, thoughtfully curated showcase of India’s finest indie brands — spanning fashion, accessories, home decor, art, slow living, and more. From cult favourites to exciting new discoveries, this is where creativity truly comes alive. Across categories, you’ll find a mix of emerging labels and community favourites — each bringing their own unique voice, craft, and perspective to the flea.  

Here are just some of the standout names amongst the hundreds that you just can’t afford to miss: 
 
2. Jewellery: Mortantra, Tilassa, Ruby Raang, The Rover, Blab, Batoki, Bloome, Mirayah, Ardra, Feels, The Chique Store, Tuki Jewels, Aaranya, Oraya, Airokad, Culture Signature

3. Apparel: Jamun Soda, Label Naba, Aari, By Bae, Ewoke, Love Viana, Threads & Latte, Jijo, Tyas, Kajrakh, Baagay, Shop Mauve. 

4. Home & Living Tuftplace, Hey House Life, Muvelo, Bae & Bee Studio, Burgundy Blue, Trunk Trove, Cozy Spaces, Urban Den Collectives Spotlight 

5. Potters Collective Popupstone, Curiocity by Lidwin, Mud Monkeys Studio, Jungle Parade, Bombay Clay Co, Lil Klay Tales, Studio Vida, Lori & many more 

6. Art Collective Tokou, Socially Silly, Yash Oradhan, The Surreal Studio, Comixplain, Impolite Revolution 

7. Friends from Goa Brown Koji Boy, Shivaani Vaishnavi, Nidra, Dryad, Sangha Collective, Aeterna 

8. Himachal Collective Chilka, Mountain Gods, Varosa, True to Himalayas 

9. Streetwear Collective Vezzo, Strange Studio, Genrage, Tokyo Tori 

10. Preloved & Upcycled No More, Now Then, Second Chance, Thiraai Handlooms LLP

11. Little Things (Gifting & Keepsakes) Heartfelt, Morom, Gud Gum, Loving Slowly Studio, Inbreathe 

12. Accessories: The Tribe, Trunni, Drad, The Tinted Story, Mint & Oak, By Nirjari, Vajra Accessories, Sitafal
 
13. Flea Food Experience: If there’s one thing you don’t want to hold back on — it’s the food. This edition turns things up with a lineup that’s bold, indulgent, and made for a little bit of everything. Think global plates, comfort favourites, street-style hits, and experimental bites — all in one place. Foods and Desserts to go a lil crazy on: Blue Butter Japanese Fried Rice, Chicken Roulade, Chicken Katsu, Dan Dan Noodles, Galauti Kebab, Deep Dish Pizza, Okonomiyaki, Taquito, Kimchi Fried Rice, Vietnamese Rice Rolls, Jacket Potato, Hainanese Chicken Rice & more And then come the desserts — because stopping at one is not really an option here. Dessert Tubs, Kunafa, Baklava, Tiramisu, Chonkers, Donut Bombs, Mango Tres Leches, Croffle, Basque Cheesecake & a whole lot more
Sweet, messy, indulgent, and absolutely worth it — this is where things get a little out of control (in the best way possible). 

14. A Massive Live Music Lineup: This year, the stage is bigger, louder, and more unforgettable than ever. With a genre-spanning lineup that moves from soulful to high-energy, expect every set to feel like a headline act. Sunset sessions, sing-alongs, and high-octane nights — the music at The Lil Flea is where the community truly comes alive. Featuring: Rashmeet Kaur, Indian Ocean, Kavita Seth, Gini, Shanka Tribe, Anand Bhaskar Collective, Tsumyoki, Pho, Susmit Sen Chronicles, Mukt, The Lojal Experience, Martin Dubois, Tingishika, Boombay Djembe Folas, Bombay Bassment & many more

15. Experiences, Workshops & Kids Zone Beyond shopping, food, and music — The Lil Flea is built on experiences. Expect interactive workshops, immersive art-led pop-ups, and community-driven spaces designed to engage and inspire. 

16. Kids Open Mic & A Kids Concert A special highlight this year — a dedicated stage for young talent.The Kids Open Mic on the first Weekend & A Dedicated Concert for Kids on the 2nd invites children to perform, express, and take center stage — creating a space that celebrates creativity from the very beginning. 

19. Sustainability at the Core With a continued focus on mindful consumption, the festival champions brands and practices rooted in sustainability — making conscious living both accessible and exciting. 

20. Why this edition matters: Twelve years in, The Lil Flea isn’t just an event — it’s a cultural movement. With 500+ brands, an expansive food experience, a massive music lineup, and two full weekends to experience it all, this anniversary edition reflects how far the platform has come — and the community that has grown with it. 

Event details

Where: April 3to 5 and April 10 to 12
Where: Jio World Garden, BKC
Time: 3 pm onwards