From Lustus to Craza
Dr. Jernail Singh Anand's work as an epic myth-maker, particularly the creation of Lustus and now Craza in 'The Alternate Universe,' establishes him as a master of myth creation who blends traditional epic forms with modern existential, philosophical, and socio-political concerns, resonating with both Eastern and Western literary traditions. Traditional mythology served to explain natural phenomena through divine or heroic figures. But Anand's Neo-mythology brings up new archetypes to address contemporary concerns such as moral erosion, the rise of artificial intelligence, and corporate evil.
It is interesting as well as intriguing to enter into Anand's mind through his epics. The entire space is occupied by ethereal personages like God, Brahma, Indra, Vishnu, Lord Krishna, Satan, Mephistopheles, Faustus, etc. And, the atmosphere is marked by high seriousness and a sense of the sublime.
By the time Dr. Anand comes to write 'Lustus: The Prince of Darkness', he was reluctant to cast Satan as the villain in his Mahakaal Trilogy, as Satan was a gentleman villain who was afraid of God's power. He tempted Eve by deception. Anand needed a thoroughbred villain of the modern world who could sustain interest for generations. Therefore, in 'Lustus', Anand created a villain before whom even Satan appears a monk. Anand also creates Greda, the goddess of Greed. The grandeur of 'Lustus' lies in two fierce battles he fought and lost against gods in 'Lustus' and 'The Dominion of the Netherworld'. Dr. Anand's quest for the sublime continues through 'The Ultronic Age', where political power is handed over to Queen Ultronia because the gods had realized that it was due to the patriarchal superiority of men that the previous epochs saw bloody battles and manslaughter, as we come across in the Ramayana in Treta, the Mahabharata in Dwapara, and the War of Troy in Kaliyuga.
In 'The Alternate Universe', Craza proposes an AI-driven alternate universe where humans are digitally enhanced. Craza's concepts of removing the past of man, womb labs, and keeping humanity morally upright with AI intervention are daringly forward-looking, investing technology with a spiritual responsibility and making Craza a Neo-Prophet of the Digital Age.
Dr. Anand's latest work grapples with the intersection of technology, spirituality, and human existence. Craza represents a bold evolution from Lustus, who was an embodiment of corporate evil. 'Anand's work reflects a profound engagement with the ethical and spiritual challenges posed by artificial intelligence (AI) and modernity, making him a modern counterpart to epic poets like Milton or Vyasa, but with a distinctly futuristic lens.' Craza's proposal for an 'Overlap' facility, replacing the traditional divisions of heaven and hell, can be seen as a nuanced view of morality where ambiguity is acknowledged rather than punished because this world of overlapping morality is closer to the reality of the modern world of technology. Through 'Lustus', he critiques the corporate and moral decay of the modern world, while Craza in 'The Alternate Universe' extends this exploration into speculative or chaotic realms. By merging Eastern and Western traditions, Anand creates a universal narrative that offers an ethical and spiritual landscape for a contrivance like AI to seek man's salvation, rather than work for his destruction. Craza's entry as a potential mouthpiece of AI is a welcome departure from the usual condemnation of AI. His work not only revives the epic form but also establishes him as a global literary figure, walking in the footsteps of Milton, Tagore, and other greats.
(Dr. Maja Herman Sekulic, a Serbian-US Poet and Schlar is a Nobel-nominee, Princeton Ph.D and a Double Fulbright Fellow)
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Hans India
9 minutes ago
- Hans India
When Elvis and Ella were pressed onto X-rays
When Western Electric invented electrical sound recording 100 years ago, it completely transformed the public's relationship to music. Before then, recording was done mechanically, scratching sound waves onto rolled paper or a cylinder. Such recordings suffered from low fidelity and captured only a small segment of the audible sound spectrum. By using electrical microphones, amplifiers and electromechanical recorders, record companies could capture a far wider range of sound frequencies, with much higher fidelity. For the first time, recorded sound closely resembled what a live listener would hear. Over the ensuing years, sales of vinyl records and record players boomed. The technology also allowed some enterprising music fans to make recordings in surprising and innovative ways. As a physician and scholar in the medical humanities, I am fascinated using X-ray film to make recordings – what was known as 'bone music,' or 'ribs.' This rather bizarre, homemade technology became a way to skirt censors in the Soviet Union – and even played an indirect role in its dissolution. Skirting the Soviet censorship regime At the end of World War II, Soviet censorship shifted into high gear to suppress a Western culture deemed threatening or decadent. Many books and poems could circulate only through 'samizdat,' a portmanteau of 'self' and 'publishing' that involved the use of copy machines to reproduce forbidden texts. Punishments inflicted on Soviet artists and citizens for producing or disseminating censored materials included loss of employment, imprisonment in gulags and even execution. The phonographic analog of samizdat was often referred to as 'roentgenizdat,' which was derived from the name of Wilhelm Roentgen, the German scientist who received the first Nobel Prize in physics in 1901 for his discovery of X-rays. Moreover, X-ray films cannot be reused, hospitals often recycled them to recoup the silver they contained. Making music from medicine In the Soviet Union in the 1940s, some clever people realised that X-ray film was just soft enough to be etched by an electromechanical lathe, or sound recording device. To make a 'rib,' or 'bone record,' they would use a compass to trace out a circle on an exposed X-ray film that might bear the image of a patient's skull, spine or hands. They then used scissors to cut out the circle, before cutting a small hole in the middle so it would fit on a conventional record player. Then they would use a recording device to cut either live sound or, more commonly, a bootleg record onto the X-ray film. But these record producers are not just engaged in illegal operations. They corrupt young people diligently and methodically with a squeaky cacophony and spread explicit obscenities.' Bone music was inherently subversive. For one thing, it was against the law. Moreover, the music itself suggested that a different sort of life is possible, beyond the strictures of Communist officials. (The writer is associated with the Indiana University)
Mint
11 hours ago
- Mint
Beyonce, Jay-Z dominate Paris as celebrity drives fashions biggest trend
Paris, Jun 29 (AP) If any force swept through the fashion industry this season — and sent shockwaves around the globe — it wasn't a new silhouette or a daring colour. It was the spectacle of celebrity. Star power eclipsed fabric and form, transforming the runways of Paris Fashion Week into arenas where A-list icons, K-pop idols, and digital megastars didn't just attend — they became the main event. As the week wraps up Sunday, it's clear: the world is watching not for what's worn, but for who's wearing it. Beyoncé and Jay-Z didn't just attend Louis Vuitton's blockbuster show — they became the story. As they swept into the Pompidou Centre, the entire mood shifted. Cameras flashed. Phones shot skyward. Even before the first look hit the runway, images of the couple rocketed around the globe. The scene encapsulated a truth that every major brand — from Louis Vuitton to Dior, Hermès to Saint Laurent — now understands: The real front row isn't in Paris, but on Instagram, TikTok and Weibo. And nothing sells quite like a star. Beyoncé's head-to-toe denim look — a custom Louis Vuitton creation by Pharrell Williams — sparked headlines worldwide and instantly set the tone for the season. Her ensemble, complete with a cowboy hat and Western belt, became one of the most shared images of fashion week, underlining just how quickly a star's wardrobe can ignite trends far beyond the runway. Her Cowboy Carter tour, however, hasn't been without controversy — a T-shirt worn in Paris referencing Buffalo Soldiers drew criticism online this week from some Indigenous and Mexican communities. And when Williams presented her with a Speedy bag straight from the runway, the moment went viral — striking a powerful note that Beyoncé isn't just an attendee, but the face of Louis Vuitton's creative vision. This is the new dynamic of luxury: The most coveted runway seat is now in your hand, and what matters most isn't just what you see, but who you see wearing it. It's a story that's been told before — celebrity eclipsing fashion — but in a year of global uncertainty, the urge for escapism and the power of star-driven fantasy have reached a new intensity. Show, not just tell: Fashion as spectacle What once was a private preview for buyers and editors is now a worldwide entertainment event. Designers don't just stage shows — they produce spectacles. Williams, Louis Vuitton's showman-in-chief, turned his runway into a snakes-and-ladders fantasy with a guest list to match: Beyoncé, Jay-Z, K-pop royalty J-Hope and Jackson Wang, reggaeton star Karol G, and Hollywood names like Bradley Cooper and Mason Thames. Each arrival triggered waves of posts and stories — making the crowd as newsworthy as the collection itself. The modern runway has become a stage for celebrity, where the applause is measured in views and viral moments, and the line between performer and spectator disappears. No other force is shifting menswear trends faster than K-pop. This season, stars like J-Hope, Jackson Wang, GOT7's Bambam, and NCT's Yuta were everywhere, livestreaming shows and igniting fashion frenzies from Seoul to Sao Paulo. These idols are both tastemakers and trend translators, instantly transmitting what they see in Paris to millions of fans. Their attendance has become a commercial event in itself, driving the adoption of new styles on a global scale. Beyoncé effect Even the clothes themselves now chase celebrity. Beyoncé's 'Cowboy Carter' moment and Louis Vuitton's nod to Western style sent cowboy hats, flared denim, and rhinestone shirts trending worldwide. Brands scramble to turn these viral moments into wearable trends — knowing that what Queen Bey wears in Paris will be copied in malls and on apps within weeks. 'We make fashion, but we're a house of travel,' Williams told reporters. In truth, it's the celebrity's journey through fashion that matters most. The old fashion cycle is gone. It's been said before. Where trends once took months to trickle down, now a celebrity-worn look can reach the high street soon after the show lights dim. TikTok and fast fashion brands move at the speed of the repost. At Hermès, even the discreet luxury of woven leather tees and wide trousers took on new meaning as athletes and music stars documented their attendance. Their posts quickly turn exclusive details into mass-market 'must-haves'. It's a process that global platforms like Shein and Temu have weaponised — transforming a viral runway or celebrity moment into affordable, shoppable trends in a matter of days. The result: What debuts on the Paris catwalk can show up in online shopping carts from Atlanta to Addis Ababa almost instantly. Beneath the celebrity glow, classic trends endure. Streetwear is still king, with oversized silhouettes, soft tailoring and activewear influences everywhere from Dior to Dolce and Gabbana. The Hermès 'cool city guy' and Dolce's pajama dressing — rumpled but rich — are direct answers to how men want to live and move now. But even these trends go mainstream through star power, not just design. The models might debut the look, but it's the front-row faces who make it stick. Williams' very appointment as Louis Vuitton's menswear creative director — a chart-topping musician handpicked by LVMH chief Bernard Arnault in 2023 — was itself a statement: In today's industry, celebrity doesn't just influence fashion, it leads it. Everyone's invited now All this spectacle reflects a bigger shift. Fashion isn't just about what's in — it's about who's in the room, and who's watching. At Armani in Milan, at Saint Laurent in Paris, at every show, a galaxy of K-pop, Hollywood, and music stars now drive the narrative. For Gen Z and Alpha, the runway is no longer about aspiration — it's about participation, sharing, and living in the moment. The 'show' has become the product. In 2025, the biggest trend in men's fashion isn't a garment at all — it's the show itself. And in a season defined by heat, hype and headlines, it's clear: celebrity is the new couture, and we're all in the front row. (AP) PY PY
Indian Express
12 hours ago
- Indian Express
Explained: How one Colombian man brought Zumba to the world, and the row over it in Kerala
Several religious groups in Kerala recently criticised the state government's decision to introduce Zumba classes in schools to encourage fitness among students, and as part of an anti-drugs measure. Earlier this week, cleric Abdul Samad Pookkottor said, 'Zumba is harmful to the moral life of students. Prayer is the best for mental well-being. We also have yoga. This is an import from the Western world. If the government insists that Zumba dance should be implemented, our clerics will fight against it. Girls and boys should not be allowed to mingle under the pretext of the Zumba dance…' The government said it would continue its policy despite similar comments made by some other organisations. What is Zumba, and what exactly is the controversy about? We explain. It's a relatively new form of exercise that combines dance and aerobics. In 1986, Beto Perez was working as an aerobics instructor in Cali, Colombia, but forgot to bring his tape of American pop hits by Michael Jackson and Madonna to a class. This led him to improvise a 30-minute class using the cassette he had in his car, 'full of Latin songs, specifically salsa and merengue tunes that he had recorded from the radio,' according to a BBC report. His students gave rave reviews. 'Every time I taught, more and more people would show up and take a class. There would be lines out of the door of people waiting to get in. Word travelled fast. This was the beginning of Zumba,' Perez told the BBC. He moved to the capital, Bogota, and later to the United States, without the requisite documents. Colombian pop icon Shakira also hired him to choreograph some songs. Today, Zumba classes have spread worldwide. In India, remixes of film music are also used in classes, rather than strictly Latin music. One major selling point is that its intensity is varied, and participants can choose what they want to do according to their convenience. With different kinds of songs and routines in almost every other class, depending on the instructor, it also offers a more dynamic form of exercise to people who may not enjoy the routine that gyms offer. Further, no equipment is needed for it. While aerobics includes several activities meant to increase oxygen consumption, such as running, swimming or jumping rope, Zumba mainly focuses on high-intensity dance and exercises. The trainer leads the class in sync with the fast-changing music, incorporating jumping jacks, arm stretches, and other moves. The dance workout was initially called the 'Rumba', which means party in Cuban and is also used in Latin America to refer to a variety of dances. 'Zumba' was a play on that. Perez launched his company, Zumba Fitness, based in Miami, with two other partners in 2001. They began by offering classes and certifications to instructors and have since expanded to classes, DVDs, clothing and accessories, and more. Notably, the recommended clothing for Zumba classes is the same as that for any fitness-related activity — proper shoes, and comfortable and breathable outfits suited for movement. However, Zumba has been restricted at times, particularly for women. In Afghanistan, the Taliban banned music and dancing under a strict implementation of Islamic law when it first came to power (1996 to 2001). Some Zumba classes later sprang up, once the regime came to an end. In 2017, Iran was reported to have banned Zumba and arrested people for it. A BBC report from the time quoted Hamid Damghani, a commander of Iran's Islamic Revolutionary Guard Corps, as saying, 'They were arrested by the Guards' intelligence forces while teaching and creating video clips… as they sought to change lifestyles and promote a lack of hijab,' he said. Some religious leaders have continued opposing Zumba's inclusion in schools in recent days. Another cleric, Nazar Faizy Koodathai, said students should not be compelled into 'vulgarity'. 'If well-built students are also forced to dance wearing minimum clothes and mingling with the opposite sex, it is highly deplorable. Instead of introducing Zumba, let the government focus on physical training programmes. Students should not be forced into vulgarity,' he said. However, the state government has shown no signs of walking back its decision so far. The general secretary of the state's ruling Communist Party of India (Marxist), M A Baby, told the media in Kozhikode that 'religion should be kept away from education'. 'Children should grow mingling with one another. Those who oppose should rethink their stand. In a secular country, religion should be kept away from public education. They can comment on issues, but they should not dictate terms on education,' he said. Education Minister V Sivankutty said, 'Certain quarters have come out against Zumba, which is being introduced in schools as part of anti-drug initiatives.' He added, 'What is being held in schools is a short physical fitness programme. Students are performing Zumba in their uniforms.' He said that under the Right to Education Act, it was mandatory for all students to participate in learning activities suggested by the government. The minister also shared videos of students of two schools in Muslim-majority areas performing Zumba in uniform, wearing headscarves. Higher education minister Dr R Bindu also shared a video of college students — including Catholic nuns — dancing to music at a college in Irinjalakuda in Thrissur.
