Hina Khan condemns Pahalgam attack: 'I hate those who...'
Hina wrote a long note, and a part of her post read, 'The way this attack was conducted by heartless, inhuman, brainwashed terrorists who claim to be Muslims is beyond appalling. It breaks my heart."
Hina added, "As a Muslim, I want to apologise to all my fellow Hindus, fellow Indians."
Yeh Rishta Kya Kehlata Hai fame actor condemned the attack and wrote, 'We must not mince words. I condemn it, I reject it, and I hate those who did it. Wholeheartedly, absolutely and unconditionally.'
Hina also appealed for Indians to stay united in the face of the devastating attack.
Hina Khan, who was holidaying in Kashmir recently, also said that she is back and is safe.
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NDTV
3 hours ago
- NDTV
'Mistake': Sadhvi Ritambhara Apologises For 'Earning Money Being Nude' Remark
After sparking outrage with her remark that she feels ashamed to see Hindu women earn money by being nude and performing dirty dances, spiritual leader Sadhvi Ritambhara has said she apologises if anyone has been hurt by her remarks, but she felt she had a right to say what she did because she was surrounded by her loved ones. The Padma Bhushan awardee's discourse at a gathering three months ago has now gone viral in which she says in Hindi, "Hindu women, oh God. I feel ashamed to see them. Will you earn money? Will you earn money by being naked? By doing dirty dances, singing dirty songs? I don't understand how their husbands, their fathers accept this?" "People should lead a life of decency... Women of India, don't mind my saying this..." she adds. Speaking exclusively to NDTV on Friday, the spiritual leader said she believes women play a key role in families and the nation and she was not targeting women, but keeping hope in their strength. "But being unrestrained cannot be called independence. Being undisciplined is not disciplined. This is my nature... When my pain reaches a point, I share it with my loved ones. This is an old video, which has gone viral. I was trying to say that a nation becomes great because of its citizens' behaviour," she said. Asked why such comments were not made for men, Sadhvi Ritambhara added, "If women were hurt by my emotional comments, then I will definitely apologise. But when you are in the middle of your loved ones, you speak thinking you have a right over them. I love those who are shattered, but it hurts when you see unrestrained behaviour like this. This has not been the role of Indians... I am also human, I should not have said what I said, maybe if I had said 'niravaran', or 'nirvastra' or filled with values..." Classical dance, she said, is very good but what does not look good is what is shown in the "so-called reels". "Indecent behaviour does not look good. And if a woman does it or five, 10, 100 do it, all women are tarnished," she said. "What I said was not for all Hindu women. I must have forgotten to say something in the flow of speech. I am an ordinary human, I made a mistake," the spiritual leader added. When young children watch such reels, she said, it poisons their mind and does not let them focus on making their lives better and striving for a good career. "Yes I should not have said the word. I made a mistake. I know the mothers of the country will forgive me... I apologise, but my country knows me," she said.
The Print
5 hours ago
- The Print
Stranded in the desert of pop culture
The rise of science and technology has transformed the way we live and the way we engage with culture. Entertainment is now just a click away. From curated Spotify playlists and YouTube shorts to Netflix recommendations, we are constantly surrounded by algorithm-driven choices that fit neatly into our fast-paced lives. We've taken convenience for granted, and in doing so, culture — once rooted in tradition, lived experiences, and community memory — has been reduced to surface-level aesthetics. Your Turn is a unique section from ThePrint featuring points of view from its subscribers. If you are a subscriber, have a point of view, please send it to us. If not, do subscribe here: Tradition today is increasingly absent from daily life. Songs at weddings, once filled with meaning and memory, have become just another background track. The dhol and algoza have been replaced by speakers and DJs blaring Bollywood remixes. Even the role of music has shifted; no longer a medium of storytelling or shared emotion, it is now about volume, beats, and engagement. Loud, fast, westernised rhythms dominate. Entertainment is customisable, quick, and disposable — a reflection of the broader consumerist culture we inhabit. The Manganiyar community of western Rajasthan stands as a poignant example of this shift. A Muslim folk group known for their innate talent for music, the Manganiyars once held a place of honour in Rajput courts. Their songs echoed through grand events, royal gatherings, and crowning ceremonies. Their music was not entertainment; it was legacy, memory, emotion, and devotion. But today, that legacy stands diluted and is struggling to survive. Once royal performers, the Manganiyars are now mostly reduced to singing for tourists in desert camps and hotels. While a handful of Rajput families still call upon them for special occasions such as childbirths, weddings, and religious festivals, the regular patronage that sustained their dignity and livelihood has shrunk drastically. The transformation is stark and painful. Worse than the loss of income is the loss of dignity. Some Manganiyar families now survive by working under MGNREGA as daily wage labourers. For a community whose identity was once steeped in art, being forced to dig roads to make ends meet is not just an economic blow but a deep cultural wound. Yet, despite this erasure, the community remains determined. Children are still taught the ragas, rhythms, and instruments of their ancestors. They sit with their elders, learning not from apps but through oral tradition. Their art is a gift, one they want to pass on, regardless of how the market values it. They refuse to 'sell out' or remix their music to suit the tastes of modern audiences. They resist commercialization, even when it costs them everything. And it does cost them. There are almost no buyers for pure, authentic Manganiyar music anymore. The generation that grew up on Bollywood dance numbers, EDM beats, and viral remixes no longer connects with the slow, emotive storytelling of folk. The little space that remains for folk performances is in tourist camps, where even there, the Manganiyars are now asked to perform filmy songs, sometimes molding their music to include item numbers just to hold the crowd's attention. This is not just the story of a community. It reflects a broader cultural shift. Rising pop culture and Western influence, along with fast, urban lifestyles, have altered our tastes. We are a generation of quick fixes — fast food, short videos, 30-second songs. Traditional art and cultural engagements are now confined to occasional stage shows, often repackaged as 'experiences' for tourists. 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Bio: Mahima Duggal is a researcher and pursuing her PhD at the Department of Political Science, Panjab University, Chandigarh. She focuses on tourism and sustainable tourism practices through field-based studies in Jaisalmer. These pieces are being published as they have been received – they have not been edited/fact-checked by ThePrint.
News18
5 hours ago
- News18
Royal Wedding Soon: Peter Phillips, Queen Elizabeth's 'Favourite', Engaged To UK Nurse
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