6 Lessons Disney Could Learn From Pakistan’s ‘Burka Avenger’

(By Lindsey Davis in Huffington Post)

Part karate kid and part superhero, Pakistan’s first animated television series is a better role model for girls than any princess Disney’s ever drawn.

She’s called the Burka Avenger, and she’s the defender of girls’ education and women’s rights.

The brainchild of Pakistani pop star Aaron Haroon Rashid, the cartoon was created as a way to combat the Taliban’s intense opposition to educating girls, AP reports.

We think Disney could learn a thing or two about what a female protagonist should look like from the fearless Burka Avenger.

1. She fights villains with Takht Kabaddi — a form of karate that uses books and pens as weapons, because she’s all about emphasizing the importance of education.

To her, books are more than a prop to dance with.


2. By day, she’s Jiya, the reserved school teacher — but when bad guys come around, she dons a burka to conceal her identity and saves the day.

And unlike Mulan, her alter ego is still proudly feminine.


3. Educating children and saving her village are her main priorities.

So she’s a little too busy to become enamored by her own reflection.


4. Her sidekicks are three adorable kids, and she’s constantly saving and inspiring them..

burka avenger

.. Instead of the other way around.

5. Her burka is a source of power, not oppression. She can even use it to fly.

So she doesn’t need a man to sweep her off her feet.

Click link for more;

http://www.huffingtonpost.com/2013/07/29/burka-avenger-vs-disney_n_3660387.html

BBC Newshttp://www.bbc.co.uk/news/world-asia-23468573

Burka Avenger Trailer

http://www.youtube.com/watch?feature=player_embedded&v=Isd72k3XOFE

Posted By F. Sheikh

‘Star Dust Memories’ By Maureen Dowd

‘My Lunches With Orson’ and ‘Ava Gardner: The Secret Conversations’

If you are fan of watching old movies at TCM ( Turner Classic Movie Channel), you will enjoy reading about two Hollywood  giants of their time, Orson and Ava Garner. (F. Sheikh)

Ava Gardner was “essential to the Hollywood myth about itself,” as her friend Dirk Bogarde observed, and so was Orson Welles. Orson was “his own greatest production,” as the Hollywood chronicler Peter Biskind writes, and so was Ava.

Two new books — “My Lunches With Orson” and “Ava Gardner: The Secret Conversations” — unearth vintage conversations with the stars in their final years, when they were broke, in bad health, unable to get work and mourning their lost grandeur. But oh, what gorgeous wrecks they were, and what mesmerizing stories they told, these Sunset Boulevard Scheherazades.

Even washed up and so heavy and arthritic he had to use a wheelchair, the 68-year-old Welles knew he was more interesting than anyone else in Hollywood. So he asked his pal Henry Jaglom, an indie filmmaker, to tape their lunch conversations at Ma Maison — with his ill-tempered toy poodle Kiki at the table — discussions that indolently roamed from chicken salad capers to chic romantic capers. The tapes span 1983 to 1985, when Welles died of a heart attack with a typewriter in his lap writing a script; they languished in a shoe box for years until Biskind learned about them in the 1990s and started bugging Jaglom to transcribe and publish them.

In 1988, living on her own in London, recovering from a couple of strokes and fearing she had pulmonary emphysema, Gardner asked the British journalist Peter Evans to ghostwrite her memoir. She had no money and didn’t want to sell the jewels that Frank Sinatra, Howard Hughes and other famous men had lavished on her. “Pretty damn soon,” she frets to Evans, “there’s gonna be no corn in Egypt, baby.”

Both books make you feel as if you’re eavesdropping, the one about Ava in a more invasive way. Unlike the chummy rambling chats between Welles and Jaglom, Gardner was in a constant tug of war with Evans, agonizing in vinous 3 a.m. phone calls, as he surreptitiously took notes, about whether she really wanted “strangers digging around in my panties drawer.”

Watching this Venus ply her mind games, sensuality and stubborn will on Evans, it’s easy to imagine what it was like to be a love object jerked on her marionette strings in her prime. You wouldn’t have a chance.

“You can sum up my life in a sentence, honey,” she tells Evans in her throaty voice. “She made movies, she made out and she made a [expletive] mess of her life. But she never made jam.”

Some of the colorful stories Welles tells have appeared elsewhere, with sharper aperçus. But what makes “Lunches With Orson” appealing is the piquancy of the much younger, skinnier actor and director taking on the Sisyphean job of reviving the Falstaffian outcast — a mitzvah another Welles interviewer and acolyte, Peter Bogdanovich, didn’t bother with, Welles thought, when Bogdanovich was on top.

Even maudlin, Welles and Gardner are magnificent. “A lot of booze has flowed under the bridgework,” Ava says.

Both hit the big time as teenagers, Boy Genius and Girl Vamp, landing Time covers in their 20s. They had in common a bawdy honesty, a desire to shock and a lust for living extravagantly.

The lion and lioness in winter are poignant. The cosmopolitan man who made “Citizen Kane” could not get financing to make a movie. The green-eyed woman who dazzled in Technicolor in “The Barefoot Contessa” was drinking, smoking, coughing and listening to old Sinatra-Tommy Dorsey recordings that Sinatra sent her after her strokes.

“Who’d have thought the highlight of my day is walking the dog,” dryly notes Gardner, who once danced all night and then began drinking Dom Pérignon in the studio makeup room at 5 a.m. “I miss Frank,” she says, even the fights. She knows he will outlive her: “Bastards are always the best survivors.” Click link for full article;

http://www.nytimes.com/2013/07/14/books/review/my-lunches-with-orson-and-ava-gardner-the-secret-conversations.html?pagewanted=1&hp

‘Eye to Eye: Taher Shah, Unlikely Overnight Pop Sensation’ By James Hamblin In The Atlantic

“If I had to disable you with just one part of my body,” Taher Shah announces apropos of nothing, lowering his shades as ice cubes crackle in his lemonade, “I would use my eyes.”

I look away, dipping my hand into the pool at Shah’s Sindh estate. Rich, fatty sauces drift lazily off of my fingertips, layering in rows across the surface of the artificially cooled water.

He’s not really going to disable me, I think.

Still, I’ve been here too long. I should get out … of this dream world wherein I traveled to Pakistan to profile Taher Shah.

I have actually not yet met this summer’s international pop sensation-in-the-making. I requested an interview but am still waiting. Maybe it’s all part of the mystique.

Taher Shah’s digital tail is short, almost eating itself. The most credible Twitter account in his name (Or is it this one? There are impostors) was just opened at the end of April, and it is little more than an exaltation of the human eye.

The one thing we know for sure about the self-describedsinger/lyricist/writer/model/actor/producer/director/businessman is that he has a super-hot single. Despite YouTube being banned in his home country, his recently released debut “classic epic song and video” has already been viewed half a million times around the world.

If you haven’t seen it, here it is. I don’t think there’s really anything I can say to prepare you.The single is entitled “Eye to Eye” (“Ankhon he Ankhon Mei” in Urdu). Yes, a good amount of it is him looking pretty longingly at another incarnation of himself. He also lays claim to your heart without regard for your perspective on the matter. (“Your heart is mine because I love you.”) But let’s not get on him about syntax; any effort at working multilingually is a noble one.

Link to video; http://vimeo.com/64215903

Link to full article;

http://www.theatlantic.com/entertainment/archive/2013/07/eye-to-eye-taher-shah-unlikely-overnight-pop-sensation/277471/

Posted By F. Sheikh