Latest news with #Innu
Time of India
2 days ago
- Entertainment
- Time of India
‘Theruvinte Mon': Vedan's music video brings Kerala's street life to the forefront; A gritty rap anthem for the margins
(Picture Courtesy: Facebook) Rising Malayalam rapper Vedan has dropped the much-awaited music video for 'Theruvinte Mon' ("Son of the Streets"), a track that has already connected deeply with audiences for its raw lyricism and powerful storytelling. Originally released as an audio single in 2024, the song's visual counterpart, produced by Aashiq Bava for Saina Music Indie, takes its impact to another level. Directed by Jafar Ali, with cinematography by Hrithwik Sasikumar and editing by Kasyap Bhasker, the video plunges viewers into the gritty alleyways and local neighbourhoods of Kerala. These visuals aren't stylized fantasies — they're grounded in reality, drawing from the textures and tempo of actual street life. It's a visual narrative built on themes of brotherhood, rebellion, family, and survival, all woven together with intimate shots of young men navigating hardship and holding tight to their identity. 'Innu veena murivu naale arivalle' At its core, 'Theruvinte Mon' is more than just a song—it's a cultural statement. Vedan's lyrics, co-featuring HRISHI, are laced with themes of resilience, identity, defiance, and belonging. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Keep Your Home Efficient with This Plug-In elecTrick - Save upto 80% on Power Bill Learn More Undo One standout line, 'Innu veena murivu naale arivalle' ('Today's wounds become tomorrow's knowledge'), encapsulates the heart of the track: pain is not just endured, it is transformed into strength. Inspired by Vedan's own upbringing in a challenging urban environment, the song is deeply personal, yet widely relatable. The recurring motif of being the "son of the street" speaks to a generation that finds pride and purpose in its roots. Vedan doesn't sugarcoat reality—he embraces it. His storytelling explores loyalty, loss, growth, and strength gained through adversity. Vedan x Hrishi - Theruvinte Mon | Jafar Ali | Music Video | Saina Music Indie What makes this release feel full-circle is the history behind it: Vedan signed Theruvinte Mon with Saina Music Indie nearly three years ago, when Kerala's indie music industry was still in its infancy. Today, the label has become a key driver of regional talent, championing independent voices that speak directly from the heart. 'The track is rooted in Vedan's personal experiences and observations' In an exclusive chat, the makers revealed, 'The track is rooted in Vedan's personal experiences and observations from growing up in a tough urban environment. It reflects his journey as an artist finding his voice through music and storytelling. Theruvinte Mon serves as an authentic expression of his background, unfiltered, and deeply connected to the realities he has lived-elevated through powerful visuals and refined production that stay true to his roots. ' Beyond studio releases, Saina Music Indie also curates Ocha, Kerala's flagship indie music festival. Over the last two years, the platform has hosted some of the most compelling names in the scene, including Vedan, Dabzee, Baby Jean, and Gabri. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
Cision Canada
6 days ago
- Entertainment
- Cision Canada
THE ARTS PUT ON A SHOW AT THE GARDEN, JULY 6 TO AUGUST 24 - ESPACE POUR LA VIE UNVEILS COMPLETE PROGRAM Français
MONTREAL, June 4, 2025 /CNW/ - Espace pour la vie is delighted to announce the names of the 8 artists who will be performing in the vibrant greenery of the Jardin botanique this summer, from July 6 to August 24, as part of The Arts Put on a Show at the Garden. Come and hear local artists in a wealth of musical styles, in the heart of the Jardin botanique—a truly unique, intimate and atypical performance environment for the artists. A feast for the senses Nature and culture combine to gently awaken your senses. The Arts Put on a Show at the Garden is the ideal complement to the experience of visiting the Jardin botanique. The music blends with the blooms to bring multiple generations together and attract visitors eager to discover the Jardin botanique in a whole new light. The Arts Put on a Show at the Garden offers a fitting musical interlude to the eye-catching summer blossoms, thanks to Brazen Blooms —an enchanting journey into the intimate side of flowers—before or after the concerts. Keep your eyes and ears open at the Jardin this summer! 2025 PROGRAM Sunday, 2 pm | Running time: 60 min July 6 | Damien Robitaille From catchy choruses to poignant ballads, Damien Robitaille whisks us off in a whirlwind of joy and good spirits—a festive atmosphere where music and a sense of camaraderie team up to create moments of pure bliss. July 13 |Jacques Michel Alone on stage with his guitar and harmonica, Jacques Michel gets up close and personal to deliver the great hits that have marked́ generations of fans. The voice, poetry and vibe of this stellar singer-songwriter are timeless and impervious to the whims of fashion. July 20 | Martha Wainwright With her guitar in hand, Martha Wainwright puts on a show that marks the 20th anniversary of her eponymous debut album. Her powerful voice and soul-stirring songwriting have made her one of the leading artists of her generation. July 27 | Alfa Rococo Alfa Rococo is back! Combining songs from their new album Fais-moi rêver with classic favourites from their repertoire, the duo invites us into their festive and irresistibly danceable world, while at the same time embracing the dreamlike, celestial and emotional depth of their work. August 3| Gustafson Drawing inspiration from the 70s and 80s, Gustafson's irresistible electro-pop style propels his contemporary lyrics, which are lucid, nostalgic, and downright romantic—like a gentle summer breeze that carries hope and a yearning to dance... August 10 | Natasha Kanapé Innu writer, poet and interdisciplinary artist Natasha Kanapé conjures up a sparkling future with words that are in turn tender and incisive—a tribute to the strength of her people and her territory, carried by the power of harmonic sounds. August 17 | Maritza Maritza takes us on a musical journey about resilience, where songs in Spanish and French meld with folk, soul, indie and Latin sounds, to create a moment out of time—at once intimate, comforting, and bursting with light. August 24 | Safia Nolin A singular figure on the contemporary art scene, Safia Nolin embodies a powerful political voice. Her minimalist melodies—at the crossroads of folk, grunge and stoner rock—give rise to an introspective body of work that is both melancholy and full of hope. Télé-Québec and La Presse are partners in The Arts Put on a Show at the Garden. Espace pour la vie Protecting biodiversity and the environment is at the heart of the mission of Espace pour la vie, which groups the Biodôme, the Biosphère, the Insectarium, the Jardin botanique and the Planétarium. Together, these Montreal museums form the largest natural-science complex in Canada, and each year welcome more than 2.5 million people. In light of the challenges facing our planet, Espace pour la vie is working on expanding its impact by fostering dialogue with communities and by taking actions aimed at engaging the population on the path to socioecological transition. Artist photos
Montreal Gazette
21-05-2025
- Health
- Montreal Gazette
Letters: Coroner's report into homeless man's death must be followed by action
There are some Gazette articles that should never be forgotten. One such article tells the story of Raphaël André, the Innu man who froze to death overnight next to a closed homeless shelter and the subsequent coroner's inquest. The recent 75-page report by coroner Stéphanie Gamache, which analyzes the circumstances surrounding the death and offers recommendations to prevent future homeless tragedies, must be implemented. Gamache paraphrased the powerful message by the victim's mother by telling the inquiry that on Jan. 16, 2021 — in a city with more than a million doors — all were closed that night. Let us always have doors that are accessible to those in need. Meanwhile, as Gamache noted, a warming tent placed in Cabot Square in André's honour has been used by over 108,000 people in the 14 months it was open. Shloime Perel, Côte-St-Luc Medical specialists deserve gratitude An expression of profound gratitude is extended to Dr. Vincent Oliva, whose voice on behalf of Quebec's medical specialists — in a full-page ad in the May 20 Gazette — has vowed to continue to care for Quebecers despite the policies of the CAQ government that have created 'untenable conditions' for the venerable profession. It is reassuring to know that our doctors will respect their Hippocratic Oath. Vivianne M. Silver, Côte-St-Luc A few proposals by special delivery With the rise of email, text messages and social media, home mail delivery is not as essential as it was 30 years ago. However, completely eliminating it would create challenges, especially for seniors and people with special needs. Reducing home delivery to two days per week, instead of five, could reduce costs while still allowing mail carriers to make their rounds and potentially notice overflowing mailboxes of seniors, suggesting a welfare check by authorities is needed. For people who still prefer home delivery over a P.O. box or a community mailbox, it could be offered for a monthly fee of, say, $20 per home address, but free for seniors and people with special needs. Ragnar Radtke, Beaconsfield Blame belongs with aggressor Re: ' Trump says Russia-Ukraine ceasefire talks will begin 'immediately'' (NP Montreal, May 20) It is morally reprehensible and factually inaccurate when Donald Trump and his administration appear to assign equal culpability to both sides of the Kremlin-orchestrated war against Ukraine. Threatening to 'walk away' and let them thrash it out fails to take into account that one side is the powerful aggressor and the other the greatly outnumbered victim. Painting Volodymyr Zelenskyy as 'difficult,' as Trump has done in public comments, suggests the U.S. president now expects Ukraine's capitulation to achieve his dream of being a 'peacemaker.' Natalie Turko-Slack, Pierrefonds Submitting a letter to the editor Letters should be sent by email to letters@ We prioritize letters that respond to, or are inspired by, articles published by The Gazette. If you are responding to a specific article, let us know which one. Letters should be sent uniquely to us. The shorter they are — ideally, fewer than 200 words — the greater the chance of publication. Timing, clarity, factual accuracy and tone are all important, as is whether the writer has something new to add to the conversation. We reserve the right to edit and condense all letters. Care is taken to preserve the core of the writer's argument. Our policy is not to publish anonymous letters, those with pseudonyms or 'open letters' addressed to third parties. Letters are published with the author's full name and city or neighbourhood/borough of residence. Include a phone number and address to help verify identity; these will not be published. We will not indicate to you whether your letter will be published. If it has not been published within 10 days or so, it is not likely to be.
Boston Globe
21-05-2025
- Boston Globe
Can a river be a person?
Macfarlane starts off small. It is 2022, and the local spring is running dry. 'Has the water died?,' his young son asks. It's a query that will recur throughout this book. But by 'If you find it hard to think of a river as alive, try picturing a dying river or a dead river,' he notes. 'This is easier.' Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up Related : Although it may be the logical next step, the author takes a greater leap in his choice to use anthropomorphic grammar. Instead of saying, for example 'a river that flows,' he writes, 'I prefer to speak of rivers who flow,' treating rivers and other bodies of water as if they were people. Macfarlane's smooth prose doesn't often rely on this construction, but it is jarring at first. For readers who accept the conceit of the book, however, it is part of the package, and this grammatical anomaly, initially off-putting as it may be, becomes as smooth as a river stone over time, in part through usage and in part thanks to Macfarlane's copious quotations from indigenous sources who do the same. Advertisement The personal explorations chronicled in the book are equally adventurous. Although the author starts with the spring near his home in Cambridge, England, with detours to other bodies of water, including the Mississippi, the Arno, and the Ouse, the bulk of this book is centered on explorations of three threatened waterways, in the company of the locals who know them intimately and are fighting for their preservation. The first of these adventures has him hiking through the mountains of Ecuador's steamy Los Cedros forest. He and his colleagues are tracking the area's namesake River of the Cedars. Like the other waterways of this watershed, such as the Puyango-Tumbes River, it is being polluted by the residue left by gold mining. His next great adventure takes him to Chennai, India, where the Adyar has essentially been killed by development and industrial pollution that also poisons the air around it. The final journey involves kayaking through the Mutehekau Shipu Basin in Canada, a strenuous trip that sees him bleeding from black fly bites and capsizing in 'a welter of white water' in life-threatening rapids. Related : The scholarship underpinning these adventures is impressive. As Macfarlane undertakes each journey, he casually references both history — citing, for example, humanity's 'drive for control' over rivers, begun more than 5,000 years ago on the Yangtze — and literature, from Gilgamesh on, as well as current environmental legislation, such as the Whanganui River Claims Settlement Act of Aotearoa (New Zealand). Throughout, he weaves in personal stories of activists and beliefs from riverine cultures as far-flung as India's Idu Mishmi and Canada's Innu, building a foundation for his case that is both deep and broad. Advertisement But it is the author's language that takes the biggest leaps. Macfarlane is a lyrical writer, his prose packed with alliteration and imagery, much of it connected to rivers and water. But while the overall effect is hypnotic, at times his metaphors are strained. 'I'm pierced again by hope and futility: the two streams of the waterfall,' he writes. And not all his imagery hits home: 'the mintcake-white hyperbolic love-token of the Taj Mahal' is as over-ornamented as the structure it seeks to ridicule. Coupled with the copious references, the result is dense and can be hard going. However, for all these missteps, this is a profoundly beautiful and moving work. Watching dragonflies in India's Vedanthangal bird sanctuary, which has been polluted by the industrial giant Sun Pharma, he notes, 'the sunset has slaughter in it, and spills scarlet onto the vast clouds massing inland.' Elsewhere, a butterfly passes, 'a scrap of silk on a 500-mile migration,' and 'a golden plover cries like rain.' By the time we arrive, with Macfarlane, at the thundering gorge at the mouth of the Mutehekau Shipu, we are ready to 'hear speech … tumbling out of this mouth,' which the author translates in a breathless, elegiac roar. We are ready to go with the flow. IS A RIVER ALIVE? By Robert Macfarlane W.W. Norton, 384 pages, $31.99 Advertisement Clea Simon is the Somerville-based author most recently of the novel " ."
Hindustan Times
16-05-2025
- Hindustan Times
‘Why do companies have rights, but not rivers,' asks nature writer Robert Macfarlane
Even before he began travelling along the rivers of Ecuador, Canada and India for his new book, nature writer Robert Macfarlane spent hours beside the 10,000-year-old chalk springs of Nine Wells, near his home in Cambridge, England. These streams drew life to the region, as rivers tend to do: at first, they fed the birch and hazel trees; then the deer and foxes; then people, kings and a city. 'These streams are where a river is newborn,' says Macfarlane, 48. His new book, Is a River Alive? (May 2025; Penguin), focuses on what happens further downstream, in three massive river systems: the Rio Los Cedros (River of the Forest of the Cedars) in Ecuador, now under threat from gold mining; the choked, polluted and encroached-upon creeks, lagoons and rivers of Chennai; and the Mutehekau Shipu or Magpie River of north-eastern Quebec, which was granted personhood in 2021, following a pitched campaign led by the indigenous Innu people. For two years, Macfarlane has toured these regions, trying to answer the questions: Who decides what is and isn't alive? How is this changing? And what does it mean to recognise, both in law and the imagination, that rivers (as well as mountains, glaciers, forests) are living entities? 'In a sense, Is a River Alive? is a love letter to rivers, and their many defenders,' says Macfarlane. 'The book is also a political and philosophical confrontation.' Over the years, we've accepted the idea that a corporation can have rights, including the rights to privacy and fair trial, Macfarlane adds. Isn't it strange that we're uncomfortable saying the same of a river's right to flow, go unpolluted, or bring life to the earth around it? Excerpts from an interview. What first sparked your love for nature? I grew up as a climber, in a family of mountaineers. My grandfather, Edward Peck, was a mountaineer. My parents have returned time and again to the Himalayas. As a child, holidays meant going to the mountains. And when you go to the mountains, you go to the rivers too — they give energy to each other. So my first book, Mountains of the Mind, came from a question I've had since childhood: Why do people climb these peaks? I was born in Oxford and grew up in the countryside of Nottinghamshire. So I read my way into a love of landscape, as well as walked my way into it. In my teenage years, I became fascinated by poetry about nature. I went on to study literature at Cambridge and Oxford. Over time, almost everything I did began to fall within the field of environmental humanities, which I sometimes describe as the borderlands where nature, culture and politics meet. I now teach literature and the environmental humanities at Cambridge. Is a River Alive? lives in this tangle of complexity too. What led you to ask this question, about a river? It emerged from a bunch of ideas, in 2020. I've always been interested in who decides what is alive and what is dead. That question is deeply tangled with empire, religion and philosophical worldviews. The worldview I've inherited, probably best described as 'rationalism', sees animals as more alive than plants, humans as more alive than animals, and water, rock and large natural systems as sort of passive, inert resources. Countries such as India have long recognised rivers as living entities in myth and religion. India is also one of the early nations to recognise river rights under the law, in 2017. Also that year, the Whanganui River was acknowledged as an 'indivisible, living whole', under a Parliamentary Act in New Zealand. In each of the three regions in the book, rivers are under threat. But they are also being radically reimagined as alive and life-giving. I realised that is how I want to think about life. In the book, you discuss this idea with people from indigenous communities, among others. What did you learn? No landscape speaks with a single voice, but one thing that connects these voices is relationality — the understanding that our life is continuous with and linked to the life of water, and all the lives that water makes possible. Ecuador's constitution was the first in the world to recognise the Rights of Nature (including right to respect, and maintenance of life cycles), in 2008. What was it like travelling through this landscape? (Before Ecuador) I had never been in a jurisdiction where nature's rights were legally recognised. It was exciting to enter that legal space, which is also a morally imaginative space. I also felt this uncanny resonance with the Epic of Gilgamesh (the oldest written work of narrative literature, from c. 2100 BCE Mesopotamia). It features a sacred cedar forest that is eventually destroyed in the epic. So in Los Cedros, in Ecuador, I found myself wandering, you could say, in a forest made at once of literature, art, chlorophyll, birds, and possible destruction. What will it take for more countries to take this step? I applaud any efforts, legal or cultural, that cause us to rethink the fundamentally anthropocentric laws that have come to govern all jurisdictions. We've accepted the idea that a corporation can have rights, including to privacy and fair trial. It's a narrative that has been exported around the world by colonialism, by legal structures of property and ownership. At the same time that those laws were being framed, in England, the river was being redefined as a resource: it could take our waste away, provide power, fill our glasses and cups. This narrative is so utterly dominant around the world that we have created dam structures that have measurably slowed the rotation of the Earth. We've forgotten that rivers are also life-givers. The movement to recognise the rights of nature is more than symbolic; it is a philosophical confrontation. That not a single river in the UK is in good health is proof that the stories we've been telling about our rivers have been desperately inaccurate. What is it like writing about nature as we fundamentally alter it? I think hopelessness is a luxury. So the book, and I, live in the flicker between light and shadow, damage and healing, hope and despair.
