Connect with us

Intel CEO’s departure makes Dell the last tech company in Trump’s council



Following the tragic events in Charlottesville this weekend, a string of high-profile chief executives – including Intel CEO Brian Krzanich – have decided to resign from President Trump’s advisory council, The Guardian reports.

Pharmaceutical titan Merck and sports apparel retailer Under Armour have also elected to depart Trump’s manufacturing board. Interestingly, with Intel out of the picture, Dell is now the only tech company left in the council.

The executives have cited Trump’s unfitting reaction to the tragedy as the main reason to withdraw from the council.

“Earlier today, I tendered my resignation from the American Manufacturing Council,” Krzanich said in a heartfelt statement on the Intel blog. “I resigned to call attention to the serious harm our divided political climate is causing to critical issues.”

“I have already made clear my abhorrence at the recent hate-spawned violence in Charlottesville, and earlier today I called on all leaders to condemn the white supremacists and their ilk who marched and committed violence,” he continued. “We should honor – not attack – those who have stood up for equality and other cherished American values.”

The official announcement on the Intel Blog came shortly after Krzanic implored US leaders to stand united against hate speech and extremist views.

Merck CEO Kenneth Frazier took to Twitter to voice his disapproval of Trump’s actions and “take a stand against intolerance and extremisms.”

You can read his full statement below.

In turn, the President opted to react in poor taste, disregarding the criticism addressed in these statements and merely calling Merck’s drug prices a “RIPOFF.”

“Now that Ken Frazier of Merck Pharma has resigned from President’s Manufacturing Council, he will have more time to LOWER RIPOFF DRUG PRICES,” Trump said.

The last standing tech company on Trump’s council is now Dell – and from the looks of it, it has no intention to discontinue its service to the President at this point.

When asked about his view on the recent departures, a spokesperson for Dell CEO Michael Dell said that:

While we wouldn’t comment on any member’s personal decision, there’s no change in Dell engaging with the Trump administration and governments around the world to share our perspective on policy issues that affect our company, customers and employees.

This isn’t the first time Trump has divided the members of the manufacturing board with his insensitive actions.

Earlier this year, Tesla CEO Elon Musk abandoned the President’s council after Trump pulled out of the Paris climate agreement. Reproaching the President’s decision, Musk stressed how “real” global warming is and deemed the move was “not good for America or the world.”

Curiously, Musk’s decision came a day after he tweeted that he did his best to steer Trump in the opposite direction:

Similarly to when Apple’s Tim Cook and Uber’s now-resigned Travis Kalanick left the council, Musk got some flak for abdicating the battle. But perhaps this disapproval was besides the point.

The departure of the CEOs of Intel, Merck and Under Armour is not simply about doing the right thing: It is about about exposing a man who has repeatedly proven himself incapable of putting aside his ego to make the right call.

Read next: This site helps you find the perfect Emoji domain name (with one caveat)



The Inner Eye: Satyajit Ray’s portrait of the great artist Benode Behari Mukherjee



Editor’s note: In a prolific career spanning nearly four decades, Satyajit Ray directed 36 films, including feature films, documentaries and shorts. His films have received worldwide critical acclaim and won him several awards, honours and recognition — both in India and elsewhere. In this column starting 25 June 2017, we discuss and dissect the films of Satyajit Ray (whose 96th birth anniversary was this May), in a bid to understand what really makes him one of the greatest filmmakers of the 20th century.

After completing his graduation in Economics from Presidency College in Kolkata, Satyajit Ray went to Shantiniketan in 1940, to study painting at the Visva-Bharati University founded by Rabindranath Tagore. It was at Shantiniketan that Ray met the eminent artist Benode Behari Mukherjee, who was a member of the faculty there. Benode Behari was severely myopic in one eye and blind in the other (he became completely blind a few years later, following an unsuccessful cataract operation), but despite his physical handicap, he was an artist par excellence, who continued to produce one remarkable work of art after another. Ray was deeply impacted and inspired by Benode Behari’s art, and many years later, as a tribute to his teacher, he made a documentary film on the latter’s life and works, aptly titled The Inner Eye.

Nemai Ghosh's photo of Satyajit Ray and Benode Behari Mukherjee on the sets of The Inner Eye

Nemai Ghosh’s photo of Satyajit Ray and Benode Behari Mukherjee on the sets of The Inner Eye

With a running time of 20 minutes, and starring the artist himself, this documentary opens with Benode Behari Mukherjee planning the design of a five feet high and 60 feet wide wall in a newly developed building in Shantiniketan, with the help of 20 murals, which in turn are in the form of coloured tiles manufactured in the district of Purulia. Only a fraction of the daunting task is an enormous and complex jigsaw puzzle, which the artist, now completely blind in both eyes, is seen descending upon with great zest, groping around to locate the pieces and their outlines, and placing them in their proper positions in the puzzle — not once wincing in despair at the daunting task that lay ahead. In his own baritone voice and impeccable diction, Satyajit Ray goes on to narrate Benode Behari’s family background, and how, at a very early age, he showed great promise in sketching and drawing. At the age of 12, Benode Behari attended Patha Bhavan — the school in Shantiniketan, and at the age of 15, he shifted to Kala Bhavan, as a student of the art wing of Shantiniketan, where he received tutelage under the great artist Nandalal Bose.

Very early on during his learning years, Benode Behari had decided that he had no interest in mythology — which used to be a staple subject of most budding artists of the time. Instead, he turned his attention to his surroundings — drawing the arid and desolate landscapes of the countryside outside the Shantiniketan campus, along with the lives of the Santhals who inhabited them. Ray goes on to explain that although drawing flora was not a problem for Benode Behari, but how, thanks to the artist’s weak eyesight, drawing small animals and birds was possible only when they were not in a state of motion. Through a series of sketches, drawings and paintings of his early student life, we get a glimpse of the remarkable new talent that had just appeared in the horizon of the Indian art scene.

We further learn from the film that upon his return from a rather rewarding trip to Japan, where he learned a lot from the works of such great masters of Oriental art as Tawaraya Sotatsu and Toba Sojo, Benode Behari was assigned to paint a fresco for one of the dormitories of Kala Bhavan. Inspired by an Egyptian fresco he had seen earlier, in which a lovely pond occupied the centre of the artwork, Benode Behari put a pond in the centre of his fresco too, but went on to pack twenty years of his loving and unhurried observations of the countryside, all depicted around that very pond. Needless to say, the resulting work of art was a telling study of the rural way of life in Bengal.

Ray goes on to talk about some of the other works of Benode Behari in the years that followed, including a fresco on the wall of China Bhavan in Shantiniketan, where a more austere composition of life on campus replaces the free-flowing lyricism of the pond fresco. In yet another fresco — which Satyajit Ray goes on to describe as ‘the only example of a truly epic conception in twentieth century Indian art’ — the artist plans, researches and executes an elaborate depiction of the lives of the saints and mystics of medieval India, covering three walls of a large hall. With shades of influences from various disparate art forms from all over the world, and yet all of them coming together as a synthesized, cohesive and organic whole, it is virtually impossible to believe that the entire fresco was painted directly on the walls, without any preliminary tracing whatsoever — a feat that only reveals the remarkable confidence that an artist of Benode Behari’s stature had in his own capabilities. While talking to Ray about the masterpiece, Benode Behari says, in his trademark wit — ‘I’ve taken only those elements which seemed pre-Renaissance to me. And whether it’s Byzantine, or Jain, or Pot, or Paata — a historian may differentiate between these forms, but how does it matter to an artist like you or me, tell me? If you put a folk figure next to a Jain one, whose daddy is going to chide you for that?’

In the years that followed, Benode Behari moved around a bit — first to Nepal, where he was offered the job of curatorship at the National Museum in Kathmandu, then to Rajasthan on a teaching assignment, and finally to Mussoorie, where he started his own school. It was during this final period that Benode Behari Mukherji lost his remaining eyesight forever. However, he continued to paint, draw, sketch, illustrate and create murals for the rest of his life.

Satyajit Ray’s deep reverence for the artist is evident as much from the fact that he set out to make the film with no financial backing whatsoever, as from the tone of his narration. Sparsely does Ray mention Benode Behari’s handicap, choosing to show the richness and uniqueness of his art instead. The underlying tone of the film is not one of pity, not even of sympathy. It is one of deep awe and respect. In changing the mood of the film from heavy to witty, the music from light and peppy during the Kathmandu scenes to the hopeful and optimistic through the recital of Raag Asavari during the film’s final scene, Ray himself paints a beautiful picture of the life of a remarkable man – a devoted artist, a born fighter and, in more ways than one, a great philosopher. All of this is revealed not only through Benode Behari Mukherjee’s art, but also in the final shot of the film, when Ray signs off with a quote from the man himself – ‘Blindness is a new feeling, a new experience, a new state of being’.

Bhaskar Chattopadhyay is an author and translator. His translations include 14: Stories That Inspired Satyajit Ray, and his original works include the mystery novels Patang, Penumbra and Here Falls The Shadow.


Continue Reading


Fukrey Returns box-office: Richa Chadha, Ali Fazal starrer crosses Rs 50 cr in its second weekend



Fukrey Returns and its success have clearly proven that 2017 was the year of comedy sequels (Judwaa 2, Golmaal Again).

The latest milestone of Mrigdeep Singh Lamba’s cult comedy film is the fact that it has crossed the Rs 50 cr mark.

A still from the song in Fukrey Returns. Youtube screengrab

A still from a song in Fukrey Returns. Youtube screengrab

Trade analyst Taran Adarsh recently took to Twitter to share the news that Fukrey Returns has earned Rs 59.01 crores at the Indian box-office in its second weekend. At the end of Sunday, Adarsh expects the film to touch the Rs 65 crore mark, with the absence of any other major film release till the next weekend, which is when Salman Khan-Katrina Kaif starrer Tiger Zinda Hai will hit the theaters.

Produced by Farhan Akhtar and Ritesh Sidhwani’s Excel Entertainment, Fukrey Returns has seen a consistent growth at the box office ever since its release on 8 December.

The film stars Richa Chadha, Pulkit Samrat, Ali Fazal, Varun Sharma and Manjot Singh in leading roles and sees all the cast members reprising their roles in this second installment of the Fukrey Franchise. The film revolves around a gang of troublemakers, mainly two boys — Hunny and Chucha and their amusing encounters.


Continue Reading


George Clooney reportedly working on eight-part limited series based on Watergate scandal




Dec,17 2017 17:12 06 IST

Los Angeles: Actors and filmmakers George Clooney and Grant Heslov, along with screenwriter-producer Matt Charman, are said to be working on a limited series that will explore the Watergate scandal that had forced then US President Richard Nixon out of office.

George Clooney. Image from Twitter/@TheWrap.

George Clooney. Image from Twitter/@TheWrap.

Charman, who co-wrote the screenplay for the Oscar-winning Steven Spielberg film Bridge of Spies, will serve as the writer on the eight-part limited series. It will delve into the stories of certain key figures in the infamous scandal.

Clooney and Heslov will be the executive producers, with sources saying that Clooney may also direct part of the series should Netflix pick it up, reports

Sonar Entertainment, which will produce, inked a first look deal with Clooney and Heslov’s Smokehouse Pictures last year.

The Watergate scandal erupted in June 1972 when five men were arrested for breaking into the headquarters of the Democratic National Committee at the Watergate complex in Washington D.C.

The subsequent investigation revealed a cover up initiated by high-ranking White House officials that eventually forced Nixon’s resignation in 1974.


Continue Reading

Subscribe to our Newsletter