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The post ‘The Voice’ Contestant Alexa Cappelli Treats Neighbors to Weekly Performance in Her Cul-de-Sac appeared first on The Western Journal.

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The post Listen to the voice of Generation C — they have answers for Africa’s future appeared first on The Mail & Guardian.

Few health care professionals receive comprehensive training in how to effectively help their patients with obesity. Yet patients are often wanting, needing, and looking for help when they go to the doctor. We, as a group of patients with obesity, share our common experiences and needs when going to the doctor from a place of honesty and hope, with the assumption that clinicians want to know what their patients really think and feel. Our "wish list" for a treatment plan may represent an ideal, but our hope is that our language will speak to clinicians about how they can help their patients manage their obesity.

The show was postponed last month because of the COVID-19 pandemic

Considered too fragile to ever be played again, the recordings have been newly reconstructed ... and they are wonderfully creepy.

Captain Michael Clarke (left) listens as Bill Lawry speaks to the Australian team before the Melbourne Test v Sri Lanka on December 26, 2012. Pic/Getty Images

Bill Lawry has called time on his fulfilling 40-year career as a television commentator with Channel Nine. His retirement is a loss and no commentator can utter 'it's all happening' as excitingly as the former Australian captain. Lawry, 81, (nicknamed Phanto for his love for Phantom comics) decided he had enough of commentary when his employers lost the bid to cover cricket Down Under. Lawry enjoyed every moment of his commentary years. He was grateful for the opportunity Kerry Packer gave him in 1977, six years after retiring from first-class cricket.

Cricket destiny was not so kind to Lawry during the 1970-71 Ashes. Selectors Sir Don Bradman, Neil Harvey and Sam Loxton dumped him despite his 324 runs in five Tests at an average of 40.50. The illustrious ones who wielded the axe didn't feel obliged to inform him. When Lawry tried to meet one of them before flying out of Adelaide on the morning after the sixth Test, he discovered the selectors had already checked out for home. He then headed to the room of his fellow Victorians Ian Redpath and Keith Stackpole who delivered the news of his sacking.

He took it on his chin, headed home to Melbourne and put behind his disappointment in the company of the pigeons he reared as a hobby. Lawry scored 5,234 runs in 67 Tests at 47.15. As a batsman, he could be obdurate and adhesive, but his supporters didn't see that as a negative. Ian Wooldridge, the famous British sports writer, apparently called Lawry, A Corpse With Pads On. Lawry defended Wooldridge in an interview, saying a sub-editor used those words in a headline for one of Wooldridge's pieces. "I always regarded Wooldridge as a tremendous writer. I have always had a good relationship with him," Lawry said in Why Cricket Matters.

Richie Benaud, his first captain, often recalled Lawry's courageous 130 on a difficult, uneven pitch at Lord's in 1961 when England pacemen Fred Trueman and Brian Statham rendered the opener "black and blue" with their body blows. The 1962 edition of Wisden Cricketers' Almanack projected his bravado aptly: "Lawry was Australia's spinal column in the second Test at Lord's. This was an indomitable effort of sheer graft under severe pressure with the ball flying about and he was tenacious, painstaking and wonderfully cool."

On the 1964-65 tour of the West Indies, danger came in the form of the swift Wes Hall and Charlie Griffith, who damaged Lawry's right cheekbone, but couldn't stop him from carving a gritty double century. Lawry had a sweet and sour stint as captain, winning nine of his 25 Tests. His eight losses included four in a row on the dreadful 1969-70 tour of South Africa. For 35 seasons — from 1969-70 to 2004-05 — he enjoyed being the only Australian captain to win a Test series in India.

Despite being on top of MAK Pataudi's 1969-70 side, Lawry found captaincy hard in India. His team were not granted current-day luxuries and amenities. Plus, there were a couple of riots. There's an amusing story about the Mumbai Test of that series when fans set a stand on fire at the Brabourne Stadium. The crowd felt the decision to send back S Venkataraghavan (caught behind by Brian Taber off Alan Connolly) was a dubious one. The Australian players feared for their lives and at one point, vice-captain Chappell suggested to skipper Lawry that the team should retreat to the dressing room. In Lawry's mind, there was a Test match to be won, so he said (according to historian Gideon Haigh in The Summer Game), "Hell, we need a wicket badly."

From a personal point of view, it was a disappointing series for Lawry. His 10 trips to the crease could fetch him only one half century and he became unpopular with the media. However, there were no Australian newspaper journalists on tour for him to give his side of the story. Indeed, commentary was his second innings in cricket. He excelled, he entertained, even exaggerated. He got excited to the point of causing amusement to his fellow commentators. When Venkatapathy Raju and Javagal Srinath were running between the wickets in their quest to clinch a close win over the Australians at the Gabba in the 1992 World Cup, Lawry goaded the Indian pair to run like hares. And once, he confessed to saying, "Inzamam-ul-Haq has taken this attack by the throat of the neck."

Lawry was invariably on air when drama made its way into a match. He called many a memorable Indian cricket moment in Australia — Sachin Tendulkar's two Test hundreds on the 1991-92 tour, Sunil Gavaskar's walkout at Melbourne and the victory that followed in 1981. Australian cricket viewing will never be the same without Channel Nine and the new rights holders could regret that they have no one as good as Lawry to scream on air, "What a ripper!"

mid-day's group sports editor Clayton Murzello is a purist with an open stance. He tweets @ClaytonMurzello Send your feedback to mailbag@mid-day.com

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‘Main Shayar To Nahin’ in Bobby gave birth to two stars. Rishi Kapoor who lip-synced this timeless song and Shailendra Sing who actually sang the tune to eternal fame. Singh, now 67, living alone in blissful isolation, blames his own poor networking abilities to his short-lived stardom. “I don’t speak about my past glory and when my friend Chintu (Rishi Kapoor) passed away I saw that wonderful phase in my life when we both dazzled the world come to a closure,” says the affable singer when I coax him into an interview.

“I met him after he returned from his treatment, three months ago. He was his usual self, so full of life, sparkling with humour and warmth…Why does such a man leave us so quickly? We were almost the same age. I still remember a very young fair-skinned boy standing quietly in the studio when I was recording ‘Main Shayar Toh Nahin’ for Raj Saab and Laxmikant-Pyarelalji. He didn’t say anything. Just kept observing, later he introduced himself as the hero of the film that I was singing for, says Shailendra fondly.

How did he, a newcomer, get such a prized singing assignment like Bobby? Shailendra sighs, “Even I wondered why, and how. I had nothing to do with the film fraternity. I lived in Pune and learnt classical Hindustani music from my Guru. Then suddenly one day I was told that Raj Kapoor Saab was looking for a fresh voice for his son, and why don’t I try for it?”

Shailendra “gave it a try” with no expectations. “How was I to know that Raj Saab would like my voice? At that time I had no idea what it was for, that Raj Saab was making a film called Bobby with his son Rishi Kapoor in the lead. Or that the composers were the great Laxmikant-Pyarelal and that my duets would be with the Singing Queen Lata Mangeshkarji. I knew none of this.”

Here came a seemingly insurmountable hurdle. “Laxmikant-Pyarelal wanted the voice of Mohd Rafi Saab for Chintu. But Raj Saab was adamant. It had to be a fresh new voice for Chintu. Aur bhala Raj Saab ki baat kaun taal sakta ttha? So there I was, being told by Laxmikantji to sing something, anything…And guess what I chose to sing for him? ‘Dekha Na Haye Re Socha Na Haye Re’ from Bombay To Goa. An R D Burman composition for Laxmikant-Pyarelal! I remember the very talented composer Rajesh Roshan played the congo as I sang for Laxmi-Pyareji. That was the song of my life ‘Dekha Na Haye Re Socha Na Haye Re’. I never cared about cultivating the right people in the film industry, or belonging to any camp.”

Thereafter a couple of significant incidents happened in the Kapoor parivar. “Daboo (Randhir Kapoor) got married. Raj Saab lost his father (Prithviraj Kapoor). Finally I recorded ‘Main Shayar Toh Nahin’. Everyone congratulated me. I was formally introduced to the film fraternity by Raj saab at a get-together. I remember Sharmila Tagore, Mumtaz, Rajesh Khanna, R D Burman they were all there. My dream run had just begun. The duets with Lataji were yet to come, though she was there for my recording of ‘Main Shayar Toh Nahin’. I remember she introduced herself (as though I didn’t know who she was!), watched me sing and then left quietly. Soon I was singing ‘Hum Tum Ek Kamre Band Ho’ with her. The first of our three super hit duets in Bobby. She saw my nervousness and put me at ease. I became a lifelong fan. My day still starts with her song. By the way ‘Main Shayar Toh Nahin’ was re-recorded. I had to do it a second time, though I thought I was better in the first version.”

Shailendra Singh reveals how his dream of becoming Rishi Kapoor’s permanent ghost voice were shattered. “I thought I’d be Chintu’s ghost-voice, just like Mukesh Saab for Raaj saab. Chintu of course believed in my voice. He would always recommend me. I sang two songs for him in his second film Zehreela Insaan. I was supposed to sing a third song ‘Oh Hanseeni’, which became the biggest hit of the film. Before I knew it, the song was taken away from me and given to Kishore Kumar Saab.”

An identical situation arose during Saagar. “I was told S P Balasubramaniamji would be Kamal Haasan’s voice. And I would be singing all the songs for Chintu. I recorded one song ‘Jaane Do Na’ with Ashaji for Saagar .It was used for the mahurat of the film. And then suddenly, all the other songs were sung by Kishore Kumar Saab. I don’t blame anyone for this sudden change. Kishoreda was a much bigger and better singer than me. I am happy to have got songs like ‘Main Shayar Toh Nahin’ (Bobby), ‘Humne Tumko Dekha’ (Khel Khel Mein), ‘Sham Suhanee Aaye’ (Zinda Dil), ‘Hoga Tumse Pyara Kaun’ (Zamane Ko Dikhana Hai), ‘Jaane Do Na’ (Saagar) and ‘Oh Meri Jaan’ (Manzil Manzil). The rest was all destiny.”

In 1994, Shailendra Singh was hospitalized for complication due to diabetes. “The talk in the industry was that I had a heart attack and that I had died. I didn’t die. But the rumours killed my career.”

Shailendra’s acting ambitions also came in the way of his singing career. “I played the lead in a couple of Hindi films Agreement opposite Rekhaji and Do Jasoos where I got to work with Raj Saab as an actor. Then I did guest appearances in two films with Bhaijaan (Mehmood) Ginny Aur Johnny and Naukar. I was very close to Bhaijaan. I also played the lead in a Bengali film Ajosro Dhanyobaad with Aparna Sen as my leading lady. I spoke all my dialogue in Bengali and sang all the songs…I soon realized acting wasn’t my forte. Singing was. And singing it shall remain. Even today no matter where I go at every concert the audiences go wild when I sing ‘Main Shayar Toh Nahin’. Incidentally Chintu returned to sing ‘Main Shayar Toh Nahin’ in Kunal Kohli’s Hum Tum in my voice. It was a grand reunion. Now I will sing ‘Main Shayar Toh Nahin’ for Chintu when we meet again. ”

Also Read: Dimple Kapadia’s big Rishi Kapoor connection & little Irrfan Khan connection

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