Neuroplasticity and Decision-Making: How Your Brain Adapts to Make Better Choices

A friend of mine recently asked me “How does long-term neuroplasticity impact decision making?”

Her question got me thinking, about the fact that we are the sum of our experiences and memories. It led to this blog. Neuroplasticity is at the heart of making better decisions, and my book, Decision-Making: How to Make Better Choices in a World Full of Options, dives deeper into how you can train your brain to think more clearly and act with confidence.

Grab your copy here Refine your decision-making skills and avoid common pitfalls.

“Can we train our brains to make better decisions?” The answer lies in neuroplasticity—our brain’s remarkable ability to rewire itself based on experience, learning, and practice. Every decision we make strengthens neural pathways, shaping how we think, react, and choose in the future. By understanding neuroplasticity, we can refine our decision-making skills, reduce cognitive overload, and make more confident, effective choices.

How Neuroplasticity Impacts Decision-Making
Neuroplasticity allows the brain to adapt to new information, making decision-making a skill that improves with practice. Here’s how:

  1. Learning from Experience – Each choice we make strengthens certain neural connections, making similar decisions easier in the future. This is why experienced professionals rely on intuition—it’s a product of well-worn neural pathways developed over time.

  2. Overcoming Cognitive Biases – Our brains are wired with shortcuts (biases) that sometimes lead to poor decisions. By exposing ourselves to different perspectives and actively challenging our biases, we can rewire our thinking for better judgment.

  3. Reducing Decision Fatigue – Making too many choices can be exhausting. By forming habits and streamlining routine decisions, we free up mental energy for more critical choices.

  4. Adapting to New Information – Effective decision-making isn’t about always being right but about adjusting when new facts emerge. Neuroplasticity enables us to pivot and refine choices without feeling stuck in past decisions.

  5. Embracing Uncertainty with Confidence – Through practice and exposure to complex situations, our brains learn to handle uncertainty better. Over time, we become more comfortable making decisions even when outcomes are unclear.

A Personal Example: Decision-Making in a Tabletop RPG
I recently saw neuroplasticity in action in my tabletop RPG group, where we gather every other week to play narrative-driven games. In the past, I would create an exhaustive list of potential campaigns, making it difficult for the group to decide. Now, I realized that too many choices led to analysis paralysis, so I adapted — narrowing options down based on everyone’s preferences. The result? A decision made in just five minutes.

Had I presented 10, 15, or more choices, the extra cognitive load would have delayed the decision-making process. This shift in approach—learning from past experiences to refine decision-making—is a perfect example of neuroplasticity in action.

When Too Many Choices Require Guidance
There are times when narrowing options isn’t possible, and all choices must be presented. In these cases, providing a well-informed perspective can help guide the decision-making process. However, this comes with a caveat—our opinions can influence others, sometimes leading them toward choices they wouldn’t have made on their own, for better or worse.

The Danger of Indecision
A common misconception is that avoiding a decision is a neutral act. In reality, not making a decision is often worse than making the wrong one. As someone known for being factually decisive, I rely on gathering facts, making a choice, and course-correcting when new information arises. This flexible approach, enabled by neuroplasticity, ensures continuous improvement rather than stagnation.

Building Your Decision-Making Muscle
Neuroplasticity is like a muscle—the more you use it, the stronger it becomes. By regularly engaging in critical thinking, challenging biases, and learning from past decisions, we can train our brains to make better choices with greater ease. Decision-making isn’t just a skill; it’s a mindset that evolves over time.

So, the next time you face a tough choice, remember: your brain is adaptable, your decisions shape your future, and with practice, you can become a more confident, effective decision-maker.

JPS Nagi
April 17, 2025

Nasir Hussain: The Visionary Behind Dev Anand and Shammi Kapoor’s Iconic Screen Persona

The history of Indian cinema is adorned with legendary filmmakers, but few have shaped the image of Bollywood’s leading men quite like Nasir Hussain. Despite his significant contributions, he remains one of the most underappreciated filmmakers in the industry. Known for his breezy musical entertainers, romance-infused narratives, and trendsetting storytelling, Hussain played a pivotal role in defining the onscreen personas of Dev Anand and Shammi Kapoor—two of Bollywood’s most beloved stars.

While Dev Anand and Shammi Kapoor were immensely talented, their careers skyrocketed after starring in Hussain’s films, which cemented their distinct styles—Dev Anand as the charming, fast-talking, stylish lover, and Shammi Kapoor as the rebellious, energetic, flamboyant heartthrob. The way we remember these stars today is largely because of how Nasir Hussain envisioned and presented them on screen.

Who Was Nasir Hussain?
Born in 1926 in Bhopal, Nasir Hussain grew up with a deep love for cinema and storytelling. After completing his education at Aligarh Muslim University, he moved to Mumbai and began his career in the film industry. Starting as a writer for Filmistan Studios, Hussain quickly gained recognition for his knack for crafting lighthearted, engaging stories that resonated with audiences.

His first major breakthrough came as a writer for Anarkali (1953) and Munimji (1955), both of which were major hits. However, it was his directorial debut, Tumsa Nahin Dekha (1957), that cemented his reputation as a filmmaker who understood youth, romance, and music better than most. From there, he went on to shape the landscape of Bollywood’s musical entertainers, directing and producing some of the most iconic films of the 1950s, 60s, and 70s.

His career spanned multiple decades, and while he eventually transitioned to mentoring the next generation of filmmakers—including his nephew Mansoor Khan, who directed Qayamat Se Qayamat Tak (1988)—his early work continues to be his most influential.

Nasir Hussain and Dev Anand: The Birth of the Suave Romantic Hero
Dev Anand was already an established actor, but it was Nasir Hussain who honed his image into the quintessential smooth-talking, debonair lover with impeccable style and effortless charm. The two worked together on:

Tumsa Nahin Dekha (1957)
While the film ultimately starred Shammi Kapoor, it was initially written for Dev Anand. The stylish, Westernized hero—a trope later popularized by Hussain—was meant to be Dev’s role, but he couldn’t commit due to scheduling conflicts.

Jab Pyar Kisi Se Hota Hai (1961)
This film was a defining moment for Dev Anand, showcasing him as the modern, flirtatious, yet sincere romantic hero. Paired opposite Asha Parekh, Dev’s character was lighthearted yet deeply emotional, a balance that became a staple in Nasir Hussain’s storytelling. The film’s music by Shankar-Jaikishan, including the evergreen hit “Jiya O Jiya O Jiya Kuch Bol Do”, further established his charming, carefree image.

Hussain’s style of filmmaking, which blended humor, romance, and catchy music, fit perfectly with Dev Anand’s persona. He reinforced Dev’s signature mannerisms—his rapid-fire dialogue delivery, stylish hair flips, and effortless charm—traits that became synonymous with the superstar.

Nasir Hussain and Shammi Kapoor: The Birth of the Rebellious Rockstar
Shammi Kapoor’s transformation from a struggling actor into Bollywood’s ultimate rock-n-roll hero is largely credited to Nasir Hussain. Before Tumsa Nahin Dekha (1957), Shammi was trying to establish himself but had yet to find his signature style. Hussain changed that forever.

Tumsa Nahin Dekha (1957)
Originally written for Dev Anand, Shammi Kapoor took the role and completely reinvented himself. With a slicked-back hairstyle, stylish Western clothes, and boundless energy, Shammi became India’s answer to Elvis Presley. His energetic dance moves, over-the-top romantic gestures, and playful dialogue delivery made the film a massive hit and gave birth to the Shammi Kapoor persona we know today. The song “Sar Par Topi Laal”, composed by O.P. Nayyar, further reinforced his vibrant, youthful image.

Dil Deke Dekho (1959)
If Tumsa Nahin Dekha introduced Shammi Kapoor’s new image, Dil Deke Dekho solidified it. Pairing him with Asha Parekh in her debut, Nasir Hussain fine-tuned Shammi’s musical, flamboyant lover-boy image. The film’s peppy songs by Usha Khanna, including “Dil Deke Dekho Dil Deke Dekho”, made it clear that Shammi Kapoor was now Bollywood’s new-age romantic hero.

Teesri Manzil (1966)
Perhaps the most iconic film in Nasir Hussain’s filmography, Teesri Manzil elevated Shammi Kapoor’s persona to a cult level. Blending mystery, romance, and music, the film was an absolute game-changer. Shammi’s stylish swagger, his intense yet playful chemistry with Asha Parekh, and R.D. Burman’s electrifying soundtrack (including “O Haseena Zulfon Wali” and “Tumne Mujhe Dekha”) turned him into the ultimate rock-n-roll star.

By this time, Shammi Kapoor was no longer just an actor—he was a phenomenon, and much of that success can be traced back to Nasir Hussain’s vision.

Nasir Hussain: The Architect of Bollywood’s Musical Blockbusters
Beyond shaping Dev Anand and Shammi Kapoor’s screen personas, Nasir Hussain revolutionized Bollywood’s musical romance genre. His films were the blueprint for what we now recognize as the quintessential Bollywood masala movie—a trend that influenced filmmakers for generations.

His ability to combine catchy music, romance, and youthful rebellion gave Indian cinema a fresh identity in the 1950s and 60s. His collaborations with music composers like O.P. Nayyar, Shankar-Jaikishan, and R.D. Burman created some of the most memorable soundtracks in Bollywood history.

Why Nasir Hussain Deserves More Recognition
Despite being one of the most influential filmmakers in Indian cinema, Nasir Hussain remains underappreciated. His films set trends, launched careers, and defined eras, yet his contributions are often overshadowed by the stars he helped create.

Without Hussain’s vision, we might not remember Dev Anand as the effortlessly cool, stylish lover or Shammi Kapoor as the wild, rebellious rockstar. He didn’t just make films—he built legends.

In an industry where directors are often remembered for their grand, artistic storytelling, Hussain’s fun, musical, and trendsetting approach to filmmaking is often overlooked. However, his impact on Bollywood is undeniable. His ability to shape the personas of two of India’s biggest stars is proof of his genius.

It’s time we celebrate Nasir Hussain for what he truly was—a pioneer, a visionary, and the man who redefined Bollywood’s leading men.

JPS Nagi
March 23, 2025

The Many Faces of Sauron: Understanding the Dark Lord’s Ten Forms in Middle-Earth

The Many Faces of Sauron: Understanding the Dark Lord’s Ten Forms in Middle-earth
J.R.R. Tolkien’s The Lord of the Rings and its related works present Sauron as one of the most complex and multifaceted villains in fantasy literature. Unlike many one-dimensional dark lords, Sauron’s ability to change form and deceive his enemies allowed him to remain a looming threat for thousands of years. His various manifestations were not just disguises but strategic choices, each serving a specific purpose in his ultimate goal: absolute domination over Middle-earth.

From his origins as a Maia to his final incarnation as the ever-watchful Eye, Sauron’s journey through these ten forms showcases his adaptability, cunning, and relentless ambition. This article explores each of his forms in detail, shedding light on how he evolved from a benevolent spirit into the ultimate personification of evil in Middle-earth.

Mairon the Admirable – The Innocence of Power
Before he became Sauron, the Dark Lord was known as Mairon, meaning “the Admirable.” In his earliest days, he was a Maia—one of the lesser Ainur—imbued with great wisdom, skill, and power. Mairon was not inherently evil; in fact, he was one of the most gifted spirits, particularly in craftsmanship and order.

Unlike Morgoth (formerly Melkor), the first and greatest Dark Lord, Mairon did not initially seek destruction. Instead, he was drawn to the idea of perfection, structure, and control. He admired power and efficiency, preferring order over chaos. This very desire made him susceptible to corruption, as Morgoth’s promises of greater authority and mastery over the world lured him away from the service of the Valar.

As Mairon fell under Morgoth’s influence, his noble aspirations were twisted into a hunger for domination. He abandoned his old name, taking on a new one: Sauron, meaning “the Abhorred” in Quenya. From this point on, he would cease to be a mere servant of order and become a master of tyranny.

Lieutenant of Morgoth – The Shadow Emerges
During the First Age, Sauron became the most trusted and powerful lieutenant of Morgoth. He took on a fearsome form, one befitting his new role as the commander of dark armies. Though he was not yet the Dark Lord of Middle-earth, he was a formidable force, wielding both physical strength and an unmatched intellect.

Sauron’s role in this era was akin to a dark strategist. He oversaw fortresses, devised plans, and led vast hordes of orcs and other monstrous beings. His most infamous stronghold was Angband, the seat of Morgoth’s power. Here, Sauron’s cruelty and mastery of sorcery flourished, and he began experiments in shape-shifting that would define his transformations in the future.

Despite his power, Sauron was ultimately forced into hiding after Morgoth was overthrown and exiled from the world at the end of the First Age. This would not be the last time he would need to retreat and rebuild in the shadows.

The Werewolf of Tol-in-Gaurhoth – The Beast Within
One of Sauron’s most terrifying forms was that of a werewolf, which he took on during his time as the master of Tol-in-Gaurhoth (The Isle of Werewolves). This fortress was a place of nightmares, filled with dreadful creatures under his control.

It was in this form that he confronted Lúthien Tinúviel and Huan, the Hound of Valinor. Huan, a legendary wolfhound, was fated to defeat the greatest werewolf of all time. Despite Sauron’s immense power, he could not overcome Huan and was ultimately forced to flee, abandoning his stronghold. This defeat foreshadowed his growing tendency to rely more on deception and manipulation rather than brute force.

The Serpent – The Symbol of Deception
Sauron was not just a warrior or a warlord—he was a deceiver. At times, he chose to take on the form of a serpent, a creature that symbolized cunning and treachery.

Though not much is written about this form, it likely represents his ability to manipulate others through words rather than combat. The serpent form may have been used to tempt and corrupt men, elves, and even the Maiar themselves.

The Vampire – A Dark Escape
After his defeat at Tol-in-Gaurhoth, Sauron was left weakened. He needed a form that could allow him to escape unnoticed. Thus, he transformed into a vampire-like creature, shrinking himself into a shadowy, winged figure and fleeing into the night.

This form showcases Sauron’s adaptability—when he could not fight, he would flee, only to return stronger. Unlike Morgoth, who was brought down by his arrogance, Sauron knew when to retreat. This trait made him far more dangerous in the long run.

Annatar, the Lord of Gifts – The Master of Lies
Perhaps Sauron’s most infamous transformation was into Annatar, the Lord of Gifts. In this form, he appeared as a beautiful and wise being, seemingly benevolent and full of knowledge.

It was as Annatar that he infiltrated the Elven societies, particularly those of Celebrimbor and the smiths of Eregion. Under the guise of a teacher, he guided them in crafting the Rings of Power, subtly weaving his influence into their designs.

However, his true intentions were revealed when he secretly forged the One Ring, ensuring his dominance over all other Ring-bearers. This treachery led to the destruction of Eregion and the eventual decline of Elven power in Middle-earth.

The Dark Lord of Mordor – The Rise to Power
With the fall of Númenor, Sauron lost his ability to take fair forms. No longer could he deceive with beauty and charm—he now had to rule through fear and brute force.

In this new era, he adopted the form of a towering, armored warlord, leading his armies from the volcanic land of Mordor. With the One Ring in his possession, he became nearly invincible.

His dominion was absolute—until Isildur, the heir of Elendil,cut the Ring from his hand, stripping him of his physical form. This marked the beginning of his long, slow return.

The Eye of Sauron – The Watchful Tyrant
By the time of The Lord of the Rings, Sauron no longer had a physical body. He existed as a great, lidless eye, wreathed in flame, watching tirelessly from the tower of Barad-dûr.

Though this form was symbolic, it represented his omnipresence. Every corner of Middle-eHarth felt his gaze. Though he lacked a corporeal form, his power was still immense—until the One Ring was destroyed, finally breaking his spirit.

The Necromancer – The Shadow Returns
Before his resurgence as the Dark Lord of Mordor, Sauron spent centuries regaining his strength in Dol Guldur. Under the name the Necromancer, he operated in secrecy, avoiding detection by the free peoples of Middle-earth.

This phase of his existence is explored in The Hobbit, where Gandalf investigates Dol Guldur and realizes that the Necromancer is, in fact, Sauron.

Halbrand – The Modern Reinvention
In Amazon’s The Rings of Power, Sauron is reimagined as Halbrand, a mortal guise he uses to interact with humans and elves alike. While not part of Tolkien’s original lore, this portrayal aligns with his deceptive nature.

Sauron’s ability to take different forms is a testament to his cunning and resilience. Unlike Morgoth, he was willing to adapt, retreat, and deceive, making him one of the most formidable villains in fantasy history. His many incarnations reflect his strategic mind and relentless pursuit of domination—making him an enduring and terrifying presence in the world of Middle-earth.

JPS Nagi
February 6, 2025

Further readings/ bibliography of Sauron’s Ten Forms in J.R.R. Tolkien’s Legendarium (Amazon affiliate links)

Is Modern Fantasy Dumbing Us Down?

Fantasy as a genre has long captivated readers with its limitless potential to transport us to magical realms, introduce us to unforgettable characters, and challenge the boundaries of our imagination. My personal journey with fantasy began in the early 2000s, but my love for fantastical storytelling predates that by years. I grew up enthralled by 1001 Arabian Nights as translated by Richard F. Burton, The Adventures of Amir Hamza, and the countless fantastical tales from the Indian subcontinent that were passed down through generations. These stories were rich with cultural nuance, grand adventures, and moral depth.

When I finally picked up The Lord of the Rings by J.R.R. Tolkien, it felt like stepping into a different literary league altogether. Tolkien’s prose was poetic, layered, and masterfully crafted. I remember thinking that his writing was as good—if not better—than literary greats like Charles Dickens and John Steinbeck. From there, I dove headfirst into the worlds of Robert Jordan, Ursula K. Le Guin, Robert Heinlein, George R.R. Martin, Steven Erikson, Brent Weeks, and my personal favorite, Brandon Sanderson. Each of these authors offered something unique: intricate world-building, morally complex characters, and narratives that often left me questioning my own perspectives on life, morality, and human nature.

But over the past few years, my enthusiasm for modern fantasy has waned. While I’ve explored works by newer authors like Sarah J. Maas, Rebecca Yarros, Samantha Shannon, and others featured in book subscription services like Illumicrate, I’ve been left increasingly disappointed. This brings me to a pressing question: Is the current wave of fantasy literature dumbing us down? And perhaps more alarmingly, is this shift making us less discerning readers?

The Decline in Writing Quality
Let’s start with the writing itself. One of the most glaring issues I’ve noticed with many of today’s popular fantasy novels is the decline in the quality of prose. Many modern authors seem to write with a style that feels geared toward teenagers—basic sentence structures, an over-reliance on clichés, and an almost juvenile attempt to sound “edgy” through the use of expletives or modern slang.

Take Rebecca Yarros’s Empyrean series, for instance. The premise—a school for dragon riders—holds incredible potential. Dragons have long been a staple of fantasy, and when done right, they can elevate a story to iconic status (A Song of Ice and Fire, anyone?). But in Empyrean, the writing feels rushed and lacks depth. The romance is forced, the dialogue feels stilted, and the emotional stakes are rarely convincing. The relationship dynamics are predictable to the point of absurdity: a brooding, handsome anti-hero who, despite all odds, the protagonist falls for. It’s formulaic, and worse, it’s dull.

Contrast this with Brandon Sanderson’s earlier works like Elantris or Brent Weeks’s Night Angel trilogy. While both authors had room to grow in their writing styles, they brought something fresh to the table: unique worlds, gripping plots, and characters you couldn’t help but root for. Even their early flaws were forgivable because their stories had heart and ambition. Over time, their writing evolved. Sanderson’s Stormlight Archive and Weeks’s Lightbringer series showcase just how much they refined their craft. Many of today’s authors don’t seem interested in this kind of growth, and it shows.

The Problem with Recycled Stories
Another major issue plaguing modern fantasy is the lack of originality. Yes, most stories can indeed be categorized into a handful of archetypes. Joseph Campbell’s Hero’s Journey has been a blueprint for countless narratives, and fantasy is no stranger to recurring motifs like the chosen one, the epic quest, or the battle against a dark force. But there’s a difference between drawing inspiration from timeless archetypes and outright recycling old ideas.

Rebecca Yarros’s Empyrean series, for example, feels like a rehash of Harry Potter but with dragons instead of wands and schools of magic. Samantha Shannon’s The Priory of the Orange Tree offers impressive world-building but stumbles with its pacing and story. The 850-page tome spends so much time setting up its world that by the time the big conflict arrives, it feels rushed and underwhelming. It’s a textbook example of style over substance.

Then there’s Tahereh Maafi’s This Woven Kingdom. While the Persian-inspired setting adds a refreshing twist, the story’s pacing and narrative cohesion leave much to be desired. The book feels like a missed opportunity—full of potential but bogged down by uneven execution.

The Role of Readers in This Equation
As disappointing as some of these books are, we also need to ask ourselves: Why are these stories becoming bestsellers? Why are books like Empyrean making it onto the New York Times bestseller list while more ambitious, well-written novels struggle to find a wide audience?

One possible explanation is the shifting priorities of readers. Studies show that fewer teenagers are reading books today, with social media taking up much of their time. This means that a significant portion of the readership for YA and YA-adjacent fantasy consists of adults looking for light, escapist reads. There’s nothing inherently wrong with that—sometimes we all need a break from heavy, complex narratives. But when these types of books dominate the bestseller lists, it raises questions about the collective appetite for challenging, thought-provoking literature.

Social media platforms like TikTok and Instagram also play a role in shaping trends. Books with aesthetically pleasing covers or simple, trope-heavy plots that are easy to explain in short videos often get more attention than books with nuanced characters and intricate plots. The result? A market that rewards mediocrity and discourages risk-taking.

The Path Forward
So, what can we do about it? First, we need to hold authors and publishers accountable. Readers should demand better stories—ones that challenge us, inspire us, and push the boundaries of what fantasy can achieve. We should celebrate authors who take risks, who spend years honing their craft, and who refuse to settle for “good enough.”

Second, as readers, we need to broaden our horizons. Don’t just read what’s trending on TikTok or what’s on the bestseller list. Seek out lesser-known authors, revisit the classics, and explore genres outside your comfort zone. A good book should leave you richer for having read it.

Closing Thoughts
As my dad always said, “There is no better friend than a book.” But I don’t want friends who make me dumber. Fantasy has the power to ignite our imaginations, challenge our beliefs, and transport us to worlds beyond our wildest dreams. Let’s make sure it continues to do so by demanding stories that are worth our time and attention. Because at the end of the day, a good story is not just an escape—it’s an invitation to grow, to learn, and to see the world in a new light. Let’s not settle for less.

JPS Nagi
January 26, 2025

Is “Kalki 2898 AD” a Game Changer for Indian Cinema?

First of all, let me address the fact that I love Pan-Indian Movies and thoroughly enjoyed Kalki 2898 AD. The film’s release has sparked a lively debate: Is it a game changer for Indian cinema?

The discussion reminds me of the transformative impact of Bahubali (1), which marked a significant shift towards Pan-India movies. With each new release, there’s a surge of excitement with phrases like “India’s answer to Hollywood,” “Indian cinema on the global stage,” and “transformative for the Indian film industry” being thrown around.

India boasts a rich history and mythology, providing a wealth of stories to tell. However, the question remains: “Is the world ready to embrace these narratives?” In my view, the answer is not straightforward, and we face several challenges:

  1. Domestic vs. International Appeal: Indian films primarily cater to a domestic audience of 1.3 billion, with international appeal being a secondary consideration. This focus often results in films that may not resonate with global audiences.
  2. Song and Dance Sequences: While beloved by Indian audiences, the ubiquitous song and dance sequences can be off-putting to international viewers. These elements are often seen as interruptions to the storyline. For instance, the dreamy sequence at the Complex in Kalki 2898 AD felt like a diversion designed to showcase some skin rather than advance the plot.
  3. Writing Quality: There is a pressing need for stronger writing talent. Language barriers and cultural nuances impact how jokes and narratives translate across regions. As someone who does not understand or speak Telugu, Tamil, or Malayalam, I hoped that Prabhas’s jokes in the first half of Kalki 2898 AD were better in the original Telugu. In Hindi, they were disappointing. India is full of talented writers; we need to tap into this potential to enhance our storytelling.
  4. Originality and Copyright Issues: Concerns persist about copyright issues, with instances of scenes resembling those from Hollywood films. This can detract from original storytelling. There is a cartoon circulating in WhatsApp groups suggesting that Kalki 2898 AD copies elements from Star Wars, Dune, Mad Max, Transformers, Avengers, and The Matrix. The first comment my American friends made was, “Are those light sabers from Star Wars?” or “Wasn’t the Shambala sequence a copy of Zion from The Matrix?” We must find our unique way of depicting our stories.
  5. Music Composition: Music in films also faces scrutiny for originality and global appeal. While Indian music has a unique charm, it needs to evolve to meet global tastes without losing its essence.

While films like Kalki 2898 AD create spikes of interest and contribute positively to the Indian film industry, they fall short of being true game changers. They highlight the potential and creativity within Indian cinema but do not fundamentally alter the landscape of global cinema.

In conclusion, while Kalki 2898 AD is a step in the right direction and a testament to the potential of Indian cinema, it is not yet the definitive game changer. The journey towards global cinematic dominance requires addressing these challenges and consistently delivering content that resonates universally while retaining our unique cultural essence.

JPS Nagi
July 2024

A Beginner’s Guide to Intel FPGAs: Unleashing the Power of Programmable Logic

The world of technology is evolving at an astonishing pace, with innovations that continue to shape our lives. One such innovation that has been gaining significant traction is the Field-Programmable Gate Array (FPGA). If you’re new to the concept, fear not – this guide will demystify the world of FPGAs, helping you understand what they are and why they’re revolutionizing various industries.

What is an FPGA?

At its core, an FPGA is a highly versatile integrated circuit that can be programmed and reprogrammed to perform specific tasks. Unlike traditional application-specific integrated circuits (ASICs), FPGAs can be customized after manufacturing. This flexibility makes them a potent tool in a range of applications, from artificial intelligence and data centers to automotive and consumer electronics.

The Power of Customization – Reconfigurability and Re-programmability

One of the most significant advantages of Altera FPGAs lies in their ability to be tailored for specific functions. Think of them as digital canvases waiting for an artist’s brushstroke. Whether you’re designing complex algorithms, implementing specialized hardware, or accelerating computations, FPGAs allow you to fine-tune your hardware to match your exact requirements.

Why Choose FPGAs?

Altera (formerly Intel PSG) has been a pioneer in the FPGA landscape, consistently delivering cutting-edge solutions.  Xilinx (part of AMD), Microsemi (part of Microchip) and Lattice are the largest FPGA vendors in the world. Here are a few reasons why FPGAs stand out:

  • Performance: FPGAs are engineered for high performance, with advanced architectures that can handle demanding tasks.
  • Integration: These FPGAs seamlessly integrate with (Intel’s) extensive range of processors and software tools, streamlining the development process.
  • Versatility: Whether it’s processing massive data sets, implementing complex algorithms, or accelerating AI workloads, FPGAs can adapt to a multitude of scenarios.
  • Ecosystem: Intel’s extensive ecosystem provides developers with comprehensive support, from software tools and libraries to development boards and reference designs.

Applications Abound

FPGAs are driving innovation across a plethora of sectors. Leveraging their inherent versatility and programmability, Altera FPGAs are transforming these domains, addressing complex challenges and ushering in a new era of possibilities.

  • Data Centers:
    FPGAs enhance data center performance by accelerating AI inference, data analytics, and cryptography. Their programmability optimizes hardware acceleration for specific workloads, boosting processing speed and efficiency.
  • Automotive:
    In ADAS and autonomous driving, FPGAs process real-time sensor data for quick decision-making, advancing safety and reliability. They enable complex algorithms, image processing, and adaptive control for the evolving automotive landscape.
  • Consumer Electronics:
    FPGAs power consumer devices, from ultra-HD video to IoT devices. Their flexibility and processing power meet consumer demands while adapting to evolving standards.
  • Industrial Automation:
    FPGAs optimize industrial processes with real-time control, adaptive manufacturing, and IIoT integration. Customizable control systems and algorithms improve efficiency and connectivity.
  • Test & Measurement:
    In T&M, FPGAs enable real-time data analysis, synchronization, and rapid prototyping. They cut test times, enhance accuracy, and adapt to evolving needs.
  • ASIC Prototyping & Emulation:
    FPGAs facilitate rapid prototyping and emulation, reducing development cycles and costs. They enable thorough testing, ensuring reliable designs before fabrication.

Across these diverse sectors, FPGAs are more than just components – they are enablers of transformation. By offering tailored solutions that align with specific industry requirements, FPGAs empower engineers, developers, and businesses to pioneer breakthroughs, create novel solutions, and navigate the complex challenges of our technology-driven world. As we look to the future, the role of FPGAs in driving innovation remains pivotal, shaping the landscape of industries and contributing to a technologically advanced society.

Getting Started

Embarking on your FPGA journey might seem intimidating, but Altera offers a wealth of resources to help you dive in:

  • Learning Materials: Altera (and other FPGA verdors) provides tutorials, videos, and documentation to guide beginners through the FPGA world.
  • Development Kits: Altera (and other FPGA verdors) offers development boards that let you experiment and prototype your designs.
  • Quartus Prime: The Altera software suite is your gateway to designing, simulating, and programming their FPGAs. Other vendors have similar oofferings.
  • Altera DevCloud: Altera uniquely provides access to cloud-based FPGAs for experimentation without investing in hardware or software upfront.

Conclusion

FPGAs represent a leap into the world of programmable hardware, offering boundless potential for innovation. With their versatility, power, and comprehensive support ecosystem, these FPGAs provide a platform for beginners and experts alike to shape the future of technology.
So, whether you’re an aspiring developer, a tech enthusiast, or an industry professional, FPGAs provide a canvas for your creativity and innovation to thrive. Explore, experiment, and embrace the possibilities that programmable logic can offer in our ever-evolving digital landscape.

JPS Nagi
June 2024

Solve Problems, Test Ideas, and Deliver Results

Ever felt like solving big problems takes forever? Enter the Sprint method, a five-day miracle cure for tackling tough challenges and testing new ideas. Inspired by Jake Knapp’s book “Sprint,” this process helps teams move from problem to prototype in record time. Here’s a light-hearted guide to this speedy problem-solving approach.

The Process of the Sprint

Mindmap (Map in the book)

First up, the Map phase. Grab a piece of paper or your favorite note-taking app and start drawing boxes and bubbles. These shapes will represent your inputs (bubbles) and desired outputs (boxes). Connect them together and, voila, you’ll see the process and any missing pieces. Don’t worry if it looks chaotic—this is just the beginning!

Blueprint (Sketch in the book)

Next, it’s time to Sketch. Take your mindmap and start pulling on those threads. What does each input affect? What are the dependencies and outputs? Draw out each process step-by-step. This will give you a clearer, more organized blueprint of your solution. And don’t be shy—get feedback from a trusted colleague or friend over coffee to refine your ideas.

Decision (Decide in the book)

With your blueprint in hand, it’s time to Decide. What’s the best way to follow this plan? Whether it’s using Excel, coding, or another tool, aim for simplicity. As Albert Einstein said, “Everything should be made simple, but not simpler.” Gather your inputs and dependencies, and you’re ready to move forward.

Build (Prototype in the book)

Now comes the fun part: building your Prototype. This is where your hard work starts to take shape. Whether it’s a market model, an automated financial sheet, or a training presentation, roll up your sleeves and get building. It’s all about turning your blueprint into a tangible, testable product.

Review (Test in the book)

Finally, it’s time to Test. Let others take a look at your creation. Encourage them to review it, play around with it, and even break it. Gather their feedback and use it to make improvements. It might be tough to hear criticism, but it’s essential for refining your work and making it the best it can be.

Benefits of Sprint

The Sprint method comes with a bunch of benefits:

  • Speed and Efficiency: Compress months of work into just five days. Get things done fast!
  • Focus and Clarity: Spend a week focused solely on the problem, leading to clearer insights and better solutions.
  • Collaboration: Bring together diverse perspectives and expertise, ensuring everyone’s on the same page.

Practical Applications

The Sprint process isn’t just for tech startups. It’s versatile and can be applied to a range of problems across different industries:

  • Product Design: Quickly iterate and improve new features and user interfaces.
  • Marketing: Test marketing strategies and campaigns before a full-scale launch.
  • Business Strategy: Explore new business models and streamline operations.
  • Non-profits: Develop effective programs and maximize impact.

Conclusion

And there you have it—the Sprint method in a nutshell. It’s a powerful framework for solving big problems and testing new ideas quickly. So, the next time you’re faced with a daunting challenge, give the Sprint a try. You might just be amazed at what you can achieve in five days. Now, take a breather, celebrate your progress, and get ready to do it all over again!

This is inspired by Jake Knapp’s Sprint book. I have used this method since 2016 as a problem-solving methodology.
You can get the PDF template that I use with note taking app on my tablet.
Not affiliated with Jake Knapp in any way. Not for commercial use, only for personal use.

JPS Nagi
June 2024 

 

Sitting with Myself: Uncovering Cultural Influences on Who I Am

I’ve embarked on a journey of self-reflection during the last few years. During these moments of introspection, I began to delve into the intricate ways I approach my tasks and responsibilities. This process uncovered profound insights, particularly regarding the cultural dynamics that shape our formative years, much like the food we grow accustomed to eating.

In competitive cultures, the narrative often starts early: to receive recognition, one must work twice as hard. Achieving an eight out of ten on a test is seldom celebrated; instead, the focus fixates on the two missed points. This relentless pursuit of perfection ties our self-worth to our achievements, overshadowing the importance of celebrating successes, especially those linked to our physical and mental health.

From a young age, many of us are conditioned to prioritize others above ourselves, even if it means giving from an empty cup. This ingrained mindset teaches us to suppress our feelings, to navigate our emotional landscapes alone, and to avoid seeking attention for fear of being labeled an attention seeker. Consequently, we learn to internalize our struggles, often at the expense of our well-being.

The nuances of these cultural dynamics run deep, profoundly influencing our mental and physical health. Addressing the mindset shifts required to maintain consistency in self-care is crucial. It’s not about rebelling against these ingrained patterns; rather, it’s about acknowledging the multitude of ways they shape our lives and finding balance.

What we need is education centered around fostering a positive mindset and promoting physical and mental well-being. By embracing and teaching these principles, we can begin to untangle the complex web of cultural expectations and create a healthier, more balanced approach to life. This journey is about learning to celebrate our achievements, understanding our worth beyond external validation, and prioritizing our health without guilt or hesitation.

JPS Nagi
May 21, 2024

Khoob Ladi Mardaani, or Bravely Fought the Warrior Queen

The sentiment of heroism in poetry has always been a profound and stirring theme, resonating through the ages. This literary trope, often steeped in grandeur and nobility, captures the essence of the human spirit in its most valiant form. Heroic poetry, from the ancient epics of Homer to the chivalric tales of medieval times, encapsulates the ideals of courage, sacrifice, and honor. These verses not only recount the physical deeds of their protagonists but also delve into the moral and ethical dilemmas faced by these larger-than-life figures. The lyricism in such poetry is not merely about glorifying battles or victories; it’s an exploration of what it means to be truly heroic – which often involves inner battles of virtue, selflessness, and the pursuit of a greater good. The enduring appeal of heroic poetry lies in its ability to inspire, uplift, and remind us of the potential for greatness that lies within each of us.

The theme of heroism in poetry has long captured the imagination of the young, myself included, especially in the pre-modern era. Recently, I’ve found myself nostalgically recalling one of the poems from my childhood that has remained etched in my memory. I took a journey back in time and revisited “Jhansi Ki Rani,” or the Queen of Jhansi. This poem stands out as one of my earliest and most vivid recollections of the poetry I read during those formative years.

It is beautifully penned by Subhadra Kumari Chauhan, who was born in 1904, in the Nihalpur village of Allahabad. An eminent Indian poet, Chauhan holds a distinguished place in Hindi literature. She is not only remembered for this poem but also her impassioned nationalism and poignant portrayal of women’s struggles. She was an active participant in India’s freedom movement.

“Jhansi Ki Rani,” an evocative and rousing ballad, vividly brings to life the bravery of Rani Lakshmibai of Jhansi, a symbol of resistance against British colonialism. Chauhan’s poetry, marked by its directness and lyrical quality, often drew from her personal experiences and the sociopolitical milieu of her times. Her work resonates with the themes of patriotism, valor, and the challenges faced by women, making her an inspirational figure in Indian poetry and a voice of empowerment for many generations.

Enjoy the poem below in all its glory captured in Devanagari script, with a Romanized version to serve as pronunciation guide, and the translation.

झाँसी की रानी (Jhansi Ki Rani) or, The Queen of Jhansi

1
सिंहासन हिल उठे राजवंषों ने भृकुटी तनी थी,
(Sinhasan hil uthey raajvanshon ney bhrukuti tani thi,)
The throne got shook, and the tension erupted among the Raajvanshs, the royal heirs of the throne,
बूढ़े भारत में आई फिर से नयी जवानी थी,
(budhey Bharat mein aayee phir se nayi jawani thi,)
In aged India, a new wave of youth was spreading,
गुमी हुई आज़ादी की कीमत सबने पहचानी थी,
(gumee huee azadi ki keemat sabney pehchani thi,)
All the inhabitants of India had realized the worth of their lost freedom,
दूर फिरंगी को करने की सब ने मन में ठनी थी.
(door phirangi ko karney ki sab ney man mein thani thi.)
All of them had decided to get rid of the British rule,
चमक उठी सन सत्तावन में, यह तलवार पुरानी थी,
(Chamak uthi san sattavan mein, yeh talwar purani thi,)
The old swords started glittering again like new ones in the form of the freedom movement in 1857.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

2
कानपुर के नाना की मुह बोली बहन छब्बिली थी,
(Kanpur key Nana ki muhn boli bahen chhaveeli thi,)
She was as dear to the Nana (Nana Ghunghupant ) of Kanpur as her real sister,
लक्ष्मीबाई नाम, पिता की वो संतान अकेली थी,
(Lakshmibai naam, pita ki woh santaan akeli thi,)
Her name was Laxmibai and she was the only daughter of her parents,
नाना के सॅंग पढ़ती थी वो नाना के सॅंग खेली थी
(Nana key sangh padhti thi woh Nana key sangh kheli thi)
She had been with Nana from her early childhood, since she was a school student.
बरछी, ढाल, कृपाण, कटारी, उसकी यही सहेली थी.
(barchhi, dhal, kripan, katari, uski yehi saheli thi.)
Spear, knife, sword, axe (all different types of weapons used in her time) were her companions all the time.
वीर शिवाजी की गाथाएँ उसकी याद ज़बानी थी,
(Veer Shivaji ki gaathaayen uski yaad zabani thi,)
She had learned by heart the valorous stories of shivaji (a renowned king of Maharashtra).
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

3
लक्ष्मी थी या दुर्गा थी वो स्वयं वीरता की अवतार,
(Lakshmi thi ya Durga thi woh swayan veerta ki avatar,)
No one could guess whether she was Laxmi or Durga devi ( Durga Goddess , also called Bhavani ) or reincarnation of Devi durga,
देख मराठे पुलकित होते उसकी तलवारों के वार,
(dekh Marathey pulkit hotey uski talwaron key vaar,)
Her expertise in using a sword made the people of Marathward (Pulkit) wonder,
नकली युध-व्यूह की रचना और खेलना खूब शिकार,
(nakli yudh-vyuh ki rachna aur khelna khub shikar,)
They learned the war strategy of how to attack the prey,
सैन्य घेरना, दुर्ग तोड़ना यह थे उसके प्रिय खिलवाड़.
(sainya gherna, durg todna yeh they uskey preeya khilwad.)
To ambush her prey and to break the vanity were among her favorite supports,
महाराष्‍ट्रा-कुल-देवी उसकी भी आराध्या भवानी थी,
(Maharashtra-kul-devi uski bhi aaradhya Bhavani thi,)
Maharashtra-kul-Devi (The goddess of the Maharashtra ) was as dear to her as Bhavani (Durga Devi )
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

4
हुई वीरता की वैभव के साथ सगाई झाँसी में,
(Huee veerta ki vaibhav key saath sagai Jhansi mein,)
With valor in a grand festival, she got married in Jhansi,
ब्याह हुआ बन आई रानी लक्ष्मी बाई झाँसी में,
(byah hua ban aayee Rani Lakshmi bai Jhansi mein,)
After her marriage, Laxmibai came to Jhansi as a queen with shower of joy,
राजमहल में बाजी बधाई खुशियाँ छायी झाँसी में,
(rajmahal mein baji badhai khushiyan chhaee Jhansi mein,)
A grand celebration took place in the royal palace of Jhansi. That was a good luck for Bandelos that she came to Jhansi,
सुघत बुंडेलों की विरूदावली-सी वो आई झाँसी में.
(sughat Bundelon ki viroodaavalee-si woh aayee Jhansi mein.)
That was as Chitra met with Arjun or Shiv had got his beloved Bhavani (Durga).
चित्रा ने अर्जुन को पाया, शिव से मिली भवानी थी,
(Chitra ney Arjun ko paya, Shiv sey mili Bhavani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

5
उदित हुआ सौभाग्या, मुदित महलों में उजियली च्छाई,
(Udit hua saubhagya, mudit mahalon mein ujiyali chhayee,)
She came as a good luck to the royal palace of Jhansi and for a log time the palace remained decorated with lighting candles in celebration.
किंतु कालगती चुपके-चुपके काली घटा घेर लाई,
(kintu kaalgati chupkey-chupkey kali ghata gher laayee,)
But as days passed the dark clouds of misfortune covered the royal palace.
तीर चलाने वाले कर में उसे चूड़ियाँ कब भाई,
(teer chalaaney vaaley kar mein usey choodiyan kab bhaayee,)
She stopped wearing bangles for that was the time for a battle.
रानी विधवा हुई है, विधि को भी नहीं दया आई.
(Rani vidhva huee hai, vidhi ko bhi nahin dayaa aayee.)
The queen got widowed and her fate was very unkind to her.
निसंतान मारे राजाजी, रानी शोक-सामानी थी,
(Nisantan marey Rajaji, Rani shok-samani thi,)
The royal king had no children when he died and the queen was grief stricken.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

6
बुझा दीप झाँसी का तब डॅल्लूसियी मान में हरसाया,
(Bujha deep Jhansi ka tab Dalhousie man mein harshaaya,)
So the candle of the royal castle blew off and Dalhousie (a British governor) became very happy in his heart about the situation (that the royal palace had no king or someone strong to defend the throne).
ऱाज्य हड़प करने का यह उसने अच्छा अवसर पाया,
(Raajya hadap karney ka yeh usney achhaa avsar paaya,)
He thought that the time was right to usurp the kingdom.
फ़ौरन फौज भेज दुर्ग पर अपना झंडा फेहराया,
(fauran fauj bhej durg par apna jhandaa phehraya,)
He sent his soldiers to Citadel and raised the British flag on the royal palace.
लावारिस का वारिस बनकर ब्रिटिश राज झाँसी आया.
(lawaris ka waris bankar British Raj Jhansi aaya.)
The British rule came to Jhansi as the guardian of an orphan.
अश्रुपुर्णा रानी ने देखा झाँसी हुई वीरानी थी,
(Ashrupurna Rani ney dekha Jhansi huee birani thi,)
The Rani saw everything with tears in her eyes that how Jhansi got deserted.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

7
अनुनय विनय नहीं सुनती है, विकट शासकों की मॅयैया,
(Anunay vinay nahin sunti hai, vikat shaasakonki maaya,)
Strong (and Cruel) kings do not care about the cajoling.
व्यापारी बन दया चाहता था जब वा भारत आया,
(vyapari ban daya chhahta tha jab wah Bharat aaya,)
They (The British Rulers) came to India in the disguise of poor merchants.
डल्हौसि ने पैर पसारे, अब तो पलट गयी काया
(Dalhousie ney pair pasaarey, ab to palat gayee kaaya)
The British governor (Dalhousi) then extended his influence in India and so the fate of India turned over.
राजाओं नव्वाबों को भी उसने पैरों ठुकराया.
(Rajaon Nawwabon ko bhi usney pairon thukraaya.)
He insulted even the feudal and heads of state of India.
रानी दासी बनी, बनी यह दासी अब महारानी थी,
(Rani daasi bani, bani yeh daasi ab Maharani thi,)
The queen took the gesture of a maidservant; the maid was the real queen.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

8
छीनी राजधानी दिल्ली की, लखनऊ छीना बातों-बात,
(Chheenee rajdhani Dilli ki, Lucknow chheena baaton-baat,)
First of all Indian rulers lost the capital of India, Delhi and subsequently they lost the control of Lucknow.
क़ैद पेशवा था बिठुर में, हुआ नागपुर का भी घाट,
(Qaid Peshwa tha Bithur mein, hua Nagpur ka bhi ghaat,)
Peshwa was imprisoned in Bithur and then the Nagpur tragedy occurred.
ऊदैपुर, तंजोर, सतारा, कर्नाटक की कौन बिसात?
(Udaipur, Tanjore, Satara, Karnatak ki kaun bisaat?)
After the fall of Nagpur, it was not a big task for the intruders to take the control of Udaipur, Tanjore satara and Karnatak.
जबकि सिंध, पंजाब ब्रह्म पर अभी हुआ था वज्र-निपात.
(jabki Sindh, Punjab Brahm par abhi hua that vajra-nipaat.)
They already had the control of Sindh, Punjab and Assam.
बंगाले, मद्रास आदि की भी तो वही कहानी थी,
(Bengaaley, Madras aadi ki bhi to vahi kahani thi,)
The tale of fall of Bengal, Madras and many other states was also the same.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

9
रानी रोई रनवासों में, बेगम गुम सी थी बेज़ार,
(Rani royee rinvason mein, Begum gum se thi bezaar,)
Rani(the queen) wept in her quarter for all that disaster. She was rather lost and was sick of the situation.
उनके गहने कपड़े बिकते थे कलकत्ते के बाज़ार,
(unkey gehney kapdey biktey they Calcutta key bazzar,)
Her ornaments and royal clothes were being sold in the markets of Calcutta.
सरे आम नीलाम छपते थे अँग्रेज़ों के अख़बार,
(sarey aam nilaam chhaptey they angrezon key akhbar,)
The advertisements for the sale of the royal stuff were being published in the daily newspapers of the British Government.
“नागपुर के ज़ेवर ले लो, लखनऊ के लो नौलख हार”.
(“Nagpur key zewar le lo, Lucknow key lo naulakh haar”.)
“Buy the ornaments of Nagpur, Buy the Naulakha locket of Lucknow” had been the highlights of such advertisements.
यों पर्दे की इज़्ज़त परदेसी के हाथ बीकानी थी
(Yon pardey ki izzat pardesi key hath bikani thi)
In this manner the honor of the royal ladies had to be sold to foreigners.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

10
कुटियों में भी विषम वेदना, महलों में आहत अपमान,
(Kutiya mein bhi visham vedna, mahalon mein aahat apmaan,)
The cottages of poor were full of grief and the royal houses were also full of insult (the royal ladies were maltreated and insulted by the British intruders whereas the poor folk were also in the clutches of the atrocities by the British rulers).
वीर सैनिकों के मान में था अपने पुरखों का अभिमान,
(veer sainikon key man mein tha apney purkhon ka abhmaan,)
Brave soldiers of India had in their mind the prestige of their ancestors.
नाना धूंधूपंत पेशवा जूटा रहा था सब सामान,
(Nana Ghunghupant Peshwa joota raha tha sab saamaan,)
The name of Ghunghupant and Nana, the titles of the great warriors and their weapons, they have lost all such treasure as well.
बहिन छबीली ने रण-चंडी का कर दिया प्रकट आहवान.
(bahen chhaveeli ney Ran-Chandi ka kar diya prakat aahvaan.)
The beloved sisters of Nana (queen of Jhansi- Rani) invited Nana to visit Ran-Chandi.
हुआ यज्ञा प्रारंभ उन्हे तो सोई ज्योति जगानी थी,
(Hua yagna prarambh unhey to soyee jyoti jagani thi,)
The ritual of the holy war of freedom started because they had to awake the divine spirit of the people of India, which had been sleeping so far.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

11
महलों ने दी आग, झोंपड़ी ने ज्वाला सुलगाई थी,
(Mahalon ney di aag, jhonpdi ney jwala sulgayee thi,)
The fire of revolt started from royal palace, which became hot like burning sun when reached to the houses of the poor or common folk.
यह स्वतंत्रता की चिंगारी अंतरतम से आई थी,
(yeh swatantrata ki chingari antratam sey aayee thi,)
This spark of freedom started from the inner soul of the people.
झाँसी चेती, दिल्ली चेती, लखनऊ लपटें छाई थी,
(Jhansi cheti, Dilli cheti, Lucknow laptey chhayi thi,)
It captured Jhansi first then spread in Delhi and also engulfed Lucknow.
मेरठ, कानपुर, पटना ने भारी धूम मचाई थी,
(Merat, Kanpur, Patna ney bhari dhoom machayi thi,)
The freedom struggle was also in full swing in Merat, Kanpur and Patna.
जबलपुर, कोल्हापुर, में भी कुछ हलचल उकसानी थी,
(Jabalpur, Kolhapur, mein bhi kuchh hulchul uksani thi,)
The people of Jabalpur, Kolhapur were also being inspired from others.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

12
इस स्वतंत्रता महायज्ञ में काई वीरवर आए काम,
(Is Swatantrata Mahayagna mein kayee veervar aaye kaam,)
In that great freedom struggle, many brave brothers lost their lives.
नाना धूंधूपंत, तांतिया, चतुर अज़ीमुल्ला सरनाम,
(Nana Ghunghupant, Tantya, chatur Azeemullah sarnam,)
Among them were Nana GhunGhupant, Tantya, great Azeemullah,
अहमदशाह मौलवी, ठाकुर कुंवर सिंह, सैनिक अभिराम,
(Ahmedshah Moulvi, Thakur Kunwar Singh, Sainik Abhiram,)
And many others like Ahmedshah Moulvi, Thakur Kunwar singh, Sainik Abhiram.
भारत के इतिहास गगन में अमर रहेंगे जिनके नाम.
(Bharat key itihaas gagan mein amar rahengey jinkey naam.)
Their names will always be shining in the heavens of the ancient history of India,
लेकिन आज जुर्म कहलाती उनकी जो क़ुर्बानी थी,
(Lekin aaj jurm kehlati unki jo Qurbani thi,)
but they were considered rebels at that time and their great sacrifice was considered a crime against the state of British India.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

13
इनकी गाथा छोड़, चले हम झाँसी के मैदानों में,
(Inki gaatha chhod, chaley hum Jhansi key maidanon mein,)
Well, leave the tale of the bravery of those great men and let us go to the battlefields of Jhansi,
जहाँ खड़ी है लक्ष्मीबाई मर्द बनी मर्दनों में,
(Jahan khadi hai Lakshmibai mard bani mardanon mein,)
Where Laxmibai is standing boldly like a man among the other brave men.
लेफ्टिनेंट वॉकर आ पहुँचा, आगे बड़ा जवानों में,
(Lieutenant Walker aa pohoncha, aagey bada jawanon mein,)
Lieutenant Walker reached there and proceeded further in the people’s army of the brave men,
रानी ने तलवार खींच ली, हुआ द्वंद्ध आसमानों में.
(Rani ney talwaar kheench li, hua dhandh asmanon mein.)
Rani drew her sword, the beating of the drums started in the heavens,
ज़ख़्मी होकर वॉकर भागा, उसे अजब हैरानी थी,
(Zakhmi hokar Walker bhaga, usey ajab hairani thi,)
Walker ran away from the battlefield as Rani defectively wounded him. He was astonished on the agility of Rani.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

14
रानी बढ़ी कालपी आई, कर सौ मील निरंतर पार,
(Rani badhi Kalpi aayee, kar sau meel nirantar paar,)
Rani preceded further and reached Kalpi after taking a hard journey of hundreds of miles.
घोड़ा थक कर गिरा भूमि पर, गया स्वर्ग तत्काल सिधार,
(ghoda thak kar gira bhoomi par, gaya swarg tatkaal sidhaar,)
The horse got exhausted and fell to the ground and the rider (Walker) also fell down immediately .
यमुना तट पर अँग्रेज़ों ने फिर खाई रानी से हार,
(Yamuna tat par angrezon ney phir khayee Rani sey haar,)
In the field of Yamuna again Rani was defeating the British.
विजयी रानी आगे चल दी, किया ग्वालियर पर अधिकार.
(vijayee Rani aagey chal di, kiya Gwalior par adhikar.)
The victorious Rani proceeded further and took the control of Gawalior.
अँग्रेज़ों के मित्र सिंधिया ने छोड़ी राजधानी थी,
(Angrezon key mitra Scindia ney chhodi rajdhani thee,)
The British thus left the Vsindia (capital of Gawalior) and their rule ended in Gawalior.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

15
विजय मिली, पर अँग्रेज़ों की फिर सेना घिर आई थी,
(Vijay mili, par Angrezon ki phir sena ghir aayee thi,)
Although the freedom fighters had won, the British army was again getting organized.
अबके जनरल स्मिथ सम्मुख था, उसने मुंहकी खाई थी,
(Abkey General Smith sammukh tha, usney munhki khayee thi,)
This time, general smith was in command but he was also being defeated by the brave freedom fighters – he had to be defeated.
काना और मंदरा सखियाँ रानी के संग आई थी,
(Kaana aur Mandra sakhiyan Rani key sangh aayee thi,)
Kaana and Mandra (the associates of Rani) were also accompanying her in the war zone.
यूद्ध क्षेत्र में ऊन दोनो ने भारी मार मचाई थी.
(Yudh kshetra mein un dono ney bhari maar machayi thi.)
In the battlefield they both were fighting furiously.
पर पीछे ह्यूरोज़ आ गया, हाय! घिरी अब रानी थी,
(par peechey Hughrose aa gaya, Hai! gheeri ab Rani thi,)
But a British commander, Hughrose came from the backside to help his soldiers – Alas! The British soldiers surrounded the Rani from all sides.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

16
तो भी रानी मार काट कर चलती बनी सैन्य के पार,
(To bhi Rani maar kaat kar chalti bani sainya key paar,)
Though Rani was deeply wounded, still she was fighting and had managed to get through the British army,
किंतु सामने नाला आया, था वो संकट विषम अपार,
(kintu saamney naala aaya, tha woh sankat visham apaar,)
But she got stuck because a sewerage canal was there on the other end and she was in deep trouble,
घोड़ा अड़ा, नया घोड़ा था, इतने में आ गये अवार,
(ghoda adaa, naya ghoda tha, itney mein aa gaye avaar,)
Her horse got stuck there – the horse was untrained, in the mean time, the British soldiers, riding on their horses reached there.
रानी एक, शत्रु बहुतेरे, होने लगे वार-पर-वार.
(Rani ek, shatru bahuterey, honey lagey vaar-par-var.)
Rani was all alone while enemies were numerous who were attacking her with their sword from all sides,
घायल होकर गिरी सिंहनी, उसे वीर गति पानी थी,
(Ghayal hokar giri Sinhni, isey veer gati paani thi,)
Rani, who was fighting like a lioness, succumbed to the wounds and fell down. She had to achieve a glorious death in war ( Martyrdom ).
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

17
रानी गयी सिधार चिता अब उसकी दिव्य सवारी थी,
(Rani gayee sidhaar chita ab uski divya sawaari thi,)
Rani was martyred in the battlefield.Her departed soul was then riding a divine vehicle, moving towards heavens
मिला तेज से तेज, तेज की वो सच्ची अधिकारी थी,
(mila tej se tej, tej ki woh sachchi adhikaari thi,)
the Light of her divine soul met with the divine light in the heavens, she was the real heir of divinity,
अभी उम्र कुल तेईस की थी, मनुज नहीं अवतारी थी,
(abhi umr kul teis ki thi, manuj nahin avtaari thi,)
She was only thirty years of age. She was not a human; rather she was divine spirit (a holy being),
हमको जीवित करने आई बन स्वतंत्रता-नारी थी,
(humko jeevit karney aayee ban Swatantrata-naree thi,)
Who did come, in the gesture of a female freedom fighter, to give us a respectable life of light and freedom ,
दिखा गयी पथ, सीखा गयी हमको जो सीख सिखानी थी,
(dikha gayee path, sikha gayee humko jo seekh sikhani thi,)
She showed us the path of freedom, and taught us the lesson of courage, she taught us what we might have learned.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

18
जाओ रानी याद रखेंगे ये कृतज्ञ भारतवासी,
(Jao Rani yaad Rakhengey yeh krutagna Bharatwasi,)
The people of India will remember this debt of yours (O! Rani Laxmaibai), may you be blessed, dear Rani,
यह तेरा बलिदान जागावेगा स्वतंत्रता अविनासी,
(yeh tera balidaan jagavega Swatantrata avinasi,)
Your this life sacrifice will awake an indestructible soul of freedom in the people,
होवे चुप इतिहास, लगे सच्चाई को चाहे फाँसी,
(hovey chup itihaas, lagey sachchai ko chahey phansi,)
History may be made silent or if truth is hanged or killed,
हो मदमाती विजय, मिटा दे गोलों से चाहे झाँसी.
(ho madmaati vijay, mitaa dey golon sey chahey Jhansi.)
Or if the drinkers become victorious or if they destroy jhansi with cannonballs,
तेरा स्मारक तू ही होगी, तू खुद अमिट निशानी थी,
(Tera Smarak tu hi hogi, tu khud amit nishaani thi,)
You, by yourself be the memorial of Rani (queen of Jhansi) because you had been an eternal token of courage.
बुंदेले हरबोलों के मुँह हमने सुनी कहानी थी,
(Bundeley Harbolon key munh hamney suni kahani thi,)
From the mouths of the Bandelas and the Harbolas (Religious singers of Bandelkhand), we heard the tale,
खूब लड़ी मर्दानी वो तो झाँसी वाली रानी थी.
(Khoob ladi mardani woh to Jhansi wali Rani thi.)
Of the courage of the Queen of Jhansi relating how gallantly she fought like a man against the British intruders: such was the Queen of Jhansi.

JPS Nagi
January 2024

Leadership Lessons from Dungeons & Dragons

During my upbringing in India, Dungeons & Dragons (D&D) or role-playing games were unfamiliar to me. However, over the past five years, I have had the pleasure of immersing myself in this captivating game. In this blog, I am sharing some valuable leadership insights gleaned from my experiences with D&D.

Dungeons & Dragons (D&D) is a fantasy tabletop role-playing game that has captivated the hearts and minds of players for decades. While it’s known for its storytelling and epic battles, D&D also offers valuable insights into leadership. Surprisingly, the lessons learned in the imaginary realms of dungeons and dragons can be applied to real-world leadership situations. Let’s explore some of these leadership lessons from the world of D&D.

  • Collaboration and Teamwork:
    D&D is a team-based game where players form parties to achieve common goals. Leadership in D&D often means bringing together a diverse group of characters with unique abilities and personalities. Similarly, in the real world, effective leaders know how to foster collaboration and teamwork among their team members, recognizing that diverse strengths and perspectives can lead to success.
  • Adaptability:
    In D&D, dungeon masters create dynamic and ever-changing scenarios, forcing players to adapt and make quick decisions. Leaders must also be adaptable, especially in today’s fast-paced world, where unexpected challenges are common. Being able to pivot, adjust strategies, and make informed decisions on the fly is a valuable trait.
  • Decision-Making:
    D&D players face numerous decisions throughout their quests, some of which can have far-reaching consequences. Leaders are often tasked with making critical decisions that impact their teams and organizations. D&D teaches the importance of considering various options, gathering information, and making well-informed choices.
  • Communication:
    Effective communication is vital in D&D. Players need to convey their intentions, share information, and work together seamlessly. Leaders must also be skilled communicators, conveying their vision, goals, and expectations clearly to their teams. Moreover, active listening and fostering an open dialogue are essential leadership traits.
  • Problem Solving:
    D&D adventures are rife with puzzles, challenges, and obstacles. Players must think creatively and use their resources to overcome these hurdles. Leaders often encounter complex problems in the workplace. Learning from D&D, they can encourage innovative thinking, resourcefulness, and a willingness to tackle challenges head-on.
  • Empowerment:
    D&D empowers players to take ownership of their characters and decisions. Likewise, successful leaders empower their teams, granting them autonomy and trust to make decisions within their areas of responsibility. Empowered team members tend to be more motivated and engaged.
  • Resilience:
    In D&D, characters face setbacks, injuries, and defeats, yet they press on. Leaders, too, must display resilience in the face of adversity. It’s essential to bounce back from setbacks, learn from failures, and maintain a positive outlook.
  • Vision and Strategy:
    Dungeon masters in D&D create grand narratives and worlds for players to explore. Leaders also need a clear vision and strategy to guide their teams and organizations. A compelling vision can inspire and align team members toward a common purpose.

Dungeons & Dragons is not just a game; it’s a source of valuable leadership lessons. From teamwork and adaptability to decision-making and resilience, the principles learned in the world of D&D can be applied to leadership in any setting. Aspiring leaders and seasoned professionals alike can draw inspiration from the adventures of their favorite characters, both in fantasy realms and the real world. So, roll the dice and embark on your own leadership quest!

JPS Nagi
November 30, 2023