Mitchell Smith will make the first defence of his southern-area title at the Copper Box Arena on Saturday 30 November.Harrow’s super-featherweight prospect recently won the belt – his first professional title – with a points victory against Scott Moises at the same Olympic Park venue.That took the 20-year-old’s record to 7-0 and he will return to east London on another Frank Warren-promoted show that will be headlined by Dereck Chisora and Billy Joe Saunders.Wembley’s unbeaten welterweight Gary Corcoran (6-0) is also set to appear on the bill.See also:Smith is made to work for first pro titleFollow West London Sport on TwitterFind us on Facebook
CHICAGO — Pete DeBoer says the best hockey teams figure out ways to win a variety of different games. The Sharks added the bizarre to their 2018-19 resumé Sunday.After they surrendered three goals on their first four shots against, the Sharks (18-11-5) found a way to come back and beat the Chicago Blackhawks 7-3 in a game that saw both starting goalies exit in the first period.With the victory, the Sharks extended their winning streak to a season high of four games.The fourth line led the …
Vietjet’s interline agreement with Qatar will make it easier for passengers to connect with the Gulf carrier. ApprovedIn a fully approved procedure, an aircraft can back away from the gate under its own power under reverse thrust. However, before the jet can move backwards, it must roll forward slightly before the reversers can be deployed, and to move off of the tire’s ‘flat spot’ created when the aircraft sits parked on the ramp for any length of time.A critical component necessary for this procedure is the ramp agent or ground marshaller. After engines are started with the jet still parked at the gate, the marshaller signals the pilot in command when to move forward, and then using a rotating motion rapidly moving the signaling wands one-over-the-other, indicates exactly when to deploy the reversers and back away from the gate. When the aircraft has safely cleared the ramp area, the reversers are closed, throttles are brought back to idle, and the airliner can then taxi out to the runway. (See What are thrust reversers?)
The foyer resembles a forest and reflectsthe message of the court’s logo, “justiceunder a tree”. This is a traditional Africanform of dispute resolution. The large digitally-woven wool tapestry byacclaimed artist Marlene Dumas, thehighest paid woman artist in the world. A Luta Continua by Thomas Mulcaire isone of the latest additions to thecourt’s collection. Wool tapestries, hand-woven bymembers of a rural empowermentproject in KwaZulu-Natal, are fixedto acoustic panels.(Images: Wilma den Hartigh) MEDIA CONTACTS • Jane Lane Constitutional Court+27 11 359 7400Wilma den HartighSouth Africa’s Constitutional Court is home to one of the country’s most talked about art collections, but here you’ll find more than just pretty pictures on a wall. Each piece tells a story of South Africa’s history and the struggle for freedom and equality.As you make your way up the steps leading to the court entrance, it becomes clear that this is more than just a court building; it is a work of art.Besides the required security check at the entrance, it has done away with the austerity, pomp and ceremony that one usually associates with a court.Jane Lane, curator of the Constitutional Court’s art collection, says the court building was designed to be a friendly space.Here members of the public are as welcome as the judges who work here. Anyone, irrespective of their background or knowledge of art, can come inside and take a look around.Telling the story of transformationLane says transformation is a central theme of all the pieces on display at the court.Each work was selected for its intellectual and emotional meaning and is a tribute to the values of South Africa’s constitution, widely regarded as being the most progressive in the world.“The art tells the story of where we’ve been, but also where we are going to,” Lane says.Perhaps as remarkable as the scope and size of the collection – which consists of more than 300 artworks in a range of media including tapestries, sculptures, ceramics, photographs, engravings and paintings – is the way in which it was gathered.Former Justice Albie Sachs, who was appointed to the court by Nelson Mandela in 1994, played a leading role in selecting the art, the first public collection of its kind post apartheid.Together with former Justice Yvonne Mokgoro, who was appointed to the bench at the same time as Sachs, he spent over ten years gathering the eclectic pieces.“It is unusual to have this type of art in a court building. It has a niche in our history,” says Lane.For Sachs, the process of going about collecting the art was more than finding investment pieces to adorn the walls and walkways of the court building. Each work was selected for its meaning, but over the years many have become very valuable.One such piece is the large digitally-woven wool tapestry by acclaimed artist Marlene Dumas, the highest paid woman artist in the world.She was born in Kuilsriver in the Western Cape in 1953 and left South Africa in 1976 on a scholarship to study at the visual arts institute, Atelier ’63 in Haarlem, Holland.The huge three-part tapestry, The Benefit of the Doubt 2, shows three black and white figures against an ochre-yellow background. This work is a copy of the original which is displayed in the Netherlands.In a description of this particular work, Dumas said the tapestry makes reference to people in the dock who are innocent until proven guilty. The tapestry’s theme of law, justice, innocence and freedom makes it a fitting piece for the court.With a modest budged of R10 000 (US$1400) allocated for decor of the new court building, Sachs bought Humanity, a tapestry by Joseph Ndlovu. It hangs in what used to be Sachs’ chambers.Most of the pieces in the collection were donated by artists, gallery owners and patrons of the arts. Sachs also donated art from his private collection.Although the collection features many works by established South African artists, pieces by ordinary South Africans also feature prominently.Welcome to the courtAt the entrance to the court, you are immediately greeted by the grand double volume entrance hall, flooded with natural light from slatted skylights and large glass windows, which typify the transparency of the court.The foyer, which was designed to resemble a forest, reflects the message of the court’s logo, “justice under a tree”, a traditional African form of dispute resolution.The seven clusters of concrete columns, designed by ceramic mosaic artist Jane Durand, fill the double volume space. The slanting pillars are a metaphorical tree, where justice is open and participatory.Each cluster is decorated with detailed mosaic inlays in shades of green, blue, orange and red.Walter Oltman, who received the 2001 Standard Bank Young Artist Award for Visual Art, designed the encased wire leaf-like chandeliers that are suspended from the ceiling between the columns. These represent the forest canopy.The foyer also incorporates symbolic reminders of South Africa’s journey from oppression to freedom and democracy.The awaiting trial block stairwell embedded in the building is one of these elements.The Constitutional Court, situated at Constitution Hill in Braamfontein, Johannesburg, was constructed on the site where the apartheid government built a high-security prison in 1893.On this stairwell, original graffiti inscriptions by people who were jailed in this prison are visible.In some circles the notorious prison was known as the Johannesburg Fort and in others as Number Four, the name given to the terrifying section in which black men were jailed.Hundreds of people were imprisoned here, including famous figures such as Mahatma Gandhi, Albert Luthuli and Nelson Mandela.It is difficult not to notice the neon installation on the embedded stairwell, which looks just like the type of signage one would see in Las Vegas. It is the work of Thomas Mulcaire, a South African artist living in Brazil, and one of the latest additions to the court’s collection.The piece features the words A Luta Continua (a Portuguese phrase that means “the struggle continues”). Although the style of this piece is very different to the other art works in the collection, it still conveys the main message of transformation.The phrase was the rallying cry of the Frelimo movement during Mozambique’s war for independence between 1962 and 1975.It was also the title of a Mozambique-inspired song popularised by South African singer Miriam Makeba and was later released it on her album Welela in 1989.Functional artWhat makes the court’s art collection so distinctive is that it has a strong focus on functional art. Everyday objects such as doors, stairs and even acoustic panels in the court chamber have been transformed into works of art.In the main court chamber, forms of art such as weaving and beadwork feature prominently.Wool tapestries, hand-woven by members of a rural empowerment project in KwaZulu-Natal, are fixed to acoustic panels. The beaded South African flag, the only decorative piece in the courtroom, was made by a women’s group of artisans whose names are etched onto the flag.“It is a very informal space, but the design doesn’t come across as frivolous,” she says.The heavy steel doors that separate the court chamber from the foyer, designed by Andre Lindsay and Myra Fassler, consist of many small copper plates with etchings inspired by Ghanaian fabric designs. The individual square plates were all painted by different artists.Lane says that even the square brass nosings on the steps leading down to the judges’ bench have a story. They were designed by Jabu Nala, a resident of the high-density suburb Hillbrow in Johannesburg, using patterns of traditional beer pots.The ribbon windows in the court chamber were designed in such a way to open onto the public walkway next to the court building.“Sometimes children walking past press their noses against the glass to look inside. It is a reminder of the court’s humanity. It exists for the benefit of South Africa’s people.”
It’s all a lot more complicated than it seemsThe two groups call on regulators to allow utilities to collect “reasonable” fees for grid services while ensuring that homeowners are compensated “fairly” for the power they sell. But as Ethan Howland writes in his post at Utility Dive, “Do you think defining ‘reasonable’ and ‘fairly’ is going to be easy?”Further, Howland points out that some of EEI’s members have sought limits on net metering, regardless of the support it gets in the EEI/NRDC statement.Hearings before Arizona regulators have brought these issues into sharp focus. Last year, the Arizona Corporation Commission okayed a new fee on solar customers beginning this year, although it wasn’t nearly as much as the utility had requested. The commission continues to study the cost and benefits of distributed generation, so the fight there is hardly over.In a February 14 filing related to that inquiry, EEI said that distributed generation will play a bigger role in the nation’s overall power mix, and added, “current policies that create cross-subsidies among customers are neither equitable nor sustainable.”EEI said incentives such as net metering have served their purpose and are no longer needed, adding that advocates of rooftop solar are pursing a double standard. “Essentially, they argue that the benefits of DG should be priced on the basis of value, while benefits of electricity service as well as other generation resources, should be priced based on their cost,” the EEI filing said. “This approach is fundamentally unfair, unduly discriminatory and inconsistent with the traditional approach to regulation.”In other words, finding a middle ground that both electric utilities and advocates of rooftop solar can live with isn’t right around the corner — joint statement or not. It’s ‘no longer about selling more electricity’“If properly done, utilities can adapt to the changing needs of customers, modern electricity systems, and technologies, while continuing to deliver safe and reliable service, maintain financial integrity by allowing costs of service fairly among customers, and continuously improve environmental performance,” the statements says.“But utility regulatory and business model changes are necessary to accelerate progress and ensure transparent and equitable attainment of these objectives.”The groups made a number of recommendations, among them:Electrical distribution shouldn’t be viewed as a “commodity business” in which utilities stay afloat financially by selling more power. Instead, the business model should be to “focus on meeting customers’ energy service needs.” Rate structures should allow utilities to maintain and improve the grid.Owners and operators of on-site renewable energy “must provide reasonable cost-based compensation for the utility services they use, while also being compensated fairly for the services they provide.”Utilities should be able to recoup non-fuel costs despite fluctuations in the use of electricity. At the same time, “customers deserve assurances that costs will not be shifted unreasonably to them from other customers.”Regulators should be open to opportunities to support utility investments in smart meters and a smart grid, which will improve energy efficiency. In a blog explaining the announcement, Ralph Cavanagh, NRDC’s energy program co-director, said the point is “that the electric utility business can no longer be about selling more electricity.”“Instead,” he writes, “it needs to be about ensuring that people have reliable and steadily improving electricity services (starting with heating, lighting and cooling) and better environmental quality. That, in turn will require getting more work out of less electricity through energy efficiency and also creating diversified clean energy resource portfolios — such as wind, solar and geothermal — that are second to none in overall reliability.”The most recent statement amends two earlier versions issued in 2003 and 2008. Cavanagh says those joint declarations were aimed at improving energy efficiency and clean energy investments. Two groups seemingly on opposite sites of the renewable energy divide have called on state utility regulators to adopt rate plans that encourage more renewable energy while protecting the financial interests of the companies that buy and distribute it.In a joint statement, the Edison Electric Institute (EEI) and the National Resource Defense Council (NRDC) said the future of the country’s electricity industry would remain promising “as long as regulatory policies are fair and forward looking.”EEI represents the country’s investor-owned electric utilities, which together supply electricity to 220 million people in all 50 states. The NRDC is an international nonprofit environmental organization with more than 1.4 million members.In a number of states, dealings between major utilities and backers of residential photovoltaic (PV) systems have been anything but warm and fuzzy. Utilities complain that as residential solar installations increase, there’s less money coming in to maintain the grid, and that non-solar customers have to pick up a bigger share of the load. For their part, homeowners and PV installers have resisted utility efforts to make them pay more for utility connections or accept less for excess power they produce.The debate over what’s called “distributed generation” (DG) has played out in Arizona, North Carolina, Hawaii, California, and elsewhere. According to a post at UtilityDive.com, it’s one of the most challenging issues regulators face.The statement, issued on February 12 at meeting of the National Association of Regulatory Utility Commissioners in Washington, D.C., looks for common ground in what’s shaping up to be a bitter struggle.
Supercharge your Canon DSLR with Magic Lantern, a third party firmware that adds pro features and useful camera functions.“It’s no longer a hack, but it’s strongly heading towards a solid piece of engineering that you can trust.”For the last three years the developers of Magic Lantern have continued to improve and expand the functionality of the third party Canon DSLR firmware. This newest release brings more useful features – and added stability (previous versions were prone to camera crashing). What was once considered a “camera hack” is now being looked at as solid application that can really improve the functionality of your Canon EOS DSLR camera.Although intially created for Filmmakers, Magic Lantern now offers improvements that benefit both the DSLR photo and video shooter. Among the improvements in the Magic Lantern Stable v2.3 release:Faster Zebras: Quickly identify highlights and shadows that exceed acceptable limits.Customizable Menus: Personalize the camera to suit your needs. Only dispaly the funcations that are useful to you.Automatic HDR Bracketing: Magic Lantern will analyze the scene and shoot the number of shots to cover the dynamic range.Advanced Frame Rate Control: Dial in the frame rate you’d like to use all the way down to .2 FPSTimelapse Upgrades: Features include an advanced intervalometer and improvements to bulb ramping.Fast Playback Zoom: Press one button to zoom in all the way and check focus.Improvements to Stability: Pros who rely on Magic Lantern will be glad to know the firmware is more stable than ever.If you’re a Canon DSLR shooter looking to get more out of your camera, give Magic Lantern a try. It’s full featured and free after 8/13/12 (before that a donation will get you a download).**DSLRNewsShooter.com gives the newest Magic Lantern update a test drive. Read the full review.Magic Lantern 2.3 Promo Video:
Investing in a solid setup is well worth your money. Let’s take a look at three of the best A-Cam, B-Cam video camera setups currently on the market.There are more video cameras available today than ever before. Not only do you have your great line of DLSR and mirrorless prosumer cameras, there are also many high-end cinema cameras that run the gamut of specs and price tags.Speaking from experience, when I worked in-house with a video production company, there were often times when I needed at least a couple of cameras for a shoot. In many cases, these are A-camera and B-camera setups, where your A-cam is your high-end option for the majority of your filming, while your B-cam is usually your slightly lower-end camera, used for off-angle coverage and pickup shots.In any situation, you can always mix and match your camera selections for the unique needs of your project. However, if you’re looking to invest in a solid setup — or just looking for some good go-to options — here are some of the best A-cam, B-cam setups currently on the market.Blackmagic URSA Mini Pro and the BMPCC 4KBlackmagic isn’t quite the “legacy” brand like some other names on this list, but the masterminds behind DaVinci Resolve are trailblazing their way into the forefront of the digital video camera game. While the URSA Mini Pro has been a solid A-camera (4.6K, ProRes 444 + 422 recording) cinema workhorse since 2017, the real variable in this equation is Blackmagic’s new Pocket Cinema Camera 4K, which is a popular B-camera companion that boasts many of the same specs but at a fraction of the price.You could also consider Blackmagic’s recently announced URSA Mini Pro G2, which features greater high-frame rate recording. However, now may be a good time to strike, with the original Mini Pro most likely about to drop in price, thanks to the next-generation release.Specs for the Blackmagic URSA Mini Pro:Super-35mm CMOS sensor4608 x 2592 video up to 60pCompressed raw recordingReady-to-Edit ProRes 444 + 422 recordingDual CFast 2.0 memory card slots12G-SDI output, timecode & REF input1080p flip-out screenTouchscreen interface2 x XLR audio inputs with phantom powerMagnesium alloy bodyPrice: $4,995Specs for the Blackmagic Pocket Cinema Camera 4K:4/3″-sized HDR sensorRecord DCI 4K 4096 x 2160 up to 60 fpsDual-native ISO to 25,6005″ touchscreen displayActive micro four-thirds lens mountRecord up to 120 fps windowed HDCFast 2.0 & SD/UHS-II card slotsExternal recording via USB Type-C13-stop dynamic range, 3D LUT supportPrice: $1,295Canon C300 and the Canon 5DI might be one of the last people in the world who still likes Canon cameras, but I spent years shooting on the Canon C300 — and both the Canon 7D and Canon 5D. Most of my career has been run-and-gun videography (and sometimes photography, to boot), so a reliable camera like the 5D or 7D has been invaluable.Meanwhile, Canon’s C300 has been a very solid cinema A-camera offering — a favorite of documentary filmmakers and corporate video producers (also for its reliability and favorable color science).And while we list the Canon 5D Mark IV as a good B-camera pairing (the brand’s latest version of its flagship camera), the 5D Mark III is actually pretty comparable as well, and you can find it much cheaper (or possibly used). You can also combine your combo workflow with the C100 as an A-cam, as well as other Canon cameras, like their new mirrorless EOS R or EOS RP. Or other DSLR options like the 7D or the 6D for the B-cam.Canon C300 Mark II specs:Super 35mm CMOS sensor4K,1920×1080 60/50i, 23.98/25p True 24pCanon XF AVC H.264 codecEF lens mountDual-pixel CMOS AF technology>Rotating 4″ LCD monitor2 x 3G-SDI output, 2x XLR inputs2 x CFast card slotsTimecode I/O, genlock in & sync outCanon Log 3 gammaPrice: $9,999Canon 5D Mark IV specs:30.4MP full-frame CMOS sensorDIGIC 6+ image processor3.2″ 1.62m-dot touchscreen LCD monitorDCI 4K video at 30 fps; 8.8MP still grab61-point high density reticular AFNative ISO 32000, expanded to ISO 102400Dual pixel RAW; AF area select buttonDual pixel CMOS AF and movie servo AF>7 fps shooting; CF & SD card slotsBuilt-in GPS and Wi-Fi with NFCPrice: $2,999 (body only)Sony FS7 and Sony A7 IIILet’s not leave out the other major player in digital mirrorless and cinema cameras of the past several years. Going full Sony for your A-camera/B-camera setup may be your best image capture option. The Sony FS7, with its Super 35mm-sized CMOS sensor, is one of the most diverse and multi-functional A-cams on the market.Combined with the full-frame Sony A7 III (or perhaps the Sony A7S II), you should get the best of Sony’s sharp and crisp color science, and superior low-light performance, for more uncontrolled and vérité-style shoots.Here are the specs for the full Sony PXW-FS7 XDCAM Super 35 Camera System:Super 35-sized CMOS sensorSony E-mountDCI 4K (4096 x 2160) up to 60pUHD up to 60 fps, HD up to 180 FPS4096 x 2160 via external recorderXAVC-I, XAVC-L, MPEG-2XAVC-I Up to 600 Mb/sDual XQD memory card slotsDual HD/3G-SDI & HDMI outputErgonomic handgrip with camera controlsPrice: $6,999And the specs for the Sony A7 III:24MP full-frame Exmor R BSI CMOS sensorBIONZ X image processor & front-end LSI693-point hybrid AF systemUHD 4K30p video with HLG & S-Log3 gammas2.36m-dot Tru-Finder OLED EVF3.0″ 922k-dot tilting touchscreen LCD5-axis SteadyShot INSIDE stabilizationISO 204800 and 10 fps shootingBuilt-In Wi-Fi and NFC, Dual SD SlotsUSB Type-C Port, weather-sealed designPrice: $1,999 (body only)Cover image by lapandr.For more camera and gear insights and advice, check out some of these articles:NAB 2019: Our Favorite Releases From This Year’s Show5 Steps for Prioritizing Your Filmmaking Gear InvestmentsIndustry Roundup: Top Destination Jobs for VideographersGear Roundup: Finding the Best SD Cards for Your CameraThe Cameras Behind Popular Netflix Originals: Films and Series
Some people just can’t be kept indoors. For adventure sports addict Ajeet Bajaj, the outdoor is home, and life is beautiful provided he’s trekking, kayaking or making polar expeditions.For equestrian Vanita Malhotra-who set a new national record in Dressage last month-nothing beats the adrenalin rush she gets every time she,Some people just can’t be kept indoors. For adventure sports addict Ajeet Bajaj, the outdoor is home, and life is beautiful provided he’s trekking, kayaking or making polar expeditions.For equestrian Vanita Malhotra-who set a new national record in Dressage last month-nothing beats the adrenalin rush she gets every time she mounts a horse.SIMPLY DELHI meets the two outdoor junkies as they prepare to scale new heights.Ajeet BajajAjeet Bajaj holds the Indian flag aloft upon reaching the North PoleOn April 26, 2006 (0100 hours, Norway time), a jubilant Ajeet Bajaj put down his skies and hoisted the Tricolour at 90 degrees north latitude. By doing so, he became the first Indian to have skied to the North Pole. While he and his team of four celebrated their victory against the odds (and weather gods), Bajaj called his family on his satellite phone and said, “Ho-ho-ho, this is Santa Claus from the North Pole.” A nickname that’s likely to stick for a bit as he plans to head to the South Pole this Christmas.An extreme sportsman, Bajaj had earlier earned the distinction of being the first Indian to have rafted and kayaked in six continents, including down the daunting Zambezi river in Africa. “Having grown up on stories of explorers like Sir Edmund Hillary, setting foot on North Pole was an overwhelming, yet humbling, experience for me,” he says.Bajaj’s love for the outdoors took root when his father took him trekking to Himachal and Jammu and Kashmir when he was nine. This interest shaped his life with his hobby becoming his profession, leading to the foundation of his adventure sports company, Snow Leopard Adventures in 1990. Snow Leopard’s activities include river rafting on the Ganga, trekking in the Himalayas, cycling on forest trails and rappelling down cliffs.advertisement”Extreme sports need mental strength as much as physical prowess.”Ajeet Bajaj”Extreme sports are as much about mental strength as they are about physical prowess,” says Bajaj, as he talks about the training he underwent for the North Pole expedition. It ran for a week and took place in North Minnesota in the US. All the five members of the team (three Americans, one Swiss and one Indian) trained under extreme conditions.Not only were the worst polar conditions simulated, they even trained for extreme eventualities like falling into and crawling out of frozen lakes. The journey itself began in the second week of April at 78 degrees north latitude at Svalbard, an island made entirely of snow and ice that lies midway between Norway and the North Pole.Talking about the importance of team spirit on an expedition like this, Bajaj says: “It cannot be a single-handed effort. You just cannot make it alone on a polar ice cap for 14 days. All of us in the team were there for each other and, in the process, have become friends for life.”Bajaj, who has won a silver and two bronze medals in international rafting competitions in Switzerland (1987) and Siberia (1989), says he is fortunate to have a family which understands that this is his way of life. His daily regime includes a run, tennis and the gym. And on days when he’s feeling exceptionally adventurous, he cycles to office-a 17-km stretch from his house in Gurgaon’s Garden Estate to his office at Vasant Kunj.Vanita MalhotraVanita Malhotra with Hanoverian Horse Pink Floyd”I can’t imagine life without horses. People ride up to the age of 70 and I hope to be one of them,” declares Vanita Malhotra (26), one of India’s finest dressage riders. Dressage, an Olympic equestrian discipline, is a form of stylised horse riding. Malhotra likes to call it “ballet performed on the horse with rider and horse in harmony.”On November 13, Malhotra won the National Championships at the Prix St George Level in Delhi with an aggregate of 64.62 per cent (the highest percentage ever achieved by any Indian rider). Earlier in the month, she defeated veteran rider Lt Col Sunil Shivdas by six points and also won the FEI World Dressage Challenge, the biggest dressage event in India.”Like most teens, I tried my hand at various sports and extra curricular activities, but by 14 I had decided to stick to riding, a passion I discovered entirely on my own,” says Malhotra who fell in love with horses at the Army Polo Riding Club.”Dressage is like ballet by rider and horse moving in harmony.”Vanita Malhotra”Initially I only did show jumping but in 2001, my friend Kapil Modi, who also happens to be a former national champion in dressage, introduced me to his trainer Major Ahluwalia (a national riding champion who is competing in dressage in the 2006 Asian Games at Doha). So you could say that I found my forte at the age of 21,” she says.advertisementCurrently training for the 2010 Asian Games, she rides her horse Pink Floyd for two hours every morning. “One’s relationship with one’s horse is of vital importance. In fact, the horse is 60 per cent of the deal. I’m lucky that Pink Floyd and I have become the best of friends,” she says, patting the majestic 10-year-old Hanoverian imported from Germany earlier this year.A commerce graduate from Hindu College, Malhotra hopes to study further in order to play a more active role in her family’s Haryana-based export business, Svam Power Plants. But at the end of it all, she says, the race course is where you’re most likely to find her.
A model and an aspiring Bollywood actor Gehna Vashisht was assaulted in Mumbai by some unknown social activists as she allegedly teamed up her bikini top with a tricolour wrapped around her waist.However, the incident that took place on Monday has now got a shocking twist as it turns out that the entire sequence was staged and the protesting activists were allegedly paid to attack Gehna.On the day of the supposed attack on Gehna, her publicist rounded up a few people loitering outside Oshiwara police station, including a woman identified as Shantabai Pawar, who lustily protested and even threw a few stones for a payment of Rs 300 for 5 minutes.The visuals accessed by Headlines Today show Shantabai and another man giving direction to the gathered crowd. Gehna’s car comes into view but zooms away as there were not enough people yet. The woman was heard talking to the man, who asks the starlet to come back a few minutes later when more protesters arrive.The group then composes itself. Gehna’s car returns to the spot a few minutes later and stops in front of the protestors without anybody obstructing its path. On cue, the protestors start hurling stones at the car. One man who breaks the rear windshield instinctively smacks his forehead in regret.Gehna, instead of staying put and driving away, which should have been her natural response had the attack been real, got out to meet the group.Shantabai then stepped forward and hectored her for violating the dignity of the national flag. After a while, Gehna got back into her car, making a show of wiping the blood from her chin where the stone had grazed her.Earlier, the little-known model had done a photo-shoot wearing a bikini and the national flag wrapped around her waist.The question now comes is who did Gehna shoot for. Was it meant from the beginning to be a publicity stunt? It could be mentioned that the donning of the national flag as a piece of clothing is punishable under Prevention of Insult to National Honour Act of 1971.advertisement