AJAY BANGA, the United States' candidate to lead the World Bank, has helmed large institutions and "helped bring 500 million unbanked people into the digital economy," according to US authorities.
And those who have worked with him describe him as a straight-talking leader who is able to work with people of different cultures.
Banga, 63, has walked an unusual path to potential leadership of the development lender.
Born in Pune, near Mumbai, his father was an Indian army officer and he moved around regularly in his childhood.
Banga, who is Sikh, wears a turban and has a full beard, started out at Nestle in India taking on sales and marketing assignments before moving to PepsiCo and eventually joining Citigroup in 1996.
There, he worked his way up to chief executive officer of the Asia-Pacific region before joining Mastercard in 2009 as chief operating officer and being named its chief executive a year later.
In 2021, he joined private equity firm General Atlantic.
While he was born and raised in India, spending a part of his career there, the Indian-American leader has also been described as an Americanized baseball lover who "owns practically every Elvis Presley album that you could think of," according to a Financial Times interview.
Banga's nomination as a candidate for World Bank president comes as current World Bank chief David Malpass announced recently he would step down nearly a year early.
The Washington-based development lender is accepting candidate nominations, in a process that will run until March 29.
"His working style is 'get it done,'" said David Beasley, executive director of the World Food Program, who worked with Banga during his time at Mastercard.
"He's very articulate, he gets to the point... and is incredibly diplomatic when he does it," Beasley said.
He added that Banga "knows how to work with people from different cultures."
The next World Bank president will need to "unite a very large group of countries behind a common agenda," said Clemence Landers, policy fellow with the Center for Global Development.
"I think having someone who can speak to many different identities and speak to many different constituencies is absolutely critical," she said.
Looking ahead, the candidate would need to make the lender more able to respond to changing needs of countries, and the costs required to do this job is rising, she said.
"It's absolutely essential that this person isn't just seen as representing the US voice, but representing the voices of many of the different parts of the institution," added Landers.
The president of the World Bank is typically American, while the leader of the International Monetary Fund is customarily European. But in recent years, growing emerging market countries have challenged the unwritten arrangement.
(AFP)
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Brasil! Brasil! at the Royal Academy: A journey through Brazilian modernism
Feb 04, 2025
THE Royal Academy has a wonderful, new exhibition called Brasil! Brasil! The Birth of Modernism featuring more than 130 works by 10 Brazilian artists from the 1910s to the 1970s.
As with all great art, it gives you a real feel for Brazil.
Afterwards, I headed straight to the gallery shop and bought the catalogue, the poster, a postcard and a greetings card, always a sign I intend to return to the exhibition and take a longer look. I approached the exhibition with three pieces of intelligence.
First, Edson Arantes do Nascimento, better known by his nickname Pelé, was considered a kind of god among football fanatics in India, especially the Mohun Bagan-East Bengal crowd in Kolkata.
Flying a Kite (1950) by Djanira
Second, when I attended a farewell party in Buenos Aires at the end of the Argentina-UK war over the Falklands, I said something like: “People here really know how to party.”
My translator, a young Argentinian man, Jorge Posse, who remains a good friend, laughed: “This is nothing – wait till the Brazilians arrive!”
Third, an English friend from college, whom I see once a year for lunch when he returns to the UK, landed a lucrative job with BOLSA (Bank of London and South America) and spent his entire (exotic) working life in Brazil.
Yellow Man (1915/16) by Anita Malfatti
Collectively, the works take the visitor on a journey through 70 years of a new art in Brazil, which moves from figuration to abstraction. They capture the diversity of Brazilian art, according to the Royal Academy. It says that in early 20thcentury Brazil, artists were adapting contemporary trends, international influences and artistic traditions to create a new modern art; art informed by and celebrating its distinct, vibrant cultures, identities and landscapes.
Most of the exhibition’s works come from rarely seen Brazilian private collections and are shown alongside those drawn from public sources; many have never been exhibited in the UK.
The names of the artists would be unknown to most of us.
Lucy with Flower (1939-42) by Lasar Segall
The 10 featured artists include pioneers of early Brazilian Modernism, a movement spearheaded by Anita Malfatti (1889-1964), followed by Vicente do Rego Monteiro (1899-1970), the Jewish Lithuanian emigré Lasar Segall (1891- 1957), Candido Portinari (1903-1962) and Tarsila do Amaral (1886-1973), now internationally celebrated as a leading female figure of Brazilian Modernism.
The exhibition also includes the selftaught artists Alfredo Volpi (1896-1988) and Djanira (1914-1979), an artist of indigenous descent, Afro-Brazilian artist Ruben Valentim (1922-1991), the early Neo-Concrete polymath Geraldo de Barros (1923-1998), and the artist and architect Flávio de Carvalho (1899-1973), who was also one of Brazil’s first performance artists.Each of the artists are represented by at least 10 works, many of whom have their own dedicated gallery space.
Lake (1928)
The exhibition also features a section dedicated to the historic Exhibition of Modern Brazilian Paintings, which took place at the Royal Academy in 1944, the first exhibition of modern Brazilian art in the UK. It featured 168 works by 70 artists.
I have a thing about landscapes and loved the ones of the Brazilian countryside. They remind me of the ones of rural West Bengal done by my younger economist brother who has started dabbling in water colour.
The poster for Brasil! Brasil! features Tarsila do Amaral’s Lake (1928). I gravitated to two more of her paintings – Second Class (1933) and Settlement I (1952). I also picked out Segall’s Lucy with Flower (1939-42), which was shown in the 1944 exhibition at the RA, along with her Banana Plantation (1927).
Second Class (1933) by Tarsila do Amaral
Paintings which I would love at home – the acid test – included Malfatti’s Yellow man (1915/16); Djanira’s Flying a Kite (1950); Mário de Andrade (1939) by Flávio de Carvalho.
We are reminded that Brazil was seen as a land of opportunity and sanctuary, with its vast territory and huge natural resources. Alongside a multiplicity of indigenous cultural groups were descendants of the original Portuguese colonisers and of enslaved West Africans (slavery was only abolished in 1888), as well as a wide variety of immigrants, not only from Europe, but significant populations of Japanese, Syrians, Italians and Germans, among many others.
Urbanisation led to the expansion of cities such as Rio de Janeiro (the capital until 1960 when Brasília was inaugurated) and São Paulo; with immigration came new political, social, economic and artistic ideas.
Brazilians were no longer interested in following Europe and North America, not just in terms of literature, poetry, theatre, music and design but also, significantly, in art.
Mário de Andrade (1939) by Flávio de Carvalho
Brazil was seeking its own identity, one that was freed from external influences and that reflected the reality of life in Brazil. Artists began to emerge in the 1910s, wanting to be modern, reflecting new forms of expression that many had been exposed to in Europe (mainly in France between the wars) and in the US. These artists returned to Brazil reflecting these modern tendencies, but adapting them to create new forms of art that celebrated their national identity.
The exhibition is organised by the Zentrum Paul Klee, Bern, in collaboration with the RA.
It is curated by Dr Fabienne Eggelhöfer, chief curator, Zentrum Paul Klee, Roberta Saraiva Coutinho, former director of the Museu Laser Segall in São Paulo and current director of the Museu da Língua Portugesa, São Paulo, with Dr Adrian Locke, chief curator at the RA.
Eggelhöfer and Coutinho write in the catalogue that in 1822, Brazil became independent from Portugal, and a republic in 1889. “The population consisted mostly of indigenous groups; formerly enslaved people, most of whom had roots in West Africa; Portuguese colonisers; and migrants from all over Europe.
,Settlement I (1952) by Tarsila do Amaral
And soon immigrants would come to Brazil from Japan as well.”
They add: “In Brazil, the engagement with indigenous cultures was much rather about going back to the roots and appreciating the country’s cultural history before European colonisation.”
n Brasil! Brasil! The Birth of Modernism is at the Royal Academy until April 21, 2025.
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Udit Narayan’s forced kiss sparks outrage as social media unearths past controversies
Feb 04, 2025
Veteran playback singer Udit Narayan is facing severe backlash after a video of him kissing a female fan on the lips during a live concert went viral. The clip, which shows Narayan performing his hit song Tip Tip Barsa Paani, has sparked outrage, with many calling his actions inappropriate and non-consensual. As the controversy gained traction, old videos of the singer kissing other female celebrities, including Alka Yagnik and Shreya Ghoshal, resurfaced, further fuelling the debate.
In the viral video, Udit Narayan is seen interacting with fans during his performance. While most exchanges appear harmless, one moment stands out when a female fan leans in to kiss him on the cheek, but Narayan turns his head and kisses her on the lips instead. The fan’s shocked reaction has drawn widespread criticism, with many accusing the singer of crossing boundaries.
Social media users quickly dug up past instances of similar behaviour. One clip shows Narayan kissing Alka Yagnik on the cheek during an Indian Idol episode, leaving her visibly uncomfortable as she steps away. Another video captures him kissing Shreya Ghoshal on the cheek at an awards ceremony, with Shreya appearing surprised before awkwardly smiling. These clips have reignited discussions about the importance of consent and professionalism in the entertainment industry.
Udit Narayan, however, has defended his actions, calling them as acts of “pure affection.” In an interview with Hindustan Times, he said, “Fans are crazy. We are decent people, but some show their love this way. Why make a big deal out of it?” He further added, “My heart is pure. If people see something dirty in my actions, I feel sorry for them.”
Despite his explanation, the internet remains divided. While some fans have come to his defence, others have expressed disgust, calling his behaviour “unacceptable” and “disrespectful.” Comments like “Alka looked displeased. Stop this harassment, Udit!” and “Shreya clearly felt uncomfortable but laughed it off” have flooded social media platforms.
- YouTubeyoutu.be
Adding to the discourse, singer Abhijeet Bhattacharya defended Narayan, stating, “Udit is a superstar. Women chase him. He didn’t pull anyone close; they came to him.” However, this justification has done little to quell the criticism. The controversy has also raised questions about the timing of the video’s release, as the concert reportedly took place months ago. Narayan speculated that there might be “mischief mongers” behind the sudden viral attention, vowing that their attempts to tarnish his reputation would only make him rise higher.
As the debate continues, the incident has sparked a larger conversation about boundaries, consent, and the responsibility of public figures. While Narayan remains unapologetic, the backlash serves as a reminder that even acts of “affection” must respect personal space and consent.
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Asda staff move closer to £1.2 billion equal pay payout
Feb 04, 2025
THOUSANDS of Asda workers have won the latest stage in a long-running equal pay case, bringing them closer to a potential £1.2 blillion payout.
The Manchester employment tribunal ruled that 12 out of 14 lead claimants, part of a case involving 60,000 employees, had jobs of equal value to their higher-paid, mostly male counterparts working in Asda warehouses, The Guardian reported.
The case, supported by the GMB union and law firm Leigh Day, could have wider implications for other supermarket workers involved in similar claims. The industry-wide compensation bill for back pay could reach £8 bn.
The tribunal found that checkout operators and shop floor assistants in areas such as bakery, chilled, produce, customer services, and George clothing performed work of equal value to at least one warehouse role.
However, online shopping packers and store workers handling only packaged or tinned groceries were not deemed equivalent, affecting about 11,000 claimants. The GMB is considering an appeal for these workers, The Guardian reported.
GMB national officer Nadine Houghton urged Asda to settle, stating that while this was a historic step, it was disappointing for those facing an appeal.
Asda, which is dealing with declining sales after a private equity-led takeover, denied any discrimination.
A spokesperson said the company would continue to defend the claims, arguing that retail and distribution are separate industries with different pay structures.
The final stage of the case requires Asda to justify the pay difference with a reason unrelated to gender.
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Indra Nooyi’s sister Chandrika Tandon wins Grammy 2025 for Indian classical fusion
Feb 04, 2025
Indian-American singer and entrepreneur Chandrika Tandon made history at the 2025 Grammy Awards by winning the Best New Age, Ambient, or Chant Album for her album Triveni. The prestigious award, presented on February 2 in Los Angeles, marks a significant milestone in her career and highlights the growing recognition of Indian talent on the global stage.
Triveni, a collaborative effort with South African flautist Wouter Kellerman and Japanese cellist Eru Matsumoto, blends Vedic chants with meditative tones and world music. The album’s seven tracks, including Pathway to Light and Seeking Shakti, offer a serene and immersive experience, earning widespread acclaim for its unique fusion of traditional and contemporary sounds.
Getty Images
Dressed in an elegant silk salwar kurta and her signature necklace, Tandon proudly represented India at the ceremony. She was among a select group of Indian-origin artists nominated this year, including Ricky Kej, Anoushka Shankar, and Radhika Vekaria. Her victory underscores the increasing influence of Indian musicians in international music circles.
Born in Chennai, Tandon is a multifaceted personality—business leader, philanthropist, and Grammy-nominated musician. She is the elder sister of Indra Nooyi, former CEO of PepsiCo, and has carved her own path with remarkable achievements. After graduating from IIM Ahmedabad, she became the first Indian-American woman to be named a partner at McKinsey & Company.
Chandrika Tandon and her team share the moment of triumph as they accept the Grammy 2025 for TriveniGetty Images
Tandon’s musical journey began with her debut album, Soul Call, which earned a Grammy nomination in 2011. Her latest win for Triveni cements her place as a global musical force. Beyond music, she is known for her philanthropic efforts, including a $100 million donation to NYU’s School of Engineering with her husband, Ranjan Tandon.
In her acceptance speech, Tandon expressed gratitude for the power of music, calling it a source of “love, light, and laughter.” Her win is not just a personal triumph but a celebration of India’s rich musical heritage and its growing impact on the world stage.
As Triveni continues to resonate with listeners, Chandrika Tandon’s Grammy victory stands as a testament to her talent, perseverance, and dedication to bridging cultures through music.
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Modi invited to White House meeting with Trump next week: Report
Feb 04, 2025
US PRESIDENT Donald Trump has invited Indian prime minister Narendra Modi to visit the White House next week, a White House official said.
The announcement came hours after a US military plane left for India carrying deported migrants.
Trump spoke with Modi on 27 January, discussing immigration, trade, and security ties.
He emphasised the importance of India purchasing more US-made security equipment and ensuring fair bilateral trade relations.
India, a key US partner in countering China, is looking to strengthen trade ties and make it easier for its citizens to obtain skilled worker visas.
It is also aiming to avoid tariffs that Trump has previously warned about, citing India's high tariffs on US products.
The United States is India's largest trading partner. In 2023/24, trade between the two countries exceeded £95 billion, with India posting a trade surplus of £25.8 bn.
(With inputs from Reuters)
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