CRICKET AUSTRALIA is hoping for packed stadiums for this year's Ashes series even if England's "Barmy Army" of travelling fans are unlikely to get into the country, interim chief executive Nick Hockley said on Wednesday (19).
The schedule for Australia's 2021-22 home season was confirmed on Wednesday (19) with a maiden Test against Afghanistan in November, starting proceedings before five Ashes contests over five weeks around the New Year.
Australia's borders are still closed to all non-essential travel because of the Covid-19 pandemic, however, the government said last week that might remain the case until the middle of next year.
CA said it had built quarantine periods for touring squads into the schedule but it is unlikely at this stage that England fans will be able to travel to support their team as they look to win back the Ashes.
"We're all hoping for a summer of full crowds and an Ashes atmosphere we’re all accustomed to," Englishman Hockley said in a statement.
"In a perfect world, we would welcome the Barmy Army back to these shores for a summer of singing and sportsmanship. Of course, we will be guided by the Australian government on all things related to international travel."
The inaugural Test against Afghanistan was called off last year because of the Covid-19 pandemic but will now take place from Nov. 27-Dec. 1 at Bellerive Oval in Hobart.
The Ashes series will open at the Gabba in Brisbane on Dec. 8 before moving on to a day-night clash at Adelaide Oval followed by the Boxing Day Test at the Melbourne Cricket Ground and New Year's match at the Sydney Cricket Ground.
In a change from recent Ashes series in Australia, the fifth and final Test will take place at the 60,000-seater Perth Stadium from Jan. 14-18.
Australia will also play three one-dayers and a Twenty20 match against New Zealand in late January and early February followed by five 20-over matches against Sri Lanka to round out the 2020-21 home season.
The women's Ashes will open with the Test match in Canberra from Jan 27-30, followed by three T20s and three one-dayers in February. The world champion Southern Stars will also host India in a one-day series with dates yet to be confirmed.
Susan Stronge was understandably a little emotional as she spoke to Eastern Eye last Monday (5), the final day of the exhibition on The Great Mughals: Art, Architecture and Opulence, the exhibition she curated at the Victoria and Albert Museum.
The exhibition opened on 9 November 2024 to celebrate “the extraordinary creative output and internationalist culture of the golden age of the Mughal court (about 1560–1660), during the reigns of its most famous emperors: Akbar, Jahangir and Shah Jahan.”
There was a large crowd on the last day to catch one more glimpse of the jewellery, paintings, armour, textiles, carpets and other works of art before they were taken down to make way for the next exhibition, Marie Antoinette Style: Shaped by the most fashionable queen in history, in September.
By any reckoning, The Great Mughals has been a huge success. On the final day, Stronge wandered through the gallery, listening to visitors’ chatter – few of them aware she was the curator who had selected the objects now holding them spellbound.
A gem-set dagger, pendant and flask
“I’ll miss it when it goes,” she admitted. “But I’m very, very pleased it’s been so successful and people have obviously enjoyed it. I quite liked eavesdropping on people who are talking to each other about the objects. I heard a couple who were looking at the jewelled jade pendant that arguably could have been made for Jahangir. The chap looked at it and said it was worth coming just to see that one piece. I thought that was fantastic.
“I am struck by the number of people who tell me they have been two, three, four, five, even 10 times. I have a Pakistani friend from Lahore, who is now in London, and he was coming every Friday and he was in week six.”
The Great Mughals was Stronge’s swansong after 49 years at the V&A. She formally retired in February as senior curator in the Asian department, where she had mentored many over the decades. Another of her exhibitions that she feels has left “a significant legacy” was The Art of the Sikh Kingdoms in 1999.
She said: “I have got a three-year position in the museum as an honorary senior research fellow in the research department of the V&A Research Institute.”
Although she is now recognised as a leading scholar in Sikh and Mughal art, she feels she came into the field almost by accident.
“A happy accident,” she acknowledged.
A model of the cenotaph of Mumtaz Mahal
She is a Yorkshire girl who grew up in Ripon in a family where visiting museums wasn’t the done thing. She initially did voluntary work in Norwich, at the Castle Museum and in Strangers’ Hall, a Grade I listed building. She didn’t know it then, but her life was set to change when she applied for, and got, a job as an assistant at the V&A in 1976.
“I was told at the interview I’d be in ceramics, metalwork or the press office,” she recalled. “When I turned up for work, the first day, they said, ‘Oh, you are in (what was then) the Indian section.’ This was a surprise, but also disconcerting, because I knew nothing about India, its history and culture. The keeper of the department was John Irwin, who was a very distinguished textile historian.
“I did an MA at SOAS in South Asia studies and was taught by John Burton-Page, who was a fantastic teacher of Mughal architecture and art. It snowballed from there as I got more and more interested. We did interesting exhibitions (at the V&A) under Robert Skelton’s leadership. We did Arts of Bengal in 1979. No two years were the same. We were given so many opportunities.”
Her interest in Mughal art “evolved over many years. I’ve been teaching a lot on South Asian art courses”.
She found the Western way of defining fine or decorative art “did not apply at all to Mughal or other Eastern arts. So, I started thinking about how to present it.
“I did a book many years ago (2010) called Made for Mughal Emperors: Royal Treasures from Hindustan which was published by Roli in India. I did it by theme, and took things like the institution of the royal household, the imperial treasury. It was much more rooted in telling the cultural story of the history and atmosphere of the court.”
She likes the word “Hindustan”, because the art of pre-Partition India takes in present-day India, Pakistan, Bangladesh, Afghanistan, and Myanmar. It was also what the Mughals called their own territories.
Coming to the present, she said that when the V&A’s current director, Tristram Hunt, “said he would like a South Asian exhibition, I suggested The Great Mughals, and it was added to the schedule – though plans were later disrupted by the pandemic.”
And, a floorspread
She began by considering the objects she could pick, and is grateful for the loans from the Al-Sabah collection in Kuwait. She said the late Sheikh Nasser “had an absolute passion for Mughal art”, and his wife, Sheikha Hussa, had been “incredibly generous”.
Stronge offered an insight into her approach to curating the exhibition: “I wanted to show the very great art produced over 100 years under Akbar, Jahangir and Shah Jahan. I also wanted to explain something of the history and the cultural context, and also show how hybrid the culture was. That is reflected in the hybridity of the art.
“In the West you tend to see Hindu and Muslim in completely separate categories. That’s not the reality. People share in each other’s religious festivals. That’s why in the studies of art history, ‘Islamic art’ is an almost meaningless term.
“Art historians (in the West) can’t quite place the Mughal empire, because it is not purely Islamic. The rulers are Muslim, but the majority of the population was Hindu. Akbar had Hindu wives and Jahangir had a Hindu mother. It’s not something that fits into Western categorisation. It’s much more hybrid. That’s something I wanted to get across – and how remarkable the artists were. Most of us, certainly me, had never heard of them before I joined the V&A. People like Ustad Mansur, Abu’l-Hasan, and the Iranian master Sa’ida Gilani, a goldsmith who crafted jade artefacts. What is so frustrating is how little we know about their lives or backgrounds.
“The thing that surprises many people is the primacy of the Persian language in the Mughal courts. It was the cultural language of the court, whether you were Hindu or Muslim. One of the leading poets under Jahangir was a Brahmin writing in Persian. I wanted to show the internationalism of the court, the importance of the Persian language and the beauty of the objects. Then there are things, like enamelling, which is a difficult craft. It comes from a foreign technique but becomes completely Mughal and sensational.”
Some of the craft techniques had survived, passed down from one generation to the next.
“There’s this wonderful continuity,” she commented.
She said the Aga Khan Trust for Culture, for example, was trying to revive “the craft of inlaying wood with mother of pearl. They wanted to copy a canopy that had been made in Gujarat and moved to a shrine in Nizamuddin in Delhi. They wanted to put it in their new museum. And, in doing so, they revived a craft that had been completely lost.
“They had to reinvent it almost by trial and error, and they’ve done it to perfection. We showed a short film about the technique in the exhibition.”
Perhaps most important of all, what her exhibition shows is that the Mughals were and remain an integral part of India, its history and its culture.
“If you remove them (from India’s history), you’re removing some of the greatest monuments in the world from the narrative, aren’t you?” she pointed out.
“How do you explain the Taj Mahal, the forts in Delhi and Agra, the endless tombs and monuments? If you don’t know the historical context, you’re losing a lot. It’s something to be proud of.
“If you’ve got a country with a Taj Mahal, it’s something to celebrate.”
The Autodromo Enzo e Dino Ferrari, nestled in the Italian countryside near Imola, has long been a proving ground for Formula One’s finest. While its history is shadowed by the tragic events of 1994, the circuit has also delivered some of the sport’s most electrifying moments, testing the limits of driver skill, strategy, and sheer willpower. Here’s a look back at three of the most memorable races at this demanding track.
2005: Alonso vs Schumacher – A Showdown of Generations
In 2005, Formula One fans were treated to a classic duel between a young Fernando Alonso and the legendary Michael Schumacher. Starting 13th on the grid, Schumacher charged through the field in a masterful display of overtaking to reach the tail of Alonso’s Renault in the closing stages.
The Ferrari had superior pace after a late fuel stop, but Alonso, just 23 at the time, executed a defensive masterclass, denying the seven-time champion every opportunity to pass. Schumacher probed for weaknesses at the Tosa hairpin, the Variante Alta chicane, and even down the hill into Acque Minerali, but Alonso held his line each time, his car perfectly placed to block every attack. After 20 minutes of relentless pressure, Alonso crossed the line just 0.2 seconds ahead, securing his third consecutive win of the season. This race became a defining moment in the Spaniard’s career, cementing his reputation as a champion in the making. It also marked a symbolic end to Ferrari’s dominant era, as Schumacher would win just one more race that season, while Alonso went on to claim his first world title.
1985: A Race of Chaos and Fuel Misfortune
The 1985 San Marino Grand Prix was one of the strangest in F1 history, defined by fuel shortages and last-lap heartbreak. Ayrton Senna, who had secured pole in his Lotus, appeared set for victory until his fuel tank ran dry just four laps from the end. With Senna out, Stefan Johansson briefly took the lead in his Ferrari, only for an electrical fault to mislead his fuel gauge, forcing him to retire a lap later. This handed the lead to Alain Prost, who managed to coax his McLaren over the finish line, only to be disqualified when his car was found to be 2kg underweight. Amid this chaos, Elio de Angelis, Senna’s Lotus teammate, found himself declared the unlikely winner – the only time he crossed the line first without leading a single lap. It was to be the Italian’s final victory, as he tragically lost his life in a testing accident the following year. Adding to the farce, Thierry Boutsen ran out of fuel just metres from the finish, pushing his Arrows across the line to secure second place.
2021: Hamilton’s Remarkable Comeback
The 2021 Emilia Romagna Grand Prix was another chapter of high drama, this time defined by changing weather and a relentless recovery drive from Lewis Hamilton. Starting from pole, Hamilton was forced wide by Max Verstappen at the first corner, damaging his front wing and dropping him to second. The race then took another turn when Hamilton slid off into the gravel while attempting to lap George Russell, seemingly ending his chances of a strong finish. However, a red flag triggered by a high-speed crash between Russell and Valtteri Bottas allowed Hamilton to rejoin the race, now in ninth place. From there, he carved his way through the field to finish second, earning high praise from Mercedes boss Toto Wolff, who called it a “10 out of 10” performance.
From nerve-wracking defensive drives to chaotic fuel dramas and stunning comeback charges, Imola has been the stage for some of Formula One’s most unforgettable moments. Despite its tragic past, the circuit remains a cherished battleground, pushing drivers to the absolute limit.
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Trump referred to India as 'one of the highest tariff nations in the world.' (Photo: Getty Images)
US president Donald Trump has again said that India is ready to cut 100 per cent tariffs on American goods and that a trade deal between the two countries is expected soon.
Speaking to Fox News, Trump said he is not in a "rush" to finalise the deal.
Commenting on Trump's remarks, India's external affairs minister S Jaishankar said in New Delhi on Thursday that any trade deal between the two countries must be mutually beneficial.
Trump referred to India as "one of the highest tariff nations in the world."
"They make it almost impossible to do business. Do you know that they're willing to cut 100 per cent of their tariffs for the United States?" he said.
When asked if the deal is coming soon, Trump said, "That'll come soon. I'm in no rush. Look, everybody wants to make a deal with us."
He added, "South Korea wants to make a deal but I'm not going to make deals with everybody. I'm just going to set the limit. I'll make another some deals. Because I can't, you can't meet with that many people. I've got 150 countries that want to make deals."
Talks are currently ongoing between India and the US to finalise a trade agreement.
On Thursday, Jaishankar said that negotiations were underway.
"These are complicated negotiations. Nothing is decided till everything is. Any trade deal has to be mutually beneficial; it has to work for both countries," he said. "That would be our expectation from the trade deal."
India's commerce minister Piyush Goyal is in Washington to assess the progress of the proposed trade agreement.
He is expected to meet US commerce secretary Howard Lutnick and US Trade Representative (USTR) Jamieson Greer.
India is looking for duty concessions on labour-intensive sectors including textiles, gems and jewellery, leather goods, garments, plastics, chemicals, shrimp, oil seeds, chemicals, grapes, and bananas.
The US is seeking duty concessions in areas such as industrial goods, automobiles (especially electric vehicles), wines, petrochemical products, dairy, and agricultural items like apples and tree nuts.
(With inputs from PTI)
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Nancy Tyagi stuns in a handmade silver-aqua gown at Cannes 2025
Nancy Tyagi is back at Cannes. But this time, the 24 year old influencer and designer from Uttar Pradesh is not just a surprise guest, she is a name many were waiting to see again.
Last year, she made her debut at the prestigious festival in a self stitched 44 lb (20 kg) ruffled pink gown, crafted from scratch in her Delhi home. It was not just the weight of the dress that turned heads but the story behind it. A year later, Nancy returned with another outfit of her own making.
This time, she wore a silver aqua gown with a plunging neckline, a shimmering corset, and layers of tulle. It had roses stitched into the skirt and headpiece, and bold shoulders that looked like unfolding petals. Her makeup was clean and glam with silver smoky eyes, a neatly tied bun, and just the right sparkle.
What is special is not just the gown, but the fabric. She sourced it from Seelampur, a market in northeast Delhi better known for its chaos than couture. But that is what makes Nancy different. She turns everyday materials into red carpet magic. She does not come from fashion schools or big labels. She learnt it all by herself.
The self-taught designer walks the red carpet in a look stitched from Seelampur fabricInstagram/nancytyagi
Nancy said she felt emotional returning to Cannes, where everything changed for her. “Last year, I was overwhelmed. This year, I feel proud,” she said. “This is my outfit. I made it. It is all mine.”
Her Instagram post summed it up in Hindi: “Phir se Cannes… phir se red carpet. Kabhi socha nahi tha yeh safar itna khoobsurat hoga” (Back to Cannes, back to the red carpet. I never imagined this journey would be so beautiful).
Nancy Tyagi brings local craftsmanship to the global stage in her second Cannes appearanceInstagram/nancytyagi
And the internet agreed. From fashion fans to fellow creators, the applause was loud. Comments flooded in praising her evolution, confidence, and creativity. One user wrote, “You have inspired millions. This is real talent: self made, rooted, and unstoppable.”
Nancy’s journey from a small town girl stitching clothes in her room to walking the world’s most watched red carpet continues to be proof that success does not need privilege. Just skill, grit, and imagination.
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Lauren Sánchez celebrates Paris bachelorette with Kim Kardashian Katy Perry and others before Jeff Bezos wedding
Lauren Sánchez didn’t need a red carpet to mark her pre-wedding celebration, just a close circle of friends and the charm of Paris. Days before tying the knot with Jeff Bezos, the former TV anchor turned aviation entrepreneur spent a laid-back but lavish weekend in the French capital with a dozen women she calls her pillars of strength.
The guest list was anything but ordinary. Kim Kardashian, Kris Jenner, Katy Perry, Eva Longoria, and a few other familiar faces from business, entertainment, and media joined Sánchez for what looked like a celebration of sisterhood rather than a spectacle. Over the course of two days, the group dined at chic spots like Lafayette’s and cruised through the city on a private boat, all while keeping things relatively low-key by celebrity standards.
From clinking espresso martinis to dancing to Earth, Wind & Fire, the vibe was expensive, chill, and relaxed. The celebration wrapped with a surprise vanilla meringue cake and laughter under the Paris sky.
Sánchez shared heartfelt moments on Instagram, calling her friends “the women who’ve lifted me up and shaped my heart.” The photos, mostly in black and white, showed candid rooftop laughs and cosy robe moments, far from the polished party shots one might expect.
Inside Lauren Sánchez’s Paris bachelorette Instagram/laurenwsanchez
Her outfit choices, too, while expensive, leaned into romantic minimalism. A short white Oscar de la Renta dress with 3D florals and a vintage pink Chanel bag added soft glamour to the weekend.
Heartfelt moments and low-key glam defined Sánchez’s pre-wedding celebration in Paris Instagram/laurenwsanchez
Sánchez and Bezos, who went public in 2019, got engaged in 2023 on board his yacht Koru, where he proposed with a rare 20-carat pink diamond worth approximately £15 million (₹160 crore). Their wedding is expected in June on the coast of Venice, Italy, although they’ve been tight-lipped about the specifics. Italian officials have already reassured locals that the ceremony will not disrupt the city.
A candid moment with Sánchez and her closest friendsInstagram/laurenwsanchez
Beyond the headlines and designer outfits, Sánchez’s celebration in Paris was about a woman pausing to honour the relationships that helped her grow, before stepping into a new chapter as Mrs. Bezos.