#India – Five steps to becoming a successful spot-fixer !


 Firstpost

Rajyasree Sen

I’m neither Chetan Bhagat, nor am I Hansie Cronje, but here’s my five-point plan on how to be a successful spot-fixer and not get caught.
1. Communication is key.  What is with this Chandila and Chawan? Who discusses which ball you’re going to drop over the hotel phone? Buy an iPhone and Face Time with each other.
Not only will nobody be able to track your scheming conversations, you’ll also get to see each other’s cheating faces. It’s also way more cosy than those strange stilted chats. Did Rajat Gupta and Rajaratnam not teach you anything? Oh sorry, to learn anything from them you’d need to read the newspapers and do something beyond throwing lavish parties.

Sreesanth and his cronies' spot-fixing modus operandi leaves a lot to be desired! AFP

Sreesanth and his cronies’ spot-fixing modus operandi leaves a lot to be desired! AFP

2. Diaries are a no-no.  If you must record what payments are going to come your way and keep accounts, must you use a diary? That too, one with bilingual entries. Get with the times. Start a fake Gmail id. With that id, create a Google doc. Use these Google docs to tabulate and record your earnings. Basically, keep it simple because you’re stupid.

3What kind of idiot deposits money from illegal transactions in his bank? Frankly, if you do that you should be jailed. For being an imbecile.  Instead, use the cash – since it’s hardly a fortune by cricketing standards or even by Delhi-standards – to make ticket/hotel/clothes purchases. Spend the cash, you fool. Don’t collect it for a rainy day.
And definitely don’t collect it in your own bank account. Or ask for payment in cash. Maybe a gold brick? It is Sunil Dubai after all. His bathroom must be lined with gold bricks. Or tell them to send diamond earrings for your mum.  Nothing says “I care” as much as gifts from the Dubai underworld. Be creative. It’s not that difficult.
4. Don’t forget to signal the bookie. Now this is of key importance. Even if your IQ is 25 or running in single figures, signal your bookie that you’re going to drop that over. What’s the point of giving 14 runs on an over, if no one pays you for it?  And forget no one paying for it, because you’re a super imbecile and have struck an idiot deal, you end up paying the bookie. Doesn’t that just make you feel like an arse? Do you really want someone called Sunil Dubai to be mocking you at his next spot-fixer’s reunion party? The answer is, no. So keep a beeper on your watch which reminds ye-of-little-brain of the fact that big brother is watching and you have to twist that wristband now.
5. Grow some balls. At least hold your own for more than 30 minutes before singing like a canary. Nobody likes a crook who gives up so easily. And keep in mind, this is the Delhi police. Not known for their great investigative skills.  Sulking, bawling and then spilling the beans are recipes for disaster. Not only is your cricketing career over, you’re not going to win any brownie points with your fixer friends.
Take a leaf out of Monica Bedi’s book. She stuck to her guns and kept repeating that she didn’t know anything about Abu Salem’s dealings. If you do that, even you’ll get to dance inNach Baliye. Nobody likes a crybaby. Really.

 

#RIP- Shamshad Begum: A song in her heart


Written by: Gitanjali Roy | Updated: April 24, 2013 1

Shamshad Begum: A song in her heart

New DelhiShamshad Begum, a pioneer of Bollywood’s music fraternity and the voice behind some of it’s most memorable hits, died in Mumbai after a long illness. She had celebrated her 94th birthday just days before.Shamshad Begum was born on April 14, 1919 in Amritsar. A movie buff, she was a K L Saigal fan and reportedly watched Devdas 14 times. She promised her father that she would never appear before the camera, and so forged a long and successful camera in the recording studio. In fact, so faithfully did she keep her promise to her father that the public at large did not know what she looked like till well into the 1970s.

Shamshad Begum made her singing debut on Peshawar Radio in 1947. She then sang for All India Radio as part of Delhi’s Crown Imperial Theatrical Company of Performing Arts. Her songs were frequently broadcast on AIR Lahore, bringing her voice to the notice of music directors.

Her very first mentors were sarangi maestro Ustad Hussain Bakshwale Saheb and composer Ghulam Haider. Shamshad Begum’s earliest film songs were in Ghulam Haider’s Khazanchi(1941) and Khandaan (1942). Ghulam Haider soon moved from Lahore to Mumbai, taking Shamshad Begum with him as part of his team.

Shamshad Begum’s unique voice and style of singing set her apart from contemporaries such as Geeta Bai, Amirbai Karnataki, Lata Mangeshkar and Asha Bhosle. She sang some of Hindi cinema‘s best-loved numbers between the 1940s and 1950s. Her hit parade, many of which have been remixed, include: Leke pehla pehla pyar and Kahin pe nigahen kahin pe nishana from C.I.DKabhi aar kabhi paar from Aar PaarMere piya gaye Rangoon fromPatangaSaiyyan dil mein aana re from Bahar and Kajra mohabbatwala from Kismat, in which she sang not for the heroine, played by Babita, but for the hero, played by Biswajeet, in drag.

In 2009, Shamshad Begum received the Padma Bhushan, India’s third-highest civilian honour. The same year, she also received the O P Nayyar award for her contribution to the world of film music.

Shamshad Begum was married to Ganpat Lal Batto who died in 1955. She is survived by her daughter Usha and son-in-law.

 

#India – Change.org : Campaign Victory’s exposed #Vaw #Socialmedia


Kamayani Bali Mahabal, April 23 2013 , Kracktivism

l 23, 2013, Kractivism

  ”Every day, Change.org members win people-powered campaigns for social change”.

Just to give a background to those, who are reading about change.org for first time. It’s a popular and fast-growing website for petitions. In the last  two years, Change.org has grown from 1 million to more than 25  million users, according to the site . It began as a liberal blogging site and then pivoted  to become a hub for petitions, mostly with a liberal or populist bent.

Staring as dot.org domain name to its declaration that “our business is social good” to its certification as a B Corporation, Change.org positioned itself as a progressive force. It promised to run campaigns for “organizations fighting for the public good and the common values we hold dear—fairness, equality, and justice.” That’s no longer its mission.  Something changed last year, The policy changed, ‘ partners’ became ‘advertisers ‘in the name openness, democracy and empowerment . So which means now  they will accept paid promotions from conservative organizations, Corporations , that no bar. I had written   Open letter to CEO Ben Rattray last year  in which I said I will not participate but monitor  change.org.

So here is an expose of monitoring  campaigns of change.org in India

 In India   we have two petitions being  hosted on change.org, one by victims and one by perpetrators ?

You think I am joking please read below

The Incident behind both the  petitions :-

Late evening on 11 April 2013, a group of students from Nalsar Law  University went to the Rain Club located in Banjara Hills, Hyderabad, for what was meant to be a farewell party for the graduating seniors.

When they stepped out of the club around 10.30pm to wait for their cab, one of the women students spotted someone taking their pictures with a mobile  phone. She objected and demanded to see the mobile. The mobile turned out to be a dummy, without a card in it. When she further objected and demanded that the phone with which photos were taken be handed over, other media cameramen who were present began to film the altercation.

The students were outraged at this invasion of their privacy and the callous response of media cameramen who continued the harassment by following them to the car and persisting in filming them even as they were vehemently protesting this invasion.

The next morning several Telugu channels began showing the footage. Some websites also put up the footage. TV9, ABN Andhra Jyoti, Sakshi TV, Studio N, NTV, IdlyTV, News 24 .

The incident represents blatant sexual harassment of women in a public place, criminal intimidation of the women with threat of public defamation through media. The anchors of the channels repeatedly referred to the women as  punch drunk, half naked, and nude, when the women students were dressed in strapless evening wear. One of the female anchors referred to their attire  as “creepily offensive short clothes.” They also claimed that they were dancing in the club although the entire story was played out on the street and not inside the club. The media persons were not present inside the club. To make matters worse, CVR News put together several clips of provocative dancing from various sources, implying that the present incident was somehow connected to those. Significantly, while only a couple of channels were present outside the  club and were involved in the incident, the story was generously shared with many other channels and web sites. All the channels replayed the footage  provided by the offending channels without providing any opportunity for the  victims of this coverage to respond or give their side of the story.

The channels also were assuming the tone of moral police, claiming that the students were “leaving Indian traditions in tatters by their dressing and  behaviour”. The anchors of the channels took on the role of moral police  by commenting on the young girls’ clothing, even as the channels’ staple fare  for advertising revenue on their news bulletins comprises song and dance sequences from films and film events featuring skimpily clad women doing vulgar dances to vulgar lyrics. The reporters and anchors held forth on excessive freedom for women and its “devastating” effects on society.

The channels also falsely claimed that the students’ behaviour was condemned by women’s organizations even though they only showed the statements of two little-known local politicians, thereby misleading public opinion.

So here on change org , we have a petition by supporters of NALSAR students  asking for  Stringent actions against media houses participating in voyeuristic reporting ,  addressed to Justice Katju, Chairperson, Press Council of India , Justice N V Ramana, Acting Chief Justice, High Court of Andhra Pradesh , Ms Aruna D K, Minister for Information & Public Relations, Cinematography, AP Film, TV & Theatre Dvlpt Corp, AP  Justice Verma, Chairperson, News and Broadcasting Standards Authority Mr Manish Tiwari, Minister of Information and Broadcasting, Union of India

The petition says

The media in our country has engaged in relentless sensationalism, resorting to cheap and lowly tactics to raise TRPs and viewership. This includes airing concocted stories; violating people’s privacy by taking video footage, morphing the images and airing it against completely fabricated and sensationalistic stories; secretly taking videos of people in private parties and clubs and extorting them; and engaging in harassing and abusive conduct. One such incident of unethical, irresponsible, and victimizing behaviour is an incident that occurred on the 121h of April, 2013 to college girls from NALSAR University of Law.The petition has reached 5000 plus signatures

nalsar

And on the other hand, we also have change.org giving platform to the  voyeuristic reporters .with a petition floated by Electronic Media Journalists’ Association of AP , asking to Condemn the action of a group of students who assaulted media persons   addressed to, Manish Tiwari, I&B Minister, Govt of India , Prof. (Dr) Faizan Mustafa ,, Vice-Chancellor, Nalsar , Mrs D K Aruna, Minister of State in AP , Justice Mr M Katju, Chairperson, Press Council of India Justice Katju ,Justice Verma, Chairperson, News and Broadcasting Standards Authority ,Justice N V Ramana, Acting Chief Justice, High Court of Andhra Pradesh ,Hari Prasad, President of Electronic Media Journalists’ Association of AP Please note the targets of both petitions are same .

The petition says

Andhra Pradesh has the maximum number of television news channels not only in India but also in the entire world. The ratings and the importance of these channels show how reliable and responsible the media is in Andhra Pradesh. They never restore to cheap and lowly tactics. There is self-monitoring desk as well as the important organization NBA that keeps monitor on all the channels content.

This petition also has 5000 plus signatures

andhra

Now I want to ask change.org, which petition’s victory will be their victory ?

Wait a minute,

whoever wins or loses,

 it’s a Win- Win situation for change.org.

As a big fans of freedom of speech, they claim their democractic platform. and well whoever wins. Change will be their submitting the petition claiming their VICTORY !! . But I wonder what will they do when they have to take a STAND ? So which petition will they push ? or will; they push both ? and then see pros and cons in context of the political situation and in a closed door meeting then thrash out two teams to work on these two petitions . Call both parties  and weigh the  probabilities and then take a call, keeping both parties in dark on probabilities ?.

So, guys wake up, all those who petition on change.org .This online platform is a for profit  company ,  who through these petitions is  trying legitimize their image as that of  ACTIVISM .They also get  commercial benefits through donations and sponsorships just by providing platform to all you ,under the garb of various human rights issues . VICTORY is for change.org

Change.org’s mission  statement says ‘ to empower people everywhere to create the change they want to see, and we believe the best way to achieve that mission is by combining the values of a non-profit with the flexibility and innovation of a tech startup. ” They call themselves “social enterprise,” using the power of business for social good. “Social Enterprise,” is a term that’s gotten a lot of hold among people who start companies and want to make a difference in the world. But social enterprise as opposed to what? Anti-social enterprise?

Here is where Change.org’s business model comes into play. Change.org sells what are called “sponsored petitions” to its advertisers. Most are nonprofits–right now they include Amnesty International USA, Greenpeace and the Human Rights Campaign — but there’s nothing to prevent companies from sponsoring petitions. Tapping into its audience, Change.org collects names on those petitions and then sells those who opt in to the sponsor, for about $2 per name. Some advertisers get discounts, and other pay more, for example, for people in specific states. Here is a request to Change .org , please, on behalf of companies everywhere Spare us the pieties about how “our business is social good.”

Change.org is a digital media business. Like MTV or Facebook, It creates or aggregates content, the  petitions,  to attract an audience whose attention, in the form of email addresses, it sells to sponsors.

It’s not selling social change. It’s selling you and me.  .

So here is my Appeal to all friends, activists,  celebrating their victories,  and  petitions on change.org,

It’s  time ….

If you’re a member at Change.org take action by unsubscribing from their list. At the very least they can’t profit further off your email.. If you see petitions passed around by friends on Change.org don’t sign them and inform them what’s going on.  It’s important to Explore alternatives

Hopefully the activists in India will very soon have their own activist, accountable, and transparent platform.

Watch out this blog for more :-)

Men Deemed ‘Too Handsome’ Deported from Saudi Arabia #WTFnews


Men Deemed 'Too Handsome' Deported from Saudi Arabia for Fear They Would Be Irresistible to Women

APR 16, 2013

At least three men attending an annual culture festival in Saudi Arabia were kicked out of the country after religious police officers deemed them “too handsome” to stay.

The men, delegates from the United Arab Emirates, were minding their own business at theJenadrivah Heritage & Cultural Festival in Riyadh when members of the mutaween suddenly “stormed” the pavilion and removed the men by force.

“A festival official said the three Emiratis were taken out on the grounds they are too handsome and that the Commission [for the Promotion of Virtue and Prevention of Vices] members feared female visitors could fall for them,” the Arabic-language newspaper Elaph reported this week.

The Emirati delegates were subsequently deported back to their home country.

According to an official statement released by the UAE delegation following the incident, it seems the religious police were unnerved by the presence of an unnamed female artist from the UAE.

“Her visit to the UAE stand was a coincidence as it was not included in the programme which we had already provided to the festival’s management,” said UAE delegation head Saeed Al Kaabi in his apology to festival officials.

[H/T: MSN Nowphoto via AP]

 

Vedanta- Social Media Campaign ‘ Khushi’ – Faking Happiness #CSR


Kamayani Bali Mahabal- April 17,2013  for Faking Happiness Campaign

Vedanta Resources plc is a London listed FTSE100 company which has brought death and destruction to thousands. 63% of it is owned by billionaire Anil Agarwal and his family through companies in various tax havens. It has been consistently fought by people’s movements but it is being helped by the British government to evolve into a multi-headed monster and spread across India and round the world, diversifying into iron ore in Goa, Karnataka and Liberia, Zinc in Rajasthan, Namibia, South Africa and Ireland, copper in Zambia and most recently oil in the ecologically fragile Mannar region in Sri Lanka.

Vedanta’s Record in India:

In Odisha, India:

Vedanta’s bauxite mining and aluminium smelters have left more than tenthousand displaced people landless, contaminated drinking water sources with ‘red mud’ and fly ash,and devastated vast tracts of fertile land in an area which has seen famine every year since 2007.Vedanta’s mine on the sacred Niyamgiri hills has been fought by Adivasi (indigenous)-led people’smovements for seven long years and has so far been stopped. This has rendered their subsidiaryVedanta Aluminium (VAL) a loss making company, starving it’s refineries at Jharsuguda and Lanjigarhof local bauxite.

In Goa:

Vedanta’s Sesa Goa subsidiary has been accused of large scale fraud and illegal mining.In June 2009 following a pit wall collapse which drowned Advalpal village in toxic mine waste, a 9year old local boy Akaash Naik filed a petition to stop the mine and mass protests later that yearhalted mining at one of Sesa Goa’s sites. In 2011 there were more major mine waste floods. In SouthGoa a 90 day road blockade by 400 villagers succeeded in stopping another iron ore mine. Sesa Goaare paying ‘silence funds’ to try and prevent similar action at their South Goa mine.

In Tamil Nadu, Tuticorin:

Vedanta subsidiary Sterlite has flouted laws without remorse, operatingand expanding without consent, violating environmental conditions, and illegally dumping toxiceffluents and waste. In 1997 a toxic gas leak hospitalised 100 people sparking an indefinite hungerstrike by a local politician and a ‘siege on Sterlite’ that led to 1643 arrests. Later that year a kilnexplosion killed two. An estimated 16 workers died between 2007 and 2011. Police recorded mostworkers deaths as suicides. Pollution Control Boards, judges and expert teams have on severaloccasions reversed damning judgements of the company, demonstrating large scale corruption andbribery. Activists are waging a court battle which has stopped operations for several short periods.

In Tamil Nadu, Mettur:

Vedanta bought MALCO ‘s aluminium complex at Mettur 2 yearsbefore permission for their Kolli Hills bauxite mines expired but continued to mine illegally for 10years. Five adivasi villages were disturbed and a sacred grove destroyed before activist’s petitionsstopped mining in 2008. Without local bauxite and with protests preventing bauxite coming fromNiyamgiri in Orissa the factory at Mettur was also forced to close. However, the abandoned andunreclaimed mines continue to pollute the mountains and a huge red mud dump by the Stanleyreservoir pollutes drinking water and blows toxic dust into the village.

In Chhattisgarh, Korba:

Vedanta bought the state owned BALCO’s alumina refinery, smelter andbauxite mines for ten times less than its estimated value in 2001 despite a landmark 61 day strike byworkers. Since then wages have been slashed and unionised workers are losing jobs. In 2009 afactory chimney collapsed, BALCO claimed 42 were killed, but in fact 60 – 100 people are stillmissing. Witnesses claim these workers from poor families in neighbouring states are buriedunderground in the rubble, which was bulldozed over immediately after the collapse

British Government’s special relationship with Vedanta

• The UK’s Department for International Development (DfID) and Department of Tradeand Industry (DTI) helped launch Vedanta on the London Stock Exchange andcontinues to support the company.
• Through the World Bank funded NGO Business Partners for Development, it hashelped Vedanta take over copper mines in Zambia . Although Vedanta has been finedfor poisoning the Kafue river and faced workers protests, the UK is helpingestablish it in Zambia by securing in the words of local NGOs “ a ‘champion’ withincentral government to further the ‘enabling environment’”.
• Meanwhile in Liberia in what has been described as one of the worst recordedconcession agreements in the country’s history Sesa Goa is accused of breach ofcontract and may have to pay damages of US$10 billion.
• Most recently when the Indian government held up Vedanta’s deal with EdinburghbasedCairn Energy by investigating Vedanta’s ability to manage strategic oil fields, UKgovernment officials, briefed “over dinner” by Cairn Energy, offered to “polish” and senda letter drafted by the company to the Indian Prime Minister to force the deal through.David Cameron even personally intervened, urging India to speed up’unnecessary delays’. As a result the Indian government caved in and allowed a dealwhich handed some 30% of India’s crude oil for a fraction of its worth to this notoriouscorporate.
• Vedanta’s Cairn India is now drilling for oil in the ecologically fragile off-shoreregion around Mannar in Sri Lanka – an area controlled by the Sri Lankan military.

Vedanta Resources,  is attempting to claim to be social responsible via a huge advertising campaign. The latest is the  social media campaign, ‘Khushi’, aimed at underprivileged children, is poised to complete one year. Launched on April 10, 2012. In this video we attack all tall claims of Vedanta Khushi Campaign.

The Reality is -

Vedanta has suffocated the life of Adivasis in Niyamgiri foothills. The entire area is overlapped with Red Mud. Most of humans, animals, birds and insects are infected with skin diseases. Proper medical facilities are unavailable; there is no sign of hospital. By pressures, by vicious means, by force, by paying less, Vedanta bought the farming and forest land of Local tribes. They cheated them by providing technical training to make them skillful workers in Vedanta Mines and factories, as soon as land got transferred, Vedanta thrown them out.

Red mud has converted all crop fields and forest into waste land, the vein is spreading. The river Vasamdhara is the main source of water for all constituents of habitats in Niyamgiri. Vedanta’s Red Mud resulted in converting drinkable water of Vasamdhara to polluted and toxic waste; it is causing dangerous skin diseases and cancer. Even Animals and birds are rejecting it to drink. The situation of Vasamdhara is same from Niyamgiri till KalingapatnamAmnesty International broke this harsh truth.

Niyamgiri foothills is a treasure of bauxite, Bauxite is a main component to make aluminum. According to statistic, Niyamgiri foothills contain 72 lakh million ton of bauxite. The average cost of 1 ton bauxite is approx 6500 INR, whereas all 72 lakh million ton is not awarded to Vedanta for mining. The prices are fixed very little, when Government awards a license to mine, it is simple to understand the covetous intentions of Vedanta by looking at the history and biology of Vedanta.

Government and Vedanta has fixed the price of Niyamgiri foothills, the predators have camped and pasted like a woodworm. Vedanta Aluminum Ltd is camped with crooked intentions in Laljiganj located at south Odisha . A fake kingdom of 700 Hectares expanded by cheating legally and eating illegally, hooks or crook they used every evil outfit.

Village Bundela initiated the revolution against Vedanta few years back, many voices were raised, and dozens of revolutionaries are martyred. There are few Tribal’s if they further replaced from this areas, they will lose their name from World map. They are already on the way of extinction because of Vedanta what a Price tag we have placed on forest and tribes in this materialistic world. We are the silent observer of slaughter of Humanity.

JOIN US FAKING HAPPINESS CAMPAIGN

https://www.facebook.com/groups/fakinghappiness/

Don’t divide films based on region: Kay Kay Menon


Chennai, April 16 (IANS) Don’t divide cinema region-wise, says actor Kay Kay Menon, who is moving from Hindi cinema and theatre to the south with the Tamil film “Udhayam NH4”.

“There is absolutely no need to divide cinema region-wise. Except for the language, I don’t see any difference in cinema made in any part of the world. By dividing cinema based on its region, we are only taking that language for granted,” Kay Kay told IANS.

“We have catered enough to the masses with stupid films. Time has come to make films with certain calibre. I can understand Malayalam, Marathi, Tamil and Bengali. I’m ready to do films in these languages if I find something off the beaten path,” he added.

He admits language is a barrier when you do not understand it and adds: “One of the reasons I chose to work in ‘Udhayam NH4’ is because I can understand the language. I hate to mouth dialogues in a language I don’t understand.”

Why didn’t you do a Tamil film all these years?

“Honestly, I haven’t been approached. Moreover, I have been extremely busy with Hindi films. I have finally decided to diversify because I’m bored of being part of films that are made only to churn profits,” said Kay Kay.

The 45-year-old, who’s a management graduate, worked in Bollywood ventures like “Black Friday”, “Sarkar”, “Silsiilay”, “Gulaal”, Life…In A Metro” and “Honeymoon Travels Pvt. Ltd”.

His first Tamil film “Udhayam NH4” is a road movie. The upcoming film also features Siddharth Suryanarayan, Ashrita Shetty, Deepak, Ajai, Kalai and Karthi.

The film’s story has been penned by National Award-winning director Vetrimaaran; it is being directed by debutant Manimaran.

“I agreed to work in the film because of Vetri (Vetrimaaran). I consider him a modern-day filmmaker. He had a clear-cut view about what they were making and what they want from me,” he said.

“The personality of a director reflects in his or her cinema. I have heard about Vetri’s National Award-winning film ‘Aadukalam’, but I haven’t watched it yet. However, when I met him, I knew from his personality that he is not one of those directors catering to a particular type of audience,” he added.

Kay Kay plays a character who realises the power of love while chasing a couple across three states.

“It’s a road film that takes the characters on a journey from Karnataka to Tamil Nadu via Andhra Pradesh. Two lovers are being chased by the character I play and how in the process my character realises the power of love. This forms the story,” said the actor.

As far as work culture is concerned, Kay Kay doesn’t find any difference between Bollywood and the south.

“Bollywood has made good and bad films; so has the Tamil film industry. Even the organisation structure and work process in both these industries are much similar. The only difference I find is the language,” said Kay Kay.

The trend of remakes doesn’t excite Kay Kay.

“I always want to be part of something new and original. If a film is really worth being remade for larger audience, then I would love to be part of it. I wouldn’t mind being part of a remake if it’s done effectively with a purpose, but we all know why remakes are made.”

(Haricharan Pudipeddi can be contacted at haricharanpudipeddi@gmail.com)

IANS 2013-04-16 13:21:13

 

Veteran Film Actor Pran conferred the Dadasaheb Phalke Award for the year 2012


 


Shri Pran Krishan Sikand, popularly known as Pran, the veteran film actor, has been conferred the Dadasaheb Phalke Award for the year 2012. He is the 44th Dada Saheb Phalke Award Winner. The award is conferred by the Government of India for outstanding contribution to the growth and development of Indian Cinema. The award consists of a Swarn Kamal, a cash prize of Rs.10 lakhs and a shawl. The award is given on the basis of recommendations of a Committee of eminent persons.
Shri Pran has given sterling performances in many films along with Dilip Kumar, Dev Anand and Raj Kapoor in 1950s and 60s. Pran’s performanceshave received acclaim in films like Azaad, Madhumati, Devdas, Dil Diya Dard Liya, Ram Aur Shyam and Aadmi, Ziddi, Munimji, Amar Deep, Jab Pyar Kisi Se Hota Hai, Aah, Chori Chori, Jagte Raho, Chhalia, Jis Desh Men Ganga Behti Hai. The list is long.
Born in the year 1920 in Delhi, Shri Pran started his career way back in 1940. He first ventured into photography but a chance meeting with a film producer got him his first role in a film called Yamla Jat. Shri Pran acted in several films, his base being Lahore in undivided India. His career experienced a brief pause due to partition in 1947. Subsequently he moved to Bombay. With the help of the famous writer Saadat Hasan Manto and actor Shyam, Pran got a break in the Bombay Talkies film Ziddi which had Dev Anand in the lead role. The film Ziddi brought him to limelight in the Bombay film industry and then there was no turning back.
His impressive performances have bestowed an entirely unique new dimension to the negative and character roles in Hindi cinema. His contribution to mainstream Hindi cinema is well recognized, assuring him the place of one of the most illustrious and celebrated actors of Indian film industry. His career spanned several decades. He has acted in over 400 films and in each one of them, he brought new mannerism and style, holding the audience spell bound by his acting.
Shri Pran is a recipient of a number of film awards including the Filmfare Award. He was also honoured with the Padma Bhushan.

 

The queen of mujra moves #Sundayreading


Moupia Basu | April 6, 2013, TimesCrest

Chic in a trouser-kurti ensemble, former actor and dancer Minoo Mumtaz is completely at ease as she reclines on the sofa in her Pune home. She has a flight to catch in a couple of hours as she heads back to home and family in Canada. “I can’t wait to be with my grandchildren, ” she says excitedly. At 72, she has seen it all – the glory of being a Bollywood diva and its pitfalls. Unlike most of her contemporaries from the golden era of Hindi cinema, Minoo Mumtaz leads a contented life today. “My family is my strength, especially my husband who has never let me shed a single tear in our nearly 50 years of marriage. “

It is difficult to picture her as the original item girl, who played the seductive courtesan in “Saaquiya aaj mujhe neend nahi aayegi” (Guru Dutt’s Sahib Bibi aur Ghulam), one of the best mujra sequences of all times. But she takes umbrage at being called an ‘item’ girl. “We were not ‘item’ girls, but professional dancers and actresses. I feel ashamed watching them today gyrating in scanty clothes to obscene lyrics. “

There was something about Minoo Mumtaz, born Malka Begum, that endeared her to millions of moviegoers. It could be the smile, the nakhras, the come-hither look, but her hypnotic grace lingered long after the dance ended. Although she never rose to the height that Madhubala or Meena Kumari did, her presence in a film could not be ignored.

Mumtaz‘s performances were free-spirited and spontaneous, especially her dance numbers. This applied to her classical compositions also. “I surrendered myself to the dance director. I knew no technique but dance came easily to me, ” she says. “I would watch my father (Mumtaz Ali), a very good dancer, and mimic his moves in front of a mirror, much to my mother’s horror because she was dead against movies. “

Mumtaz grew up in a conservative Muslim household of Nawabi descent. But the family, which once supported at least 35 residents in a huge bungalow in Mumbai, fell on hard times when Mumtaz Ali took to drinking. “I decided to help out financially although I was only 13. Those were the worst two years of my life because I also lost my mother, ” she says.

But she loved life too much to give in. “My sister and I would walk on the railway tracks from Malad, where we lived, to Mohan Studios in Andheri and wait – often in pouring rain – until producer-director Nambhai Vakil took us in. I started off with a substantial role in Sakhi Hatim, my very first film. I was paid Rs 500 for the film and Rs 200 for a dance. My price quickly shot up to Rs 800 and within three months, I bought my first car. ” Within three to four years, Mumtaz had bagged important roles including that of a heroine, with top actors of the time like Balraj Sahni.

It was her professionalism and no-nonsense attitude that took her to the top. “I was not interested in anything other than my role. I would carry my knitting to the studios and once the cameras were switched off, I would knit. Those who came to me with dishonourable intentions were shooed away, ” she says. Moreover, her brothers, especially legendary actor Mehmood, were always around to protect her.

As she speaks, Mumtaz’s slender fingers often curl up in a mudra. “Dance is in my blood, ” she says. “If I get into the mood, I can dance even today, but where are the songs, where’s the music?” She is unhappy with modern Bollywood music. “Hindi film music lacks the lyrical quality today, ” she says.

At the peak of her popularity, she married assistant director Ali S Akbar. “Although we belonged to different Muslim sects, Mehmood Bhai went ahead and organised the wedding. And, he did it in style. Parts of the Sheesh Mahal sets from Mughal-e-Azam were used to do up the wedding venue. But, Bhaijaan forbade me from acting thereafter, ” she says.

It’s been a long time since she faced the arclights, but the memories have not dimmed. “I feel sad for Meena aapa, it was she who rechristened me Minoo Mumtaz. An unhappy and childless marriage led to her collapse, she simply wasted away. She was one of the greatest actresses ever, with no nakhras!”

But she smiles at the mention of Madhubala. “She was like a sister and I was her confidante. When her romance with Dilip Kumar broke off, she turned to me. ” But Mumtaz’s first meeting with Madhubala was not all that pleasant. “She ignored me completely as I waited for our first shot together in Ek Saal Baad. But I walked up to her and asked her why she chose to behave so badly with a devoted fan. Her arrogance crumpled, and we went on to become the best of friends, ” she says.

As for her male co-stars, she has a special corner in her heart for Dev Anand. “He was a thorough gentleman and one of the most handsome men ever, ” she remembers. Guru Dutt is another actor she was very fond of. “Dada was not just a creative genius, he was very humble as a person. Each time I walked on to the sets, he would get up from his director’s chair to welcome me, and I was not even the heroine. “

The years have flown past and Minoo Mumtaz has accepted all that came her way with a rare grace. As she gets up to leave for the airport, she flashes a smile and says, “I thank Allah for bestowing me with so much. “

 

Larger than life actor who died before his time #RIP Richard Griffiths


London: When asked a few years ago what he would like his epitaph to be, Richard Griffiths suggested he all he needed was time.
He joked that he wanted it to read: “Richard Griffiths. Actor. Born 1947. Died 2947”.
Griffiths, one of Britain’s best-loved and most recognisable stars of stage and screen, did not achieve his goal.
He died on Thursday from complications following heart surgery. He was 65.
As the news broke on Friday tributes came from friends, fans and colleagues who had worked with him throughout his long career.
Griffiths, who played the self-satisfied Uncle Vernon Dursley in the Harry Potter films, was probably best known among older generations for his role as the predatory Uncle Monty in the cult film Withnail & I.
Daniel Radcliffe and Richard E Grant led a stream of heartfelt condolences in which the actor was described as a “comic genius” and praised for his “encouragement, tutelage and humour”.
Radcliffe, who also appeared alongside Griffiths in the West End play Equus, said the actor had put him at ease as he prepared to shoot his first scene as Harry Potter.
“Richard was by my side during two of the most important moments of my career,” he said. “Any room he walked into was made twice as funny and twice as clever just by his presence.”
Grant said he would be “raising a figurative glass” to his old friend. “My beloved ‘Uncle Monty’ Richard Griffiths died last night,” he wrote on Twitter. “Chin-Chin my dear friend.” Griffiths won a Laurence Olivier Award and a Tony Award for his portrayal as the inspirational teacher in Alan Bennett’s The History Boys.
Griffiths was born in North Yorkshire, to parents who were deaf. He had a hard upbringing and frequently ran away from home.
His acting career began as a clown with the Royal Shakespeare Company (RSC) and he later won small roles in television shows such as Minder, The Sweeney and Bergerac.
In the 1990s, Griffiths starred as a crime-solving chef in the television series Pie In The Sky and made his first appearance as Uncle Vernon in Harry Potter and the Philosopher’s Stone in 2001.
The actor was famed for his intolerance to mobile phones in theatres, halting several performances to demand that the perpetrator leave.
Sir Trevor Nunn, the director who took Griffiths into the RSC, said: “As the Shakespeare he loved put it, ‘There’s a great spirit gone’.”
He is survived by his wife, Heather, with whom he lived near Stratford-upon-Avon. —The Daily Telegraph

 

Hari Prasad Chaurasia’s life in 60 minutes #Sundayreading


Rajeev Chaurasia on what it took a son to condense 74 years of his maestro father’s life into an hour

Gitanjali.Chandrasekharan @timesgroup.com

On April 12, Rajeev Chaurasia will figure if he passed the “agneepariksha”. The 43-year-old son of flautist Padma Vibhushan Pt. Hariprasad Chaurasia excitedly awaits the release of Bansuri Guru, a film he directed on his father, which is the Films Division’s first project to release commercially under the PVR Director’s Rare banner.
He landed the job accidentally, when he realised that the directors proposed by Films Division knew little about the maestro’s life. “They’d ask him fairly basic questions about his performances and work in Bollywood. I thought, main kya kar raha hoon?” Rajeev says in Hindi reminiscent of his Allahabad roots.
The hour-long documentary, that features interviews of Panditji and his students, traces his journey from the akhadas of Allahabad (Panditji was born into a family of wrestlers for whom a profession in music was unthinkable) through Cuttack (where he landed his first job as an artiste), to Mumbai, ending at the Vrindavan gurukul he set up.
It wasn’t easy convincing Films Division, Rajeev says in a candid moment. “The first proposal I took was on one sheet of paper. They asked me to come back with an 80-page script.” Rajeev spent three months reworking the script, and the next three years filming the docu. Although it was a familiar subject, he realised serious research awaited him. Details that had receded into obscurity over the years began to surface, like the story behind Panditji’s first flute.
“He was around 10. I am not sure if it was a mela, but my father spotted a man selling flutes. When he stopped for a drink of water, Panditji picked it up.”
Among those voicing the musician’s journey is 90-yearold P V Krishnamoorthy, AIR’s station director in Cuttack who gave Panditji his first music job in 1957. “He said Panditji was popular with the ladies,” laughs Rajeev.
Being family didn’t always help, though. Rajeev says he was pushing his father to do things he hadn’t been asked to pull off. “There was some friction. Anybody else would have been shown the door. I could take liberties,” he smiles.
Among those Rajeev was keen to include in the film but couldn’t is Annapurna Devi, late Pandit Ravi Shankar’s first wife, and his father’s guru. “It took him three years to convince her to teach him. An exponent of the Sur Bahar, she asked him how she could teach him since he was a flautist. He said all he wanted to learn from her was music; instruments didn’t entertain boundaries.”
Although Panditji visits his guru at her south Mumbai residence every Gurupurnima, the reclusive artiste asked to be excused from the film.
The toughest task awaited Rajeev once shooting had wound up. A hundred hours of footage had to be trimmed to an hour.
Panditji’s Bollywood connection — he composed songs for Chandni, Darr, Lamhe and Silsila among other blockbusters with santoor maestro Pandit Shiv Kumar Sharma — is evident as Amitabh Bachchan lends his voice as narrator. Popular tunes (the haunting melody from Jackie Shroff-Meenakshi Sheshadri-starrer Hero), are welded into the background score. “These tunes would comfort me when I was homesick in America,” adds Rajeev, a student of finance from the University of Texas. His career in media which started with Sony TV in the 1990s before he took over as MTV’s programming head, and finally launched a travel channel three years ago, made the job a bit easier.
Do Panditji’s sons, Vinay and Ajay, from his first marriage to late Kamala Chaurasia find space in the film? “Only those people connected to Panditji’s musical journey are featured,” Rajeev says, adding that the family — Panditji’s second wife Anuradha, Rajeev’s wife Pushpanjali and their two children — is also seen in one solitary scene.

A picture from the 1970s with kathak exponent Sitara Devi, at a common friend’s wedding
At riyaz with wife Anuradha ‘Angurbala’, a classical vocalist
With Lata and Usha Mangeshkar at Tirupati temple in the 1960s
Rajeev Chaurasia

 

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