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  • THE INDIAN HOTELS COMPANY LIMITED Details of Unclaimed Dividend Payment Which Has Not Been Claimed for 7 Consecutive Years
    THE INDIAN HOTELS COMPANY LIMITED Details of unclaimed dividend payment which has not been claimed for 7 consecutive years. S.No. Member ID Name Address Line1 Address Line2 Address Line3 Address Line4 Pincode Shares 06/08/2010- 06/08/2010- 06/08/2010- 06/08/2011- 06/08/2011- 06/08/2011- 04/08/2012- 04/08/2012- 04/08/2012- 03/08/2013- 03/08/2013- 03/08/2013- 26/08/2016- 26/08/2016- 26/08/2016- WARRANT NET WARRANT NET WARRANT NET WARRANT NET WARRANT NET DIVIDEND NO AMOUNT DIVIDEND NO AMOUNT DIVIDEND NO AMOUNT DIVIDEND NO AMOUNT DIVIDEND NO AMOUNT 1 A0013803 ANITA LAXMAN LIMAYE 586 SADASHIV PETH 000030 40 06/08/2010 1028 40.00 06/08/2011 989 40.00 04/08/2012 949 40.00 03/08/2013 919 32.00 26/08/2016 829 12.00 2 D0200011 DEBASIS DASGUPTA PEYARABAGAN PO LASKARPUR 154 1 06/08/2010 3664 1.00 06/08/2011 3535 1.00 NA NA NA NA NA NA NA NA NA 3 IN301330 / 19073757 BHOLA SINGH A 169 SULTANPUR 100000 50 06/08/2010 91419 50.00 06/08/2011 91844 50.00 04/08/2012 91689 50.00 03/08/2013 87909 40.00 26/08/2016 71618 15.00 4 A0004818 A L GUPTA 91 PANCHKUIN ROAD 110001 1370 06/08/2010 176 1370.00 06/08/2011 171 1370.00 04/08/2012 167 1370.00 03/08/2013 162 1096.00 26/08/2016 147 411.00 5 A0005439 AMITABH GUPTA 91 PANCHKUIN ROAD 110001 2100 06/08/2010 278 2100.00 06/08/2011 272 2100.00 04/08/2012 262 2100.00 03/08/2013 254 1680.00 26/08/2016 232 630.00 6 A0011160 ASHIM CHANDRA BOSE C/O LUTHRA & LUTHRA LAW OFFICES NEW DELHI 110001 350 06/08/2010 730 350.00 06/08/2011 702 350.00 04/08/2012 676 350.00 03/08/2013 663 280.00 26/08/2016 593 105.00 7 A0015190 ASHIM
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    # Year Film Name Track Co-singers Music 1 1958 10 O'Clock Meri Ankhiyon Ke Dore Gulabi Chorus Ram Ganguly 2 1950 Aahuti Dil ke bas mein hain Shankar Dasgupta D C Dutta 3 1965 Aasmaan Mahal Aye raat zara aahista guzar Madhukar Jagphool Kaushik 4 1948 Actress Ho Gori Tera Banka Chaila Shamshad Begum Shyam Sunder 5 1951 Ada Sachhi Bata Batane Mein Madan Mohan 6 1952 Anand Math Aa Re Bhanware Hemant Kumar 7 1967 Anubhav Koi chupke se aake Kanu Roy 8 1959 Apna Ghar Tumse Hi Meri Zindagi Mukesh Ravi 9 1954 Baadban Kaise Koi Jiye Timir Baran-S K Pal 10 1962 Baghdad Ki Raaten kisi se pyar ho to dil beqarar ho to Dilip Dholakia 11 1952 Bahu Beti Mose Chanchal Jawani Sambhali S D Batish 12 1961 Batwara Zara Gal Sun Asha S Madan 13 1951 Bedardi More Tumse Ho Ho Roshan 14 1950 Beewee Beech Ghoonghat Kaise Keh Doon, Khayyam & aziz hindi 15 1946 Bhakta Prahlad Suno Suno Hari Ki Leela Sunaayen Female voice, Chorus Hanuman Prasad 16 1960 Bhool Na Jaana Mere Humnashin Daan Singh 17 1959 Bus Conductor Daao Chalane Ko Hain Bipin Babul 18 1952 Chamkee Main To Jangal Ki Chanchal Hiraniyaa Manna Dey 19 1948 Chandralekha Nache Ghoda Beech Bazar S Rajeshwar Rao 20 1956 Charminar Daudao Jo Chor Chor Bhaga Dil Churake Rafi Sardul Kwatra 21 1960 Chhabili Yaaron kisi se na kehna Nutan Snehal Bhatker 22 1948 Chunariya Oh Motorwale Babu Hansraj Behl 23 1959 Commander Oh Mast Nazarwale Chitragupt 24 1958 Detective Do Chamakti Aankhon Mein Kal Mukul Roy 25 1949 Dil Ki Basti Kadam Hai...Nazuk Dil Hai Tod Na Dena G M Durrani Ghulam Mohammed 26 1950 Dilruba Humne Khai Hai
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  • Regional Centre Panaji (08) List of Eligible Learners for Obtaining Degree/ Diploma/ Certificate in 27Th Convocation
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  • The Joy of Hamirkalyani Raagam It's Difficult to Seek an Apt Adjective To
    The joy of Hamirkalyani Raagam It’s difficult to seek an apt adjective to describe the joy that Hamirkalyani brings. Smooth contours, silky glides, delicate yet intricate phrases characterise this raga. This raga is North Indian in origin; in Hindustani music, the raag Kedar (of the Kalyan thaat) is close to Hamirkalyani. While discussing Hamirkalyani, mention has to be made of the two madhyamas — the suddha and prati varieties — in the raga’s structure. The suddha madhyama is technically the bhashanga (foreign) note and is present in the avarohana. The prevalent order of swaras in this raga would be SPMPDNS / SNDPMmGPmRS, (M — prati madhyama; m —suddha madhyama). Rules cannot fetter the spirit and grammar cannot cripple the gait of this raga. When fine artistes cleverly weave the madhyamas in a phrase, the raga comes alive in all its glory. The exaggerated glides from the pancama to the sadja heighten its grandeur. Saranga would be considered an allied raga, and subtle differences in swara structure differentiate the two. I recall learning ‘Parimala Ranganatham’ in this raga from my guru. When I asked Sri Calcutta Krishnamurthy as to where Dikshitar had hidden the raga mudra in this song, he said it lies in the phrase ‘bhajehamveera nutham’. When I could not figure it out, he pointed out that Hamirkalyani used to be referred to as ‘Hamveeru’. Dikshitar has also composed ‘Purahara Nandana’ in this raga. Thyagaraja’s ‘Manamuleda’ is a masterpiece, while Subbaraya Sastri’s ‘Venkatasaila Vihara’ is soulful. The tiruppavai, ‘Thoomani Madathu’, merits mention, while Oothukadu’s ‘Nadamurali’ and Swati Tirunal’s ‘Gangeya Vasana’ are attractive pieces too.
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  • 11Th Pune International Film Festival ( 10TH - 17TH JANUARY 2013 )
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  • Bollywood Sounds
    Bollywood Sounds Bollywood Sounds The Cosmopolitan Mediations of Hindi Film Song Jayson Beaster-Jones 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trademark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Oxford University Press 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Beaster-Jones, Jayson. Bollywood sounds : the cosmopolitan mediations of Hindi film song / Jayson Beaster-Jones. pages cm Includes bibliographical references and index. ISBN 978–0–19–986254–2 (pbk.
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  • 31730 Mr Patil Rajendra Dattajirao Fca Flat No 25
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