DOCSLIB.ORG

Simple Super Star Lyric Sheet All Music and Lyrics by Wilbur Sargunaraj All Rights Reserved © 2011 (SOCAN) Wilbur Sargunaraj

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Simple Super Star Lyric Sheet All Music and Lyrics by Wilbur Sargunaraj All Rights Reserved © 2011 (SOCAN) Wilbur Sargunaraj Simple Super Star Lyric Sheet All Music and Lyrics by Wilbur Sargunaraj All Rights Reserved © 2011 (SOCAN) Wilbur Sargunaraj 1. INTRODUCTION and WELCOME (by Joyce ) 2. SIMPLE SUPERSTAR La la la la la la (repeat twice) Simple Superstar Chorus: I don’t have the Phd, M.B.A , B.E.d I wont have degree on my wedding invitation. I don’t have the M.B.B.S , L.L.B, M.S.c but I know that I’m you’re Simple Superstar. Verse 1. When I was a little boy in the Tamil Nadu School I was told to be the doctor not the artistic fool! They said to get degree and to foreign I should go, but on my CV there is something they should know Neenga Punnandu class Varaykum thaan padurchaingla? (You have only studied till 12th standard/class?) note: question asked by the prospective in-laws Chorus: Verse 2: You seemed so very lovely and very very sweet so I asked your amma, appa if we could meet and greet. They seemed so very upset that you want to marry me! What will the people think if I don’t have a good degree? Payain yenna paduruchurukan? (What has the boy studied?) note: question asked by the prospective in- laws Chorus: Verse 3: So if you are just like me and don’t have the degree, you don’t have to worry be the best you can be. You may not go to foreign or have the B.S.c. Just enjoy this life and come along with me. Musician ahh? Athu naan yenethu? (Musician? What is that?) note: question asked by the prospective in- laws Chorus: 3. SUPER MOBILE Chorus: Punch in my number 1, 2, 3 SMS, Chatting or the Text Baby Take the Super Mobile wherever you go! Always keep in touch with the people you know! Oh Oh Oh Oh Oh Oh Super Mobile! (Repeat twice) Verse 1 If you were on the Island by yourself alone, there is only one thing you need it is the mobile phone. If you need to make the contact any time of the day, just take the device in your hand and listen what I say… Chorus: Verse 2: So many brand to choose from which one will be the best? You’ve tried so many of them and put them to the test! All that really matters is that you have a tower And the battery lasts a longer time, more than the hour! Chorus: You need the super mobile, you want the super mobile, You need the super mobile. 4. BANANI BANANI Chorus: Banani Banani! Take me to the Dhaka Banani Banani! Don’t need to spend much Taka Banani Banani! Boating on the super lake Banani Banani! To get there Rickshaw we can take! Oola la oola la la la!, Oola la oola la la la! Verse1: If you’ve been to the Dhaka you will know The traffic is horrendous and the horns they blow! But there’s a quiet place where you can go to hide, Leave all the noise behind and your troubles behind! Chorus: Verse 2: You can also get there faster just take the CNG Road number 11 joins Gulshan and the Banani. Remember that the Dhaka has so much for you to see But Banani lake is special I think you will agree! Chorus: Ladies and Gentlemen its time to break some down!!! Chrous: 5. FIRST CLASS BHANGRA Ellarum Yepedi eerukaingae? (How are you all doing) Today we are going to do a first class dance! Eethuku pairu vanthu! Eethuku Pairu vanthu 1st class Bhangra (This is called! This is called the 1st class Bhangra!) Chorus: Move your shoulder up and down everybody in this town don’t need to be from Punjab! Put your hand in the air dancing like you don’t care This is the the 1st class Bhangra! La la la la la……. Verse 1: Theres a dance that everybody wants to do Its so very very simple I will show it to you! It comes from the North of the India, When you dance you will hear them say Hadippa!! Chorus: Verse 2: You will see all the men and the pretty ladies all dressed up in a turban and the Salwar Kameez When the harvest time is all complete everybody will dance to the Bhangra Beat!!! Chorus: Verse 3: You don’t have to be from the London city, melanin , Turban or the Punjabi All you have to do is listen to the Dhol, the drum beat will make you out of control!!! Chorus: Rap Section Its time to get you on the dance floor! Bhangra so hard so you cant do anymore! Don’t be shy please show me your moves, let your body shake to the 1st class grooves! When the song is done we can press rewind! Dance some more, leave the worries behind! Come on everybody from every place! First class Bhangra put a smile on your face! Eethu thaan Wilburoda 1st class Bhangra (This is Wilbur’s 1st class Bhangra) Chorus 6. BOLLYWOOD STAR Chorus: I want to be a Bollywood Star, driving ambassador car! Prancing around the trees! Aishwarya Rai and me! Bo bo bo bo bo bo bo bollywood yes! (repeat 2) Verse 1: Don’t want the beach in Goa or the Taj Mahal, Don’t want to be in Kerala or West Bengal Don’t want to be in Rajasthan or Pondicherry There a place I dream about where I want to be Chorus: I want to be a Bollywood Star, driving ambassador car! Prancing around the trees! Aishwarya Rai and me! I want to be the Bollywood hero! Don’t need crore or lakhs in my biro Villans I will fight all the day! Like Amita Bhachan in Sholay. Verse 2: Don’t want to be the lawyer in London city Software engineering was never for me! Don’t want to be the doctor in the U.S.A Theres only one thing that will make me O.K Chorus: Verse 3: If you ever come to India you will see The Bollywood is located in Mumbai city If you ever come to Cinema to watch the show You might see my face and then you will know Chorus: 7. ANNIE ROSE CHORUS: Annie Rose! Annie Rose! Nee kanaa poite dee! Yen eereethuyum thudeekeethu when will you come to me? Annie Rose! Annie Rose! Nee Yepedee eerukurae? Theydee theydee pakurain kandapeedeeku mudeeyeelai! Translation Annie Rose! Annie Rose! You have disappeared girl! My heart is beating when will you come to me? Annie Rose! Annie Rose! How are you? Im searching and searching and cannot find you! VERSE 1. Long time ago in the Madurai city! Naan wonaya santheechain woru beauty queen! (I met you and you were a beauty queen) I met you Annie Rose in the Chokikulum school Naan vaerae yarum pakaley You were my precious jewel! (I didn’t see anybody else you were my precious jewel) CHORUS VERSE 2 I still have your letter from 1992 Atheku peregu kanapoite I don’t know what to do! ( After that you disappeared I don’t know what to do) I still try to find you but where I don’t know Woan pare google panunain your face it didn’t show!!!! I googled your name but your face didn’t show) CHORUS 8. SHAKE THE HEAD Chorus: Move the head all around, all around! Say yes or no, yes or no without the sound Shake the head all around, all around Say yes or no yes or no without the sound Shake the head, Shake the head, Shake the head around and round! (repeat twice) Verse 1 Many many tourist come to my land when the question is asked they cannot understand That in India communication is with the head, you can say yes or no or do this instead! Chorus Verse 2 When you ask a question you will see, many people moving their head just like me Don’t be frightened and don’t be scared! Join all the India and shake your head! Chorus 9. VAIGAI EXPRESS Chorus: All aboard the Vaigai express! Chennai to Madurai Travel is best! Come to the Junction ready for the ride! Super fast train is the Tamil Nadu Pride! Ellarum erungal Signal potachu! (everybody get on the signal has been turned on!) Verse 1: If you never have been on the Indian train The time is now and forget about the plane! So much to experience you will see Just purchase the ticket and listen to me! Chorus: Verse 2: So very many choices you can take Coffee and tea Biriyani Vadai General compartment, AC second class, Western eastern latrine where you can pass!!! Chorus: Verse 3: Chengalpattu , Villupuram you will see Virudachallam and the Tiruchirapalli If Madurai Junction is where you want to go Train number 2635 you should know! Chorus: Bridge: Ahh Nama Vaigai Express eerukrutheleai superana train! Athu Chennai lenthu Madurai varaikum adeechu velethetu poyroom. It is a very superfast express train ! 100KM per hour! Very good! Tamil Translation: (Our Vaigai express is the very best super train. From Chennai to Madurai it will hit and beat very fast!) 10. ESPETA BELLA (THE CAGLIARI SONG) Chorus: Espeta Bella wait for me, lets go together to the Cagliari! Down to Il Poeto beach we go, hear everybody say Bonjorno! Verse1: Ciao my friend wont you come and see The best place in all of the Italy The people all are sweet and nice I flew Ryan air and got the good price! Chorus: Verse 2: Lets have some pasta Colonjournous Drink another Latte Machiato Sip some Cannanow wine with me Listen to Gian Luca Balfiori! (Live singing of Gian Luca Belfiori) Chorus: Verse 3: Look at the Elephant tower so high The Ghost street we can also walk by Tell all your friends that they should see This wonderful place called Cagliari! (Come on Bella lets go on the Cagliari field trip!) Chorus (repeat twice and second time modulation/ key change!) 11.
Load more

Recommended publications
  • Global Media Journal–Pakistan Edition Vol.Xii, Issue-01, Spring, 2019 1
    GLOBAL MEDIA JOURNAL–PAKISTAN EDITION VOL.XII, ISSUE-01, SPRING, 2019 Screen Adaptation: An Art in Search of Recognition Sharaf Rehman1 Abstract This paper has four goals. It offers a brief history and role of the process of screen adaptation in the film industries in the U.S. and the Indian Subcontinent; it explores some of the theories that draw parallels between literary and cinematic conventions attempting to bridge literature and cinema. Finally, this paper discusses some of the choices and strategies available to a writer when converting novels, short stories, and stage play into film scripts. Keywords: Screen Adoption, Subcontinent Film, Screenplay Writing, Film Production in Subcontinent, Asian Cinema 1 Professor of Communication, the University of Texas Rio Grande Valley, USA 1 GLOBAL MEDIA JOURNAL–PAKISTAN EDITION VOL.XII, ISSUE-01, SPRING, 2019 Introduction Tens of thousands of films (worldwide) have their roots in literature, e.g., short stories and novels. One often hears questions like: Can a film be considered literature? Is cinema an art form comparable to paintings of some of the masters, or some of the classics of literature? Is there a relationship or connection between literature and film? Why is there so much curiosity and concern about cinema? Arguably, no other storytelling medium has appealed to humanity as films. Silent films spoke to audiences beyond geographic, political, linguistic, and cultural borders. Consequently, the film became the first global mass medium (Hanson, 2017). In the last one hundred years, audiences around the world have shown a boundless appetite for cinema. People go to the movies for different social reasons, and with different expectations.
    [Show full text]
  • Sholay, the Making of a Classic #Anupama Chopra
    Sholay, the Making of a Classic #Anupama Chopra 2000 #Anupama Chopra #014029970X, 9780140299700 #Sholay, the Making of a Classic #Penguin Books India, 2000 #National Award Winner: 'Best Book On Film' Year 2000 Film Journalist Anupama Chopra Tells The Fascinating Story Of How A Four-Line Idea Grew To Become The Greatest Blockbuster Of Indian Cinema. Starting With The Tricky Process Of Casting, Moving On To The Actual Filming Over Two Years In A Barren, Rocky Landscape, And Finally The First Weeks After The Film'S Release When The Audience Stayed Away And The Trade Declared It A Flop, This Is A Story As Dramatic And Entertaining As Sholay Itself. With The Skill Of A Consummate Storyteller, Anupama Chopra Describes Amitabh Bachchan'S Struggle To Convince The Sippys To Choose Him, An Actor With Ten Flops Behind Him, Over The Flamboyant Shatrughan Sinha; The Last-Minute Confusion Over Dates That Led To Danny Dengzongpa'S Exit From The Fim, Handing The Role Of Gabbar Singh To Amjad Khan; And The Budding Romance Between Hema Malini And Dharmendra During The Shooting That Made The Spot Boys Some Extra Money And Almost Killed Amitabh. file download natuv.pdf UOM:39015042150550 #Dinesh Raheja, Jitendra Kothari #The Hundred Luminaries of Hindi Cinema #Motion picture actors and actresses #143 pages #About the Book : - The Hundred Luminaries of Hindi Cinema is a unique compendium if biographical profiles of the film world's most significant actors, filmmakers, music #1996 the Performing Arts #Jvd Akhtar, Nasreen Munni Kabir #Talking Films #Conversations on Hindi Cinema with Javed Akhtar #This book features the well-known screenplay writer, lyricist and poet Javed Akhtar in conversation with Nasreen Kabir on his work in Hindi cinema, his life and his poetry.
    [Show full text]
  • Historical Disjunctures and Bollywood Audiences in Trinidad: Negotiations of Gender and Ethnic Relations in Cinema Going1
    . Volume 16, Issue 2 November 2019 Historical disjunctures and Bollywood audiences in Trinidad: Negotiations of gender 1 and ethnic relations in cinema going Hanna Klien-Thomas Oxford Brookes University, UK Abstract: Hindi cinema has formed an integral part of the media landscape in Trinidad. Audiences have primarily consisted of the descendants of indentured workers from India. Recent changes in production, distribution and consumption related to the emergence of the Bollywood culture industry have led to disruptions in the local reception context, resulting in a decline in cinema-going as well as the diminishing role of Hindi film as ethnic identity marker. This paper presents results of ethnographic research conducted at the release of the blockbuster ‘Jab Tak Hai Jaan’. It focuses on young women’s experiences as members of a ‘new’ Bollywood audience, characterised by a regionally defined middle class belonging and related consumption practices. In order to understand how the disjuncture is negotiated by contemporary audiences, cinema-going as a cultural practice is historically contextualised with a focus on the dynamic interdependencies of gender and ethnicity. Keywords: Hindi cinema, Caribbean, Bollywood, Indo-Trinidadian identity, Indian diaspora, female audiences, ethnicity Introduction Since the early days of cinema, Indian film productions have circulated globally, establishing transnational and transcultural audiences. In the Caribbean, first screenings are reported from the 1930s. Due to colonial labour regimes, large Indian diasporic communities existed in the region, who embraced the films as a connection to their country of origin or ancestral homeland. Consequently, Hindi speaking films and more recently the products of the global culture industry Bollywood, have become integral parts of regional media landscapes.
    [Show full text]
  • Copyrightability of Movie Characters
    COPYRIGHTABILITY OF MOVIE CHARACTERS Tarun Kumar S J1 Introduction Movies have become a part of our daily lives and we also closely relate ourselves with various characters that we see on screen. Those fictional movie characters have a great level of commercial appeal and popularity among the public. This article is premised on the right of protection held by the creators of these characters. Copyrighting of movie characters helps in curbing the unauthorized exploitation of these creations. But this concept of legal protection has not been well-defined and not widely used in India. Here, the concept of copyrightability of characters and infringement of such copyrights are discussed. In addition to that, the option of trademarking of movie characters has also been explicated. Recent issues, judgments from various courts and the tests used by courts have been discussed to expound the concept of legal protection for movie characters. A comparison has been made between the US and Indian scenarios for better understanding of the concept and its intricacies. This article tends to explore the copyright law and the alternative doctrines protecting movie characters. Copyright Law Copyright is a right given by the law to creators of literary, dramatic, musical and artistic works and producers of cinematograph films and sound recordings. In fact, it is a bundle of rights including, inter alia, rights of 1 2nd year B.A., LLB student, ILS Law College, Pune reproduction, communication to the public, adaptation and translation of the work. There could be slight variations in the composition of the rights depending on the work.
    [Show full text]
  • Bollywood and Postmodernism Popular Indian Cinema in the 21St Century
    Bollywood and Postmodernism Popular Indian Cinema in the 21st Century Neelam Sidhar Wright For my parents, Kiran and Sharda In memory of Rameshwar Dutt Sidhar © Neelam Sidhar Wright, 2015 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in 11/13 Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 9634 5 (hardback) ISBN 978 0 7486 9635 2 (webready PDF) ISBN 978 1 4744 0356 6 (epub) The right of Neelam Sidhar Wright to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents Acknowledgements vi List of Figures vii List of Abbreviations of Film Titles viii 1 Introduction: The Bollywood Eclipse 1 2 Anti-Bollywood: Traditional Modes of Studying Indian Cinema 21 3 Pedagogic Practices and Newer Approaches to Contemporary Bollywood Cinema 46 4 Postmodernism and India 63 5 Postmodern Bollywood 79 6 Indian Cinema: A History of Repetition 128 7 Contemporary Bollywood Remakes 148 8 Conclusion: A Bollywood Renaissance? 190 Bibliography 201 List of Additional Reading 213 Appendix: Popular Indian Film Remakes 215 Filmography 220 Index 225 Acknowledgements I am grateful to the following people for all their support, guidance, feedback and encouragement throughout the course of researching and writing this book: Richard Murphy, Thomas Austin, Andy Medhurst, Sue Thornham, Shohini Chaudhuri, Margaret Reynolds, Steve Jones, Sharif Mowlabocus, the D.Phil.
    [Show full text]
  • Gabbar Is Back Verdict
    Gabbar Is Back Verdict Aversive and portly Joachim releasees, but Davey domineeringly outstays her oath. Ugly Yancey transferentialsometimes hedging Ximenes any dehydrogenating employs berthes indescribably. fetchingly. Gregorian Jack dib some Beowulf after The story line and is gabbar You can give rise to gender roles, verdict is alive duration, she never intended to contest from forgettable flop starer phantom was ok. Baby had hit the screens and emerged as a success. The family of the OS. The film has made a box office collections nearing Rs. If Gabbar Singh Is Immortal, So Will Be Kalia Of Sholay! He makes for a good villain. The verdict is gabbar is famous for gabbar is back verdict is set out! Is The Highest Grossing Marathi Film Ever, But Have You Heard About It Yet? Aarav is a relic of Bollywood stalker love stories. It is good news for all movie lovers and more so for exhibitors as makers of few upcoming biggies have announced their new release dates. Gabbar is Back Latest Breaking News, Pictures, Videos, and Special Reports from The Economic Times. How Can India Avoid Jobless Growth? Tollywood films which featured by actor Mahesh Babu and. Ila Arun, Shubha Mudgal, Kavita Seth etc. He then decides to use the power of young, idealistic, honest youth and trains students at National College to join his cause. Read the exclusive movie review here. So audience finds difficulty to watch his movies or not. Her disgust for him is so obvious that you almost feel bad for the guy. These songs have included several hits that have taken audiences on both sides of the border by storm.
    [Show full text]
  • Films 2018.Xlsx
    List of feature films certified in 2018 Certified Type Of Film Certificate No. Title Language Certificate No. Certificate Date Duration/Le (Video/Digita Producer Name Production House Type ngth l/Celluloid) ARABIC ARABIC WITH 1 LITTLE GANDHI VFL/1/68/2018-MUM 13 June 2018 91.38 Video HOUSE OF FILM - U ENGLISH SUBTITLE Assamese SVF 1 AMAZON ADVENTURE Assamese DIL/2/5/2018-KOL 02 January 2018 140 Digital Ravi Sharma ENTERTAINMENT UA PVT. LTD. TRILOKINATH India Stories Media XHOIXOBOTE 2 Assamese DIL/2/20/2018-MUM 18 January 2018 93.04 Digital CHANDRABHAN & Entertainment Pvt UA DHEMALITE. MALHOTRA Ltd AM TELEVISION 3 LILAR PORA LEILALOI Assamese DIL/2/1/2018-GUW 30 January 2018 97.09 Digital Sanjive Narain UA PVT LTD. A.R. 4 NIJANOR GAAN Assamese DIL/1/1/2018-GUW 12 March 2018 155.1 Digital Haider Alam Azad U INTERNATIONAL Ravindra Singh ANHAD STUDIO 5 RAKTABEEZ Assamese DIL/2/3/2018-GUW 08 May 2018 127.23 Digital UA Rajawat PVT.LTD. ASSAMESE WITH Gopendra Mohan SHIVAM 6 KAANEEN DIL/1/3/2018-GUW 09 May 2018 135 Digital U ENGLISH SUBTITLES Das CREATION Ankita Das 7 TANDAB OF PANDAB Assamese DIL/1/4/2018-GUW 15 May 2018 150.41 Digital Arian Entertainment U Choudhury 8 KRODH Assamese DIL/3/1/2018-GUW 25 May 2018 100.36 Digital Manoj Baishya - A Ajay Vishnu Children's Film 9 HAPPY MOTHER'S DAY Assamese DIL/1/5/2018-GUW 08 June 2018 108.08 Digital U Chavan Society, India Ajay Vishnu Children's Film 10 GILLI GILLI ATTA Assamese DIL/1/6/2018-GUW 08 June 2018 85.17 Digital U Chavan Society, India SEEMA- THE UNTOLD ASSAMESE WITH AM TELEVISION 11 DIL/1/17/2018-GUW 25 June 2018 94.1 Digital Sanjive Narain U STORY ENGLISH SUBTITLES PVT LTD.
    [Show full text]
  • Perspectives on Violence on Screen a Critical Analysis Of
    © Media Watch 10 (3) 702-712, 2019 ISSN 0976-0911 E-ISSN 2249-8818 DOI: 10.15655/mw/2019/v10i3/49695 Perspectives on Violence on Screen: A Critical Analysis of Seven Samurai and Sholay SHIPRA GUPTA & SWATI SAMANTARAY Kalinga Institute of Industrial Technology, India This paper traces the portrayal of violence in cinema through the ages taking into consideration two films from two disparate countries and cultures - the Japanese Seven Samurai by Akira Kurosawa and its remake, the Indian blockbuster Sholay by Ramesh Sippy which was set in two different eras. This paper critiques the representation of violence in the two films and the reasons that led the films to become blockbuster hits. It takes into account the technical innovations used during the making and the resultant effect it had on the spectators. It also discusses the aspects which show that they are similar yet different from each other. Although Sholay has taken inspiration from Seven Samurai, its aggressive, dominant villain Gabbar is a well-rounded character and light has been thrown on his sadistic means. The samurai’s Bushido code of combat has been discussed concerning Kambei and the other samurai and how they remain loyal to it until the very end. Keywords: Bandits, guns, mercenaries, revenge, samurai, swords, violence Violence in cinema has always been a major source of controversy since the inception of films. It has played a very important role in cinema considering the beginning of motion picture and has been included in films right from the days of the black and white era of gangster movies like The Great Train Robbery to the present day slasher films like Scream.
    [Show full text]
  • Please Note : Provisionally Screened-IN Candidates – Kindly Do Not Send Any Kind of Email for Confirmation Please
    BHABHA ATOMIC RESEARCH CENTRE ADVERTISEMENT NO. 2/2019(R-II) POST ASSISTANT SECURITY OFFICER (A) GENERAL INSTRUCTIONS FOR CANDIDATES 1. Two separate lists of ‘Provisionally Screened-IN and Screened-OUT candidates’ are enclosed herewith. 2. Candidates are requested to check their name in either of the lists with respect to their Application number. 3. Screened-OUT candidates may represent to bring out discrepancies if any, and communicate through email on email ID [email protected] latest by 31/03/2020. If required, candidate may attach scanned copy of documentary evidence to prove the discrepancies. Candidates should mention their name, application no. and date of birth. 4. In such cases where candidates have submitted multiple applications, their latest application has been considered as ‘Final Application’ and all earlier applications have been treated as ‘Duplicate Applications’. 5. Candidates who have submitted multiple applications should appear for physical test/written test only once with unique identity, failing which their candidature will be cancelled without any notice. Please Note : Provisionally Screened-IN candidates – kindly do not send any kind of email for confirmation please. : IMPORTANT NOTE : Physical Test is likely to be conducted during the last week of April 2020. Detailed schedule will be intimated to the candidates and also uploaded in websites by 15/04/2020. List of candidates provisionally Screened - IN for the post of Assistant Security Officer (A) against advertisement No. 02/2019(R-II) Sl No Appl No Title
    [Show full text]
  • Javed Akhtar - Poems
    Classic Poetry Series Javed Akhtar - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Javed Akhtar(17 January 1945 -) Javed Akhtar (Urdu: ????? ????) is a poet, lyricist and scriptwriter from India. Some of his most successful work was done in the late 1970s and 1980s with Salim Khan as half of the script-writing duo credited as Salim-Javed. Akhtar continues to be a prominent figure in Bollywood and is one of the most popular and sought-after lyricists. <b> Early Life </b> He was born as Jadoo Akhtar in Gwalior, (Madhya Pradesh) to Jan Nisar Akhtar, a Bollywood film songwriter and Urdu poet, and singer Safia Akhtar, a teacher and writer. His original name was Jadoo, taken from a line in a poem written by his father: "Lamba, lamba kisi jadoo ka fasana hoga". He was given the official name of Javed since it was the closest to the word jadoo. Amongst his family members who are poets are the Urdu poet Majaz (maternal uncle), and his grandfather, Muztar Khairabadi, and Maulana Fazl-e-Haq Khairabadi, a noted philosopher, poet and religious scholar of the nineteenth century. Akhtar's younger brother, Salman Akhtar, is a psychoanalyst practicing in the United States. Having lost his mother while very young, Akhtar's early years were spent in Lucknow, Aligarh and Mumbai, mostly with relatives. He studied in Colvin Taluqdars' College in Lucknow and the Minto Circle where he completed his matriculation from Aligarh Muslim University. After matriculation, Akhtar acquired a B.A. from Saifiya College in Bhopal. A gifted debater in college, he won the Rotary Club Prize frequently.
    [Show full text]
  • Gabbar Singh Gujjar
    Gabbar Singh Gujjar How does Gabbar Singh solve all the issues and fights with Siddhappa is crux of the story. Written by sahith. Plot Summary | Add Synopsis. Plot Keywords: police | gang | villain | crazy | revenge | See All (5) ». Genres GABBAR SINGH - Pure entertainer! One man show! Power Star is back with a bang!!! 17 May 2012 | by bharath882005 ⓠSee all my reviews. Pawan Kalyan has given an extraordinary performance. His comedy timing is perfect. He has delivered several punch dialog's with his inimitable mannerism. Gabbar Singh is a fictional character, the antagonist of the 1975 Bollywood film Sholay. Gabbar Singh alias Gabra was born in 1926 in Dang village of Bhind district, a Gujjar by caste. He was written by duo Salim-Javed, consisting of Salim Khan and Javed Akhtar. Played by Amjad Khan, he is depicted in Sholay as a dacoit who leads a group in looting and plundering the villages in the region of Ramgarh. He has a sadistic personality and insists on killing whenever required to continue his status and to Nirbhay Singh Gujjar was probably the last among the big bad dacoits of Chambal. Just like a Bollywood film, the life of this bandit revolved around drinks, women, guns and criminals. He was certainly the Gabbar Singh of the modern times with AK-47 assault rifles, shotguns, bulletproof jackets, night-vision binoculars and mobile phones at his disposal. He was probably the Gabbar Singh who was more of a Robin Hood than a notorious bandit. chambal ke daku sardar gabbar singh ke jivan ki kuch rochak jankari apko is video mai milegi real life story of sardar gabbar singh.
    [Show full text]
  • Bonded Labour in India: Its Incidence and Pattern
    InFocus P rogramme on P romoting the Declaration on Fundamental Principles WORK IN FREEDOM and Rights at Work International Labour Office Bonded Labour in India: Its Incidence and Pattern Ravi S. Srivastava Special Action Programme to Combat Forced Labour DECLARATION/WP/43/2005 Working Paper Working WP 43 Working Paper Bonded Labour in India: its Incidence and Pattern Ravi S. Srivastava Professor of Economics Centre for the Study of Regional Development Jawaharlal Nehru University New Delhi 110067 [email protected] International Labour Office Geneva June 2005 Copyright © International Labour Organization 2005 Publications of the International Labour Office enjoy copyright under Protocol 2 of the Universal Copyright Convention. Nevertheless, short excerpts from them may be reproduced without authorization, on condition that the source is indicated. For rights of reproduction or translation, application should be made to the Publications Bureau (Rights and Permissions), International Labour Office, CH-1211 Geneva 22, Switzerland. The International Labour Office welcomes such applications. Libraries, institutions and other users registered in the United Kingdom with the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP [Fax: (+44) (0)20 7631 5500; email: [email protected]], in the United States with the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923 [Fax: (+1) (978) 750 4470; email: [email protected]] or in other countries with associated Reproduction Rights Organizations, may make photocopies in accordance
    [Show full text]