The Gateway DISTRICT 3141 BULLETIN of the ROTARY CLUB of BOMBAY | for PRIVATE CIRCULATION ONLY | VOLUME NO

Total Page:16

File Type:pdf, Size:1020Kb

The Gateway DISTRICT 3141 BULLETIN of the ROTARY CLUB of BOMBAY | for PRIVATE CIRCULATION ONLY | VOLUME NO Rotary Club of Bombay The Gateway DISTRICT 3141 BULLETIN OF THE ROTARY CLUB OF BOMBAY | FOR PRIVATE CIRCULATION ONLY | WWW.ROTARYCLUBOFBOMBAY.ORG VOLUME NO. 62 ISSUE NO. 38 APRIL 13, 2021 PRESIDENT’S MESSAGE POWER OF MUSIC Maya Angelou words that have meaning to you. Similarly, music therapy has proven beneficial for said: “Music was children, adolescents, adults, and the elderly with my refuge. I could But you also have songs you listen to when you’re mental health needs, developmental and learning crawl into the space sad, happy, lonely, anxious, exercising, cooking, disabilities, Alzheimer’s disease and other aging- between the notes lazing, driving, hiking, etc. and those are your related conditions, substance abuse problems, and curl my back to anthems. They make you happy. They motivate brain injuries, physical disabilities, and acute and loneliness.” you. They calm you. They move you. Listening to chronic pain. At times it is the best therapy for soothing sounds to sleep or meditate is also a type mothers in labour. Music moves all of us. of music. In different ways. So take some time for yourself, sit back and But music is not just a sedentary activity. Just like rejoice to the sounds of melodies. Trust me, it will Whether you passionately enjoy music or just listening to music helps our emotional, physical, invigorate you. listen to it as a filler or background white noise, social and cognitive needs, so does playing an we all have a favourite song. It is the song you instrument, writing songs, drumming, humming, relate to as the best expression of you. It’s your singing. personal mantra, the version of you that you hope people see. It may be the beats of the song or the This is the power of music. President Framroze Mehta #tuesdaythoughts ““Music is the language of the spirit. It opens the INDIAN PLAYBACK SINGER SUDHA secret of life bringing peace, abolishing strife.” MALHOTRA, RECEPIENT OF THE – Kahlil Gibran #numbercrunching SHYAM MUNSHI AWARD FOR US$ 12.2 billion LIFETIME ACHIEVEMENT IN THE The revenue provided by recorded music in US in 2020 (source: Recording Industry ARTS, ON HER MUSICAL CAREER Association of America's annual year-end report). This was an I STARTED SINGING WHEN I I also remember a big Red Cross recordings and all kinds of increase by 9.2 per cent. CAME TO BOMBAY AND WAS function. I must not have been hard work that anybody who INTRODUCED TO A POPULAR very tall, very short, so they has to do something in life, #caughtintheweb MUSIC DIRECTOR IN THOSE put me up on the table, with has to do. All artists start early. DAYS CALLED ANIL BISWAS an orchestra behind me. A fan There is a time when you can – I MUST HAVE BEEN 14-15 sent a picture of that, a little mould yourself and start doing YEARS OLD. girl sitting on the table with the what you have to and have orchestra behind me. the energy to practice and He heard me sing and he gave take it forward. This is what me my first song in a film called After Pakistan and Lahore, we I was trying to do in the best Arzoo. That was the beginning came to Delhi and I also sang way. God was really giving me of my film career. Before that, on AIR Delhi and did lots of rewards for everything. I used to sing on AIR Lahore shows etc. After that first film before Partition. In fact, when song in Bombay, I got really As for my film career, some of the riots were on, they would serious about music. Thanks the songs which you may have send a van and police escort to to my parents, I had been heard, in the 1960s: Kabhi pick me up at the house, I must doing pretty well earlier, too, kabhi mere dil me khayal aata be around seven or eight years but now I put my heart and hai, a very popular number. But old, to come and sing for the soul into the music. I practiced I got married. I chose between children’s programme. late in the afternoons, did my career and home and I TODAY: DG SUNNIL MEHRA'S OFFICIAL CLUB VISIT. CLOSED DOOR MEETING WITH OFFICE BEARERS & DIRECTORS AT 11 AM ON ZOOM. REGULAR MEETING WITH DG MEHRA AS SPEAKER AT 1.30 PM 2 THE WEEKLY MEET April 13, 2021 THE WEEKLY MEET 3 President Framroze Mehta PE Shernaz Vakil IPP Preeti Mehta PP Vijay Jatia Rtn. Arin Master PP Kalpana Munshi thought I wanted to get married meet me. In fact, at one point, All of them. Rafi, super people and actors around in to a family whom I knew well. Mr. Shankar Dayal Sharma, Chief Kishore, Mukesh, me. My husband is Girdhar Motwani, Minister of Bhopal in those days, my father-in-law is Nanik Motwani, offered me a seat in politics in Mahmood, they were What would you suggest to all Rotarians. I thought I had Congress. I said ‘no, thanks, I am all wonderful. They young aspiring singers before they jump into rap and done enough from childhood till happy with my music and my respected me, gave me 25 so, I thought I would settle home, I am not joining’. Bollywood music? Would you down a bit. I continued to sing: courage because I was recommend giving more stress doing my practice, bhajans, going The Padma Shri also came as a new and young, and on riyaaz and classical and then around the world doing shows, I surprise to me. I didn’t think I they were all seasoned break into further forms? would get it. I got a phone call just gave up singing for the films singers. Actually, Talat Absolutely. When I started singing, because that is a lot of hard work early in the morning, ‘Mrs. Sudha Malhotra?’ I said, ‘Yes’. They said and I almost started it was classical singing. Riyaaz and I can’t do both. So, that is the is the foundation, you have to answer I gave everybody. they were calling from the Ministry together. They give me of Broadcasting and Information practice as much as you can and Eventually, Raj Kapoor heard the and that I had been offered a a lot of moral support, then get onto stage. Children who ghazal I sang for Jagjit Singh in Padma Shri. I thought it was a whoever sung with me come and sing on platforms such Pune, and this was much after I joke. So, I asked for their telephone was my favourite, I can’t as Indian Idol work very hard. They sing so well and they have to had given up my film career. He number and called them back choose. said I had to sing for him. I said, to verify. I was grateful to the work hard. I have stopped riyaaz ‘Raj ji I don’t sing for anyone whole nation, the President, and Any incident that you probably due to my age but when I used to anymore’. He persisted but I kept everybody. Finally, I got an award. remember about the three sing, my voice used to be in the air quiet. Some time passed. My superheroes, Dilip Kumar, Dev and I could pick up a note from husband and I came to America My most famous songs, the Anand, Raj Kapoor? One of your anywhere. qawwali, ‘Ishq Ishq’ was popular, on work, and I got a call from Raj first songs was in a Dilip Kumar Children today are lucky to have ji. ‘You have to come and sing for everyone liked it very much. I sang film. a couple of bhajans like ‘Darshan platforms. In my days it was pure me; I am coming to pick you up hard work, we had to record a just now!’ do Ghanshyam’, and then my most Dilip Kumar and I travelled by popular song, ‘Tum mujhe bhul bhi train many times together. This song for the film and then go I said, ‘Wait, let me talk to my jaao to yeh haq hai tumko’. Now goes back to the ’50s when he to Pheroze Shah Mehta Lane to husband and see if he agrees.’ that song, there is a little story. The was not as great an actor and I record it again, one mistake and Of course he agreed because he music director in that cast fell ill don’t think he could afford a car. you had to do it all over again. was a great fan of Raj Kapoor and and couldn’t compose anything, So we travelled first class local It was very tough. Now there couldn’t say no and I didn’t want to so, the lyricist Sahir Sahab gave train together to our respective are many opportunities but the say no because I was dying to sing. me this song and said, ‘Sudha ji destinations. But he was an foundation has to be there. So, I sang the song in Prem Rog – you have to compose it’. I said, ‘I extremely knowledgeable man Who were your favourite music ‘Yeh pyaar tha ya kuch aur tha’. It have not composed anything in my and actor. He knew a lot of Urdu directors of your time? is a very pretty song and it came life.’ He insisted I do it. I took the ghazals, shayaris and was very out very well. He was the greatest lyrics home, tuned them overnight, talented, educated and good- Roshan came with lots of good artist of all time, I think he could and recorded it the next day.
Recommended publications
  • Filmography Dilip Kumar – the Substance and the Shadow
    DILIP KUMAR: THE SUBSTANCE AND THE SHADOW Filmography Year Film Heroine Music Director 1944 Jwar Bhata Mridula Anil Biswas 1945 Pratima Swarnlata Arun Kumar 1946 Milan Meera Mishra Anil Biswas 1947 Jugnu Noor Jehan Feroz Nizami 1948 Anokha Pyar Nargis Anil Biswas 1948 Ghar Ki Izzat Mumtaz Shanti Gobindram 1948 Mela Nargis Naushad 1948 Nadiya Ke Par Kamini Kaushal C Ramchandra 1948 Shaheed Kamini Kaushal Ghulam Haider 1949 Andaz Nargis Naushad 1949 Shabnam Kamini Kaushal S D Burman 1950 Arzoo Kamini Kaushal Anil Biswas 1950 Babul Nargis Naushad 1950 Jogan Nargis Bulo C Rani 1951 Deedar Nargis Naushad 1951 Hulchul Nargis Mohd. Shafi and Sajjad Hussain 1951 Tarana Madhubala Anil Biswas 1952 Aan Nimmi and Nadira Naushad 1952 Daag Usha Kiran and Nimmi Shankar Jaikishan 1952 Sangdil Madhubala Sajjad Hussain 1953 Footpath Meena Kumari Khayyam 1953 Shikast Nalini Jaywant Shankar Jaikishan 1954 Amar Madhubala Naushad 1955 Azaad Meena Kumari C Ramchandra 1955 Insaniyat Bina Rai C Ramchandra 1955 Uran Khatola Nimmi Naushad 1955 Devdas Suchitra Sen, Vyjayanti S D Burman Mala 1957 Naya Daur Vyjayantimala O P Nayyar 1957 Musafir Usha Kiran, Suchitra Salil Chaudhury Sen 1 DILIP KUMAR: THE SUBSTANCE AND THE SHADOW 1958 Madhumati Vyjayantimala Salil Chaudhury 1958 Uahudi Meena Kumari Shankar Jaikishan 1959 Paigam Vyjayantimala, B Saroja C Ramchandra Devi 1960 Kohinoor Meena Kumari Naushad 1960 Mughal-e-Azam Madhubala Naushad 1960 Kala Bazaar (Guest Appearance) 1961 Gunga Jumna Vyjayantimala Naushad 1964 Leader Vyjayantimala Naushad 1966 Dil Diya Dara Liya
    [Show full text]
  • Theoretical and Literary Spaces in Bangladesh Amitava
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Prometheus-Academic Collections The Marginalized in the Construction of ‘Indigenous’ Theoretical and Literary Spaces in Bangladesh Amitava CHAKRABORTY (Tokyo University of Foreign Studies, Japan) 1㸬 In the middle of the 80s of the last Century, Bengali culture witnessed the emergence of a literary and theoretical movement known as ‘Uttaradhunikatabad’1. The movement was initiated by poet and critic Amitabha Gupta, who in 1985 presented the concept in the little magazine Janapada. It was then nurtured by critics, literary theoreticians and litterateurs like Anjan Sen, Birendra Chakravarti, Uday Narayan Singha, Tapodhir Bhattacharjee etc. from India and Ezaz Yusufi, Sajidul Haq, Jillur Rahman and Khondakar Ashraf Hossain from Bangladesh. Little magazines from India and Bangladesh like Gangeya Patra, Beej, Alochanachakra, Samprata, Lalnakkhatra, Chatimtala, Sanket, Anyastar, Drastabya, Bipratik, Sudarshanchakra, 1400, Ekabingsho etc. nurtured the movement. When Gupta first proposed the concept, it was centered on a new trend in poetry, which Gupta identified as a move beyond modernist literary culture. Following years, however, saw the movement developing its’ unique corpus of theoretical postulations regarding poetry and other forms of literature, poetic language and ontology. Gupta’s article titled Nibedan, published as the appendix of an anthology of Uttaradhunik poems, titled Uttar Adhunik Kabita2, offers a comprehensive account of the theoretical understanding at its earliest phase. He posited the new movement against the Modernist 1 Uttar = Beyond, Adhunikatabad = Modernism. (Adhunik= Modern, Adhunikata= Modernity) Uttar is also used to mean ‘Post’ which has led many scholars and thinkers in translating this term as ‘Postmodernism’, whereas a few others have used the term Uttaradhunikatabad as one of the translations of the term ‘Postmodernism’.
    [Show full text]
  • CINEMA Some All-Time Greats Cinema by Definition Telescopes Time
    VISIT US AT STALL 19-20, NATIONAL BOOK FAIR, LUCKNOW VENUE: MOTIMAHAL VATIKA DATE: 11 TO 20 AUGUST 2017 Volume 9, Issue 3, July-September 2017 RNI NO. DELENG/2008/26953 Price: ` 2 HISTORY LITERATURE ART CULTURE HERITAGE BIOGRAPHY TRAVEL WILDLIFE RELIGION SELF-HELP FICTION TRANSLATION CINEMA PHOTOGRAPHY CINEMA Some All-Time Greats Cinema by definition telescopes time. A film is said to be a classic if it is seen and appreciated by two or three generations of viewers over a period of 50 to 60 years. It would take longer for a literary work to attain the same stature because the history of publishing is much longer. In India, certain films in Hindi Celebrating and other regional languages have been seen by people long enough to acquire a Cinema! classic status. From the subject of film dialogue and he first director worthy of serious attention in Hindi cinema was Mehboob Khan. He began life as an extra in the silent era early Hindi cinema to a book on SRK, and gradually worked his way up as an actor, assistant director and finally director with Imperial Film Company and Sagar the Badshah of Bollywood, Niyogi Movietone. He made his mark when he formed his own production company. Aurat, his first major film, is about a farmer’s Books has played an important role in Twidow swamped with debts and her heroic struggle to retain her dignity and look after her children in an overwhelmingly male society. promoting cinema. This black and white production starring Khan’s wife, Sardar Akhtar, with music by Anil Biswas, had a greater impact than its worthy remake, Mother India.
    [Show full text]
  • FOR CAT-74 (Primary Teacher (Bengali)) EN 8/2010 EXAM DATE : 29/07/2012
    RAILWAY RECRUITMENT BOARD, MALDA LIST OF CANDIDATES IN ORDER OF NAME (ALPHABETICALLY)FOR CAT-74 (Primary Teacher (Bengali)) EN 8/2010 EXAM DATE : 29/07/2012 CAT NAME FNAME DOB STATUS _NO 74 ABDUL RASHID SEKH FAIJUDDIN 07/08/1985 INELIGIBLE 74 ABDUR RAHIM ELIAS ALI 02/05/1988 INELIGIBLE 74 ABHIGYA KARMAKAR ANIL BISWAS 20/03/1984 INELIGIBLE 74 ABHIJIT GHORUI CHITTARANJAN GHORUI 02/04/1985 ELIGIBLE 74 ABU KALAM KHAN GOLAM HOSSAIN KHAN 11/05/1975 INELIGIBLE 74 ABU MOTALEB ASRAFUL HAQUE 05/05/1987 INELIGIBLE 74 ABUL KASIM NAZRUL ISLAM 10/02/1981 INELIGIBLE 74 ACHINTYA GHORVI SWAPAN GHORVI 02/05/1986 ELIGIBLE 74 ADITI RAHA PABITRA RAHA 26/05/1990 INELIGIBLE 74 ADITYA KUMAR MANDAL BHUDEV CHANDRA MANDAL 21/07/1986 INELIGIBLE 74 AFROJA KHATUN AZFAR HOSSAIN 14/05/1990 INELIGIBLE 74 AINDRILA SEN DILIP KUMAR SEN 27/03/1978 INELIGIBLE 74 AJAY SARKAR SUBHASH SARKAR 28/02/1991 INELIGIBLE 74 AJOY KUMAR TUDU TARAPADA TUDU 12/02/1980 INELIGIBLE 74 AKBOR ALI SHAIKH ASIRUDDIN SHAIKH 29/03/1981 INELIGIBLE 74 AKHILCH MANDAL KHAKKUCH MANDAL 07/12/1978 INELIGIBLE 74 ALIHASAN BELALUDDIN AHAMED 17/04/1987 INELIGIBLE 74 ALMASNUN AZIZUL HOQUE 24/02/1979 INELIGIBLE 74 AMAL DAS KALIPADA DAS 08/01/1982 INELIGIBLE 74 AMALENDEE DAS ROBINDRA NATH DAS 21/05/1991 INELIGIBLE 74 AMALENDU SAMANTA SANKAR SAMANTA 06/01/1986 INELIGIBLE 74 AMARESH KUMAR SINGH SAILESH CHANDRA SINGH 05/08/1971 INELIGIBLE 74 AMIR KHAN ARSED ALI KHAN 14/02/1990 INELIGIBLE 74 AMIT DAS AMAL KUMAR DAS 05/05/1985 INELIGIBLE 74 AMIT KUMAR HALDAR ASHOK KUMAR HALDAR 28/11/1990 INELIGIBLE 74 AMITAVA BISWAS
    [Show full text]
  • 1 Manik Das S/O-Naresh Das, Vill-Tantla Roy Para, PO-Tatla, PS
    Application for New Contract Carriage Permits of Auto-Rickshaw Meeting to be held on 14.01.2020 Memo No. 38(668)/MV Dt. 09.01.2020 Sl. Name & Address of the applicant No. 1 Manik Das S/O-Naresh Das, Vill-Tantla Roy para, P.O-Tatla, P.S-Chakdaha, Dist.-Nadia, Pin-741222 2 Manojit Das S/O-Manik Das, Vill-Tantla Raypara, P.O-Tantla, P.S-Chakdaha, Dist.-Nadia, Pin-741222 3 Soma Chanda S/O-Subhra Chanda, Vill-Dayalnagar, P.O-Nasra, Ranaghat, Dist.-Nadia, Pin-741202 4 Hossain Mandal S/O-Zamsher Mandal, Vill-Paschin Gopinathpur, P.S-Tehatta, Dist.-Nadia, Pin-741155 5 Sahidul Shekh S/O-Saheb Ali Shekh, Vill-Shyamnagar, P.O-Berij, P.S-Kotwali, Dist.-Nadia, Pin-741103 Mahadeb Ball S/O-Bijay Krishna Ball, Vill-Natungram, P.O-Nrisinghapur, P.S-Santipur, Dist.-Nadia, Pin- 6 741404 7 Aparna Chakraborty S/O-Debasish Chakraborty, Vill+ P.O+ P.S-Taherpur, Dist.-Nadia, Pin-741159 8 Tapan Biswas S/O-Madhusudan Biswas, Vill+ P.O-Ulashi, P.S-Hanskhali, Dist.-Nadia, Pin-741502 Sukanta Biswas S/O-Paritosh Biswas, Vill-Pakhiura, P.O-Kumari Ramnagar, P.S-Hanskhali, Dist.-Nadia, 9 Pin-741502 Puspa Mondal S/O-Sufal Mondal, Vill-Ulashi Paschimpara, P.O-Ulashi, P.S-Hanskhali, Dist.-Nadia, Pin- 10 741502 11 Dilip Biswas S/O-Madhusudan Biswas, Vill+ P.O-Ulashi, P.S-Hanskhali, Dist.-Nadia, Pin-741502 12 Pintu Saha S/O-Nimai Ch.Saha, Vill-Gournagar, P.O-Bagula, P.S-Hanskhali, Dist.-Nadia, Pin-741502 13 Sujit Biswas S/O-Subhas Biswas, Vill-Khanpara, P.O-Birnagar, P.S-Taherpur, Dist.-Nadia, Pin-741127 Bhakta Das S/O-Bimal Das, Vill-Chandpur Paschimpara, P.O-chandanpur,
    [Show full text]
  • STAGE PRESENCE Costume and Make-Up in Indian Classical Dance
    May 2021 ® ON Stagevolume 10 • issue 10 STAGE PRESENCE Costume and make-up in Indian classical dance A RICHER SOUND A FINE STATE New members join the SOI Glimpses of Maharashtra Chairman’s Note here is a general impression that with the lockdown, the NCPA is not functioning as before. While it is true that there is nothing Twhich can substitute a face-to-face encounter and/or meeting to achieve the desired result, the next best course is to gird up our loins and innovate ways in which the NCPA would most benefit and the employees, musicians, technicians, etc. would occupy themselves meaningfully. Having laid out these objectives before our heads of divisions, I must say that a modicum of success has been achieved. The musicians in residence of the SOI have been furiously preparing new programmes and have already, in the last month, recorded four of them fully for the digital platform. These have been recorded in the theatre and with better sound than when the audience is present. Similarly, full- year plans, conditions permitting, have been presented by the Indian Music, International Music, Dance and Theatre genres. Preparations are, therefore, underway to put together a year’s programme of likely performances when the lockdown and other bans are lifted and otherwise, recording online for the presence of the NCPA to be noted by its members and the public alike. Methods of management are being put together and we realise that getting the finest advisors in areas where we need these inputs is the cheapest way of keeping up with technology and modern practices.
    [Show full text]
  • A Doctor Who Was Mashima to Her Patients: Dr Pushpitabala Das Design & Layout: Pooja Pandey –Saumi Das a Personal Note
    SPARROW SPARROW SOUND & PICTURE newsletter ARCHIVES FOR RESEARCH ON WOMEN SNL Number 37 August 2018 CONTENTS Publication Number 91 Editor’s Note...................................................................................................................................01 Published by Sound & Picture Archives for Research on Book Reviews............................................................................................................................02-13 Women *The Pimping of Prostitution: Abolishing the Sex Work Myth, *Sai – Majha Kalapravas, *The Making of The Nest, B-101/201/301, Exile: Sindhi Hindus and the Partition of India, *Nine, *Rasigai Paravai, *Remnants of a Separation: A Patel Apartment, Maratha Colony Road, Dahisar (E), History of the Partition through Material Memory, *Stories of Social Awakening: Reflections of Dalit Refugee Mumbai-400068 Lives of Bengal, *Eka Gangichi Kahani: Prabha Shivanekaranche Jeevan Charitra, *Swara Bethangal, Phone: 022 2828 0895, 2896 5019 Shikari: The Hunt. E mail: [email protected] –C S Lakshmi, Charanjeet Kaur, Priya D’Souza, Sharmila Sontakke, Asmita Deshpande and Vidya Website: www.sparrowonline.org Premkumar Editor: Dr C S Lakshmi Consulting Editor: Dr Charanjeet Kaur From SPARROW Archives......................................................................................................14-16 Publication Co-ordination A Doctor Who Was Mashima to Her Patients: Dr Pushpitabala Das Design & Layout: Pooja Pandey –Saumi Das A Personal Note.......................................................................................................................17-20
    [Show full text]
  • Anil Biswas – Filmography Source: Hamraz’S Hindi Film Geet Kosh (Digitization: Ketan Dholakia, Vinayak Gore, and Balaji Murthy)
    Anil Biswas – Filmography Source: Hamraz’s Hindi Film Geet Kosh (Digitization: Ketan Dholakia, Vinayak Gore, and Balaji Murthy) Contents Anil Biswas – Filmography ....................................................................................................................................... 1 1) Dharam Ki Devi ..................................................................................................................... 3 2) Fida-e-Vatan (alias Tasveer-e-vafa) ...................................................................................... 3 3) Piya Ki Jogan (alias Purchased Bride) ................................................................................... 3 4) Pratima (alias Prem Murti) ..................................................................................................... 4 5) Prem Bandhan (alias Victims of Love) .................................................................................. 4 6) Sangdil Samaj ......................................................................................................................... 4 7) Sher Ka Panja ......................................................................................................................... 5 8) Shokh Dilruba ......................................................................................................................... 5 9) Bulldog ................................................................................................................................... 5 10) Dukhiari (alias A Tale of Selfless Love)
    [Show full text]
  • Sl. No. Name and Father's Name Category Roll No. 1 Aamir Khan S
    Name of Service :- Tripura Judicial Service, Grade-III Date of Preliminary Examination :- 17.03.2019 Important Notice :- 1. The e-Admission Certificate & Programme of Examination will be available in the website from 02.03.2019. Eligible candidates will able to download e-Admission Certificate & Programme on & from 02.03.2019. 2. The candidates applying for the examination should ensure that they fulfill all eligibility conditions for admission to examination. Admission to all the stages of the examination will be purely provisional subject to satisfying the prescribed eligibility conditions. Mere issue of e-Admission Certificate to the candidate will not imply that his/her candidature has been finally cleared by the Commission. The Commission takes up verification of eligibility conditions with reference to original documents only after the candidate has qualified for Viva-Voce Test. List of provisionally eligible candidates are as follows :- Sl. No. Name And Father’s Name Category Roll No. Aamir Khan 1 UR 00001 S/O- Mehboob Khan Abhigupta 2 UR 00002 S/O- Narender Gupta Abhijit Deb, 3 UR 00003 S/O- Kajal Kumar Deb Abhishek Singh 4 UR 00004 S/O- Jagveer Singh Abhishek Srivastava 5 UR 00005 S/O- Prem Chandra Srivastava Abhisubhra Paul, 6 UR 00006 S/O- Asit Baran Paul Aishwarya Nigam 7 UR 00007 S/O- S K Nigam Ajanta Roy, 8 UR 00008 D/O- Jayanta Kumar Roy, Ajit Rathee 9 UR 00009 S/O- Shri Naresh Kumar Rathee Ajit Sarkar, 10 SC 00010 S/O- Sunil Sarkar Akash Paul, UR 11 00011 S/O- Shyamal Paul (BPL) Akhil Rana 12 UR 00012 S/O- Harpal Rana 1 Sl.
    [Show full text]
  • Ward No: 109 ULB Name :KOLKATA MC ULB CODE: 79
    BPL LIST-KOLKATA MUNICIPAL CORPORATION Ward No: 109 ULB Name :KOLKATA MC ULB CODE: 79 Member Sl Address Name of Family Head Son/Daughter/Wife of BPL ID Year No Male Female Total 1 MUKUNDAPUR 100 MUKUNDAPUR A MANDAL 1 2 3 1 2 NITAI NAGAR GREEN PARK ABANI MANDAL LT SANNYASHI MANDAL 6 4 10+ 2 3 2/34 MUKUNDAPUR ABHIJIT ACHARJEE LATE ANIL CHANDRA DAS 2 1 3 3 4 P/13 SOHID SMRITY SADAN ABHIMANNA BAIDYA LATE SHYAM BAIDYA 1 1 2 4 5 D BLOCK D/12 PURBA RAJAPUR D BLOCK ABHIMUNNU HALDER ABHIMUNNU HALDER 2 2 4 5 6 D-BLOCK D/12 PURBARAJAPUR KOL-75 ABHIMUNYA HALDER LT.JUDHISTIR HALDER 3 2 5 6 7 MUKUNDAPUR MUKUNDAPUR ABINASH ROY 3 2 5 7 8 BUDERHAT NAYABAD KOL-99 ADHIR DAS LT.PANCHU DAS 6 5 10+ 8 9 8 NAYABAD MAIN ROAD ADHIR HALDAR LATE BABLU HALDAR 4 5 9 9 10 BIKASH GUHA COLONY 8 NAYABAD MUKUNDAPUR KOL-99 ADHIR HALDAR LT.KANGSHADHAR HALDAR 1 4 5 10 11 GANGA NAGAR GANGANAGAR ROAD ADHIR MAZUMDAR LATE JAMINI KANTA MAZUMDA 5 4 9 11 12 PURBA RAJAPUR D BLOCK D102 PURBA RAJAPUR D BLOCK ADHIR SARDAR 4 4 8 12 13 D-BLOCK D/104 PURBA RAJAPUR KOL-75 ADYABALA HALDER LT.TARANI HALDER 2 3 5 13 14 D BLOCK D/34 PURBARAJAPUR KOL-32 AJAY DAS LT.KARTIK DAS 1 1 2 14 15 N/12 SOHID SMRITY SADAN AJAY HAZRA LATE SUSIL HAZRA 2 4 6 15 16 4 CHHIT KALIKAPUR KOL-99 AJAY MONDAL DHANANJOY MONDAL 2 2 4 16 17 BIKASH GUHA COLONY 101 NAYABAD MAIN ROAD AJAY SARDAR LATE FANI SARDAR 2 3 5 17 18 B/5 SAHID SMIRTY COLONY AJIT DAS LATE SANTOSH DAS 2 4 6 18 19 SAHID SMRITI COLONI F-3 SAHID SMRITI COLONI KOL-94 AJIT HALDAR LT.BHIRU HALDAR 2 2 4 19 20 D BLOCK D/12 PURBARAJAPUR KOL-32 AJIT HALDER LT.JUDHISTIR HALDER 1 2 3 20 21 BUDHERHAT BUDHERHAT KOL-99 AJIT MONDAL GOPAL MONDAL 1 4 5 22 22 D-BLOCK D/136A PURBA RAJAPUR KOL-75 AJIT SARDAR LT.ANIL SARDAR 3 2 5 24 23 SAHID SMRITY COLONY F-3 SAHID SMRITY COLONY KOL-94 AJIT SARDAR LT.
    [Show full text]
  • Cinema at the End of Empire: a Politics of Transition
    cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3.
    [Show full text]
  • Bengali Sentimental Booklet
    BENGALI SENTIMENTAL - 200 SONGS 10. Balukabelay Kurai Jhinuk Album: All Time Greats - 01. Duti Pakhi Duti Teere Satinath Mukherjee Album: Songs To Remember Artiste: Satinath Mukherjee Artiste: Talat Mahmood Lyricist: Gauriprasanna Mazumder Lyricist: Girin Chakraborty Music Director: Satinath Mukherjee Music Director: Kamal Dasgupta 11. Emon Din Aaste Pare 02. Adho Raate Jodi Ghum Bhenge Album: Chayanika Album: Sera Shilpi Sera Gaan Volume 6 Artiste: Shyamal Mitra Artiste: Talat Mahmood Lyricist: Gauriprasanna Mazumder Lyricist: Anil Bhattacharya Music Director: Shyamal Mitra Music Director: Nirmal Bhattacharya 12. Hoyto Kichhui Nahi Pabo 03. Hay Hay Go Raat Jay Go Album: Solid Gold – Shyamal Mitra Album: Chayanika Artiste: Sandhya Mukherjee Artiste: Manna Dey Lyricist: Gauriprasanna Mazumder Lyricist: Gauriprasanna Mazumder Music Director: Shyamal Mitra Music Director: Manna Dey 13. Srimati Je Kande 04. Chithi (Tumi Aaj Kato Durey) Album: Chayanika Gems From Bengal Album: Jaganmoy Mitra - Volume 2 Tumi Ki Ekhono Artiste: Malay Mukherjee Artiste: Jaganmoy Mitra Lyricist: Miltoo Ghosh Lyricist: Pronab Roy Music Director: Sailen Mukherjee Music Director: Subal Dasgupta 14. Kato Nishi Gechhe Nidhara 05. Aar Kato Rohibo Sudhu Path Album: Sera Shilpi Sera Gaan, Vol 4 Album: Katha Koyo Naako Shudhu Sono Artiste: Lata Mangeshkar Artiste: Hemanta Mukherjee Lyricist: Pabitra Mitra Lyricist: Gauriprasanna Mazumder Music Director: Satinath Mukherjee Music Director: Satinath Mukherjee 15. Aakash Pradip Jwale 06. Ogo Mor Geetimoy Album: Sera Shilpi Sera Gaan, Vol 4 Album: Chayanika Artiste: Lata Mangeshkar Artiste: Sandhya Mukherjee Lyricist: Pabitra Mitra Lyricist: Kamal Ghosh Music Director: Satinath Mukherjee Music Director: Robin Chatterjee 16. Tumi Aar Deko Na 07. Ami Chole Gele Pashaner Buke Album: Hits Of Manna Dey Volume 2 Album: All Time Greats - Artiste: Manna Dey Satinath Mukherjee Lyricist: Gauriprasanna Mazumder Artiste: Satinath Mukherjee Music Director: Manna Dey Lyricist: Shyamal Gupta 17.
    [Show full text]