#Bally Bally Punjab

[news365timesindia]

[ad_1] In a major development, Canadian authorities have detained Arshdeep Singh, alias Arsh Dalla, a prominent figure in the Khalistani extremist movement and a known associate of the late Hardeep Singh Nijjar, who was killed earlier this year. Dalla’s arrest follows a violent shootout that took place on October 28 in Milton, Ontario, according to intelligence sources cited by media on Sunday. Dalla has also claimed responsibility for the murder of Congress leader Baljinder Singh Balli in Punjab’s Moga district in September. Balli was shot dead at his residence, escalating concerns about Dalla’s ongoing influence in orchestrating violent attacks from abroad. In related developments, Punjab Police recently detained two of Dalla’s operatives in a joint operation involving the State Special Operation Cell of Mohali, the Anti-Gangster Task Force, and Faridkot Police. The arrests were made in connection with the killing of Gurpreet Singh Hari Nau, a Sikh activist in Faridkot last month. Investigations further revealed that the arrested operatives were involved in the murder of Jaswant Singh Gill—a man serving a life sentence for a 2016 murder—who was shot dead in Gwalior, Madhya Pradesh, on November 7, reportedly under Dalla’s direction. This is the second high-profile arrest of a Nijjar associate in Canada within the past week. On November 8, Canadian police arrested Inderjeet Gosal, a 35-year-old Brampton resident, for assault with a weapon during a violent protest at a Hindu temple in the city. Click here for Latest Fact Checked News On NewsMobile WhatsApp Channel For viral videos and Latest trends subscribe to NewsMobile YouTube Channel and Follow us on Instagram [ad_2] Source link

[news365times]

[ad_1] In a major development, Canadian authorities have detained Arshdeep Singh, alias Arsh Dalla, a prominent figure in the Khalistani extremist movement and a known associate of the late Hardeep Singh Nijjar, who was killed earlier this year. Dalla’s arrest follows a violent shootout that took place on October 28 in Milton, Ontario, according to intelligence sources cited by media on Sunday. Dalla has also claimed responsibility for the murder of Congress leader Baljinder Singh Balli in Punjab’s Moga district in September. Balli was shot dead at his residence, escalating concerns about Dalla’s ongoing influence in orchestrating violent attacks from abroad. In related developments, Punjab Police recently detained two of Dalla’s operatives in a joint operation involving the State Special Operation Cell of Mohali, the Anti-Gangster Task Force, and Faridkot Police. The arrests were made in connection with the killing of Gurpreet Singh Hari Nau, a Sikh activist in Faridkot last month. Investigations further revealed that the arrested operatives were involved in the murder of Jaswant Singh Gill—a man serving a life sentence for a 2016 murder—who was shot dead in Gwalior, Madhya Pradesh, on November 7, reportedly under Dalla’s direction. This is the second high-profile arrest of a Nijjar associate in Canada within the past week. On November 8, Canadian police arrested Inderjeet Gosal, a 35-year-old Brampton resident, for assault with a weapon during a violent protest at a Hindu temple in the city. Click here for Latest Fact Checked News On NewsMobile WhatsApp Channel For viral videos and Latest trends subscribe to NewsMobile YouTube Channel and Follow us on Instagram [ad_2] Source link

[bolllywoodhungama]

Dunki Movie Review: DUNKI bears the Rajkumar Hirani stamp of filmmaking with the right message and emotions.

Dunki Review {3.5/5} & Review Rating

DUNKI is the story of four youths trying to fly abroad for a better life. The year is 1995. Army officer Hardayal Singh Dhillon aka Hardy (Shah Rukh Khan) arrives in Laltu, Punjab to meet Mahendar, who saved his life. He reaches his house and finds out that Mahendar is no more.  Mahendar lost a golden opportunity in sports while trying to save Hardy and then passed away in an accident. Hardy takes it upon himself to help Mahendar's family. Mahendar's sister Manu (Taapsee Pannu) asks Hardy to help her with wrestling. This is because she wants to go to the UK to earn and win back her house that her father had lost due to non-payment of a loan. An agent has assured her that she can be sent on a sports visa and hence, she wants to learn the basic techniques of a sport. Hardy teaches her wrestling. However, the agent usurps money from Manu, Balli Kakkad (Anil Grover), Buggu Lakhanpal (Vikram Kochhar), and others and runs away. With no other option, Manu, Balli, and Buggu approach Geetu Gulati (Boman Irani) for help. He runs an English-speaking institute and promises to help those trying to clear their IELTS exam. The trio along with Hardy enroll in his classes. Here, they meet Sukhi (Vicky Kaushal), and all five become close friends. They aim to reach the UK by hook or by crook. What happens next forms the rest of the film.

Abhijat Joshi, Rajkumar Hirani and Kanika Dhilon's story is superb and very relatable, especially for those from the South Asian diaspora. Many people from this belt have faced issues with immigration and hence, they’ll connect with the plot. Abhijat Joshi, Rajkumar Hirani, and Kanika Dhilon's screenplay is a mixed bag. While some moments are emotional and hilarious, the script overall could have been much better, especially when it's penned by Abhijat and Rajkumar. Abhijat Joshi, Rajkumar Hirani and Kanika Dhilon's dialogues are witty at places but again, going by their previous work, the one-liners should have had far more punch.

Rajkumar Hirani's direction is simplistic. As always, he uses his laugh-cry-drama formula successfully. Hence, the film doesn’t ever get slow or boring. There’s no dull moment. The film starts in the present day and the way the dynamics are shown, one gets curious to know what must have happened with the characters. It also gives a déjà vu of the beginning of 3 IDIOTS [2009]. The scenes where Hardy and his team try to learn English and their visa interviews are worth watching. The intermission point is quite strong. In the second half, the scenes of Hardy in the UK court and the whole Saudi Arabia sequence turn out to be the best parts of the film. The ending is moving, and the stats mentioned are quite hard-hitting and depressing. Thankfully, the final scene is funny, and the film ends on a lighter note.

On the flipside, the writing is not up to the mark. The makers haven’t focused on the families and their sufferings. Viewers should feel that the characters had a strong reason to move to the UK. But this aspect was not properly touched upon. Secondly, the humorous scenes in the first half don’t bring the house down. The same applies to Manu’s fake marriage episode. And this was necessary as all previous works of Rajkumar Hirani wowed the audience. As a result, one can’t help but expect tremendously from his films. DUNKI is nowhere close to MUNNA BHAI, 3 IDIOTS, PK, etc, and hence, audiences will feel a bit dejected, despite the film’s strong points.

Speaking of performances, Shah Rukh Khan does well and brings alive the humour and emotions effectively. However, as an old man, he’s not quite convincing. Nevertheless, it’s heartening to see him shed his superstar aura and play a character role after witnessing him in massier avatars in PATHAAN and DUNKI. Taapsee Pannu is a revelation and delivers a smashing performance. She gets the nuances in the old-age scenes quite right. Vicky Kaushal rocks the show in a cameo. Anil Grover and Vikram Kochhar are lovely and lend able support. Boman Irani and Deven Bhojani (Puru Patel) are lovely. Others do well.

Pritam's music is not of chartbuster variety, but the songs are well-woven into the narrative. 'Lutt Putt Gaya' comes at a fine juncture and is pleasant. 'Main Tera Rasta Dekhunga' stands out. 'Nikle The Kabhi Hum Ghar Se', 'O Maahi' and 'Banda' are in sync with the film’s theme. Aman Pant's background score is appropriate.

Muraleedharan C K, Manush Nandan and Amit Roy's cinematography is breathtaking and gives the film a big-screen appeal. Subrata Chakraborty and Amit Ray's production design is authentic. Sham Kaushal's action is limited. Eka Lakhani's costumes are realistic and non-glamorous. Rajkumar Hirani's editing is slick.

On the whole, DUNKI bears the Rajkumar Hirani stamp of filmmaking with the right message and emotions as a backdrop. However, it is not as outstanding as his previous films as the writing plays spoilsport to a great extent. At the box office, it will turn out to be a mix bag.

[cinemapremi]

Dunki Movie Review: Fans Declare Dunki Better Than Pathaan and Jawan!

Shah Rukh Khan and Taapsee Pannu's new movie, "Dunki," directed by Rajkumar Hirani, is not just a film—it's a heartwarming gift for the whole family. Let's take a look at this emotional ride that explores love, friendship, dreams, and the challenges of immigration. Dunki: Will Shah Rukh Khan Score His Third Consecutive Blockbuster? Dunki Trailer Unveiled: Shah Rukh Khan and Vicky Kaushal’s Cinematic Magic! https://cinemapremi.com/web-stories/15-must-watch-movies-on-netflix-december-2023/

Dunki Day 1 Box Office Collection:

Shah Rukh Khan's Dunki had a strong opening, earning Rs 30-35 crores on its first day, showcasing the enduring appeal of the Bollywood star. Despite competition from Salaar, especially in Maharashtra, Delhi, and West Bengal, Dunki performed well. Advance bookings stood at Rs 15.41 crores, with Maharashtra and Delhi leading. Shah Rukh Khan's earlier releases, Pathaan and Jawan, garnered immense success, grossing Rs 1050.3 crores and Rs 1148.32 crores worldwide, respectively. With Dunki poised to replicate this success, Shah Rukh Khan continues his dominant streak at the box office in 2023.

A Trip Down Memory Lane:

The story is about Manu Randhawa (played by Taapsee Pannu), a woman in her 50s who's feeling homesick and wants to go back to India. She, along with her friends Buggu Lakhanpal and Balli, faces visa issues. In a twist of fate, she reaches out to Hardy (Shah Rukh Khan) in Punjab for help. The movie takes us back to 1995 in Laltu, Punjab, where the trio dreams of settling in London.

Hirani's Emotional Touch:

Director Rajkumar Hirani brings his magic to "Dunki," making us laugh, cry, and feel every emotion. The film weaves humor, heartbreak, laughter, tears, hope, and failure seamlessly. Hirani's use of music adds a soulful layer to the storytelling.

Illegal Dreams and a Touching Blend:

"Dunki" goes beyond the typical love story, tackling the serious issue of illegal migrants from India. It sheds light on their struggles, the risks they take, and the sacrifices they make. The film cleverly uses a lighter tone to highlight why many Indians face visa rejections in foreign countries.

SRK and Taapsee Shine:

Shah Rukh Khan, playing both a young and an older character, brings his charm to the screen. Taapsee Pannu, with her natural talent, delivers an authentic portrayal of a Punjabi woman. Their performances, filled with emotion and humor, stand out.

Fan Excitement and Early Reviews:

Early reviews from Shah Rukh Khan's fans suggest that "Dunki" surpasses expectations set by previous films. Fans express gratitude to Rajkumar Hirani for bringing back the beloved SRK. The movie is gaining buzz as one of Hirani's best works, despite some critics noting a missing touch in certain areas. https://twitter.com/aavishhkar/status/1737771456090755490 https://twitter.com/sridevisreedhar/status/1737770388007120938

Critic's View and Box Office Buzz:

Considered a good family entertainer, "Dunki" has drama, humor, and heartwarming moments. Critics, however, mention the absence of the signature Rajkumar Hirani touch in some places. In a time of action-packed movies, "Dunki" stands out as a rollercoaster ride with patriotism, comedy, drama, emotion, and romance. In a nutshell, "Dunki" leaves you with a smile and tears. If you missed "Animal" due to its intense scenes, "Dunki" is the perfect family movie, offering an emotional experience on the big screen. https://www.youtube.com/watch?v=2-mYugUl6jQ&ab_channel=NEWS9Live Video Credit: https://www.youtube.com/@NEWS9LIVE Also checkout: Read the full article

[punjabi-entertainment-industry]

The Influence of Punjabi Music in Bollywood: From Melodies to Dance Numbers

Introduction: Bollywood, the vibrant Indian film industry, has always been a melting pot of diverse cultures and regional influences. Among the numerous regional influences that have left an indelible mark on Bollywood, Punjabi music stands out as a powerhouse of energy, rhythm, and infectious beats. Over the years, Punjabi music has evolved and seamlessly integrated into the fabric of Bollywood, transforming melodies into foot-tapping dance numbers. This article explores the profound influence of Punjabi music in Bollywood, tracing its journey from soulful melodies to high-energy dance tracks.

Melodies That Touched Hearts: Punjabi music has a rich tradition of soul-stirring melodies, rooted in the folk music of Punjab. The lyrical depth and emotional intensity of Punjabi folk songs have found their way into Bollywood, enhancing the storytelling and creating memorable moments. Iconic films like “Heer Ranjha” and “Qurbani” showcased the beauty of Punjabi melodies through timeless songs like “Duniya Mein Logon Ko” and “Ek Main Aur Ek Tu.” These melodies struck a chord with audiences across the country, transcending language barriers and capturing the essence of love, longing, and celebration.

The Advent of Bhangra Beats: In the 1980s, Bollywood witnessed the emergence of the Bhangra wave, with Punjabi beats infused into the mainstream music scene. Artists like Bally Sagoo, Malkit Singh, and Daler Mehndi introduced the pulsating rhythms of Punjabi folk music to a wider audience, creating a cultural phenomenon. Bollywood filmmakers soon realized the infectious energy of Bhangra beats and started incorporating them into their films. Songs like “Gur Naal Ishq Mitha” from “Dance Dance” and “Tunak Tunak Tun” by Daler Mehndi became nationwide hits, setting the stage for Punjabi music’s domination in Bollywood.

Dance Numbers that Ignite the Screen: Punjabi music’s true transformation in Bollywood occurred when it transitioned from melodies to high-octane dance numbers. The foot-tapping beats, catchy lyrics, and energetic choreography of Punjabi songs captured the imagination of filmmakers and audiences alike. Films like “Dilwale Dulhania Le Jayenge” and “Kuch Kuch Hota Hai” introduced chartbusters like “Mehndi Laga Ke Rakhna” and “Bhangra Paale” that became instant party anthems. The infectious rhythm of Punjabi music found its way into clubs, weddings, and parties, making it an essential ingredient in Bollywood’s dance sequences.

The Modern Era of Punjabi Music: In recent years, Punjabi music has seen an explosive resurgence in Bollywood. Artists like Yo Yo Honey Singh, Badshah, and Diljit Dosanjh have spearheaded this revolution, fusing Punjabi beats with hip-hop, rap, and electronic music genres. Their collaborations with Bollywood composers and playback singers have resulted in chart-topping hits such as “Lungi Dance” from “Chennai Express” and “Kar Gayi Chull” from “Kapoor & Sons.” Punjabi music has not only dominated dance floors but has also become a driving force behind the success of Bollywood soundtracks.

Conclusion: The influence of Punjabi music in Bollywood has been nothing short of transformative. From its humble beginnings as soulful melodies, Punjabi music has grown to become the life of Bollywood’s dance parties. Its infectious beats, foot-tapping rhythms, and catchy lyrics have elevated the energy and entertainment quotient of countless films. Punjabi music has seamlessly integrated into Bollywood’s DNA, bridging cultures, and uniting people through its universal appeal.

[ballyballybiryani]

Enjoy The Best No.1 Chicken Biryani in Daska , BallyBally Biryani .

[kangenwaterhyderabad]

Kangen Water Machine Price

Kangen Water Machine Price

Do you want to find Kangen Machine Price India?

KANGEN WATER ENAGIC MACHINE PRODUCTS TYPE AND PRICING

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LEVELUK SD501 PLATINUM

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LeveLuk SD501 Platinum Product Details

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LEVELUK K8 (KANGEN 8)

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Warranty 5 (five) years.

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LeveLuk k8 Product Details

LEVELUK JRII

Basic Product and Energy Saver

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The JRII has three solid electrode plates which reduce the energy consumption. Due to the solid platinum-coated titanium plates, this unit can still produce the strong acid and strong Kangen waters. Due to the lower power consumption and fewer plates, this machine is only recommended for singles or couples. Families should consider one of the more robust models above due to the amount of output required.

Warranty 3 (three) years. Kangen Machine Price India

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LeveLuk JRII Product Details

LEVELUK SUPER501

The Large Family Unit

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The Super501 is the highest quality water ionizer for heavy home use, featuring a built-in electrolysis enhancer tank and 7 and 5 electrode plates. If you need safe, clean alkaline water to hydrate your growing family or business, the Super501 is the perfect solution! This highly productive machine also generates 5 different types of water for numerous uses around your home or business. With an easy to use LCD screen and clear voice prompts, the Super501 is accessible and simple to operate.

Warranty 3 (three) years.

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LeveLuk SUPER501 Product Details

ANESPA DX

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ANESPA DX produces a continuous stream of healthy ionized mineral water. With a new, larger ceramic cartridge that removes almost 100% of chlorine and other harmful substances in your tap water, and adds safe, moisturizing minerals that are healthy for your skin and hair. Enjoy a lovely shower or bath in ANESPA DX hot spring water.

Warranty 3 (three) years.

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KANGEN MACHINE PRICE INDIA

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[cronicasdemagrat]

Se acerca peligrosamente el mes de marzo, y los que siguáis mi canal de Youtube ya sabréis que voy a dedicar el mes a leer tan solo literatura asiática.

¡No soy yo fan de los ciclos ni nada! Siempre que puedo trato de organizar alguno porque aún siendo francamente agotador, es también muy enriquecedor, y tengo claro que este reto no va a ser menos.

Por lo pronto ya se han apuntado varias personas, os recuerdo que el reto tan solo consiste en leer literatura asiática durante marzo y comentar las lecturas en twitter, instagram y demás con el hashtag #marzoasiatico. Si tenéis canal o blog será genial poder ver también qué libros pensáis leer o cuales recomendáis, yo os seguiré de cerca 🙂

Y mientras tanto aquí abajo os dejo una recopilación de todos los libros asiáticos que me habéis venido recomendado para que no se pierdan ni caigan en el olvido… Creo que si no tenéis ni idea de qué leer para el #marzoasiatico, en este post encontraréis sin duda algo de vuestro interés.

¡¡¡Muchas gracias a todos por participar!!

La lista se irá ampliando según sigan llegando recomendaciones

El listado está ordenado por orden alfabético y autor (por nombre en vez de apellido porque tremendo lío…  xD)

Entre paréntesis añado el nombre o seudónimo de la persona que ha hecho la recomendación

AFGANISTAN

Khaled Hosseini | Cometas en el cielo (La pecera de Raquel), Mil soles espléndidos (Cecibel Eunice)

CHINA

Amy Tan | La esposa del dios del fuego (María Alcaide) La hija del curandero (Himsinki)

Anchee Min | La ciudad prohibida, La perla de China (Biblioteca de Lisbeth)

Dai Sijie | Balzac y la joven costurera china (Mikey F.)

Eileen Chang| Un amor que destruye ciudades (Aranza Andrade)

Ha Jin | En el estanque, La espera (María Alcaide)

Mo Yan | Rana, La republica del vino (Biblioteca de Lisbeth)

Pearl S. Buck | La estirpe del dragón (TeStA_BrAvATeStA_BrAvA)

Wu Cheng’en | Viaje al oeste (Elena Zuccoli)

Xue Xinran | Nacer mujer en China (Tres Trece)

Yan Lianke | El sueño de la aldea Ding (Libros prestados)

COREA

Han Kang | La vegetariana / Actos humanos (Mikey F.)

Jung-Myung Lee | El guardia, el poeta y el prisionero (Libros prestados)

Kyung-Sook Shin | Por favor, cuidad de mamá (Mikey F.)

Mary Lynn Bracht | Crisantemo Blanco (Mikey F.)

Min Jin Lee | Pachinko (Mikey F.)

Yeonmi Park | Escapar para vivir (La pecera de Raquel)

INDIA

Anita Nair | El Vagón de las mujeres (Silvia Garces)

Arundhati Roy | El dios de las pequeñas cosas (Mikey F.)

Gira Mehta | Raj (Silvia Garces)

Meena Kandasamy | Cuando te golpeo (Miguel Ángel Gómez)

Rabindranath Tagore | Gora. Una juventud en la India (TeStA_BrAvATeStA_BrAvA)

Rohinton Mistry | Un perfecto equilibrio (Silvia Garces)

Rumer Godden | El río (Miguel Ángel Gómez)

Vikas Swarup | Seis sospechosos (Libros prestados)

INDONESIA

Eka Kurniawan | La belleza es una herida (ERipley87)

IRÁN

Azar Nafisi| Leer Lolita en Teherán (Maria Alcaide)

Kader Abdolah | La casa de la mezquita (Silvia Garces)

Parinoush Saniee | El libro de mi destino (Silvia Garces)

ISRAEL

S. Yizhar | Hirbet Hiza. Un pueblo árabe (Libros prestados)

JAPÓN

Aki Shimazaki | Hôzuki, la libreria de Mitzuko ( Isaac Ferré)

Atsushi Nakajima| El Poeta que rugió a la luna y se convirtio en tigre (Polly)

Banana Yoshimoto | Kitchen, Goodbye Tsugumi (Maria Alcaide)

Junichi Watanabe | Ginko la primera doctora (Samir And)

Natsume Soseki | Más allá del equinoccio de primavera (Isaac Ferré)

Natsuo Kirino | Out (mar_mar)

Osamu Dazai | Indigno de ser humano (Polly)

Sayaka Murata | La dependienta (La pecera de Raquel)

LÍBANO

Amin Maalouf | Los desorientados (Libros prestados)

Rabih Alameddine| La mujer de papel (Nayat Chourak)

RUSIA

Leo Tolstoi | Los cosacos (TeStA_BrAvATeStA_BrAvA)

SINGAPUR

Balli Kaur Jaswall | Historias eróticas para viudas del Punjab (Mikey F.)

TAIWAN

Qiu Miaojin | Cartas póstumas desde Montmartre (Miguel Ángel Gómez)

TURQUÍA

Orhan Pamuk | Nieve (Aranza Andrade)

VIETNAM

Marguerite Duras | El amante (Natalia Menendez)

Mis propias recomendaciones

Y aquí os dejo un video de recomendaciones de la casa, literatura china y japonesa, que es de lo que más puedo recomendar… Espero que os guste 🙂

¡Felices lecturas! ¡¡Y feliz #marzoasiatico a todos!!

Imágenes: Foto de fondo creado por freepik – http://www.freepik.es (https://www.freepik.es/fotos-vectores-gratis/fondo) | Foto de vintage creado por freepik – http://www.freepik.es (https://www.freepik.es/fotos-vectores-gratis/vintage)

Recomendando literatura asiática #marzoasiatico Se acerca peligrosamente el mes de marzo, y los que siguáis mi canal de Youtube…

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Ganga

After a penance of one thousand years, Bhagirath, the great-great-grandson of King Sagar, coaxed a goddess to leap down from the heavens to earth. Her name was Ganga, an indomitable river. Fearing destruction, as her force was infinite, Lord Shiva entrapped the goddess in his tangled tresses.

Until, Bhagirath begged the Lord to make her free.

From the Gangotri glacier to the Bay of Bengal- 2500 kilometers- the goddess flowed, giving birth to the old cities of India: Varanasi, Mathura, Prayagraj, Kannauj, Agra; often devouring her children in rain. Until near Giria- a nondescript Bengal village- she became two.

Two new rivers were born, two new names, following two separate paths. One travelled to the south. The other travelled east, and then to the south again, to meet the same sea, the Bay of Bengal, at a distance of 300 kilometers from each other. In two separate countries: India and Bangladesh.

The river that travelled to Bangladesh is called the Padma. The river that stayed in India is called the Hooghly.

Calcutta- the capital of West Bengal, an eastern state of India- is by the river Hooghly. Where Job Charnock, a British East India Company agent, established a factory in 1687. The factory – in time – became a trade base, then a garrison, a fort, a city, became the capital of India. Until 1931, when India’s capital was shifted to Delhi, Calcutta fell back to be the capital of the province of Bengal.

The province of Bengal was separated into two in 1947, after India’s independence. The eastern part became East Pakistan, after a new country named Pakistan was formed partitioning Bengal and Punjab. The western part remained with the old country as one of its 14 states and was named West Bengal, indicating an eastern part that was missing. In 1971, East Pakistan, after an armed struggle and with India’s military assistance, became an independent country. It was named Bangladesh.

West Bengal, the neighbouring state- speaking the same language and worshipping the same literary heroes- has continued to be an Indian state.

I studied in West Bengal. At the higher secondary in Howrah – the twin city of Calcutta – in a residential college founded by the Ramakrishna Mission. The river Hooghly separating the two cities: Howrah and Calcutta. The two famous bridges: the Howrah Bridge and the Bally Bridge (the Howrah Bridge a motorway, and the Bally Bridge is both a motorway and railway) were the connectors of the two cities.

My college was on Hooghly’s right bank, beside the Belur Math, the headquarters of the Ramakrishna Mission.

Where my maternal uncle – a Dr. Das – a PhD in Applied Mathematics from Indian Institute of Technology would come to visit. A researcher at the Indian Statistical Institute; it was for him only a bus journey from his laboratory to my college. The Indian Statistical Institute was on the other side of the river, at Baranagar, in Calcutta.

He would travel by a ramshackle bus- a vibrating iron and aluminum cage with a floor of wood- to cross the Bally Bridge sitting on a thinly padded chair, beside a pull up and down window. The bus would pick him up at the Dunlop stop on Sundays and drop him at the Belur Math minibus station. From where, a stroll of a kilometer would bring him to the college gate. After getting the gatekeeper’s permission, he would walk a few hundred meters more to meet me at the hostel.

We would spend the afternoon, on those days, looking at the river from the right bank. Our legs dangling a foot above water.

We would speak in a soft voice so as not to wake up the meditating monks in the nearby temples, so as not to startle the scavenging crows on the grass, till the evening prayer bell in my college rang. I would inform him of my academic progress, as the uncle was the most educated person in the family.

The conversation would veer towards calculus, the concept of limit; what it means to near an integer but never to reach it. Piskunov’s Soviet calculus book. How mathematical research could be a career in America. Watching at the same time the muddy mass, the temporary islands created by the rotten straws, plastic and an occasional porpoise.

Until the uncle, whose professional life I wished to emulate, would quiz me on the Bernoulli’s principle, would tell me that the Bengal ground water was turning saline, becoming arsenic prone. The shallow pumps of rural Bengal were sucking the potable groundwater dry.

There would be sadness in his voice; his eyes would be stiff with defeat when he would inform me that the Hooghly was to be dredged again so that the ships could enter the port. With the dredging department so inept and the water bureaucrats so oblivious, he bore no hope. His fear was that Calcutta would share the fate of Tamluk; a town 85 kilometers down south, where there had been a busy port in 375 AD, now dry.

Then one Saturday – when he was travelling to a scientific conference, when I knew that he would not come to visit me the next day – I put in a request to our warden, a saffron monk, to give us permission to bathe in the river. The monk was hesitant.

Even though it is a pious act to bathe in the Hooghly as it is a part of goddess Ganga. On the other hand, he was responsible for our well-being. There was a rumour that some students had stolen a bottle of alcohol from the chemistry laboratory and drank it, mixing it with tap water. They were alive, but their erratic behaviours were heard for two nights. It was in his reputation not to indulge us even more. ‘I would allow you’ – he said – ‘but only if you know swimming.’ Six of my classmates and I cried in unison, boasting about our rural upbringing, claiming to have swum in even more treacherous waters.

‘I have swum in the Kansai’, I said, ‘from this side to that side’, pointing at an imaginary place that was beyond the hostel wall, beyond the cigarette shops on the road. The warden tried to follow my direction and failed. The truth is, in Kansai, I swam in two feet of water, holding a river boulder for my dear life, under my mother’s watchful supervision.

He hesitantly granted permission.

The next day, after the morning study hour, we marched bare-chested. In a pair of cotton shorts and blue-white chappals; a green cotton towel wrapped around our heads. Towards the gate of Belur Math without supervision. In another invasion to adulthood, we lied to the guard that ours was a prayer visit. This unusual attire was a social service uniform.

Once inside, quickly we ran to the one of the bathing ghats of the Math. Before anyone caught us, we were at the water.

A scorching summer sun was shining overhead, small beads of sweat on our chests; an unexpected coldness gripped my ankles when I was in the water. Looking at the river a fear came. The possibility of drowning had become apparent. An encounter with a demonic force that rose from the river’s belly, it’s more-than-a-kilometer breadth, its gushing waves. Then a thrill came over me to subside all my fears – a sudden hubris – making me feel for a moment invincible.

*

When Bhagirath was the king of Ajodhya, his kingdom came under the scepter of severe famine. Bad years haunt every ruler. Bhagirath’s misfortune was chronic. Upon the ministers’ advice, on a pilgrimage, the young king came to know of a curse that had befallen upon him unknowingly. His great grand uncles- sixty thousand warrior princes- had been burned alive at a distant land, in a military campaign.

Their souls were still trapped in this mortal world.

The military campaign itself had been an extraordinary ritual. A king seeking domination over neighbouring kingdoms would set a horse free so it could roam the world. The king’s army would follow the horse. Wherever it went, the lord of the visited land would either pay a tribute or wage a war against the king. The ritual would last a year, when after conquering a large swath of land the army would return to the capital, along with the tired horse. The horse would be sacrificed to the fire-god- a reward to its aimless wandering. Its burnt meat would be devoured by the king.

After showing such domination, a king would be hailed as a Chakravarti or king of the kings.

Sagar, the great-great-grandfather of Bhagirath, was one such ambitious king. By the might of his sixty thousand warrior sons, he wished to lay claim to the earth. He set free a sacrificial horse. Which was soon lost. The pursuing sons, eager to find the horse, marched and marched till they reach the circumference of India, to the abode of a sage named Kapil Muni, a Samkhya philosopher, believed to be a reincarnation of Lord Vishnu.

Kapil Muni’s abode was an unknown place – far away from the capital Ajodhya – in an island in the Bay of Bengal. Where the landmass of India sinks into the sea and the sea takes over. Now named after the king, Sagar Island, it is the largest island of the Sundarban delta. The Sundarban delta being the largest river delta region in the world.

It was the king of the heavens, Lord Indra’s mischief- having grown weary of King Sagar’s ambition- as a king accrues virtue with every military campaign and sufficient virtue accrues him a right to rule the heavens in his afterlife. To dent Sagar’s ledger of virtue, Lord Indra took it upon himself to steal the horse, tie it to a tree near the hut of Kapil Muni, counting on the Muni’s furious temper.

The Muni was amid a terrible penance. Hearing the commotion, he opened his eyes. To find himself surrounded by sixty thousand warmongering princes, who without knowing him or his penance, had cast insults.

He looked at them in a fury. A column of fire, emerging from his eyes, caught the princes, engulfing and burning their royal bodies into cinders. The ashes of their bones were laid on the ground, without a proper ritual bestowed to the dead. Their souls, reaching neither heaven nor hell, were trapped in the mortal world. Such an obstructed journey to the afterlife bringing misery to the descendant, Bhagirath, the present king.

*

My relatives who went to Sagar Island on a pilgrimage – where the second largest religious fair of India is held every year – brought back several picture postcards as a gift from the fair.

The four-colour offset printing was not affordable then. Block printing and letterpress were the norms. A drawing in a single colour beside black was rare, made by mixing pigments and then dousing a wooden block with the mix and stamping it on a piece of paper: making every picture full of dots and grains.

In one of those grainy postcards, Kapil Muni was depicted.

At the center of the postcard, he was looking fiercely at King Sagar’s finger wielding sons- fire coming out his eyes to grab the unsuspecting young men. To his left, Lord Indra- thief like- tying a horse to a tree. A white temple was laid above: Kapil Muni’s ashram, a temple one can visit if one travels to the island.

At the top right was Bhagirath – the great-great-grandson of King Sagar – a thin, tenacious man, standing on one leg, donning a hair bun, two hands folded above the head, praying to Lord Brahma for one thousand years. Below, there he was, again. Now on two legs. Still thin and still obedient, bent forward with two folded hands in front of Lord Shiva begging him to restrain the goddess and then to free her.

*

From where the seven foolish boys who had lined up to jump into the water of the Hooghly, in a Sunday misadventure; from the bathing ghat of Belur Math to the muddy mass of cold water; there, on the stone pulpit, the glimpses of the past didn’t visit me as they do now. I was young, restless- lacking the tenacity to join impossible dots. The ability came to me later. With time. After collecting a thousand brickbats. When I taught myself to avoid responsibility. When I taught myself to be oblivious to the opinions of others.

It was I who jumped into the water before the other six boys. It was I who first gulped the water. An unwilling somersault later, that ended abruptly hitting the surface of the river, it was I who was drowned immediately under the river’s monstrous gush. My body was nudged to a half-turn, as the river aligned me to its direction. Before knowing how much trouble I was in, I was floated away from the bathing ghat.

Between the squints, the right bank was passing me by, with the speed of a mail train. The men on the bank were gesticulating. Their voices came to me sporadically, muffled.

It was a dream.

“Ho-ld … on’, someone was shouting, ‘Ho-ld … on.”

I was thinking, “What hold on? That I can’t.’

‘I am now one with the river.”

It is hard to describe what I felt then. I am well now, at home and safe. On my writing desk, there is a half filled coffee cup and a pile of invoices. A warm LED lamp is glowing overhead. Here, there is no shadow of danger looming.

It was as if I had woken up from sleep- suddenly aware of my existence. Someone inside me was screaming. I had to ignore his voice. My mind- after scaling a peak of alertness- was numbing. There was no more deliberation. Any attempt at concentration was failing under the weight of anxiety. A sense of surrender had taken over as it had dawned upon me that a monstrous force had taken hold of my body. It was so uncaring, so neutral that it didn’t matter what would happen to me next.

Uncaring, but … consistent. The thought came to me as hope. A natural force within its everyday parameters is consistent. That is why eight billion people hope to live on, not drop dead under the conspiracy of the gravitational constant. Minutes had passed, my nose was still above water, I was alive. Proof enough that something had favoured me.

I remember, once my uncle had told me, pointing at a whirlwind in the river, “Look, a turbulence. The most complex physical phenomenon in the world. Impossible to model.”

“Not even with the help of a CRAY?” I asked, showing off my knowledge about the American supercomputers.

He said, “Not even with the help of a CRAY”.

Between hope and hopelessness, I did not have the time to ask myself then; so I ask myself now: was I part of turbulence? Perhaps not. Had water and I behaved? As per Archimedes? As per Bernoulli?

From somewhere, a tree log had appeared and was passing me by. No, not a tree log, not a plastic board, nor a litter-mound. A rectangular shaped flotilla – perhaps the skeleton of an idol- without mud – the rotten straw and the bare bones of bamboos- after immersion. It was dancing with the wave and rushing me past. I threw myself at it and grabbed the shape with both of my hands. It was caught. A blotted, slimy cloth bag that drowned immediately under the weight of my body. When it floated up, it came with a pair of shoulders and an unfinished neck. A disheveled head must be somewhere in the water. A stench came to fill my nostrils.

A dead body. I was swimming with a dead body. My hands were grabbing its bloated trunk. My fingers were piercing its flesh.

*

Now that I had something to hold on, I was floating. I could look around to make up my mind. The river, without resistance, was pulling me even faster. I tilted my head towards the bank and began to kick vigorously. Not to resist the pull of the river, but to give a direction to the both of our bodies, making my legs work as radar.

It was an arduous process. The change of direction happened slowly, inch by inch, after an immense struggle.

There was no bathing ghat to be found nearby to anchor myself, to get myself to the safety of the ground. When courage was depleting; near Ghusuri, a large ferry ghat appeared. The water became shallow and before I knew it, I could stand. Leaving the body aside, I swam towards the bathing steps. The body, after leaving me, got trapped against the bamboo ramp of the ferry. I stumbled and stumbled on the river mud to reach the steps, trembling under the weight of my exhaustion. I noticed that the legs of the body were tied with a blue nylon rope.

Without thinking about it, I rose up; climbing up the steps of the bathing ghat of Ghusuri like revived sons of King Sagar – to the relative safety of the land.

As a child, I would ask my grandmother to tell a story everyday, and she would unearth from her memory stories from the epics and the Puranas. She had told me that even though Ganga was an all-knowing goddess, the geography of India was unknown to her. It was Bhagirath who had shown her the way, while blowing a conch. The goddess followed his conch-signal without a fuss.

Reaching Kapil Muni’s hut, Bhagirath held a shraddha ceremony, sprinkling the ashes with the Ganga water, to let his great uncles be free from the mortal world.

*

My parents never knew that I was about to die. It took a week’s pleading to the warden, to the principal – I ran like a spindle with folded hands – to coax them to not call father. It was punishment enough that I had had a brush with death. The Board examination was in the offing; after that I was not the Mission’s concern.

In the meantime – I promised them – that I would not repeat my feat.

My parents were better off not knowing. It would have been another irksome, tiresome episode. In their long obsession to improve me- academic achievements and physical well being- in the throes of terrible anger, a few times, they have wished me dead.

The burden of bringing up a stubborn child is much.

My death might have been a respite to them. Or a regret.

One can never tell.

A constant struggle with a pig-headed boy whose fate is entwined with theirs. A boy who dwells in his own realm and nobody else’s- and how his misery has become their own- the never-ending helldom that is parenthood.

How they have been burning since my conception, since their marriage, and burning me with caustic words on desolate days; issuing violent, vulgar prohibitions meaning only to improve their first son.

I too have returned the favour. With bitter words and with cold indifference. Nursing dreams of inflicting sporadic violence.

To call this essay about a river is a sham. The essay is not about me either.

Is it about good luck?

I studied probability during my Bachelor of Science days – although not diligently. Skipping the Kolmogorov’s book, I read the portions of the War and Peace in which Tolstoy wrote long passages on chance.

Unlike him, I am not a believer. Unlike him, I don’t believe Nature is benevolent.

Yet in that cynical disbelief, a mighty river appears. A fierce stream joining the dots of my childhood, my boyhood, my adulthood. The stories that I heard from my grandmother, my uncle— the unforgettable epics, the Puranas — the grand tales of eighteenth century European scientists — Newton and Bernoulli. They mix to make muddy water and it flows.

And I float on it.

I ask myself: From where had the bloated body come? Who had sent it? Who had tied the man’s legs? Was he too the dead man’s first son?

How tenacious was Bhagirath! One thousand years of penance. To serve his subjects. To free his ancestors.

Being a commoner, I do not have his virtues. I am barely afloat. Crumbling under uncertain memories, I can not tell where it is land and where it is water.

(The essay was first published on the Whitewall Review website. Here is the link: https://whitewallreview.com/ganga/ )

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[roadscholarmusic]

Bhangra was originally a type of folk dance music from Punjab in India. Workers in the fields would sing songs to the rhythm of the dhol drum. These songs were used to celebrate annual events, such as the harvest, and many of the song movements refer to field workers collecting the crops. Over the last 50 years, Bhangra music has been interweaved with instruments and production techniques from the UK such as synthesisers and sampling. This fusion has become what is now classified as modern Bhangra today. Many cities have many Bhangra artists and there are dedicated Bhangra clubs. Modern Bhangra music is a fusion of cultures, mainly Indian and British. In the mid-1990s, however, many artists returned to the original, traditional folk beats away from bhangra music, often incorporating more dhol drum beats and tumbi. This time also saw the rise of several young Punjabi folk singers as a backlash to bhangra music. They were aided by DJs who mixed hip hop samples with folk singing. Beginning around 1994, there was a trend towards the use of samples (often sampled from mainstream hip hop) mixed with traditional folk rhythm instruments, such as the tumbi and dhol. Using folk instruments and hip-hop samples, along with relatively inexpensive folk vocals imported from Punjab, Punjabi folk music was able to cause the decline of bhangra music. Pioneering DJs instrumental in the decline of bhangra were Mick St Clair, Bally Sagoo and Panjabi MC. As DJs who were initially hired by bhangra labels to remix the original recordings on the label's roster (OSA and Nachural respectively), they along with the record labels quickly found that remixing folk singers from India was much cheaper than working with outsourced bhangra bands. Punjabi folk remixed with hip-hop, known as folkhop, is most often produced when folk vocals are purchased online to be remixed in a studio. Folk vocals are usually sung to traditional melodies, that are often repeated with new lyrics. Some South Asian DJs, especially in America, have mixed Punjabi folk music with house, reggae, and hip-hop to add a different flavor to Punjabi folk. These remixes continued to gain popularity. https://www.instagram.com/p/CCMsDtRAnaZ/?igshid=5bom7j0gh0ss

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5 DJs in Delhi who can set the mood for a wedding party

One of the things that make a wedding happening and full of energy is a classy DJ. Having a DJ at your wedding is as important as to have delicious food. DJ has always been a very important part of the arrangements that done while planning the wedding. The search for a perfect, talented as well as a professional DJ begins months before the wedding. There are many sources through which you can book DJ, videographer, photographer and other artists that are important for you to have at your wedding. Several online websites and portals that help you to book several artists in an easy and hassle-free procedure. StarClinch is one of my favourite online portal that provides these services.

In this blog, I will be writing about the top five DJs that you can hire/book from StarClinch.

Anubhav Kardam: Without a doubt, Anubhav Kardam is the best DJ in Delhi that you can book for your events like college fests, weddings, private parties, and several others. This very talented and highly professional DJ came into the limelight in the year 2016 when he got the opportunity to play at Electronica The event at IIT Delhi’s cultural fest Rendezvous. His mashup for Hardwell and Sidney Samson got so popular that it crossed fourteen thousand plays and more than a hundred downloads in a short span of 24 hours. Anubhav is a DJ, a designer and a producer who gets his inspiration from Martin Garrix.

Solo Noizer: Winner of Plam Expo 2017, Solo Noizer is a DJ who plays Bollywood, Trap, Commercial and Dubstep during his performances. He holds the capability to keep his audience engaged and makes them groove on the beats that he plays. He has been in the industry for a long time now and has played at major venues like Lords Sports Bar, Up & Above, Big Chill Bar and Chill Lounge. Solo Noizer has also been a part of major events like Sula Fest, Josh (2017, 2018), Ambika Holi Fest, Mehfil Dandiya and many more.

ColdHaze: Gaurav Sharma aka ColdHaze is an ex-member of NDS and Blue. He has performed in many major events and festivals all over the country as a part of NDS and Blue. ColdHaze has an aim to spread the love using the path of music.

Sonya: She started to play from a young age of fourteen. She has performed at various venues in major metro cities. In her journey till date, she has performed with some other famous Djs like DJ Nasha, Punjab MC, Bally Sagoo, DJ Sunny Singh and some others as well.

Aadi: Based in the capital city, Aadi is a DJ in Delhi that plays a mix of genres like EDM, lounge, club and some Bollywood tunes. Aditya Hukku aka DJ Aadi is among the best DJs in the industry. He is known for his beats that can make everybody tap their feet and enjoy the evening to the fullest.

[bollywoodmixtape]

Song: Patake (2019) - Zora Randhawa Music: Dr Zeus, Lyrics: Balli Jethuwal Singer: Zora Randhawa -- Patake: Zora Randhawa (Full Song) Dr. Zeus | Balli Jethuwal | Latest Punjabi Songs 2019 (via T-series Apna Punjab)

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Prévisualisation de juin: les millions les plus attendus (ce mois-ci) http://www.themillions.com/2017/06/june-preview-millions-anticipated-month.html Faim  de  Roxane Gay : il y a quelques années, Gay a écrit des articles de Tumblr sur la cuisine et sa relation complexe avec des aliments qui étaient honnêtes mais méditatifs. C'était à la pointe de sa collection de dissertations  Bad Feminist . Maintenant, elle peut être un nom familier, mais son deuxième livre de non-fiction se penche sur le sujet de longue date du rôle que joue l'alimentation dans ses perspectives familiales, sociétales et personnelles avec la même franchise et l'empathie. (Tess M.)    The Changeling de Victor LaValle : Un livre qui, d'une manière ou d'une autre, réussit à être un conte de fées, une histoire douloureuse pour les parents, une métaphore déchirante pour les maux racistes fondamentaux de l'Amérique et un tourneur de page précieux pour inaugurer l'été. Il y a des trolls sur Internet, des trolls de la forêt, du mal intergénérationnel, une commune de l'île magique des femmes guerrières traumatisées et des marchands de livres antiquaires. Lis le. (Lydia)    L'invité accompli par Ann Beattie : 1976 a été une bonne année pour Beattie: elle a publié sa première collection d'histoires, Distortions , ainsi que son premier roman, Chilly Scenes of Winter . Quarante ans et environ 20 livres plus tard, Beattie a une nouvelle collection d'histoires, suivie de près de The State We're In , l'histoire del'année dernière, des histoiresliées dans le Maine. Un trait déterminant de la courte fiction de Beattie est son goût pour les bizarreries: «Quoi qu'il en soit, vous écrivez, vous pouvez devenir votre pire ennemi en le façonnant tellement que le lecteur ne peut se rapporter qu'à ses propres termes. Alors que si vous avez quelques petites bizarreries de la vie quotidienne qui ne sont pas à craquer, il me semble que les gens peuvent s'identifier. »(Nick R.) 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Davies et Lim lui-même, sont remarquables pour leurs voix uniques, leur attention à Langage et expérimentation. Ensemble, ils créent un ensemble de travail significatif moins connu. Cher Cyborg , le troisième roman de Lim, sera le premier avec une grande presse (FSG). Tobias Carroll a déclaré: «Les romans de Lim font marcher la ligne entre les hypnotiques familiers et les terrifiants subrepticement. "Avec des comparaisons avec Tom McCarthy et Valeria Luiselli et les éloges de Gary Lutz et Renee Gladman , le travail de Lim vaut la peine d'être recherché . (Anne) Histoires érotiques pour les veuves punjabistes par  Balli Kaur Jaswal : Un abandon scolaire et un barman de l'école de droit ne'er-do-well s'inscrit pour enseigner un cours d'écriture pour son West Sikh Community Association. Alors qu'une police morale locale se cache, elle dirige un atelier sur la narration érotique pour un groupe de veuves punjabes titulaires, en découvrant les nombreux courants qui façonnent la vie des femmes. (Lydia)    The Gypsy Moth Summer de Julia Fierro : dans ce suivi de Cutting Teeth , sur un portrait de groupe zeitgeisty de mamans hipster de Brooklyn, Fierro tourne l'horloge à l'été 1992 quand une peste de mite de gypses infeste Avalon, un îlot hors de la La côte de Long Island, mettant en mouvement un récit complexe d'amour interracial, de conflit de classe et d'intoxication industrielle possible à l'usine d'avions locaux. Joanna Rakoff , auteur de My Salinger Year , déclare que Fierro, directeur de l'atelier des écrivains de la rue Sackett de Brooklyn, a écrit "un roman pour savourer lentement, s'installer avec ses personnages comme vous le feriez de vieux amis" (Michael B.) La ville gagne toujours par Omar Robert Hamilton : un premier roman sur la révolution égyptienne du cinéaste et militant Hamilton, qui a écrit sur lesévénementsde la place Tahrir pour The Guardian et ailleurs. (Lydia)   © MMIX THE MILLIONS

[mp3down301]

Patake Zora Randhawa Mp3 Song Download

Patake Zora Randhawa Mp3 Song Download

Patake Song Credits

Singer: Zora Randhawa Lyricist: Balli Jethuwal Music by: Dr Zeus Label: T-Series Apna Punjab

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Patake Song 320 kbps

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Latest Patake mp3 song by Zora Randhawa download at Mp3 Down. Get Punjabi song Patake by singer Zora Randhawa in 48kbps, 128kbps & 320kbps audio formats.