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[dreamsister81]

Jeff and the harmonium:

Sprawled on the floor of a mid-Manhattan recording studio, Jeff Buckley is showing off the newest addition to his instrumental repertoire: an antique harmonium. An elegant contraption of hand pumps, varnished wood, and ivory keys, the instument was purchased as a tax write-off, to offset the advance from his 1992 signing to Columbia Records. But Buckley has grown attatched to his new toy: "I first saw one of these on Mr. Rogers' Neighborhood when I was a kid," he laughs, his fingers dancing across the keys, "and I knew I had to have one someday."-Spin, February, 1994

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Buckley also incorporates dulcimer and harmonium into his songs, adding the necessary ethereal twists to his dexterous guitar playing. "It's a great sounding thing. I saw my first harmonium on Mr. Roger's Neighborhood...I always thought I had to have one. It used to be 'people need Sega, everybody has one.' Well, that's the way the harmonium used to be. It was all the rage in France in the 18th century. I think it was mixing the squeeze box with a piano."-Ink Nineteen, December, 1994

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After he signed with Columbia in the fall of 1992, Jeff treated himself to a few pieces of gear-a new acoustic guitar, a small amp, and a used harmonium. A portable keyboard operated by way of a pump that pushes air into it, the harmonium is prevalent in Qawwali, the South Asian devotional music that made such an impression on Jeff when he first came to New York. Part of Jeff's devotion to Qawwali involved learning how to play the instrument, which can be heard on the introduction of "Lover, You Should've Come Over" (as well as on a cover of Van Morrison's "Madame George" cut during his 1993 session with producer Steve Addabbo). He also purchased language tapes to properly learn Urdu. Jeff could be seen walking around New York with this harmonium under his arm, wrapped in a blanket.-from His Own Voice

[salmankhanholics]

★ Sultan to Bharat: Salman Khan’s mega success features a Delhi University biochemistry grad!

8 June, 2019 

Ali Abbas Zafar is a master at disguising the subtext in the opulent, big-budget spectaculars he has been delivering.

One of Bollywood’s biggest hit-machines is a man who left his home in Dehradun at 16 to study biochemistry at Delhi’s Kirori Mal College, but survived on a diet of Saadat Hasan Manto, Premchand and William Shakespeare. Ali Abbas Zafar has recast Salman Khan’s career with three mega movies, Sultan (2016), Tiger Zinda Hai (2017) and now Bharat (2019).

He is the Salman Whisperer. Son of a father who moved from the Border Roads Organisation to ONGC and a mother who taught English and Urdu at a government school, Ali Abbas Zafar has single-handedly made back-to-back Rs 300-crore movies.

Zafar, 37, is a master at disguising the subtext in the opulent, sometimes noisy, big-budget spectaculars he has been delivering. His early reading shaped his worldview, gave him his belief in equality, in rational thought, and in India’s democracy. His heroes were Bhagat Singh (in Tiger Zinda Hai, Tiger reads a bedtime story about him to his son) and Mahatma Gandhi, and it is no accident that he believes India’s greatest strength is its diversity.

Also read: Salman Khan’s Eid release Bharat finally has him play a character his age — a 70-year-old

Nelson Mandela inspired me, he says. So did the Dalai Lama. “You listen to him and realise how simply he sees the world. The first instinct of all these great men,” he tells ThePrint, “is and was always humane and emotional.”

It’s a message he hopes will reach every last person in the line buying tickets for Salman Khan’s films; and the star clearly trusts him enough to do what is asked of him, whether it is putting on weight to play an out-of-shape boxer on his way to redemption in Sultan or switching from a motorcycle to a horseback to a battered sedan to escape an ISI militant in a town called Ikrit in Tiger Zinda Hai.

Or, play a character embodying the nation in his new film. “Tujh main poora Bharat hai beta,” says his father to a young Salman in Bharat. He asks him to take care of his family, and Salman does precisely that over 70 years of change in India – watching over events from Jawaharlal Nehru’s death to the liberalisation of the Indian economy and its asli hero, Manmohan Singh, along the way working on an oil rig in the Arabian desert, and fighting Somali pirates on the high seas.

Sitting in the atrium of Yash Raj Studios, which has been his home since 2008, Zafar says: “The nation is one big family and by contributing to it, you are contributing to the nation. To say this with a superstar with a mass mainstream following is challenging”.

And so, he focuses on what is humane – Salman as an oil rig worker fights with the American supervisor over quality of food, or the young orphan in the refugee camp in 1947 who refuses to go to Pakistan though he is a Muslim because his father fought for India’s freedom. “I am not interested in propagating one party’s goodness over another. I am interested in remaining true to my characters, to use their narrative to understand the times we are in,” says Zafar. “And I want to leave everyone with hope,” he adds.

So, if Salman played the classic underdog in Sultan, who was fighting the demons within, in Tiger Zinda Hai, he took on an enemy who was threatening to destroy the world with his evil ideology and who could be fought only by uniting India and Pakistan’s forces.

The idea for Bharat came from Salman, says Zafar, who loved the South Korean film, Ode to my Father (2014), and wanted him to adapt it. “I think what appealed to Salman was the idea of one man looking out for his family,” says Zafar, which is similar to the star’s own life.

Zafar’s worldview was cemented by his three years at the Kirori Mal College, not so much because of the course, but because of his involvement with its much-feted dramatic society, The Players. He staged a play annually in college. From then on, working in films was his only obsession.

He was the runner in Lakshya (2004) for 10 days when the Farhan Akhtar film was shot in Delhi, and then assisted Shonali Bose on her film Amu (2005), based on the 1984 anti-Sikh riots. “That’s when I realised the power of cinema to effect social change, how it can create tremendous social consciousness and how it can happen at both ends of the spectrum, from Satyajit Ray to Yash Chopra,” he says.

So, he packed his bags and came to Mumbai to work as an assistant director on Shaad Ali’s Jhoom Barabar Jhoom (2007) and has never looked back. Quizmaster Siddhartha Basu, who was cast in Tiger Zinda Hai, says: “Zafar’s sensibility is grounded in the progressive stream of large canvas commercial cinema, and he’s been developing his story-telling abilities to match that. His focus, discipline and patience have helped him juggle the pulls and pressures of handling big-ticket projects with challenging stakeholders while remaining steadfast to the integrity of his vision”. No small feat in the Hindi film industry.

Zafar credits Aditya Chopra, movie director and chairman of Yash Raj Films, for allowing him the freedom to find his own distinct voice, especially in an environment which has become severely critical of everything. After experimenting with his vision in Mere Brother ki Dulhan (2011) and Gunday (2014), he felt he found his artistic ideal in Sultan.

What is unique about Zafar is also his collaboration with Salman. He believes the 53-year-old’s fans want to celebrate when they see his movies. “They see him as an instant energiser, like a bottle of soda who will douse them with his fizz. They don’t want to be disoriented. I believe there is a very beautiful actor under the skin of the superstar,” says Zafar. “His first instinct is always that of an actor and I have often asked him to do things, which reveal his vulnerabilities. As a director, you cannot judge your actor. You have to be like a parent, take care of the actor while he or she is on the set, between action and cut.”

Salman and he communicate silently, says Zafar, “usually through our eyes”. “We talk only when we have to. We are honest with each other and yes, we do have differences of opinion at times. Sometimes I let him prevail, sometimes he lets me prevail,” he says. But the rise and fall of movies should not affect relationships, he adds, perhaps alluding to rumours of a divide between him and Salman on the final cut of Bharat.

Zafar lives quietly amid the hurly-burly of Bollywood. He is single, obsessed with his travel, his reading, watching TV, and playing sports. “I keep my personal and professional life separate. I don’t try to be anyone’s buddy. I was raised in an isolated way and left home when I was very young. When I am part of a filmmaking team of 200 people, I realise I have to be a team player, but once I am done, I am off,” he says.

No doubt, to think about and create the next blockbuster.

The author is a senior journalist. Views are personal.

[hidoose]

Nusrat Fateh Ali Khan

New Post has been published on https://www.hidoose.com/nusrat-fateh-ali-khan/

Nusrat Fateh Ali Khan

Nusrat Fateh Ali Khan (Urdu/Punjabi: نصرت فتح علی خان), born Anjum Pervaiz Ali Khan (13 October 1948 – 16 August 1997), was a Pakistani vocalist and musician, primarily a singer of Qawwali, a form of Sufi Islamic devotional music. Widely considered one of the greatest voices ever recorded, he possessed an extraordinary range of vocal abilities and could perform at a high level of intensity for several hours. Extending the 600-year old Qawwali tradition of his family, Khan is widely credited with introducing Qawwali music to international audiences. He is popularly known as “Shahenshah-e-Qawwali”, meaning “The Emperor of Qawwali”.

Born in Faisalabad, Khan had his first public performance at the age of 16, at his father’s chelum. He became the head of the family qawwali party in 1971. He was signed by Oriental Star Agencies, Birmingham, England in the early 1980s. Khan went on to release movie scores and albums in Europe, India, Japan, Pakistan and the U.S. He engaged in collaborations and experiments with Western artists, becoming a well-known world music artist. He toured extensively, performing in over 40 countries.[9] In addition to popularising Qawwali music, he also had a big impact on contemporary South Asian popular music, including Pakistani pop, Indi-pop and Bollywood music.

Nusrat Fateh Ali Khan

Biography

Early life and career

Khan was born in a Punjabi Muslim with Pathan ancestry family in Faisalabad, Punjab, Pakistan, in 1948, shortly after the partition of India in 1947 during which his family had migrated to Pakistan from their native city of Jalandhar in Punjab, British India (now in Punjab, India). His family originates from Pathan bastis (Pashtun stelements) in Jalandhar. His ancestors learned music and singing there and adopted it as a profession.[16] He was the fifth child and first son of Fateh Ali Khan, a musicologist, vocalist, instrumentalist, and qawwal. Khan’s family, which included four older sisters and a younger brother, Farrukh Fateh Ali Khan, grew up in central Faisalabad. The tradition of qawwali in the family had passed down through successive generations for almost 600 years. Initially, his father did not want Khan to follow the family’s vocation. He had his heart set on Nusrat choosing a much more respectable career path and becoming a doctor or engineer because he felt Qawwali artists had low social status. However, Khan showed such an aptitude for and interest in Qawwali, that his father finally relented.[18]He began by learning the tabla before moving on to vocals.[citation needed] In 1964, Khan’s father died, leaving his musical education under the supervision of his paternal uncles, Mubarak Ali Khan and Salamat Ali Khan. He is the uncle of singer Rahat Fateh Ali Khan. Nusrat was known as Pervaiz until he visited Ghulam Ghaus Samdani who changed his name to Nusrat Fateh Ali. Samdani also told him that he would become a great singer.

In 1971, after the death of his uncle Mubarak Ali Khan, Khan became the official leader of the family Qawwali party and the party became known as Nusrat Fateh Ali Khan, Mujahid Mubarak Ali Khan & Party. Khan’s first public performance as the leader of the Qawwali party was at a studio recording broadcast as part of an annual music festival organized by Radio Pakistan, known as Jashn-e-Baharan. Khan sang mainly in Urdu and Punjabi and occasionally in Persian, Braj Bhasha and Hindi. His first major hit in Pakistan was the song Haq Ali Ali, which was performed in a traditional style and with traditional instrumentation. The song featured restrained use of Khan’s sargam improvisations.

Nusrat Fateh Ali Khan

Later career

In the summer of 1985, Khan performed at the World of Music, Arts and Dance (WOMAD) festival in London. He performed in Paris in 1985 and 1988. He first visited Japan in 1987, at the invitation of the Japan Foundation. He performed at the 5th Asian Traditional Performing Art Festival in Japan. He also performed at Brooklyn Academy of Music, New York in 1989, earning him admiration from the American audience.

Khan, throughout his career, had great understanding with many south Asian singers such as Alam Lohar, the Noor Jehan, and various other Pakistani and Indian singers.

In the 1992 to 1993 academic year, Khan was a Visiting Artist in the Ethnomusicology department at the University of Washington, Seattle, Washington, United States.

In 1988, Khan teamed up with Peter Gabriel on the soundtrack to The Last Temptation of Christ, which led to Khan being signed to Gabriel’s Real World label. He would go on to release five albums of traditional Qawwali through Real World, along with the more experimental albums Mustt Mustt (1990), Night Song (1996), and the posthumous remix album Star Rise (1997).

Khan’s experimental work for Real World, which featured his collaborations with the Canadian guitarist Michael Brook, spurred on several further collaborations with a number of other Western composers and rock musicians. One of the most noteworthy of these collaborations came in 1995, when Khan grouped with Pearl Jam’s lead singer Eddie Vedder on two songs for the soundtrack to Dead Man Walking. Khan also provided vocals for The Prayer Cycle, which was put together by Jonathan Elias, but died before the tracks could be completed. Alanis Morissette was brought in to sing with his unfinished vocals. In 2002, Gabriel included Khan’s vocals on the posthumously released track “Signal to Noise” on his album Up.

Khan’s album Intoxicated Spirit was nominated for a Grammy Award for Best Traditional Folk Album in 1997. That same year, his album Night Song was also nominated for a Grammy Award for Best World Music Album.

Khan contributed songs to, and performed in, several Pakistani films. Shortly before his death, he composed music for three Bollywood films, which includes the film Aur Pyaar Ho Gaya, in which he also sang for “Koi Jaane Koi Na Jaane” on-screen with the lead pair, and “Zindagi Jhoom Kar”. He also composed music for Kartoos, where he sang for “Ishq Da Rutba”, and “Bahaa Na Aansoo”, alongside Udit Narayan. He died very shortly prior to the movie’s release. His final music composition for Bollywood was for the movie, Kachche Dhaage, where he sang in “Iss Shaan-E-Karam Ka Kya Kehna”. The movie was released in 1999, two years after his death. The two singing sisters of Bollywood, Asha Bhosle and Lata Mangeshkar sang for the songs he composed in his brief stint in Bollywood. He also sang “Saya Bhi Saath Jab Chhod Jaye” for Sunny Deol’s movie Dillagi. The song was released in 1999, two years after Khan’s death. He also sang “Dulhe Ka Sehra” from the Bollywood movie Dhadkanwhich was released in 2000.

Khan contributed the song “Gurus of Peace” to the 1997 album Vande Mataram, composed by A. R. Rahman, and released to celebrate the 50th anniversary of India’s independence. As a posthumous tribute, Rahman later released an album titled Gurus of Peace, which included “Allah Hoo” by Khan. Rahman’s 2007 song “Tere Bina” for the film Guru was also composed as a tribute to Khan.

Death

Various reports said Khan weighed over 300 pounds. He had been seriously ill for several months, according to a spokesperson at his U.S. label, American Recordings.[27] After traveling to London from his native Pakistan for treatment for liver and kidney problems, he was rushed from the airport to Cromwell Hospital in London.

He died of a sudden cardiac arrest at Cromwell Hospital on 16 August 1997, aged 48. His body was repatriated to Faisalabad, and his funeral was a public affair. He was buried in Kabootran Wala Qabristan also known as Jhang Road Graveyard on Jhang Road, Faisalabad.

His wife, Naheed Nusrat, died on 13 September 2013 in Credit Valley Hospital in Mississauga, Ontario, Canada. Naheed had moved to Canada after the death of her husband. She is survived by their daughter Nida Khan.[29][30] Khan’s musical legacy is now carried forward by his nephews, Rahat Fateh Ali Khan and Rizwan-Muazzam.

Nusrat Fateh Ali Khan (Auditorium)

Awards and Titles

Khan is widely considered to be the most important qawwal in history. In 1987, he received the President of Pakistan’s Award for Pride of Performance for his contribution to Pakistani music. In 1995, he received the UNESCO Music Prize. In 1996 he was awarded Grand Prix des Amériques at Montreal World Film Festival for exceptional contribution to the art of cinema. In the same year, Khan received the Arts and Culture Prize of the Fukuoka Asian Culture Prizes. In Japan, he was also remembered as the Budai or “Singing Buddha”.

In 1997, he was nominated for two Grammy Awards, for Best Traditional Folk Album and Best World Music Album. As of 2001, he held the Guinness World Record for the “Most Qawwali Recordings”, having recorded over 125 Qawwali albums before his death. In 2005, Khan posthumously received the “Legends” award at the UK Asian Music Awards. Time magazine’s issue of 6 November 2006, “60 Years of Asian Heroes”, lists him as one of the top 12 artists and thinkers in the last 60 years. He also appeared on NPR’s 50 great voices list in 2010.In August 2010 he was included in CNN’s list of the twenty most iconic musicians from the past fifty years. In 2008, Khan was listed in 14th position in UGO’s list of the best singers of all time.

Many honorary titles were bestowed upon Khan during his 25-year music career. He was given the title of Ustad (the master) after performing classical music at a function in Lahore on the anniversary of his father’s death.

Nusrat Fateh Ali Khan

Films

Documentaries

Nusrat Fateh Ali Khan: le dernier prophète (1996). Directed by Jérôme de Missolz.

Nusrat has Left the Building… But When? (1997). Directed by Farjad Nabi. (This 20-minute docudrama focuses on Khan’s early career.)

A Voice from Heaven (1999). Directed by Giuseppe Asaro. New York, NY: Winstar TV & Video. (This 75-minute documentary, available on VHS and DVD, provides an introduction to Khan’s life and work.)

Samandar Main Samandar (2007). A documentary aired on Geo TV detailing Khan’s career.

The King of Qawalli (2009). A short film aired on Dawn News about Khan’s life and career.

Concert films

•           The JVC Video Anthology of World Music and Dance (1990). Video 14 (of 30) (South Asia IV). Produced by Ichikawa Katsumori; directed by Nakagawa Kunikiko and Ichihashi Yuji; in collaboration with the National Museum of Ethnology, Osaka. [Tokyo]: JVC, Victor Company of Japan; Cambridge, Massachusetts: distributed by Rounder Records. Features a studio performance by Khan and Party (two Urdu-language songs: a Hamd, and a Manqabat for Khwaja Mu’inuddin Chishti. Filmed in Tokyo, Japan, 20 September 1987, for Asian Traditional Performing Arts).

•           Nusrat! Live at Meany (1998). Produced by the University of Washington. 87-minute recording of a concert of 23 January 1993 at Meany Hall, University of Washington in Seattle, during Khan’s residency at the ethnomusicology program there.

•           Live in Concert in the UK, (DVD, vols. 1–17) [Khokhar Productions]; recorded between 1983 and 1993

•           Akhiyan Udeek Diyan (DVD) [Khokhar Productions]

•           Je Tun Rab Nu Manauna (DVD) [Khokhar Productions]

•           Yaadan Vicchre Sajan Diyan Aayiyan (DVD) [Khokhar Productions]

•           Rang-e-Nusrat (DVD, vols. 1–11) [Music Today]; recorded between 1983 and 1993 (same material as the Khokhar Productions)

•           VHS videotapes, vols. 1–21 [Khokhar Productions]; recorded between 1983 and 1993 (same material as the Khokhar Productions)

•           Luxor Cinema Birmingham (VHS vol. 1, 1979), Khokhar Productions

•           Digbeth Birmingham (VHS vol. 2, 1983), Khokhar Productions

•           St. Francis Hall Birmingham (VHS vol. 3, 1983), Khokhar Productions

•           Royal Oak Birmingham (VHS vol. 4, 1983), Khokhar Productions

•           Private Mehfil (Wallace Lawley Centre, Lozells Birmingham, November 1983) (VHS vol. 5), Khokhar Productions

•           Private Mehfil (VHS vol. 6, 1983), Khokhar Productions

•           Natraj Cinema Leicester (VHS vol. 7, 1983), Khokhar Productions

•           Live in Southall (VHS vol. 8), Khokhar Productions

•           Live in Bradford (VHS vol. 9, 1983), Khokhar Productions

•           Live in Birmingham (VHS vol. 10, 1985), Khokhar Productions

•           Allah Ditta Hall (VHS vol. 11, 1985), Khokhar Productions

•           Harrow Leisure Centre (VHS vol. 12), Khokhar Productions

•           University of Aston (VHS vol. 13, 1988), Khokhar Productions

•           Aston University (VHS vol. 14, 1988), Khokhar Productions

•           WOMAD Festival Bracknell (VHS vol. 15, 1988), Khokhar Productions

•           Live in Paris (VHS vol. 16, 1988), Khokhar Productions

•           Poplar Civic Centre London (VHS vol. 17), Khokhar Productions

•           Imperial Hotel Birmingham (VHS vol. 18, 1985), Khokhar Productions

•           Slough Gurdawara (SHABADS) (VHS vol. 19), Khokhar Productions

•           Imran Khan Cancer Appeal (VHS vol. 20), Khokhar Productions

•           Town Hall Birmingham (VHS vol. 21, 1993), Khokhar Productions

Discography

Main article: Nusrat Fateh Ali Khan discography

Sales

The following are known sales of records with songs credited to Nusrat Fateh Ali Khan, either as a vocalist, composer, or special thanks.

CreditedYearTitleSalesRegion(s)1996Sangam1,000,000India1997Aur Pyaar Ho Gaya1,500,000India1997“Afreen Afreen”500,000India1997Only One6,000,000Worldwide1997Vande Mataram2,000,000Worldwide1999Kachche Dhaage3,000,000India2000Dhadkan4,500,000India2007Guru1,150,000IndiaTotal known sales19,650,000Worldwide

The following are known sales of records with songs credited to Nusrat Fateh Ali Khan, either as a vocalist, composer, or special thanks.

The following are known Indian sales of Bollywood soundtrack albums featuring copied versions of songs originally composed by Nusrat Fateh Ali Khan, without crediting him.

UncreditedYearTitleSales1994Mohra8,000,0001995Yaraana2,000,0001996Raja Hindustani11,000,000Auzaar2,200,0001997Judaai2,000,000Koyla1,800,000Total known sales27,000,000

Nusrat Fateh Ali Khan

[muzafar-mkc-blog]

Journey Of Gul Panra and The Beauty Queen of Pakistan

By Muzafaruddin Chachar (Shayan Chachar)

One of the most proficient female singer of Pashtun background, famous at home and abroad, Gul Panra has reached remarkable heights of fame through her singing styles, innocent behavior and awesome looks.

Gul Panra, was born on 6th September 1989 in Peshawar (City of Flowers), capital city of Khyber Pakhtunkhwa. Since years Peshawar was riddled with tribal battels, terrorist assaults and religious fanatism, it is no less surprise that despite these hardships she had completed her 12 years education from his hometown and enrolled in the most reputable Institute of Peshawar for her higher studies. She did Master’s in Social work from the same university in 2014. From the early days of childhood, she had the dream of singing songs because of her melodious voice.

In the beginning, she got famous among Pashtuns in Pakistan, Afghanistan, and some other countries by singing Pashto songs from famous poets such as Hamza Baba and Rahman Baba and many others.

Pashto songs notwithstanding, she gradually became famous all-around Pakistan by producing songs like Mahiya, Dilbar Jani and some other in Urdu as well as Punjabi. In 2015, she featured in coke studio season 8 with Atif Aslam in the Persian song Man Ahmedeh Am that increased her fame even more. Again in 2018, she appeared in coke studio season 11 with two songs: Rasha Mama alongside with a senior Pashto singer Zarsanga, a Pashto band Khumariyaan and she has sung the famous Pakistani song Hawa Hawa with Pakistani pop singer Hassan Jahangir. Furthermore, she has also sung anthem songs of Peshawar Zalmi in PSL and Pakhtoon Team in T10 League.

She had become brand Ambassador of Pakhtoon Team in T 10 league season I & II in 2017 and 18, respectively. She also was the Regional Brand Ambassador of Peshawar Zalmi team in Pakistan Super League.

he had become brand Ambassador of Pakhtoon Team in T 10 league season I & II in 2017 and 18, respectively. She also was the Regional Brand Ambassador of Peshawar Zalmi team in Pakistan Super League.

Besides singing, she has been promotor of Pashtun culture. She had promoted Pashtoon culture in different famous countries of Globe like Norway, Manchester UK.

For her performance, she was nominated the best performer of the year 2016 in the DAF Bama Music Award in Hamburg, Germany. She has also been awarded the title of Beauty Queen of Pakistan by her fans. She has a huge social media following of over 10 million.

It’s been 10 years since she embarked upon the journey of her singing career. Though the path is of full of ups and downs, she has conquered all these adversities and proved to be the most successful female Pashtun singer and she had created an example for the females not only in KPK but in all over Pakistan.

[rbbox]

Shreyas Talpade’s first role was that of Sita for a school play on Ramayana. The next year he played Draupadi in the school version of the Mahabharat. This was perhaps the first sign of how versatile Shreyas Talpade would be in later years. From school plays to street plays to monologues and mimes - Shreyas wanted to learn and be a part of everything. "From 1990 till 2005 I did close to 2500 shows of different productions on the professional stage. Hindi, Marathi, English, Urdu - such was my love for the stage that I didn't want to miss a single chance to be under the arc lights. Whatever I am today is because of theatre, it grooms you and betters your craft like no other medium. Whatever little appreciation I get in my films today is all because of the theatre," reminisces Talpade.

From theatre, the actor made the switch to television, and later films. But in the midst of all his other work commitments, Shreyas was inspired to return to the stage - with Zee Theatre's teleplay 'Typecaste'. Also starring, Atul Mathur, Aaditi Pohankar and Utkarsh Mazumdar.

“I personally love the format of a teleplay and that's the reason why I did 'Typecaste'. I think teleplay is a great experiment where we get rid of the proverbial 'fourth wall'. It almost was like shooting for a film in an enclosed studio. It was quite challenging but I think these formats need to be explored a lot more. I am glad that ‘Typecaste’ is being watched on so many platforms and being appreciated.”

Typecaste is an adaptation of a Marathi play called ‘Pahije Jatiche‘ by the famous playwright Vijay Tendulkar. The play is set in the seventies when the caste system was not just prevalent but rigidly enforced in India. However, the play shows how the context of the story is relevant in present-day India as well. Shreyas plays the role of Mahipat Babruvahan who becomes the first from his caste and village to complete his Master's degree. Mahipat has a dream of becoming a professor in a particular college and the play showcases all he does to achieve his dream including managing his love interest.

"The script is layered and entertaining,” says Shreyas who is known for his comic timing. It almost seems like the role was written for Shreyas. The play is packed with little nuances which make Shreyas shine - the over-sized blazer that he wears to ensure people take him seriously to a mini solo dance in front of a yet-to-be pressed mound of clothes - its vintage Shreyas Talpade.

“Typecaste is entertainment with a strong social message and that is the voice of this play. I have always believed you can say a lot with humour and somehow for me, it hits home harder," says Shreyas.

ALSO READ: Shreyas Talpade injures his eye during lockdown, gives an update on his condition

May 28, 2020 at 12:53PMShreyas Talpade plans to bring theatre plays online, will return to stage with Typecaste https://ift.tt/2M72BGQ

[saharsayema]

Arijit Singh and Sunidhi Chauhan: Two of The Most Iconic Bollywood Singers Ever!

Music is something which is liked and cherished by everyone around the world and you may hardly find a person who doesn’t have a liking for it. That said, we can also quote that there are numerous forms and types of music which have entertained millions of people around the world. Moreover, when it comes to a country like India, music has its own big fan base around people coming from every walk of life.

Sayema Sahar is one such singer who has established her name in the Indian music industry over the past few years. With all the hard work and great talent, she has now become the most awarded singer in the Hindi music industry. Well, even whilst she comes as one of the most sought after singers currently, she still takes herself a level below to some of the notable singers in the industry right now.

Arijit Singh

Arijit Singh is a name that doesn’t need any introduction. In the past few years, he has become a fan favorite by rendering his voice to some of the most popular songs like ‘ Tum hi ho’, “ Dil Sambhal Ja Zara’ and many more. Arijit started his journey as a participant of the famous show named ‘fame gurukul’. While being born and brought up in the Jiaganj district of Murshidabad West Bengal, he went through his singing training at his home only.

As per Sayema Sahar, Arijit Singh is a living example of ‘never giving up’ as he didn’t lose hope even after losing the ‘fame gurukul’ grand finale. He set up his own singing facility whilst winning the show ‘10 k 10 le Gaye Dil’. He made his debut in the Bollywood with the song ‘ tum hi ho’ from ‘ Aashiqui 2’and became an overnight star. He didn’t stop there and went on to win the 59th film fare award for his exemplary singing.

Sunidhi Chauhan

Sunidhi Chauhan has gained some big popularity from an early age and as of now; she is the most popular female Indian playback singer in the film industry. If we talk about her expertise as a singer, she is highly popular for her performance in Hindi and Punjabi songs in Bollywood. Born on 14 In August 1983 in New Delhi, Sunidhi started learning music at an early age.

As per Sayema Sahar, Sunidhi is one of the only female singers from the current generation who has delivered her performance in various languages like Kannada, Tamil, Telugu, Marathi, Malayalam, Oriya, Bengali, Assamese, Nepali, Urdu and English. She is also been listed in the category of singers that made 3000 studio recordings and comes over as the most recorded voices in India today. Sunidhi Chauhan came into limelight after winning the famous singing show ‘Meri Aawaz Suno’ at an early age and she never looked back ever again on her way to the top. Right at an early age of 13 years, she made her debut as a playback singer in the famous movie ‘Shastra’ and became one of the youngest ever singers.

Sayema Sahar takes her inspiration from Sunidhi mostly and she always tries her best to attend any of her concerts around whenever possible. For Sayema, Sunidhi is a person who has made her presence felt to everyone in this male-dominated Indian music industry.

[studio52group]

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We are a company with 4 decades of versatile experience but that is something all know. So, I will talk about what makes us favorite of businesspeople when it comes to Telephone Hold Message and IVR. But before moving on it, let me present quick facts that will bring the need for Telephone Hold Message and IVR in the spotlight.

Telephone Hold Message:

On average 7 out of 10 business callers are placed on-hold (You see a humongous opportunity to convert target market in your clients with welcome message recording)

88% of callers surveyed want to hear product information on-hold and will stay on the line longer if provided with this information – roughly 20% said that they have purchased additional products based on the information they heard while on-hold.

34% of callers who hang up will not call back (You may never get a chance to connect with them again)

IVR:

40% of customers prefer self-service to human contact. (And as we know the customer is king)

By 2020, the customer will manage 85% of the relationship with an enterprise without interacting with a human (Who would want to stay behind in the competition of developing strong relationships with customers?)

I hope these would have helped you understand the necessity of Telephone Hold Message and IVR in today’s time. Now, let me tell you why Studio 52 should be your preference while selecting an audio production company for your business.

Background music:

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[bengaliupdatenews]

Pankaj Mullick  biography

Preparing –

Sri Durgadas Bandopadhyay for traditional and light old style music

Sri Dinendranath Tagore (Rabindranath Tagore's fantastic nephew) for Rabindrasangeet

Vocation HIGHLIGHTS

RADIO –

· Pankaj Mullick ( পঙ্কজ মল্লিক ),  joined All India Radio (AIR), Kolkata [initially known as the Indian Broadcasting Corporation] in 1927, inside a month of its beginning.

· He was an indispensable piece of AIR for almost 50 years

· At AIR he set music to the everlasting 'Mahishasuramardini', a program that has turned into a piece of Bengali culture and synonymous with Durga Puja. It is heard each 'Mahalaya' morning even till today. It has had a continuous kept running since its start in 1931.

· He conceptualized and began the gigantically famous unrecorded music class titled – 'Sangeet Shikshar Ashar' which he accomplished for a record 47 years on the jog.

· He was a piece of endless Feature Programs as music chief and artiste during his protracted residency at AIR

Film –

· He turned into a piece of Indian film directly from the quiet period, since 1931

· He was a piece of the ritzy New Theaters Studio group for almost 25 years

· Luminaries like K L Saigal, S D Burman, Hemanta Mukherjee, Geeta Dutt and Asha Bhosle sang under his music course as did a few other conspicuous artistes from Bengal and the remainder of the nation

· He was the principal music chief who presented Rabindrasangeet effectively in films

· He presented interval and interlinking music without precedent for Indian film-tunes

· At when film making was not as productive as it is presently, he sang in, made music for and once in a while acted in near 100 motion pictures

· He was a piece of Indian film from 1931 to 1969, a time of around 38 years

· The motion pictures he was related with were in Bengali, Hindi, Urdu and Tamil 

· He alongside chief Sri Nitin Bose was instrumental in the presentation of playback singing in Indian film

Notable FACTS –

· He recorded his first melody when he was just 18 years of age

· He was the main individual to advance Rabindrasangeet by releasing the enchantment of Tagore's tunes among the majority

· His music profession spread over a dazzling 50 years

· He authoritatively created more than 5,000 melodies in those 50 years

· Singers like K L Saigal, S D Burman, Hemant Kumar, Kanan Devi, Geeta Dutt and Asha Bhosle among others sung his organizations

· His co-stars in movies included K L Saigal, P C Barua and Kanan Devi among others

· He was delegated as the Honorary Advisor to the Folk Entertainment Section of the Government of West Bengal, from 1953 to 1968, by the Chief Minister of West Bengal

· He was viewed as one of the establishing fathers of Bangla Adhunik Gaan, a sub-sort of Bengali tunes

· He had a few famous non-film tunes in Hindi, Urdu and Bengali amazingly

· He was the first to acquaint components of Western Music with Indian true to life and non-realistic tunes

Significant AWARDS –

· He won the National Award for Best Music Direction in motion pictures on a significant number events

· He got the BFJA grant for his work as music chief

· He got Life Time Achievement Awards from AIR and HMV (presently Saregama)

Renowned TITLES –

· Title of "Surosagar" in 1931

· Title of "Sangeet Ratnakar" in 1962

· Padmashree in 1970

· DADASAHEB PHALKE PURASKAR in 1972 – the most elevated honor introduced by the Government of India in the field of Indian Cinema. He was the main music-chief to be regarded so.

· Title of Rabindra Tattacharya in 1977

Uncommon Honors –

· Rabindranath himself enabled him to set tune to a couple of his ballads, the most well known occurrence of which is "Coffee shop sheshey ghumer deshey… 

· He was welcome to sing the debut tune during the dispatch of TV (Doordarshan) in the nation

· At the command of Sri Sarat Bose, Netaji's senior sibling, he sang "kadam barhaye jaa… ", set to his variant of the tune, with Prime Minister J L Nehru being available during the account. Different individuals from Netaji's family also loaned their voices to this record

· On Prime Minister Nehru's solicitation he sang and recorded the Indian National Anthem – "Jana gana mana… " in a style that was considered to set the parameters to be pursued during the singing of the song of devotion by all Indians. The account was additionally played across the nation at pretty much every open spot to acquaint each Indian resident with the song of devotion of their recently shaped free nation

· In the days when 'globalization' was very unbelievable, he delighted in extraordinary acclaim and fame both broadly and universally

After death Honors –

· The Government of West Bengal renamed Ritchie Road as Pankaj Mullick Sarani in his respect

· The Department of Information and Culture of the Government of West Bengal commended his introduction to the world century in 2005 with extraordinary grandeur and magnificence

· The Government of India, paid tribute to his memory by giving a dedicatory postage stamp in 2006

· The Kolkata Municipal Corporation announced his home at Sebak Baidya Street a Heritage Site in 2007

· The Kolkata Municipal Corporation upheld the erection of a statue in his respect at Maddox Square Park on Pankaj Mullick Sarani in 2010

[voicemonkstudio]

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Finding the right Urdu Voice Over Agency for your Project

We provide Urdu Voice over services for IVR and Messages on hold. We put telephony and phone marketing at the top of our list of interactive voice over services. VoiceMonk knows how important sales and customer service are and how important it is to use every opportunity to teach current or potential customers. For more information visit:-  https://voicerecordingstudio.in/

[i-syed93-blog]

This is Radio Azad Kashmir

Syed Wilayat Hussain Khumar-late (My Grand-father) (1911–1976)

The Pioneer Broadcaster of Radio Pakistan Tararrh Khal (Azad Jammu and Kashmir)

When our Military Forces were combating Indian Army at the cliff edge of Kashmir-

At that time Mr. & Mrs. Khumar at their superlative level were broadcasting in a military camp- In the first-ever studio of Radio(Azad Kashmir)

Soon after partition of Indo-Pak (1947) Mr. Nisar Ahmed Nasri (DG Radio Pakistan) called my grandfather (Syed Wilayat Hussain Khumar) who was just settled in Rawalpindi, to Join Radio Azad Kashmir (Tararrh Khall). He gathered his family and moved towards Muzaffarabad Azad Kashmir. Though he was a senior broadcaster of All India Radio, everything almost revitalized. There was no office or building for the newly started Radio Station of Azad Jammu & Kashmir. As per my grandfather at the earlier epoch, there is no studio or soundproof room for news broadcasting.

First Soundproof studio:

The first soundproof studio which was swiftly built for a news broadcast was under a wooden table and covered by blankets and bedspreads. Now a charismatic voice (Ye Radio Pakistan Azad Kashmir Tararrh Khal hai) (This is Radio Pakistan Azad Kashmir Tararrh Khal) That was an unforgettable beginning of Radio broadcast of AJ&K.

First Salary slip:

He uses to get 120/ PRs per month during those days. A very normal paycheck but valued. The real love of motherland can’t exchange with money. Afterward, my grandmother also joined his husband with a (100/-PRs) paycheck. The lady who has just studied grades 4–5 but her news reading skills were God gifted and impressive. I can proudly introduce myself regarding Mr. & Mrs. Syed Wilayat Hussain Khumar (late) Almighty rest their soul in peace Ameen.

Urdu Linguistic Movement:

Very few people know about the “Urdu linguistic movement” which was begun by Mr. Khumar and his fellows to proclaimed “Urdu Language” as an official language of AJ&K. The ambition of the Urdu linguistic movement accomplished and eventually Urdu was publicized as an official language of the state of AJ&K. That was the moment when people close to understanding each other and the difference upon languages was over

#kashmir

#Radio Pakistan

#Delhi

#linguistics

#Urdu

[globalworship]

Sort of Beragi [Yearning For the Divine Beloved] by The Chris Hinze Combination

First a note about the song title, then a note about the performer, then several more versions of the song.

The South Asian words Bairag and Bairagi have a constellation of meanings (and alternate spellings such as the ‘Beragi’ of the song title). I think that variations of the word are used in Hindi, Urdu and Punjabi, and possibly other languages of India and Pakistan. 

It’s also the name of a particular raga - details are near the bottom of this blog post. You’ll find dozens of recordings on Amazon of Indian musics played in this raga. 

When Dutch composer/arranger Chris Hinze chose the title ‘Sort of Beragi’ for this song, I assume he meant that the melodic phrases are mostly in this particular raga. In addition, the name of the raga has a spiritual meaning which I’ll now discuss.

Bairag may refer to the emotions of a devotee who is stricken with a kind of love -lorn yearning for the divine beloved Lord.

Bairagi or generally refers to an ascetic, detached devotee, renunciate, or one who practices devotional austerity, who has forsaken worldly ways and is free of worldly attachment. Bairagi may also be descriptive of that yearning one who is suffering the lovelorn pangs of separation from the divine beloved. https://www.thoughtco.com/bairag-viraag-austerity-2992834

That website gives some examples of the words used in Sikh scripture:

“My mind is detached [from things of the world]. I seek only a vision of the Beloved."

This sense of “yearning for the Divine Beloved” is found in many religious traditions, including Jewish mystics (along with the author of the ‘Song of Songs’), Christian mystics medieval and contemporary, Sufi mystics in Islam, Sikh mystics, and in India, Hindus and Christians who are ‘Yeshu Bhaktis.’

Much of the song is instrumental but with some voices, and I think it aptly demonstrates this sense of yearning for the Divine Beloved Lord.

+++

I first heard the jazz flute of Chris Hinze in college. He’s from Holland, born in 1938. He began studying flute at the Royal Conservatory of The Hague and then at Berklee College of Music in the mid-1960s after being a professional piano player. His first releases as a leader were issued in 1969, and in 1970, Hinze was awarded the Best Soloist prize at the Montreux Jazz Festival. https://en.wikipedia.org/wiki/Chris_Hinze

Over the decades he incorporated music styles of Asia and Africa into his band. With LPs and CD re-releases over a 50-year career, it’s hard for me to keep up with all that he’s released - it’s a lot!  

The studio recording you’re listening to now of the song ‘Sort of Beragi’ was released on the 2002 album ‘Akar Akar’ by the Chris Hinze Combination.

Musicians include: Chris Hinze: all sorts of metal and bamboo flutes Monica Akihary: Indian vocal on this track Mola Sylla, Senegal: djembe, percussion and Senegalese vocal on this track Stephan Braun: cello Frank Wardenier: drums and percussion Erwin Van Ligten: guitars Lex Bolderdijk: acoustic guitar

The structure of the song is related to the jugalbandi structure common in Indian musics. I listen to lots of jugalbandi duets featuring the bansuri (bamboo) flute, and the melodic theme doubled here by Monica’s wordless voice and Chris’ flute sounds just like what I hear in the jugalbandi repertoire. However, instead of having just 2 leading instruments, this song is structured more like a western jazz piece where each lead instrument or singer solos between the repeated refrain.

Find several other versions of this song by the Chris Hinze Combination after the art below.

+++

The painting I’ve chosen to illustrate this post is by Eva Campbell, an accomplished artist in Bulgaria. It is based on an original painting named "Little Himalayan Pray." 

The family art business is called ‘Evita Works.’ You can purchase prints at https://www.etsy.com/listing/121409202/praying-woman-painting-pray-spiritual?ref=shop_home_active_4

+++

The Chris Hinze Combination has released other versions of a musical piece with this same title on other recordings. Here are some of them:

Here’s a live version from 2008:

+++

Here’s a 2-part live recording from 2004. This time, the first part of the song begins with percussion including a sanza (’thumb piano’). This introductory ‘Alap’ section goes between a vocalist from India (Sandhya Sanjana) and a vocalist from Senegal (Mola Sylla).

+++

In this second part of the song (from the same album recorded at the same live performance), the percussionists kick it up and the band gradually comes in. The main musical motif of the song is doubled here by flute and male Indian voice; in the studio recording, the motif is doubled by flute and female Indian voice. The flute solo by Chris Hinze is wonderful

+++

That pair of recordings is from the album ‘Back on the Map’ which I’ve had for many years. It’s also been released as a 2-volume DVD set (PAL standard). it’s quite extraordinary to see these musicians perform such music in a live concert setting.

+++

You’ll easily find many performances of the classical Indian music Raag Baragi. Here’s a 30-minute performance by my favorite Indian musician (playing the bansuri bamboo flute) if you’re curious to aurally compare the ‘actual raga notes’ with the ‘sort of raga notes) in Chris’ fusion song.

+++

For technical information on Raag Bairagi, see https://autrimncpa.wordpress.com/bairagi-baragi-bhairav/ and http://www.tanarang.com/english/bairagi_eng.htm

[bollywoodirect]

Remembering #JahanaraKajjan on her birth anniversary. Hailed as the reigning queen of the stage, the glamorous movie actor, the trained singer, the fashionable modern girl, and the trendsetter, Jahanara Kajjan or Kajjan Bai, better known as Miss Kajjan was many a splendored personality. No wonder, in her heyday she was saluted as the ‘Lark of Hindi cinema’ and the ‘Beautiful Nightingale of Bengal Screen’. As a young lad in Lahore, I dimly remember, seeing her in Madan Theatres’ “Laila Majnu (1931). I recall its roaring publicity through splash of posters and eye-catching hoardings all over the city with dazzling pictures of Miss Kajjan. The novelty of Talkies was still fresh and cinema houses attracted big crowds, more so when films were packed with songs. “Laila Majnu” featuring Miss Kajjan and Master Nissar, the most popular singing pair of the stage was a spectacular success. I vaguely remember, a scene from the film, where Majnu (Nissar) looking for Laila (Kajjan) in the wilderness sings Laila Laila Pukarun Mai Ban Mein, Laila Pyari Basi More Man Main. “I am crying for Laila in the jungle when the beloved Laila is residing in my heart”. Those days, there were hardly any film magazines and the practice of publishing spicy interviews of stars was still a couple of decades away. There is a mention of Kajjan by Kathryn Hanson, a leading scholar of South Asian theatre history in her book “Stages of Life” (2011). Jahanara Kajjan (1915-1945) is pronounced there as ‘Popular singing actress, daughter of the courtesan Suggan and the Nawab of Bhagalpur’. There is a question mark on her date of birth since no authentic information is available. This applies practically to all female artistes from the professional class, who turned famous as theatre and cinema actors. However, the circumstantial evidence culled from Kajjan’s stage and cinema career in the late 1920s and early ’30s and also some reference to her love affairs during that period leads us to conjecture that she was born sometime around 1910. Kajjan belonged to a family of professional artistes, who carried the tag of tawaifs or courtesans. They were also invited by the princely courts and aristocracy to perform at their private mehfils. With their refined manners they provided stimulating company to the male elite. An established code of conduct ruled out marriage in their profession but they were allowed to have a liaison with a chosen patron. Kajjan’s mother Suggan apparently had one such relationship with her father. The anti-nautch campaign at the beginning of the 20th Century denigrated the singing and dancing profession. Some, among them, became gramophone singers or theatre stage actors. Kajjan received education at home and even learnt English. Well versed in Urdu literature, she wrote poetry under pen name “Ada” and some of her poems were published in Urdu magazines. She received intensive training in Hindustani classical music from Ustad Hussain Khan of Patna. Noting her mastery of ragas, her mellifluous voice and also her charming looks, she was hired by a theatre company at Patna. She is said to have performed on stage for three days at a fee of Rs.250 per show. She enchanted the audience with her golden voice. This paved the way to her joining Alfred Company owned by Madan Theatres of Calcutta. According to Fida Hussain, a Parsi theatre legend, “He worked with actress Jahanara Kajjan becoming her director and leading man”. Kajjan attained name and fame as a very popular singer and actor of the stage. The advent of talkies in 1931 brought a revolution in the entertainment scene. The phenomenal success of the first talkie “Alam Ara” in March 1931 inspired a number of producers to make their “all talking, singing, dancing films”. Madan Theatres of Calcutta, were already in the field and were only a few weeks behind when they hit the screen with “Shirin Farhaad” based on the stage play scripted by the renowned playwright Agha Hashar Kashmiri. “Shirin Farhad” beat “Alam Ara” as it was more refined technically and featured 42 songs by Kajjan and Nissar, already popular singing pair of the stage. The film was a tremendous success across India with Kajjan emerging as the first superstar of Hindi cinema. It is said that a tongawala in Lahore pawned his horse to see “Shirin Farhad” 22 times. It was followed by another super hit “Laila Majnu”, featuring the same duo Kajjan and Nissar. Another film that created history was “Indrasabha” based on the play written by Agha Hassan Amanat, the court poet of Wajid Ali Shah, the last Nawab of Awadh. Loaded with 71 songs, the film still holds the world record as “film with most number of songs”. The film with duration of three and half hours (211 minutes) was entirely in verse and Kajjan sang several songs, ensuring its roaring success all over the country. Some of the most popular numbers sung by Kajjan were — “Toone to mora man har leeno more banke saanwaria ” (Oh my dearest you have captivated my heart); “Chaman ko yun mere saqi ne maikhana bana diya ” (My wine server has turned the garden into a tavern); “Kab se khadi hun terey dwar, bula le mohe balam re ” (My love please call me as I have been waiting at your door for so long). Some of her other memorable movies were “Bilwamangal”, “Shakuntala”, “Alibaba aur Chalis Chor”, “Aankh ka Nasha”, “Zehari Saanp”, etc. By mid 1930s, the early enthusiasm for song-dramas, mythological stories and Persian love tales was wearing off and many film producers were forced to close shop, Madan Theatres among them. The classical numbers sung by the likes of Kajjan were losing their appeal and so was her theatrical acting style. She failed to receive any offers from the new producers. A wealthy woman, she stayed on in Calcutta, but after a couple of years with depleting resources, she was compelled to move to Bombay. Her Parsi connection, especially with Sohrab Modi, the doyen of Parsi theatre, helped her to get some acting assignments there. Kajjan’s career in Bombay was short-lived from 1941 to 1944, during which she appeared in six marginal films, with the exception of Sohrab Modi’s “Prithvi Vallabh”. Further, she was given only minor roles and got little chance to display her singing calibre. She lived a lavish life at Calcutta. Fond of pets, she even had two tiger cubs for some time. Kajjan was cited as a fashionable modern girl. A studio portrait of late 1920s shows her wearing makeup, ear rings, nose pin with finger waived hair, dressed in a sari with laced blouse. This very photograph was carried in an advertisement for face powder and hair products by “The Crisis (New York) 1928”. Kajjan had learnt western dancing and was a regular visitor to Calcutta Club, mixing freely with the elite gentry. On a personal front, she had a colourful life, with roaring love affairs with many of her co-stars. Fida Hussain, her theatre director and co-star openly speaks about the ups and downs of his romantic relationship with her. She was also intimately involved with Najmul Hassan, a very handsome actor of his time, who landed at New Theatres, Calcutta after being sacked by Bombay Talkies for his notorious affair with the leading star Devika Rani. There is little information about her personal life in Bombay, where she passed away unsung in 1945. Courtesy- The Hindu

[mrhotmaster]

Beta Opinions Of Avengers: A Chaotic Journey By Marvel

Avengers Beta Viewpoints: A Chaotic Marvel Adventure

The Avengers game is fantastic but test gameplay is faulty. (adsbygoogle = window.adsbygoogle || []).push({}); The dispatch of the Avengers game beta was intended to be an energizing time for Marvel fans. More than three years after it was first declared, gamers could at long last experienced what it felt like to play as their most loved superhuman in what's promising to be a super-yearning experience. In any case, at that point prior this week, Marvel's Avengers engineer Crystal Dynamics soured that by uncovering that Spider-Man would be a selective character to PlayStation, a bewildering move for a game not made by a Sony-possessed studio. What could have been extraordinary news — Spider-Man in the Avengers game! — wound up 'til now another arraignment of Sony's enemy of customer conduct. (adsbygoogle = window.adsbygoogle || []).push({}); Take the beta's underlying accessibility — just for PS4 pre-orders this end of the week — as additional confirmation. Sony has not just utilized its relationship with Marvel to confine Peter Parker to its support stanza, yet it additionally hit an arrangement with Marvel's Avengers distributer and individual Japanese gaming mammoth Square Enix. Despite the fact that PC and Xbox One proprietors have paid forthright for the Avengers game, they don't gain admittance to the pre-request beta for one more week. All things considered, when the Avengers beta opens up to all stages, it has different issues. Precious stone Dynamics needs Marvel's Avengers to be a community experience, yet it will not remark on the chance of cross-stage play. (adsbygoogle = window.adsbygoogle || []).push({});

ALSO SEE

Spider-Man: Miles Morales On PS5 Is Said To Run With 4K 60fps In 'Performance Mode'

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All the more critically, the Avengers game experiences an instance of tactile over-burden. There's such a great amount of occurring at some random second in Marvel's Avengers that it's for all intents and purposes difficult to process every last bit of it. Also, when that occurs, the normal propensity for people is to freeze. In gaming terms, that implies crushing all the catches. But Marvel's Avengers isn't intended to work that way. It expects you to not just receive an alternate system against various kinds of foes, yet in addition, organize and center around the correct adversary at the ideal time. On the off chance that you don't, you'll discover your superhuman losing a great deal of wellbeing to particular extended shots, and thus, driving you to re-try some portion of the level again and again.

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Microsoft Xbox One X, Xbox One S All-Digital Model Preparation Breaks In Production Of The Series X: Source

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What's more, that is not by any means the only ongoing interaction configuration issue. The superheroes on Marvel's Avengers can be updated in various manners; you can show them new aptitudes, you can open new outfits, and you can win a new apparatus. While some of it is battle driven, some are tied in with obliterating arbitrary articles. No, we're dead serious. Marvel's Avengers feels like a Lego game now and again as you approach breaking everything in nature to procure assets that you'll require for overhauling your apparatus. It appears to be an exercise in futility. Without a doubt, superheroes have greater things to concentrate on than plunder? (adsbygoogle = window.adsbygoogle || []).push({}); Indeed, even with new apparatus, it's not connected to character movement but instead covered up in cartons inside structures. Attributable to this, during missions, I was more tried searching for cases and crushing everything in my sight, than center around the job needing to be done. (Add to that the silliness of Hulk calmly opening a carton, and not simply crush it to pieces, as you would anticipate that he should.) There are better approaches to this, as has been appeared by endless different games, including widely praised hero passages in the Batman: Arkham arrangement and the PS4-selective Marvel's Spider-Man. (adsbygoogle = window.adsbygoogle || []).push({}); Where the Avengers game sparkles is in the sheer assortment that is on offer. The beta drops you into a monster set-piece on San Francisco's Golden Gate Bridge — the one appeared in the early trailers — as the Avengers are gone up against by Taskmaster and his goons. It fills in as an extraordinary method to present the list and their capacities. Thor has Mjolnir, Cap has his shield, Black Widow is coordinated, Iron Man can fly and shoot "repulsor impacts", and Hulk, well, crushes. You can feel the contrasts between the Avengers, be it the manner in which they move or the collection of assaults. A few combos and uncommon moves are particularly cool to see, including Kamala Khan's wrestling-propelled takedown that includes her getting enormous and afterward arriving on an adversary sideways with her mammoth clench hand. (adsbygoogle = window.adsbygoogle || []).push({}); Gracious right, Kamala. The Pakistani-source high schooler — otherwise called Ms. Marvel — is at the core of Marvel's Avengers, however, it's not as definitely felt in the beta as her story has been cleaved to pieces to not ruin the full involvement with dispatch. Be that as it may, all the more significantly, Kamala's consideration in the Avengers game is a decent advance for minority portrayal and ponders well Crystal Dynamics, given it's assumed control longer than 10 years for the Marvel Cinematic Universe to bring Ms. Marvel into the fold. In such a circumstance, this may be criticized, yet Kamala's grip of her local language isn't on point now and again. Rather than saying "um-me", she articulates the Urdu word Ammi — it implies mother — as it's written in English. Unusual when they've a second-gen migrant voice entertainer (Sandra Saad) on board. (adsbygoogle = window.adsbygoogle || []).push({});

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Being a beta, Marvel's Avengers has bugs and execution issues, expectedly. Flying foes or those kicked by a hero stalled out in lifeless ecological items now and again. They couldn't fire at us any longer yet we were unable to harm them either. For movement purposes, we needed to bounce and show them out of the article they were stuck in before we could execute them. What's more, during especially serious minutes — the Avengers game is stuffed with bodies all in all, yet certain minutes are heavier because of extraordinary moves — Marvel's Avengers beta incidentally solidified and afterward dropped a few edges. Ideally, these worries are restricted to the beta and will be resolved by full dispatch September.

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The illustrations are nothing to keep in touch with home about, however we concede that the PS4 is apparently the most fragile framework Marvel's Avengers will be accessible on. Notwithstanding the previously mentioned PC and Xbox One, the Avengers game is likewise accessible on the half-gen updates PS4 Pro and Xbox One X and coming to cutting edge supports PS5 and Xbox Series X. (It's likewise on Google's cloud-driven Stadia, however that is not in India.) We can hardly wait to perceive how Marvel's Avengers looks like on the new consoles; it's a dispatch title and will be a free update for those moving across ages. What's more, in spite of its disorderly nature, we are anticipating invest more energy with the beta over the three days of its accessibility. See you in the game, Avengers. (adsbygoogle = window.adsbygoogle || []).push({}); Wonder's Avengers beta is accessible August 7–9 for PS4 pre-orders, August 14–16 for PS4, Xbox One, and PC pre-requests, and open to everybody between August 21–23. The game is out September 4.

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