#lahore 1947

[lokeshbhandarireview123]

Repulic Day Clash - Lahore 1947 Vs Sky Force

After a clash on Independence Day in 2023,  Sunny Deol is ready to Clash with Akshaya Kumar on Republic Day 2026 with movies Lahore 1947 and Sky Force released on 26th January. With Lahore 1947 Sunny Deol collaborated  with Rajkumar Santoshi after successful movies like Damini, Ghatak, Ghayal, and Lahore 1947 also  going to have Preity Zinta, Karan Deol, Shabana Azmi, Mithoon Chakraborty

The movie will have Amir Khan in a cameo also going to be the producer of the movie and will be an adaptation of the play “Jine Lahore nai Vekhya o jamya-e-ni” written in 1980. The play revolves around a Muslim family that migrates from Lahore to Lucknow after partition in 1947

Lahore 1947 will clash with Akshaya Kumar’s Sky Force Sky Force is based on the biggest Air Force victory. The movie also features Sara Ali Khan, and Nimrat Kaur as the lead. This movie celebrates the biggest victory of the Air Force. It is the second time that Akshaya Kumar clashed with Sunny Deol after Gadar 2 and OMG 2 was released in 2023 Gadar 2 collected 500 Crores and was declared an “All Time Blockbuster”  Read More

[bhaskarlive]

Ali Fazal resumes working on ‘Lahore 1947’, ‘Thug Life’ after paternity leave

Actor and new dad Ali Fazal has returned to work following a brief paternity leave and said that he is glad to juggle responsibilities.

The actor is all set to get up to working on the schedules for the upcoming films “Lahore 1947” starring Sunny Deol and Mani Ratnam’s directorial “Thug Life.”

Source: bhaskarlive.in

[lyricsolution-com]

Sunny Deol And Preity Zinta Trolled For An Old Pan Masala Ad Along With Kids | People News

Mumbai: Celebrities often fall prey to making wrong choices when it comes to endorsements. Akshay Kumar, Ajay Devgn, and Shah Rukh Khan are the biggest examples. And now one of the old endorsements of Gadar 2 star Sunny Deol is grabbing eyeballs along with Preity Zinta. They both are seen promoting a Pan Masala brand along with kids and are facing massive trolling for being so irresponsible. The…

[playermagic23]

Sunny Deol completes filming Rajkumar Santoshi's Lahore 1947 after a rigorous 70-day shoot schedule.

With a staggering array of talent in front of and behind the camera, Lahore 1947 is one of the most anticipated films of recent years. Produced by Aamir Khan Productions, the movie features the first-ever collaboration between Sunny Deol, Rajkumar Santoshi, and Aamir Khan—a formidable dream trio. An amazing update has emerged, amidst growing anticipation for the movie, revealing that it has officially wrapped up after a demanding 70-day schedule without breaks.

According to an insider close to the project, "After a rigorous 70-day schedule, the Lahore 1947 filming has come to an end. There have been no breaks while completing the schedule. Witnessing iconic performers infuse the movie with a mystical dimension has been an incredible experience. There will be a few days of repair work after the edit is locked, but most of the film's filming is done. Raj ji is overjoyed with the footage they were able to obtain. Numerous crowd scenes have been captured on film.

In a recent update, the producers revealed that the film's grand conclusion featured a spectacular train sequence—one of the most ambitious and expensive scenes ever attempted in a film depicting the Partition era. It is projected to set new standards for visual storytelling, recreating the tumultuous and emotionally charged environment of the era with unprecedented depth and intensity. Aamir Khan will produce Lahore 1947, contributing his vision and skills to the project through Aamir Khan Productions. The film will be directed by Rajkumar Santoshi, who is well-known for his narrative abilities. Sunny Deol and Preity G Zinta will head the cast and play key roles in this highly awaited flick.

[paulpingminho]

[metamatar]

it's true though that the partition refugee trauma is slightly insane making. it is displacement with no possibility of return, not simply because it is impossible to go back to 1947 or because we lost the argument but because even any imagination of return is a betrayal to india as it is. to want to return to a world where you can simply take a train to lahore is a refusal for the punjabi to accept the gifts of having been saved by the "secular" side. and the worst part is with hindutva even that is denied, so the only thing partition trauma can even have the space for now is fuelling islamophobic atrocity porn.

[phenakistoskope]

There is a difference between Bollywood and Bombay cinema?

listen, subcontinental cinema began in bombay; the very first exhibition of the lumieres' cinematographe was held there in 1896, a few months after its debut in paris, 1895. this event predates the discursive existence of bollywood and hollywood. shree pundalik and raja harishchandra, the films that are generally considered the very first subcontinental features were also exhibited there first.

subcontinental cinema under british colonialism was produced in certain metropolitan centers such as lahore, hyderabad, and calcutta; bombay was just one of them. in 1947, when the indian nation state was formally inaugurated, the idea of a "national cinema" began forming, but given the cultural and linguistic heterogeneity of the indian union, this was quite untenable. regional popular cinemas flourished well into the 1950, 60s, 70s, and 80s and various art cinemas began taking shape alongside.

under the economy that i'm going to completely elide as "nehruvian "socialism"" bombay cinema focused on broadly "socialist" themes, think of awara (1951), do beegha zameen (1953), pyaasa (1957), all of which focus on inequality in indian economy and society from different perspectives. these films were peppered in with historical dramas, and adaptations from literature, but the original stories tended towards socialist realism. reformist films centering the family generally waxed poetic on the need to reform the family, but i haven't seen enough of these to really comment on them.

the biggest hit of the 70s, sholay (1975) was about two criminals, posited as heroes fighting gabbar singh who was attacking village folk. deewar (1975) also had two heroes, and the stakes were the two brothers' father's reputation; the father in question was a trade union leader accused of corruption.

"alternative cinema" included mani kaul's uski roti (1969) and Duvidha (1973) both of which were situated away from the city. then there's sayeed mirza and his city films, most of them set in bombay; arvind desai ki ajeeb dastan (1978), albert pinto ko gussa kyun aata hain (1980), saleem langre pe mat ro (1989) which are all extremely socialist films, albert pinto was set in the times of the bombay textiles strike of 1982 and literally quotes marx at one point. my point is that bombay cinema prior to liberalization was varied in its themes and representations, and it wasn't interested in being a "national cinema" very much, it was either interested in maximizing its domestic profits or being high art. note that these are all hindi language films, produced in bombay, or at least using capital from bombay. pyaasa, interestingly enough is set in calcutta, but it was filmed in bombay!

then we come to the 1990s, and i think the ur example of the bollywood film is dilwale dulhania le jayenge (1995) which, in stark contrast to the cinema that preceded it, centered two NRIs, simran and raj, who meet abroad, but epitomize their love in india, and go back to england (america?) as indians with indian culture. this begins a long saga of films originating largely in bombay that target a global audience of both indians and foreigners, in order to export an idea of india to the world. this is crucial for a rapidly neoliberalizing economy, and it coincides with the rise of the hindu right. gradually, urdu recedes from dialogue, the hindi is sankritized and cut with english, the indian family is at the center in a way that's very different for the social reform films of the 50s and 60s. dil chahta hai (2001) happens, where good little indian boys go to indian college, but their careers take them abroad. swadesh (2004) is about shah rukh khan learning that he's needed in india to solve its problems and leaves a job at NASA.

these are incidental, anecdotal illustrations of the differences in narrative for these separate eras of cinema, but let me ground it economically and say that bollywood cinema seeks investments and profits from abroad as well as acclaim and viewership from domestic audiences, in a way that the bombay cinema before it did not, despite the success of shree 420 (1955) in the soviet union; there were outliers, there always have been.

there's also a lot to say about narrative and style in bombay cinema (incredibly diverse) and bollywood cinema (very specific use of hollywood continuity, intercut with musical sequences, also drawn from hollywood). essentially, the histories, political economies, and aesthetics of these cinemas are too differentiated to consider them the same. bombay cinema is further internally differentiated, and that's a different story altogether. look, i could write a monograph on this, but that would take time, so let me add some reading material that will elucidate this without sounding quite as fragmented.

bollywood and globalization: indian popular cinema, nation, and diaspora, rini bhattacharya mehta and rajeshwari v. pandharipande (eds)

ideology of the hindi film: a historical construction, madhav prasad

the 'bollywoodization' of the indian cinema: cultural nationalism in a global arena, ashish rajadhyaksha

the globalization of bollywood: an ethnography of non-elite audiences in india, shakuntala rao

indian film, erik barnouw and s. krishnaswamy (this one's a straight history of subcontinental cinema up to the 60s, nothing to do with bollywood, it's just important because the word bollywood never comes up in it despite the heavy focus on hindi films from bombay, illustrating my point)

[importantwomensbirthdays]

Bapsi Sidhwa

Bapsi Sidhwa was born in 1938 in what is now Karachi, Pakistan. Sidhwa is best known for her 1988 novel, Cracking India (also known as Ice Candy Man), which drew on her experiences as a child in Lahore during the 1947 partition of India. The novel brought her international fame, and is regarded as an essential book on the Indian partition. Sidhwa, who emigrated to the US in 1983, has also written about American culture and the immigrant experience, such as in her novel An American Brat. She has won several awards, including the Sitara-i-Imtiaz, Pakistan's highest honor in the arts. Sidhwa's other honors include the David Higham Award and the Lila Wallace-Reader’s Digest Writer’s Award.

[becausegoodheroesdeservekidneys]

Doctor Who, but Chronologically: 39

We have finally escaped the time-loop of 1941! Only to land hard in 1947, a year that is notable for two things:

My dad was born

The Partition of India

Only one of those things is relevant to this episode, which is also a banger, because we have reached Demons of the Punjab

We are back with Jodie Whittaker, Yaz, Ryan and Graham, and this is a Yaz Episode! Which is nice because so far she has been very blank. Unfortunately she remains fairly blank because the episode is actually about her Nan, Umbreen - they go back in time to see Umbreen getting married in Lahore in the 50s. Except they miss and land in 1947 on a tiny farm. But that's okay, Nani is getting married! Except it's to the wrong man - rather than the Muslim grandfather Yaz is expecting, she's about to marry Prem, a dashing Hindu stranger.

And Partition happens. Also there are alien demons about.

It's slightly a shame this is not more of a banger, actually, and it would be if the actors were better and the writing was just a bit more thought out. The problem is that they shied away from being too explicit about the issues involved. Which, you know, I get - this is a British show and Britain is a racist cesspit and wouldn't put up with it, ON TOP OF WHICH they were blatantly aiming for allegory about how fascism is universally bad, like. I do get it.

But it does mean that the central tension - two brothers torn apart by Partition and its subsequent creed-based radicalisation - has nowhere near as much weight as it really should have had, because the Nasty Brother just says very vague strawman things to indicate that Hate Is Universal And Always Bad, rather than making meaningful and incisive points about this particular historical atrocity caused by the British Empire. And that means it ends up being a bit too unclear what his fucking problem is, and why he's ready to commit fratricide.

But it's otherwise a GREAT episode, my god. Beautifully shot, the plot is super simple to let the character work take the lead, and Bradley Walsh emerges as the unlikely Best Actor of All to smash it out of the park with sheer poignancy.

(Also like, I cannot stress enough that the vast majority of British people don't know what Partition is. They do not know. This episode introduced a swathe of British society to a vitally important historic event that this country caused and then deliberately forgot about. This means, oddly, that this stupid watch order triumphs again, because two episodes ago we watched Matt Smith attempt to suck off Churchill down to the balls - now, we get a straight up reference to the mass famine Churchill deliberately inflicted on India, plus the twice-stated statistic that a million people died in Partition. This is one of the most socially important episodes of Doctor Who ever made, I think, which I say non-hyperbolically.)

Anyway the alien demons turn out to be a race who used to be assassins, but their planet was destroyed while they were out doing killings and that, so now they go from place to place and mourn people who die alone and unmourned. They "witness". I like this as an idea. They look pretty cool, too. Except this means people keep seeing them standing over recently-deceased corpses looking like they belong to a Finnish heavy metal band before "vanishing" (trans-matting), and so assume they've murdered said recently-deceased corpse, and so they are now experiencing what I shall call the Absol Effect.

Two thirds into the episode, the Doctor discovers this. I will admit, she could have discovered this much sooner if they'd actually said in the first meeting. In that sense this is like the Testimony mirror people again, who could have prevented most of the episode by actually explaining straight away; but eh. Whatevs. It turns out, though, they're here to witness Prem's death; so the main cast now have to go the rest of the episode knowing this man is going to die tomorrow. As I say: Bradley Walsh's acting. That man can do an amazing wibbly lip, turns out. Fair play Brads.

Umbreen and Prem get married in the morning, but the Nasty Brother has called on a mob to come and kill them. Umbreen and her mam escape, but Prem is murdered in cold blood. It's very moving. My husband cried.

After all of that, though, I don't think we have a single new plot thread? NO WAIT - we do! Ish. The Thijarian ex-assassin professional mourners lost their planet. We've seen that before! Maybe it's connected.

“She” (an unknown person) is returning (perhaps River returned as Missy. Maybe Me? Maybe Clara???!)

There is something on Donna’s back

An entire planet, Pyrovilia, just… disappeared, somehow. (Maybe because the TARDIS is exploding??? Saturnine was also lost, and that WAS because of the TARDIS exploding. The lion man’s planet was also lost but he was a bit of a knob about it if I’m honest. NEW INFO: the Thijarian planet was destroyed by some sort of impact)

Amy is maybe dead (she’s not)

The Doctor has been cubed (he’s out, but how?)

River is possibly blown up  (unless she’s Missy. Nope: she is definitely not blown up)

The TARDIS has blown up  (It’s fine now. Except it’s sort of melting now because it’s corrupted, but it’s fine again)

The universe appears to have ended  (the universe is back again)

The Doctor has employed(?) Nardole

(And Nardole was “reassembled???” Nardole had glass nipples and invisible hair?? WHAT THE FUCK IS HE)

There’s a vault in the TARDIS and it contains Missy but we don’t know why (sometimes she knocks for the bants)

There’s an immortal Viking girl now. Her name is Me and she’s now looking after the people the Doctor abandons

Why was Rory entirely unconcerned by the entire world suddenly going silent when that is Not Normal and should have been, at the very least, extremely disconcerting?

What did the Doctor do to Queen Lizzie One?

Why is Amy seeing a one-eyed woman in a vanishing window? (She’s with the Silents, but we don’t know why Amy saw her)

Why is Amy’s pregnancy inconclusive? (Maybe because the baby had Time Lord DNA?)

Who is Sarah-Jane Smith?

How is the Doctor Bill’s teacher and why/where does he have an office?

What is going on with the Cyber War and the Cyberium???

What happened with the Other Cyber War?

What happened with the Third War that deleted the void?

Why does Rose seem particularly important?

What order do these Doctors go in? (Eccleston, Tennant, uncertain, Smith, Capaldi, Whittaker)

Which companion just… forgot the Doctor, and how?

Yaz and Vinder are about to die as Mori/Mwri/Muuri

There is a Lupari shield around Earth.

What’s a Time War?

What’s the Rift?

What’s Bad Wolf?

In which war did the Doctor become a war criminal, and how?

Who is the Master?

Why has Amy forgotten Rory? How did she forget a Dalek invasion?

Is Rory plastic or not?

Why is the Doctor sulking on a cloud?

How exactly does the Doctor have a cloud?

What exactly happened with Strax to, uh, tame him?

Which friend killed Strax?

Which friend brought Strax back?

Where did this lesbian lizard and human couple come from?

What happened with Clara as Souffle Girl and the Daleks?

How does Clara actually join?

Why so many Claras?

Why is Missy apparently in robo-heaven?

Why is probably!Missy pushing Clara and the Doctor together?

What is Trensilor and what happened there?

Who is Handles?

The Doctor is about to be dissolved by a beautiful geode man

The universe is being crushed by the Flux

Will the Doctor open the fobwatch?

Sontarans are invading Earth again

Who is Kate?

Who is Osgood? Another name of Clara’s again?

The fuck is the deal with the Grand Serpent

Does Martha get to go to an ice cream planet with 12-fingered massage aliens?

How did the Doctor forget Clara?

Who is Bill’s puddle girlfriend Heather?

How did Nardole die?

When does Bill get Cyberman-ed and die?

When does the Doctor shrink and enter a Dalek called Rusty?

Whittaker is falling to her death rn

Was that ring relevant?

Does anyone know the Doctor’s name?

When did Yaz talk to Dan about fancying the Doctor?

When did Dan talk to the Doctor about fancying Yaz?

What’s happening with the bees?

What happened with Donna’s ex and a giant spider?

What war wiped out the Daleks, and is it one of the ones already mentioned?

What did the Doctor mean when he said “The (Daleks) always live, while I lose everything?”

If Dalek Caan is the last Dalek left why are there more now?

How did the rest of the Time Lords die?

How and why did Amy melt?

What’s the question that will make silence fall?

Why do the Silents… want silence to fall?

How and why are Silents at war with the Doctor when he… hasn’t even heard of them?

How does Hitler get out of the cupboard?

What’s the significance of fish fingers and custard?

Why does the Doctor feel guilt about Rose, Martha and Donna?

What happened with the space whale?

When does Rory defend Amy for 2000 years?

How does the Doctor survive River

How does he erase himself from history

Did Captain Jack lose his memories to the same people as the Doctor? What did he lose?

When did the Doctor send the Daleks into a void to save the universe?

What’s with the weird crack in the wall and is it affecting memories?

Why do Amy and Rory think the Doctor is dead?

Is Matt Smith’s Doctor a tree racist?

[ingek73]

India archive reveals extent of ‘colonial loot’ in royal jewellery collection

File from India Office archive details how priceless items were extracted from colony as trophies of conquest

by David Pegg and Manisha Ganguly

Published: 14:00 Thursday, 06 April 2023

Five years ago, Buckingham Palace marked its summer opening with an exhibition celebrating the then Prince Charles’s 70th birthday with a display of his favourite pieces from the royal collection, Britain’s official trove of items connected to the monarchy. “The prince had a very, very strong hand in the selection,” the senior curator said.

Among the sculptures, paintings and other exhibits was a long gold girdle inlaid with 19 large emeralds once used by an Indian maharajah to decorate his horses. It was a curious choice to put into the exhibition in light of the violent means by which it had come into the hands of the royal family.

Emerald girdle of Maharaja Sher Singh, c 1840. Photograph: Royal Collection Trust / © His Majesty King Charles III 2023

As part of its Cost of the crown series, the Guardian has uncovered a remarkable 46-page file in the archives of the India Office, the government department that was responsible for Britain’s rule over the Indian subcontinent. It details an investigation, apparently commissioned by Queen Mary, the grandmother of Elizabeth II, into the imperial origins of her jewels.

The report, from 1912, explains how priceless pieces, including Charles’s emerald belt, were extracted from India as trophies of conquest and later given to Queen Victoria. The items described are now owned by the monarch as property of the British crown.

Plundered stones

To fully understand the context behind the jewels, and their place in India’s history, it was necessary to visit the archives.

A journal records a tour in 1837 of the Punjab area in north India by the society diarist Fanny Eden and her brother George, the governor general of the British Raj at the time. They visited Ranjit Singh, the maharajah in Lahore, who had signed a “treaty of friendship” with the British six years earlier.

The half-blind Singh wore few if any precious stones, Eden wrote in her journal, but his entourage was positively drowning in them. So plentiful were the maharajah’s gems that “he puts his very finest jewels on his horses, and the splendour of their harness and housings surpasses anything you can imagine,” she wrote. Eden later confided in her journal: “If ever we are allowed to plunder this kingdom, I shall go straight to their stables.”

Twelve years later, Singh’s youngest son and heir, Duleep, was forced to sign over the Punjab to the conquering forces of the British East India Company. As part of the conquest, the company did indeed plunder the horses’ emeralds, as well as Singh’s most precious stone, the legendary Koh-i-noor diamond.

The queen mother’s crown sits on top of the coffin during her funeral in 2002. Photograph: Dan Chung/The Guardian

Today, the Koh-i-noor sits in the crown of Queen Elizabeth the Queen Mother, on display at the Tower of London, and it has become an emblem of Britain’s tortured relationship with its imperial history.

Anita Anand, a journalist and historian who co-wrote a book titled Koh-i-noor on the diamond, said it was “a beautiful and cold reminder of British supremacy during the Raj”, the period between 1858 and 1947 when India was ruled by the crown.

“Its facets reflect the fate of a boy king who was separated from his mother,” Anand said. The stone too was “taken far away from his home, recut and diminished”. Anand said: “That is not how India sees itself today.”

Buckingham Palace is plainly aware of the sensitivities surrounding looted artefacts. After the Indian government let it be known that for Camilla, the Queen Consort, to wear the Koh-i-noor at Charles’s coronation would elicit “painful memories of the colonial past”, the palace announced she would swap it for a less contentious diamond.

But, as was discovered by Queen Mary, the Koh-i-noor was not the only gem taken from Singh’s treasury to have found its way to the British monarchy.

Royal with a pearl necklace

Among the jewels identified in the document found by the Guardian is a “short necklace of four very large spinel rubies”, the largest of which is a 325.5-carat spinel that later came to be identified as the Timur ruby.

Its famous name is erroneous: research by the academic Susan Stronge in 1996 concluded it was probably never owned by Timur, a Mongol conquerer. And it is a spinel, a red stone similar to, but chemically distinct from, a ruby.

Elizabeth II was shown handling it in the 1969 BBC documentary Royal Family, and was clearly acquainted with the myths surrounding it. “The history, of course, is very fascinating. It belonged to so many kings of Persia and Mughal emperors, until Queen Victoria was sent it from India,” she observed.

The Timur ruby necklace, 1853. Photograph: Royal Collection Trust / © His Majesty King Charles III 2023

The queen was never pictured wearing the item. However, she may have worn another of the Lahore treasures, identified in the India Office report as “a pearl necklace consisting of 224 large pearls”.

In her 1987 study of royal jewellery, Leslie Field described “one of the Queen Mother’s most impressive two-row pearl necklaces … made from 222 pearls with a clasp of two magnificent rubies surrounded by diamonds that had originally belonged to the ruler of the Punjab” – almost certainly a reference to the same necklace.

The queen wearing pearls at the Royal Opera House in 2012. Photograph: AFP/Getty Images

In 2012, Elizabeth II attended a gala festival at the Royal Opera House in London to celebrate her diamond jubilee. Photographs showed her wearing a multi-string pearl necklace with a ruby clasp.

Were these Ranjit Singh’s pearls? There was speculation they may have been, though Buckingham Palace was unable to confirm either way.

Queen Mary’s interest appears to have been prompted by curiosity about the origin of some of her pearls rather than any moral concern about the manner in which they were obtained. But a Buckingham Palace spokesperson said slavery and colonialism were matters that “his Majesty takes profoundly seriously”.

Shashi Tharoor, formerly an undersecretary at the United Nations, and currently an MP in India, said: “We have finally entered an era where colonial loot and pillage is being recognised for what it really was, rather than being dressed up as the incidental spoils of some noble ‘civilising mission’.

“As we are seeing increasingly, the return of stolen property is always a good thing. Generations to come will wonder why it took civilised nations so long to do the right thing.”

[starlightshadowsworld]

Pakistani Steve Harrington

This is how I imagine Steve's parents.

And subsequently his grandparents.

Steve's mother is Maira (My-rah) Harrington

And his father is Arun (Ah-roon) Harrington

Though they both tell everyone their names are Maria and Aaron.

Both come from villages in Pakistan but if asked they both say they come from Lahore.

Both of their fathers are actually old friends.

Having both come to America on the same boat after the Partition.

Which for Pakistan is the 14th August 1947.

They were both two men coming to a new country, leaving their wives behind.

And both became close friends. As did their wives, Arun and Maira's mother's from helping each other in their husbands absences.

Though they both joke that they hated for years.

The two men both worked together in America on contracts for before coming back home when they ran out.

During that time families were grown.

Arun had an older brother and two younger sisters.

Maira had 2 younger brothers and a younger sister.

Arun was sent to America with his older brother to study. They lived with their uncle.

Though years later Arun's father made the journey bringing Arun's mother and his sisters.

Maira came soon after, Arun's father had found work for him and her father so he went back.

Though it was several months before he could send for his wife and kids.

Arun attended school, graduated and than went to work for his father.

Maira attended school but dropped out at 15.

Taking up a position as a seamstress to help support her family.

Arun and Maira were arranged to be married after Arun had graduated.

Being friends, their parents really wanted their kids to end up together.

Arun and Maira agreed, having known the other and wanting to please their parents.

Arun continued to work for his father and uncle and Maira quit her job.

In time Maira's mother went back home to care for her elderly parents.

And Arun's father went back to expand the buisness, going back and fourth from America and Pakistan.

Steve was born on the 4th July 1966.

He was named Steve because his parents feared that having an "abnormal" name would lead him to be ostracised.

Maira looked after Steve and they were both really close. She taught him their culture but also how to hide his heritage.

It started for his own safety but became you are in America, act like it.

She has lovely brown skin but would cover it up with fair and lovely products.

Showing her son how to apply it so he could be handsome and fair.

She taught him Urdu, English wasn't to be used in the home.

Although both his parents would get annoyed at how slow his English was coming along.

Arun was a distant figure, always working and held Steve to a high standard as his only child and son.

They do have fond memories but not many.

Maira stayed at home with Steve, doing charity work and such.

Until she found out Arun was cheating on her with his secretary.

And took to going with him on his trips.

Steve's grandmother, Arun's mother babysat him though this stopped when he turned 10.

As both of his parents thought him to be tall enough and old enough to look after himself.

Citing that they had looked after themselves when their parents had been working.

And Steve was too soft compared to them. Didn't know the value of hard work and was too coddled.

So this would fix that.

Basically both Steve's parents were bought up by parents who were proud of their heritage.

So were they but as time went on, businesses booming and such they both lost their connection to their roots.

That is why Steve was bought up knowing Urdu frequently as his first language.

And would happily talk to his grandparents in it.

While also taught that being fair skin and having a western name is a good thing.

As Steve grew into his own person he found himself and his heritage.

[mariam-olivera]

The History of Charity Organizations in Pakistan: A Timeline

Charity organizations have been a cornerstone of Pakistan's social welfare system, contributing significantly to the country's development. From the early years post-independence to the modern era, these organizations have addressed critical needs and fostered community growth. This article provides a detailed timeline of the evolution of charity organizations in Pakistan, highlighting their contributions and impact.

1947-1960: The Birth of a Nation and Early Philanthropic Efforts

Post-Independence Relief Efforts

The partition of India in 1947 resulted in mass migrations, violence, and displacement, necessitating immediate relief efforts. In response, several charity organizations were established to provide essential services. The All Pakistan Women's Association (APWA), founded in 1949 by Begum Ra'ana Liaquat Ali Khan, was among the first to focus on women and children's welfare. APWA provided critical healthcare, education, and vocational training to women affected by the partition.

Establishment of the Edhi Foundation

In 1951, Abdul Sattar Edhi founded the Edhi Foundation, starting with a small dispensary. Over time, it grew into Pakistan's largest charity organization, offering a wide range of services, including ambulances, orphanages, and shelters for the homeless. The Edhi Foundation became a symbol of selfless service, setting a standard for future philanthropic endeavors in Pakistan.

1960-1980: Expansion and Institutionalization of Charity Work

Growth of Health and Education Initiatives

The 1960s and 1970s saw significant growth in charity work, with a focus on health and education. The Aga Khan Foundation, established in 1967, played a vital role in improving healthcare and education across Pakistan. The foundation's initiatives in rural development and healthcare set a precedent for structured and institutionalized philanthropy.

The Role of Religious Organizations

During this period, religious organizations like Jamaat-e-Islami and Tableeghi Jamaat expanded their charitable activities, especially in rural areas. These organizations established schools, clinics, and vocational centers, extending the reach of charity work throughout the country.

Launch of the Shaukat Khanum Memorial Trust

In 1985, Imran Khan launched the Shaukat Khanum Memorial Trust in memory of his mother. The trust focused on providing free cancer treatment to the underprivileged, culminating in the establishment of Pakistan's first cancer hospital in Lahore in 1994. This initiative marked a major milestone in healthcare philanthropy in Pakistan.

1980-2000: A Period of Consolidation and Growth

Zakat and the Role of Government

The 1980s brought the Zakat Ordinance, introduced under General Zia-ul-Haq, which mandated Zakat deductions from savings accounts to support the poor and needy. While this system aimed to institutionalize charity, it sparked debates about the efficiency of state-controlled charity versus independent organizations.

Formation of the Pakistan Centre for Philanthropy

In 2001, the Pakistan Centre for Philanthropy (PCP) was established to enhance the effectiveness of philanthropy in the country. The PCP focused on capacity building for non-profit organizations, promoting transparency, and fostering corporate philanthropy as part of corporate social responsibility (CSR) initiatives.

The Role of International NGOs

During this time, international NGOs such as Save the Children, CARE International, and Oxfam became increasingly active in Pakistan. These organizations worked on disaster relief, education, and women's rights, contributing significantly to the growth of the charity sector in Pakistan.

Present: The Modern Era of Charity and Philanthropy

Shifa Foundation's Contribution to Health and Social Services

Shifa Foundation has been a leading force in Pakistan's humanitarian landscape for over three decades. With a focus on healthcare, environmental initiatives, water and sanitation projects, disaster response, and educational volunteer programs, Shifa Foundation has positively impacted the lives of over 8 million people across Pakistan. Their work in providing essential services has been instrumental in improving the quality of life for countless individuals.

Rise of Technology-Driven Philanthropy

The internet and social media have transformed charity organizations in Pakistan. Platforms like Aurat Foundation, Saylani Welfare International Trust, and Akhuwat use technology to reach broader audiences and raise funds efficiently. Online donations, crowdfunding, and social media campaigns have increased donations and volunteer participation.

Impact of Natural Disasters

Natural disasters such as the 2005 earthquake and the 2010 floods underscored the importance of charity organizations in disaster response and recovery. The Pakistan Red Crescent Society, Al-Khidmat Foundation, and Edhi Foundation played critical roles in providing relief and rehabilitation to affected communities.

Focus on Sustainable Development

In recent years, there has been a growing focus on sustainable development in the charity sector. Organizations like the Citizen's Foundation (TCF), which operates a vast network of schools for underprivileged children, are leading the way in providing long-term solutions to poverty, education, and healthcare.

The Future of Charity Organizations in Pakistan

The future of charity organizations in Pakistan is bright, with increasing emphasis on innovation, transparency, and collaboration. As the sector evolves, partnerships between the government, private sector, and non-profits will be crucial in addressing the country's challenges. The use of technology and a focus on sustainable development will continue to drive the impact of charity organizations.

[bhaskarlive]

Ali Fazal thrilled to work with ‘unique’ filmmakers Aamir Khan, Mani Ratnam, and Anurag Basu

Actor Ali Fazal, who has a diverse lineup of films such as ‘Lahore 1947’, ‘Metro In Dino’, and ‘Thug Life’ and who recently became a father, calls himself fortunate and is thrilled to be working with renowned names such as Aamir Khan, Rajkumar Santoshi, Mani Ratnam, and Anurag Basu in these upcoming projects.

Source: bhaskarlive.in

[bollywoodirect]

Today marks the 20th death anniversary of Uma Devi Khatri aka #TunTun. She was a well-known singer and actress, famous for being the first female comedian in Hindi cinema. Uma was born in 1923 in a small village near Amroha, Uttar Pradesh, India. Tragically, her parents and brother were killed over a land dispute. Uma lost her family when she was very young and had to live as a maid with relatives. Despite these hardships, Uma's life changed when she met Akhtar Abbas Kazi, an Excise Duty Inspector, who supported and encouraged her. During the India-Pakistan partition, Kazi moved to Lahore, but Uma went to Bombay (now Mumbai) to pursue a singing career in movies. They later married in Bombay in 1947. Uma bravely approached composer Naushad Ali in Bombay, asking for a chance to sing, and he gave her an opportunity. She debuted as a singer in the film "Wamiq Azra" (1946) and quickly made a name for herself. Uma had a series of hit songs in the 1940s, including in the movie "Dard" (1947). Her singing career flourished, and she became one of the top playback singers. However, as music styles changed, she found it hard to compete with newer singers. Naushad suggested she try acting, and she debuted in the film "Babul" (1950) alongside Dilip Kumar, where she got her stage name "Tun Tun." Tun Tun became a famous comic actor, appearing in many films over the next decades, including with stars like Amitabh Bachchan. She acted in about 198 films in various languages, becoming a well-loved figure in Bollywood comedy. Her last film appearance was in "Kasam Dhande Ki" (1990). Tun Tun's name became a cultural reference in India, often associated with comic characters.

[playermagic23]

EXCLUSIVE: Despite the jail sentence, Rajkumar Santoshi has not gone behind bars and can file an appeal; lawyer of the complainant shares details; Santoshi’s lawyer releases statement

Yesterday, Bollywood Hungama was one of the first websites to break the news that a Jamnagar court has sentenced Rajkumar Santoshi to jail for two years in a cheque bounce case. At the same time, the court also ordered the filmmaker to deposit double the amount that the filmmaker owed the complainant. The news spread like wild fire and many assumed that Rajkumar had gone behind bars already. Bollywood Hungama has learned that the acclaimed filmmaker has the right to file an appeal and thus save himself from going to jail.

The complainant, Ashok Lal, a resident of Jamnagar and the owner of Shreeji Shipping, had loaned Rajkumar Santoshi Rs. 1.10 crore in 2015 for a film. To repay the loan, Rajkumar gave Ashok Lal 11 cheques of Rs. 10 lakhs each. These cheques bounced in December 2016. The complainant at first tried to establish contact with the filmmaker over this matter. When he failed to do so, Ashok Lal filed the suit under the Negotiable Instruments Act.

Bollywood Hungama exclusively spoke to Piyush Bhojani, the advocate for Ashok Lal. Piyush confirmed that Rajkumar Santoshi was not present during the hearing on February 17. He also explained, “The maximum imprisonment in such negotiable cases is two years and the maximum fine is double the amount owed. Once the judgment is announced, the accused gets a period of 30 days to file an appeal. After filing the appeal, he has to deposit 20% of the amount. In other words, he’s bound to deposit Rs. 22 lakhs. If he fails to do so, he’ll be imprisoned.” He continued, “If we win after he files the appeal, he’ll go to the High Court where again, he’ll have to deposit 20% of the amount.”

Piyush Bhojani also revealed that this was not the first case against Rajkumar Santoshi by the complainant, “Three cases were also filed against him in 2014.” When asked how both parties met, he replied, “Mr Ashok Lal is a businessman. He also has an office and residence in Mumbai. They met and became friends. In the past, Mr Santoshi had taken the loan several times but he had always returned the amount within the stipulated time. This time, however, he defaulted.”

Rajkumar Santoshi even skipped hearings several times. In April 2023, he had to attend the hearing after a bailable warrant was issued against him. Piyush Bhojani stated, “He came for the hearings twice. He had to come when the case was filed in 2017. It's mandatory. Then he attended a hearing last year. This time probably, he was aware that he’d be punished. Hence, he skipped attending the hearing. But now, he’ll have to attend to file the appeal. It can’t be done without his presence.”

The chances of Rajkumar Santoshi going behind bars are unlikely, said the lawyer, “Very few people go to jail in such cases.” He added, “Mr Ashok Lal is ultra-rich and has his own private jet. The amount was not a significant one for him. But this case was important for us so that a message is sent loud and clear to everyone that if they try to run away with his money, he/she will be punished.”

Meanwhile, Rajkumar Santoshi's advocate, Binesh Patel, released a statement, “First of all, the court has stayed its judgement for 30 days and has granted Mr Santoshi bail after we sought time to appeal against the judgement at a higher forum. The prosecution didn't produce any documentary evidence to prove that Mr Santoshi had taken money at all. The prosecution itself has admitted that a third party had collected the said money from the complainant. In return, the third party had provided altered eleven cheques of Rs.10 lakhs each, which Mr Santoshi was not aware of. The magisterial court overlooked these facts and ruled against us. Therefore, on the grounds of invalid and false claims, alterations happened in the cheques. The fact is that the complainants do not want to present or call in the said third party who had collected the money, about whom Mr Santoshi does not know. So, we shall appeal at a higher forum with the above-highlighted points and even more.”

[paulpingminho]