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Monday, 30 September 2019
Lata Mangeshkar : Ageless Nightingale
rrangement styles in Hindi cinema were changing, too. Large orchestras continued, but the emphasis was on clarity. The definition of taboo was also under the radar, and women's sexuality was not something to be ashamed of. Hence you had the sanctimonious heroine (not the spirited free soul of Anjali in Jewel Thief, 1967) singing something as direct as Bahon mein chale aao (Anamika, 1973, composer RD Burman). In a way, Lata was competition to Asha, as she had entered her domain and by most accounts, defined the gold standard in the genre Asha habitually dominated.If her gayaki in the 1950s was of someone not yet out of her teens, and the 1960s was like of a happy-yet-teary-eyed soul (most evident in her pathos-laden songs of Madan Mohan), the 1970s found a Lata who had seen the world. Her emotions were more controlled. Hai tere saath meri wafa (Hindustan ki Kasam, 1973) is a perfect example of a sad song where emotions are never over the top. While the credit goes to Madan Mohan for the soulful composition, Lata's no-nonsense style of emoting and holding on to long notes deserves no lesser applause.Long notes were gradually getting acceptance as part of mainstream music. In as much that composers Laxmikant Pyarelal who prided themselves on a genre which was a mix of Madan Mohan, C. Ramchandra and Shankar Jaikishan, in a deviation from their normal style, composed many songs for Lata with long and sometimes fast-changing notes. Roz sham aati thee (Imtihaan, 1974) is one such composition, robustly and interestingly structured, where you tend to run out of breath between phrases. Lata negotiated the notes with a skill so divine that it is nigh difficult to imagine anyone replicating the same - without taking resort to a false voice.Suffice to say, there was hardly any limitation in the Lata of the 1970s. From the devout (Tera mera saath rahe, Saudagar, 1973, composer Ravindra Jain) to the sensuous (Pal bhar me ye kya ho gaya, Swami, 1977, composer Rajesh Roshan); from the haunting (Sun man ke meet, Mrig Trishna, 1975, composer Shambhu Sen) to the spirited (Abhi abhi thee dushmani, Zakhmee, 1975, composer Bappi Lahiri); from the panoramically romantic - Nainon mein darpan hai (Aarop, 1974, composer Bhupen Hazarika) to the overly teasing (one just needs to hear her modulation in Aaja ke kho jaye khwabon khayalon mein in Yeh mausam aaya hai, Aakraman, 1975, composers Laxmikant Pyarelal), she ran the entire gamut of emotions in a dazzling manner.With the perceptive mind of a 40 something but with the heart modulated to the colour of the song. One must admit that the voice, with age, had become slightly brittle. One cannot defy nature. But Lata's natural ability was at such a high level that mere physical constraints failed to become arduous barriers. A song like Yeh dil aur unki nigahon ke saaye (Prem Parbat, 1973, composer Jaidev) could have been one of the most visited videos on YouTube ever had the film not been destroyed in a fire.Nostalgia is like a soothing balm for restive nerves. However, it could be criminally imperceptive in places where objective vision is mandated. The critics, blindfolded by political correctness, were badly mistaken in their estimation of Lata's prowess. The voice of Lata which they identify with was the voice of the schoolgirl, or the young wife. They wanted it to remain that way. Instead, Lata pushed back the boundaries of music with her mind-boggling skill. And dedication. Her 1970s songs remain among the most heard ones, and incidentally, among the most loved ones too. Even today, when she steps into her 90s.That Filmfare event had one of the best musical shows ever. Lata, draped in customary white, sang a few songs, including the raging hit around that time, Bindiya Chamkegi (Do Raaste). The male singer on stage was the Filmfare award winner that year, Kishore Kumar. Apart from Roop tera mastana (Aradhana), his award-winning song, he also sang Mere naseeb mein ae dost (Do Raaste). Lata and he presented a study in contrast. Lata, the disciplinarian, had her song book in her right hand. Kishore sang without lyrics and made a mistake too in Mere naseeb mein. Except during the interludes, Lata hardly moved away from the mike, holding on to the stand with her left hand. Kishore carried the mike with him, and moved around on the stage, especially during Roop tera mastana. After the parting song, Accha toh hum chalte hain (Aan Milo Sajna, 1970, a film not yet released then), Kishore left from the right side of the stage, Lata from the left. Lata's decision to quit Filmfare awards was announced just after that.Kishore, who was dressed in a maroon kurta and a white dhoti, had changed to a suit and a tie and was later found signing Vijay Merchant's autograph book. Merchant was not only a cricketing great, he was a very close friend of Lata's. It was as if Lata was passing on the baton to her co-singer, who would, in a few years, host continuous shows at Shanmukhananda Hall.And always charge one rupee less than Lata for playback assignments.(The writer thanks Dr Mandar Bichu and Kaustubh C. Pingle for additional information) The months of April and May are touted to be hottest of the year in Bombay. Dreadfully humid as well. It was probably no different on the evening of April 19, 1970. However, bad weather was hardly a deterrent for half of the Bombay film fraternity to land up at the Shanmukhananda Hall. It was the Annual Filmfare awards, and barring a few like Shammi Kapoor and chief guest Satyajit Ray, most men were in suits. Unlike the Oscars, the winners were no secret, but that hardly mattered to the folks who would congregate. Being at the Filmfare awards night was then a matter of prestige. The 1970 ceremony boasted of some novel shows. The Director's Dilemma and The Grandfathers' Ghost were skits directed by Deven Varma and acted by fresh FTII passouts, including Asrani, Suresh Chatwal, Baldev Khosa (who later became an MLA from Bombay) and Subhash Ghai. Of great interest to the audience was a cabaret performance by Padma Khanna, choreographed by Gopi Krishna. Khanna's best-known dance item, the striptease choreographed by Suresh Bhatt in Johny Mera Naam, was yet to hit the screens.But the pièce de résistance was reserved for the grand finale, when there would be music. Lata Mangeshkar, who had won the best female singer award for Aap mujhe aache lagne lage (Jeene ki Raah) would sing. Minutes after she had left the stage, it was announced, to the surprise of the 3,000 and odd people present - including Laxmikant and Pyarelal who were on stage conducting the orchestra - that Lata, henceforth, had decided to retire from being nominated at the Filmfare awards.Why did Lata, who had won four best singer Filmfare awards by then, decide to call it a day? Nobody knows, but the official version remains that she wanted to create space for the appreciation of fresh voices. On the flipside, the story which had spread was that Lata was not the great singer she was in her prime. After all, she had crossed 50 and was on a tipping point. The 1970s, as per some senior music critics and aficionados, saw the downfall of Lata. Many still feel she should have retired before the 1970s. How Lata has proved them all wrong. Horribly off beam. DailyhuntDisclaimer: This story is auto-aggregated by a computer program and has not been created or edited by Dailyhunt. Publisher: The Telegraphhttp://theseasonedcook.com/UserProfile/tabid/42/userId/1070826/Default.aspx
ABVP protests at DU college over 'Krishna comment' by student
During the session, Kunwar had spoken to students on 'Patriarchy and Women Resistance in India: A historical inquiry'. ABVP state media in-charge Ashutosh Singh claimed: 'We expressed dissatisfaction regarding the unresponsive behaviour of the administration, and for taking no action against the 'study circle' organised by Left-affiliated students' groups without approval. It is pertinent to point out that a professor of Hindi… has been trying to indoctrinate students in values that are at variance with Indian civilisational ethos.' Sonakshi Dogra, ABVP unit president of the college, said, 'When the entire nation is celebrating Navratri, such insidious conduct of the accused professor points to a surreptitious plan to… perpetuate communal disharmony on campus.' Kunwar, however, said the controversy was politically motivated: 'I never made any such comment on Facebook or on social media. These are concocted stories which are politically motivated to end the space for free speech on campus.' He said the department will hold a meeting Tuesday to discuss the matter. Ashutosh Dubey, a final-year student, claimed, 'We came out to support Rajeev sir but the ABVP beat us up.' He said they were waiting to lodge a police complaint. Principal I S Bakshi did not respond to calls and texts by The Indian Express. DailyhuntDisclaimer: This story is auto-aggregated by a computer program and has not been created or edited by Dailyhunt. Publisher: The Indian Expresshttps://www.mobypicture.com/user/zubedjenehs
Happy birthday Lata Mangeshkar: An exhaustive playlist of her 20 favourite tracks
In 1974, she became the first Indian to perform in the Royal Albert Hall. President Ram Nath Kovind meets Bollywood singer Lata Mangeshkar at her residence in Mumbai. ( ANI ) Lata Mangeshkar says she had temper issues as a child: 'I would get angry very quickly. This changed as I grew older' She talked about her one flaw in an interview recently. 'My biggest personality flaw was my fierce temper. Even as a child I had a major temper issue. I would get angry very quickly. This changed as I grew older. Then there came a time when my temper vanished. Now I don't get angry at all. I sometimes wonder what happened to my fierce temper,' she told IANS. Lata has lent her voice to four generations of leading ladies in Bollywood: an unparalleled achievement for any singer anywhere at any point of human history! 'I have very beautiful memories attached with almost all my songs,' says Mangeshkar, reclusive but still graceful at 84. 'But there are a few which are personal favourites.' To celebrate the Indian nightingale's birthday, we bring you her favourite 20 songs from her own discography: 1. Tu jahan jahan chalega (Mera Saaya, 1966)Music: Madan Mohan. Lyrics: Raja Mehdi Ali Khan 'It's a beautiful composition by Madan bhaiya about yearning for a loved one that you have lost. Exceptionally touching and close to my heart.' 2. Lag jaa gale (Woh Kaun Thi, 1964)Music: Madan Mohan. Lyrics: Raja Mehdi Ali Khan var embedId = {jw:[],yt:[],dm:[]};function pauseVideos(vid){var players=Object.keys(embedId); players.forEach(function (key){var ids=embedId[key]; switch (key){case "jw": ids.forEach(function (id){if (id !=vid){var player = jwplayer(id); if(player.getState() === "playing"){player.pause();}}}); break; case "yt": ids.forEach(function (id){if (id !=vid){id.pauseVideo();}}); break;case "dm": ids.forEach(function (id){if (id !=vid && !id.paused){id.pause();}}); break;}});}var ytOnLoadFn=[];function onYouTubePlayerAPIReady(){ytOnLoadFn.forEach(function(name){window[name]();});}function onYTEmbedLoad(ytp){embedId.yt.push(ytp);ytp.addEventListener("onStateChange", function(event){if(event.data === YT.PlayerState.PLAYING)pauseVideos(ytp);});}function pause(){pauseVideos()}function ytTFr6G5zveS8(){var p = new YT.Player("div_TFr6G5zveS8", {height: document.getElementById("div_TFr6G5zveS8").offsetWidth * (9/16),width: document.getElementById("div_TFr6G5zveS8").offsetWidth,videoId: "TFr6G5zveS8"}); onYTEmbedLoad(p)} ytOnLoadFn.push("ytTFr6G5zveS8"); 'Sometimes a song is either lyrically heavy or melodically strong. At times, it's both but tends to lose impact when picturised. It also happens that a song is badly written and scored but is visually so stunning that it leaves an impression on our heart and mind. This song has all those three elements.' 3. Aaja re pardesi (Madhumati, 1958) Music: Salil Chowdhury. Lyrics: Shailendra function ytMm21SSgUHe8(){var p = new YT.Player("div_Mm21SSgUHe8", {height: document.getElementById("div_Mm21SSgUHe8").offsetWidth * (9/16),width: document.getElementById("div_Mm21SSgUHe8").offsetWidth,videoId: "Mm21SSgUHe8"}); onYTEmbedLoad(p)} ytOnLoadFn.push("ytMm21SSgUHe8"); 'This was my first super-hit and it scores on lyrics, tune and acting.' 4. Rahe na rahe hum (Mamta, 1966) Music: Roshan Lyrics: Majrooh Sultanpuri function ytBDAyzXC_ayE(){var p = new YT.Player("div_BDAyzXC-ayE", {height: document.getElementById("div_BDAyzXC-ayE").offsetWidth * (9/16),width: document.getElementById("div_BDAyzXC-ayE").offsetWidth,videoId: "BDAyzXC-ayE"}); onYTEmbedLoad(p)} ytOnLoadFn.push("ytBDAyzXC_ayE"); 'The music and lyrics make for a great composition.' 5. Ja re ud jaare panchi (Maya, 1961) Music: Salil Chowdhury. Lyrics: Majrooh Sultanpuri function ytYTMxRVtgLy4(){var p = new YT.Player("div_YTMxRVtgLy4", {height: document.getElementById("div_YTMxRVtgLy4").offsetWidth * (9/16),width: document.getElementById("div_YTMxRVtgLy4").offsetWidth,videoId: "YTMxRVtgLy4"}); onYTEmbedLoad(p)} ytOnLoadFn.push("ytYTMxRVtgLy4"); 'The entire package (music, lyrics and my rendition) has a heart-touching quality. I love the use of the saxophone.' 6. O sajna, barkha bahaar aayi (Parakh 1960). Music: Salil Chowdhury. Lyrics: Shailendra function yt5a7l2UzZ654(){var p = new YT.Player("div_5a7l2UzZ654", {height: document.getElementById("div_5a7l2UzZ654").offsetWidth * (9/16),width: document.getElementById("div_5a7l2UzZ654").offsetWidth,videoId: "5a7l2UzZ654"}); onYTEmbedLoad(p)} ytOnLoadFn.push("yt5a7l2UzZ654"); 'I'm in love with this song. Salilda composed it beautifully and blended it with the lyrics by Shailendraji, while Bimal Roy's camera-work (pictured on Sadhana), with close-ups of the rain, were outstanding. This melody is also unforgettable because of the contributions of people like Abdul Halim Jaffar Khan, who provided the accompanying instrumentation with the sitar beautifully.' 7. Aaega aanewala (Mahal, 1949). Music: Khemchand Prakash. Lyrics: Nakhshab Jaaravchi function yt1MzF70ca7lQ(){var p = new YT.Player("div_1MzF70ca7lQ", {height: document.getElementById("div_1MzF70ca7lQ").offsetWidth * (9/16),width: document.getElementById("div_1MzF70ca7lQ").offsetWidth,videoId: "1MzF70ca7lQ"}); onYTEmbedLoad(p)} ytOnLoadFn.push("yt1MzF70ca7lQ"); 'It was one of my first major hits. The lip-syncing on screen by Madhubala added a special allure to the song and set the ball rolling for other hits.' 8. Pyaar kiya toh darna kya (Mughal-e-Azam, 1960). Music: Naushad. Lyrics: Shakeel Badayuni function yt6Au_J6jHKE0(){var p = new YT.Player("div_6Au_J6jHKE0", {height: document.getElementById("div_6Au_J6jHKE0").offsetWidth * (9/16),width: document.getElementById("div_6Au_J6jHKE0").offsetWidth,videoId: "6Au_J6jHKE0"}); onYTEmbedLoad(p)} ytOnLoadFn.push("yt6Au_J6jHKE0"); 'I love the song's lyrics, music, choreography and the mood. Many rebellious emotions are conveyed through it.' 9. Allah tero naam (Hum Dono, 1961). Music: Jaidev. Lyrics: Sahir Ludhianvi function ytprJ9NbOycEI(){var p = new YT.Player("div_prJ9NbOycEI", {height: document.getElementById("div_prJ9NbOycEI").offsetWidth * (9/16),width: document.getElementById("div_prJ9NbOycEI").offsetWidth,videoId: "prJ9NbOycEI"}); onYTEmbedLoad(p)} ytOnLoadFn.push("ytprJ9NbOycEI"); 'Perhaps the most melodious and all-encompassing prayer for humanity. Gandhiji philosophy: 'sabko sanmati de bhagwan,' appeals to me. The lyrics touch your heart and the enchanting music fills my heart with hope.' 10. Zara si aahat hoti (Haqeeqat, 1964). Music: Madan Mohan. Lyrics: Kaifi Azmi function ytM_EzAo_3Pjc(){var p = new YT.Player("div_M-EzAo_3Pjc", {height: document.getElementById("div_M-EzAo_3Pjc").offsetWidth * (9/16),width: document.getElementById("div_M-EzAo_3Pjc").offsetWidth,videoId: "M-EzAo_3Pjc"}); onYTEmbedLoad(p)} ytOnLoadFn.push("ytM_EzAo_3Pjc"); 'Kaifi saheb's lyrics are haunting. Madan bhaiya created some fine nuances even though the tune was simple. The melody stays with you long after you have heard the song.' 11. Ae dil-e-nadaan (Razia Sultan, 1983). Music: Khayyam. Lyrics: Jan Nisar Akhtar function ytkvuhU5Y0rlM(){var p = new YT.Player("div_kvuhU5Y0rlM", {height: document.getElementById("div_kvuhU5Y0rlM").offsetWidth * (9/16),width: document.getElementById("div_kvuhU5Y0rlM").offsetWidth,videoId: "kvuhU5Y0rlM"}); onYTEmbedLoad(p)} ytOnLoadFn.push("ytkvuhU5Y0rlM"); 'Sometimes, the director's vision of a song adds great value to the composition. I loved the way it was explained to me by Kamal Amrohi. I just closed my eyes, rendered it and conveyed the emotions. One of my favourite Urdu ghazals!' 12. Thaare rahiyo (Pakeezah, 1972). Music: Gulam Mohammed. Lyrics: Majrooh Sultanpuri function yt8cHQrQLz4MY(){var p = new YT.Player("div_8cHQrQLz4MY", {height: document.getElementById("div_8cHQrQLz4MY").offsetWidth * (9/16),width: document.getElementById("div_8cHQrQLz4MY").offsetWidth,videoId: "8cHQrQLz4MY"}); onYTEmbedLoad(p)} ytOnLoadFn.push("yt8cHQrQLz4MY"); 'The Rajasthani folk tune attached to the song adds a special charm to it. The way Meena Kumari has enacted it is also memorable. I love this song!' 13. Ajeeb dastan hai yeh (Dil Apna Aur Preet Paraya, 1960). Music: Shankar-Jaikishan. Lyrics: Shailendra function ytryjFAVMS30Y(){var p = new YT.Player("div_ryjFAVMS30Y", {height: document.getElementById("div_ryjFAVMS30Y").offsetWidth * (9/16),width: document.getElementById("div_ryjFAVMS30Y").offsetWidth,videoId: "ryjFAVMS30Y"}); onYTEmbedLoad(p)} ytOnLoadFn.push("ytryjFAVMS30Y"); 'One of the most beautiful compositions by Shankar-Jaikishan and penned by Shailendra. I love the sound of the saxophone in this song as well.' 14. Woh bhooli dastaan (Sanjog, 1961). Music: Madan Mohan. Lyrics: Rajinder Krishan function yt0I86en7JWU8(){var p = new YT.Player("div_0I86en7JWU8", {height: document.getElementById("div_0I86en7JWU8").offsetWidth * (9/16),width: document.getElementById("div_0I86en7JWU8").offsetWidth,videoId: "0I86en7JWU8"}); onYTEmbedLoad(p)} ytOnLoadFn.push("yt0I86en7JWU8"); 'I love the song, especially since its lyrics are so beautiful.' 15. Tere bina zindagi (Aandhi, 1975). Music: RD Burman. Lyrics: Gulzar function yt8_HnmVg0_O8(){var p = new YT.Player("div_8-HnmVg0-O8", {height: document.getElementById("div_8-HnmVg0-O8").offsetWidth * (9/16),width: document.getElementById("div_8-HnmVg0-O8").offsetWidth,videoId: "8-HnmVg0-O8"}); onYTEmbedLoad(p)} ytOnLoadFn.push("yt8_HnmVg0_O8"); 'Stunning picturisation and such appealing lyrics! RD Burman's music and Sanjeev Kumar's dialogues add a wonderful dimension to the song. And of course, Kishoreda and I also rendered it with our heart and soul.' 16. Dikhayee diyen (Bazaar, 1982).Music: Khayyam. Lyrics: Mir Taqi Mir function yt7KgyhgnnRRE(){var p = new YT.Player("div_7KgyhgnnRRE", {height: document.getElementById("div_7KgyhgnnRRE").offsetWidth * (9/16),width: document.getElementById("div_7KgyhgnnRRE").offsetWidth,videoId: "7KgyhgnnRRE"}); onYTEmbedLoad(p)} ytOnLoadFn.push("yt7KgyhgnnRRE"); 'This is one ghazal by Mir that is closest to my heart. Khayyam sahab's music only makes it better.' 17. Bada natkhat hai (Amar Prem, 1972). Music: RD Burman. Lyrics: Anand Bakshi function yt8uhPePg1oNQ(){var p = new YT.Player("div_8uhPePg1oNQ", {height: document.getElementById("div_8uhPePg1oNQ").offsetWidth * (9/16),width: document.getElementById("div_8uhPePg1oNQ").offsetWidth,videoId: "8uhPePg1oNQ"}); onYTEmbedLoad(p)} ytOnLoadFn.push("yt8uhPePg1oNQ"); 'People say this is one of my most touching songs. I agree. The way it has been picturised brings out a mother's love for her son. And my voice suits Sharmila very well. Not to forget the music by RD Burman, my favourite.' 18. O beqarar dil (Kohra, 1964). Music: Hemant Kumar. Lyrics: Kaifi Azmi function ytKxOGhSp1oEU(){var p = new YT.Player("div_KxOGhSp1oEU", {height: document.getElementById("div_KxOGhSp1oEU").offsetWidth * (9/16),width: document.getElementById("div_KxOGhSp1oEU").offsetWidth,videoId: "KxOGhSp1oEU"}); onYTEmbedLoad(p)} ytOnLoadFn.push("ytKxOGhSp1oEU"); 'There's an easy sense of suppleness in this number. It's penned by Kaifi saheb, and it's just beautiful.' 19. Yeh kahaan aa gaye hum (Silsila, 1981). Music: Hariprasad Chaurasia and Shivkumar Sharma. Lyrics: Javed Akhtar function yt43wT0xhvfsA(){var p = new YT.Player("div_43wT0xhvfsA", {height: document.getElementById("div_43wT0xhvfsA").offsetWidth * (9/16),width: document.getElementById("div_43wT0xhvfsA").offsetWidth,videoId: "43wT0xhvfsA"}); onYTEmbedLoad(p)} ytOnLoadFn.push("yt43wT0xhvfsA"); 'The lyrics are beautiful! I sang this song with Bachchan saab and it was a challenge to blend my voice with his. I read somewhere that Javed saheb, who wrote the lyrics, felt the line, 'Huyi aur bhi mulayam, meri shyam dhalte dhalte,' couldn't be sung more meaningfully by any singer in the world but me. It's a huge compliment, because the song was very challenging for me to sing.' 20. Is duniya mei jina hai toh (Gumnaam, 1965). Music: Shankar-Jaikishan. Lyrics: Hasrat Jaipuri function yttKodgq_1TgY(){var p = new YT.Player("div_tKodgq-1TgY", {height: document.getElementById("div_tKodgq-1TgY").offsetWidth * (9/16),width: document.getElementById("div_tKodgq-1TgY").offsetWidth,videoId: "tKodgq-1TgY"}); onYTEmbedLoad(p)} ytOnLoadFn.push("yttKodgq_1TgY"); 'I love this breezy carefree song picturised on Helen. I don't usually sing cabaret numbers, so this was interesting to render.' (This is an edited version of a copy that was originally published in 2013. ) DailyhuntDisclaimer: This story is auto-aggregated by a computer program and has not been created or edited by Dailyhunt. Publisher: Hindustan Timeshttps://actionnetwork.org/users/severickmo-morons/profile
Microsoft bidding farewell to iconic Windows games
According to the post, the company is looking forward to work with its hardware and software partners in investing their resources towards more recent technologies. "While we're saddened to leave this chapter behind, we continue to be committed to delivering engaging, delightful gaming experiences. We hope you'll come with us on this journey and join the community of any of the other Microsoft casual games," Hamer added. With its upcoming October xCloud Xbox streaming service, the software giant would let users play 3,500 games in the Xbox One library and the 1,900 titles still in development on devices like phones and tablets. DailyhuntDisclaimer: This story is auto-aggregated by a computer program and has not been created or edited by Dailyhunt. Publisher: The New Indian Expresshttp://www.cruzroja.es/creforumvolint_en/user/profile/56052.page
IIFA 2019: Ranveer-Deepika, Salman, Alia & others dazzle on green carpet
Alia Bhatt looked dreamy in a floaty gown with cape-like sleeves. Ayushmann Khurrana looked stunning in off-white blazer and black trousers paired with a bow. Deepika Padukone looked edgy in a purple geometric print gown with feather details. It also had a spectacular train behind. Karan Johar dazzled in black on IIFA green carpet. Katrina Kaif stunned everyone in a golden lehenga. Madhuri Dixit-Nene looked ravishing in red gown. Malavika Mohanan wore a risque midnight blue dress with a sheer bottom half. Mouni Roy wore a pista colour gown with layered ruffles. At 64, Neena Gupta stole the limelight in neon gown paired with sneakers. Nushrat Bharucha looked stunning in one-shoulder gown blue gown. Preity Zinta looked gorgeous in shimmering off-shoulder golden gown. Radhika Apte wore a dress with structured ruffles on the sleeves and matching heels. Ranveer Singh looked his flamboyant best in this wacky outfit. Salman Khan looked dapper in dark blue blazer and and black shirt. Sara Ali Khan looked like a pretty barbie doll in a crystal white off-shoulder gown. Shahid Kapoor looked handsome in black attire. Swara Bhasker looked stunning white gown. Urvashi Rautela was a vision in white at IIFA green carpet. Vicky Kaushal all smiled in black blazer at IIFA awards. DailyhuntDisclaimer: This story is auto-aggregated by a computer program and has not been created or edited by Dailyhunt. Publisher: Deccan Chroniclehttp://www.penninetroutfarmandfishery.co.uk/UserProfile/tabid/61/userId/2101310/Default.aspx
Questions on transfer of judges
The collegium changed the destination after the Narendra Modi government disagreed with the original proposal.No wrongdoing by either of the two judges - one judge had upheld jail sentences in a case dealing with a horrific Gujarat rape and the other had sent Amit Shah, now the BJP chief and Union home minister, to custody - has been mentioned formally or established.Yet, the transfers and the subsequent controversy have created a perception that they were somehow not suited to helm courts with a large number of judges.Meghalaya High Court has three judges and Tripura High Court has a sanctioned strength of four judges. To put it in perspective, Madhya Pradesh High Court, where the collegium had wanted to post Justice Kureshi initially, has 40 judges.Since both judges were told to go to the Northeast, an unintended consequence has been the question whether an unflattering picture is being portrayed about the region, which has had nothing to do with either the transfers or the controversy they have generated.The question has come up at a time when the first judge from the Northeast is presiding over the Supreme Court. Chief Justice of India Ranjan Gogoi hails from Assam.Although no official reasons have been cited by the collegium, highly placed sources told The Telegraph that the decisions "had to be taken in the larger interest of the judiciary and if we disclose the reasons in public, it would become impossible for some of the transferred judges to function".While Justice Tahilramani's resignation has been accepted by the President, there is no word yet from the Union government on the collegium's decision on September 5 to transfer Justice Kureshi to Tripura High Court.The controversy has stirred up another question: if at all any allegation has been levelled against any judge, why are transfers being resorted to instead of the sole avenue of impeachment.Ashok Bhan, a senior Supreme Court advocate, told this newspaper that all high courts - irrespective of their location, number of judges or cases dealt with - enjoy uniform stature under the Constitution."The collegium is obliged to treat the Northeast's high courts on a par with the other high courts. The Northeast also requires good judges, and no judge should be posted to the Northeast only for the purpose of punishment because that demeans the stature of that high court," Bhan said.However, sources close to the Chief Justice of India said judges cannot protest if they are posted to the Northeast. "There may be reasons.. One cannot object to it as it is the prerogative of the collegium," the source said.The source said that at the time of appointment, a judge gives an undertaking that he or she can be transferred to any part of the country.Dushayant Dave, senior advocate and former Supreme Court Bar Association (SCBA) president, told The Telegraph in response to a question: "When it comes to Justice Kureshi, my view is that if Justice Kureshi is fit to be the chief justice of Tripura High Court, then he is fit to be chief justice of Madhya Pradesh High Court as well."He added: "There is no justification for changing the decision which the collegium had taken earlier to appoint him as chief justice of Madhya Pradesh High Court. One can only speculate that the collegium did it under pressure from the government.."On a report that the CJI had sanctioned a CBI inquiry linked to Justice Tahilramani, Dave said: "But just one week back, the collegium had transferred her as chief justice of Meghalaya High Court. Now if she was fit enough to be transferred as chief justice of Meghalya High Court and if she had accepted the transfer, would the CBI inquiry have been sanctioned?"A former Chief Justice of India told The Telegraph he did not understand why the CBI needed a sanction. "The shield of immunity against the prosecution of a judge is available only during his or her tenure and not thereafter, as held in the Justice K. Veeraswami case in 1991," the former Chief Justice of India, who did not want to be named in this article, said.Although this newspaper made repeated attempts to reach Justice Tahilramani on her mobile, the calls went unanswered. Sources privy to the judge said Justice Tahilramani did not want to enter into any controversy at this stage and would deal with the issue appropriately if and when the situation warranted.Dave said: "I don't think you should send to the Northeast only judges who are being punished.... I think the northeastern states need to be dealt with in a very sensitive manner. Otherwise, we will have a serious problem of the failure of the rule of law." DailyhuntDisclaimer: This story is auto-aggregated by a computer program and has not been created or edited by Dailyhunt. Publisher: The Telegraphhttp://holocaustmusic.org/UserProfile/tabid/57/userId/818303/Default.aspx
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IRCTC to launch IPO today, price band between Rs 315-320 per share
The minimum bid lot is 40 shares. Thus, orders can be placed in the multiple of 40 equity shares. The IPO proceeds will go directly to the government. The shares will get listed on both BSE and NSE. IRCTC had filed draft papers with markets regulator Securities and Exchange Board of India (Sebi) for its initial public offer in August this year. IDBI Capital Markets & Securities, SBI Capital Markets and YES Securities (India) are the managers to the offer. IRCTC is the Indian Railways tourism arm which sells train tickets online, provides catering service to railways and provides packaged drinking water at railway stations and trains. The IRCTC website is one of the most transacted in the Asia-Pacific region, with a volume of more than 25 million a month. IRCTC, according to its annual report, sold train tickets worth Rs 28,475 crore online in the year ending March 2018, growing 14% from a year earlier, but its overall income registered a dip. Apart from IRCTC, three other Indian Railways entities that have launched IPOs are Rail Vikas Nigam Limited (RVNL), Rail India Technical and Economic Service (RITES) and Indian Railway Construction Company Limited (IRCON). DailyhuntDisclaimer: This story is auto-aggregated by a computer program and has not been created or edited by Dailyhunt. Publisher: Hindustan Timeshttps://www.internetpolyglot.com/user/346766
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