YDM4 6660 led Sawari gaadi from Sanawad banked by it's shed mate YDM4 6607 from Diesel Shed, MHOW curves before Ravine Viaduct near Patalpani

MHOW based YDM 4 6737 in Short Hood Front leading my Sanawad bound 52975 MHOW Sanawad "Savari Gaadi"

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Reached 1st position on Explore for Nov 15' 2006 calander

The mighty YDM4 6737 in SHF from Diesel Loco shed, Military Headquarters of War (MHOW) glides over Narmada river towing 52975 MHOW - Sanawad (SWD) "Savari Gaadi".

Cute little YDM4 from Military Headquarters Of War (MHOW) reversing itself to 52976 Sanawad MHOW "Savari Gaadi" at Sanawad.

Taken at Vintage Car Rally!-1960's Fiat 1100 - Piggy ( i like this name )

(Thanks Vishh for the name )

6737 glides down !!!

YDM4 6737 from MHOW with 52975 MHOW - Sanawad Savari Gaadi enters Tunnel number 3 after performing brake test !

Hand Pulled Rickshaws of Kolkata

YDM4 6737 from Military Headquarters of War (MHOW) in Short Hood Front leading 52973 MHOW - Sanawad Savari Gaadi waiting for line clearance after scheduled halt at Choral !!!

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Relish the lifestyles of the kings of yore on board the Palace on Wheels, while listening to the silent tales of glory and valor told by the majestic forts and splendid palaces of Rajasthan.

www.thepalaceonwheels.com/aboutus.html

ift.tt/28JeL4v

Mumtaz Jehan (February 14, 1933 – February 23, 1969), more popularly known as Madhubala (literally "honey belle"), was an Indian Bollywood actress who appeared in classic films of Hindi Cinema.[2][3] She was active between 1942 and 1960. Along with her contemporaries Nargis and Meena Kumari, she is regarded as one of the most influential personalities of Hindi movies.[4] She is also considered to be one of the most beautiful actresses to have worked in the industry.[5][6]

Madhubala received wide recognition for her performances in films like Mahal (1949), Amar (1954), Mr. & Mrs. '55 (1955), Chalti Ka Naam Gaadi (1958), Mughal-e-Azam (1960) and Barsaat Ki Raat (1960). Madhubala's performance in Mughal-e-Azam established her as an iconic actress of Hindi Cinema. Her last film, Jwala, although shot in the 1950s, was released in 1971. Madhubala died on 23 February 1969 after a prolonged illness.

Early life

Madhubala was born Mumtaz Jehan Dehlavi,[7] on 14 February 1933 in Delhi, British India.[1] She was a native Pashto-speaker.[8] Her father was Attaullah Khan, a Yusufzai[1] Pashtun from the Swabi District of Khyber Pakhtunkhwa, in British India (present-day Pakistan), and her mother was Ayesha Begum.[9] She belonged to an orthodox middle-class family[10] and was the fifth of eleven children. After her father lost his job at the Imperial Tobacco Company in Peshawar,[11] he relocated to Delhi followed by Mumbai. There, the family endured many hardships. Madhubala's three sisters and two brothers died at the age of five and six. The dock explosion and fire of April 14, 1944 wiped out their small home. The family survived only because they had gone to see a film at a local theater.[12] With his six remaining daughters to provide for, Khan, and the young Madhubala, began to pay frequent visits to Bombay film studios to look for work. At the age of 9, this was Madhubala's introduction to the movie industry, which would provide financial help to her family.[9]

Early career

Madhubala's first movie, Basant (1942), was a box-office success.[13] She acted as the daughter to a mother played by actress Mumtaz Shanti. As a child actress she went on to play in several movies. Actress Devika Rani was impressed by her performance and potential, and advised her to assume the screen name 'Madhubala',[10] literally meaning "honey belle". Her first lead role, at the age of 14, was with producer Kidar Sharma when he cast her opposite Raj Kapoor in Neel Kamal (1947).[13] This was the last film in which she was credited as Mumtaz before assuming her screen name 'Madhubala'. She achieved stardom and popularity in 1949 when she was cast as the lead in Bombay Talkies studio's Mahal – a role intended for well-known star Suraiya. Madhubala, with established actresses, screen-tested for the role before she was selected by the film's director Kamal Amrohi. The film was the third largest hit at the 1949 Indian box office. Following the success of Mahal, Madhubala appeared in the box office hits Dulari (1949), Beqasoor (1950), Tarana (1951) and Badal (1951).

Hollywood interest

In the early 1950s, as Madhubala became one of the most sought-after actresses in India, she attracted interest from Hollywood. She appeared in the American magazine Theatre Arts where, in its August 1952 issue, she was featured in an article with a full page photograph under the title: "The Biggest Star in the World - and she's not in Beverly Hills". The article described Madhubala's immense popularity in India, and explored her wide appeal and large fan base. It also speculated on her potential international success.[12] Academy Award winner American director Frank Capra, while visiting Bombay for International Film Festival of India, was keen to give her a break in Hollywood, but her father Ataullah Khan declined.[14]

Stardom

Madhubala's co-stars Ashok Kumar, Raj Kapoor, Rehman, Pradeep Kumar, Shammi Kapoor, Dilip Kumar, Sunil Dutt and Dev Anand were the most popular of the period. She also appeared with Kamini Kaushal, Suraiya, Geeta Bali, Nalini Jaywant, Shyama and Nimmi, notable leading ladies. The directors she worked with, Mehboob Khan (Amar), Guru Dutt (Mr. & Mrs. '55), Kamal Amrohi (Mahal) and K. Asif (Mughal-e-Azam), were amongst the most prolific and respected. Madhubala also became a producer with the film Naata (1955), in which she also acted.[15]

During the 1950s, Madhubala took starring roles in almost every genre of film being made at the time. Her 1950 film Hanste Aansoo was the first ever Hindi film to get an "A" – adults only – rating from the Central Board of Film Certification.[16] She was the archetypal fair lady in the swashbuckler Badal (1951), and following this, an uninhibited village beauty in Tarana (1951). She played the traditional ideal of Indian womanhood in Sangdil (1952), and produced a comic performance as the spoilt heiress, Anita, in Guru Dutt's satire Mr. & Mrs. '55 (1955). In 1956, she acted in costume dramas such as Shirin-Farhad and Raj-Hath, and played a double role in the social drama Kal Hamara Hai (1959). In the mid-1950s, her films including the major ones like Mehboob Khan's Amar (1954) did not do well commercially.[17] However, she bounced back between 1958 and 1960 when she starred in a series of hit films. These include Howrah Bridge, opposite Ashok Kumar where she played the role of an Anglo-Indian Cabaret singer involved in Calcutta's Chinatown underworld. In the song Aaiye Meherebaan from this film, she lip-synced a torch song dubbed by Asha Bhosle which has remained popular to this day. Among other successful films, she played opposite Bharat Bhushan in Phagun; Dev Anand in Kala Pani; Kishore Kumar in Chalti Ka Naam Gaadi; and Bharat Bushan again in Barsaat Ki Raat (1960). Then in 1960, she appeared in the magnum opus Mughal-e-Azam.

Madhubala acted in as many as seventy films from 1947 to 1964, and only fifteen of which were box office successes.[17] Dilip Kumar regrets that "(h)ad she lived, and had she selected her films with more care, she would have been far superior to her contemporaries ..."[18] Kumar also points out that "actresses those days faced a lot of difficulties and constraints in their career. Unable to assert themselves too much, they fell back on their families who became their caretakers and defined everything for them."[19]

Mughal-e-Azam and later work

It was the film Mughal-e-Azam that marked what many consider to be Madhubala's greatest and definitive characterization, as the doomed courtesan, Anarkali. Although the film took nine years to complete, it was not until 1953 when Madhubala was finally chosen to play the role. Bunny Reuben in his Book Dilip Kumar: Star Legend of Indian Cinema claimed that Dilip Kumar's role was instrumental behind this selection.[20] Mughal-e-Azam gave Madhubala the opportunity of fulfilling herself totally as an actress, for it was a role that all actresses dream of playing as Nimmi acknowledges that "as an actress, one gets a lot of roles, there is no shortage of them, but there isn’t always good scope for acting. With Mughal-e-Azam, Madhubala showed the world just what she could do."[21]

Madhubala in Mughal-e-Azam

However, by the late 1950s, her health was deteriorating fast, and Director K. Asif, probably unaware of the extent of Madhubala's illness, required long shooting schedules that made physical demands on her, whether it was posing as a veiled statue in suffocating make-up for hours under the studio lights or being shackled with heavy chains. It was also a time when Madhubala's relationship with Dilip Kumar was fading out, and "the lives of Madhubala and her screen character are consistently seen as overlapping, it is because of the overwhelming sense of loss and tragedy and the unrelenting diktat of destiny that clung to both and which neither could escape".[22]

Mughal-e-Azam was released on 5 August 1960, and became the biggest grossing film at that time, a record that went unbroken for 15 years until the release of the film Sholay in 1975. It still ranks second in the list of all time box-office hits of Indian cinema. Madhubhala was nominated for a Filmfare Award for her performance in Mughal-e-Azam.

In 1960 Madhubala was at the peak of her career and popularity with the release of Mughal-e-Azam and Barsaat Ki Raat. She did have intermittent releases in the early 1960s. Some of these, like Jhumroo (1961), Half Ticket (1962) and Sharabi (1964), performed above average at the box-office. However, most of her other films released during this time were marred by her absence and subsequent lack of completion due to her prolonged illness. These films suffer from compromised editing, and in some cases the use of "doubles" in an attempt to patch-in scenes that Madhubala was unable to shoot.[23] Her last released film Jwala, although filmed in the late 1950s, was not issued until 1971.

Personal life and controversies

In their 1962 book Self-Portrait, Harish Booch and Karing Doyle commented that "(u)nlike other stars, Madhubala prefers a veiled secrecy around her and is seldom seen in social gatherings or public functions" (p. 76), and went on to say that "(c)ontrary to general belief, Madhubala is rather simple and unassuming" (p. 78).[10][24] This is echoed in Madhubala's sister's interview with the Filmfare: "(Madhubala) became a craze because she was never seen in public. She wasn’t allowed to attend any function, any premiere. She had no friends. But she never resisted, she was obedient. Being protective, my father earned the reputation of being domineering".[25] Dilip Kumar added, "She was extremely popular ... and I think the only star for whom people thronged outside the gates. Very often when shooting was over, there’d be a vast crowd standing at the gates just to have a look at Madhu ... It wasn’t so for anyone else. That was her personal effect on fans. Her personality was vivacious."[26] But, "she was aware of her beauty," reminisces B. K. Karanjia, former Filmfare editor and a close friend of both Madhubala and her father, "and because there were so many in love with her, she used to play one against the other. But it was out of innocence rather than shrewd calculation."[27] Dev Anand recalled in a similar way: "(s)he liked to flirt innocently and was great fun."[28][29] However, with Dilip Kumar she had a long association.

Dilip Kumar and Madhubala first met on the set of Jwar Bhata (1944), and worked together again on the film Har Singaar (1949), which was shelved. Their relationship began two years later during the filming of Tarana (1951). They became a romantic pair appearing in a total of four films together. Actor Shammi Kapoor recalled that "Dilip Kumar would drive down from Bombay to meet Madhubala ... she was committed to Dilip ... he even flew to Bombay to spend Eid with her, taking time off from his shooting stint ..."[30] "They even got engaged", said Madhubala's sister.[25] But, Madhubala's father Ataullah Khan did not give them permission to marry.[31] Dilip Kumar said, "She was a very, very obedient daughter",[32] and who, in spite of the success, fame and wealth, submitted to the domination of her father and more often than not paid for his mistakes.[33] "This inability to leave her family was her greatest drawback", believed Shammi Kapoor, "for it had to be done at some time."[34] The Naya Daur (1957 film) court case happened in 1956 when Dilip Kumar testified against Madhubala and her father in favor of the director B.R. Chopra in open court. This struck a fatal blow to the Dilip-Madhubala relationship as it ended any chance of reconciliation between Dilip Kumar and Madhubala'a father.[35] Reflecting on this, while Dilip Kumar said he was "trapped",[36] Shammi Kapoor felt "this was something which went beyond him (Dilip) and he couldn’t control the whole situation ..." [37] However, Madhubala's sister Madhur Bhushan claimed that "(Madhubala) said she would marry him (Dilip), provided he apologised to her father. He refused, so Madhubala left him. That one 'sorry' could have changed her life."[38]

Madhubala married Kishore Kumar in 1960, and according to Leena Chandavarkar (Kishore's fourth wife): "When she realized Dilip was not going to marry her, on the rebound and just to prove to him that she could get whomsoever she wanted, she went and married a man she did not even know properly."[39] B. K. Karanjia assumed that "Madhubala may have felt that perhaps this was her best chance" because by this time she became seriously ill, and was about to stop working completely; however, he added that "it was a most unlikely union, and not a happy one either." [40] Madhubala’s illness was known to Kishore, but like all the others, he did not realize its gravity; Ataullah Khan did not approve of his son-in-law at all, but he had lost the courage to disapprove.[41] Ashok Kumar reminisced in a Filmfare interview: "She suffered a lot and her illness made her very bad-tempered. She often fought with Kishore, and would take off to her father's house where she spent most of her time."[42] Madhubala's sister echoes this view albeit in a slightly different tone: "After marriage they flew to London where the doctor told her she had only two years to live. After that Kishore left her at our house saying, ‘I can’t look after her. I’m on outdoors often’. But she wanted to be with him. He’d visit her once in two months though. Maybe he wanted to detach himself from her so that the final separation wouldn’t hurt. But he never abused her as was reported. He bore her medical expenses. They remained married for nine years."[25]

However, Madhubala's love-life continued to be the subject of media speculation. Mohan Deep wrote an unofficial biography of Madhubala titled Mystery and Mystique of Madhubala, published in 1996, where he claims that Kishore Kumar regularly whipped Madhubala, who would show her lashes to Shakti Samanta.[43] Mohan Deep also questions whether Madhubala was really ill or whether her ailing was a fiction.[44] Shammi Kapoor, a long-term colleague of Madhubala, refuted Mohan Deep's claims, which he described as being "in bad taste". Paidi Jairaj, and Shakti Samanta, both of whom worked with Madhubala, rejected Deep's biography emphasizing the glaring difference between fact and fiction, and film journalist M.S.M. Desai, who had worked as a journalist on Madhubala's sets, questioned Deep's method of research saying, "Mohan Deep was not around at the time of Madhubala, so how is he capable of writing about her without resorting to hearsay?"[45]

Final years and death

Prithviraj Kapoor visiting the grave of Madhubala in 1969

Madhubala had ventricular septal defect (hole in her heart) which was detected while she was shooting for Bahut Din Huwe in Madras in 1954.[46] By 1960, her condition aggravated, and her sister explains that "due to her ailment, her body would produce extra blood. So it would spill out from the nose and mouth. The doctor would come home and extract bottles of blood. She also suffered from pulmonary pressure of the lungs. She coughed all the time. Every four to five hours she had to be given oxygen or else would get breathless. She was confined to bed for nine years and was reduced to just bones and skin".[25] In 1966, with a slight improvement in her health, she made a valiant attempt to complete her work in Chalak opposite Raj Kapoor, which needed only a short spell of shooting, but she could not even survive that strain.[47] When acting was no longer an option Madhubala turned her attention to film direction. In 1969 she was set to make her directorial debut with the film Farz aur Ishq. However the film was never made as during pre-production, she died on February 23, 1969, shortly after her 36th birthday. She was buried with her personal diary at the Santa Cruz Muslim cemetery by her family and husband Kishore Kumar.[48] Her tomb was built with marble and inscriptions included aayats from the Quran and verse dedications. Controversially, her tomb was demolished in 2010 to make space for new graves.[49]

Madhubala's strong presence in the public memory has been evidenced by all recent polls about top actresses or beauties of the Indian cinema.[50][51][52] Every year, on her birthday, numerous articles are printed and television programmes aired to commemorate her, to the present day. Her posters are still in demand and sold alongside contemporary actresses, and modern magazines continue to publish stories on her personal life and career, often promoting her name heavily on the covers to attract sales.[53] Many believe, however, Madhubala remains one of the most underrated actresses as "her beauty attracted more attention than her talent."[54]

In 2004, a digitally-colorized version of the original Mughal-e-Azam was released, 35 years after her death. In 2012, her 1962 release Half Ticket was also remastered, digitally coloured and re-released.

On March 18, 2008, a commemorative postage stamp featuring Madhubala was issued.[55] The stamp was produced by India Post in a limited edition presentation pack. It was launched by veteran actors Nimmi and Manoj Kumar in a ceremony attended by colleagues, friends and surviving members of Madhubala's family. The only other Indian film actress that was honoured in this manner was Nargis Dutt, at that point of time.[56]

Filmography

Year Film Director Notes

1942 Basant Amiya Chakravarty as Manju; credited as Baby Mumtaz

1944 Mumtaz Mahal Kidar Sharma as a child artiste

1945 Dhanna Bhagat Kidar Sharma as a child artiste

1946 Pujari Aspi as a child artiste

1946 Phoolwari Chaturbhuj Doshi as a child artiste

1946 Rajputani Aspi as a child artiste

1947 Neel Kamal (1947 film) Kidar Sharma First film as a heroine

1947 Chittar Vijay Mohan Sinha

1947 Mere Bhagwan Mohan Sinha

1947 Khubsoorat Duniya Mohan Sinha

1947 Dil-Ki-Rani Mohan Sinha as Raj Kumari Singh

1948 Parai Aag Najm Naqvi

1948 Lal Dupatta K.B.Lall

1948 Desh Sewa N.Vakil

1948 Amar Prem N.M.Kelkar

1949 Sipahiya Aspi

1949 Singaar J.K.Nanda

1949 Paras Anant Thakur as Priya

1949 Neki Aur Badi Kidar Sharma

1949 Mahal Kamal Amrohi as Kamini

1949 Imtihaan Mohan Sinha

1949 Dulari A. R. Kardar as Shobha/Dulari

1949 Daulat Sohrab Modi

1949 Aparadhi Y.Pethkar as Sheela Rani

1950 Pardes M.Sadiq as Chanda

1950 Nishana Wajahat Mirza as Greta

1950 Nirala Devendra Mukherjee as Poonam

1950 Madhubala Prahlad Dutt

1950 Hanste Aansoo K.B.Lall

1950 Beqasoor K. Amarnath as Usha

1951 Tarana Ram Daryani as Tarana

1951 Saiyan M. Sadiq as Saiyan

1951 Nazneen N.K.Ziree

1951 Nadaan Hira Singh

1951 Khazana M.Sadiq

1951 Badal Amiya Chakravarty as Ratna

1951 Aaram D. D. Kashyap as Leela

1952 Saqi H. S. Rawail as Rukhsana

1952 Deshabakthan Amiya Chakrabarty

1952 Sangdil R. C. Talwar

1953 Rail Ka Dibba P. N. Arora as Chanda

1953 Armaan Fali Mistry

1954 Bahut Din Huye S.S.Vasan as Chandrakanta

1954 Amar Mehboob Khan as Anju

1955 Teerandaz H.S.Rawail

1955 Naqab Lekhraj Bhakri

1955 Naata D. N. Madhok as Tara

1955 Mr. & Mrs. '55 Guru Dutt as Anita Verma

1956 Shirin Farhad Aspi Irani as Shirin

1956 Raj Hath Sohrab Modi as Raja Beti/Rajkumari

1956 Dhake Ki Malmal J.K.Nanda

1957 Yahudi Ki Ladki S.D. Narang

1957 Gateway of India Om Prakash as Anju

1957 Ek Saal Devendra Goel as Usha Sinha

1958 Police Kali Das

1958 Phagun Bibhuti Mitra as Banani

1958 Kala Pani Raj Khosla as Asha

1958 Howrah Bridge Shakti Samanta as Edna

1958 Chalti Ka Naam Gaadi Satyen Bose as Renu

1958 Baghi Sipahi Bhagwandas Varma

1959 Kal Hamara Hai S.K.Prabhakar as Madhu/Bela

1959 Insaan Jaag Utha Shakti Samanta as Gauri

1959 Do Ustad (1959) Tara Harish as Madhu Sharma

1960 Mehlon Ke Khwab Hyder as Asha

1960 Jaali Note Shakti Samanta as Renu/Beena

1960 Barsaat Ki Raat P.L.Santoshi as Shabnam

1960 Mughal-e-Azam K.Asif as Anarkali; Nominated—Filmfare Award for Best Actress

1961 Passport Pramod Chakravorty as Rita Bhagwandas

1961 Jhumroo Shankar Mukherji as Anjana

1961 Boy Friend Naresh Saigal as Sangeeta

1962 Half Ticket Kali Das as Rajnidevi/Asha

1964 Sharabi Raj Rishi as Kamala

View On White - A must see !!

I have been thinking about this shot for a long time and finally found out a way to make these smoke rings. I'm still not satisfied with the way the rings turned out but this is good for the first try here. Once I can consistently get good rings I will write about the setup to get the perfect rings. For now enjoy the pic and let me know your comments.

Strobist Info:

For the train picture I used a Canon 580 EX II at 1/8th power and 80mm zoom shot through the umbrella from subjects right side. I used a Canon 100mm macro lens on a Canon T1i body. For the smoke picture read detail setup and how to do this shot? go here.

Please Fav the picture if you like it and Follow me in twitter and facebook for some valuable tips.

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Mehreen Pirzada Very Beautifull Punjabi Girl. As a Profession She is Model and Actress. She Done 30 ads For Many Prominent Brands. She Done a Act As Actress in Telugu Film Krishna Gaadi Veera Prema Gaadha. She was Born 5 November 1995 in Bathinda, Punjab. Her Father is Agriculture Landlord, and R...

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Abhinandan Varthaman

Wing Commander Abhinandan Varthaman (born 21 June 1983) is an Indian officer in the Indian Air Force and a MiG-21 Bison pilot.[1][2] He received widespread media recognition for becoming a prisoner of war held captive in Pakistan during 2019 India-Pakistan Stand off.

Early life and career

He was born on 21 June 1983 to Air Marshal Simhakutty Varthaman in Tamil Nadu, India.[3] His mother is a doctor.[3] He was commissioned in the Indian Air Force in 2004 as a fighter pilot.[3]

On 27 February 2019, He flew with his plane MIG-21 and chased Pakistan's fighter plane F-16, which he shot down[4] in aerial engagement but he crossed into Pakistan territory and was shot down by Pakistan Air Force. Later, the Indian Ministry of External Affairs confirmed that an Indian pilot is missing in action after a MiG-21 Bison fighter plane was lost while engaging with Pakistani jets after they violated Indian airspace during the 2019 India–Pakistan standoff.

Repatriation

On 28 February 2019, Pakistan announced to release him on 1 March 2019 via Wahgah border as a Peace Gesture.[6] Indian PM Modi welcomed the release of Abhinandan, suggesting that the whole country is proud of him, at a political rally in his homestate.

2019 Pulwama attack

On 14 February 2019, a convoy of vehicles carrying security personnel on the Jammu Srinagar National Highway was attacked by a vehicle-borne suicide bomber at Lethpora (near Awantipora) in the Pulwama district, Jammu and Kashmir, India. The attack resulted in the deaths of 40 Central Reserve Police Force (CRPF)[a] personnel and the attacker. The responsibility for the attack was claimed by the Pakistan-based Islamist militant group Jaish-e-Mohammed. The attacker was Adil Ahmad Dar, a local from Indian-administered Kashmir, and a member of Jaish-e-Mohammed.[1][2][3] India blamed Pakistan for the attack. Pakistan condemned the attack and denied any connection to it.

Background

Further information: Kashmir conflict and Pakistan and state-sponsored terrorism

Kashmir is a disputed territory, claimed both by India and Pakistan with both countries administering part of the territory.[5] Pakistan has sought to gain control of Indian-administered Kashmir.[6][7] An insurgency began to proliferate in Indian-administered Kashmir in the late 1980s, for which Pakistan provided material support.[8][9] Since 1989, about 70,000 people have been killed in the uprising and the Indian crackdown.[10][5] According to Time, unrest in Kashmir grew in 2016 after India killed a popular rebel leader Burhan Wani.[5] A rising number of young locals from Indian administered Kashmir have joined the militancy.[11][12] According to Jane's Information Group, most militants in Kashmir are now "homegrown" and not from Pakistan.[13] In 2018 alone, the death toll included 260 militants, 160 civilians and 150 government forces.[10]

Since 2015, Pakistan-based militants in Kashmir have increasingly taken to high-profile suicide attacks against the Indian security forces. In July 2015, three gunmen attacked a bus, and police station in Gurdaspur. Early in 2016, four to six gunmen attacked the Pathankot Air Force Station.[14] In February and June 2016, the militants killed nine and eight security personnel respectively in Pampore. In September 2016, four assailants attacked an Indian Army brigade headquarters in Uri killing 19 soldiers. On 31 December 2017, the Commando Training Centre at Lethpora was also attacked by militants killing five security personnel. These attacks took place in the vicinity of the Jammu Srinagar National Highway.[2]

Attack

Personnel killed[1][15][16][17][18]

StateNumber

Uttar Pradesh12

Rajasthan5

Punjab4

Odisha2

Uttarkhand2

Bihar2

Maharashtra2

West Bengal2

Tamil Nadu2

Assam1

Karnataka1

Jammu and Kashmir1

Himachal Pradesh1

Kerala1

Jharkhand1

Madhya Pradesh1

Total40

On 14 February 2019, a convoy of 78 vehicles transporting more than 2,500 Central Reserve Police Force (CRPF)[a] personnel from Jammu to Srinagar was travelling on National Highway 44. The convoy had left Jammu around 03:30 IST and was carrying a large number of personnel due to the highway having been shut down for two days prior. The convoy was scheduled to reach its destination before sunset.[2]

At Lethpora near Awantipora, around 15:15 IST,[20] a bus carrying security personnel was rammed by a car carrying explosives. It caused a blast which killed 40 CRPF personnel of the 76th Battalion and injured many others. The injured were moved to the army base hospital in Srinagar.[1]

Pakistan-based militant group Jaish-e-Mohammed claimed responsibility for the attack. They also released a video of the assailant Adil Ahmad Dar, a 22-year old from Kakapora who had joined the group a year earlier.[21][2][22] Dar's family had last seen him in March 2018, when he left his house on a bicycle one day and never returned.[23] Pakistan denied any involvement, though Jaish-e-Mohammed's leader, Masood Azhar, is known to operate in the country.[24][25]

It is the deadliest terror attack on India's state security personnel in Kashmir since 1989.[20]

Perpetrator

The perpetrator was identified as Adil Ahmad Dar (alias Adil Ahmad Gaadi Takranewala or Waqas Commando), a 22-year old from Kakapora.[26] According to Dar's parents, Dar became radicalized after he was beated by Indian police.[27][28] Between September 2016 and March 2018, Adil Dar was reported arrested six times by Indian authorities.[29][30] However, each time he was released without any charges.[29]

Investigation

The National Investigation Agency dispatched a 12-member team to probe the attack, working with the Jammu and Kashmir Police.[1][2]

Initial investigations suggested the car was carrying more than 300 kilograms (660 lb) of explosives,[2] including 80 kilograms (180 lb) of RDX, a high explosive,[31] and ammonium nitrate.[32] Lt Gen Hooda said that the explosives might have been stolen from a construction site. He initially said that it was not possible that they were smuggled from across the border, but later said that he could not rule it out.[33]

Aftermath

Candle light march organised in Mehsana, Gujarat

State funerals of security personnel killed in the attack were held in their respective native places.[34][35] The government of Punjab announced ex gratia compensation of ₹12 lakh (US$17,000) each to the families of the killed security personnel from the state and a government job to the next of kin.[17] India revoked Pakistan's most favoured nation status.[1] The customs duty on all Pakistani goods imported to India were raised to 200%.[36] The government of India urged the Financial Action Task Force on Money Laundering (FATF) to put Pakistan in the blacklist. The FATF decided to keep it on 'grey list' and gave time till October 2019 to comply with 27 conditions laid in June 2018 when it was put on the 'grey list'. Failing comply, it will be added in the blacklist.[37] On 17 February, the state administration revoked security provisions for separatist leaders.[38]

Protests bandhs and candle light marches were held across India.[39][40][41] There were violent protests in Jammu resulting in a curfew being imposed starting 14 February. The Indian community in the United Kingdom held protests outside the Pakistan High Commission in London.[42] A delegation of Indian doctors cancelled their visit to Pakistan for the 13th Association of Anaesthesiologists Congress, organised by the South Asian Association for Regional Cooperation, in Lahore on 7 March.[42] Indian broadcaster DSport said it would no longer broadcast Pakistan Super League cricket matches.[43] The All Indian Cine Workers Association announced a ban on Pakistani actors and artists in the Indian film industry, and stated that strong action would be taken on any organisation violating it.[44] The Indian Film and Television Directors' Association also announced a ban on Pakistani artists in films and music produced in India; the president of the organisation threatened to "vandalise" the sets of any Indian film production with Pakistani artists.[45]

On 20 February 2019, Pakistani prisoner Shakarullah, who was serving a life term in India's Jaipur Central Jail under Unlawful Activities (Prevention) Act, was stabbed and beaten to death by four other inmates.[46][47] India claimed that Shakarullah was allegedly killed in a brawl among the inmates over television volume. Pakistan claimed that he was killed in retaliation of the Pulwama incident.[48]

Gunfight with the militants

Following intelligence inputs, in the early morning hours of 18 February, a joint team comprising 55 Rashtriya Rifles, CRPF and Special Operations Group of India killed two terrorists and two supporters in an anti-terrorism encounter operation in the ensuing manhunt for the perpetrators in Pulwama. One of them, Abdul Rasheed Ghazi alias Kamran, was identified as a Pakistani national and was considered the mastermind of the attack and a commander of the terrorist group Jaish-e-Muhammad (JeM).[49] In addition, local JeM recruit Hilal Ahmed, along with two sympathisers who housed Ghazi and Ahmed to evade capture, were also shot dead in the encounter. Four security personnel were killed in the gunfight.[50][51][52]

Anti-Kashmiri backlash

Kashmiri students living in other parts of India faced a backlash after the attack, including violence and harassment,[53] and eviction from their homes.[54] In response, many Indians offered to house Kashmiris who may have been evicted.[55]

It was reported that number of Kashmiris fleeing from the rest of India had reached "hundreds".[56] Jammu and Kashmir Students Organisation reported that 97% of Kashmiri students in Dehradun had been evacuated.[57] Two Indian colleges in Dehradhun announced that no new Kashmiri students will receive admission.[58] One of those colleges, Alpine College, suspended its dean, who is a Kashmiri, after some groups called for him to be fired.[59]

Tathagata Roy, the governor of the Indian state Meghalaya, tweeted support for a boycott of "everything Kashmiri". Union Minister Ravi Shankar Prasad disagreed with this view.[60] A Kashmiri merchant was beaten in Kolkata; the attack was condemned by West Bengal chief minister Mamata Banerjee.[61]

Kashmir police chief Dilbagh Singh said they had asked affected states to protect students."[62] Former Jammu and Kashmir chief minister Omar Abdullah met with Rajnath Singh seeking assistance.[63]

India-Pakistan conflict

Balakot airstrike

Main article: 2019 Balakot airstrike

On 26 February, twelve Mirage 2000 jets of the Indian Air Force crossed the Line of Control and dropped bombs into Balakot, Pakistan.[64][65] India claimed that it attacked a Jaish-e-Mohammed training camp and killed a large number of terrorists, reported to be between 300 and 350.[64][66] Pakistan claimed that they quickly scrambled jets to intercept the IAF jets, who dropped their payloads to quickly return over the Line of Control.[67]

India-Pakistan military confrontation

Main article: 2019 India-Pakistan standoff

Reactions

India and Pakistan

Prime Minister Narendra Modi condemned the attack and expressed solidarity with the victims and their families. Union Home Minister Rajnath Singh assured that a strong response will be given to the terror attack.[2] India blamed Pakistan for the attack.[68] BBC News has said that the involvement of the Jaish-e-Mohammed in the bombing "directly links" Pakistan to the attack, while also pointing out that Jaish-e-Mohammed had attacked Pakistani military targets in the past.[69] It is widely accepted among security analysts that Jaish-e-Mohammed is the creation of Pakistan's Inter-Services Intelligence.[70] Pakistan banned the group in 2002,[71] but it has resurfaced under different names and retains ISI's support.[72][73][74] The New York Times questioned the nature of the link to Pakistan, pointing out that the bomber came from Indian-administered Kashmir and the explosives may also have been locally procured.[75]

The Indian finance minister Arun Jaitley has said that India would completely isolate Pakistan in the diplomatic community.[36]

Pakistan denied the allegation of a link to the attack,[76] and Pakistani foreign minister Shah Mahmood Qureshi condemned the bombing.[4] Fawad Chaudhry, Pakistan's federal information minister, said that Pakistan was taking action against Jaish-e-Muhammad and that Pakistan would be able to assist India in taking action against terrorist groups.[77] The Nation, a Pakistani newspaper, called the assailant a "freedom fighter" who eliminated members of an "occupying force".[78][79] Pakistan and India both recalled their ambassadors to each other for "consultations" in a tit-for-tat move.[80]

On 19 February 2019, Pakistani prime minister Imran Khan said that providing safe haven to terrorists was not in Pakistan's interest.[81] He asked for proof of Pakistani involvement and warned India that any military response would be met with retaliation. Indian Ministry of External Affairs responded by criticising him for not condemning the attack and not offering any condolences for the victims. It said that claims by Adil Ahmad Dar and Pakistan-based Jaish-e-Mohammed was sufficient proof. It said that promises of investigation was unconvincing due to a lack of progress in Mumbai and Pathankot attack investigations.[82][83] In response to Indian criticism, the newspaper Dawn pointed out that Pakistani foreign minister Qureshi had expressed sympathies with the victims soon after the attack.[84]

Following the attack on the Indian territory, the producers of the Indian Hindi films including Notebook, Kabir Singh and Satellite Shankar decided not to release them in Pakistan.[85][86][87]

International community

The United States condemned the attack and added it would work with India in counterterrorism efforts; it singled out Pakistan for its alleged role in the attack.[88] It urged Pakistan to cooperate with the investigation and punish those responsible.[89] Pakistan said it was ready to cooperate with such an investigation.[90] A statement from the US Department of State noted that Pakistan-based Jaish-e-Mohammed had claimed responsibility for the attack and asked all countries to refrain from supporting terrorists.[91] Bangladesh, Bhutan, France,[92] Hungary,[93] Israel,[94] Maldives,[92] Nepal,[95] Russia,[92] Singapore,[96] Sri Lanka,[97][98] Turkey,[99] and the United Arab Emirates[100] condemned the attack, as did the United Nations Secretary-General.[101]

Iran's Deputy Foreign Minister Abbas Araghchi met with India's External Affairs Minister Sushma Swaraj and referring to both the 2019 Pulwama attack and the 2019 Khash–Zahedan suicide bombing, he stated that Iran and India would work together to prevent future attacks.

Krishna gaadi veera Prema gata ready to enter into 1 million club.Already it croosed more than half million in USA.So this movie is 3rd movie in Nani’s career to cross after Eeega and balae bhale magadivoyi.Great going for Nnai and it seems KVPG is another super hit in his career

wp.me/p5qk6T-3Ce

Ankhon mein ek lakshya hai .. shahar ki daudti bhaagti bason aur gaadiyon ke beech mein se cheerte hue apni haath gaadi ko uske saaman ke saath uski manzil tak pahunchana

www.humansofmumbai.in/

OLYMPUS DIGITAL CAMERA

MH 07 C 9074, from Sakoli depot....The max speed of this one wss 70 kmph.... Even the driver was fed up with this and said "baandhleli gaadi laamb route war nahi paathavli pahije"....

Prem Chopra (Devanagari: प्रेम चोपड़ा) (born September 23, 1935)is an actor in Hindi and Punjabi films. He has acted in 320 films. He has a soft spoken diction despite being a villain in most films.

Personal life and education[edit]

Chopra was born to a Hindu Punjabi family in Lahore on 23 September 1935 to Ranbirlal and Rooprani Chopra.[1] He was third of six children. After the partition of India, his family moved to Shimla, where he was brought up.[citation needed] His father desired that Prem be a doctor.[citation needed]

He graduated from Punjab University.[1]

Chopra is married to Raj Kapoor's wife's sister Uma, and they have three daughters: Rakita, Punita and Prerana.[2]

Awards[edit]

1976 - Filmfare Best Supporting Actor Award for his role in Do Anjaane

2004 - Legend of Indian Cinema Award at Atlantic City [3][dead link]

Amongst other awards won the Giants[clarification needed] honoured him with the "Lifetime Achievement Award". His talent won the Indira Gandhi Priyadarshini Award in 1998, and has also been a recipient of the "Lions Club Award", "Ashoka Award", "Ashirwad Award" and the "Punjabi Kala Sangam Award.".[4]

Filmography[edit]

Bollywood selected filmography[edit]

Heart Land (completed) (2012)

Power Cut (Punjabi) (2012)

Challo Driver (2012)

Delhi Safari (voice) (2012)

Agent Vinod (2012)

Loot) (2011)

Double Dhamaal (2011)

Love U...Mr. Kalakaar! (2011)

Dharti (Punjabi) (2011)

Patiala House (2011)

Jaane Bhi Do Yaaron (2011)

Golmaal 3 (2010)

Mirch (2010)

World Cupp 2011 (2009)

Rocket Singh: Salesman of the Year (2009)

Daddy Cool (2009)

Delhi-6 (2009)

Money Hai Toh Honey Hai (2008)

Khushboo (2008)

Humsey Hai Jahaan (2008)

Dhamaal (2007)

Buddha Mar Gaya (2007)

Undertrial (2007)

Broken Thread (2007)

Salaam-e-Ishq: A Tribute to Love (2007)

Saawan... The Love Season (2006)

Umar (2006)

Bold (2006)

Mr Prime Minister (2005)

Vaah! Life Ho Toh Aisi! (2005)

Maine Gandhi Ko Nahin Mara (2005)

Viruddh... Family Comes First (2005)

Ssukh (2005)

Bunty Aur Babli (2005)

Khullam Khulla Pyaar Karen (2005)

Hum Kaun Hai? (2004)

Shikaar (2004)

Woh Tera Naam Tha (2004)

Dil Pardesi Ho Gayaa (2003)

Koi... Mil Gaya (2003)

Dhund: The Fog (2003)

Pyaar Ki Dhun (2002)

Tera Mera Saath Rahen (2001)

C.I.D. (2001 TV series)

Chori Chori Chupke Chupke (2001)

Meri Adaalat (2001)

Beti No. 1 (2000)

Agniputra (2000)

Baadshah (1999)

Hindustan Ki Kasam (1999)

Hote Hote Pyar Hogaya (1999)

Jai Hind (1999)

Anari No.1 (1999)

Lal Baadshah (1999)

Lo Main Aa Gaya (1999)

Zulm-O-Sitam (1998)

Maharaja (1998)

Iski Topi Uske Sarr (1998)

Dulhe Raja (1998)

Military Raaj (1998)

Dhoondte Reh Jaaoge! (1998)

Udaan (1997)

Jodidar (1997)

Bhai Bhai (1997)

Kaun Rokega Mujhe (1997)

Gupt: The Hidden Truth (1997)

Sapoot (1996)

Hum Hain Premi (1996)

Daanveer (1996)

Sikander (1996 video)

Prem Granth (1996)

Namak (1996)

Return of Jewel Thief (1996)

Mera Hindustan (1996)

Diya Aur Toofan (1995)

Zamaana Deewana (1995)

Saajan Ki Baahon Mein (1995)

The Don (1995)

God and Gun (1995)

Aazmayish (1995)

Jawab (1995)

Andaz (1995 TV series)

Aashique Mastane (1995)

Raghuveer (1995)

Jallaad (1995)

Ahankaar (1995)

Ab Insaf Hoga (1995)

Aao Pyaar Karen (1994)

Yaar Gaddar (1994)

Brahma (1994)

Prem Yog (1994)

Betaaj Badshah (1994)

The Law (1994)

Laadla (1994)

Insaniyat (1994)

Raja Babu (1994)

Gopalaa (1994)

Karan (1994)

Cheetah (1994)

Santaan (1993)

15th August (1993)

Aaja Meri Jaan (1993)

Izzat Ki Roti (1993)

Phool Aur Angaar (1993)

Kshatriya (1993)

Jaagruti (1993)

Aasoo Bane Angaarey (1993)

Ghar Jamai (1992)

Aaj Ka Goonda Raj (1992)

Tahalka (1992)

Khiladi (1992)

Tyagi (1992)

Bewaffa Se Waffa (1992)

Virodhi (1992)

Prem Deewane (1992)

Mere Sajana Saath Nibhana (1992)

Khel (1992)

Insaaf Ka Khoon (1991)

Ghar Parivaar (1991)

Phool Bane Angaarey (1991)

Mast Kalandar (1991)

Veerta (1991)

Doodh Ka Karz (1990)

Paap Ki Kamaee (1990)

Police Public (1990)

Atishbaz (1990)

Azaad Desh Ke Gulam (1990)

Aag Ka Gola (1990)

Kali Ganga (1990)

Sikka (1989)

Daata (1989)

Dana Paani (1989)

Jung Baaz (1989)

Abhimanyu (1989)

Garibon Ka Daata (1989)

Rakhwala (1989)

Clerk (1989)

Santosh (1989)

Sachché Ká Bol-Bálá (1989)

Joshilaay (1989)

Indira (1989)

Dav Pech (1989)

Aakhri Badla (1989)

Kaanoon Ki Awaaz (1989)

Kanoon Ka Harz (1989)

Mitti Aur Sona (1989)

Gharana (1989)

Majboor (1989)

Mahaveera (1988)

Charnon Ki Saugandh (1988)

Shukriyaa (1988)

Shahenshah (1988)

Mera Muqaddar (1988)

Mera Shikar (1988)

Gunahon Ka Faisla (1988)

Sagar Sangam (1988)

Insaf Ki Pukar (1987)

Hiraasat (1987)

Hawalaat (1987)

Majaal (1987)

Kalyug Aur Ramayan (1987)

Hukumat (1987)

Mard Ki Zabaan (1987)

Watan Ke Rakhwale (1987)

Avinash (1986)

Preeti (1986)

Ilzaam (1986)

Swarag Se Sunder (1986)

Waapsi (1986)

Shatru (1986)

Saveray Wali Gaadi (1986)

Nagina (1986)

Bhavani Junction (1985)

Oonche Log (1985)

Mard (1985)

Telephone (1985)

Sitamgar (1985)

Arjun (1985)

Sarfarosh (1985)

Ram Tere Kitne Nam (1985)

Bond 303 (1985)

Kali Basti (1985)

3D Saamri (1985)

Haqeeqat (1985)

Aaj Ka Daur (1985)

Awaaz (1984)

Manzil Manzil (1984)

Duniya (1984)

Ram Tera Desh (1984)

Maqsad (1984)

Ghar Ek Mandir (1984)

Teri Bahon Mein (1984)

Mawaali (1983)

Bandhan Kuchchey Dhaagon Ka (1983)

Betaab (1983)

Souten (1983)

Prem Tapasya (1983)

Jaanwar (1983)

Daulat Ke Dushman (1983)

Pukar (1983)

Andha Kanoon (1983)

Sawaal (1982)

Desh Premee (1982)

Gopichand Jasoos (1982)

Haathkadi (1982)

Do Dishayen (1982)

Khud-Daar (1982)

Ek Aur Ek Gyarah (1981)

Shakka (1981)

Naseeb (1981)

Kranti (1981)

Aas Paas (1981)

Sansani: The Sensation (1981)

Raksha (1981)

Dostana (1980)

Aanchal (1980)

Alibaba Aur 40 Chor (1980)

Lootmaar (1980)

Saboot (1980)

Dhan Daulat (1980)

Nishana (1980)

Ram Balram (1980)

Kaala Patthar (1979)

Jhoota Kahin Ka (1979)

The Great Gambler (1979)

Bebus (1979)

Dil Aur Deewar (1978)

Phandebaaz (1978)

Des Pardes (1978)

Azaad (1978)

Do Musafir (1978)

Trishul (1978)

Tyaag (1977)

Immaan Dharam (1977)

Kasum Khoon Ki (1977)

Jagriti (1977)

Adha Din Adhi Raat (1977)

Adha (1977)

Darling Darling (1977)

Thief of Baghdad (1977)

Jadu Tona (1977)

Dream Girl (1977)

Dildaar (1977)

Paapi (1977)

Mehbooba (1976)

Lagaaam (1976)

Bairaag (1976)

Barood (1976)

Maha Chor (1976)

Do Anjaane (1976)

Kala Sona (1975)

Do Jhoot (1975)

Do Jasoos (1975)

Raaja (1975)

Sanyasi (1975)

Benaam (1974)

Ajanabee (1974)

Jab Andhera Hota Hai (1974)

Prem Nagar (1974)

Vachan (1974)

Pocket Maar (1974)

Bobby (1973)

Jugnu (1973)

Jheel Ke Us Paar (1973)

Gehri Chaal (1973)

Chhupa Rustam (1973)

Nafrat (1973)

Keemat (1973)

Daag: A Poem of Love (1973)

Dastaan (1972)

Raja Jani (1972)

Gora Aur Kala (1972)

Apradh (1972)

Be-Imaan (1972)

Raaste Kaa Patthar (1972)

Haré Raama Haré Krishna (1971)

Pyar Ki Kahani (1971)

Lagan (1971)

Hulchul (1971)

Aap Aye Bahaar Ayee (1971)

Prem Pujari (1970)

Samaj Ko Badal Dalo (1970)

Pagla Kahin Ka (1970)

Purab Aur Paschim (1970)

Himmat (1970)

Jawab (1970)

Yaadgaar (1970)

Kati Patang (1970)

Do Raaste (1969)

Ek Shriman Ek Shrimati (1969)

Anjaana (1969)

Waris (1969)

Doli (1969)

Duniya (1968)

Jhuk Gaya Aasman (1968)

Haye Mera Dil (1968)

Latt Saheb (1967)

Aamne - Saamne (1967)

Upkar (1967)

Around the World (1967)

Kunwari (1966)

Sagaai (1966)

Teesri Manzil (1966)

Mera Saaya (1966)

Shaheed (1965)

Sikandar E Azam (1965)

Nishan (1965)

Poonam Ki Raat (1965)

Woh Kaun Thi? (1964)

Main Shadi Karne Chala (1962)

Mud Mud Ke Na Dekh (1960)

Chaudhary Karnail Singh (1960)

Hum Hindustani (1960)

Prem Chopra (Devanagari: प्रेम चोपड़ा) (born September 23, 1935)is an actor in Hindi and Punjabi films. He has acted in 320 films over a span of over 50 years. He has a soft spoken diction despite being a villain in most films.

Prem Chopra, the third of six children of Ranbirlal and Rooprani Chopra,a Punjabi Hindu family, was born on 23 September 1935, in Lahore.[1][2] He was third of six children. After the partition of India, his family moved to Shimla, where he was brought up.[1] His father desired that Prem be a doctor or an Indian Administrative Services officer.[3]

Prem Chopra completed his schooling and college from Shimla after his father who was a government servant got transferred to there.[4]He graduated from Punjab University.[2] He took part in college dramatics enthusiastically.At his father's insistence he completed his graduation and then came to Mumbai.[3]Soon after he did his debut film, his mother was detected with mouth cancer and she died leaving his then nine-year-old sister Anju to be looked after by his father and his four other brothers.The brothers had given warning to their respective wives that only if their sister is happy would they be happy and Prem considers his sister as his first daughter.[5] Noted writer-director Lekh Tandon brought the proposal of Uma for mairrage to Prem. Uma was the younger sister of the siblings Krishna Kapoor, Prem Nath and Rajendranath.[3] The couple have three daughters, Rakita, Punita and Prerna Chopra.[6] Rakita, is married to film publicity designer Rahul Nanda. Punita owns a pre-school called Wind Chimes in Bandra, suburban Mumbai, and is married to singer and television actor, Vikas Bhalla.Prerna, is married to Bollywood actor Sharman Joshi.[7]He currently resides in a duplex apartment in Pali Hill, Bandra in Mumbai.[3]

His relation with two of his 4 brothers got estranged in late 1980's.Prem Chopra had bought a bunglow in 1980 in Delhi, which was jointly owned by him and his father and where his father and his one brothers used to stay there.Prem had got his brother a job in Delhi and made him stay at this bunglow. But his father, a day before his death, was made to sign a will favouring one of his brothers, taking away Prem's rights in the bunglow.[5]Later an income tax raid happened in that same house and his brother said in the raid that Prem had gifted them the bunglow and so the house still is in name of Prem Chopra.[5] Prem had two other houses in Mumbai also, which were sold off cheaply by his other brothers without telling him as they needed the money.[5]

Early Career 1961-67[edit]

It was in Shimla that Prem Chopra developed an interest in acting as he had begun to take part in quite a few plays in his college days. Despite facing stiff opposition from his parents, he managed to come to Mumbai to pursue his dream of acting in Bollywood films.[4] In his initial days he stayed he stayed at various guest-houses in Colaba, Mumbai.[3]He started visiting film studios to display his portfolio and the response was not encouraging.[8] While Prem was in Times of India, he looked after circulation of paper in Bengal, Orissa and Bihar and was required to tour 20 days a month. Prem used to cut his touring time by calling the agents to come and meet him at the station itself so that he could quickly return and this way a tour that would normally take 20 days would get completed in 12 and he would spend the rest of the time going from one studio to the other.[5] While travelling by the suburban train one day, a stranger accosted him and asked if he was interested in joining films. Chopra nodded in agreement and went with that stranger to Ranjit Studios where the producers of Chaudhari Karnail Singh were in search of a hero.[8] Jagjit Sethi, a Punjabi producer, gave him the break as Jabeen's hero in Chaudhary Karnail Singh, a Punjabli film. His debut film was a Hindu-Muslim romantic love story set against the backdrop of Indo-Pak partition and it turned out to be a big hit and the film even won the National award.[3] He was paid Rs 2500 for his debut film.[8] The movie took almost three years to complete. In order to survive in the fast life of Mumbai, he took up a job with The Times of India while trying to gain a foothold in the film industry. During his stint with the Times of India, he worked in Punjabi films including Sapani and Hindi films such as Woh Kaun Thi, Shaheed, Main Shaadi Karne Chala and Teesri Manzil.[2]Prem did not consider acting as a full time profession in the early 60's and he kept trying to get roles for him in films due to his passion for acting.Among his early films he played Sukhdev in Shaheed, one of his rare positive leading roles. Prem had done 4 movies before Woh Kaun Thi, a box-office hit of 1964, had released.It was on sets of Woh Kaun Thi which had Manoj Kumar as lead hero where Prem met Manoj for the very first time. Manoj offered Prem a positive role in Shaheed, for which Manoj was the presenter. It was during the shooting of Main Shadi Karne Chala that someone suggested that he become a villain.[8] He continued working with TOI, when already he was part of box-office hits like Nishan,Sikandar E Azam in 1965 and Sagaai, Mera Saaya in 1966. After Teesri Manzil and Upkaar, he was flooded with films as a villain. After Upkaar in 1967, he left The Times of India to concentrate solely on acting.[1]

1969-1994[edit]

He has since 1967 been a leading villain in Hindi films and his peak period as main villain in Hindi films was from 1967-1994. In 70's he got plum roles as a villain often with Sujith Kumar and Ranjeet. In few films he played secondary villain to villainous characters of Ajit, Madan Puri, Pran, Jeevan in 70's and 80;s and to Amrish Puri and Amjad Khan's in the late 80's. In the critically acclaimed comedy film Hulchul (1971), played the lead hero in this suspense thriller and was not a villain. He played the main lead in 1970 box-office hit small budget comedy film Samaj Ko Badal Dalo as lead hero and was paired opposite Tamil actresses Kanchana and Shardha. The song sung by Rafi and picturised on Prem Chopra -Tum Apni Saheli Ko Itna Bata Do Ki Usse Koi Pyar Karne Laga Hai from this 1970 film and the song Rah Mein Kaliya - a song sung by Kishore Kumar and performed on-screen by Prem Chopra in the film Nafrat(1973), a box-office flop in 1973, continues to be popular. The dialogue " Prem naam hai mera, Prem Chopra" (My name is Prem, Prem Chopra) from the film Bobby has been very popular. Another famous Prem Chopra dialogue is from film Souten - "Main wo bala hoon jo sheshay se pathar ko todtee hai" which closely translates to "I am that trouble which crushes stones with glass".He was the regular in villanious role in the films with Rajesh Khanna in the lead role from 1969-1991 from Doli(1969) till Ghar Parivaar(1991). The duo of Prem and Rajesh Khanna acted in 19 films together and had 15 of them as box office hits and were very close friends in real life till Khanna's death. Prem quoted in an interview "Rajesh Khanna and I were considered a lucky pair and distributors used to tell Rajesh Khanna that we don't care who your heroine is, all we want to know is whether Prem Chopra is in the film."[9] He also mouthed dialogues in the song Aaj Pila Dey Saathi Apni sung by Mahnedra Kapoor from the film Doli(1969).He also mouthed dialogs in the song Lo Mera Pyar Lelo from Nafrat in 1973 with Asha Bhosle and Kab Se Ye Dil Hai Pyaasa from Mera Muqaddar in 1988.

1995-present[edit]

After 1995, he appeared as a villain in very few films. He took up positive character roles from 1996 and started getting more positive roles from 2005.His screen space got reduced in the films after 2005.

He had a good career spanning 50 years and was popular for villain roles in Bollywood.Prem Chopra regards his best roles were in Shaheed (1965), Upkaar (1967), Purab Aur Pashchim, Do Raaste (1969), Kati Patang (1970),Do Anjaane (1976),Jaadu Tona (1977), Kala Sona, Dostana (1980), Kranti (1981), Phool Bane Angaarey (1991),Bewaffa Se Waffa.[10][9][11][12]He regards his best performances in positive roles came in Sikander-e-Azam, Kunwari, Shaheed, Jaadu Tona, Prem Pratiggya,Chori Chori Chupke Chupke.[9] He quoted in an interview "Although I came to be a hero, my films as a leading man flopped. Which was good in a way because a whole new world opened in front of me. There were so many more roles I could do. When I established myself as a villain it could continue for years."[9]

Awards[edit]

1976 - Filmfare Best Supporting Actor Award for his role in Do Anjaane

2004 - Legend of Indian Cinema Award at Atlantic City [13][dead link]

Amongst other awards won the Giants[clarification needed] honoured him with the "Lifetime Achievement Award". His talent won the Indira Gandhi Priyadarshini Award in 1998, and has also been a recipient of the "Lions Club Award", "Ashoka Award", "Ashirwad Award" and the "Punjabi Kala Sangam Award."[14]

Filmography[edit]

Selected Bollywood filmography[edit]

Heart Land (Completed) (2012)

Power Cut (Punjabi) (2012)

Challo Driver (2012)

Delhi Safari (Voice) (2012)

Agent Vinod (2012)

Loot (2011)

Double Dhamaal (2011)

Love U...Mr. Kalakaar! (2011)

Dharti (Punjabi) (2011)

Patiala House (2011)

Jaane Bhi Do Yaaron (2011)

Golmaal 3 (2010)

Mirch (2010)

World Cupp 2011 (2009)

Rocket Singh: Salesman of the Year (2009)

Daddy Cool (2009)

Delhi-6 (2009)

Money Hai Toh Honey Hai (2008)

Khushboo (2008)

Humsey Hai Jahaan (2008)

Dhamaal (2007)

Buddha Mar Gaya (2007)

Undertrial (2007)

Broken Thread (2007)

Salaam-e-Ishq: A Tribute to Love (2007)

Saawan... The Love Season (2006)

Umar (2006)

Bold (2006)

Mr Prime Minister (2005)

Vaah! Life Ho Toh Aisi! (2005)

Maine Gandhi Ko Nahin Mara (2005)

Viruddh... Family Comes First (2005)

Ssukh (2005)

Bunty Aur Babli (2005)

Khullam Khulla Pyaar Karen (2005)

Hum Kaun Hai ? (2004)

Shikaar (2004)

Woh Tera Naam Tha (2004)

Dil Pardesi Ho Gayaa (2003)

Koi... Mil Gaya (2003)

Dhund: The Fog (2003)

Pyaar Ki Dhun (2002)

Tera Mera Saath Rahen (2001)

C.I.D. (2001 TV Series)

Chori Chori Chupke Chupke (2001)

Meri Adaalat (2001)

Beti No. 1 (2000)

Agniputra (2000)

Baadshah (1999)

Hindustan Ki Kasam (1999)

Hote Hote Pyar Hogaya (1999)

Jai Hind (1999)

Anari No.1 (1999)

Lal Baadshah (1999)

Lo Main Aa Gaya (1999)

Zulm-O-Sitam (1998)

Maharaja (1998)

Iski Topi Uske Sarr (1998)

Dulhe Raja (1998)

Military Raaj (1998)

Dhoondte Reh Jaaoge! (1998)

Udaan (1997)

Jodidar (1997)

Bhai Bhai (1997)

Kaun Rokega Mujhe (1997)

Gupt: The Hidden Truth (1997)

Sapoot (1996)

Hum Hain Premi (1996)

Daanveer (1996)

Sikander (1996 Video)

Prem Granth (1996)

Namak (1996)

Return of Jewel Thief (1996)

Mera Hindustan (1996)

Diya Aur Toofan (1995)

Zamaana Deewana (1995)

Saajan Ki Baahon Mein (1995)

The Don (1995)

God and Gun (1995)

Aazmayish (1995)

Jawab (1995)

Andaz (1995 TV Series)

Aashique Mastane (1995)

Raghuveer (1995)

Jallaad (1995)

Ahankaar (1995)

Ab Insaf Hoga (1995)

Aao Pyaar Karen (1994)

Yaar Gaddar (1994)

Brahma (1994)

Prem Yog (1994)

Betaaj Badshah (1994)

The Law (1994)

Laadla (1994)

Insaniyat (1994)

Raja Babu (1994)

Gopalaa (1994)

Karan (1994)

Cheetah (1994)

Santaan (1993)

15 August (1993)

Aaja Meri Jaan (1993)

Izzat Ki Roti (1993)

Phool Aur Angaar (1993)

Kshatriya (1993)

Jaagruti (1993)

Aasoo Bane Angaarey (1993)

Ghar Jamai (1992)

Aaj Ka Goonda Raj (1992)

Tahalka (1992)

Khiladi (1992)

Tyagi (1992)

Bewaffa Se Waffa (1992)

Virodhi (1992)

Prem Deewane (1992)

Mere Sajana Saath Nibhana (1992)

Khel (1992)

Insaaf Ka Khoon (1991)

Ghar Parivaar (1991)

Phool Bane Angaarey (1991)

Mast Kalandar (1991)

Veerta (1991)

Doodh Ka Karz (1990)

Paap Ki Kamaee (1990)

Police Public (1990)

Atishbaz (1990)

Azaad Desh Ke Gulam (1990)

Aag Ka Gola (1990)

Kali Ganga (1990)

Sikka (1989)

Daata (1989)

Dana Paani (1989)

Jung Baaz (1989)

Abhimanyu (1989)

Garibon Ka Daata (1989)

Rakhwala (1989)

Clerk (1989)

Santosh (1989)

Sachché Ká Bol-Bálá (1989)

Joshilaay (1989)

Indira (1989)

Dav Pech (1989)

Aakhri Badla (1989)

Kaanoon Ki Awaaz (1989)

Kanoon Ka Harz (1989)

Mitti Aur Sona (1989)

Gharana (1989)

Majboor (1989)

Mahaveera (1988)

Charnon Ki Saugandh (1988)

Shukriyaa (1988)

Shahenshah (1988)

Mera Muqaddar (1988)

Mera Shikar (1988)

Gunahon Ka Faisla (1988)

Sagar Sangam (1988)

Insaf Ki Pukar (1987)

Hiraasat (1987)

Hawalaat (1987)

Majaal (1987)

Kalyug Aur Ramayan (1987)

Hukumat (1987)

Mard Ki Zabaan (1987)

Watan Ke Rakhwale (1987)

Avinash (1986)

Preeti (1986)

Ilzaam (1986)

Swarag Se Sunder (1986)

Waapsi (1986)

Shatru (1986)

Saveray Wali Gaadi (1986)

Nagina (1986)

Bhavani Junction (1985)

Oonche Log (1985)

Mard (1985)

Telephone (1985)

Sitamgar (1985)

Arjun (1985)

Sarfarosh (1985)

Ram Tere Kitne Nam (1985)

Bond 303 (1985)

Kali Basti (1985)

3D Saamri (1985)

Haqeeqat (1985)

Aaj Ka Daur (1985)

Awaaz (1984)

Manzil Manzil (1984)

Duniya (1984)

Ram Tera Desh (1984)

Maqsad (1984)

Ghar Ek Mandir (1984)

Teri Bahon Mein (1984)

Mawaali (1983)

Bandhan Kuchchey Dhaagon Ka (1983)

Betaab (1983)

Souten (1983)

Prem Tapasya (1983)

Jaanwar (1983)

Daulat Ke Dushman (1983)

Pukar (1983)

Andha Kanoon (1983)

Sawaal (1982)

Desh Premee (1982)

Gopichand Jasoos (1982)

Haathkadi (1982)

Do Dishayen (1982)

Khud-Daar (1982)

Ek Aur Ek Gyarah (1981)

Shakka (1981)

Naseeb (1981)

Kranti (1981)

Aas Paas (1981)

Sansani: The Sensation (1981)

Raksha (1981)

Dostana (1980)

Aanchal (1980)

Alibaba Aur 40 Chor (1980)

Lootmaar (1980)

Saboot (1980)

Dhan Daulat (1980)

Nishana (1980)

Ram Balram (1980)

Kaala Patthar (1979)

Jhoota Kahin Ka (1979)

The Great Gambler (1979)

Bebus (1979)

Dil Aur Deewar (1978)

Phandebaaz (1978)

Des Pardes (1978)

Azaad (1978)

Do Musafir (1978)

Trishul (1978)

Tyaag (1977)

Immaan Dharam (1977)

Kasum Khoon Ki (1977)

Jagriti (1977)

Adha Din Adhi Raat (1977)

Adha (1977)

Darling Darling (1977)

Thief of Baghdad (1977)

Jadu Tona (1977)

Dream Girl (1977)

Dildaar (1977)

Paapi (1977)

Mehbooba (1976)

Lagaaam (1976)

Bairaag (1976)

Barood (1976)

Maha Chor (1976)

Do Anjaane (1976)

Kala Sona (1975)

Do Jhoot (1975)

Do Jasoos (1975)

Raaja (1975)

Sanyasi (1975)

Benaam (1974)

Ajanabee (1974)

Jab Andhera Hota Hai (1974)

Prem Nagar (1974)

Vachan (1974)

Pocket Maar (1974)

Bobby (1973)

Jugnu (1973)

Jheel Ke Us Paar (1973)

Gehri Chaal (1973)

Chhupa Rustam (1973)

Nafrat (1973)

Keemat (1973)

Daag: A Poem of Love (1973)

Dastaan (1972)

Raja Jani (1972)

Gora Aur Kala (1972)

Apradh (1972)

Be-Imaan (1972)

Raaste Kaa Patthar (1972)

Haré Raama Haré Krishna (1971)

Pyar Ki Kahani (1971)

Lagan (1971)

Hulchul (1971)

Aap Aye Bahaar Ayee (1971)

Prem Pujari (1970)

Samaj Ko Badal Dalo (1970)

Pagla Kahin Ka (1970)

Purab Aur Paschim (1970)

Himmat (1970)

Jawab (1970)

Yaadgaar (1970)

Kati Patang (1970)

Do Raaste (1969)

Ek Shriman Ek Shrimati (1969)

Anjaana (1969)

Waris (1969)

Doli (1969)

Duniya (1968)

Jhuk Gaya Aasman (1968)

Haye Mera Dil (1968)

Latt Saheb (1967)

Aamne - Saamne (1967)

Upkar (1967)

Around the World (1967)

Kunwari (1966)

Sagaai (1966)

Teesri Manzil (1966)

Mera Saaya (1966)

Shaheed (1965)

Sikandar E Azam (1965)

Nishan (1965)

Poonam Ki Raat (1965)

Woh Kaun Thi ? (1964)

Main Shadi Karne Chala (1962)

Mud Mud Ke Na Dekh (1960)

Chaudhary Karnail Singh (1960)

Hum Hindustani (1960)

Surajkund Crafts Mela was privileged once again to have Assam as its Theme State. The State earlier participated in 1998 along with other sister States of North-East India. Soaked in rich and exotic tapestry of Indian heritage, Assam has been a meeting ground for various diverse cultures. The Mela this year was dipped into a spectrum of colours from Assam. Each one was unique in its tradition, culture and exotic way of life. The décor and the ambience was especially designed and crafted to create an ethereal environment which reflected the magnificence of the State. Traditionally rich handlooms, handicrafts and some of the mouth watering cuisines of Assam formed the hallmark of this year’s Mela. The special enclosure made for the Theme State had artisans specializing in handicrafts, handlooms, metal ware and other crafts. The Mela epitomized the beauty of rural India within the gamut of suburban serenity and made it an ideal getaway for people.

The pastoral setup of the Mela with a medieval flavour was recreated to relive the culture of Assam. Miniature paintings, statues and frescoes promoting their art created an exuberant aura in the Mela. A replica of ‘Rang Ghar’ was adorned to reflect the historic grandeur of the State which dates back to 13th Century AD. In addition to this, ‘Naam Ghar’, a prayer hall was specially created by the Theme State to depict the spiritual and devotional aspect of Assamese culture. The divine structure added to the majestic essence of the Mela and also reflected the rich traditions and customs of Assam. Another highlight of 26th Surajkund Crafts Mela was the ‘Apna Ghar’ of Assam. The structure was an instant hit with the visitors who were eager to take a glimpse of the Assamese family living over there. The family reflected the every-day life of traditional Assam which involved weaving, animal husbandry, cooking etc. The structure which was made up of bamboo, cane and palm leaves was elaborate in reflecting the traditional architecture of Assam. The ‘Apna Ghar’ also had a special shelter for animals and the ‘ghoda gaadi’ was a major attraction for the kids.

Stall no. 106 and 107 of Dr. Azirur Rehman, who is PhD in Muga Silk from Assam University, displayed a live weaving of silk into different products. Sponsored by the Sericulture Department of Assam, the stall arrayed a wide variety of products like stoles, sarees and scarves. Dr. Rehman stated that the visitors here were inquisitive to know about silk weaving and he was more than happy to inform about a variety of silk being produced in Assam. He further added that the Muga Silk was produced from the lava of the caterpillars and was known for its strength and durability. The silk became more glossy and white after every wash and retained its texture throughout its lifetime. Similarly, Stall no. 154 of the Theme State enclosure displayed a wide variety of products made up from silk. An exquisite display of colourful sarees, shawls, stoles and dress materials served as a bright contrast to the rustic and rural ambience of the Mela. Stall no. 142 of Shri Hemant Adhikari exhibited a wide variety of bed covers, bed sheets, ties, kurtas, churidars and even chappals dipped in the golden colour of the silk and a distinctive use of bright colours on them. These intricately designed fabrics had become quite popular with the visitors and one could see his stall packed with the buyers most of the time. Another facet of the Assamese handlooms was the tribal textile at Stall no. 141. A National Merit and State awardee, Smt. Chenimai Daley, arrayed an extensive range of embroidered woolen fabrics. She stated that weaving was an integral part of Assamese household and she has been doing this since her childhood days. Smt. Daley has exported her products to South Africa, Egypt and Dubai and plans to expand the list in future. She further added that the visitors of the Mela were quite receptive to her crafts and it was always encouraging to sell her products here.

Assam is known for its wide variety of handicrafts made up of bamboo, cane and metals. Many such stalls in the Mela arrayed such unique crafts. Stall no. 145 of Shri BR Mandal exhibited the art of ‘Sheetalpati’. These handicrafts were made from murta plants which grow around water bodies. These are known for their softness and glossiness. Shri Mandal has been bestowed with National Award in 2003, National Merit Award and District Award. His products ranged from purses, bags to mats and carpets. Similarly, Shri Madhav Biswas of Stall no. 147 provided with an exclusive range of bamboo products. Beautiful handicrafts, artefacts and decorative items were displayed. Nonetheless, his stall swelled with the swarm of visitors in the Mela.

Traditional dances like Satriya, Bodo, Mising, Bhortal, Deodhani, Tiwa, Rabha and Bihu & of Assam have been performed on Choupal, the open air stage. These dance numbers lit up the faces of the visitors and enlivened the atmosphere at the Mela. The pulsating wafts of their musical notes created an ambience of festivity and offered a visitor to the Mela a heady blend of craft, music and dance. The Food Court of Surajkund Crafts Mela offered a wide variety of cuisine from Assam this year. The traditional dishes were savoured by children and adults alike.

The presence of such artists and craftspersons not only added to the cultural relevance of the Surajkund Crafts Mela but also tremendously increased the footfall of visitors which, in turn, meant more sales for craftspersons. The overwhelming response has encouraged both craftspersons and performers. The Mela truly provides an opportunity for artists to perform at the international level and is fast emerging as a custodian of the dying folk art.

The results of Mehandi Competition for Junior Classes (Upto 8th standard), held on 2nd February were: first prize was won by Gita Bal Niketan Sr. Sec School and the second prize was won by Govt. Sr. Sec. School, Gaunchi. Gita Bal Niketan Sr. Sec School and Govt. School, Sarai Khawaja participated in cultural activities also.

Train:

One Nissin Di622 Mk II @ 1/32 power through DIY light tent. cam left.

Smoke: Nissin Di622 Mk II @ 1/8 power, through DIY Snoot. cam left.

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Surajkund Crafts Mela was privileged once again to have Assam as its Theme State. The State earlier participated in 1998 along with other sister States of North-East India. Soaked in rich and exotic tapestry of Indian heritage, Assam has been a meeting ground for various diverse cultures. The Mela this year was dipped into a spectrum of colours from Assam. Each one was unique in its tradition, culture and exotic way of life. The décor and the ambience was especially designed and crafted to create an ethereal environment which reflected the magnificence of the State. Traditionally rich handlooms, handicrafts and some of the mouth watering cuisines of Assam formed the hallmark of this year’s Mela. The special enclosure made for the Theme State had artisans specializing in handicrafts, handlooms, metal ware and other crafts. The Mela epitomized the beauty of rural India within the gamut of suburban serenity and made it an ideal getaway for people.

The pastoral setup of the Mela with a medieval flavour was recreated to relive the culture of Assam. Miniature paintings, statues and frescoes promoting their art created an exuberant aura in the Mela. A replica of ‘Rang Ghar’ was adorned to reflect the historic grandeur of the State which dates back to 13th Century AD. In addition to this, ‘Naam Ghar’, a prayer hall was specially created by the Theme State to depict the spiritual and devotional aspect of Assamese culture. The divine structure added to the majestic essence of the Mela and also reflected the rich traditions and customs of Assam. Another highlight of 26th Surajkund Crafts Mela was the ‘Apna Ghar’ of Assam. The structure was an instant hit with the visitors who were eager to take a glimpse of the Assamese family living over there. The family reflected the every-day life of traditional Assam which involved weaving, animal husbandry, cooking etc. The structure which was made up of bamboo, cane and palm leaves was elaborate in reflecting the traditional architecture of Assam. The ‘Apna Ghar’ also had a special shelter for animals and the ‘ghoda gaadi’ was a major attraction for the kids.

Stall no. 106 and 107 of Dr. Azirur Rehman, who is PhD in Muga Silk from Assam University, displayed a live weaving of silk into different products. Sponsored by the Sericulture Department of Assam, the stall arrayed a wide variety of products like stoles, sarees and scarves. Dr. Rehman stated that the visitors here were inquisitive to know about silk weaving and he was more than happy to inform about a variety of silk being produced in Assam. He further added that the Muga Silk was produced from the lava of the caterpillars and was known for its strength and durability. The silk became more glossy and white after every wash and retained its texture throughout its lifetime. Similarly, Stall no. 154 of the Theme State enclosure displayed a wide variety of products made up from silk. An exquisite display of colourful sarees, shawls, stoles and dress materials served as a bright contrast to the rustic and rural ambience of the Mela. Stall no. 142 of Shri Hemant Adhikari exhibited a wide variety of bed covers, bed sheets, ties, kurtas, churidars and even chappals dipped in the golden colour of the silk and a distinctive use of bright colours on them. These intricately designed fabrics had become quite popular with the visitors and one could see his stall packed with the buyers most of the time. Another facet of the Assamese handlooms was the tribal textile at Stall no. 141. A National Merit and State awardee, Smt. Chenimai Daley, arrayed an extensive range of embroidered woolen fabrics. She stated that weaving was an integral part of Assamese household and she has been doing this since her childhood days. Smt. Daley has exported her products to South Africa, Egypt and Dubai and plans to expand the list in future. She further added that the visitors of the Mela were quite receptive to her crafts and it was always encouraging to sell her products here.

Assam is known for its wide variety of handicrafts made up of bamboo, cane and metals. Many such stalls in the Mela arrayed such unique crafts. Stall no. 145 of Shri BR Mandal exhibited the art of ‘Sheetalpati’. These handicrafts were made from murta plants which grow around water bodies. These are known for their softness and glossiness. Shri Mandal has been bestowed with National Award in 2003, National Merit Award and District Award. His products ranged from purses, bags to mats and carpets. Similarly, Shri Madhav Biswas of Stall no. 147 provided with an exclusive range of bamboo products. Beautiful handicrafts, artefacts and decorative items were displayed. Nonetheless, his stall swelled with the swarm of visitors in the Mela.

Traditional dances like Satriya, Bodo, Mising, Bhortal, Deodhani, Tiwa, Rabha and Bihu & of Assam have been performed on Choupal, the open air stage. These dance numbers lit up the faces of the visitors and enlivened the atmosphere at the Mela. The pulsating wafts of their musical notes created an ambience of festivity and offered a visitor to the Mela a heady blend of craft, music and dance. The Food Court of Surajkund Crafts Mela offered a wide variety of cuisine from Assam this year. The traditional dishes were savoured by children and adults alike.

The presence of such artists and craftspersons not only added to the cultural relevance of the Surajkund Crafts Mela but also tremendously increased the footfall of visitors which, in turn, meant more sales for craftspersons. The overwhelming response has encouraged both craftspersons and performers. The Mela truly provides an opportunity for artists to perform at the international level and is fast emerging as a custodian of the dying folk art.

The results of Mehandi Competition for Junior Classes (Upto 8th standard), held on 2nd February were: first prize was won by Gita Bal Niketan Sr. Sec School and the second prize was won by Govt. Sr. Sec. School, Gaunchi. Gita Bal Niketan Sr. Sec School and Govt. School, Sarai Khawaja participated in cultural activities also.

Surajkund Crafts Mela was privileged once again to have Assam as its Theme State. The State earlier participated in 1998 along with other sister States of North-East India. Soaked in rich and exotic tapestry of Indian heritage, Assam has been a meeting ground for various diverse cultures. The Mela this year was dipped into a spectrum of colours from Assam. Each one was unique in its tradition, culture and exotic way of life. The décor and the ambience was especially designed and crafted to create an ethereal environment which reflected the magnificence of the State. Traditionally rich handlooms, handicrafts and some of the mouth watering cuisines of Assam formed the hallmark of this year’s Mela. The special enclosure made for the Theme State had artisans specializing in handicrafts, handlooms, metal ware and other crafts. The Mela epitomized the beauty of rural India within the gamut of suburban serenity and made it an ideal getaway for people.

The pastoral setup of the Mela with a medieval flavour was recreated to relive the culture of Assam. Miniature paintings, statues and frescoes promoting their art created an exuberant aura in the Mela. A replica of ‘Rang Ghar’ was adorned to reflect the historic grandeur of the State which dates back to 13th Century AD. In addition to this, ‘Naam Ghar’, a prayer hall was specially created by the Theme State to depict the spiritual and devotional aspect of Assamese culture. The divine structure added to the majestic essence of the Mela and also reflected the rich traditions and customs of Assam. Another highlight of 26th Surajkund Crafts Mela was the ‘Apna Ghar’ of Assam. The structure was an instant hit with the visitors who were eager to take a glimpse of the Assamese family living over there. The family reflected the every-day life of traditional Assam which involved weaving, animal husbandry, cooking etc. The structure which was made up of bamboo, cane and palm leaves was elaborate in reflecting the traditional architecture of Assam. The ‘Apna Ghar’ also had a special shelter for animals and the ‘ghoda gaadi’ was a major attraction for the kids.

Stall no. 106 and 107 of Dr. Azirur Rehman, who is PhD in Muga Silk from Assam University, displayed a live weaving of silk into different products. Sponsored by the Sericulture Department of Assam, the stall arrayed a wide variety of products like stoles, sarees and scarves. Dr. Rehman stated that the visitors here were inquisitive to know about silk weaving and he was more than happy to inform about a variety of silk being produced in Assam. He further added that the Muga Silk was produced from the lava of the caterpillars and was known for its strength and durability. The silk became more glossy and white after every wash and retained its texture throughout its lifetime. Similarly, Stall no. 154 of the Theme State enclosure displayed a wide variety of products made up from silk. An exquisite display of colourful sarees, shawls, stoles and dress materials served as a bright contrast to the rustic and rural ambience of the Mela. Stall no. 142 of Shri Hemant Adhikari exhibited a wide variety of bed covers, bed sheets, ties, kurtas, churidars and even chappals dipped in the golden colour of the silk and a distinctive use of bright colours on them. These intricately designed fabrics had become quite popular with the visitors and one could see his stall packed with the buyers most of the time. Another facet of the Assamese handlooms was the tribal textile at Stall no. 141. A National Merit and State awardee, Smt. Chenimai Daley, arrayed an extensive range of embroidered woolen fabrics. She stated that weaving was an integral part of Assamese household and she has been doing this since her childhood days. Smt. Daley has exported her products to South Africa, Egypt and Dubai and plans to expand the list in future. She further added that the visitors of the Mela were quite receptive to her crafts and it was always encouraging to sell her products here.

Assam is known for its wide variety of handicrafts made up of bamboo, cane and metals. Many such stalls in the Mela arrayed such unique crafts. Stall no. 145 of Shri BR Mandal exhibited the art of ‘Sheetalpati’. These handicrafts were made from murta plants which grow around water bodies. These are known for their softness and glossiness. Shri Mandal has been bestowed with National Award in 2003, National Merit Award and District Award. His products ranged from purses, bags to mats and carpets. Similarly, Shri Madhav Biswas of Stall no. 147 provided with an exclusive range of bamboo products. Beautiful handicrafts, artefacts and decorative items were displayed. Nonetheless, his stall swelled with the swarm of visitors in the Mela.

Traditional dances like Satriya, Bodo, Mising, Bhortal, Deodhani, Tiwa, Rabha and Bihu & of Assam have been performed on Choupal, the open air stage. These dance numbers lit up the faces of the visitors and enlivened the atmosphere at the Mela. The pulsating wafts of their musical notes created an ambience of festivity and offered a visitor to the Mela a heady blend of craft, music and dance. The Food Court of Surajkund Crafts Mela offered a wide variety of cuisine from Assam this year. The traditional dishes were savoured by children and adults alike.

The presence of such artists and craftspersons not only added to the cultural relevance of the Surajkund Crafts Mela but also tremendously increased the footfall of visitors which, in turn, meant more sales for craftspersons. The overwhelming response has encouraged both craftspersons and performers. The Mela truly provides an opportunity for artists to perform at the international level and is fast emerging as a custodian of the dying folk art.

The results of Mehandi Competition for Junior Classes (Upto 8th standard), held on 2nd February were: first prize was won by Gita Bal Niketan Sr. Sec School and the second prize was won by Govt. Sr. Sec. School, Gaunchi. Gita Bal Niketan Sr. Sec School and Govt. School, Sarai Khawaja participated in cultural activities also.

This is a click of a ground....rather by what I saw, cricket ground located right in front of the Eden Gardens Stadium...rest is understood I guess. :)

Rare Color Photo Of The Ravishing Madhubala By James Burke For 'Life' Magazine.

Madhubala, born Mumtaz Jahan Dehlavi, was an Indian Bollywood actress who appeared in film classics Mahal, Mr. & Mrs. '55, Chalti Ka Naam Gaadi and Mughal-e-Azam. She was active between 1949 and 1960, after which illness shortened her career.

Born: February 14, 1933, New Delhi

Died: February 23, 1969, Bandra, Mumbai

Full name: Begum Mumtaz Jehan Dehlavi

Spouse: Kishore Kumar (m. 1960–1969 on her death)

Siblings: Chanchal

In the 1975 blockbuster, Deewar, the baddie played by Amitabh Bachchan asks his upright police officer brother, ‘mere paas bangla hai, gaadi hai, paisa hai, tere paas kya hai?’ (I have a bungalow, car, and cash, what do you have?). And pat came the reply, ‘mere paas maa hai.’ (I have got my mother)…

Well, that was the Bollywood of yesteryears with its high pitch melodrama. The industry, starting 90s have gone for a major course correction with a new and energetic breed of filmmakers challenging accepted social and moral clichés. And for once, the audience have been receptive to this trend of film making embodied by young guns like Anurag Kashyap, Vishal Bhardwaj, Dibakar Banerjee, to name a few.

So when music director A R Rehman exulted ‘mere paas maa hai’ while on stage to collect his multiple Oscars for Slumdog Millionaire, I was somewhat perplexed…

here’s to the memory of times past, with a wish to re-visit and not re-enact…Jai Ho!!!

De naam Gadulia Lohar komt van gaadi, Hindi voor wagen of kar, en lohar, is smid. Een reizende smid met familie en klant aan het werk op straat. Rajasthan 1969.

Traveling blacksmith with customer, Goa, India, 1969

Foto/Photo: Ewald Vanvugt

Surajkund Crafts Mela was privileged once again to have Assam as its Theme State. The State earlier participated in 1998 along with other sister States of North-East India. Soaked in rich and exotic tapestry of Indian heritage, Assam has been a meeting ground for various diverse cultures. The Mela this year was dipped into a spectrum of colours from Assam. Each one was unique in its tradition, culture and exotic way of life. The décor and the ambience was especially designed and crafted to create an ethereal environment which reflected the magnificence of the State. Traditionally rich handlooms, handicrafts and some of the mouth watering cuisines of Assam formed the hallmark of this year’s Mela. The special enclosure made for the Theme State had artisans specializing in handicrafts, handlooms, metal ware and other crafts. The Mela epitomized the beauty of rural India within the gamut of suburban serenity and made it an ideal getaway for people.

The pastoral setup of the Mela with a medieval flavour was recreated to relive the culture of Assam. Miniature paintings, statues and frescoes promoting their art created an exuberant aura in the Mela. A replica of ‘Rang Ghar’ was adorned to reflect the historic grandeur of the State which dates back to 13th Century AD. In addition to this, ‘Naam Ghar’, a prayer hall was specially created by the Theme State to depict the spiritual and devotional aspect of Assamese culture. The divine structure added to the majestic essence of the Mela and also reflected the rich traditions and customs of Assam. Another highlight of 26th Surajkund Crafts Mela was the ‘Apna Ghar’ of Assam. The structure was an instant hit with the visitors who were eager to take a glimpse of the Assamese family living over there. The family reflected the every-day life of traditional Assam which involved weaving, animal husbandry, cooking etc. The structure which was made up of bamboo, cane and palm leaves was elaborate in reflecting the traditional architecture of Assam. The ‘Apna Ghar’ also had a special shelter for animals and the ‘ghoda gaadi’ was a major attraction for the kids.

Stall no. 106 and 107 of Dr. Azirur Rehman, who is PhD in Muga Silk from Assam University, displayed a live weaving of silk into different products. Sponsored by the Sericulture Department of Assam, the stall arrayed a wide variety of products like stoles, sarees and scarves. Dr. Rehman stated that the visitors here were inquisitive to know about silk weaving and he was more than happy to inform about a variety of silk being produced in Assam. He further added that the Muga Silk was produced from the lava of the caterpillars and was known for its strength and durability. The silk became more glossy and white after every wash and retained its texture throughout its lifetime. Similarly, Stall no. 154 of the Theme State enclosure displayed a wide variety of products made up from silk. An exquisite display of colourful sarees, shawls, stoles and dress materials served as a bright contrast to the rustic and rural ambience of the Mela. Stall no. 142 of Shri Hemant Adhikari exhibited a wide variety of bed covers, bed sheets, ties, kurtas, churidars and even chappals dipped in the golden colour of the silk and a distinctive use of bright colours on them. These intricately designed fabrics had become quite popular with the visitors and one could see his stall packed with the buyers most of the time. Another facet of the Assamese handlooms was the tribal textile at Stall no. 141. A National Merit and State awardee, Smt. Chenimai Daley, arrayed an extensive range of embroidered woolen fabrics. She stated that weaving was an integral part of Assamese household and she has been doing this since her childhood days. Smt. Daley has exported her products to South Africa, Egypt and Dubai and plans to expand the list in future. She further added that the visitors of the Mela were quite receptive to her crafts and it was always encouraging to sell her products here.

Assam is known for its wide variety of handicrafts made up of bamboo, cane and metals. Many such stalls in the Mela arrayed such unique crafts. Stall no. 145 of Shri BR Mandal exhibited the art of ‘Sheetalpati’. These handicrafts were made from murta plants which grow around water bodies. These are known for their softness and glossiness. Shri Mandal has been bestowed with National Award in 2003, National Merit Award and District Award. His products ranged from purses, bags to mats and carpets. Similarly, Shri Madhav Biswas of Stall no. 147 provided with an exclusive range of bamboo products. Beautiful handicrafts, artefacts and decorative items were displayed. Nonetheless, his stall swelled with the swarm of visitors in the Mela.

Traditional dances like Satriya, Bodo, Mising, Bhortal, Deodhani, Tiwa, Rabha and Bihu & of Assam have been performed on Choupal, the open air stage. These dance numbers lit up the faces of the visitors and enlivened the atmosphere at the Mela. The pulsating wafts of their musical notes created an ambience of festivity and offered a visitor to the Mela a heady blend of craft, music and dance. The Food Court of Surajkund Crafts Mela offered a wide variety of cuisine from Assam this year. The traditional dishes were savoured by children and adults alike.

The presence of such artists and craftspersons not only added to the cultural relevance of the Surajkund Crafts Mela but also tremendously increased the footfall of visitors which, in turn, meant more sales for craftspersons. The overwhelming response has encouraged both craftspersons and performers. The Mela truly provides an opportunity for artists to perform at the international level and is fast emerging as a custodian of the dying folk art.

The results of Mehandi Competition for Junior Classes (Upto 8th standard), held on 2nd February were: first prize was won by Gita Bal Niketan Sr. Sec School and the second prize was won by Govt. Sr. Sec. School, Gaunchi. Gita Bal Niketan Sr. Sec School and Govt. School, Sarai Khawaja participated in cultural activities also.

Where: Outside a house on Gangapur Road, Nashik.

What: The Indian car market had absolutely no choice a few years ago. You either bought an Amby manufactured by Hindustan Motors, or you bought this one, the Premier Padmini. This car was the first car for a lot of families in India, and one can still find many around on the roads. Though highly popular as personal vehicles and taxicabs, this car was also heavily used by rally enthusiasts in India at one time, before the Esteems reigned the circuits.

Title: Chalti Ka Naam Gaadi. Literally translated "The one that moves is a vehicle". A very popular Hindi classic movie. A must watch! :)

How: Clicked by the Nikon D3000, ISO 100, f/5.6, 1/150s, RAW. Heavily tweaked in UFRaw and then Photoshop CS2. My first attempt at Lomo-Photography, I used this tutorial at Digital Photography School. And, I'm pleased by the results. Hope to try out similar snaps soon! :)

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P.S.: I'm off to Mood Indigo '09 tomorrow, to participate in the Photography competition. Hoping to get a prize atleast this year... :) Hope everyone has fun these winter holidays, and I'll see you about a week later! :)

The girl on right trying to capture all her friend with her mobile cam

Perfect skies and a trusty ole Indica.

Help us capture more of India in all its stunning glory by voting for us at > the Mitsubishi Great Driving Challenge.

OK, here is what's going on in this picture. Can you see how the very first truck in this raw got stuck in this wet flooded river near Hargeisa, Somalia. The smaller cars are very impatient to wait for the trucks to be digged out from the mud. But the bad news is the smaller cars on both inbound and outbound lane are'n going nowhere just yet. Well, everything was back to normal after 30mins.

Gaadi nooca Soomaalidu Candho-maydle u taqaano oo galay dhoobo dur-dur soo rogmaday, Hargaysa agteeda. Labada dhinacba isu socodkii gawaadhida wuxuu xanibmay ilaa 30mins intii laga saarayay gaadhiga hore.

ISHQ DI GAADI Video Song | The Legend of Michael Mishra | Arshad Warsi, Aditi Rao Hydari | T-Series #Series, #Song, #Duration, #Tseries, #Video, #Views, #Http, #Ishq, #Dishoom, #Gaadi #Contfeed

Check out here >> cofd.co/wgno3

A hand-pulled cart for stacking tiffin lunch boxes for delivery by the Mumbai Dabbawallas. Near Churni Rd.Station.

Read more.

I am into cloth business and along with it I continue my passion in modelling too. I hail from a conservative family of small business in wholesale market of Mumbai, situated in the lanes of Zaveri Bazaar & Kalbadevi and called M.J Market. It is the largest market of textiles in Asia. This is my ancestral business from the time of my grand father. This kind of business is also called (GAADI/BAITHAK). I had to continue my ancestral business, but the fire of modelling always remained within and I have made up my mind to continue in whatever hard work that comes my way.

Modelling started right from my college days, with a fashion show on the annual day, even though I was not selected because of politics. It hurt me a lot that time. But I made up my mind to do whatever hard work comes my way to become a professional model and work in the glamorous field of modelling.

My family also helped me in my interest, but had to carry on my family business too. I had to make my family happy by doing the business and myself happy by pursuing modelling and I am quite satisfied and happy. It gives me more confidence.

It is not easy to run a family business and also to carry on your passion for modelling. I was inspired by few top models, in the field on advertising and TV commercials. Some good friends have helped me a lot to pursue my DREAM in the field of modelling.

I started distributing my portfolio to all the agencies, production houses and model coordinators. I had to distribute my pictures, wait for audition calls, go for auditions, wait for selection / rejection!! You have to keep patience all the time. I have to perform dual duties, but my hard work has paid and I did get some good print ads and T.V commercials to my credit. I have to be very selective in taking my offers as I had to handle them both.

My advice to all the aspirants is to do whatever they are interested in and *JUST DO IT* at the end of the day you will be happy and that is success.

Lastly 'minimum requirements' and 'maximum adjustment' are the two steps to lead a happy and successful life.

www.humansofmumbai.in

Well for this click.....when you are in kolkata you can't avoid them for any reason....they are every where....they are cheapest....they are powerful....and they can scare the hell out of you.....they are the BUSES :D

Gaddi Nashin Naushad Ali

Gaadi Nashin Naubat Ali is an awesome personality holding sway at Char Yaar , totally frugal in his appetite for life, very private , all the Khadims come and sit at the Dhuni or Holy Fire their followers are here in abundance..

I have just recently this year created a rapport with Noubat Ali baba he knows that I mean no harm, I am totally into this pictorially to share their world through my eyes , no ordinary eyes ,with a larger spectrum of humanity.. I see things not on my own, most of the time I am directed to it by a force from within, otherwise I have an impaired human vision..

I dont know if you remember sometime back I had written, I saw a little girl leading her blind grandmother on the road ahead near my house at Bandra Bazar road , I pulled out my camera realized the memory card was in the card holder at the shop, I had a regret and the moment was fleeing me, but I had a conviction they would pass by my vision, they did this morning I shot several frames gave her RS 10/ after that a Bawa who visits my shop a Naga sadhu both stood at the threshold of my shop, I shot no pictures but gave them a tenner each.. the naga wanted my slippers that I use for the toilet but I did not give it to him, he was not one of those who visit me quite often.

I miss my black Santro car , that I sold to pay the deficit on my home loan, I went home for a nap, the rozas are on , it is slightly arduous because of an intestinal problem that has been attached to my life since a long time.

I got into a scrap with a Bawa sitting at a shoe stall, he stopped me from taking his picture , he said shoot Huzoor Ajmer Sharif not me.. I gave it to him..

I dont know this paranoid of not getting pictures taken.. but than he has yet to discover the demystification of a photographer no1.. running about in tattered sorrowed clothes at Buzznet.. Man dies in the Flesh but his online cybernetic wisdom spirit remains…

update

The cybernetic world is very small, a few weeks back I got a message from a photographer from Ghent Belgium, he inquired about my hand , also he wanted details of the Koondathavar festival , Koovagam , he is a friend of Lakshmi Narayan Tripathi , so we connected, kept in touch,he is going to Chennai to shoot this festival, I dont think I will be able to go this year , my hand has not healed, business is at its low, so pictorial extravagance is out, this photographer is also going to visit me in Mumbai , after he completes his assignments, shooting the Yelamma Temple too in the South..

My Nikon D70 well its again giving me trouble, I just completed the last premium, I had taken this on a three year personal loan, the highest interest rate from Standard Chartered Bank…I bought it when it had just arrived … in Mumbai.. this low grade defective camera that has troubled most of the photographers who bought it…

My dream of switching over to Canon.. well it remains a dream .. I dont sell pictures, I shoot pictures as inspired pictorial poetry.. more inclined towards tTe pedestrian pathos of Mans struggle on the streets to survive…

I miss the Turner Road beggar kids.. in their place we have Lakshmi a beggar Hijda her friend Padma , we get along very well…this is a different Lakshmi.. a poor mans Hijda Lakshmi..

There was another Hijda too , I have just got to know her…

I also like to shoot Muslim women who beg.. burkha clad with a child, of couse I take their permission pay them too… this is to show the Mullah ensconced in the comforts of his air conditioned room that the Muslim Woman Burkha or no Burkha is still badly treated , nothing changes this equation..The Muslim Mans attitude has to change than will the life of a Muslim Woman change .. hopefully for the better…The Muslim man.. well I wont go beyond my sealed silence…

April 21st, 2007

It was rare sight & absolutely fantastic to see kids having a great time watching the ram leela play held on Vijaydashmi day. Kids are losing their childhood experience nowadays , I remem...ber being of their age & spending as much time possible outside the house playing sports or cycling or generally roaming around in the city in trains or buses, nowdays kids are glued onto their xbox's & hooked onto the internet. Parents seem too busy with their own lives & hand out money to the kids with open hand, it was quite an experience of having just a rupee in ones pocket & then having to decide whether to buy some eclairs / melody or to buy a 'pepsi' (ice lolipops). It was thrilling to ride around the city on a bicycle to explore new areas rather than just punching a few keys on the GPS , it was fun to pool in money together to eat 4 by 8 manchow soup at a local chinese 'gaadi' rather than going into a mcdonalds with a fat wallet of your parents money. It was surely much more fun than playing any game on you XBOX to wake up at 6:30 am in the morning on a sunday (without the need of an alarm clock) to play cricket on the maidaan with a team from a nearby colony with the only bet being the winner taking both the balls , there were no girlfriends in the picture , nor the annoyance of a ringing cell phone, kids discussed cricket , exchanged ruskin bond books, waited eagerly for the latest issue of Tinkle. The pace of life has increased, kids are paying the greatest price for it by not having a fun filled childhood that our generation had.

vuh-KELL-lee-uh -- named after the Rev. George Harvey Vachell, chaplain to the British East India Company ... Wiktionary

far-nee-zee-AY-nuh -- of the gardens of the Farnese Palace in Rome, built and named for Roman Cardinal Alessandro Farnese ... Dave's Botanary

commonly known as: cassie, foetid mimosa, fragrant acacia, mimosa bush, needle bush, pulpy-podded black babul, sponge wattle, sweet acacia, sweet wattle • Ahom: tarua-kadom • Apatani: tarua-kadarn • Arabic: طلح أنباري talh anbari • Assamese: তৰুৱা কদম torua kadam • Bengali: বিলাতি বাবলা bilati babala, গুয়ে বাবলা guya babala • Chakma: kantanaksha • Dogri: गंध किक्करी gandh kikkaree, खशबो किक्करी khashabo kikkaree • Gujarati: ભોંય બાવળી bhoy bavali, ઝેરીબાવળ jheribaval, તલબાવળ talbaval • Haryanvi: विलायती कीकर vilayati kikar • Hindi: दुर्गंध खैर durgandh khair, गबुर gabur, गंध बबूल gandh babul, गूह बबूल guh babul, गुलबबूल gulbabul, पस्सी बबूल passi babul, विलायती बबूल vilayati babul • Kachchhi: અતરીયો બાવર atariyo bavar, સુગંધી બાવર sugandhi bavar • Kannada: ಕರಿಕಸ್ತೂರಿ karikasturi, ಕಸ್ತೂರಿ ಗೊಬ್ಳಿ kasturi gobli, ಕಸ್ತೂರಿ ಜಾಲಿ ಮರ kasturi jaali mara, ಕಿರಿಜಾಲಿ kirijaali, ಪೀಕ್ಜಾಲಿ peekjaali, ಸಣ್ಣ ಜಾಲಿ sanna jaali • Kokborok: amachukai, wilfa • Konkani: केंसर kemsar, ಕುಸ್ರಿ ಝಾಡ kusri jhaad • Malayalam: കസ്തൂരിവേലം kasthurivelam, പൌവേലം pouvelam • Manipuri: ꯆꯤꯒꯣꯡ ꯂꯩ chigong lei • Marathi: देवबाभूळ devbabhul, किंकर kinkar • Nepali: गनाउने खयर ganaaune khayar, जैत jait, स्यानिमैनी syaanimainee • Nyishi: pokkiyato, tappen • Odia: ଅସିମେଦ asimeda, ବିଲାତି ବବୁର bilati babura, ବିଟ ଖଦିର bita khadira, ଗନ୍ଧଗୁହାରିଆ gandhaguharia, ଗୁଇଆ ବାବଲା guia babala, କୁଆବାବୁରି kuababuri, ସାରଖଦିର sarakhadira • Punjabi: ਅੰਬਰ ਰੁੱਖ ambar rukh, ਕਾਬਲੀ ਕਿੱਕਰ kabali kikkar, ਪਹਾਡ਼ੀ ਕਿੱਕਰ pahari kikkar, ਵਿਲਾਇਤੀ ਕਿੱਕਰ wilaiti kikkar • Rajasthani: बाबेली baabeli, गाडी बबूल gaadi babul • Sanskrit: अहिमार ahimara, अरिमेद arimeda, गिरिमेद girimeda, गोधास्कन्ध godhaskandha, कुष्ठारि kushthari, मरुद्रुम marudruma, पूतिमेद putimeda, विट्खदिर vitkhadira • Santali: ᱜᱟᱹᱵᱩᱨ gabur • Sindhi: ولائتيِ ٻٻر vilayati baburu • Tamil: கஸ்தூரி kasturi, பீக்கருவேல் pi-k-karuvel, பீவேல் pi-vel, வேடுவழி vetuvali • Telugu: అరిందము arinmaedamu, కంపు తుమ్మ kampu tumma, కస్తూరి తుమ్మ, kasthoori tumma, మురికి తుమ్మ muriki tumma, నాగ తుమ్మ naaga tumma, పీకే తుమ్మ peeke tumma, పియ్య తుమ్మ piyya tumma • Tulu: ಬೊಳ್ಡು ಕಾಚಿ boldu kaachi

botanical names: Vachellia farnesiana (L.) Wight & Arn ... homotypic synonyms: Acacia farnesiana (L.) Willd. • Mimosa farnesiana L. ... and more at POWO, retrieved 31 December 2024

~~~~~ DISTRIBUTION in INDIA ~~~~~

Andhra Pradesh, Arunachal Pradesh, Assam, Bihar, Delhi, Goa, Gujarat, Haryana, Himachal Pradesh, Jammu & Kashmir, Karnataka, Kerala, Madhya Pradesh, Maharashtra, Meghalaya, Nagaland, Odisha, Pondicherry, Punjab, Rajasthan, Sikkim, Tamil Nadu, Tripura, Uttar Pradesh, West Bengal; introduced / cultivated in India; naturalized in certain places

Names compiled / updated at Names of Plants in India.

Couldn't help snapping this confluence of the new and the old. The new bus is a Shivneri (MSRTC so-called luxury Volvo) and the old one an ordinary people class bus popularly called the Lal Dubba,

Clicked at the Shivajinagar Bus Stand, Pune.

vuh-KELL-lee-uh -- named after the Rev. George Harvey Vachell, chaplain to the British East India Company ... Wiktionary

far-nee-zee-AY-nuh -- of the gardens of the Farnese Palace in Rome, built and named for Roman Cardinal Alessandro Farnese ... Dave's Botanary

commonly known as: cassie, foetid mimosa, fragrant acacia, mimosa bush, needle bush, pulpy-podded black babul, sponge wattle, sweet acacia, sweet wattle • Ahom: tarua-kadom • Apatani: tarua-kadarn • Arabic: طلح أنباري talh anbari • Assamese: তৰুৱা কদম torua kadam • Bengali: বিলাতি বাবলা bilati babala, গুয়ে বাবলা guya babala • Chakma: kantanaksha • Dogri: गंध किक्करी gandh kikkaree, खशबो किक्करी khashabo kikkaree • Gujarati: ભોંય બાવળી bhoy bavali, ઝેરીબાવળ jheribaval, તલબાવળ talbaval • Haryanvi: विलायती कीकर vilayati kikar • Hindi: दुर्गंध खैर durgandh khair, गबुर gabur, गंध बबूल gandh babul, गूह बबूल guh babul, गुलबबूल gulbabul, पस्सी बबूल passi babul, विलायती बबूल vilayati babul • Kachchhi: અતરીયો બાવર atariyo bavar, સુગંધી બાવર sugandhi bavar • Kannada: ಕರಿಕಸ್ತೂರಿ karikasturi, ಕಸ್ತೂರಿ ಗೊಬ್ಳಿ kasturi gobli, ಕಸ್ತೂರಿ ಜಾಲಿ ಮರ kasturi jaali mara, ಕಿರಿಜಾಲಿ kirijaali, ಪೀಕ್ಜಾಲಿ peekjaali, ಸಣ್ಣ ಜಾಲಿ sanna jaali • Kokborok: amachukai, wilfa • Konkani: केंसर kemsar, ಕುಸ್ರಿ ಝಾಡ kusri jhaad • Malayalam: കസ്തൂരിവേലം kasthurivelam, പൌവേലം pouvelam • Manipuri: ꯆꯤꯒꯣꯡ ꯂꯩ chigong lei • Marathi: देवबाभूळ devbabhul, किंकर kinkar • Nepali: गनाउने खयर ganaaune khayar, जैत jait, स्यानिमैनी syaanimainee • Nyishi: pokkiyato, tappen • Odia: ଅସିମେଦ asimeda, ବିଲାତି ବବୁର bilati babura, ବିଟ ଖଦିର bita khadira, ଗନ୍ଧଗୁହାରିଆ gandhaguharia, ଗୁଇଆ ବାବଲା guia babala, କୁଆବାବୁରି kuababuri, ସାରଖଦିର sarakhadira • Punjabi: ਅੰਬਰ ਰੁੱਖ ambar rukh, ਕਾਬਲੀ ਕਿੱਕਰ kabali kikkar, ਪਹਾਡ਼ੀ ਕਿੱਕਰ pahari kikkar, ਵਿਲਾਇਤੀ ਕਿੱਕਰ wilaiti kikkar • Rajasthani: बाबेली baabeli, गाडी बबूल gaadi babul • Sanskrit: अहिमार ahimara, अरिमेद arimeda, गिरिमेद girimeda, गोधास्कन्ध godhaskandha, कुष्ठारि kushthari, मरुद्रुम marudruma, पूतिमेद putimeda, विट्खदिर vitkhadira • Santali: ᱜᱟᱹᱵᱩᱨ gabur • Sindhi: ولائتيِ ٻٻر vilayati baburu • Tamil: கஸ்தூரி kasturi, பீக்கருவேல் pi-k-karuvel, பீவேல் pi-vel, வேடுவழி vetuvali • Telugu: అరిందము arinmaedamu, కంపు తుమ్మ kampu tumma, కస్తూరి తుమ్మ, kasthoori tumma, మురికి తుమ్మ muriki tumma, నాగ తుమ్మ naaga tumma, పీకే తుమ్మ peeke tumma, పియ్య తుమ్మ piyya tumma • Tulu: ಬೊಳ್ಡು ಕಾಚಿ boldu kaachi

botanical names: Vachellia farnesiana (L.) Wight & Arn ... homotypic synonyms: Acacia farnesiana (L.) Willd. • Mimosa farnesiana L. ... and more at POWO, retrieved 31 December 2024

~~~~~ DISTRIBUTION in INDIA ~~~~~

Andhra Pradesh, Arunachal Pradesh, Assam, Bihar, Delhi, Goa, Gujarat, Haryana, Himachal Pradesh, Jammu & Kashmir, Karnataka, Kerala, Madhya Pradesh, Maharashtra, Meghalaya, Nagaland, Odisha, Pondicherry, Punjab, Rajasthan, Sikkim, Tamil Nadu, Tripura, Uttar Pradesh, West Bengal; introduced / cultivated in India; naturalized in certain places

Names compiled / updated at Names of Plants in India.