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A Glimpse of Things to Come - Adeptus Mechanicus
Now Peter and I have completed our first three part mini campaign it’s time to look toward our next endeavour and I’m already working hard toward it. Here’s a little taste of what it’s going to be:
Yes, the Adeptus Mechanicus are returning to Valorax – a planet once not far from being a Forge World – but this time they have come with nefarious goals that do not fall into line with the central government.
These amazing models are from Micro Art Studio's Iron Brotherhood range - Google them. They're great!
More will be revealed in time but trouble is brewing in the shattered and abandoned manufactorums that could cause great trouble for the Valorax Guard.
Yes, the Adeptus Mechanicus are returning to Valorax – a planet once not far from being a Forge World – but this time they have come with nefarious goals that do not fall into line with the central government.
These amazing models are from Micro Art Studio's Iron Brotherhood range - Google them. They're great!
More will be revealed in time but trouble is brewing in the shattered and abandoned manufactorums that could cause great trouble for the Valorax Guard.
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Race for the Gate
Tyranids & Crimson Blades v Dark Eilte & Pernicious Host | Tim v Peter | 40k | 55 | 133.997.M41
Erasmus Bachmann grinned. The Pernicious Gate was within his grasp at last and this time nothing was going to stop him.
The jungle gave way under the tracks of his Predator and Land Raider as he strode alongside the monstrous Daemon Prince Bel’Akor. Drawn perhaps to the psychic reverberations of the Pernicious Gate, the Tyranids lurked close by it, not infesting the jungle at every step as they had on previous expeditions. This was going to be too easy, especially with the secret power Erasmus commanded.
He threw up his arms and scorched the air with the brazen syllables that spewed forth from his mouth and suddenly reality curled and tore as dozens of daemons poured out from the warp into the jungle. Muscular Bloodletters charged through the underbrush in front of gargantuan scuttling Soul Grinders, massive daemon engines on metallic crab claws, and in response the Tyranids came forward to meet them.
A huge Broodlord led the assault at the head of a swarm of Genestealers, bringing down two hulking Bloodcrushers of Khorne before the mighty beasts could react. The daemonic horde was led by a huge Bloodthirster that leapt into the air on pinioned wings and crashed into the Tyranid Hive Tyrant, ripping it limb from limb with a mighty war. Skarbrand, an even taller Bloodthirster, this one wingless, ripped into a unit of Tyranid Warriors and quickly dismembered them with its mighty metallic claws.
Meanwhile, the advancing Dark Elite took long range pot-shots with their vehicle-mounted heavy weapons, gravely wounding the larger monstrous creatures. The Bloodthirster landed next to a mighty Carnifex and ripped that apart too before it could strike back. There was still a long way to travel through the jungle but the resistance was crumbling. With the support from the daemons, the Pernicious Gate would be theirs!
Then there was an energy spike and suddenly sections of foliage caught fire as three squads of Space Marine Terminators materialised near to the Pernicious Gate.
The Crimson Blade had been monitoring the Chaos Space Marines since their assault on the Fortress Bastion in Escavar and they and quickly realised the intention of this mission. Stopping the Chaos forces taking the gate was absolutely critical and they had committed their most valuable asset to stop them.
It was an impossible situation. With only limited space to land, the Terminators had been forced to teleport in deep in the infested area for fear of being enfiladed by the Dark Elite. Now they had to fight the Daemons and the erstwhile “allies,” the Tyranids.
Bachmann commanded the Daemons to devour them but he quickly realised the mistake he’d made in deploying so far from his objective and gave the order to accelerate. The transport vehicles went into overdrive, pushing through the dense terrain as the Crimson Blades let fly with Storm Bolters, Assault Cannons and Cyclone Missile Launchers.
The Daemons were falling and although every faction fought a war on two fronts, the Tactical Dreadnoughts were simply too tough to be taken down. The last of the Daemons were taken down and shortly afterwards the remaining Tyranids were picked off as well.
Bachmann gave the order to halt and roared in frustration. There was simply no more time to recapture the Pernicious Gate and more Space Marine drop ships were coming down from the cloud cover to consolidate their prize. He had risked everything to take this potent weapon under his control and he had failed again. All he could do now was withdraw.
Chaplain Kato and Captain Knot watched the vehicles of the Dark Elite circle and pull away from them from the raised dais of the Pernicious Gate.
“Should we go after them?” asked Kato.
“No,” replied Captain Knot. “We’ve got what we came for. They did the hard work, clearing the jungle of Tyranids; we reap the rewards. That’s a good enough day for me.”
“Well,” said Kato, looking up at the sizzling stone of the Pernicious Gate. “The question now, is what are we going to do with it? If we can open it then we gain the power to control a vast swarm of daemonic creatures.”
Kato narrowed his eyes and looked into the dark pits of his friend’s skull mast. “Tempting, isn’t it?”
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Mission Briefing: Race for the Gate
Erasmus Bachmann stood in front of the tactical console on the bridge of the Litany of Jeopardy. Before him towered the being known to him as Bel' Akor - millennia ago and light years distant known as the Butcher of Ere k'or [1V]
"You WILL activate the Portal. It is requested by the Master"
Bachman had to use much of his tremendous willpower not to cower before the Daemon Prince. Each syllable hit him like a concussion grenade. He had actually flinched when the monstrous creature had first spoken. "I have insufficient forces, great one. Those accursed Tyranids have taken too many of my troops."
Bel' Akor drew his brass axe; as big as Bachmann himself; gently across the edge of the console, creating multi-coloured sparks of psychic energy. "It is not a request Sorcerer, your very existence depends on it!"
A small bead of sweat formed on the Chaos Sorcerer's brow and rolled slowly down his face. If the Comms officer sitting silently nearby had not lost the use of his eyes he would have seen the droplet bounce gently on the plasteel floor and then scuttle away on three pairs of tiny, newly sprouted legs.
"We must wait, there are other ships arriving in this system, I ..."
"Prepare to teleport NOW! Bring whatever of your forces remain" The Daemon turned away sharply with blurring speed and proceeded towards the exit.
Backmann hesitated, then barked the order to his Comms "Prepare for Planet-Drop immediately" He joined Bel' Akor at the turbo-lift. A single tear formed in Eramus's eye and rolled slowly down his cheek, finally falling from his chin to the deck.
If the Comms officer had retained his eyes....
Lord Ubel of the Good People has finally accepted that the only hope of taking the second Pernicious Gate is to dedicate a massive amount of resources to it, whatever the risk. The Dark Elite under his command have failed to break through the hordes of Tyranids twice now but their sacrifices have pinpointed the gate’s exact location. Now they will go in a third and final time but this time the daemons will go with them; dozens of slavering Bloodletters of Khorne: the fruits of the last Pernicious gate they captured.
However other shrouded eyes are watching the activities of the Chaos Space Marines and are preparing to take action. If the Dark Elite take possession of the second Pernicious Gate then the balance of power will shift in their favour. That cannot be allowed to happen.
Board Layout
- The board is covered in woods and jungle. At one end if the Pernicious Gate, placed close to the centre and near to the edge.
Deployment and First Turn
- The Tyranids are deployed first. All Tyranids must be deployed within 24” of the short board edge nearest the Pernicious Gate.
- They have 1,500 points worth of models available.
- The Dark Elite are deployed second. They may be deployed anywhere on the board more than 24” from the edge of the Pernicious Gate.
- They have 3,000 points worth of models available: 1,500 Chaos Space marines and 1,500 Daemons of Khorne.
- The Daemons deploy using Deep Strike as normal.
- The Space Marine Terminators of the Crimson Blades First Company arrive as Reserves via Deep Strike anywhere on the board or moving on from any board edge more than 36” from the Pernicious Gate.
- They have 1,500 points worth of models available.
Turn Sequence and Allies
- The Chaos Space marines move first in this mission.
- The Tyranids and Space Marines are allied in so much as they both have the same objective: Stop the Chaos Space Marines. The controlling player moves both in his turn.
- Crimson Blades will only attack Tyranids if they are assaulted, even if ignoring them is tantamount to suicide.
- The Tyranids will target the closest non-Tyranid unit.
Game Length
- The game lasts for six turns or until the time limit is reached.
- If an even number of player turns have been played half an hour before the time limit is reached the game will end without a new game turn being started.
Victory Conditions
- Victory is determined by who controls the portal of the Pernicious Gate at the end of the game.
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Return to Lapitar
Tim (Tyranids) vs Peter (Chaos Space Marines)
Deep in the heart of Lapitar, the jungle canopy lay still.
Then came the roar of jet engines as the dropship fell from the dense cloud cover and swept low and the branches and foliage rattled under the pressure.
Erasmus Bachmann and his Dark Elite had returned.
Their previous visit to the dark bowers of Lapitar had been fruitless in every way but one: the location of the Pernicious Gate was still not known exactly but its general location had been verified. And now they knew what they faced. This time there would be no surprise attack.
The area was relatively clear of Tyranids when they made landing. The heavy bolters on the landing craft picked what stragglers there were off then withdrew as the landing party fanned out to take position off the bastions and landing pad available. This time their strategy was different: lure the Tyranids in to a defensible position then eradicate them, cutting their numbers down sufficiently to allow them to search the jungle freely. The Dark Elite found their positions and readied their weapons. And then the Tyranids came, surging out of the foliage, scything talons flashing and jaws bared.
The Dark Elite levelled their bolters and opened fire, eviscerating the first wave. They reloaded calmly as the second wave approached then eviscerated them as well. They reloaded a third time. Now the third wave was closer. Armoured fingers worked quickly; efficiently; but no longer perfectly calmly.
Then the Tyranids were on them. Genestealers swept up onto the landing platform and ripped into the power armour of their enemies, peeling it open. The Broodlord at the fore froze one of the marines under his powerful gaze then gutted him and half a dozen of his brethren.
The Chaos Defiler fired blast after blast from its battle cannon, ripping termagants and hormagaunts apart but then from the ground rose the gargantuan form of a Trygon Prime, towering even over the trees. Giving out a roar, the Defiler scuttled forward, charging into it but the vast claws of the beats tore it into blood-soaked pieces before it even had the chance to strike back. Erasmus Bachmann summoned his vast psychic powers to scan outwards while his Terminators readied themselves to take the assault of a cluster of Genestealers and a Hive Tyrant, searching for the Pernicious Gate’s exact location. The Hive Tyrant charged closer, its hoofed feet pounding the soft earth but Bachmann couldn’t respond or prepare himself. He had to focus only on his objective.
The Tyrant was closer. It was almost upon him. But he still couldn’t find the gate!
The Hive Tyrant and genstealers struck simultaneously. The Terminators stepped in to meet them but against the combined assault they had no hope. Still Erasmus searched for the Gate but to no avail. There could be no failure this time. Failure meant death. He strained his senses into the ether, probing as his Terminators were cut down one by one.
Then the last of the terminators fell and the Tyrant was on Bachmann himself but a split second before its talons could impale him to the ground he caught the gate’s exact location and hit the activation rune of his personal teleporter.
The Hive Tyrant roared in anger, cheated of its prey as the rest of the swarm tore into the remains of the landing party. The remaining troops stood little to no chance but that didn’t matter anymore.
Erasmus Bachmann had the exact location of the Pernicious gate. Soon it would be his!
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2011 CTS-V Coupe Race Car
The 2011 SCCA World Challenge series opens March 25-27 in St. Petersburg, FloridaIt's believed by many automakers that involvement in motorsports improves not just race cars, but road cars as well. To that end, Cadillac will be returning to the Sports Car Club of America's World Challenge series in 2011 with a race-prepped CTS-V Coupe which General Motors will display at the 2011 Detroit auto
Chevy Unveils Special "Carbon Edition" Corvette
Z06 Special Edition Is Made For The Track....GM is set to launch a new special edition of the Corvette, directly targeting fans of the iconic sports car who want something that their neighbor won't have. The limited edition car, called the "Carbon Edition," is not just an appearance package but a truly focused track machine that we can't wait to get our hands on.First, a bit of history. Back in
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Thyagaraja Aradhana 2011 | 164th Thiruvaiyaru Thyagaraja Aradhana | Thyagaraja Aradhana 2011 Music Festival date is 24 January in 2011
Tag: Thyagaraja, thyagaraja aradhana, thyagaraja aradhana 2011
Thyagaraja Aradhana 2011 – 164th Thiruvaiyaru Thyagaraja Aradhana Music Festival date is 24 January in 2011. The Thiruvaiyaru Thyagaraja Aradhana music festival is held during this period for five days. The festival is held at Thiruvaiyaru near Thanjavur in Tamil Nadu and is also therefore known as Thiruvaiyaru Thyagaraja Aradhanai. The 164th aradhana dedicated to Saint Thyagaraja, the greatest saint composer of Carnatic music, is observed during the Krishna paksha or waning phase of moon in the Telugu month of Paush or Pushya, which is going to held today on date January 24 2011 (Monday). The main event of Pancharatna Kritis will be held today.
Thyagaraja Aradhana begins on January 21 2011 and continues till January 25 2011. Union Minister Mr. Jairam Ramesh will inaugurate the function. Tyagaraja Aradhana is an annual Carnatic music festival held in January and February. Many exponents of Carnatic music come to perform and are watched by thousands of ardent fans of Indian classical music
Saint Tyagaraja lived in the late 18th century and early 19th century in Tiruvayyaru in Tanjore district in Tamil Nadu. His compositions are considered to be some of the finest in Carnatic music. Pancha Ratna Kritis will be sung every year on Pushya Bahula Panchami day when the saint attained samadhi under the auspices of Sri Thyagabrahma Mahotsava Sabha at the saint’s samadhi at Thiruvaiyaru, Tamilnadu
The Pancharatna Kritis are:
1. Jagadananda Karaka – Raga Naata,
2. Dudukugala – Raga Gaula,
3. Sadhinchene – Raga Arabhi,
4. Kanakana Ruchira – Raga Varali,
5. Endaro Mahanubhavulu – Raga Sri
Another famous Thyagaraja Aradhana is held in Cleveland (Ohio state in USA) during April – May in 2011.
For Accomodation:
Many people have accommodation during the Aradhana at Thanjavur, which is around 13 km from Thiruvaiyaru.
Contact Details:
For more information regarding the Aradhana you can contact:
The Secretary,
Sri Thyagabrahma Mahotsava Sabha, 31,
Thirumanjana Veedhi,
Thiruvaiyaru 613204
For more information related to Thyagaraja Aradhana 2011 is held in Cleveland (Ohio state in USA) during April – May in 2011. Please Visit – http://www.aradhana.org/
Thyagaraja Aradhana 2011 – 164th Thiruvaiyaru Thyagaraja Aradhana Music Festival date is 24 January in 2011. The Thiruvaiyaru Thyagaraja Aradhana music festival is held during this period for five days. The festival is held at Thiruvaiyaru near Thanjavur in Tamil Nadu and is also therefore known as Thiruvaiyaru Thyagaraja Aradhanai. The 164th aradhana dedicated to Saint Thyagaraja, the greatest saint composer of Carnatic music, is observed during the Krishna paksha or waning phase of moon in the Telugu month of Paush or Pushya, which is going to held today on date January 24 2011 (Monday). The main event of Pancharatna Kritis will be held today.
Thyagaraja Aradhana begins on January 21 2011 and continues till January 25 2011. Union Minister Mr. Jairam Ramesh will inaugurate the function. Tyagaraja Aradhana is an annual Carnatic music festival held in January and February. Many exponents of Carnatic music come to perform and are watched by thousands of ardent fans of Indian classical music
Saint Tyagaraja lived in the late 18th century and early 19th century in Tiruvayyaru in Tanjore district in Tamil Nadu. His compositions are considered to be some of the finest in Carnatic music. Pancha Ratna Kritis will be sung every year on Pushya Bahula Panchami day when the saint attained samadhi under the auspices of Sri Thyagabrahma Mahotsava Sabha at the saint’s samadhi at Thiruvaiyaru, Tamilnadu
The Pancharatna Kritis are:
1. Jagadananda Karaka – Raga Naata,
2. Dudukugala – Raga Gaula,
3. Sadhinchene – Raga Arabhi,
4. Kanakana Ruchira – Raga Varali,
5. Endaro Mahanubhavulu – Raga Sri
Another famous Thyagaraja Aradhana is held in Cleveland (Ohio state in USA) during April – May in 2011.
For Accomodation:
Many people have accommodation during the Aradhana at Thanjavur, which is around 13 km from Thiruvaiyaru.
Contact Details:
For more information regarding the Aradhana you can contact:
The Secretary,
Sri Thyagabrahma Mahotsava Sabha, 31,
Thirumanjana Veedhi,
Thiruvaiyaru 613204
For more information related to Thyagaraja Aradhana 2011 is held in Cleveland (Ohio state in USA) during April – May in 2011. Please Visit – http://www.aradhana.org/
MSU Baroda Result | M.S.University Results | msubaroda.ac.in
MSU Baroda – Maharaja Sayajirao University – One of the leading Gujarat College for the different terms and post graduation courses has announced the result following tearms. Maharaja Sayajirao University MSU Baroda is located near the Railway Station of Baroda.
You can also see the Results here on this site by simply clicking on the link given below and then you just have to enter your Roll Number in the specified area there and then you can easily see the Results of MSU Baroda 2010.
Here is the link for official as well as another site on which you can see your Results. So, all the best to all of you.
Dera Sacha Sauda Sirsa Live Satsang | Dera Sacha Sauda | DSS Live Satsang | Dera | Dera Sacha Sauda Sirsa | Dera Sacha Sauda Live
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How to see dera sacha sauda satsang online on net? Dera Sacha Sauda has started the facility of showing their Live Satsang and Roohani Mazlish on their website. The satsang can be watched online at Dera Sacha Sauda Satsang . Theirs nothing any hard to see that online. Just open the url and satsang starts at your screen when its live.
A good approach by dera sacha to show the satsang to the required. DSS mazlish program comes twice a day. In the morning, it starts at around 9 am and the evening time is around 5 pm. You can see both audio and video of dera sacha at this url. So incase you want to see it, you can open the link and continue.
UPDATE: DSS Live Satsang link updated to DSS Live Satsang
Bharathiar University PG Exam Results 2010 Online | www.b-u.ac.in
bharathiar university mba results 2010,
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The Bharathiar University was established at Coimbatore by the Government of Tamilnadu in February, 1982 under the provision of the Bharathiar University Act, 1981 (Act 1 of 1982). The Postgraduate Centre of the University of Madras, which was functioning in Coimbatore before 1982 formed the core of the Bharathiar University. In May, 1985 the University received the recognition from University Grants Commission (UGC) New Delhi for the purpose of grants.
The University named after the great national poet Subramania Bharathi is enshrined with the motto “Educate to Elevate”. In the University, every effort is harnessed to realize his dream of making educational institutions as temple of learning. It is the aim of the University to participate in the task of inculcating necessary Knowledge, Skills and Creative Attitudes and values among the youth of the country to contribute more effectively towards establishing an equitable social and economic and secular ideal of our nation.
Bharathiar University has to Publish the PG Exam Results 2010.
CLICK HERE FOR PG Results 2010
Pawan Kalyan Gabbar Singh | Pawan Kalyan Make Remake Of Dabangg as Gabbar Singh in Telugu
Tag:Pawan Kalyan Gabbar Singh,Pawan Kalyan Make Remake Of Dabangg as Gabbar Singh in Telugu
Pawan Kalyan takes up another Bollywood remake. He is all set to remake Salman Khan’s blockbuster Dabangg in Telugu. Pawan Kalyan is also producing this film on Pawan Kalyan creative works banner. Mirapakay director Harish Shankar is roped in as the director.
This film is titled Gabbar Singh in Telugu and Pawan Kalyan will be playing a powerful police officer role in it. “Harish Shankar narrated many stories to me along with Mirapakay. I liked his style of narration and that is the reason why I roped him as the director. This film’s shoot will start shortly and will release in this year itself,” Pawan stated in a press release.
Other star cast and crew aren’t finalized yet for Gabbar Singh. Pawan Kalyan is hoping this film to do wonders for him as Dabangg did to Salman Khan.
Pawan Kalyan takes up another Bollywood remake. He is all set to remake Salman Khan’s blockbuster Dabangg in Telugu. Pawan Kalyan is also producing this film on Pawan Kalyan creative works banner. Mirapakay director Harish Shankar is roped in as the director.
This film is titled Gabbar Singh in Telugu and Pawan Kalyan will be playing a powerful police officer role in it. “Harish Shankar narrated many stories to me along with Mirapakay. I liked his style of narration and that is the reason why I roped him as the director. This film’s shoot will start shortly and will release in this year itself,” Pawan stated in a press release.
Other star cast and crew aren’t finalized yet for Gabbar Singh. Pawan Kalyan is hoping this film to do wonders for him as Dabangg did to Salman Khan.
Bangladesh Primary Results 2011 | www.dpe.gov.bd | Primary Asst Teacher Recruitment Results 2011 Available Online
Bangladesh Primary Results 2011,
Primary Asst Teacher Recruitment Results 2011 Available Online,
www.dpe.gov.bd
Tag: Bangladesh Primary Results 2011 , www.dpe.gov.bd , Primary Asst Teacher Recruitment Results 2011 Available Online
Bangladesh primary asst teacher recruitment results 2010 educational system in Bangladesh is three-tiered and highly subsidized. The government of Bangladesh operates many schools in the primary, secondary, and higher secondary levels.
CLICK HERE FOR Primary Asst Teacher Recruitment 2011
CLICK HERE FOR Bangladesh Education Board
Bhimsen Joshi dead News | Pandit Bhimsen Joshi passes away | Bharat Ratna Bhimsen Joshi dead | Bhimsen Joshi Family | Bhimsen Joshi wiki | Bhimsen Jos
Bharat Ratna Bhimsen Joshi dead,
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Bhimsen Joshi dead News,
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Pune, Jan 24 (IANS) Eminent Hindustani classical vocalist Pandit Bhimsen Joshi died of old age related ailments Monday morning at a hospital here, his doctor said. He was 88.
A Bharat Ratna awardee, Joshi died at Pune’s Sahyadri Hospital at 8.05 a.m, his doctor Atul Joshi said.
Joshi, who would have turned a year older Feb 4, was rushed to the Sahyadri Hospital Dec 31. He was suffering from old age related ailments, including kidney problems, and had been admitted to the hospital’s intensive care unit.
The 88-year old Hindustani classical exponent was on ventilator and underwent periodic dialysis during the past 25 days.
‘However, since Saturday evening, his condition deteriorated and he started sinking despite all our efforts. He breathed his last at 8.05 a.m.,’ Atul Joshi told IANS.
Close family members and relatives were present at his bedside when Pandit Joshi breathed his last.
Pandit Joshi was conferred Bharat Ratna, the country’s highest civilian award, in 2008.
A practitioner of the Kirana gharana, Joshi was known for his mellifluous ‘khayals’ as well as for his popular renditions of devotional ‘abhangs’ and ‘bhajans’.
IANS
NEW DELHI: Bharat Ratna awardee Pandit Bhimsen Joshi passed away at Monday morning in a Pune hospital.
Pandit Joshi was rushed to the Sahyadri Hospital in Pune on Dec 31 following old-age related ailments and general weakness.
Pandit Joshi was conferred the Bharat Ratna, the country's highest civilian award, in 2008.
Pandit Joshi was a member of the Kirana Gharana.
Tabla maestro Ustad Zakir Hussain had visited the hospital to enquire about the health of Pandit Joshi.
Bhimsen's music has been hailed by both the critics and the masses. His performances have been marked by spontaneity, accurate notes, dizzyingly-paced taans which make use of his exceptional voice training, and a mastery over rhythm. He was ever the wanderer, engendering brilliant phrases and taans more intuitively than through deliberation.
Bhimsen Joshi, who is riding the crest of popularity and has ridden it for the last several years, is a musical marvel. His singing invariably provides listeners with a divine musical ex- perinea. Many of his rivals admit, though unwillingly, that today there is no other vocalist comparable to him in the entire nation.
Bhimsen, who is now in his 60s, has attained proficiency and fame that astound the musical world. His voice, like that legendary philosopher's stone, turns every note into a golden one. Billions of notes that have received the golden touch of his voice have been freely showered by him on the teeming millions of his fans. His unswerving faith in an intense devo- tion to his guru have been his keys to success.
Bhimsen was born into a Brahmin family of Gadag in Kar- nataka. His childhood was spent there. Even as a child he was crazy about music, to the chagrin of his father who desired that Bhimsen should get a sound education and qualify as a doctor or an engineer. But Bhimsen, neglecting his studies, pursued music instead. At last he could not control any more his yearning to learn music, and one day he ran away from home. He had heard that Gwalior, Lucknow and Rampur in the North were the best places to learn classical music. Therefore his first destination was Gwalior.
A few years of his youth were thus spent in the company of well known musicians at Gwalior, Lucknow and Rampur, serv- ing them and learning as much as he could from them. His father, coming to know of Bhimsen's fervent desire for know- ledge in music, abandoned his policy of opposition, fetched his son back and made arrangements for him to learn under the guidance of Sawai Gandharva of Kundol. This opportunity opened the vaults of rich and rare musical treasures to Bhimsen. Bhimsen's natural tuneful voice received further polish from his guru. Like a diamond which sparkles all the brighter after it is expertly cut, Bhimsen's voice began to shine with a new luster and brilliance which has dazzled and cast a spell on the entire country.
Maharashtra was then part of a province known as Bombay Presidency that included Dharwad, Belgaum and Bijapur, which are now parts of Karnataka. I therefore had to look after the recordings of artists in this Kannada-speaking region. As part of my duty I was required to go on tours of places like Bijapur. Belgaum, Bailhongal, Dharwad, Hubli and Gadag in search of fresh talent and recording material. During one such tour I came to know of young Bhimsen. Shortly afterwards, I got an opportunity to see him and hear him sing. A Kannada dramatic company came to Bombay to present Kannada plays. A show was arranged at the Podar College hall at Matunga, for the benefit of the Kannadigas residing in North Bombay. I did not know Kannada at all but I was prompted to go with the purpose of hearing young Bhimsen on stage. Bhimsen was the hero in the play Bhagyashri. When I heard him sing I was convinced that the young man was a miracle, a genius, god's own creation, and would have a brilliant future. Even though Bhimsen's classical singing had not yet reached a high standard, his style of presentation greatly impressed me.
I immediately negotiated with him for an H.M.V. recording. He sang two Hindi and two Kannada bhajans for his first re- cording. This was in the year 1944. Soon afterwards I got him again and this time he recorded a beautiful poem Uttar Druv Dum composed by the well known Kannada-Maharashtrian poet the late D. R. Bendre, and also another poem written by the Kannada poet laureate Puttappa in bhavgeet style. With the great success of these recordings, which sold in very large numbers in Kannada areas, Bhimsen began to cut more and more records. By this time he had made the grade as a classical singer, so I got him to do a few classical pieces, which also were a great success. Thus, gradually Bhimsen became well-known and popular as a singer.
With his increasing popularity Bhimsen started getting invita- tions to sing at various cities and towns in Maharashtra and Karnataka. To facilitate the keeping of these engagements, he now bought a big car and took to driving. The car was so big that it could easily accommodate him and his 4 accompanists besides two tanpuras and other instruments. In this car Bhim- sen traveled extensively. One day he would go from Bombay to Belgaum - then on to Bangalore the next day, and back to Pune- only to go off again to Nagpur, Raipur or Bhilai. Back again in Pune, he would rush off to Hyderabad, Solapur and so on these whirlwind tours became a habit with him and in a short while he became an expert driver.
His unbelievably flexible voice enabled him to traverse at terrific speed, the great range of 3 octaves. While at the wheel, he used the same technique as in singing. He ignored the possi- bility of danger from bad or slippery roads, ditches, pot holes and other obstacles such as oncoming cars and stray cattle. Only fabulous luck saved him from a couple of very grave accidents. This toned down his recklessness. Another factor also lessened Bhimsen's craze for fast motor driving. The spread of his fame and popularity beyond the boundaries of Maharashtra brought him invitations from far off places like Jullundur, Jammu, Sri- nagar, Delhi, Calcutta and Gauhati. Bhimsen, who had so far matched the speed and agility of his voice with the speed of his car, realized that a car after all has limitations and moves in the vilambit laya. As he began to accept numerous invitations to far off places (he would have to be in Calcutta one night, Delhi the next evening, Bombay the following day and Jullun- dur immediately afterwards), he had to switch to air travel. The pilots of Indian Airlines and airport officials came across Bhimsen so frequently that he was soon known as the 'flying musician of India'.
Sometimes as I sat at my table in the office, the phone would ring 'Hello Govindrao! This is Bhimsen. I am coming to Bombay by the morning plane. I have to go to Calcutta by the afternoon flight, please book my seat.' At other times, Bhimsen would rush into my office unannounced and explain, 'Had a program last night in Delhi. I have just arrived by the morning flight.' ' Now I am off -to Pune but will be back to- morrow because I have an engagement in Calcutta the day after.'
One can easily imagine the tremendous difficulties involved in getting hold of an ever-busy singer like Bhimsen for recording. Fortunately as his popularity increased rapidly, the recording technique also improved for the better. 78 R.P.M. records were now replaced by the 45 R.P.M., extended play records and 33 R.P.M. long-playing records. Extended play records played twice as long as the 78 R.P.M. So the prices also were double. The long-playing microgroove records were also proportionately higher priced. These records gradually became the exclusive privilege of the affluent in society. Therefore I felt it would be a commercially profitable venture to cut EP records instead of LP records for some time. Accordingly I got Bhimsen to sing on EP discs. These included Zanak zanakuva in Raga Darbari. Piya to manata nahee, a thumri, Jo bhaje hari ko sada, a bhajan, and the most enchanting thumri - Piya ke milan ki aas. These records, when released, surprisingly and contrary to my expectations, did not show good results. I could not imagine what had gone wrong. After making a study of the psychology of the customers, I realized that those who were able to buy EP records were usually fairly well-to-do and they could easily spend the extra 20 to 25 rupees for an LP record. They would rather buy an LP with a full 20 minute cheez; or a raga, than an abridged version of the same on an EP record. So I decided to put Bhimsen on LP records. I got him to do the same Ragas, Todi, Darbari and Malkauns, which he had previously sung for EP recordings, and these were a fantastic hit in the market. My guess that people loved to listen to ragas sung by Bhimsen in their full form and splendor proved to be very correct.
Every performer has his favorite items, in which he excels. On the strength of these- his mehfil becomes a memorable experience. Bhimsen is no exception. After hearing a number of his concerts some people remarked that his programs are repetitive. It is a peculiar characteristic of our music that the ingenuity of a musician is known by his ability to unfold and create new and novel facets of known raas. The same com- position, same notes in the same ragas, presented on successive occasions can sound ever-new, fresh and enchanting and receive enthusiastic approval from listeners and critics in the audience. It is very necessary therefore that the listeners should cultivate a knowledgeable interest and a musical ear to appreciate our classical music.
I had got Bhimsen to record most of the ragas over which he had full command. After a year and half he appeared to be reluctant to cut new discs. One day as we were chatting, I told him to do some more recordings and he said, 'To tell you the truth, I really do not know just what to record now. I have already come out with most of my winning numbers. If I make fresh recordings, they must have the same superior stamp of quality and performance.'
I admired him for the candid statement. I said, 'All your fans are waiting eagerly for you to come out with new things. Surely you can think of something if you apply your mind seriously to it.' He merely smiled and promised to do so. Soon after this my niece got married in Pune. Bhimsen was invited with his family to the ceremony and the lunch there- after, but to my disappointment he did not show up. In the evening he came with his wife to the reception. He knew imme- diately that I was a little annoyed at his failure to come for lunch. 'We had a lot of guests today,' explained his wife. 'That's why we could not come.'
I said, 'Since you failed to come you will have to submit to some punishment.' He agreed. 'What is the punishment?' I announced, 'There are two, to be undergone one after the other. First - you must finish all three dishes set before you, and second - you must sing for us in the hall tonight.' Bhimsen sportingly accepted both the punishments. In his performance that night he presented two entirely new ragas which I instantly liked. Even though he was not yet very familiar with the raga composition, I could well imagine how marvellous the exposition would sound once it was perfected. There and then I decided to have the new ragas for his next recording. One was an admixture of Kalavati and Rageshri (he had aptly named it Kalashri), and the other was a beauti- ful fusion of ragas Lalit and Bhatiyar. The recording of these however could not be done before I left in July 1970 on an extensive trip around the world.
I returned after a period of 7 months and although I had offi- cially retired from service I was prevailed upon to work for the company again in the same capacity. As a matter of fact I did not need to work any longer. Both my daughters were happily married; my responsibilities were over. There really was no need to saddle myself with a job, but I had been so used to working and to having the company of artists for so many years, that without these my life would have been purposeless and monotonous. Hence I agreed to the proposal in March 1971. Bhimsen had remained unrecorded for nearly 3 years so I decided to get him as the first artist after my reappointment.
I realized once again the truth that a genuine artist values friendship more than money. In just a month after I resumed, I brought Bhimsen to the studio. He had agreed to make only one record that night. The news that Bhimsen was in our studio leaked out, I don't know how. I suppose one cannot hide frag- rance. That night a number of artists arrived in our studio to listen to Bhimsen's recording. Prominent among these were veterans Kumar Gandharva and Sudhir Phadke. Sometimes the presence of such knowledgeable colleagues is helpful. The singer, inspired by the presence of such stalwarts, strives tc give his best. But at times such a presence has an adverse effect, too. In a mehfil a singer wanting to fulfil the expectations of the listeners has ample time and opportunity to show his prowess, but during a recording session a singer has to present a complete picture of a raga, in a most delectable form, in a short duration of time. Therefore, while trying to do this the singer may come to regard the presence of such knowledgeable friends as akin to that of a bunch of jurors. When he gets into this agitated and perturbed state of mind a coherent performance becomes very difficult.
The recording session began at 9.30, but till midnight Bhimsen was tossing adrift in the cross-currents of notes of the raga Gaud Sarang. I therefore called for a coffee break. The distinguished guests, sensing Bhimsen's predicament discreetly left, and after some time we resumed the session. Now released from ten- sion, Bhimsen, having already warmed up sufficiently, started with a bang and gave a very scintillating exposition of Raga Gaud Sarang. The replay of this recorded side had an electrify- ing effect on Bhimsen, and he who had struggled for over three hours with the notes of a single raga, recorded in succession five more ragas with his uncanny and astounding imaginative skill and rare artistry.
The session that had begun early in the night came to a close at 7.30 the next morning with six brilliant ragas to Bhimsen's credit. An artist, when he gets into his element, is oblivious of everything except his art. Bhimsen had come with the tacit understanding that he would cut only one LP but had ended up recording material enough for three LPs. Besides the traditionally known Gaud Sarang, Brindavani Sarang, Puriya and Durga, he immortalized Ragas Kalashri and Lalit Bhatiyar, both of his own creation, which I had, as mentioned before, earmarked for re- cording during his performance in Pune.
While trying to persuade Bhimsen to come for the recording I had strongly urged that he should also render devotional Marathi items, like his previous hit seller Indrayani kathi, for recordings on extended play. Bhimsen had already, through his regular concerts, made popular some more bhaktigeets, which received a terrific response. After that night's marathon session I did not dare to even mention the proposal for these devotional recordings. But, as if reading my mind, and pleased with his splendid innings of that night, Bhimsen said to me, 'Well, shall we make Marathi devotional EPs also?' Would I have said 'No'? We fixed the recording for that afternoon. Feeling doubly blessed and very elated, I immediately requested our recording engineer and other staff to come back to the studio by 12.30. Before parting Bhimsen promised to come to my residence to pick me up. Punctually at 12.30 Bhim- sen was standing at my door. His boundless enthusiasm filled me with admiration. Even before our recording engineer and other staff arrived we were ready with the tanpuras tuned. The night long riyaz had given such a brilliance to Bhimsen's voice that by the evening, instead of two, he recorded four Marathi bhaktigeets. At my own very first recording I had recorded four- teen songs instead of two. The late Panalal Ghosh made one LP and four EPs in a single night, but Bhimsen broke all pre- vious records by cutting six sides of 20 minutes each and four sides of 7 minutes each within a short period of 20 hours. Such a splendid performance was possible only for a stalwart like Bhimsen. All the senior officers in our company were astounded by this unbelievable feat.
For the previous 3 years the company, the trade and his fans had eagerly awaited the issue of new LPs featuring Bhimsen. I had succeeded in obtaining for them 3 LPs topped with a bonus issue of 2 EPs in just 18 hours. I was congratulated on this unique achievement, but I give all the credit for it to this giant gem of an artist.
Supreme confidence in his own abilities and unfailing loyalty are two prominent qualities of Bhimsen. Every year he observes the punyatithi (death anniversary) of his guru Sawai Gandharva with a music festival at Pune. Those privileged to attend it are indeed very fortunate, for the spectacle is one fit for the gods. For three consecutive nights about 10,000 people attend the program from 8 at night to 7 the next morning. Eminent artists in the world of Indian classical music vie with each other for a chance to appear on the stage on this occasion. There are two reasons for this. Firstly the program is at the behest of a great fellow artist like Bhimsen, and secondly it is rare and almost impossible for a musician to get a chance to perform before such a vast, discerning and appreciative audience. During these celebrations, Bhimsen works like an ordinary volunteer. On occasion he is even noticed sweeping the stage, bringing the instruments on stage and helping the artist to tune the tanpuras perfectly. He looks after the comforts of the artists and audience alike. He does this untiringly for three successive nights. One cannot help but admire him for his love and reverence for his guru.
I had made a number of 3 minute records of the late Sawai Gandharva in his life tirne. From these I selected 12 songs to form one LP and got it released during the memorable 1969 session of his anniversary arranged by Bhimsen. The late Sawai Gandharva was a disciple of Abdul Karim Khan. A galaxy of veterans are among his disciples. They include top names like Gangubai Hangal, Hirabai Badodekar, Phiroz Dastur and Bhimsen, who is the youngest of them all. The characteristics of the Kirana gharana are precision-oriented tunefulness (lagav of swaras) presentation of a bandish with an impressively grace- ful style, and a disciplined, systematic and methodical raga de- velopment, punctuated with an elegantly elaborate alap and skil- ful decoration with the choicest forms of embellishments - taans. With the help of all these, Bhimsen makes such a terrific favourable impact on his audience right from the start of the concert that listeners remain glued to their seats till the last notes of his Bhairavi. Within a few minutes of his arrival in a concert hall Bhimsen measures correctly the pulse of the audi- ence. His discerning eye unfailingly recognizes the knowledge- able in the congregation and, by the time the tanpuras are tuned, and accompaniment arranged, he has decided on the musical menu he will dish out to achieve a resounding success.
Bhimsen fully understands mass psychology. He gauges the intellectual level of the listeners within minutes of the start of the mehfil and arrives at the point of sam in a totally unexpected and startling but graceful style to receive their spontaneous en- thusiastic 'Wah, wah'. From then on the mehfil is under his control and, for the listeners, it is a delectable treat which carries them to celestial heights. He has made a very careful study of where and how to utilize the beautiful phrases he has pre- selected. Because of this his elaborations never appear artificial. On the contrary his performance proceeds in a most natural and lucid style. He is blessed with an extremely sweet, flexible voice and with grueling riyaz he has trained it in such a way that he can always achieve the musical effects he desires. His voice, at one moment flowing smoothly like a tranquil stream, suddenly takes a mighty leap of two or more octaves in the next avartana and then, with gradually diminishing vigour, reverts gently back to sam, thus providing moments of supreme artistic pleasure. Bhimsen's recitals are replete with many such beauti- ful moments. His full-throated voice can at his command take on a soft velvety texture, to the extreme delight of the listeners. Like an airplane on a joy-ride, he flits from one octave to an- other, from there to the next, back again to the second and again to the third, all in one breath. The listeners hold their breath in an agony of suspense, marveling at his capacity, and when he glides gracefully back to the point of sam, the entire audi- ence breathes a sigh of happy relief. Along with his artistry, this feat of physical endurance and breath control is most im- pressive. Bhimsen believes that in classical music the poetic content of the lyric is as important as thc notes of the raga. He becomes entirely absorbed with the sentiments of the bandish and this emotional merger is appreciated by listeners of all ages and levels. This is why Bhimsen's classical singing has mass appeal.
Bhimsen is a versatile singer; he is an expert in khayal singing but he is also adept in the presentation of thumris, songs from plays, or devotional compositions. His lilting thumris (Jadu bhareli, Piya ke milan ki aas or Babul mora) and his innumerable popular Abhangs composed by the saints of Maharashtra are instances in point.
Bhimsen is a prodigy - unique - a divine miracle. We should admire his tremendous accomplishments in the realm of music, revel in the heavenly experience of his gayaki and pray to God Almighty to bless this musical genius with a long life. In the whole of India there is no one else who has atained so much and given so much to music lovers. Listeners in he U.S.A. and the U.K. love and admire him. It is a pity that our Govern- ment has only bestowed a mere Padmashri on him, instead of the higher honours deserved by an artist of Bhimsen's calibre who has received the greatest acclaim abroad.
Pune, Jan 24 (IANS) Eminent Hindustani classical vocalist Pandit Bhimsen Joshi died of old age related ailments Monday morning at a hospital here, his doctor said. He was 88.
A Bharat Ratna awardee, Joshi died at Pune’s Sahyadri Hospital at 8.05 a.m, his doctor Atul Joshi said.
Joshi, who would have turned a year older Feb 4, was rushed to the Sahyadri Hospital Dec 31. He was suffering from old age related ailments, including kidney problems, and had been admitted to the hospital’s intensive care unit.
The 88-year old Hindustani classical exponent was on ventilator and underwent periodic dialysis during the past 25 days.
‘However, since Saturday evening, his condition deteriorated and he started sinking despite all our efforts. He breathed his last at 8.05 a.m.,’ Atul Joshi told IANS.
Close family members and relatives were present at his bedside when Pandit Joshi breathed his last.
Pandit Joshi was conferred Bharat Ratna, the country’s highest civilian award, in 2008.
A practitioner of the Kirana gharana, Joshi was known for his mellifluous ‘khayals’ as well as for his popular renditions of devotional ‘abhangs’ and ‘bhajans’.
IANS
NEW DELHI: Bharat Ratna awardee Pandit Bhimsen Joshi passed away at Monday morning in a Pune hospital.
Pandit Joshi was rushed to the Sahyadri Hospital in Pune on Dec 31 following old-age related ailments and general weakness.
Pandit Joshi was conferred the Bharat Ratna, the country's highest civilian award, in 2008.
Pandit Joshi was a member of the Kirana Gharana.
Tabla maestro Ustad Zakir Hussain had visited the hospital to enquire about the health of Pandit Joshi.
Bhimsen's music has been hailed by both the critics and the masses. His performances have been marked by spontaneity, accurate notes, dizzyingly-paced taans which make use of his exceptional voice training, and a mastery over rhythm. He was ever the wanderer, engendering brilliant phrases and taans more intuitively than through deliberation.
Bhimsen Joshi, who is riding the crest of popularity and has ridden it for the last several years, is a musical marvel. His singing invariably provides listeners with a divine musical ex- perinea. Many of his rivals admit, though unwillingly, that today there is no other vocalist comparable to him in the entire nation.
Bhimsen, who is now in his 60s, has attained proficiency and fame that astound the musical world. His voice, like that legendary philosopher's stone, turns every note into a golden one. Billions of notes that have received the golden touch of his voice have been freely showered by him on the teeming millions of his fans. His unswerving faith in an intense devo- tion to his guru have been his keys to success.
Bhimsen was born into a Brahmin family of Gadag in Kar- nataka. His childhood was spent there. Even as a child he was crazy about music, to the chagrin of his father who desired that Bhimsen should get a sound education and qualify as a doctor or an engineer. But Bhimsen, neglecting his studies, pursued music instead. At last he could not control any more his yearning to learn music, and one day he ran away from home. He had heard that Gwalior, Lucknow and Rampur in the North were the best places to learn classical music. Therefore his first destination was Gwalior.
A few years of his youth were thus spent in the company of well known musicians at Gwalior, Lucknow and Rampur, serv- ing them and learning as much as he could from them. His father, coming to know of Bhimsen's fervent desire for know- ledge in music, abandoned his policy of opposition, fetched his son back and made arrangements for him to learn under the guidance of Sawai Gandharva of Kundol. This opportunity opened the vaults of rich and rare musical treasures to Bhimsen. Bhimsen's natural tuneful voice received further polish from his guru. Like a diamond which sparkles all the brighter after it is expertly cut, Bhimsen's voice began to shine with a new luster and brilliance which has dazzled and cast a spell on the entire country.
Maharashtra was then part of a province known as Bombay Presidency that included Dharwad, Belgaum and Bijapur, which are now parts of Karnataka. I therefore had to look after the recordings of artists in this Kannada-speaking region. As part of my duty I was required to go on tours of places like Bijapur. Belgaum, Bailhongal, Dharwad, Hubli and Gadag in search of fresh talent and recording material. During one such tour I came to know of young Bhimsen. Shortly afterwards, I got an opportunity to see him and hear him sing. A Kannada dramatic company came to Bombay to present Kannada plays. A show was arranged at the Podar College hall at Matunga, for the benefit of the Kannadigas residing in North Bombay. I did not know Kannada at all but I was prompted to go with the purpose of hearing young Bhimsen on stage. Bhimsen was the hero in the play Bhagyashri. When I heard him sing I was convinced that the young man was a miracle, a genius, god's own creation, and would have a brilliant future. Even though Bhimsen's classical singing had not yet reached a high standard, his style of presentation greatly impressed me.
I immediately negotiated with him for an H.M.V. recording. He sang two Hindi and two Kannada bhajans for his first re- cording. This was in the year 1944. Soon afterwards I got him again and this time he recorded a beautiful poem Uttar Druv Dum composed by the well known Kannada-Maharashtrian poet the late D. R. Bendre, and also another poem written by the Kannada poet laureate Puttappa in bhavgeet style. With the great success of these recordings, which sold in very large numbers in Kannada areas, Bhimsen began to cut more and more records. By this time he had made the grade as a classical singer, so I got him to do a few classical pieces, which also were a great success. Thus, gradually Bhimsen became well-known and popular as a singer.
With his increasing popularity Bhimsen started getting invita- tions to sing at various cities and towns in Maharashtra and Karnataka. To facilitate the keeping of these engagements, he now bought a big car and took to driving. The car was so big that it could easily accommodate him and his 4 accompanists besides two tanpuras and other instruments. In this car Bhim- sen traveled extensively. One day he would go from Bombay to Belgaum - then on to Bangalore the next day, and back to Pune- only to go off again to Nagpur, Raipur or Bhilai. Back again in Pune, he would rush off to Hyderabad, Solapur and so on these whirlwind tours became a habit with him and in a short while he became an expert driver.
His unbelievably flexible voice enabled him to traverse at terrific speed, the great range of 3 octaves. While at the wheel, he used the same technique as in singing. He ignored the possi- bility of danger from bad or slippery roads, ditches, pot holes and other obstacles such as oncoming cars and stray cattle. Only fabulous luck saved him from a couple of very grave accidents. This toned down his recklessness. Another factor also lessened Bhimsen's craze for fast motor driving. The spread of his fame and popularity beyond the boundaries of Maharashtra brought him invitations from far off places like Jullundur, Jammu, Sri- nagar, Delhi, Calcutta and Gauhati. Bhimsen, who had so far matched the speed and agility of his voice with the speed of his car, realized that a car after all has limitations and moves in the vilambit laya. As he began to accept numerous invitations to far off places (he would have to be in Calcutta one night, Delhi the next evening, Bombay the following day and Jullun- dur immediately afterwards), he had to switch to air travel. The pilots of Indian Airlines and airport officials came across Bhimsen so frequently that he was soon known as the 'flying musician of India'.
Sometimes as I sat at my table in the office, the phone would ring 'Hello Govindrao! This is Bhimsen. I am coming to Bombay by the morning plane. I have to go to Calcutta by the afternoon flight, please book my seat.' At other times, Bhimsen would rush into my office unannounced and explain, 'Had a program last night in Delhi. I have just arrived by the morning flight.' ' Now I am off -to Pune but will be back to- morrow because I have an engagement in Calcutta the day after.'
One can easily imagine the tremendous difficulties involved in getting hold of an ever-busy singer like Bhimsen for recording. Fortunately as his popularity increased rapidly, the recording technique also improved for the better. 78 R.P.M. records were now replaced by the 45 R.P.M., extended play records and 33 R.P.M. long-playing records. Extended play records played twice as long as the 78 R.P.M. So the prices also were double. The long-playing microgroove records were also proportionately higher priced. These records gradually became the exclusive privilege of the affluent in society. Therefore I felt it would be a commercially profitable venture to cut EP records instead of LP records for some time. Accordingly I got Bhimsen to sing on EP discs. These included Zanak zanakuva in Raga Darbari. Piya to manata nahee, a thumri, Jo bhaje hari ko sada, a bhajan, and the most enchanting thumri - Piya ke milan ki aas. These records, when released, surprisingly and contrary to my expectations, did not show good results. I could not imagine what had gone wrong. After making a study of the psychology of the customers, I realized that those who were able to buy EP records were usually fairly well-to-do and they could easily spend the extra 20 to 25 rupees for an LP record. They would rather buy an LP with a full 20 minute cheez; or a raga, than an abridged version of the same on an EP record. So I decided to put Bhimsen on LP records. I got him to do the same Ragas, Todi, Darbari and Malkauns, which he had previously sung for EP recordings, and these were a fantastic hit in the market. My guess that people loved to listen to ragas sung by Bhimsen in their full form and splendor proved to be very correct.
Every performer has his favorite items, in which he excels. On the strength of these- his mehfil becomes a memorable experience. Bhimsen is no exception. After hearing a number of his concerts some people remarked that his programs are repetitive. It is a peculiar characteristic of our music that the ingenuity of a musician is known by his ability to unfold and create new and novel facets of known raas. The same com- position, same notes in the same ragas, presented on successive occasions can sound ever-new, fresh and enchanting and receive enthusiastic approval from listeners and critics in the audience. It is very necessary therefore that the listeners should cultivate a knowledgeable interest and a musical ear to appreciate our classical music.
I had got Bhimsen to record most of the ragas over which he had full command. After a year and half he appeared to be reluctant to cut new discs. One day as we were chatting, I told him to do some more recordings and he said, 'To tell you the truth, I really do not know just what to record now. I have already come out with most of my winning numbers. If I make fresh recordings, they must have the same superior stamp of quality and performance.'
I admired him for the candid statement. I said, 'All your fans are waiting eagerly for you to come out with new things. Surely you can think of something if you apply your mind seriously to it.' He merely smiled and promised to do so. Soon after this my niece got married in Pune. Bhimsen was invited with his family to the ceremony and the lunch there- after, but to my disappointment he did not show up. In the evening he came with his wife to the reception. He knew imme- diately that I was a little annoyed at his failure to come for lunch. 'We had a lot of guests today,' explained his wife. 'That's why we could not come.'
I said, 'Since you failed to come you will have to submit to some punishment.' He agreed. 'What is the punishment?' I announced, 'There are two, to be undergone one after the other. First - you must finish all three dishes set before you, and second - you must sing for us in the hall tonight.' Bhimsen sportingly accepted both the punishments. In his performance that night he presented two entirely new ragas which I instantly liked. Even though he was not yet very familiar with the raga composition, I could well imagine how marvellous the exposition would sound once it was perfected. There and then I decided to have the new ragas for his next recording. One was an admixture of Kalavati and Rageshri (he had aptly named it Kalashri), and the other was a beauti- ful fusion of ragas Lalit and Bhatiyar. The recording of these however could not be done before I left in July 1970 on an extensive trip around the world.
I returned after a period of 7 months and although I had offi- cially retired from service I was prevailed upon to work for the company again in the same capacity. As a matter of fact I did not need to work any longer. Both my daughters were happily married; my responsibilities were over. There really was no need to saddle myself with a job, but I had been so used to working and to having the company of artists for so many years, that without these my life would have been purposeless and monotonous. Hence I agreed to the proposal in March 1971. Bhimsen had remained unrecorded for nearly 3 years so I decided to get him as the first artist after my reappointment.
I realized once again the truth that a genuine artist values friendship more than money. In just a month after I resumed, I brought Bhimsen to the studio. He had agreed to make only one record that night. The news that Bhimsen was in our studio leaked out, I don't know how. I suppose one cannot hide frag- rance. That night a number of artists arrived in our studio to listen to Bhimsen's recording. Prominent among these were veterans Kumar Gandharva and Sudhir Phadke. Sometimes the presence of such knowledgeable colleagues is helpful. The singer, inspired by the presence of such stalwarts, strives tc give his best. But at times such a presence has an adverse effect, too. In a mehfil a singer wanting to fulfil the expectations of the listeners has ample time and opportunity to show his prowess, but during a recording session a singer has to present a complete picture of a raga, in a most delectable form, in a short duration of time. Therefore, while trying to do this the singer may come to regard the presence of such knowledgeable friends as akin to that of a bunch of jurors. When he gets into this agitated and perturbed state of mind a coherent performance becomes very difficult.
The recording session began at 9.30, but till midnight Bhimsen was tossing adrift in the cross-currents of notes of the raga Gaud Sarang. I therefore called for a coffee break. The distinguished guests, sensing Bhimsen's predicament discreetly left, and after some time we resumed the session. Now released from ten- sion, Bhimsen, having already warmed up sufficiently, started with a bang and gave a very scintillating exposition of Raga Gaud Sarang. The replay of this recorded side had an electrify- ing effect on Bhimsen, and he who had struggled for over three hours with the notes of a single raga, recorded in succession five more ragas with his uncanny and astounding imaginative skill and rare artistry.
The session that had begun early in the night came to a close at 7.30 the next morning with six brilliant ragas to Bhimsen's credit. An artist, when he gets into his element, is oblivious of everything except his art. Bhimsen had come with the tacit understanding that he would cut only one LP but had ended up recording material enough for three LPs. Besides the traditionally known Gaud Sarang, Brindavani Sarang, Puriya and Durga, he immortalized Ragas Kalashri and Lalit Bhatiyar, both of his own creation, which I had, as mentioned before, earmarked for re- cording during his performance in Pune.
While trying to persuade Bhimsen to come for the recording I had strongly urged that he should also render devotional Marathi items, like his previous hit seller Indrayani kathi, for recordings on extended play. Bhimsen had already, through his regular concerts, made popular some more bhaktigeets, which received a terrific response. After that night's marathon session I did not dare to even mention the proposal for these devotional recordings. But, as if reading my mind, and pleased with his splendid innings of that night, Bhimsen said to me, 'Well, shall we make Marathi devotional EPs also?' Would I have said 'No'? We fixed the recording for that afternoon. Feeling doubly blessed and very elated, I immediately requested our recording engineer and other staff to come back to the studio by 12.30. Before parting Bhimsen promised to come to my residence to pick me up. Punctually at 12.30 Bhim- sen was standing at my door. His boundless enthusiasm filled me with admiration. Even before our recording engineer and other staff arrived we were ready with the tanpuras tuned. The night long riyaz had given such a brilliance to Bhimsen's voice that by the evening, instead of two, he recorded four Marathi bhaktigeets. At my own very first recording I had recorded four- teen songs instead of two. The late Panalal Ghosh made one LP and four EPs in a single night, but Bhimsen broke all pre- vious records by cutting six sides of 20 minutes each and four sides of 7 minutes each within a short period of 20 hours. Such a splendid performance was possible only for a stalwart like Bhimsen. All the senior officers in our company were astounded by this unbelievable feat.
For the previous 3 years the company, the trade and his fans had eagerly awaited the issue of new LPs featuring Bhimsen. I had succeeded in obtaining for them 3 LPs topped with a bonus issue of 2 EPs in just 18 hours. I was congratulated on this unique achievement, but I give all the credit for it to this giant gem of an artist.
Supreme confidence in his own abilities and unfailing loyalty are two prominent qualities of Bhimsen. Every year he observes the punyatithi (death anniversary) of his guru Sawai Gandharva with a music festival at Pune. Those privileged to attend it are indeed very fortunate, for the spectacle is one fit for the gods. For three consecutive nights about 10,000 people attend the program from 8 at night to 7 the next morning. Eminent artists in the world of Indian classical music vie with each other for a chance to appear on the stage on this occasion. There are two reasons for this. Firstly the program is at the behest of a great fellow artist like Bhimsen, and secondly it is rare and almost impossible for a musician to get a chance to perform before such a vast, discerning and appreciative audience. During these celebrations, Bhimsen works like an ordinary volunteer. On occasion he is even noticed sweeping the stage, bringing the instruments on stage and helping the artist to tune the tanpuras perfectly. He looks after the comforts of the artists and audience alike. He does this untiringly for three successive nights. One cannot help but admire him for his love and reverence for his guru.
I had made a number of 3 minute records of the late Sawai Gandharva in his life tirne. From these I selected 12 songs to form one LP and got it released during the memorable 1969 session of his anniversary arranged by Bhimsen. The late Sawai Gandharva was a disciple of Abdul Karim Khan. A galaxy of veterans are among his disciples. They include top names like Gangubai Hangal, Hirabai Badodekar, Phiroz Dastur and Bhimsen, who is the youngest of them all. The characteristics of the Kirana gharana are precision-oriented tunefulness (lagav of swaras) presentation of a bandish with an impressively grace- ful style, and a disciplined, systematic and methodical raga de- velopment, punctuated with an elegantly elaborate alap and skil- ful decoration with the choicest forms of embellishments - taans. With the help of all these, Bhimsen makes such a terrific favourable impact on his audience right from the start of the concert that listeners remain glued to their seats till the last notes of his Bhairavi. Within a few minutes of his arrival in a concert hall Bhimsen measures correctly the pulse of the audi- ence. His discerning eye unfailingly recognizes the knowledge- able in the congregation and, by the time the tanpuras are tuned, and accompaniment arranged, he has decided on the musical menu he will dish out to achieve a resounding success.
Bhimsen fully understands mass psychology. He gauges the intellectual level of the listeners within minutes of the start of the mehfil and arrives at the point of sam in a totally unexpected and startling but graceful style to receive their spontaneous en- thusiastic 'Wah, wah'. From then on the mehfil is under his control and, for the listeners, it is a delectable treat which carries them to celestial heights. He has made a very careful study of where and how to utilize the beautiful phrases he has pre- selected. Because of this his elaborations never appear artificial. On the contrary his performance proceeds in a most natural and lucid style. He is blessed with an extremely sweet, flexible voice and with grueling riyaz he has trained it in such a way that he can always achieve the musical effects he desires. His voice, at one moment flowing smoothly like a tranquil stream, suddenly takes a mighty leap of two or more octaves in the next avartana and then, with gradually diminishing vigour, reverts gently back to sam, thus providing moments of supreme artistic pleasure. Bhimsen's recitals are replete with many such beauti- ful moments. His full-throated voice can at his command take on a soft velvety texture, to the extreme delight of the listeners. Like an airplane on a joy-ride, he flits from one octave to an- other, from there to the next, back again to the second and again to the third, all in one breath. The listeners hold their breath in an agony of suspense, marveling at his capacity, and when he glides gracefully back to the point of sam, the entire audi- ence breathes a sigh of happy relief. Along with his artistry, this feat of physical endurance and breath control is most im- pressive. Bhimsen believes that in classical music the poetic content of the lyric is as important as thc notes of the raga. He becomes entirely absorbed with the sentiments of the bandish and this emotional merger is appreciated by listeners of all ages and levels. This is why Bhimsen's classical singing has mass appeal.
Bhimsen is a versatile singer; he is an expert in khayal singing but he is also adept in the presentation of thumris, songs from plays, or devotional compositions. His lilting thumris (Jadu bhareli, Piya ke milan ki aas or Babul mora) and his innumerable popular Abhangs composed by the saints of Maharashtra are instances in point.
Bhimsen is a prodigy - unique - a divine miracle. We should admire his tremendous accomplishments in the realm of music, revel in the heavenly experience of his gayaki and pray to God Almighty to bless this musical genius with a long life. In the whole of India there is no one else who has atained so much and given so much to music lovers. Listeners in he U.S.A. and the U.K. love and admire him. It is a pity that our Govern- ment has only bestowed a mere Padmashri on him, instead of the higher honours deserved by an artist of Bhimsen's calibre who has received the greatest acclaim abroad.
Mumbai Dabbawallas Join India's Republic Day Parade
There are four days remaining until Republic Day in India. On January 26, India will celebrate it's 60th year of being a republic.
As happens every year, thousands of people will line Delhi's central Rajpath avenue to catch sight of the spectacular Republic Day parade. This year, Mumbai's dabbawallas will feature in the parade. If you're familiar with the dabbawallas, you'll know what an integral part of Mumbai they are.
The 5,000 dabbawallas accurately deliver around 200,000 lunch boxes of freshly cooked food to the city's office workers every day. The system started operating in 1890, with only 35 workers. It's now internationally recognized.
The dabbawallas will perform a skit in the parade, demonstrating how a box of food gets from one far-flung part of Mumbai to another.
As happens every year, thousands of people will line Delhi's central Rajpath avenue to catch sight of the spectacular Republic Day parade. This year, Mumbai's dabbawallas will feature in the parade. If you're familiar with the dabbawallas, you'll know what an integral part of Mumbai they are.
The 5,000 dabbawallas accurately deliver around 200,000 lunch boxes of freshly cooked food to the city's office workers every day. The system started operating in 1890, with only 35 workers. It's now internationally recognized.
The dabbawallas will perform a skit in the parade, demonstrating how a box of food gets from one far-flung part of Mumbai to another.
BHARATHIAR UNIVERSITY PG RESULTS 2010 – BHARATHIAR UNIVERSITY PG RESULTS 2011
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Tiss Results 2011 | Tiss 2011 Results | Tata Institute Of Social Sciences 2011 Results | Tiss
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Tag: Tiss Results 2011 , Tiss 2011 Results , Tata Institute Of Social Sciences 2011 Results , TissYou just thinking to where i can get the Tiss Results 2011 right website were i can get my results online in year 2011.
The Results of the written Test held by the Tata Institute of Social Sciences (TISS), Mumbai on Dec 12, 2010 will be declared at 8 p.m. on 24th January, 2011. Admissions to various Post Graduate courses conducted by TISS is decided by a written test. Successful candidates in this written test will have to appear for Interviews at a later date. TISS is a NAAC – 5 Star-rated COE (Center of Excellence) providing various PG courses in Social Work, Human Resource Management, Hospital and Health Administration, Disaster management etc.We give you right link from the web that give you the Tiss Results 2011 online at one click.
here only you get Tiss Results 2011 right information website.
Click Here For Tata Institute of Social Sciences RESULTS
TISS 2011 Results for Post Graduate Degree Programmes for Indian Students, 2010-2012TISS Mumbai:
P.O. Box 8313,
Deonar,
Mumbai 400 088. Tuljapur: P.O. Box 09 ,
Tuljapur, Dist.
Osmanabad 413 601. Useful Phone Numbers of the Institute:
Mumbai: +91-22-25525000 (Board Number)
Dial 91-22-2552 + (extension number) View the attached complete Extension List of Faculty / Staff / Buildings / Hostels
Tuljapur: +91-2471-242061/ 560/ 507; +91-2471-244325 Mumbai Campus:
– Reception Fax Number (Main campus): +91-22-25525050
– Naoroji Campus Fax Number: +91-22-25515899
– JTCDM Fax Number : +91-22-25482048
– Director’s Office Fax Number : +91-22-25583063
– Board Telephone Number: +91-22-25525000
– Board Telephone Number : +91-22-25525500
Tag: Tiss Results 2011 , Tiss 2011 Results , Tata Institute Of Social Sciences 2011 Results , TissYou just thinking to where i can get the Tiss Results 2011 right website were i can get my results online in year 2011.
The Results of the written Test held by the Tata Institute of Social Sciences (TISS), Mumbai on Dec 12, 2010 will be declared at 8 p.m. on 24th January, 2011. Admissions to various Post Graduate courses conducted by TISS is decided by a written test. Successful candidates in this written test will have to appear for Interviews at a later date. TISS is a NAAC – 5 Star-rated COE (Center of Excellence) providing various PG courses in Social Work, Human Resource Management, Hospital and Health Administration, Disaster management etc.We give you right link from the web that give you the Tiss Results 2011 online at one click.
here only you get Tiss Results 2011 right information website.
Click Here For Tata Institute of Social Sciences RESULTS
TISS 2011 Results for Post Graduate Degree Programmes for Indian Students, 2010-2012TISS Mumbai:
P.O. Box 8313,
Deonar,
Mumbai 400 088. Tuljapur: P.O. Box 09 ,
Tuljapur, Dist.
Osmanabad 413 601. Useful Phone Numbers of the Institute:
Mumbai: +91-22-25525000 (Board Number)
Dial 91-22-2552 + (extension number) View the attached complete Extension List of Faculty / Staff / Buildings / Hostels
Tuljapur: +91-2471-242061/ 560/ 507; +91-2471-244325 Mumbai Campus:
– Reception Fax Number (Main campus): +91-22-25525050
– Naoroji Campus Fax Number: +91-22-25515899
– JTCDM Fax Number : +91-22-25482048
– Director’s Office Fax Number : +91-22-25583063
– Board Telephone Number: +91-22-25525000
– Board Telephone Number : +91-22-25525500
Netaji Subhas Chandra Bose | Subhash Chandra Bose Quotes | Subhas Chandra Bose | Subhas Chandra Bose Wiki | Subhas Chandra Bose Profile | Subhas Chand
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Subhas Chandra Bose Birthday,
Subhas Chandra Bose Profile,
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Subhash Chandra Bose Quotes
About Netaji Subhas Chandra Bose:
- Born: January 23, 1897
- Death: Not known
Achievements: Passed Indian Civil Services Exam; elected Congress President in 1938 and 1939; formed a new party All India Forward block; organized Azad Hind Fauj to overthrow British Empire from India.
Netaji Subhash Chandra Bose was born on 23 January, 1897 in Cuttack (Orissa) to Janakinath Bose and Prabhavati Devi. Subhash was the ninth child among eight brothers and six sisters. His father, Janakinath Bose, was an affluent and successful lawyer in Cuttack and received the title of "Rai Bahadur". He, later became a member of the Bengal Legislative Council.
Subhas Chandra Bose was born on January 23, 1897 in Cuttack, Orissa. His father Janaki Nath Bose was a famous lawyer and his mother Prabhavati Devi was a pious and religious lady. Subhas Chandra Bose was the ninth child among fourteen siblings. Subhas Chandra Bose was a brilliant student right from the childhood. He topped the matriculation examination of Calcutta province and graduated with a First Class in Philosophy from the Scottish Churches College in Calcutta. He was strongly influenced by Swami Vivekananda's teachings and was known for his patriotic zeal as a student. To fulfill his parents wishes he went to England in 1919 to compete for Indian Civil Services. In England he appeared for the Indian Civil Service competitive examination in 1920, and came out fourth in order of merit. However, Subhas Chandra Bose was deeply disturbed by the Jallianwalla Bagh massacre, and left his Civil Services apprenticeship midway to return to India in 1921.
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Dhoondh Legi Manzil Hume 21st January 2011 Written Update
Highlights
Indu Ramesh ka shaadi finally STARTS
Nandu lying, Abhini flirting, Alpha arguing, Mom trying to manage children
Chander tells Alka he doesnt think they can be friends
Detailed Update
Abhini on phone. Mom tells Abhi to head to temple but he refuses finally agrees only cause Nandini says so, which of course makes mom thoughtful. (Abhini’s got another theme music past couple of episodes…Champagne Supernova by Oasis)
Abhi, Alka, Chander, Indu, Ramesh heading to temple with big huge bouncers. Chalka are in matching purple, Indu Ramesh in colors that COMPLETELY CLASH (maybe thats why Rakesh objects to them marrying.) Rakesh, SP, goons come there (they have some tracking device on these Tiwaris) Rakesh has a gun, someone else has a club…and they say they want to give Indu-Rams aashirwaad. Lots of tension wala music then SP puts hand in his pocket and removes….ENVELOPES! Says all the best and everyone starts cheering, and going zindabad for Tiwari, SP, Abhi. Ramesh even hugs Rakesh!!!
Papa calls to wish Nandu happy burday. As usual she lies to him about what she did and where she’s going and who with.
At temple Alka giving interview and crediting Abhi (she learns fast). Harshwardhan (Jai daddy) gifts Indu-Ramesh flat (even Alka calls them InduRamesh) and all this is in front of media. Abhi comes and gives credit to Alka, Alka says more than us credit goes to Chander. Comes and fetches him by his hand to meet the reporters (awwww). Pats his hand in front of media!!!
Meanwhile Ralph finally wakes up and wonders where Alka is. Mom says she didnt want to wake you up. But he jumps to Chander – and tells mom that there’s something between them. Mom soooo casually says “hey bhagwan maine suna tha ki angrez shakki nahi hote hai”. Ralph going hysterical. Mom says its not because of that its because of Babuji’s instructions. But this Ralph is hysterical…so she has to finally agree to let him go to temple to spy on Chalka.
At temple. Chander day dreaming that he’s marrying Alka and she realizes whats on his mind. She asks him is it possible for them to be friends and he says no. She says she will respect his decision. Both are uncomfy meanwhile Abhi is just showering Nandu with flowers. Photo session with all 4 – Babuji is going to be when he sees these photos…cause Chalka in middle and Indu Ramesh on side!
Alpha arguing. He feels left behind so she could be with Chander, and she’s like try and understand our circumstances.
Preview
Ralph gives Alka ultimatum – come with me now
Ramesh refuses to start pheras till Alka shows up (hey bhai jaldi shaadi kar aur story ko aage badhne de!)
Indu Ramesh ka shaadi finally STARTS
Nandu lying, Abhini flirting, Alpha arguing, Mom trying to manage children
Chander tells Alka he doesnt think they can be friends
Detailed Update
Abhini on phone. Mom tells Abhi to head to temple but he refuses finally agrees only cause Nandini says so, which of course makes mom thoughtful. (Abhini’s got another theme music past couple of episodes…Champagne Supernova by Oasis)
Abhi, Alka, Chander, Indu, Ramesh heading to temple with big huge bouncers. Chalka are in matching purple, Indu Ramesh in colors that COMPLETELY CLASH (maybe thats why Rakesh objects to them marrying.) Rakesh, SP, goons come there (they have some tracking device on these Tiwaris) Rakesh has a gun, someone else has a club…and they say they want to give Indu-Rams aashirwaad. Lots of tension wala music then SP puts hand in his pocket and removes….ENVELOPES! Says all the best and everyone starts cheering, and going zindabad for Tiwari, SP, Abhi. Ramesh even hugs Rakesh!!!
Papa calls to wish Nandu happy burday. As usual she lies to him about what she did and where she’s going and who with.
At temple Alka giving interview and crediting Abhi (she learns fast). Harshwardhan (Jai daddy) gifts Indu-Ramesh flat (even Alka calls them InduRamesh) and all this is in front of media. Abhi comes and gives credit to Alka, Alka says more than us credit goes to Chander. Comes and fetches him by his hand to meet the reporters (awwww). Pats his hand in front of media!!!
Meanwhile Ralph finally wakes up and wonders where Alka is. Mom says she didnt want to wake you up. But he jumps to Chander – and tells mom that there’s something between them. Mom soooo casually says “hey bhagwan maine suna tha ki angrez shakki nahi hote hai”. Ralph going hysterical. Mom says its not because of that its because of Babuji’s instructions. But this Ralph is hysterical…so she has to finally agree to let him go to temple to spy on Chalka.
At temple. Chander day dreaming that he’s marrying Alka and she realizes whats on his mind. She asks him is it possible for them to be friends and he says no. She says she will respect his decision. Both are uncomfy meanwhile Abhi is just showering Nandu with flowers. Photo session with all 4 – Babuji is going to be when he sees these photos…cause Chalka in middle and Indu Ramesh on side!
Alpha arguing. He feels left behind so she could be with Chander, and she’s like try and understand our circumstances.
Preview
Ralph gives Alka ultimatum – come with me now
Ramesh refuses to start pheras till Alka shows up (hey bhai jaldi shaadi kar aur story ko aage badhne de!)
Odhani Rang Badalti Jaaye 21st January 2011 Written Update
Hey Everyone … This is my first try @ written updates …
Please bear with me if i missed any details …. I know there are lot of heated tempers rite now …
So here it goes …
Episode opens with Khanak desperate to meet Shantanu … Its raining heaviliy with thunder and lightning everywhere . Khanak leaves in hurry to meeet Shaan …. TOTALLY SENSELESS for KHANAK to leave in bad weather … }
Duck with his Iktara , Sam (not at all interested) & Shaan at the studio … Duck lost in Khushboo’s thoughts … Sam is expressionless as always … Shaan trying to make them realise that nobody is interested in practising ,… He motivates Sam by telling her to think as if she is singing her love for Rahul ….. Sam imagining and smiling (total OTT) and moves towards the keyboard … Shaan starts strumming guitar … Duck joins in too after a while … All three are practising … (New background music playing … )
Sunny enters studio… Shaan is upset seeing him there … Sam asks Sunny ‘Tum yahaan kya kar rahe ho’… Sunny replies that Rahul wants to meet them .. Shaan giving his angry irritated looks towards Sunny … He nods to Sam as to go with Sunny …. Sam & Sunny leave from studio …
At the cafeteria ..
Rahul , Sam & Sunny at the coffee table … Sam asks Rahul the reason for calling them there ..
Just then Khanak enters partially drenched .. Sam asks Khanak what is she doing in the studio … Khanak spots Sunny sitting with them & gets restless….
Khanak says ‘Main Shantanu se milne aayi thi…’ Sam tells her that Shantanu is at the studio .. Khanak decides to go over to the Studio to meet Shaan by rickshaw.. Rahul intervenes saying ‘Bahar tez baarish ho rahi hain … Agar kuch hogaya toh.. ‘ He offers to drop Khanak at the studio …
Our brilliant SAM says ‘No thanks Rahul… Sunny hain na .. ‘ – Felt like slapping her @ saying this..No offense towards Priyanka .. just towards the character’s dumb idea !!!!
Khanak tries to tell Sam about her restlessness .. Sam says she knows abt Sunny makin Khanak uncomfortable … But insists on taking him along ….
Plus Khanak thinks tat better to go with Sunny since even Shaan dislikes Rahul …. (Dumbest Khanak ever !!!)
Sunny & Khanak leave … Rahul follows them saying ‘Main unhe neeche tak chodkar aata hoon’
Sunny gets Rahul’s gifted car … Khanak & Sunny sit in the car & drive away …
Rahul in his wicked looks thinks ‘Sab kuch plan ke hisaaaab se ho raha hain’ – There comes the Villian !!!!!
Sunny & Khanak on the road … raining heavily – Abhi kahan se itni baarish Mumbai main .. CVs which country do u stay ????
Sunny mutters about being made a sheer Driver … Kahan actor banne aaya thaa aur kya bana diyaaa…. Khanak getting restless & asks Sunny to drive faster … Sunny answers ‘O main tumhara driver nahi hooon’ ..
Pooor Khanak says ‘Mujhe Shantanu ke paaas jana hain ‘ (Superb dialogue delivery here by YM)
Still travelling down the road … Car breaks down …. Sunny all frustrated … Khanak taunts about driving fast … Sunny gets irritated and says ‘Mujhe koi dilchaspi nahi hain tumhare saath yaahan rehne main’ …. Sunny cribs about Mumbai roads & rains …. Says ‘Cars ko maar toh sakte hain … Unt (camels) ko maarnepar kuch logon ko boora lagta hain’ …. Khanak thinks abt Suraj & Champak race !!!!! Thinks yeh sab ittefaq hain …. Suraj toh mar chuka hain … Yeh suraj nahi Sunny hain ….
She is lost in thoughts…. Sunny knocks on the door … Khanak startled & calls out SURAJ !!!
Sunny & Khanak get into fight … Sunny keeps asking why does she never loook at his face ,,, Khanak all restless and looking here and there except at Sunny … Sunny holds her by shoulders to make her face to him …. Khanak gets angry & pushes him away …. And walks away …
Sunny says Jao chali jao … kal badh main sirf tumhari body milegi (sorry couldnt remember the exact dialogue !!)
Back to studio …. SHAAN is strumming his guitar … Wow wat a role LEAD ACTOR is playing when wife is in bad state …
Shaan notices the thunder & realises tat its too late….. Thinks about Khanak being alone at home … Finallyyyyyyyyyyyyyyyyyyyyyy
Searches for his mobile phone & spots 4 missed calls from Khanak …. Thinks she must be worried… Battery dead …
Episode also dead … with final frame consisting of Shaan , Khanak walking away from Sunny & Rahul the villian !!!!!
Clothes – Dont even bother to ask .. They are as horrible as ever !!!!!
Sorry guys .. I know i m a horrible Written updater … But this was first time …. So spare me …
Also watever i could remember i have written …
CVs ka gussa mujhpar mat nikalo … PLEASEEE …
PS – if u guys dont like my written updates , feel free to telll .. I wont attempt again until i sharpen my updating skills !!!!!!
Please bear with me if i missed any details …. I know there are lot of heated tempers rite now …
So here it goes …
Episode opens with Khanak desperate to meet Shantanu … Its raining heaviliy with thunder and lightning everywhere . Khanak leaves in hurry to meeet Shaan …. TOTALLY SENSELESS for KHANAK to leave in bad weather … }
Duck with his Iktara , Sam (not at all interested) & Shaan at the studio … Duck lost in Khushboo’s thoughts … Sam is expressionless as always … Shaan trying to make them realise that nobody is interested in practising ,… He motivates Sam by telling her to think as if she is singing her love for Rahul ….. Sam imagining and smiling (total OTT) and moves towards the keyboard … Shaan starts strumming guitar … Duck joins in too after a while … All three are practising … (New background music playing … )
Sunny enters studio… Shaan is upset seeing him there … Sam asks Sunny ‘Tum yahaan kya kar rahe ho’… Sunny replies that Rahul wants to meet them .. Shaan giving his angry irritated looks towards Sunny … He nods to Sam as to go with Sunny …. Sam & Sunny leave from studio …
At the cafeteria ..
Rahul , Sam & Sunny at the coffee table … Sam asks Rahul the reason for calling them there ..
Just then Khanak enters partially drenched .. Sam asks Khanak what is she doing in the studio … Khanak spots Sunny sitting with them & gets restless….
Khanak says ‘Main Shantanu se milne aayi thi…’ Sam tells her that Shantanu is at the studio .. Khanak decides to go over to the Studio to meet Shaan by rickshaw.. Rahul intervenes saying ‘Bahar tez baarish ho rahi hain … Agar kuch hogaya toh.. ‘ He offers to drop Khanak at the studio …
Our brilliant SAM says ‘No thanks Rahul… Sunny hain na .. ‘ – Felt like slapping her @ saying this..No offense towards Priyanka .. just towards the character’s dumb idea !!!!
Khanak tries to tell Sam about her restlessness .. Sam says she knows abt Sunny makin Khanak uncomfortable … But insists on taking him along ….
Plus Khanak thinks tat better to go with Sunny since even Shaan dislikes Rahul …. (Dumbest Khanak ever !!!)
Sunny & Khanak leave … Rahul follows them saying ‘Main unhe neeche tak chodkar aata hoon’
Sunny gets Rahul’s gifted car … Khanak & Sunny sit in the car & drive away …
Rahul in his wicked looks thinks ‘Sab kuch plan ke hisaaaab se ho raha hain’ – There comes the Villian !!!!!
Sunny & Khanak on the road … raining heavily – Abhi kahan se itni baarish Mumbai main .. CVs which country do u stay ????
Sunny mutters about being made a sheer Driver … Kahan actor banne aaya thaa aur kya bana diyaaa…. Khanak getting restless & asks Sunny to drive faster … Sunny answers ‘O main tumhara driver nahi hooon’ ..
Pooor Khanak says ‘Mujhe Shantanu ke paaas jana hain ‘ (Superb dialogue delivery here by YM)
Still travelling down the road … Car breaks down …. Sunny all frustrated … Khanak taunts about driving fast … Sunny gets irritated and says ‘Mujhe koi dilchaspi nahi hain tumhare saath yaahan rehne main’ …. Sunny cribs about Mumbai roads & rains …. Says ‘Cars ko maar toh sakte hain … Unt (camels) ko maarnepar kuch logon ko boora lagta hain’ …. Khanak thinks abt Suraj & Champak race !!!!! Thinks yeh sab ittefaq hain …. Suraj toh mar chuka hain … Yeh suraj nahi Sunny hain ….
She is lost in thoughts…. Sunny knocks on the door … Khanak startled & calls out SURAJ !!!
Sunny & Khanak get into fight … Sunny keeps asking why does she never loook at his face ,,, Khanak all restless and looking here and there except at Sunny … Sunny holds her by shoulders to make her face to him …. Khanak gets angry & pushes him away …. And walks away …
Sunny says Jao chali jao … kal badh main sirf tumhari body milegi (sorry couldnt remember the exact dialogue !!)
Back to studio …. SHAAN is strumming his guitar … Wow wat a role LEAD ACTOR is playing when wife is in bad state …
Shaan notices the thunder & realises tat its too late….. Thinks about Khanak being alone at home … Finallyyyyyyyyyyyyyyyyyyyyyy
Searches for his mobile phone & spots 4 missed calls from Khanak …. Thinks she must be worried… Battery dead …
Episode also dead … with final frame consisting of Shaan , Khanak walking away from Sunny & Rahul the villian !!!!!
Clothes – Dont even bother to ask .. They are as horrible as ever !!!!!
Sorry guys .. I know i m a horrible Written updater … But this was first time …. So spare me …
Also watever i could remember i have written …
CVs ka gussa mujhpar mat nikalo … PLEASEEE …
PS – if u guys dont like my written updates , feel free to telll .. I wont attempt again until i sharpen my updating skills !!!!!!
Pyaar Kii Yeh Ek Kahaani 21st January 2011 Written Update
Madhu says thanx to PIa and she says that I told you that I would never let him know about it. She is then walking away and thinks that I dont want that man to find me who left my mom alone at her last time and find me and haves false sympathy with me. The ones who have gone should stay away. I dont want anyone. She then seeks Madhu’s permission to let her go and Madhu says that Pia I am not doing this to send you away but for my daughters and you dont have to go from here as you are the part of the family. Pia does not agree and asks her to talk to Misha and Panchi and she has to go from here.
Misha is lying on her bed and the door knocks and she picks up the guitar thinking it to be a theif and walks towards the door and finds shaurya. She says why are you tutoring me and says get lost and shaurya say are you ok??? and Misha says that I thought that visions dont talk and slaps him and finds out that Shaurya is indeed there and gets all nervous and goes to her bed to sit and he follows ans asks if she is drunk or something as she is talking weird and Misha says that yes and he asks what??? coke??? and she says no vodka and says that you are a confusing personality when you are not there… I see you and when you are here… I see ou. Shaurya says that you need to sleep and goes. Misha says that this is so irritating and says that next time if I see him I will kick him.. If he scream… he is real and if he disappears like casper than I am dreaming and lays down.
Abhay is standing outside Pia’s room and says that you have done very wrong and goes to her room and picks her up from the bed and takes her with him and Pia is shouting and asks him to stop. He takes her to the jungle and says that how many times I have asked you to stay away and dont interfare and you dont listen. Just stay out of my life!!! and turns to go and Pia says why abhay and asks him is he going to leave her alone like this… Abhay turns to her and says she looks like maithali and that why your mother hates Maithali and presserize him and Abhay says that I cant even talk to my perents straight becasue of you and She says that they are not your parents and Abhay gets shocked and says what is she saying and Pia says that I know they are not your parents. I know that I look like MAithali and you like ABhayendra or may be YOU ARE ABHAYENDRA and Abhay says has she gone mad… Maithali died 200 years ago and she says and you died with her
She then says that Maithali died in 18th century and you said you were waiting for her but she did not came and asks what happend that night and she holds his hand says that I know you have heart that only beats for Maithali and also for me and asks that why do you love me so much and Abhay says that I dont love because you are a liar and Pia says that I do care for you and did all that for you and says that give answers to my question as it will rest you heart at peace and Abhay says that it is on rest many years ago and aks Pia to stop it as she has said enough and no one has done what she has done and she has to pay for it and says that he will bury her every memory here and Pia gets scared and asks what would be he doing!!!
Abhay gets close to Pia and she is acared and he says that dont be scared as I am your friend and would not hurt you and says that look around everywhere Pia and this is the place where the vampires lived and says that hope you find one here as it is believed that they would come here for hunting and leaves from there and Pia shouts that you cant leave me and screams for help. ABhay goes to MAithali’s grave and is crying and screams Maithali.
Pia is alone at the place with fire lit and says that please come back Abhay. I did not betrayed you and cant see you burning in the fire and please come. Abhay lies near the grave and the sad version of “Kabhi na sukoon” is played in background with both AbhIya crying and getting flashes.
Abhay is lying and hears Pia shouting for him and asking for help and tries to close his ears and gets her flashes dressed up as Maithali. She removes his hand. Pia and ABhay in split screen with lightening between.
EPI ENDS
Misha is lying on her bed and the door knocks and she picks up the guitar thinking it to be a theif and walks towards the door and finds shaurya. She says why are you tutoring me and says get lost and shaurya say are you ok??? and Misha says that I thought that visions dont talk and slaps him and finds out that Shaurya is indeed there and gets all nervous and goes to her bed to sit and he follows ans asks if she is drunk or something as she is talking weird and Misha says that yes and he asks what??? coke??? and she says no vodka and says that you are a confusing personality when you are not there… I see you and when you are here… I see ou. Shaurya says that you need to sleep and goes. Misha says that this is so irritating and says that next time if I see him I will kick him.. If he scream… he is real and if he disappears like casper than I am dreaming and lays down.
Abhay is standing outside Pia’s room and says that you have done very wrong and goes to her room and picks her up from the bed and takes her with him and Pia is shouting and asks him to stop. He takes her to the jungle and says that how many times I have asked you to stay away and dont interfare and you dont listen. Just stay out of my life!!! and turns to go and Pia says why abhay and asks him is he going to leave her alone like this… Abhay turns to her and says she looks like maithali and that why your mother hates Maithali and presserize him and Abhay says that I cant even talk to my perents straight becasue of you and She says that they are not your parents and Abhay gets shocked and says what is she saying and Pia says that I know they are not your parents. I know that I look like MAithali and you like ABhayendra or may be YOU ARE ABHAYENDRA and Abhay says has she gone mad… Maithali died 200 years ago and she says and you died with her
She then says that Maithali died in 18th century and you said you were waiting for her but she did not came and asks what happend that night and she holds his hand says that I know you have heart that only beats for Maithali and also for me and asks that why do you love me so much and Abhay says that I dont love because you are a liar and Pia says that I do care for you and did all that for you and says that give answers to my question as it will rest you heart at peace and Abhay says that it is on rest many years ago and aks Pia to stop it as she has said enough and no one has done what she has done and she has to pay for it and says that he will bury her every memory here and Pia gets scared and asks what would be he doing!!!
Abhay gets close to Pia and she is acared and he says that dont be scared as I am your friend and would not hurt you and says that look around everywhere Pia and this is the place where the vampires lived and says that hope you find one here as it is believed that they would come here for hunting and leaves from there and Pia shouts that you cant leave me and screams for help. ABhay goes to MAithali’s grave and is crying and screams Maithali.
Pia is alone at the place with fire lit and says that please come back Abhay. I did not betrayed you and cant see you burning in the fire and please come. Abhay lies near the grave and the sad version of “Kabhi na sukoon” is played in background with both AbhIya crying and getting flashes.
Abhay is lying and hears Pia shouting for him and asking for help and tries to close his ears and gets her flashes dressed up as Maithali. She removes his hand. Pia and ABhay in split screen with lightening between.
EPI ENDS
Baba Aiso Var Dhoondo 21st January 2011 Written Update
Recap, Murli reveals that he has no rishta with Bharati and Rupesh ji tells everyone and then questions them about who ruined whose life
Murli tells Rupesh that he tried to return his money to him but when he refused he helped him set up business again to help him and now he’s calling him greedy Rupesh says that you were trying to be big by returning to my money to me..Murli replies that Bharati came to our small house as a bahu and we were happy but he bought us here and gave us this house we didnt ask for it nobody said we wanted an easy life but you gave it all but you didnt do it for us you did it all for Bharati, because she has been brought up with a silver spoon in her mouth but we were happy at our old house but we came here to make you happy, he tells Rupesh that he didnt want to say all this to him today but had to because hes forced him to say all this and he too has had to put up with alot and he says that he agree’s he made a mistake by not accepting Bharati but what could he do he tells Rupesh that he feels embarrassed by going out with her, Rupesh tells him that he his crossing his limits but Murli carries on and says that i too am human and not god and that he couldnt accept a dwarf as a wife, and he tells Rupesh that if you think i bought Bharati for an easy life then you too are resposible for selling her to us and Rupesh slaps him and Bansilal calls out to Rupesh and everyone else is shocked
Rupesh ji says how can he say a thing like that and Bansilal joins his hands and says what has happened why are we all talking like this and tries to apologise but Rupesh stops him and looks at Murli and says ok , for you this rishta is over well il now finsish this rishta for good he tells everyone that you guys have brought up everything we did for you and chucked it in our face and i too will do the same and tells them that everything he did for his daughters happiness he wants it all back, the house, the gifts, the jewellery he wants it all back..he tells them they have 12hrs everyone is gobsmacked and Rupesh ji starts walking towards the door but looks back and says geting my daughter married to you is my lifes biggest regret, i thought you were a nice guy but i didnt recognise you properly but the truth is your a selfish, greedy and a low man saying that he leaves the house
Rupesh ji returns home and Dhara asks him what happened and what did they say she asks him are they coming to take Bharati or are we dropping him off but Rupesh remains quiet and Dhara starts worrying…Bharati gets up and her dad asks her why she hid the truth from him the fact there was no rishta between her and Murli…Bharati is shocked to learn that her father knows the truth as are Dhara and Bhushan..Dhara asks Bharati if her dad is teling the truth and but she says how could she tell them that there only dream was shattered, she says how could she tell them that she couldnt save her rishta and she knew that it was imporatant to them that she was happy and she didnt want to hurt them and break there heart but she tells them that she did try but she couldnt tell anyone and she asks her dad to forgive her and she hugs her dad saying she lost but Rupesh consoles her saying that i should be apologising and she went through so much all on her just to save them from hurt, he tells Dhara that there daughter is sensible but Dhara tells them that, Murli is her husband and that family is her sasural and she needs to try and make it work and says that if her rishta breaks with that family but Rupesh interrupts and says what rishta that there is no rishta as he has broken it off and tells her that his daughter has been through enough and she will not keep going through it and he tells Bharati she doest need live on other peoples pity while her father is alive
Back at the house Bansilal says to Murli that so much happened betwen you and Bharati but you didnt once think to tell us and you didnt try to make your rishta work…he tells him that you married her and today you insulted her father and asks him if these are the values we gave you, he asks him why he did all this but Murli doesnt reply and Bansilal says that we were proud of you but today im embarrassed to call you my son and embrassed that you hurt Bharati and her father and dont seem to care about what you have done, Kamala says why are you blaming my son for everything? what has he done wrong that you are giving him such a bhashan he hasnt said anything to anyone and kept it all to himself its our fault that we always took Bharati’s side who in the first place wasnt good enough to be a part of this family she tells Bansilal to take a look at his son and tell her if he thinks he hasnt too been through enough and how could he live like that with he,r Bansilal says its not just about Murli and Bharati its about two families and he has done us so many favours and kamala replies to hell with his favours and my son means more to me than his favours and she tells Bansilal that these families are only joined by money and now that the rista is over he asks for everything back and she says that he can have all his money and house back, she tells him that he hasnt done us any favours and her childrens happiness comes first and she tells everyone to pack there thing because they are leaving the house screen freeze on Bansilal
precap- Mridang and Murli are fighting and Bansilal stops them and Murli tells everyone that him and Gaushala have sold there house
Comments i loveeee Rupesh ji bara zor ka thappar mara I hate to say this but Murli did make some valid points about Rupesh ji but you can understand why Rupesh did what he did i dont think it was the fact that he was trying to buy them but more that he knew he was going to loose everythin so why not give what he could to Bharati and her new family but yes intially he went about it the wrong way which has now come back to bit him in the backside…I really wasnt pleased with Dhara i mean after everythin she witnessed at the wedding how her daughter was being treated she still wanted Bharati to go back there i dont understand how a mother could say that? one thing that surprised me today was that hen Rupesh told Dhara that he has broken of the rishta Bharati didnt seem too upset or shocked, maybe just maybe she might stand by her fathers decsion
Murli tells Rupesh that he tried to return his money to him but when he refused he helped him set up business again to help him and now he’s calling him greedy Rupesh says that you were trying to be big by returning to my money to me..Murli replies that Bharati came to our small house as a bahu and we were happy but he bought us here and gave us this house we didnt ask for it nobody said we wanted an easy life but you gave it all but you didnt do it for us you did it all for Bharati, because she has been brought up with a silver spoon in her mouth but we were happy at our old house but we came here to make you happy, he tells Rupesh that he didnt want to say all this to him today but had to because hes forced him to say all this and he too has had to put up with alot and he says that he agree’s he made a mistake by not accepting Bharati but what could he do he tells Rupesh that he feels embarrassed by going out with her, Rupesh tells him that he his crossing his limits but Murli carries on and says that i too am human and not god and that he couldnt accept a dwarf as a wife, and he tells Rupesh that if you think i bought Bharati for an easy life then you too are resposible for selling her to us and Rupesh slaps him and Bansilal calls out to Rupesh and everyone else is shocked
Rupesh ji says how can he say a thing like that and Bansilal joins his hands and says what has happened why are we all talking like this and tries to apologise but Rupesh stops him and looks at Murli and says ok , for you this rishta is over well il now finsish this rishta for good he tells everyone that you guys have brought up everything we did for you and chucked it in our face and i too will do the same and tells them that everything he did for his daughters happiness he wants it all back, the house, the gifts, the jewellery he wants it all back..he tells them they have 12hrs everyone is gobsmacked and Rupesh ji starts walking towards the door but looks back and says geting my daughter married to you is my lifes biggest regret, i thought you were a nice guy but i didnt recognise you properly but the truth is your a selfish, greedy and a low man saying that he leaves the house
Rupesh ji returns home and Dhara asks him what happened and what did they say she asks him are they coming to take Bharati or are we dropping him off but Rupesh remains quiet and Dhara starts worrying…Bharati gets up and her dad asks her why she hid the truth from him the fact there was no rishta between her and Murli…Bharati is shocked to learn that her father knows the truth as are Dhara and Bhushan..Dhara asks Bharati if her dad is teling the truth and but she says how could she tell them that there only dream was shattered, she says how could she tell them that she couldnt save her rishta and she knew that it was imporatant to them that she was happy and she didnt want to hurt them and break there heart but she tells them that she did try but she couldnt tell anyone and she asks her dad to forgive her and she hugs her dad saying she lost but Rupesh consoles her saying that i should be apologising and she went through so much all on her just to save them from hurt, he tells Dhara that there daughter is sensible but Dhara tells them that, Murli is her husband and that family is her sasural and she needs to try and make it work and says that if her rishta breaks with that family but Rupesh interrupts and says what rishta that there is no rishta as he has broken it off and tells her that his daughter has been through enough and she will not keep going through it and he tells Bharati she doest need live on other peoples pity while her father is alive
Back at the house Bansilal says to Murli that so much happened betwen you and Bharati but you didnt once think to tell us and you didnt try to make your rishta work…he tells him that you married her and today you insulted her father and asks him if these are the values we gave you, he asks him why he did all this but Murli doesnt reply and Bansilal says that we were proud of you but today im embarrassed to call you my son and embrassed that you hurt Bharati and her father and dont seem to care about what you have done, Kamala says why are you blaming my son for everything? what has he done wrong that you are giving him such a bhashan he hasnt said anything to anyone and kept it all to himself its our fault that we always took Bharati’s side who in the first place wasnt good enough to be a part of this family she tells Bansilal to take a look at his son and tell her if he thinks he hasnt too been through enough and how could he live like that with he,r Bansilal says its not just about Murli and Bharati its about two families and he has done us so many favours and kamala replies to hell with his favours and my son means more to me than his favours and she tells Bansilal that these families are only joined by money and now that the rista is over he asks for everything back and she says that he can have all his money and house back, she tells him that he hasnt done us any favours and her childrens happiness comes first and she tells everyone to pack there thing because they are leaving the house screen freeze on Bansilal
precap- Mridang and Murli are fighting and Bansilal stops them and Murli tells everyone that him and Gaushala have sold there house
Comments i loveeee Rupesh ji bara zor ka thappar mara I hate to say this but Murli did make some valid points about Rupesh ji but you can understand why Rupesh did what he did i dont think it was the fact that he was trying to buy them but more that he knew he was going to loose everythin so why not give what he could to Bharati and her new family but yes intially he went about it the wrong way which has now come back to bit him in the backside…I really wasnt pleased with Dhara i mean after everythin she witnessed at the wedding how her daughter was being treated she still wanted Bharati to go back there i dont understand how a mother could say that? one thing that surprised me today was that hen Rupesh told Dhara that he has broken of the rishta Bharati didnt seem too upset or shocked, maybe just maybe she might stand by her fathers decsion
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