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Guru Granth Sahib
Composition, Arrangement & Layout
ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Theatre, Movies & Cinema
Ashdoc's Movie Review---Parched
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<blockquote data-quote="ashdoc" data-source="post: 210586" data-attributes="member: 15932"><p>This film is a a typical film made for the western audiences who shower awards on it after lapping up all the grime and poverty that is showcased in the movie . It is a well oiled machine ; a film maker makes a film showing the horrid life of people in some corner of India , shows it at western film festivals , and the awards come tumbling in . This gives the chance to publicise the film in India and earn moolah at the box office . Critics duly write favourable reviews in order to boost earnings of the film . In all this the image of the country takes a beating ; India becomes known as the land of poverty stricken people living with all sorts of unimaginable injustices . Forget that Africa is poorer , that the middle east has more violence , that China has more repression ; India is shown as the epicentre of the world's horrors because it has a population that does not care about it's own image in the world . </p><p></p><p>So in a rural and semi desert part of the Indian state of Gujarat live three women who form the centre of the story . They live among men who are the worst specimens of humanity---presumably only India produces them according to the director . The director packs all sorts of injustices forced on women by men into two hours of the film--women are beaten , sodomised , raped by their fathers in law , married off at early age , are neglected by their husbands who go to prostitutes , forced to marry with persons not of their choosing . One is forced to wonder why such an overload of tyranny is shown in the haste to lap up the awards .</p><p></p><p>Tannishtha Chatterjee plays Rani , Radhika Apte plays Lajjo and Surveen Chawla plays Bijli . Rani is a widow in her early thirties , and marries off her son to find out that his wife has her hair cut off . This angers him and he begins to go to prostitutes and being physically abusive to his wife . Lajjo cannot produce a child , and this brings on savage beatings from her husband . The two women have a friendship with the local {censored}---Bijli . The three women have to live lives restricted by age old customs , but in their private time they talk about sex and relationships . If there is anything remarkable about these women , it is that they are parched---parched for love , parched for kindness , and parched for physical intimacy and sex . The scenes between them have a touch of homoeroticism as they are free and intimate with each other caressing each other's half nude bodies in private , though they don't actually cross the limit . </p><p></p><p>Bijli's profession allows her the freedom to do what she wants and the restrictions on the other two women do not apply to her , because she is considered beyond the pale of society . This brings her into contact with a man who can fulfil the dreams of Lajjo of bearing a child---and she takes Lajjo to him...and thus is created a passionate rendesvouz in the middle of the desert ; Lajjo has a night full of passion with this mysterious man in full glory of her nudity , and afterwards the three women frolic in their joy fully naked in a lake nearby . The Indian censors have blocked some portions of their bodies in screen , but I was able to get my hands on a whatsapp clip of part of the scene . One must say that Radhika Apte ( Lajjo ) has a really lovely body and watching her shamelessly show it on screen without inhibitions is a treat . A sex kitten has been born on the silver screen !! </p><p></p><p>But what will be the reaction of Lajjo's husband on hearing of the pregnancy caused by the passionate encounter ? It can well be imagined . And what about Rani's daughter in law---the girl who has been abandoned by her husband because she has cut hair ? When her story comes tumbling out , then Rani shows a humanity that can be seen only in works of fiction like films . But the violent reaction of her son is another matter altogether . Bijli secretly hopes that her pimp loves her and will bring her out of her miserable life , even as another younger girl now threatens to upsurp her position as town {censored} . But like all men in the film he is a hypocrite .</p><p></p><p>As the three women find themselves at the receiving end of increasing physical brutality , they realise that they have reached the crossroads of life . And the three decide to shake off their past and their relationships and begin a new journey together....but this ending is too filmy and belies the claim of the film to be an art film ; it is more fit for a commercial film . </p><p></p><p>Acting is good by everyone , and music and photography is good . Only two men in the film ( lover of Rani's daughter in law , and another who brings jobs for the women in the village and marries a woman from the state of Manipur in the north east ) are good , and message of the film is that rural Indian men are bad bad bad ; of course , none of the bad men belong to India's minorities---the film is a politically correct film after all and political correctness requires that no blame should be put on minorities . The director has some directorial talent , and I wished that it had not been wasted on maligning the already bad name of the country---a name made bad by a slew of such so called 'art' films made in the past . </p><p></p><p>Verdict--decent .</p><p></p><p>Three stars .</p></blockquote><p></p>
[QUOTE="ashdoc, post: 210586, member: 15932"] This film is a a typical film made for the western audiences who shower awards on it after lapping up all the grime and poverty that is showcased in the movie . It is a well oiled machine ; a film maker makes a film showing the horrid life of people in some corner of India , shows it at western film festivals , and the awards come tumbling in . This gives the chance to publicise the film in India and earn moolah at the box office . Critics duly write favourable reviews in order to boost earnings of the film . In all this the image of the country takes a beating ; India becomes known as the land of poverty stricken people living with all sorts of unimaginable injustices . Forget that Africa is poorer , that the middle east has more violence , that China has more repression ; India is shown as the epicentre of the world's horrors because it has a population that does not care about it's own image in the world . So in a rural and semi desert part of the Indian state of Gujarat live three women who form the centre of the story . They live among men who are the worst specimens of humanity---presumably only India produces them according to the director . The director packs all sorts of injustices forced on women by men into two hours of the film--women are beaten , sodomised , raped by their fathers in law , married off at early age , are neglected by their husbands who go to prostitutes , forced to marry with persons not of their choosing . One is forced to wonder why such an overload of tyranny is shown in the haste to lap up the awards . Tannishtha Chatterjee plays Rani , Radhika Apte plays Lajjo and Surveen Chawla plays Bijli . Rani is a widow in her early thirties , and marries off her son to find out that his wife has her hair cut off . This angers him and he begins to go to prostitutes and being physically abusive to his wife . Lajjo cannot produce a child , and this brings on savage beatings from her husband . The two women have a friendship with the local {censored}---Bijli . The three women have to live lives restricted by age old customs , but in their private time they talk about sex and relationships . If there is anything remarkable about these women , it is that they are parched---parched for love , parched for kindness , and parched for physical intimacy and sex . The scenes between them have a touch of homoeroticism as they are free and intimate with each other caressing each other's half nude bodies in private , though they don't actually cross the limit . Bijli's profession allows her the freedom to do what she wants and the restrictions on the other two women do not apply to her , because she is considered beyond the pale of society . This brings her into contact with a man who can fulfil the dreams of Lajjo of bearing a child---and she takes Lajjo to him...and thus is created a passionate rendesvouz in the middle of the desert ; Lajjo has a night full of passion with this mysterious man in full glory of her nudity , and afterwards the three women frolic in their joy fully naked in a lake nearby . The Indian censors have blocked some portions of their bodies in screen , but I was able to get my hands on a whatsapp clip of part of the scene . One must say that Radhika Apte ( Lajjo ) has a really lovely body and watching her shamelessly show it on screen without inhibitions is a treat . A sex kitten has been born on the silver screen !! But what will be the reaction of Lajjo's husband on hearing of the pregnancy caused by the passionate encounter ? It can well be imagined . And what about Rani's daughter in law---the girl who has been abandoned by her husband because she has cut hair ? When her story comes tumbling out , then Rani shows a humanity that can be seen only in works of fiction like films . But the violent reaction of her son is another matter altogether . Bijli secretly hopes that her pimp loves her and will bring her out of her miserable life , even as another younger girl now threatens to upsurp her position as town {censored} . But like all men in the film he is a hypocrite . As the three women find themselves at the receiving end of increasing physical brutality , they realise that they have reached the crossroads of life . And the three decide to shake off their past and their relationships and begin a new journey together....but this ending is too filmy and belies the claim of the film to be an art film ; it is more fit for a commercial film . Acting is good by everyone , and music and photography is good . Only two men in the film ( lover of Rani's daughter in law , and another who brings jobs for the women in the village and marries a woman from the state of Manipur in the north east ) are good , and message of the film is that rural Indian men are bad bad bad ; of course , none of the bad men belong to India's minorities---the film is a politically correct film after all and political correctness requires that no blame should be put on minorities . The director has some directorial talent , and I wished that it had not been wasted on maligning the already bad name of the country---a name made bad by a slew of such so called 'art' films made in the past . Verdict--decent . Three stars . [/QUOTE]
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