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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---Madras Cafe
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<blockquote data-quote="spnadmin" data-source="post: 190211" data-attributes="member: 35"><p>Presenting things as they are, subtly </p><p></p><p>Madras Cafe is sans item songs or melodrama, but continues to get great reviews. More filmmakers should follow in Sircar’s footsteps without worrying about political fallout.</p><p></p><p>Kishwar Desai</p><p></p><p><a href="http://www.tribuneindia.com/2013/20130901/edit.htm#1" target="_blank">http://www.tribuneindia.com/2013/20130901/edit.htm#1</a></p><p></p><p>Political films are always difficult to make, and in India there has been an almost unspoken ban on them if they are likely to present our politics — and more especially our rulers — in an unflattering light. This has been attributed (rightly or wrongly) to the delicate and thin skin of all politicians and particularly that of the Nehru Gandhi parivar. Since the Congress has ruled the country for most of its 66 years, the common belief is that it will be difficult to make a film where any person from the family is featured, unless it is unbearably sycophantic. Unlike in the West, where films are often made on politicians, and even increasingly on the Royal family in the UK, in India it remains a no-go area.</p><p></p><p>Thus, Madras Cafe, director Shoojit Sircar’s new film, is a brave new attempt, though it, too, balks at any outright criticism of government policy o</p><p>r even of one particular former Prime Minister — in this case, a ‘fictional’ Rajiv Gandhi type of character. Rather, it is quite sympathetic towards him. The film is set in the 80s and 90s when India was actively following a policy </p><p></p><p>But at least Madras Cafe examines (in a fictional setting) recent political history, tackling the vexed subject of the civil strife in Sri Lanka and India’s meddling in it. It also invents a version of how the assassination of the Rajiv Gandhi character, referred to only as the ‘ex-Prime Minister’, was planned and executed. Though the filmmakers are careful to point out in the beginning that none of the characters are real, and any resemblance is purely coincidental, the obvious parallels to a very tragic reality is what makes the film interesting, and gives it an important, additional dimension. This is a very tough subject to tackle — and that might be why Shoojit Sircar chose to skirt the really contentious issues, and make this into a political espionage film. Madras Cafe thus becomes a racy countdown to the assassination of an ‘ex-Prime Minister’ with John Abraham playing a RAW agent who stumbles upon the possibility of the killing but is helpless to stop it.</p><p></p><p>As a fictionalised version of real events, Sircar has spun a viable tale, though the larger conspiracy theory that he presents, ie, the former Prime Minister was killed by shadowy international arms dealers who did not want a political solution to the island’s civil war, might be a little too simplistic. We all know that the real reason, sadly, was that if one sows a whirlwind then one must reap it, as well, and once India had supported ‘revolutionaries’ in Sri Lanka, it was only a matter of time before they became uncontrollable. It will be interesting to see if future films will continue to glorify India’s role and disguise human rights violations, providing India’s rather bloody history in the island country with some kind of justification. Curiously, as someone in the audience pointed out, was there also a not-so-subtle political message in giving us an alternative history to Rajiv Gandhi’s assassination so close to the national election, and is that why no one in the Congress has even mildly commented on it? (Interesting….why is there no tweet from Digvijay Singh as yet?)</p><p></p><p>In fact, the film barely refers to the resentment among the Sinhalese of this overt and covert Indian interference — and neither is there any palpable critique of why a foreign nation should manipulate events in the neighbourhood, even to the extent of supplying arms to different warring factions. There is no visible crisis of conscience as the Sri Lankan policy is decided by the Indian Cabinet Secretary and other mandarins and the RAW — without a single significant political figure spotted on the horizon from either country. Only one character in the film, that of the main protagonist, John Abraham’s wife, played by Amrita Rao, ever questions the need for all this bloodletting.</p><p></p><p>The other drawback is that there is little exploration of the actual rationale behind India’s building up of the Tamil liberation forces in Sri Lanka — apart from the rather simplistic wish of a former ‘Prime Minister’ of India to impose a political solution onto the country — by forcing one of the so-called ‘freedom fighters’ to stand for elections, instead of resorting to violent means.</p><p></p><p>This film succeeds only because it keeps to a narrow cast of characters and a superficial ‘spy’ plot, without much empathy for the Sri Lankan Government, or the rebels, or the larger political issues. It chooses to focus only on RAW and its activities in Sri Lanka, perhaps because any deeper delving would have been far too dangerous for the filmmakers as Madras Cafe is already banned in some of the country. So the clever solution was to treat the Indian Government’s interference in Sri Lanka as perfectly normal-business as usual.</p><p></p><p>That said, the film is intelligently constructed and John Abraham, Siddharth Basu (an old friend from college!) as well as other friends like Dibang, apart from Nargis Fakhri, and the rest of the cast have all acted their parts with conviction. The script also moves along at a crackling pace.</p><p></p><p>Reassuringly, though it is a film sans item songs or melodrama, it continues to run and get great reviews, and one hopes that many more filmmakers will follow in Sircar’s courageous footsteps without worrying about the political fallout.</p></blockquote><p></p>
[QUOTE="spnadmin, post: 190211, member: 35"] Presenting things as they are, subtly Madras Cafe is sans item songs or melodrama, but continues to get great reviews. More filmmakers should follow in Sircar’s footsteps without worrying about political fallout. Kishwar Desai [url]http://www.tribuneindia.com/2013/20130901/edit.htm#1[/url] Political films are always difficult to make, and in India there has been an almost unspoken ban on them if they are likely to present our politics — and more especially our rulers — in an unflattering light. This has been attributed (rightly or wrongly) to the delicate and thin skin of all politicians and particularly that of the Nehru Gandhi parivar. Since the Congress has ruled the country for most of its 66 years, the common belief is that it will be difficult to make a film where any person from the family is featured, unless it is unbearably sycophantic. Unlike in the West, where films are often made on politicians, and even increasingly on the Royal family in the UK, in India it remains a no-go area. Thus, Madras Cafe, director Shoojit Sircar’s new film, is a brave new attempt, though it, too, balks at any outright criticism of government policy o r even of one particular former Prime Minister — in this case, a ‘fictional’ Rajiv Gandhi type of character. Rather, it is quite sympathetic towards him. The film is set in the 80s and 90s when India was actively following a policy But at least Madras Cafe examines (in a fictional setting) recent political history, tackling the vexed subject of the civil strife in Sri Lanka and India’s meddling in it. It also invents a version of how the assassination of the Rajiv Gandhi character, referred to only as the ‘ex-Prime Minister’, was planned and executed. Though the filmmakers are careful to point out in the beginning that none of the characters are real, and any resemblance is purely coincidental, the obvious parallels to a very tragic reality is what makes the film interesting, and gives it an important, additional dimension. This is a very tough subject to tackle — and that might be why Shoojit Sircar chose to skirt the really contentious issues, and make this into a political espionage film. Madras Cafe thus becomes a racy countdown to the assassination of an ‘ex-Prime Minister’ with John Abraham playing a RAW agent who stumbles upon the possibility of the killing but is helpless to stop it. As a fictionalised version of real events, Sircar has spun a viable tale, though the larger conspiracy theory that he presents, ie, the former Prime Minister was killed by shadowy international arms dealers who did not want a political solution to the island’s civil war, might be a little too simplistic. We all know that the real reason, sadly, was that if one sows a whirlwind then one must reap it, as well, and once India had supported ‘revolutionaries’ in Sri Lanka, it was only a matter of time before they became uncontrollable. It will be interesting to see if future films will continue to glorify India’s role and disguise human rights violations, providing India’s rather bloody history in the island country with some kind of justification. Curiously, as someone in the audience pointed out, was there also a not-so-subtle political message in giving us an alternative history to Rajiv Gandhi’s assassination so close to the national election, and is that why no one in the Congress has even mildly commented on it? (Interesting….why is there no tweet from Digvijay Singh as yet?) In fact, the film barely refers to the resentment among the Sinhalese of this overt and covert Indian interference — and neither is there any palpable critique of why a foreign nation should manipulate events in the neighbourhood, even to the extent of supplying arms to different warring factions. There is no visible crisis of conscience as the Sri Lankan policy is decided by the Indian Cabinet Secretary and other mandarins and the RAW — without a single significant political figure spotted on the horizon from either country. Only one character in the film, that of the main protagonist, John Abraham’s wife, played by Amrita Rao, ever questions the need for all this bloodletting. The other drawback is that there is little exploration of the actual rationale behind India’s building up of the Tamil liberation forces in Sri Lanka — apart from the rather simplistic wish of a former ‘Prime Minister’ of India to impose a political solution onto the country — by forcing one of the so-called ‘freedom fighters’ to stand for elections, instead of resorting to violent means. This film succeeds only because it keeps to a narrow cast of characters and a superficial ‘spy’ plot, without much empathy for the Sri Lankan Government, or the rebels, or the larger political issues. It chooses to focus only on RAW and its activities in Sri Lanka, perhaps because any deeper delving would have been far too dangerous for the filmmakers as Madras Cafe is already banned in some of the country. So the clever solution was to treat the Indian Government’s interference in Sri Lanka as perfectly normal-business as usual. That said, the film is intelligently constructed and John Abraham, Siddharth Basu (an old friend from college!) as well as other friends like Dibang, apart from Nargis Fakhri, and the rest of the cast have all acted their parts with conviction. The script also moves along at a crackling pace. Reassuringly, though it is a film sans item songs or melodrama, it continues to run and get great reviews, and one hopes that many more filmmakers will follow in Sircar’s courageous footsteps without worrying about the political fallout. [/QUOTE]
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Ashdoc's Movie Review---Madras Cafe
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