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Vande Mataram - a beautiful version composed by Pannalal Ghosh from Phani Mazumdar's Aandolan (1951) - One of the earlier Kishore Kumar starrer - sung by Manna Dey, Sudha Malhotra, Parul Ghosh This significant film was kind of a "Discovery of India aka Bharat Ek Khoj" of its time...

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Pavan Jha

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14,291 просмотров • 4 месяцев назад •via X (Twitter)

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1/× The Panama Canal was not built primarly for trade. It was built by the U.S.A. to be able to move its navy from Pacific to Atlantic vcv in a short period of time. In fact, what determined the size of the locks was not a commercial ship, but a navy one. In those days not many

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#WATCH | Union Home Minister Amit Shah says, "Some members raised questions in the Lok Sabha on the need for these discussions on Vande Mataram. The need for discussion on Vande Mataram, the need for dedication towards Vande Mataram, was important back then; it is needed now, and it will always be significant for a bright future which we have envisioned for 2047... Some think these discussions are being held because of the upcoming elections in Bengal. They want to demean the glorification of our national song by relating these discussions to the Bengal elections. It is true that the composer of Vande Mataram, Bankim Babu, was from Bengal, the Anand Matth had its origin in Bengal, but Vande Mataram was not limited to Bengal or the country... When a soldier at the border of the country, or a policeman guarding the country from inside, sacrifices his life for the country, Vande Mataram is the only slogan he raises." Source: Sansad TV
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#WATCH | Union Home Minister Amit Shah says, "Some members raised questions in the Lok Sabha on the need for these discussions on Vande Mataram. The need for discussion on Vande Mataram, the need for dedication towards Vande Mataram, was important back then; it is needed now, and it will always be significant for a bright future which we have envisioned for 2047... Some think these discussions are being held because of the upcoming elections in Bengal. They want to demean the glorification of our national song by relating these discussions to the Bengal elections. It is true that the composer of Vande Mataram, Bankim Babu, was from Bengal, the Anand Matth had its origin in Bengal, but Vande Mataram was not limited to Bengal or the country... When a soldier at the border of the country, or a policeman guarding the country from inside, sacrifices his life for the country, Vande Mataram is the only slogan he raises." Source: Sansad TV

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36,077 просмотров • 8 месяцев назад

जूठे या झूठॆ ? Asha ji was not in India, so Pt. Hriaynath Mangeshkar got it recorded in the voice of Padmaja Jogalekar and her version was used for the shooting of the song. Asha ji later rerecorded the song during dubbing in a reverse process by matching the lip syncing with on screen Hema The explanation from Horse's mouth on the beautiful Bilaskhani Todi & composed by Pt. Hridaynath Mangeshkar & a lyrical beauty from Gulzar for Lekin. #Gulzar #AshaBhosle #Pancham YT :
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जूठे या झूठॆ ? Asha ji was not in India, so Pt. Hriaynath Mangeshkar got it recorded in the voice of Padmaja Jogalekar and her version was used for the shooting of the song. Asha ji later rerecorded the song during dubbing in a reverse process by matching the lip syncing with on screen Hema The explanation from Horse's mouth on the beautiful Bilaskhani Todi & composed by Pt. Hridaynath Mangeshkar & a lyrical beauty from Gulzar for Lekin. #Gulzar #AshaBhosle #Pancham YT :

Pavan Jha

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Somalia’s Independence Week kicks off tonight! 🇸🇴 Somalia celebrates its independence starting from June 26, the day the northern regions gained freedom from British rule and the Somali flag was raised for the first time in Hargeisa, to July 1 when the rest of the country was liberated from Italian rule and the Somali Republic was officially born. We also celebrate on June 27 the independence of Djibouti, which we consider part of Somali territory, and we hold on to the hope that one day we will celebrate the independence of the two remaining regions of Greater Somalia on June 28 and 29. This year, Somalia celebrates 65 years since 1960. 💙 Our independence isn’t just about one day, it’s a story told over several days, and a dream that still isn’t fully realized.
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Somalia’s Independence Week kicks off tonight! 🇸🇴 Somalia celebrates its independence starting from June 26, the day the northern regions gained freedom from British rule and the Somali flag was raised for the first time in Hargeisa, to July 1 when the rest of the country was liberated from Italian rule and the Somali Republic was officially born. We also celebrate on June 27 the independence of Djibouti, which we consider part of Somali territory, and we hold on to the hope that one day we will celebrate the independence of the two remaining regions of Greater Somalia on June 28 and 29. This year, Somalia celebrates 65 years since 1960. 💙 Our independence isn’t just about one day, it’s a story told over several days, and a dream that still isn’t fully realized.

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>This TMC councillor, Sushanta Ghosh (nickname Swaroop), earlier lived in Haridevpur, Kolkata. Started his journey from local Ajaysanghati Club politics, gradually stepping forward to Asutosh Mukherjee College, Hazra. Soon, he joined the TMC party and became a Councillor, now from Kasba, and Chairman of Borough-12, KMC. >This TMC councillor, Sushanta Ghosh (Swaroop), under his leadership & blessings, built an empire of illegal immigrants in the name of the famous "Gulsan Colony", where every kind of unethical practice, scam, corruption, and smuggling took place. >This TMC councillor, Sushanta Ghosh (Swaroop), grabbed every water bodies, private and govt lands, and handed it over to the promoters for high rise buildings in EM Bypass, Ruby, Kasba, Ballygunge, Gariahat, Rashbehari, etc. >This TMC councillor, Sushanta Ghosh (Swaroop), earned a huge amount of money by selling flats, enjoying rents, commissions, and other facilities through different channels, becoming richer and richer during the last 15 years of TMC rule. >This TMC councillor, Sushanta Ghosh (Swaroop), is a close ally of Debasish Kumar, Ex-MLA Rashbehari, famous for his notorious works. A strict investigation is needed.
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Do you know there exists a song on gramophone records which has Lyrics credited to Gandhi ji. The only song of its kind was recorded by Manna Dey for commissioned composer Vasant Desai by Govt of Mah to mark Birth Centenary celebrations of Mahatma Gandhi. The lyrics was a poetic response by Gandhi ji to a little girl's letter and the letter was composed as the song-prayer for the special commemorative record with lyrics credits to Gandhi ji. Unfortunately the published records were not distributed and did not reach public. Decades later Suresh ji found the set of records in a Govt Godown kept as a trash and without care or anyone noticing it. Suresh ji brought the record from the office, cleaned it up and shared the recording so that people know of Gandhi ji's contribution as a recorded lyricist. Without Suresh ji, we wouldn't have known of this. Alive in Music & Memories. Swanand Kirkire Raj Shekhar SWA India Org Puneet Sharma वरुण 🇮🇳

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Meerut Metro was inaugurated by Modi yesterday. Some Muslim passengers were also travelling in the Metro. Many people present there Raised Religious Slogans. Like VandeMatram, Bharat Mata ki Jai, har har Mahadev, Jai shree Ram Now people are raising questions as to why those Muslims did not chant Vande Mataram or Bharat Mata ki Jai. Was this a Metro journey or a religious rally? Imagine if these Muslim people had said Allah Hu Akbar? There would have been debates on every media channel, they would have been given certificates of Patriotism by now. From a Secular Country, India is becoming a discriminatory country.

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A welcome and overdue course correction by Prime Minister Narendra Modi in restoring the full six-stanza rendition of Vande Mataram to its rightful place at official ceremonies. For decades, political compromise diluted what was meant to be a civilisational invocation of the motherland. A nation that reclaimed its sovereignty in 1947 need not continue to inherit the anxieties of that era. Cultural confidence cannot be permanently hostage to historical concessions. Mandating the complete version at constitutional occasions - from the unfurling of the Tricolour to the arrival of the President and Governors - reinforces that national identity is not negotiable. It is lived, sung, and honoured in full. A confident republic does not trim its heritage to fit the sensitivities of the past. It stands by it unapologetically.
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A welcome and overdue course correction by Prime Minister Narendra Modi in restoring the full six-stanza rendition of Vande Mataram to its rightful place at official ceremonies. For decades, political compromise diluted what was meant to be a civilisational invocation of the motherland. A nation that reclaimed its sovereignty in 1947 need not continue to inherit the anxieties of that era. Cultural confidence cannot be permanently hostage to historical concessions. Mandating the complete version at constitutional occasions - from the unfurling of the Tricolour to the arrival of the President and Governors - reinforces that national identity is not negotiable. It is lived, sung, and honoured in full. A confident republic does not trim its heritage to fit the sensitivities of the past. It stands by it unapologetically.

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35,456 просмотров • 5 месяцев назад

The attempt to portray Vande Mataram as exclusionary or unconstitutional is intellectually dishonest and historically selective. First, legally and constitutionally, Vande Mataram enjoys an honoured place in India’s national life. The Constituent Assembly did not reject it. On 24 January 1950, the Assembly adopted Jana Gana Mana as the National Anthem while explicitly according Vande Mataram equal respect and status as the National Song because of its historic role in India’s freedom struggle. To suggest that India’s constitutional founders “rejected” Vande Mataram is factually incorrect. Second, the argument that Vande Mataram is merely an ode to a goddess deliberately ignores the civilisational context of Bharat. Across Indian traditions, the motherland has long been personified as “Bharat Mata”, not as a sectarian deity, but as a cultural and emotional expression of devotion to the nation. Nations across the world employ symbolism, allegory, and personification. Britannia represents Britain, Marianne represents France, Mother Russia represents Russia. India’s cultural symbolism cannot be selectively delegitimised simply because it emerges from Indic civilisation. Third, reducing Rishi Bankim Chandra Chattopadhyay to caricatures about his alleged views while ignoring the historical role of Vande Mataram is an exercise in ideological revisionism. The song became the rallying cry of India’s anti-colonial movement. Countless freedom fighters marched to the gallows chanting Vande Mataram. Revolutionaries, reformers, and patriots across regions embraced it as a symbol of resistance against British rule. Its emotional power in the national movement cannot be erased by retrospective ideological filters. Fourth, invoking the Preamble and Article 1 to deny the legitimacy of civilisational nationalism misunderstands India itself. The Constitution begins with “We, the People” because sovereignty resides in the people, not because India must become culturally rootless or severed from its ancient civilisational identity. The phrase “India, that is Bharat” itself acknowledges continuity between the modern republic and an older civilisational consciousness. Constitutional nationalism and civilisational identity are complementary, not contradictory. Fifth, the rejection of amendments invoking God or goddess in the Constituent Assembly affirmed that the Indian State would not establish an official religion. It did not require India to abandon its civilisational ethos, cultural memory, or spiritual vocabulary. Secularism in India was never meant to mean hostility toward indigenous traditions or the erasure of majority cultural symbols from public life. Finally, the claim that “religion ≠ nation” is a false binary in the Indian context. India is not a theocratic state, nor does nationalism here depend on adherence to any one faith. But India is undeniably a civilisation shaped by millennia of Indic thought, traditions, symbols, and philosophies. Respecting Vande Mataram does not make India less constitutional, less democratic, or less inclusive. It simply acknowledges the cultural soul that animated the freedom struggle and continues to inspire millions. India belongs equally to all its citizens. But India’s civilisational heritage also belongs equally to all its citizens and Vande Mataram is an inseparable part of that heritage.
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The attempt to portray Vande Mataram as exclusionary or unconstitutional is intellectually dishonest and historically selective. First, legally and constitutionally, Vande Mataram enjoys an honoured place in India’s national life. The Constituent Assembly did not reject it. On 24 January 1950, the Assembly adopted Jana Gana Mana as the National Anthem while explicitly according Vande Mataram equal respect and status as the National Song because of its historic role in India’s freedom struggle. To suggest that India’s constitutional founders “rejected” Vande Mataram is factually incorrect. Second, the argument that Vande Mataram is merely an ode to a goddess deliberately ignores the civilisational context of Bharat. Across Indian traditions, the motherland has long been personified as “Bharat Mata”, not as a sectarian deity, but as a cultural and emotional expression of devotion to the nation. Nations across the world employ symbolism, allegory, and personification. Britannia represents Britain, Marianne represents France, Mother Russia represents Russia. India’s cultural symbolism cannot be selectively delegitimised simply because it emerges from Indic civilisation. Third, reducing Rishi Bankim Chandra Chattopadhyay to caricatures about his alleged views while ignoring the historical role of Vande Mataram is an exercise in ideological revisionism. The song became the rallying cry of India’s anti-colonial movement. Countless freedom fighters marched to the gallows chanting Vande Mataram. Revolutionaries, reformers, and patriots across regions embraced it as a symbol of resistance against British rule. Its emotional power in the national movement cannot be erased by retrospective ideological filters. Fourth, invoking the Preamble and Article 1 to deny the legitimacy of civilisational nationalism misunderstands India itself. The Constitution begins with “We, the People” because sovereignty resides in the people, not because India must become culturally rootless or severed from its ancient civilisational identity. The phrase “India, that is Bharat” itself acknowledges continuity between the modern republic and an older civilisational consciousness. Constitutional nationalism and civilisational identity are complementary, not contradictory. Fifth, the rejection of amendments invoking God or goddess in the Constituent Assembly affirmed that the Indian State would not establish an official religion. It did not require India to abandon its civilisational ethos, cultural memory, or spiritual vocabulary. Secularism in India was never meant to mean hostility toward indigenous traditions or the erasure of majority cultural symbols from public life. Finally, the claim that “religion ≠ nation” is a false binary in the Indian context. India is not a theocratic state, nor does nationalism here depend on adherence to any one faith. But India is undeniably a civilisation shaped by millennia of Indic thought, traditions, symbols, and philosophies. Respecting Vande Mataram does not make India less constitutional, less democratic, or less inclusive. It simply acknowledges the cultural soul that animated the freedom struggle and continues to inspire millions. India belongs equally to all its citizens. But India’s civilisational heritage also belongs equally to all its citizens and Vande Mataram is an inseparable part of that heritage.

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VIDEO | Delhi: Polo player and the Maharaja of Jaipur, Sawai Padmanabh Singh says, "I would like to say that polo is truly a gift from India to the world. If this sport is played globally today, a significant contribution has come from India. If we talk about the most iconic polo ground in the world, it has to be the Jaipur Polo Ground. This ground was established by Maharaja Sawai Man Singh Ji, and polo has been played here for over a hundred years. Both Indian and international players have graced this field. Many of the country’s biggest polo tournaments are held here, making it a cornerstone of the sport in India. For the entire polo community, this ground holds immense value. Generations of players, including all of us, have played here. Located in the heart of Delhi, it is not just a sporting venue but also an important green space from an environmental perspective. I would like to appeal to the entire polo community to come together to preserve and protect this historic ground, so that we can continue to play polo here for the next hundred years." (Full video available on PTI Videos -

Press Trust of India

25,806 просмотров • 4 месяцев назад

Examples Of African Unity In Times Of Crisis From offering each other safe haven in times of persecution to jointly advancing the ideals of freedom and independence, African leaders were once united in a continental quest for advancement. The early post-independence era was a time when the pain of one nation echoed across the continent, when borders didn’t stop empathy, and when injustice to one African was seen as injustice to all. In 1961, after the brutal assassination of Patrice Lumumba, Africans from Cairo to Cape rose in collective outrage. Egypt’s Gamal Abdel Nasser gave refuge to Lumumba’s family and declared three days of national mourning. The same hand was extended to Ghana’s Kwame Nkrumah when he was ousted in a CIA-orchestrated coup in 1966, as recollected in this video by his grandson. This is the kind of unity many believe no longer exists in today’s Africa. At a time when genocidal foreign-backed militias in Sudan, DR Congo and the Sahel region threaten Africa’s long-term stability, the courage to raise a collective voice among African leaders seems to have faded. This should worry every citizen of the continent because in moments like these, silence on the part of Africa’s leadership is not neutrality - it is complicity.
1:24

Examples Of African Unity In Times Of Crisis From offering each other safe haven in times of persecution to jointly advancing the ideals of freedom and independence, African leaders were once united in a continental quest for advancement. The early post-independence era was a time when the pain of one nation echoed across the continent, when borders didn’t stop empathy, and when injustice to one African was seen as injustice to all. In 1961, after the brutal assassination of Patrice Lumumba, Africans from Cairo to Cape rose in collective outrage. Egypt’s Gamal Abdel Nasser gave refuge to Lumumba’s family and declared three days of national mourning. The same hand was extended to Ghana’s Kwame Nkrumah when he was ousted in a CIA-orchestrated coup in 1966, as recollected in this video by his grandson. This is the kind of unity many believe no longer exists in today’s Africa. At a time when genocidal foreign-backed militias in Sudan, DR Congo and the Sahel region threaten Africa’s long-term stability, the courage to raise a collective voice among African leaders seems to have faded. This should worry every citizen of the continent because in moments like these, silence on the part of Africa’s leadership is not neutrality - it is complicity.

The Spearhead

32,633 просмотров • 8 месяцев назад

वो बीते दिन याद हैं, वो पलछिन याद हैं बस यादें बाकी.... #AmitKhanna #AjitSingh #PuranaMandir But the film got a boost for this beautiful song composed and sung by Ajit Singh. The arrangement was modern and his (better than Bappi Lahiri) voice & singing was good enough to evoke a good dose of nostalgia. This remained a regular for cassette recrding till college - early 90s. We had rumors in those days of school that the song is imported from Pakistan from a Sajjad Ali Song but later got to know it was an English song. Ajit Singh's daughter Tanya Singh later reprised this song in 90s in Indi Pop and the number was quite popular
1:28

वो बीते दिन याद हैं, वो पलछिन याद हैं बस यादें बाकी.... #AmitKhanna #AjitSingh #PuranaMandir But the film got a boost for this beautiful song composed and sung by Ajit Singh. The arrangement was modern and his (better than Bappi Lahiri) voice & singing was good enough to evoke a good dose of nostalgia. This remained a regular for cassette recrding till college - early 90s. We had rumors in those days of school that the song is imported from Pakistan from a Sajjad Ali Song but later got to know it was an English song. Ajit Singh's daughter Tanya Singh later reprised this song in 90s in Indi Pop and the number was quite popular

Pavan Jha

12,929 просмотров • 1 год назад

Close your eyes and you’ll hear it: the courage of a thousand heroes, underscored by the rising melody of Vande Mataram. 🇮🇳 Our roots are anchored in the soil of Vande Mataram, an echo now rising in its 150th year of celebration, reminding us of the soul from which we grow. And our wings? Our wings are the Constitution, formed on this very day to ensure every Indian can soar. 🇮🇳 It is an immense honour to belong to a land that balances ancient wisdom with modern vision. On this 77th Republic Day, let’s promise to let our lives be the ink that honours our Constitution, and our unity be the prayer that protects our soil. For as long as the sun rises, may the name of Bharat echo in every heartbeat, transcending borders and binding us as one. Jai Hind! Vande Mataram: Original Vande Mataram (AnandMatha)
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Close your eyes and you’ll hear it: the courage of a thousand heroes, underscored by the rising melody of Vande Mataram. 🇮🇳 Our roots are anchored in the soil of Vande Mataram, an echo now rising in its 150th year of celebration, reminding us of the soul from which we grow. And our wings? Our wings are the Constitution, formed on this very day to ensure every Indian can soar. 🇮🇳 It is an immense honour to belong to a land that balances ancient wisdom with modern vision. On this 77th Republic Day, let’s promise to let our lives be the ink that honours our Constitution, and our unity be the prayer that protects our soil. For as long as the sun rises, may the name of Bharat echo in every heartbeat, transcending borders and binding us as one. Jai Hind! Vande Mataram: Original Vande Mataram (AnandMatha)

Vivek Anand Oberoi

16,434 просмотров • 6 месяцев назад

To every Bharatiya whose heart beats for Bharat Mata. As the Modi government issues fresh guidelines mandating the full rendition of Rishi Bankim Chandra Chattopadhyay’s immortal and soul-stirring composition, Vande Mataram, India’s National Song, at designated official functions, I, as a proud citizen of Bharat, extend my deepest respect, sincere affection, and heartfelt greetings to my fellow citizens who identify themselves as Bharatiya above everything else. Vande Mataram is not just our National Song but the very pulse of Bharat. It is not merely an artefact of the past but the foundation of Bharat’s glorious future. Just as Maa Durga’s fury against adharma manifested as Maa Kali and annihilated Raktabeej’s oppression, Rishi Bankim Chandra Chattopadhyay’s anger against the British, after being insulted and attacked in Berhampore despite serving as Deputy Collector because he was a Bharatiya with dignity, became the mother-seed of Vande Mataram. Rishi Bankim Chandra Chattopadhyay’s stay at Lalgola Palace, amid the sylvan beauty of Bengal, became a cloistered monastery for his meditation on nation, nationhood, and nationalism. From that meditation was born the hymn to Bharat Mata that reawakened Bharat Shakti and triggered the realisation of our nation’s civilisational identity. From its first publication in Bangadarshan, the literary journal Rishi Bankim Chandra Chattopadhyay edited, on 7 November 1875; to its inclusion in Anandamath, published in 1882; to Gurudev Rabindranath Tagore’s rendition of the hymn at the Calcutta session of the Congress in 1896; to the prabhat pheris that marked the uprising against Banga Bhanga, the partition of Bengal in 1905; to Bhikaji Cama’s incorporation of the two magical words in the 1907 version of the Tricolour—Vande Mataram became what Sri Aurobindo described as the “Mantra of Bharat.” For countless freedom fighters of Bengal, from revolutionaries like Khudiram Bose and Kanailal Dutta to the moderates, Vande Mataram represented a shared obeisance to Bharat Mata. It was the power that fuelled the surge of nationalism and pride; it was the roar of the famous trio Lal-Bal-Pal, who used these two words to mobilise the masses. Matangini Hazra, who became the face of the rising tide of nationalist fervour, faced death at the hands of the British colonial police chanting the two immortal words—Vande Mataram. During the freedom movement, newspapers flew flags on their mastheads emblazoned with these sacred words, which remind us of our loyalty to our nation and our duty towards Bharat Mata, who has nurtured us and given us our identity as a civilisational nation. Let us not reduce this song to an annual hashtag or a ceremonial chorus. Vande Mataram runs through the veins of every Bharatiya. It is our inspiration, our motivation, the core of our identity. It is the soul of Bharat Mata, the land we bow to. Vande Mataram.
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To every Bharatiya whose heart beats for Bharat Mata. As the Modi government issues fresh guidelines mandating the full rendition of Rishi Bankim Chandra Chattopadhyay’s immortal and soul-stirring composition, Vande Mataram, India’s National Song, at designated official functions, I, as a proud citizen of Bharat, extend my deepest respect, sincere affection, and heartfelt greetings to my fellow citizens who identify themselves as Bharatiya above everything else. Vande Mataram is not just our National Song but the very pulse of Bharat. It is not merely an artefact of the past but the foundation of Bharat’s glorious future. Just as Maa Durga’s fury against adharma manifested as Maa Kali and annihilated Raktabeej’s oppression, Rishi Bankim Chandra Chattopadhyay’s anger against the British, after being insulted and attacked in Berhampore despite serving as Deputy Collector because he was a Bharatiya with dignity, became the mother-seed of Vande Mataram. Rishi Bankim Chandra Chattopadhyay’s stay at Lalgola Palace, amid the sylvan beauty of Bengal, became a cloistered monastery for his meditation on nation, nationhood, and nationalism. From that meditation was born the hymn to Bharat Mata that reawakened Bharat Shakti and triggered the realisation of our nation’s civilisational identity. From its first publication in Bangadarshan, the literary journal Rishi Bankim Chandra Chattopadhyay edited, on 7 November 1875; to its inclusion in Anandamath, published in 1882; to Gurudev Rabindranath Tagore’s rendition of the hymn at the Calcutta session of the Congress in 1896; to the prabhat pheris that marked the uprising against Banga Bhanga, the partition of Bengal in 1905; to Bhikaji Cama’s incorporation of the two magical words in the 1907 version of the Tricolour—Vande Mataram became what Sri Aurobindo described as the “Mantra of Bharat.” For countless freedom fighters of Bengal, from revolutionaries like Khudiram Bose and Kanailal Dutta to the moderates, Vande Mataram represented a shared obeisance to Bharat Mata. It was the power that fuelled the surge of nationalism and pride; it was the roar of the famous trio Lal-Bal-Pal, who used these two words to mobilise the masses. Matangini Hazra, who became the face of the rising tide of nationalist fervour, faced death at the hands of the British colonial police chanting the two immortal words—Vande Mataram. During the freedom movement, newspapers flew flags on their mastheads emblazoned with these sacred words, which remind us of our loyalty to our nation and our duty towards Bharat Mata, who has nurtured us and given us our identity as a civilisational nation. Let us not reduce this song to an annual hashtag or a ceremonial chorus. Vande Mataram runs through the veins of every Bharatiya. It is our inspiration, our motivation, the core of our identity. It is the soul of Bharat Mata, the land we bow to. Vande Mataram.

Amit Malviya

43,033 просмотров • 5 месяцев назад