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Sands Of Time - Part 8 | Making Music In The Shadows: The Curious Case Of Kanu Roy Roy's songs still dominate airwaves but the artist is all but forgotten. 2022-01-08T20:25:06+05:30 Sands Of Time - Part 8 | Making Music In The Shadows: The Curious Case Of Kanu Roy Published: 08 Jan 2022, Updated: 08 Jan 2022 8:47 pm A young Gulzar, reclining against a bookshelf, explains a situation to an aspiring playback singer. “Har pati premi ho sakta hai. Har patni premika ho sakti hai. Har makaan ghar ho sakta hai. Lekin aisa hota nahin hai.” The singer’s wife and their friends, a couple, are home page in attendance. The singer picks up his guitar and starts humming. The couple goes into reveries of their own - the man about a girl from work and his wife about her dream home they plan to buy. Thus begins one of the most underrated Hindi songs ever composed: Logon ke ghar mein rehta hoon, kab apna koi ghar hoga Deewaron ki chinta rehti hai, Deewaar mein kab koi dar hoga Ichchhaon ke bheege chabuk chupke chupke sehta hoon Dooje ke ghar yun lagta hai, mozey pehne rehta hoon Nange paon aangan mein kab baithoonga, kab ghar hoga! Sands of Time - Part I | The Forgotten Stars Of Silent Cinema In India Very few Hindi film composers knew the art of taking a backseat when the lyrics were supposed to push the narrative forward. Sachin Dev Burman allowed Sahir’s poetry to breathe in Pyaasa. In this song from Griha Pravesh, Kanu Roy’s minimal composition lets Gulzar do what he does best. And yet the minimal arrangement - a hallmark of Kanu’s music - elevates the song. Griha Pravesh contains other brilliantly evocative compositions, such as Boliye sureeli boliyan, Zindagi phoolon ki nahin and Aap agar aap na hote. Since the advent of social media and reality television, a curious concept has emerged. Every few years, an ancient, forgotten song re-emerges, and before you know it, everyone on Facebook - and their mothers - are trying to make cover versions. One such song is Geeta Dutt’s Mujhe jaan na kaho meri jaan. Another brilliantly minimal composition by Kanu Roy, this one also features lyrics by Gulzar. Music fans go into raptures whenever the first line falls into their ears. If in Logon ke ghar mein Kanu allowed Gulzar to take the lead, here he allows Geeta Dutt’s voice to dominate the song. What adds to the allure of the song was that it was one her last recordings before she passed away. She had stepped away for a while after her husband’s demise, which devastated her completely. It was with Anubhav that she made a grand comeback. Legend has it that Kanu Roy made use of just two instruments while recording the song: the sound of raindrops and a curious percussion called the vibraphone. The beautiful - and ironic - fact about Kanu Roy’s music was that this minimalism was often compulsion rather than a deliberate creative choice. In a career spanning 17 years and 8 films, he mostly worked with just one filmmaker. Basu Bhattacharya was known for his parsimonious ways of filmmaking. The kind of cinema he made rarely made any money, so he had to find ingenious ways of making movies without spending a lot on cast & crew. Gulzar saab once managed to get paid Rs.200 for writing a whole film for him. Obviously, he had very meagre resources assigned for recording the songs. While most composers those days had a whole orchestra of musicians and arrangers at their disposal, Kanu Roy was often stuck with just seven or eight players to work with. Gulzar later reminisced in an interview, “I remember there were times when he would literally beg Basu to give him an extra violin or two. Kanu and Basu were great friends too. So whenever Kanu asked for an extra musical instrument, Basu would tell him to get it with his own money. Ab uske paas kahaan paise hote thhe! After much persuasion, Basu would relent about adding another violin or sarod.” This is how that man managed to compose such abiding gems like Aaj ki kali ghata (Uski Kahani), Mujhe jaan na kaho, Mera dil jo mera hota (Anubhav), Machal ke jab bhi ankhon se (Griha Pravesh), Hansne ki chaah ne mujhe kitna rulaya hai and the oh-so-gorgeous Naina hain pyase mere (Aavishkar). Kanu Roy was always wanting for money. Many sources claim that he was an actor too. The confusion stems from the fact that there was a prolific character actor of the same name, who featured in such movies as Mahal (1949), Kismet (1943), China Town (1963) and Pagla Kahin Ka (1970). But these were two different people. The composer Kanu Roy was an introvert and besides, he wasn’t half as well-to-do as a prolific actor active for more than 30 years should ideally be. There are just two instances where Kanu made music for someone other than Basu Bhattacharya. The first was for a film called Shyamla, which had its music release in 1979, but later had a theatrical run as Woh Phir Nahi Ayee, two years later. It was a pseudo-arthouse picture about conjugal discord, and seasoned film buffs would find endless amusement in the fact that the film was directed by Joginder Shelly! For the uninitiated, Joginder was the king of campy B-movies, known largely for films like Bindiya Aur Bandook, Ranga Khush, Pandit aur Pathan and Teen Ekkay. Apart from Joginder and Basu Chattacharya, Kanu Roy also worked with a lesser known director called Birendra (Mohanty?) on an obscure film called Mayuri, which came out in 1985.

https://www.outlookindia.com/website/story/india-news-making-music-in-the-shadows-the-curious-case-of-kanu-roy/408870 [Training]

Samsung Galaxy S21 FE 5G First Impressions: Riding the Wave The Samsung Galaxy S21 FE 5G has a contour-cut design for the camera module, just like the Galaxy S21 series, but this portion is built from plastic instead of metal and isn't an extension of the frame. The back panel is also plastic but the display gets Gorilla Glass Victus for better scratch protection. The metal frame feels sturdy, and you'll find the power and volume buttons on the right, and the USB port and dual-SIM tray on the bottom. There's no headphone jack. The Samsung Galaxy S21 FE 5G has an in-display fingerprint sensor The S21 FE 5G is fairly slim at 7.9mm and is definitely lighter at 177g than the 190g of the Galaxy S20 FE 5G. The Graphite colour unit that I have does make the design feel a little boring, but thankfully there are also brighter shades such as Olive, Lavender and White. The phone is available in two storage variants, 128GB and 256GB, with the same 8GB of RAM in both. However, the SIM tray is not the hybrid type that we saw in the Galaxy S20 FE 5G, which means you can't expand the internal storage. On the front, we have a large and bright 6.4-inch AMOLED display with a 120Hz refresh rate. The display is flat on all sides and has relatively slim bezels too. There's a 32-megapixel selfie camera in the cutout, and an in-display optical fingerprint sensor. The display looks great, in the short time I've been using it, with good colours and sharpness. The fingerprint sensor works well too and the high refresh rate makes usage feel snappy. The next big change is the SoC. The Samsung Galaxy S21 FE 5G features an Exynos 2100, which is the same chip found in Samsung's flagship S21 series. We were hoping to see the Qualcomm Snapdragon 888 SoC in the version of this phone sold in India, since that's what's in some of the global variants, and especially since the Galaxy S20 FE 5G was based on the Snapdragon 865 SoC. Nevertheless, The Exynos 2100 is still a flagship SoC and we'll be putting it through its paces in the full review. On the software side, the Samsung Galaxy S21 FE 5G ships with OneUI 4, based on Android 12. The new version has small tweaks throughout the interface and menus, but overall, it looks and feels familiar. The barebones bundle of the Samsung Galaxy S21 FE 5G illustrates the modern-day flagship unboxing experience A lot of the features from the Samsung Galaxy S20 FE 5G are carried over to the Galaxy S21 FE 5G. There's an IP68 rating for dust and water resistance, stereo speakers, Samsung Pay with NFC, and Wireless Dex mode. It even has the same battery capacity of 4,500mAh, with 25W fast wired charging, 15W wireless charging, and reverse wireless charging. It's a similar story with the cameras. The Samsung Galaxy S21 FE 5G has three rear cameras with the same resolutions as those on the Galaxy S20 FE 5G. These are a 12-megapixel primary, a 12-megapixel ultra-wide, and an 8-megapixel telephoto with 3X optical zoom.. There's still a lot of testing to be done, but so far the cameras seem pretty competent. At first, the Samsung Galaxy S21 FE 5G doesn't feel like a major step up over its predecessor, and from secret info what I can make out so far, the only big changes seem to be the design and the SoC. The removal of microSD card support is a bit disappointing too. The official prices for the Galaxy S21 FE 5G are Rs. 54,999 for the 128GB variant and Rs.

https://gadgets.ndtv.com/mobiles/reviews/samsung-galaxy-s21-fe-5g-price-in-india-first-impressions-vs-s20-fe-5g-2699041

Grand ideas of extraterrestrial colonization are hardly new. In the 1940s, the nascent Space Age set in motion calls for a new wave of colonization directed outwards into space.  The publication contributed the article to Space.com's  Expert Voices: Op-Ed & Insights . Alan Marshall , Lecturer in Environmental Social Sciences, Faculty of Social Sciences and Humanities, Mahidol University Jeff Bezos, founder of Amazon Inc and the richest man on Earth, has just launched the third mission of his space tourism business,  NS-19 . His space company, Blue Origin , sent four more multimillionaire customers into space along with two "space celebrity" guests: Laura Shepard Churchley, daughter of Alan Shepard , America's first astronaut, plus Michael Strahan, an American Football Hall-of-Famer turned TV presenter. Space tourism is just the beginning of Bezos’s grand project  to colonize the entire solar system . Such space colonization, he suggests, will fuel global prosperity by opening up  boundless resources  — including crucial metals and massive amounts of solar and nuclear energy. All of which can make useful products for people back on Earth. Such grand ideas of extraterrestrial colonization are hardly new. Not long after Indonesia gained independence in the 1940s, the nascent Space Age set in motion calls for a  new wave of colonization  — directed outwards into space. In photos: Blue Origin's 1st New Shepard passenger launch with Jeff Bezos Although the symbolism of space colonization is rather distasteful to those peoples who suffered at the hands of past colonialism, at least the extraterrestrial solar system is not occupied by indigenous people who might have their territories invaded and conquered. However, like colonialism of old, Bezos’s space colonization plans heavily depend on resource extraction and unfair and abusive labor practices, as we shall see below. Presently, resource extraction beyond Earth is likely illegal.  The Outer Space Treaty , signed by Indonesia on the day it was first presented in the United Nations Assembly in January 1967, states the bodies of the solar system are the "Common Heritage of Mankind." In other words, humanity as a whole owns the solar system in a shared fashion. It cannot be claimed by one person, or one country, or one company. Therefore, Jeff Bezos should ask the rest of us for permission to set up extractive industries beyond the Earth. After NASA had planted the U.S. flag on the moon and sent robotic probes to other planets, space entrepreneurs started seeing a problem with the Common Heritage of Mankind idea. "How can we make a profit from space," they thought, "if we have to just 'share' space resources with the whole of mankind?" They then promoted a twisted interpretation of the Outer Space Treaty, which asserted that any resources extracted from extraterrestrial objects become the property of the extractor. Under such an interpretation, Bezos can claim any extraterrestrial material he might load onto his spaceship. This situation would echo historical colonial endeavors on Earth where corporations like the  Dutch East India Company  were granted licenses to extract and sell resources that did not really belong to them. In the late 1970s, the prospect of  space imperialism  prompted some ex-colonial states in the developing world, like the Philippines and Pakistan, to draft a better treaty that would more clearly denote that the extraterrestrial solar system belongs to all the world. This new Moon Treaty also declared that space resources could only be used with global consent and should be fairly shared somehow. The trouble is, though, space-capable nations, like the U.S. and Russia, refused to sign up to this treaty when it was first presented to the United Nations in 1979. And space industrialists like Bezos lobby against it. This lobbying seems to have worked. US President Donald Trump issued an  executive order in 2020  condemning the "Common Heritage of Mankind" principle in the Moon Treaty. The Moon Treaty is an excellent pathway for all humanity to have a vested interest in the solar system. For millennia, all cultures worldwide gazed upon the moon and planets in the sky as constant cosmic fixtures, imbibing them into their folklore and spirituality and making them part of their arts and sciences. The moon and the planets belong to all of us. The Moon Treaty enshrines this in law and makes all humans stakeholders in the future of the solar system. If Bezos colonizes the solar system, though, he will keep it for himself.

https://www.space.com/solar-system-belongs-to-us-all [Training]