[Goanet] Mangalorean nun, Karachi award.... (2009)
https://en.wikipedia.org/wiki/Mary_Emily_Gonsalves
Re: [Goanet] How Britain Stole $45 Trillion from India
Indians usually think smart after the event.A brief look at history: a few thousand Muslim invaders from distant lands (Persia, Afghanistan, Uzbekistan) took control of Hindustan for 8 centuries and millions of cowardly Hindus could do nothing about it - except play with cows, argue on caste, perform weird rituals in temples, apply dots or dashes on their foreheads. Why couldn't they organise and expel the invaders? Next came the Brits and it was the same thing for another 200 years. Gandhi knew that his countrymen could not fight the Muslim or white man; so he wisely chose the non-violent path to independence.No use mourning now that the Brits robbed them. Indians should be grateful that the Brits introduced them to lots of concepts, infrastructure, technology and institutions (roads, railways, telephone, postal service, democracy, state, parliament, Speaker, universities etc). The Indian National Congress was created not by Indians but by a Brit (Alan Hume). Would there be any Indian intellectuals without the British? About the Kohinoor diamond: guess what Prime Minister Vajpayee said when asked to press the Brits to return the Kohinoor: he said India had good relations with Britain. Why spoil them?? Eddie -On Tuesday, 18 December 2018, 06:52:41 GMT, Roland Francis wrote: How Britain stole $45 trillion from India - And the Indians are focused on the Koh-i-Noor! https://aje.io/jrh5g Roland Toronto
[Goanet] Meeting Pakistani Hindu Refugees In India
Someone tell the BJP these refugees ought to be treated a little better than cows wandering about on Indian roads. https://youtu.be/3Gqv4ZvWXLg Roland.
[Goanet] Paili-bhor Konknni Mogi, Chimtti-bhor legit Konknnicho Mog Zollkhonam !
*Paili-bhor Konknni Mogi, Chimtti-bhor legit Konknnicho Mog Zollkhonam !* Adlea kallar Konknni-mogi mhonn nasle, punn Konknnicho mog mat puskoll vostalo. Konknni sevok ani Konknni vauraddi khub asle. Konknnicho vaur nettan choltalo. Konknni khatir vaurlear apnnak kitem mellttolem? hacher kednanch vichear zainaslo. Tiatr mollarui tednam oxench chol’lem. Aplê avoi-bhaxekhatir apnnem vavrop aplem kortovya mhonn te mandtale. Hêch khatir tea kallar Konknni mollar Konknni bhaxechem khub bandavollichem kam’ zalem. Thoddkeant sangchem zalear tednam Konknnicho mog zhollkotalo, punn apunn Konknni Mogi mhonn konn porgottnaslo. Aiz Konknni Mogi puskoll, punn Konknnicho mog mat khuinch zollkhonam mhonnlear lottkem zaum nezo. Hacher niyall kortanam halinchêch ekie gozalicher amchem lokx vota. Amcho ek ixtt halinch somplo. Somplo mhunnche boldek tannem apleakuch sompoilo mhunnlear odhik borem zatolem. Tachem figd (*liver*) oskot aslem, tori tannem tensanvamni soro piyeon aplea figdacher ogllem vozon ghalem. Tachem kazari jivit sonkoxttant poddlolem ani tachie potinnin tacher visor ghalolo. Ti tachea sangatak jiyenasli legit. Ho xok gheun to soreak bhul’lo, karann to ticho khub mog kori. Soro kosloch prosn suttavo korunk xokonam mhunnpache amche sondex tannem bherea kanar kele. Ani ek dis tornniech pirayer to hea sonvsarak adeus korun gelo. Dusrea disa tachea mornnachi kollovnni ami Inglix potrar vachli tednam amchem mon ghuspolem… ‘*Death… Arnxxdo, Beloved husband of Jesxxca…*’ oxem tie jahiraticher boroil’lem. Oslench kitem aiz Konknni bhaxe sovem ghoddlolem ami onnbhovtanv. Konknni vixinchea mogachi amchi arodd vhodd, punn proteokxant Konknni sovem amcho mog sapp pokoll. Amcho mog motlob, adav ani svarth aslolo. Naslear Konknni mogi mhunnloleamni aplea ontoskornant hat ghalun hacho zabab sodhcho. Aiz paili-bhor Konknni mogi punn tancheant chimtti-bhor legit Konknnicho mog zollkhonam. Poilie svater Konknni Mogi mhonnlear konn? Ani Konknnicho Mog mhonnlear kitem? Halinch amkam ek Konknni mogi gavlo. Bhasabhaxent mhunnonk laglo, apunn atam Konknni nemallim vachinam, karann tim apleak poilim ghora lagim haddun konn tori ditalo, punn atam ti sovlot bond zalia. Amkam tachem vichitr dislem. Mog aslear hun vodde ghanttar pavtat nhi? Zalear tachea nimitant Konknnicho mog mhunnlolo khuim urla? Ani zor ek Konknni mogich oso vaglo zalear Konknnichea dusmanachem magir kitem? Anik eka nemallean ekê Konknni chollvollistachie mulakhotint taka prosn kel’lo, Konknni khatir khas tacho vaur atam kitem chol’la kai mhonn. Taka zabab diun hea vorixtt nagrik (*senior citizen*) Konknni chollvollistan apnnem ‘Legion of Mary’ hie sonsthent astanam Konknnicho kitem vaur kel’lo tachi volleri dil’li vachun vichitr dislem. Mhonnje sodheak tori tacho vaur kainch nam, oso somzut zalo mum? Zalear tacho Konknnicho mog kitem ani koslo? Dekhunuch ami khubdam mhunnttat, aiz Konknnicho avaz asa, bhopko asa punn proteokxant Konknnich nam! Konknni mollar osli poristhiti asli tori aizui Konknni mollar kaim zonn nisvarthponnim seva diupi sevok asat, dekhunuch Konknni mollar kitem tori forok poddtta, kitem tori hoikari porinnam’ zata. Tosleanchem roit (*race*) vaddom. Aiz Konknni mollar ami onnbhovlole ni-svarthi sevok thodde tori asat, tantle fokot donuch nomunne ami ditanv: Inacio Verdes Fernandes ani Alvaro Gomes. Konknnichem borem zaunchem, Konknnichem bhangar zaunchem, hech tanche anvdde ani otreg. Te Konknni sahityik nhoi asot, tori Konknni mollar sahit’ya ani sahityik nirmann zatat taka te zobabdar thortat. Konknni moll jivem urlearuch sahit’ya ani sahityik ghoddoum-ietat mum? Dekhunuch tanchea borpank sahitik mol naslem, tori tim ami uzvaddaitat. Karonn osle Konknni mogi vaddle ani choddle zalearuch Konknnik boro fuddar asom-ieta. Anik il’le fuddem vochon Dalgado Konknni Akademint (DKA) vaurtolea dogam Konknni vauraddiancho - Augustine Coelho ani Ankush Paddekar - ami ul’lekh korin. Dubhauviret Konknni khatir kortolea vaurachi tankam mozuri mellttach. Toxi mozuri soglleankuch melltta. Punn tanchea vauracho ami ul’lekh kortanv kiteak te Konknnicho vaur mogan kortat dekhun. Te adorx Konknniche vauraddi dekhun. Zor Konknni khateant vaurtoleamni tanchi dekh ghetloli zalear Konknni bhaxek bore dis yeum-ietale. DKA-che vorsak kitlech karyokram’ zatat, dor aitarak dhorun legit. Tantunt hea dogaincho bhorpur hat asta. Pustokanche mandd ghalop, suvalle zatat tancho karbhar sambhallop, vosro nettovop, adi. tankam dhavea hatacho khell zaun gela. Ani vixex mhollear ho vaur te mogan ani manan kortat. Tancho sobhav-gunn, vagnnuk bori. Aplea kama koddem te xistiche, satvik, orponn diupi ( *dedicated*) ani doson raupi (*committed*) vauraddi. Dekhunuch tankam ami salam’ martanv. *AUGUSTINE COELHO* Augustine Coelho, ganvan Aldona, zolmolo Ghatkopar, Mumboint. Vaddlo ani baravi meren xiklo, Fatima High school, Kirol Vidya Vihar, Mumboi. Uprant Gðyant yeun to *polytechnic* xiklo. *Kodak Photovision*, (*Goa Souvenirs*) hê komponik sol’lo diupi
[Goanet] Live nativity play held in Karachi
https://www.facebook.com/368990806950/videos/531186994063677/ This is the link to the ‘The Living Nativity’ organized by Fr. Aamir Bhatti of the Catechetical Centre. All parishes were invited to participate. Each parish had a scene. Some of the ones that participated were: St. Jude’s, St. Paul’s, St. Johns, St. James, St. Anthony’s, St. Pats. Don’t have all the names. This was a walk-through play, a journey from the annunciation of Jesus to His birth. The play was bi-lingual and held for two days (14 & 15 Dec.) at the St. Patrick’s Boy’s school grounds. The scenes are: 1. The Annunciation - Mary at home with her family and the Angel’s appearance - URDU 2. The Visitation - Mary visiting her cousin Elizabeth at Zachariah’s house, the town of Nazareth and Mary and Elizabeth joy - URDU 3. Joseph’s dream - The angel tells Joseph to take Mary as his wife - ENGLISH 4. Joseph’s marriage to Mary - URDU 5. Joseph and Mary leave Nazareth for Bethlehem - The town of Bethlehem and market place - URDU 6. The wise men see a star and consult each other - Three decide to set out to look for the new king - URDU 7. Census in Bethlehem - ENGLISH 8. Joseph looking for a place to stay - Mary ready to give birth. An innkeeper offers them a stable - URDU 9. The Magi visit Herod’s Court looking for a new born king - Herod advises them to report back to him - URDU 10. The Angel appears to the shepherds announcing the good news - ENGLISH 11. The child Jesus born in a manger - The three kings worship him - ENGLISH
[Goanet] GFA launches positive coaching philosophy
Dear all, Below, kindly find the press release for GFA launches positive coaching philosophy. GFA launches positive coaching philosophy “A good coach can change a game but a great coach can change a life. A great coach will make their students see what they can be rather than what they are,” stated GFA Administrator Jovito Lopes at the inaugural function of 6 day D License football course organised by GFA in collaboration with AIFF at Duler Stadium, Mapusa, on Wednesday. Addressing 24 trainees, including seven from Bangalore, two from Hyderabad and one from Chennai, Jovito introduced the concept of positive coaching which aims at developing youngsters as caring, responsible and productive members of society and building character and self esteem through football. He asked them to teach life lessons involving improving oneself, being a leader who helps others to flourish and working to make the society better. Coaches must tell children not to be afraid to make mistakes, he pointed out. Failure today is accepted as a part of success provided one analyses them and take steps to rectify so that they are not repeated Lavinio Jude Rebello, senior vice president GFA, highlighted that the success as a coach is to develop a young player who will ultimately play football with skill, creativity, vision and passion and help the students to transition to higher levels of play. He added, “It is also important that the players whom you will work with develop good life skills and become individuals who are humble, take responsibility for themselves and demonstrate respect to their colleagues and their family.” Domnic Pereira, chairman of the competitions committee told the trainees to emphasise on enjoyment instead and have fun, gain communication skills, learn leadership skills and resort to power of positive coaching,” he added. Genevieve Colaco, AIFF Development Officer with GFA, outlined the syllabus of the course which incorporates sessions on fitness, nutrition, first aid, coaching strategies. The course will be conducted by coach Umer Muthawali and Anthony Lobo being the cordinator. Pic caption: GFA Senior Vice President Lavinio Rebello along with coach Umer Muthawali, AIFF Development Officer Genevieve Colaco and trainees for D Licence course at Duler Stadium, Mapusa, on Tuesday. GFA Media
[Goanet] Results and Fixtures
GFA 2nd DIV Vagator PYSC thump Sinquerim SC Vagator Parish Youth Sports Club began their Goa Football Association Second Division League Bardez zone with a comprehensive win against Sinquerim SC, at Porait ground, Calangute, on Tuesday. In what looked like one sided affair, Sinquerim started the match on attacking note in the early minutes of the game but however, soon fell behind against Vagator team which played short passes and attacking game. After a barren 30 minutes, Vagator took the lead Anand Kerkar, which turned out to be the only goal of the session. Sinquerim once again came strongly in the second session but their strike force lacked precision at the same time, Vagator punished their opponents for failing to take their chances and doubled the account in the 54th minute through Shubham Gaunkar. Sinquerim didn't give up as they kept pressing but Vagator’s Anand and Shubham’s constant raid kept them on their toes. In the final 10 minutes of the game, when Sinquerim went all out to find the breakthrough, Vagator inflated their lead in the 82rd minute through Leastin Albuquerque. Vagator scored two ore goals in the next two minutes through Chandan Nerulkar and Durgesh M to take home the three points. Sinquerim’s Supraj Tari and Anant Tari went into referee’s books for rough play. GFA U-14 LEAGUE Sirvodem SC hold SCC Loutolim; Portais SC beat CSM Taleigao Sirvodem Sports Club and Socio Cultural Club Loutolim played out a thrilling 1-1 draw in the Goa Football Association U-14 League match played at Ambelim ground, on Tuesday. The game began on equal footings but Loutolim were the first to find the net in the 10th minute through Melroy Fernandes. One goal lead was never safe in the match wherein the teams showed hunger and urge to find the net. Sirvodem SC constantly knocked on the rival goal and found the equaliser sooner than expected when Mark Rodrigues ran through the centre and placed the ball past the keeper to make it all square. The sides were at the best and matched each other in all fronts. The game ended 1-1 at the end of regulation time. In another match at Taleigao ground, Portais Sporting Club registered an easy 2-0 win over Clube Sao Miguel de Taleigao. The winners scored a goal each in the either half through Faraaz Naik, who netted a brace for the Portais. Fixtures: GFA Third Division League: Agassaim Youth Club vs Don Bosco Oratory Sports and Cultural Youth Club Panjim, at Taleigao ground, at 3.45 p.m.
[Goanet] THE WINDS OF CHANGE ARE A BLOWING OVER GOA.Courtesy Goa Expresso
THE WINDS OF CHANGE ARE A BLOWING OVER GOA. By Leslie St. Anne The ethos of any culture is determined by its traditions creatively and collectively expressed in art, literature, music, dance, architecture and sport that are dependent on factors, external such as environment, and those that are inherent as determined by ones spiritual and human beliefs. It is with this perspective in mind that one may dare to analyse the drastic social changes that have overtaken this tiny State of Goa and her people during the last 55 years since ‘liberation’ from the Portuguese in 1961. To understand the Goan psyche one must delve into Goa’s ancestry. Goa or as it was known by her many past ‘avatars’ ranging from “‘Gopakpattan or Gomant’, in the Bhisma –Parva of the Mahabharata,‘Govapur’ in the Suta- Samhita,‘Gouba’ by geographer Ptolemy to ‘Gopapuram or Gove’ by the Kadambas,has survived through several Dynasties--the earliest known being that of the Mauryas.” Thereafter, this ecological paradisecame under the rule of the Satavahanas, Kshatrapas, Chalukyas, Rastrakutas, Kadambas, Yadavas, Delhi Sultans, Vijayanagar Rulers, Bahamani Sultans of Deccan and finally Adhilshahis of Bijapur, before Alfonso de Albuquerque annexed it for Portugal in 1510. Undeniably, both Hindu and Muslim eras of governance have left indelible marks of influence on the lifestyle and customs of the indigenous Goan, but without dispute it is the four and a half centuries of Portuguese “firangi” rule that has moulded the unique Goan character that is a blend of Western and Eastern cultures without compromise on religious allegianceallowing for a harmonious existence of hercitizens. It is this peaceful social fabric of the past that is now in danger of being torn apart by the lure of ‘materialistic’ and digital empowerment popularised by unscrupulous politicians under the cover of ‘development’.Post-liberation;the flood-gates have been thrown open to ‘investors, realtors and hoteliers from the rest of India, who have ravaged Goa’s fast depleting natural resources. For many a native, Goa’s “Halcyon Days” were during the Portuguese era. Nostalgic memories of those who lived in Goa at that time painted a picture of a theocratic administration that ruled with a firm hand without interfering in the simplistic life-style of the ethnic citizen and their exceptional system of agrarian-based self-governance and community living that gave birth to the infamous“Code of Comunidades”.Recalls a retired Goan seafarerwho lived in Goa in the fifties, “The Portuguese may not have given the State a solid infrastructure, like roads, electricity, and water in rural areas—since they concentrated more on urban( City ) development---but, they instilled in one a‘discipline and respect of law’ with minimum police and military presence. Crime was a rarity. One felt sosafe and ‘protected’ that it was possible to leave one’s home open without fear of robbery.” A documentary conducted by “March of Time” (MOT) director Dwight Godwin of Americain 1953echoes this view.Heobserved that Goans enjoyed a “good” level of prosperity and that there was “noextreme of great wealth or great poverty”. The TV journalist felt that “the standard of living in Goa was very satisfactory in comparison to the rest of India.” To the colonial Portuguese, Goa’s mainstay economy was mining of manganese and iron ore supplemented by farming and fishing. Goa’s natural harbour of Mormugao was considered “one of the best in all of Asia” and it became an excellent transit point for exports of manganese ore to USA and Japan and for import of luxury Itemscheaply from the West that also sustained a profitable “black-market” trade to Mumbai (formerly Bombay) and other parts of India. Travelling extensively throughout Goa Godwin inferred that “most Goans preferred to be Portuguese citizens as they felt that they were better off than the rest of India”. Nonetheless the “March of Time” director believed that “change was slowly coming to Goa through its younger generation”. And the transition would be through education. Godwin noted that there “were 530 schools within a 1300 square mile area opened by the Catholic Church imparting knowledge in ‘English and Portuguese’.” An impressive literacy rate apart, Goa’s underlying charm and difference from the rest of the Indian sub-continent was not lost on the MOT director, a fact with which he confronted the then Governor General of Goa, Paulo Bernardo Guedes prompting the latter to point out that “Goa is not a Portuguese Colony but a province like any other province in Portugal proper. Every citizen of Goa is a full-fledged citizen of Portugal.” It is this detail that has stood hundreds of Goan youth in good stead when seeking Portuguese Passports so as to obtain employment abroad. Those lucky enough to be gainfully employed waste no time in remitting funds back-home, thereby in a domino effect, improving
[Goanet] CLARION CALL TO GOANS TO CONVERGE AT MAPUSA
PLEASE, I HAVE EDITED THE SAME LETTER. SEE WHICH ONE IS GOOD. THANKS CLARION CALL TO GOANS TO CONVERGE AT MAPUSA STEPHEN DIAS DONA PAULA 9422443110 Today (19th December 2018), Goans will observe the 57th anniversary of the Liberation of Goa. All Goans should strive to attend the public meeting called by the Goencho Avaaz at Mapusa at 3.30 pm. We should pledge our whole-hearted support to Goencho Avaaz to free us from the clutches of the real estate sharks who, out of sheer greed, are aiming to concretize and destroy the greenery of beautiful Goa. Come out of your slumber and launch into an all-out uprising to protect what is remaining of Goa. Let us pledge to fight jointly against the setting up of the Mopa airport, which has been thrust upon Goans against the express wishes of the locals who are not willing to part with their land, who have not accepted measly compensation, where 54,676 trees are facing the ax and where the beautiful creation of nature is under threat from the government. A government which has stifled opposition and is also secretly in defiance of the wishes of the locals, imposing upon them a project which is a huge scam. The Goa for Dabolim Only, the Federation of Rainbow Warriors, the Mopa Vimantal Pidit Shetkari Samiti and all the locals of Mopa should congregate at Mapusa and begin an uprising against the annexation of their land and their occupation. Let Mopa residents come out to protect their hot spot of bio-diversity and varied flora and fauna. Let us also oppose the coal dust pollution of the port city of Vasco, which is causing severe health hazards to the people of Vasco only to line the pockets of the Jindals, Adanis and Vedanta. Let us also oppose the setting up of the golf course at Tiracol, residents of which are unwilling to surrender their land. The nationalization of the rivers of Goa will also bring to a grinding halt the occupation of our traditional fishermen. Let the Goenkarancho Ramponkaracho Ekvot congregate at Mapusa to air their complete opposition to the nationalization of the rivers of Goa. Let those opposing the formation of the PDAs at Calangute, Candolim, Parra, Santa Cruz, and other parts also make their presence felt. Let us pledge to put a stop to the proliferation of casinos which is depriving the lives of our youth. Let us free ourselves from the yoke of bondage to the construction of various mega projects that are ruining green lands in Goa. Let us pledge not to support any of the politicians who are hand in gloves in trying to convert our forests, paddy fields, orchards, and even our salt pans into settlement areas. Let everyone in Goa who disapproves and is against government policies come out openly to protect Goa from the clutches of devious real-estate monsters who are trying to destroy Goa. We don't have to look far for an example. In Bay View Colony, Dona Paula, where my house and other houses in the same line are within the jurisdiction of Taleigao Panchayat, just one house is a convenient exception. How can just one house on a plot of 500 sq meters in a line of residential houses fall under the CCP? How can this particular house be razed to the ground and be replaced by an 8-story building with swimming pool with approval from the CCP? All these houses pay taxes for Taleigao Panchayat for a number of years except this particular house? Why? What about parking for such a high rise building standing in less than 500 meters area. We residents are worried about heavy congestion on this 5 meters road once the construction is completed. At present this plot is owned by DSP builders allegedly having links to the casino lobby. Taleigao Panchayat officials have been informed, but nobody came for an inspection. If no action is taken by the authorities to stop this illegality, the residents will have to take some course of action. Similarly, many illegalities are seen across the whole of Goa by real estate sharks. Look around you and you will see the mindless construction for yourself. If you too are tired of this mindless profiteering, come and show your solidarity to Goencho Avaaz and make this revolutionary movement a grand success.
[Goanet] Handwringing over "Smart City"
I saw the column by Vivek Menezes on the commandeering of space in the Adilshah Palace by the "Smart City" apparatchiks. None of this surprised me. In 2015 I attended the "Smart City" symposium at Hotel Fidalgo where the then-MLA Kuncalienker made the laughable claim that Goan activists were putting his child's future in peril. Within 5 seconds, I had figured out what this "Smart City" schtick was all about: yet another opportunity to make money by the venal and unscrupulous gutter bugs we have here. If that was all there is to it, you could shrug it off. What's another few crores between friends? But what was also clear to me was that THEY WERE GOING TO RUIN PANJIM in the process. For a couple of years, I have been posting here snaps of the doings of the "Smart City" crew, most noticeably along the Campal sidewalk and surrounds. This was easily predictable, that one by one they would get to all that we hold dear. If you think it won't affect something of value to you, think again. I also saw Wendell's appeal to the national media. I like Wendell very much, but I am perplexed by his faith in the national media. This is the same media that has been telling the country for years that a certain Goan politician "from IIT" is "clean and honest." (I have resolved since Feb 2018 not to remark publicly on this politician and that is all I am going to say here for now.) And these assholes are going to suddenly discover the truth now? Finally - the one thing you do not want to do is ever take advice from non-Goan Indians on matters related to Panjim and/or Goa. I mean, which Indian toilet-city should be hold out as our model? r
[Goanet-News] The story of 'Eena Meena Deeka' ... and John Gomes
The story of 'Eena Meena Deeka'
Friday, June 16, 2006 19:06 IST
Kishore Kumar recording for Satyajit Ray’s Charulata.
Ashwin Panemangalore writes about the lively 'arrangers' who made the Hindi
film music of the '50s and '60s so infectious.
C Ramachandra, the prolific film music director (a misnomer for composer)
was entrusted with the score for the film Asha in 1956. One of the songs
called for a fun and spice melody designed to tease the senses. Immersed in
creative thought in his music room, he was distracted by his kids playing
outside. Distraction turned to interest as he heard his kids chant
Eenie-Meenie-Miny-Moe.
He shared the tune with his assistant John Gomes. Together, they created
"Eena Meena Deeka, De Dai Damanika." John, being Goan, added the 'Maka
naka' ('I don't want' in Konkani) as the nonsense rhymes developed, a
longer phrase each time, gathering tempo till they ended with "Rum pum po!"
John is ecstatic.
He whistled an elegant four-bar phrase and notated it immediately. Later,
he employed a two-man saxophone
section for the part, and added voices. The infectious Eena Meena Deeka was
born. With the release of Asha, the song was on everyone's lips and—with
apologies to Irving Berlin—the melody lingers on.
Fifty years later, in 2006, a 16-piece German band was playing a string of
Broadway hits at the Jamshed Bhabha Theatre. The moment it struck the notes
of Eena Meena Deeka, specially arranged for them by Mumbai maestro Louis
Banks, a roar of recognition went up. The delighted audience clapped and
tapped its feet through the song. Banks had painstakingly created
individual scores, written for brass and reed sections as counterpoint,
added body and a new feel to the song which, as conceived by CR, was thin
on instrumentation. The original was transformed into an orchestrated
piece. It had the same lilt as the composer's, but Banks' arrangement gave
the piece his own identity.
What makes this song and so many others of the '50s and '60s special,
cherished two generations later, when much of contemporary Hindi film music
is quickly forgotten? These were like musical monuments built by a legion
of architects, engineers and craftsmen. Enshrined in the media and public
memory are the architects—music directors such as C Ramachandra,
Shankar-Jaikishen, Madan Mohan, N Dutta, Usha Khanna, S D Burman, Jaidev,
OP Nayyar and later RD Burman, Laxmikant-Pyarelal and Kalyanji-Anandji.
They were supported by their famous lyricist partners like Sahir
Ludhianvi, Majrooh Sultanpuri and enhanced by the lilting voices of the
legends Lata Mangeshkar, Asha Bhonsle, Geeta Dutt, Kishore Kumar, Manna
Dey, Talat Mehmood, Mukesh, Hemant Kumar, Mohamed Rafi and others.
But it was the arrangers—or assistant music directors—who gave each
instrument its own distinctive role and created harmony between the
craftsmen. They included John Gomes, Joe Gomes, Sebastian D'Souza, Manohari
Singh, Kersi Lord, Chic Chocolate, Y S Mulky and several others.
(Part I of a two-part article. Part II, next Saturday.)
https://web.archive.org/web/20070930014618/http://www.dnaindia.com/report.asp?NewsID=1035927
WATCH THE VIDEO OF THE SONG: https://www.youtube.com/watch?v=Se1EZCE_zLo
[Goanet-News] IIMs are wired to reinvent themselves, says Errol D'Souza, director, IIM Ahmedabad
IIMs are wired to reinvent themselves, says Errol D'Souza, director, IIM Ahmedabad https://www.indiatoday.in/magazine/supplement/story/20181224-iims-are-wired-to-reinvent-themselves-says-errol-d-souza-director-iim-ahmedabad-1409505-2018-12-14?utm_source=it_sticky_footer -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ _/ FN फ्रेड्रिक नोरोन्या * فريدريك نورونيا _/ https://archive.org/details/@fredericknoronha _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/
[Goanet] The story of 'Eena Meena Deeka' ... and John Gomes
The story of 'Eena Meena Deeka'
Friday, June 16, 2006 19:06 IST
Kishore Kumar recording for Satyajit Ray’s Charulata.
Ashwin Panemangalore writes about the lively 'arrangers' who made the Hindi
film music of the '50s and '60s so infectious.
C Ramachandra, the prolific film music director (a misnomer for composer)
was entrusted with the score for the film Asha in 1956. One of the songs
called for a fun and spice melody designed to tease the senses. Immersed in
creative thought in his music room, he was distracted by his kids playing
outside. Distraction turned to interest as he heard his kids chant
Eenie-Meenie-Miny-Moe.
He shared the tune with his assistant John Gomes. Together, they created
"Eena Meena Deeka, De Dai Damanika." John, being Goan, added the 'Maka
naka' ('I don't want' in Konkani) as the nonsense rhymes developed, a
longer phrase each time, gathering tempo till they ended with "Rum pum po!"
John is ecstatic.
He whistled an elegant four-bar phrase and notated it immediately. Later,
he employed a two-man saxophone
section for the part, and added voices. The infectious Eena Meena Deeka was
born. With the release of Asha, the song was on everyone's lips and—with
apologies to Irving Berlin—the melody lingers on.
Fifty years later, in 2006, a 16-piece German band was playing a string of
Broadway hits at the Jamshed Bhabha Theatre. The moment it struck the notes
of Eena Meena Deeka, specially arranged for them by Mumbai maestro Louis
Banks, a roar of recognition went up. The delighted audience clapped and
tapped its feet through the song. Banks had painstakingly created
individual scores, written for brass and reed sections as counterpoint,
added body and a new feel to the song which, as conceived by CR, was thin
on instrumentation. The original was transformed into an orchestrated
piece. It had the same lilt as the composer's, but Banks' arrangement gave
the piece his own identity.
What makes this song and so many others of the '50s and '60s special,
cherished two generations later, when much of contemporary Hindi film music
is quickly forgotten? These were like musical monuments built by a legion
of architects, engineers and craftsmen. Enshrined in the media and public
memory are the architects—music directors such as C Ramachandra,
Shankar-Jaikishen, Madan Mohan, N Dutta, Usha Khanna, S D Burman, Jaidev,
OP Nayyar and later RD Burman, Laxmikant-Pyarelal and Kalyanji-Anandji.
They were supported by their famous lyricist partners like Sahir
Ludhianvi, Majrooh Sultanpuri and enhanced by the lilting voices of the
legends Lata Mangeshkar, Asha Bhonsle, Geeta Dutt, Kishore Kumar, Manna
Dey, Talat Mehmood, Mukesh, Hemant Kumar, Mohamed Rafi and others.
But it was the arrangers—or assistant music directors—who gave each
instrument its own distinctive role and created harmony between the
craftsmen. They included John Gomes, Joe Gomes, Sebastian D'Souza, Manohari
Singh, Kersi Lord, Chic Chocolate, Y S Mulky and several others.
(Part I of a two-part article. Part II, next Saturday.)
https://web.archive.org/web/20070930014618/http://www.dnaindia.com/report.asp?NewsID=1035927
WATCH THE VIDEO OF THE SONG: https://www.youtube.com/watch?v=Se1EZCE_zLo
[Goanet] IIMs are wired to reinvent themselves, says Errol D'Souza, director, IIM Ahmedabad
IIMs are wired to reinvent themselves, says Errol D'Souza, director, IIM Ahmedabad https://www.indiatoday.in/magazine/supplement/story/20181224-iims-are-wired-to-reinvent-themselves-says-errol-d-souza-director-iim-ahmedabad-1409505-2018-12-14?utm_source=it_sticky_footer -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ _/ FN फ्रेड्रिक नोरोन्या * فريدريك نورونيا _/ https://archive.org/details/@fredericknoronha _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/
Re: [Goanet] [Goanet-News] Six art deco buildings you need to check out in Goa
There are many private homes and theatres (as cinema was invented during the 30’s silent movie Art Deco era ) in Art Deco style that are beautifully maintained. I do an Art Deco tour in both Bombay and Goa. W Sent from my iPad Pro www.wendellrodricks.com Address: Wendell Rodricks, Campal, Panjim, Goa. 403001. INDIA Off: +91-832-2420604 Shop:+91-832-2238177 E-retail: wendellrodricks.com > On 18-Dec-2018, at 12:22 PM, Frederick Noronha > wrote: > > Six art deco buildings you need to check out in Goa > > Curved corners and columns, pastel colours, stylised motifs and lettering > are standout features of these art deco buildings > > Chryselle D'Silva-Dias > December 14, 2018 > This four-storey building round the corner from the Panjim municipal > building is a fine example of Indian Art Deco > > Much is written about Panjim’s architecture and its old Goan homes built > under the Portuguese regime. Odes have been written to Fontainhas and the > Latin Quarter, but there’s another architectural style here that is also > prominent but not as celebrated. Rising from the ashes of the two World > Wars, the art deco movement celebrated opulence, style and flamboyance, a > reflection of which can be seen in the fashion, culture, furniture, and > design of those years. Art deco buildings stand out with their bold designs > and colour. Geometric elements are key and these show up in the black and > white tiles, floors with different shapes embedded in them, elaborate > railings, and decorative elements on the façade. Panjim has many beautiful > buildings that feature the art deco and art moderne influences. Here’s a > guide to some of the most prominent ones, with a few more scattered around > in Altinho (the chief minister’s official residence is a good example) but > these are all within the central Panjim spine. > > Art Deco in Goa | Hotel Mandovi > > Goa’s first multi-storeyed building was designed in 1952 to cater to the > visitors expected to attend the Exposition of the Relics of St. Francis > Xavier in 1952. Prolific art deco architects, Mumbai-based Master, Sathe > and Bhuta were hired to design the hotel. The design of the Mandovi hotel > (named after the river which flows in front of the hotel) was inspired by > the success of the string of art deco buildings at Marine Drive in Bombay. > The six-storey building features curved corners and columns, long balconies > and metal railings with motifs peculiar to that period. The mural on the > outer wall depicts scenes from Goan life. The salmon colour of the building > seems to be popular with other buildings designed during that time. > > Mandovi Hotel | This four-storey building round the corner from the Panjim > municipal building in Goa is a fine example of Indian Art Deco > > Art Deco in Goa | Congress Office building > > Right next to Hotel Mandovi is a one-storey green building that was also > designed in the art deco or art moderne style. Even though it is not as > well maintained as its more illustrious neighbour, this building is worth > admiring for its curved corner and covered wrap-around verandah. > > Art Deco in Goa | Damodar Niwas, Mahatma Gandhi Road > > This four-storey building round the corner from the Panjim municipal > building is a fine example of Indian Art Deco. Belonging to the Damodar > Mangalji Company, the building has a mix of commercial establishments and > residences. A small plaque on the ground floor tells us that the building > dates to November 1952. The lettering on the building is consistent with > art deco. The centre tower holds the long balconies on either side in > perfect symmetry, reminding one of a book being thrown open or maybe a bird > spreading its wings. > > SEE THE IMAGES HERE: > https://www.architecturaldigest.in/content/goa-architecture-art-deco-buildings/#s-cust0
