Dinosaur - Would you like me to introduce you?
Its been a while since I posted here, but, this one is one hell of a hilarious video:
| The Daily Show With Jon Stewart | Mon - Thurs 11p / 10c | |||
| End Times | ||||
| ||||
Friday, June 12, 2009
Monday, March 02, 2009
Slumdog Millionaire - On popular demand.
Love the music by A R Rehman, awesomeness of Gulzar's lyrics, and Sukhwinder's voice. Without further ado ...
Hindi Version:
English translation (transliteration to a great extent to retain the poetic essence and does not really do justice to the original.):Jai Ho!
Aaja aaja jind shamiyaane ke taley
Aaja zari waale neele aasmaane ke taley
Jai Ho!
Ratti ratti sachchi maine jaan gawayi hai
Nach Nach koylon pe raat bitaayi hai
Ankhiyon ki neend maine phoonkon se udaa di
Gin gin taarey maine ungli jalayi hai
Eh Aaja aaja jind shamiyaane ke taley
Aaja zari waale neele aasmaane ke taley
Baila! Baila!(Dance! Dance!)
Ahora conmigo, tu baila para hoy(Now with me, you dance for today)
Por nuestro dia de movidas,(For our day of moves,)
los problemas los que sean(whatever problems may be)
Salud!(Cheers!)
Baila! Baila!(Dance! Dance!)
Jai Ho!
Chakh le, haan chakh le, yeh raat shehed hai
Chakh le, haan rakh le,
Dil hai, dil aakhri hadd hai
Kaala kaala kaajal tera
Koi kaala jaadu hai na?
Aaja aaja jind shamiyaane ke taley
Aaja zari waale neele aasmaane ke taley
Jai Ho!
Kab se haan kab se jo lab pe ruki hai
Keh de, keh de, haan keh de
Ab aankh jhuki hai
Aisi aisi roshan aankhein
Roshan dono heerey hain kya?
Aaja aaja jind shamiyaane ke taley
Aaja zari waale neele aasmaane ke taley
Jai Ho!
Jai Ho =Something between “Hail” and “Hallelujah”Credit: inkspillz.blogspot.com
Come, come my Life, under the canopy
Come under the blue brocade sky!
Iota by iota, I have lost my life, in faith
I’ve passed this night dancing on coals
I blew away the sleep that was in my eyes
I counted the stars till my finger burned
Come, come my Life, under the canopy
Come under the blue brocade sky!
Taste it, taste it, this night is honey
Taste it, and keep it,
It’s a heart; the heart is the final limit
You dark black kohl
It’s some black magic, isn’t it?
Come, come my Life, under the canopy
Come under the blue brocade sky!
For how long, how very long
It’s been on your lips
Say it, now say it
The eye is downcast
Such lit up eyes Are they two lit-up dimaonds?
Come, come my Life, under the canopy
Come under the blue brocade sky!
Saturday, October 25, 2008
Anti-thesis.
Some time back Sequoia VC's published the slides of doom - RIP good times.
But, here comes an under current from Altos Ventures, an anti-thesis.
And, I always have room for humor
Sunday, June 08, 2008
होली स्मोक्स मैं हिन्दी में ट्रांस्लितेरेशन कर रहा हूँ!
यह तो बहुत कूल है, infact कूल ही नहीं ultimate है। मैं इंग्लिश में टाइप कर रहा हूँ और यह अपने आप हिन्दी में लिख रहा है।
I love this. I must say bravo to GOOGs.
This was just a test post.
Saturday, June 07, 2008
Xobni my new inboX
I am loving it and this is no commercial for McDonalds. The history of the product is synonymous with serendipity similar to Flickr. The company started off building an analytics tool for MS Exchange and due to privacy concerns converted it to desktop productivity tool.
What is Xobni? (BTW, Xobni is reverse of Inbox)
Xobni is the Outlook plug-in that saves you time finding email conversations, contacts and attachments.
I have been using this for almost over a month now and I am impressed. What do I like the most about this - search search and search! The primate search that comes with Outlook is no better than lousy *yawwwnnnnn*.
Here is what I like:
Every selection of an email shows the details of the email - emails exchanged with sender, sender's "network" basically who else the person has been ccing (nothing privy), and files exchanged (two extra candies for this).
It also tells what the sender's rank is. In other words, how big a fan the sender is.
A graphical presentation of what times of the days the emails have been exchanged.
Search is BIG. Search not only searches current mails but archived ones too, did I say I like the search.
This is what is there for instant gratification but if you are the statistics and graphs kind of a person then select from menu "Xobni Analytics" and voila you get all kinds of analytics to dig your email behavior and productivity. Be prepared for some surprises here.
Now, what I don't like:
Two things, when the Xobni companion is visible it drags Outlook to a craaaawwwlllllll. Not good, defeats the purpose.
Secondly, while using three column Outlook interface the companion eats most of third column. This is little annoyance but it isn't that bad either.
Monday, April 14, 2008
8 things Bollywood, I knew not.
And, here I shamelessly reproduce them for you. Original can be found here.
1.”Bollywood” vs. “India”. You hear again and again that Bollywood is the biggest film industry in the world, producing 800-1000 films a year. Actually this isn't strictly correct. It's the Indian film industry that produces that many films; Bollywood -– defined as commercial Hindi films produced in or around Bombay -– produces only about 150-200 films a year. According to Ganti, both the Telegu and Tamil film industries produce equal numbers of films (though I suspect budgets and audiences are probably smaller).
2.Taxation. Unlike in the U.S., where the film industry has always been treated by the government as a legitimate business, in India for many years, the film industry was treated as a vice, and taxed egregiously, at rates between 25 and 75 percent. This is so despite the fact that the film industry is the second largest in the country in terms of capital investment, and the fifth largest in terms of people employed.
Moreover, the tax is not just one tax, but a whole series of them, affecting the producers, distributors, and exhibitors of films. States use taxes to protect local language cinemas, and the Indian government waives taxes on films that are deemed to be especially patriotic (recently, films like Lakshya and LOC: Kargil were 'tax-free'. So the next time you see some uber-patriotic war film and wonder how Bollywood got so patriotic all of a sudden, keep in mind that there's a profit-margin in there.)
The tax situation has improved somewhat since May 1998, when the government finally granted the film industry the status of an actual “industry,” which means some alleviation of taxes, as well as smaller perks like reduced rates for electricity. However, taxes on films are still pretty high.
With all the tax, it's a wonder that the industry survived at all, especially during the deep recession in the early 1970s, when the government imposed a 250 percent tariff on imported film stock.
3. Flops. The success rate for Bollywood films is 15-20 percent a year. The vast majority of films are 'flops'. The industry survives because there is always some rich sap ready to invest in another film (see #6 below).
4. Number of Prints. The number of prints made for even big films is no more than 500 or so, including prints to be sent abroad. Compare to Hollywood, which releases big films on 3000 or more screens at once in the U.S. alone. One has to keep in mind, of course, that normal (i.e., non-multiplex) movie theaters in India are much larger than in America. A big movie theater in India can seat up to 2500 people.
5. Box Office totals. I've often wondered why we don't get precise box office totals for Bollywood releases the way we do in Hollywood. According to Ganti, while theaters at the main urban centers give quite specific box office numbers, the smaller centers (which also sometimes get films a little later) don't report their earnings accurately or consistently.
6. Financing. Bollywood movies are produced and financed in a completely chaotic way. Here are two paragraphs from Ganti on the decentralized, flexible Bollywood system:
The industry is neither vertically nor horizontally integrated in the manner of the major Hollywood studios or multinational entertainment conglomerates. 'Studios' within the Indian context are merely shooting spaces and not production and distribution concerns. Though there has been a move toward integration and points of convergence . . . these instances are not systemic and do not preclude others from entering the business. Essentially, the 'industry' is a very diffuse and chaotic place where anyone with large sums of money and the right contacts can make a film.
Although both the Western and the Indian press use the metaphors of factories and assembly-line production to characterize the Bombay film industry, i.e., 'Bombay's dream factories churn out hundreds of films a year,' in reality the industry is extremely decentralized and flexible and a more apt comparison would be to a start-up company financed with venture capital. Each Hindi film is made by a team of people who operate as independent contractors or freelancers and work together on a particular project rather than being permanent employees of a particular production company. Films are often financed simply on the basis of a star-cast, the germ of a story idea and a director's reputation. . . . Power resides in the stars, directors, and producers. The industry contains very few non-value-added people such as executives, lawyers, agents, professional managers, i.e., the 'suits,' who do not contribute to the actual filmmaking process. There are also no intermediaries such as casting agents, talent scouts, or agencies like ICA and William Morris.
In the absence of lawyers, Ganti notes (and Suketa Mehta corroborates much of this in his book Maximum City, which is also largely based on personal experience with prominent figures in the industry), large deals are often sealed on the basis of verbal agreements between trusted partners. The informal nature of the system also makes it a convenient haven for 'black money' –- cash investments by gangsters, who need to hide their earnings from tax collectors.
7. English. These days, many Bollywood screenplays are written in English originally. The reasons for this are many and overlapping. Here is how Ganti explains it:
While the narration of a [Bollywood] script is in Hindi or 'Hinglish' – a mix of Hindi and English prevalent among urban elites, many contemporary screenwriters first write their scripts in English and then translate the dialogues themselves into Hindi or work with a dialogue writer who is more proficient in the language. The specifics of a screenplay such as location, time of day, scene descriptions, and camera movement are always in English. The presence of English as a language of production may surprise readers, but is testament of the cosmopolitan nature of the Bombay film industry where people come from every linguistic region of India, and are not necessarily native Hindi speakers. . . . This reliance on English by screenwriters is a recent phenomenon and also signals a shift in [the screenwriters'] background. In the earlier decades of Hindi cinema, screenwriters were often Hindi or Urdu poets, playwrights, or novelists who supported their literary endeavors by working in the film industry. Today, the majority of screenwriters come not from such literary backgrounds, but from a wide range of professional as well as film industry backgrounds. (69)
The change in the kinds of people who write the films might explain why some people feel the films today are not up to the par set by the 1950s and 60s. It also explains how the Hindi dialogue in more 'urban' themed films (like Dil Chahta Hai) sometimes seems a little forced, as if everyone would be more comfortable doing the whole thing in English.
8. Synch-sound. The vast majority of Bollywood films are still dubbed. The industry is still generally using older cameras, which produce camera noise, and has never invested in creating sound-proof shooting conditions in their studios. As a result, it's still easier and more efficient for actors to dub their voices in studio after shooting. This state of affairs is unfortunate, as dubbing is sometimes adversely affects the quality of the acting and the 'production values' more generally.
This set-up also helps non-Hindi speaking actors (like the Tamilian superstar Kamal Haasan) to enter into the Hindi film industry. Conversely, it allows Hindi film actors to get into non-Hindi film industries, even if they don't speak the language. The weirdness is that in some cases, if the actors concerned can't quite get their lips around the language in question, other actors' voices might be over-dubbed for their lines. Thus, the actor who is physically on screen may have his lines vocalized by someone else, while the songs in the film are sung by yet a third person!
1.”Bollywood” vs. “India”. You hear again and again that Bollywood is the biggest film industry in the world, producing 800-1000 films a year. Actually this isn't strictly correct. It's the Indian film industry that produces that many films; Bollywood -– defined as commercial Hindi films produced in or around Bombay -– produces only about 150-200 films a year. According to Ganti, both the Telegu and Tamil film industries produce equal numbers of films (though I suspect budgets and audiences are probably smaller).
2.Taxation. Unlike in the U.S., where the film industry has always been treated by the government as a legitimate business, in India for many years, the film industry was treated as a vice, and taxed egregiously, at rates between 25 and 75 percent. This is so despite the fact that the film industry is the second largest in the country in terms of capital investment, and the fifth largest in terms of people employed.
Moreover, the tax is not just one tax, but a whole series of them, affecting the producers, distributors, and exhibitors of films. States use taxes to protect local language cinemas, and the Indian government waives taxes on films that are deemed to be especially patriotic (recently, films like Lakshya and LOC: Kargil were 'tax-free'. So the next time you see some uber-patriotic war film and wonder how Bollywood got so patriotic all of a sudden, keep in mind that there's a profit-margin in there.)
The tax situation has improved somewhat since May 1998, when the government finally granted the film industry the status of an actual “industry,” which means some alleviation of taxes, as well as smaller perks like reduced rates for electricity. However, taxes on films are still pretty high.
With all the tax, it's a wonder that the industry survived at all, especially during the deep recession in the early 1970s, when the government imposed a 250 percent tariff on imported film stock.
3. Flops. The success rate for Bollywood films is 15-20 percent a year. The vast majority of films are 'flops'. The industry survives because there is always some rich sap ready to invest in another film (see #6 below).
4. Number of Prints. The number of prints made for even big films is no more than 500 or so, including prints to be sent abroad. Compare to Hollywood, which releases big films on 3000 or more screens at once in the U.S. alone. One has to keep in mind, of course, that normal (i.e., non-multiplex) movie theaters in India are much larger than in America. A big movie theater in India can seat up to 2500 people.
5. Box Office totals. I've often wondered why we don't get precise box office totals for Bollywood releases the way we do in Hollywood. According to Ganti, while theaters at the main urban centers give quite specific box office numbers, the smaller centers (which also sometimes get films a little later) don't report their earnings accurately or consistently.
6. Financing. Bollywood movies are produced and financed in a completely chaotic way. Here are two paragraphs from Ganti on the decentralized, flexible Bollywood system:
The industry is neither vertically nor horizontally integrated in the manner of the major Hollywood studios or multinational entertainment conglomerates. 'Studios' within the Indian context are merely shooting spaces and not production and distribution concerns. Though there has been a move toward integration and points of convergence . . . these instances are not systemic and do not preclude others from entering the business. Essentially, the 'industry' is a very diffuse and chaotic place where anyone with large sums of money and the right contacts can make a film.
Although both the Western and the Indian press use the metaphors of factories and assembly-line production to characterize the Bombay film industry, i.e., 'Bombay's dream factories churn out hundreds of films a year,' in reality the industry is extremely decentralized and flexible and a more apt comparison would be to a start-up company financed with venture capital. Each Hindi film is made by a team of people who operate as independent contractors or freelancers and work together on a particular project rather than being permanent employees of a particular production company. Films are often financed simply on the basis of a star-cast, the germ of a story idea and a director's reputation. . . . Power resides in the stars, directors, and producers. The industry contains very few non-value-added people such as executives, lawyers, agents, professional managers, i.e., the 'suits,' who do not contribute to the actual filmmaking process. There are also no intermediaries such as casting agents, talent scouts, or agencies like ICA and William Morris.
In the absence of lawyers, Ganti notes (and Suketa Mehta corroborates much of this in his book Maximum City, which is also largely based on personal experience with prominent figures in the industry), large deals are often sealed on the basis of verbal agreements between trusted partners. The informal nature of the system also makes it a convenient haven for 'black money' –- cash investments by gangsters, who need to hide their earnings from tax collectors.
7. English. These days, many Bollywood screenplays are written in English originally. The reasons for this are many and overlapping. Here is how Ganti explains it:
While the narration of a [Bollywood] script is in Hindi or 'Hinglish' – a mix of Hindi and English prevalent among urban elites, many contemporary screenwriters first write their scripts in English and then translate the dialogues themselves into Hindi or work with a dialogue writer who is more proficient in the language. The specifics of a screenplay such as location, time of day, scene descriptions, and camera movement are always in English. The presence of English as a language of production may surprise readers, but is testament of the cosmopolitan nature of the Bombay film industry where people come from every linguistic region of India, and are not necessarily native Hindi speakers. . . . This reliance on English by screenwriters is a recent phenomenon and also signals a shift in [the screenwriters'] background. In the earlier decades of Hindi cinema, screenwriters were often Hindi or Urdu poets, playwrights, or novelists who supported their literary endeavors by working in the film industry. Today, the majority of screenwriters come not from such literary backgrounds, but from a wide range of professional as well as film industry backgrounds. (69)
The change in the kinds of people who write the films might explain why some people feel the films today are not up to the par set by the 1950s and 60s. It also explains how the Hindi dialogue in more 'urban' themed films (like Dil Chahta Hai) sometimes seems a little forced, as if everyone would be more comfortable doing the whole thing in English.
8. Synch-sound. The vast majority of Bollywood films are still dubbed. The industry is still generally using older cameras, which produce camera noise, and has never invested in creating sound-proof shooting conditions in their studios. As a result, it's still easier and more efficient for actors to dub their voices in studio after shooting. This state of affairs is unfortunate, as dubbing is sometimes adversely affects the quality of the acting and the 'production values' more generally.
This set-up also helps non-Hindi speaking actors (like the Tamilian superstar Kamal Haasan) to enter into the Hindi film industry. Conversely, it allows Hindi film actors to get into non-Hindi film industries, even if they don't speak the language. The weirdness is that in some cases, if the actors concerned can't quite get their lips around the language in question, other actors' voices might be over-dubbed for their lines. Thus, the actor who is physically on screen may have his lines vocalized by someone else, while the songs in the film are sung by yet a third person!
Wednesday, April 09, 2008
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