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(485, 0, 'Mark your calendars for ECTA’s latest productions to be staged on June 12 and June 13 2010 at Edison Valley Playhouse Edison NJ. Each evening you’ll see two plays of different flavors. “Musical Chair” - a short play by Sudipta Bhawmik Directed by Keka Sirkar “Five women of different ages and social backgrounds get into a game of Musical chair. They circle around the chairs with the sole objective of winning their prize seats at any cost. But when the music stops one has to lose and leave the game. But the game keeps going on and on…..” “Ekti Gnaye Thaki” Written and directed by Sudipta Bhawmik The play tells the story about the eternal bond between a brother and sister that bridges all kinds of divisions distances and conflicts. The play highlights the fact that we all can live together in universal love and brotherhood irrespective of the differences between us if we so desire. The name of the play is borrowed from the poem “Ek Ganye” by Rabindranath Tagore and was made famous by Sombhu Mitra and Tripti Mitra in Bidhayak Bhattacharya’s well known radio play “Tahar Naamti Ranjana”. As you know Edison Valley Playhouse has limited seating. So please book your tickets in advance. Tickets are 20.00 for two plays and as always members get a 20 discount. 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(486, 0, 'I wrote the play “Musical Chair” couple of years ago for a local magazine. That time I had no intention of staging the play rather it was written more as a piece to be read rather than acted. The theatrical format did consider the staging related logistics but the play demanded a lot from the actors and the director. Keka Sircar took up the challenge and we decided to stage the play along with “Ekti Gnaye Thaki”.  A women director can bring to a play a perspective that is unique and for a play like “Musical Chair” it is almost essential.  Since all the speaking characters in this play are women   the actors too can present the material in a form that we are not accustomed to in a male dominated stage. The way the play gets interpreted and presented by the women actors can never be achieved from a male perspective. Jayeeta Ganguly performs one of the key role in this play and this is what she had to say about the play. “Musical Chair” intricately weaves the lives of five women who are in the game for winning something more than the prize. Life has dished out a fair slice of unfairness to each one of them and today they are prepared to get even with it. They are all very different- different when it comes to their age and their social economic and intellectual stature however one thing is common to all five- their battle with insecurities. So be it a gnawing fear of fading youth and degeneration or the constant throttling of spririt by an overbearing husband or the disloyalty and rejection by a fickle partner they are all victims of circumstances beyond their control. And this despair and dejection lashes out in a passion to win the “chair”. The “chair” ofcourse means different things to each of them. While one sees in it the path to beat the young and to takeover the other sees in it a medium to regain her lost self-esteem. Two of them even see the chair as their object of desire as an answer to their power-struggle over one man. But the best part is that the picture of all these struggles and battles is painted hilariously and that the characters are extremely real. One can identify a Konkona Malini or a Suchismita in every social group. Coming back to the game and the chair round and round the characters walk eyeing the chair closely and waiting for the music to stop. The chair is ruthless just like Life. Only the fittest person will survive… In the coming weeks I wish to bring to you some more view points from the actors and the director. I am waiting eagerly to see the play during its staging at the Edison Valley Playhouse on the 12th and 13th of June. I hope you are waiting too. 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(490, 0, 'Simanti Dasgupta Many of us will intuitively link the title of the play to Rabindranath Tagore’s well know poem “Ek Gnaye” and correctly so. Sambhu Mitra and Tripti Mitra particularly immortalized the poem in their rendition of it in Bidhayak Bhattacharya’s celebrated radio play “Tahar Naamti Ranjana”. “Ekti Gnaye Thaki” written and directed by Sudipta Bhawmik is the story of a sister Ranjana and her brother Rajat reuniting after fourteen years. Rajat immigrates to the US with his family after Ranjana sponsors their green cards. The reunion is marked by its usual excitement followed by nostalgia for their “gnya” they left both behind. Rajat becomes a critical link for Ranjana to relive her past while Ranjana helps him come to terms with his decision to abandon his familiar world in Gobindapur. Ranjana is also ill and Rajat’s presence offers a long-awaited emollient. As the brother and the sister often slip into the past the rest of the characters are excited at the prospects of their future in the US especially Rajat’s son Rajib. Life gradually settles down and a quotidian harmony evolves. Yet from the beginning the script occasionally and quite subliminally alludes to an underlying subplot that threatens the apparent calm between the two families. Eventually through a set of related incidents the undisclosed piece- a rather disconcerting one- is revealed. The disclosure as one would expect tears the growing assurance of the families’ suburban life. It also and more importantly sets in motion a drift into the past that interrogates those relationships that were deemed normal. Though this interrogation fractures a happy picture however it is through this fracture we are invited to revisit something more important: the attachment between human beings. The play above all irrespective of its specificities of time and place is a commentary on what it means to be a human being in relation to those we hold dear in our lives. Sudipta Bhawmik an auteurist playwright and director has long dealt with issues that inflect our condition of parabaas in several modes. Like his other plays this play too explores life our lives in this country as a muddle of time that simply refuses to leave the past behind even when we have crossed thousands of miles. Most of us who live in the US two continents and two oceans away from India journey back and forth between the two counties. However the journey is not necessarily always physical or has to be so. Rather it is more often than not in our imagination as we brew the morning cup of tea or have machher jhol for dinner or pine for a phuchkawala while returning from work. Whether one has a temporary visa a green card or even citizenship in the US the journey never ceases. It is a drift: a going away to gather new things but also treasuring what we had when we first began. In fact the drift constitutes our parabaas . It is never complete. We inhabit this drift as a continual negotiation but we seldom reach a resolution especially in the realm of values since we in effect reference two cultural systems. However there comes a time when like all drifts we too pause to assess what we gathered over time. “Ekti Gnaye Thaki” is one such pause one which we may not have all experienced but will nonetheless recognize. It is a pause that makes us realize that apparent differences and distances that seem insurmountable are in fact not so and neither should they be. As the script reveals the refusal to let differences alone inform our values makes our parabaas more humane. It is possibly in this refusal that we reinvent ourselves as human beings who cannot be limited territorially through our passports and green cards. The title of this play is a wonderful reminder that in belonging to the heritage of Tagore in the end we belong to “Ek Gnaye” somewhere which like his philosophy folds in the universe even in its contradictions. The play will be staged on June 12 and 13 2010 at the Edison Valley Playhouse 2196 Oak Tree Road Edison NJ. Visit http://ectainc.org for details. 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(491, 0, 'Harrice Miller Entertainment Presents A Hindustani Classical Jugalbandi Featuring Vocalist Mitali Banerjee Bhawmik and Flutist Steve Gorn Performing together for the first time. Tabla accompaniment by Dibyarka Chatterjee Sunday June 6 2010 7.00pm Nadia Jinnah Gallery 500 West 52nd Street at 10th Avenue New York NY 10019 Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Hindustani Vocal and Bansuri Jugalbandi size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(492, 0, 'Music and NABC go hand in hand together. Most of the events that happen at any NABC are related to music and NABC 2010 is no exception either. A slew of musicians like Abhijeet Monomoy Anik Anwesha Indrani Sen Sahaj Ma Utpal Fakir and many others will be performing at the 2010 NABC at the Atlantic City Convention center. Each performer will enchant the audiences with their solo performances on the grand stages of the convention center. However this year the host organization Kallol of New Jersey is planning something special with these popular and talented musicians. Named as “Surer Ei Jhar Jhar Jharna” this program will bring on stage all the musicians together to perform some of the most popular songs over the last fifty years of Bengali music. Starting with the haunting melodies of the sixties to the band music of the contemporary Bengali youth the program will take its audience through an audio-visual journey that has never been experienced before. Planned and designed by Pinaki Datta the program for the first time opens the choice of songs to the music loving Bengalis of the World by offering them an option to vote for their favorite tune through the internet. Visit the NABC 2010 website at  http://www.nabc2010.org/anurodher-ashor.html and vote for your favorite song. The musicians will perform those which gets the highest vote. And if the song you vote becomes the most popular choice you may even win a prize. The performers will include Indrani Sen Monomoy Anik Dhar Anwesha Sahaj Ma Utpal Phakir and Nirmalya. This program will undoubtedly be one of the most popular attractions at the NABC 2010. The songs on the list are: 2001- 2010 1991- 2000 1981- 1990 1971- 1980 1961- 1970 Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  NABC 2010: A Novel Musical Program size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(494, 0, 'Since 1989 I have been involved with Bangla Theater in USA. Over the years I have worked with several groups several associations and have been involved with several theater productions. My theater journey in this country started with the theater group Sansaptak with their production “Sabda Moho Bandhane”. The play was directed by Sakti Sengupta.  Being involved with theater since my childhood I was a bit skeptic about the theater scenario in USA when I first arrived in this country.  But my first experience was not only a pleasant surprise but an extremely enjoyable one.  All the stereo typical notions of expatriate Bengali theater were shattered with that production.  Sakti-da took us through a complete production development process of a new play. The script was developed based on Shirshendu Mukherjee’s short stories Sunil Ganguly and Sakti Chattopadhyay’s poems.  It was not a simple narrative but rather a complex collage of character’s their relationships their dreams and disillusionment. The play was not an easy one and we had to struggle to develop the characters. Sakti-da worked hard with us tried to help us understand the characters and their motivations. Since the play was continuously evolving the characters too were evolving and that made the task more difficult.  The show was well appreciated by the audience but for many it was quite tough nut to crack.   The play was staged at the Parish Player’s theater in Plainfield and we staged three shows. The cast included Dhriti Bagchi Omkar Goswami Kasturi Dasgupta Sadhan Mondol Soumendu Bhattacharya and myself. Unfortunately after this play Sakti Sengupta stopped doing Bengali plays for a while and his theater group Sansaptak became kind of defunct. Many of the cast members are still involved with theater. Omkar Goswami went back to India. Sakti-da came back to Bengali theater after many years but unfortunately I did not have the pleasure of working with him again.  I hope someday we’ll be able to collaborate on a new play together. 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(493, 0, 'Raag - Rang presents an afternoon of Hindustani Classical vocal music by Ustad Mashkoor Ali Khan. Shree Dibyarka Chatterjee will accompany him on tabla and Shree Madhu Vora will accompany him on Harmonium. Concert will start with a short vocal rendition by Smt Anindita Sikidar Venue: Balaji Temple Bridgewater. Donation : 15.00 for non-members 12.00 for members. 10.00 for the kids non-member 7.00 for members. RSVP will be appreciated. Contact details: 908 -429-1120 609 -890-4890 908 -707-8582. Or email at bhawmikm@gmail.com mayuresh.khare@gmail.com devang42@yahoo.com Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Raag-Rang Presents Ustad Mashkoor Ali Khan size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(495, 0, 'Saturday July 10 6.00pm at Banga Mancha Hall A Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  NABC 2010: Ekti Gnaye Thaki Promo Video size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(497, 0, 'On the Occasion of NABC2010 Kallol of NJ presents “EKTI GNAYE THAKI” We Live in a Village A Play by Sudipta Bhawmik Cast: Abhijit Neogy Sankar Ghoshal Lilabati Majumdar Indranil Mukherjee Aparajita Das Raja Roy Debiprosad Palit Music: Samya Goswami Lights: Subhodev Das Chandan Sen Synopsis: “Ekti Gnaye Thaki” is the story of Ranjana and her brother Rajat reuniting after fourteen years. Rajat immigrates to the US with his family after Ranjana sponsors their green cards. The reunion is marked by its usual excitement followed by nostalgia for their hometown Gobindapur they both left behind. Rajat becomes a critical link for Ranjana to relive her past while Ranjana helps him come to terms with his decision to abandon his familiar world in Gobindapur. Ranjana is also ill and Rajat’s presence offers a long-awaited emollient. As the brother and the sister often slip into the past the rest of the characters are excited at the prospects of their future in the US especially Rajat’s son Rajib. Life gradually settles down and a quotidian harmony evolves. Yet from the beginning the play occasionally and quite subliminally alludes to an underlying subplot that threatens the apparent calm between the two families. Eventually through a set of related incidents the undisclosed piece - a rather disconcerting one - is revealed. The disclosure tears apart the growing assurance of the families’ suburban life and more importantly sets in motion a drift into the past that interrogates those relationships that were deemed normal. Though this interrogation fractures a happy picture however it is through this fracture we areinvited to revisit something more important - the attachment betweenhuman beings. The play above all irrespective of its specificities of time and place is a commentary on what it means to be a human being in relation to those we hold dear in our lives. Hall A - Banga Mancha Atlantic City Convention Center 6.00pm Saturday July 10 2010 Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  NABC 2010: “Ekti Gnaye Thaki” size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(498, 0, 'Last Friday night a horrific incident took place in an otherwise decent neighborhood in Old Bridge New Jersey. Dr. Divyendu Sinha a forty nine year old Computer scientist was having a walk outside his house with his wife and two sons when five teenagers came out of their car and started beating Dr. Sinha for no apparent reason. Dr. Sinha was severely injured and was later taken to the hospital where he died on Sunday morning. The brutality of this incident shocked not only the entire Indian American community but also the society at large. The local law enforcement have arrested all the five perpetrators and have charged them with murder although their names have been withheld due to their age between 16 and 17 . Early reports classified this as a random incident but according to recent statements from the County Prosecutor Bruce Kaplan bias crime charges will not be ruled out. In a recent meeting with the township officials the Asian Indian community members have expressed that they have been harassed regularly by the local teenagers and this is not a random incident at all. The township officials have instructed the community members that they should inform the police whenever they experience such behavior. I hope that the legal process takes due action and the criminals pay the highest price for their dastardly act. But this will not bring back the father of two young boys who had to undergo the trauma of watching their father being brutally assaulted by five thugs. Nor it will bring back the husband of a woman who saw how her entire life was shattered by some cruel and mindless criminals. My heart goes out to them. Divyendu was one of us. He was a graduate from IIT Kharagpur 1982 Computer Science Nehru Hall the college where I graduated from and I must have crossed paths with him several times in the campus. My sons are of the same age as his. It could have happened to me or to anybody for that matter. What kind of hatred and rage was burning within these five kids who could kill a man with their bare hands What’s happening to this society Are we losing all civility What are our schools teaching to our kids It is true that all schools have few rotten apples but how could they muster so much courage as to beat up and murder any man on the street they like We should all wake up now and realize that we can no longer afford to stay isolated and mind our own business. We should get involved in our communities school boards and local administration and policy making bodies. We must make a conscious attempt to inculcate our values and ideals within our community and make a positive impact to the society. Let’s make sure that we don’t lose any other Divyendu in the future. 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(498, 2851, 'Vinny I hope the punks are given the punishment they deserve.', NULL),
(498, 2850, 'Concerned citizen Dear Author I am a mother of a teen age daughter living in Princeton. As an Indian I am horrified by the incident and am trying to understand what could have possibly motivated such young kids at least to me they are kids because they are my child’s age to commit such a terrible crime. Like you mention how can we allow this to happen in our so called civilized society. Shouldnt schools do a screening for youngs thugs and watch out for disturbing behavior and take some action It looks like OB residents have put up with a lot and what has the township done about it How did things come to such a terrible trajic situation Losing one Sinha is one too much already. Yes these criminals should be brought to justice but we absolutely need to have the system catch these disturbed minds much earlier.', NULL),
(498, 2852, 'Dave Makkar Attorney General should investigate Sinha Murder The brutal murder of Dr Sinha out side his own home by few teenagers of his own town has shaken the Indian Community all over America . The sense of security among the community members has vanished over night. Then reports of racial bias towards Indian community members as narrated during the meeting with Mayor Philips on 6-29-10 has further compounded the fear factor. All investigations related to the brutal murder of Dr Sinha must be handled by AG office. Parents of the teenagers for bad parenting school teachers principle for not reporting abnormal behavior of these teenagers to law enforcement and above all 104 Police Officers of Old Bridge must be investigated to find out what went wrong in enforcing law order. Impartial investigations by AG office will send right message on the street that there is accountability for crimes committed against minorities and it is safe for minorities to raise their families in NJ BRUCE KAPLAN IS A KNOWN INDIAN HATER Rajnikant was brutally beaten under Racial Bias by Michael Dotro in front of 30-40 Indians. Kaplan refused to take their testimony by saying they are not credible witnesses because every body is saying same thing. Later on Parikh was deported in violation of US laws human rights. State ICE spent more than 100 000.00 kept Parikh in Jail for over 8 months and still denied him Fair Open Trail just to save a WHITE cop Dotro whom Paikh accused of Police Brutality under Racial Bias. http://www.profilingrace.blogspot.com Schwartz led Police Union members supporters family members called “Indians are cockroaches animals illiterates and illegal go home.” These are the worst ever called Racial Slurs for any community in over 200 years history of America . Police Dept Mayor Twp of Edison has yet to give verbal or written apology because community leaders like Upendra Chivukula feels these Slurs are Compliments for the community http://www.citizensfordemocracynj.org http://www.profilingrace.blogspot.com', NULL),
(498, 2857, 'Dave Makkar Dear Every one: Please send letters to Gov. Christie by going directly on his official web site to Attorney General Paula Dow after making required changes for State investigation into the brutal murder of Mr. Sinha in racial attack on 6-25-10 as per the attached letter sent to Gov. Christie. Please do not send information about Middlesex County Prosecutor Bruce Kaplan. Local authorities are trying to cover up this incident as stray incident. It is more than 1 week they have yet to release the names of the attackers of Dr Sinha who happens to be the residents of same town as Dr Sinha. Gov. Chris Christie http://www.state.nj.us/governor/ AG Paula Dow http://www.nj.gov/oag/dcj/obccr/contact.htm OBCCR@njdcj.org JUSTICE FOR DIVYENDU FAMILY http:// justicefordivyendufamily. wordpress.com/ PLEASE SIGN A PETITION http://www.petitiononline . com/divyendu/petition.html Via Facsimile E-mail Regular Mail July 6 2010 Gov. Chris Christie State Of New Jersey Fax: 609 292 3454 Re: Brutal Murder of Dr. Divyendu Sinha due to a racial attack on June 25 2010 Hon. Chris Christie: The brutal murder of 49 yrs old eminent professor Dr Diveyndu Sinha out side his own home in Old Bridge by few teenagers of the town has shaken the Indian Community all over America with revived fear for their safety. The sense of security among the community members has vanished over night. Then the report of racial bias towards the Old Bridge Indian community as narrated by the members during the meeting with Mayor Philips on 6-29-10 has further compounded the fear factor along with outrage. We request your honor that all investigations related to the brutal murder of Dr Sinha under racial bias must be handled by Bias Crime Unit of Attorney General’s Office. The sham investigations by Old Bridge Police under a known Indian Hater Middlesex County Prosecutor Bruce Kaplan is an insult to the victims Late Dr Sinha his 2 children age 12 16 wife entire community of Indian origin living in New Jersey and America. There should be prosecution of the parents of the teenagers for bad parenting school teachers principle for not reporting abnormal behavior of these teenagers involved in the murder to law enforcement agencies. Above all 104 Police Officers of Old Bridge Twp must be investigated and interrogated separately to find out what went wrong in ensuring law order including neighborhood patrolling to prevent such crimes. All of them can not take a stand that they were unaware what the teenagers were doing in the town. The Police Chief of Old Bridge must be fired immediately and charged with failure to perform his fiduciary duties. Those found guilty out of the 104 Officers must be discharged from the force and prosecuted for failure to perform their duties and for aiding the brutal murder of Dr Sinha in a racial attack due to their negligence. This incident has brought so many India American families of NJ like my family under constant fear especially when they are aware of the fact that majority in their town’s Police departments treat Indians with contempt and racial bias. Impartial investigations by Attorney General’s office will send the right message on the street that there is accountability for crimes committed against minorities and it is safe for the minorities to raise their families in New Jersey. Further residents of New Jersey must be assured that the Police Departments of the towns are for Law Enforcement and prevention of crimes only. Police Departments in conjunction with corrupt Municipal Courts are not merely revenue generating entities for the townships to implement traffic summons quota designed by the Politicians to generate revenues. These Traffic Summons Quota are primarily being used against minorities and diverting the Police Force from their primary job of Law Enforcement and Prevention of serious crimes. Sincerely Devendra ‘Dave’ Makkar http://www.citizensfordemocracynj.org http://www.state.nj.us/governor/ http://www.nj.gov/oag/dcj/obccr/contact.htm mailto:OBCCR@njdcj.org http:// http://www.petitiononline', NULL),
(157, 2855, 'Dev Kar My comment unfortunately is a negative one. The most important thing on this website is the PROGRAM. It’s extremely difficult to find. That should not be the case. Please note the other topics are not that important. The convention’s program should be the most prominent and easiest to find. This website is very badly designed.', NULL),
(498, 2853, 'Aditi Sen My condolences to the Sinha family. This is a tragedy that can happen to any one of us. I agree that we should get involved in the local community and get to the know the people who run the towns. The best way to fight bigotry and hatred is to be inclusive and open up our hearts and minds to the local people. Our kids can be a good place to start. Elementary and middle schools are usually ideal places to get involved. They appreciate any help the parents can give during the countless events during the school year.', NULL);
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(499, 0, 'Check the following video coverage of NABC 2010 and our play “Ekti Gnaye Thaki” by Banglapodcast.com. 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(500, 0, 'Finally the 2010 NABC came to an end on Sunday July 11th at the Atlantic City convention center in New Jersey with a “blow out” performance by Abhijeet. Although his mockery of Bengali culture was not well appreciated by many Bengalees who slowly drifted away from the hall which was not liked by the singer at all his performance was just what was expected of a Bollywood performer - entertaining but nothing extraordinary. However people who came to the conference went back with memories - some of which may not be very pleasant but I would think most of them would be happy memories. Memories of the wonderful performances by  Sahaj-ma and Utpal Fakir Kaivalya Kumar and few others memories of meeting friends those long adda sessions and the World Cup finals. But the people who went back with a bad taste in their mouth no I am not talking about the food served by Shahnawaz were the people who came all the way to showcase their talent through dance drama and music.  These people paid group registration for their show paid individual registration fees for their entire troupe and spend big dollars to bring their show with the hope to share with their Bengali friends who came from around  the country. ‘Really felt like nobody cared about our program only about our registration dollars ” says Bharati Mitra director of Tagore’s “Arupratan” a show that was presented in Hall A or Banga Mancha. And this is not only her feelings. Most of the performers especially those who performed in Hall A echoed the sentiment as noted by Keya Sen “I echo the sentiments that those of us who were assigned to perform on Hall A felt irrelevant and inconsequential.” Meena Basu Nag an award winning choreographer dancer and director of Nritya Creations says  ”The most important take away for me is that NABC is no longer a place to showcase “domestic” rising talent in our own Bengali North American Community and a place for second generation and third generation Bengali choreographers/artists like myself to showcase their work and talent.” The concern primarily is against the hall assignment and scheduling of the programs. Most of the domestic performances in Hall A were pitted against the star performers in Hall C Bishwa Mancha the main stage of the conference. This caused the audience to stick to Hall C since none of the domestic performers had the star power to pull them off from their seats to Hall A. Even when Hall C had some dull and boring lectures going on stage the audience hung on to their seats to ensure that they have a good view of their star who would be performing next. Hall A was a secondary hall in all respects. It did not have adequate lights the stage was ill-designed and built it was located far from the action center and there were no notices anywhere as to what is happening where except for the program schedule printed in extremely small fonts . Meena Basu Nag complains “Nritya Creations was allocated a time slot competing with Artists from India in a secondary hall where lighting was suboptimal.” She goes on to add “I spent over 4000 registering 25 of our best senior Indian Bengali and non Indian students for this program expecting we will be given a fair platform based on our merits past achievements and proven success. Instead we performed to a an audience of 300 in Hall A while Hall C sat over 6000 people at the same time for overseas artists such as Anwesha and Bikram Ghosh’s performances. The audience members who saw our program expressed deep concerns that why such a very high caliber and professionally executed show like ours was presented in a secondary hall and competing with Artists from India…” Mabhin Ghosh Datta from Canada had the same frustration “We 9 performers went to join NABC 2010 from Ottawa Canada and most of my students are not Bengali. We spent all the money for artist’s registration/hotel trip on top of group registration just to perform there. Our performance started late and was almost at the time of Aneek Dhar so no one there for our performances…” Prabir Das who brought his drama team all the from Cincinnati is more pragmatic. Although his play Sikhandi was competing against two major shows on stage C Bikram Ghosh’s percussion band followed by a star studded “Surer Jharna” but that was not his primary complaint - “As far as I am concerned I really don’t expect that 5000 people would attend my show. I really don’t. People have every right to pick and choose which program they would want to watch. However that does not mean purposely placing two or more auditoriums in such an unrealistic strategic locations that would confuse people and would not even want them to consider to come to the other auditorium.” He too like many others was totally disappointed with the technical aspects of stage A “Was that a stage for any kind of performance other than some band Was that any kind of theatrical lighting ” And the list goes on and on. Some of the key organizers have been heard to say that it was the fault of domestic performers that they could not attract the audience. But the organizers fail to understand that unless people experience the domestic shows they would never know the quality of their presentation. The handful of audiences who saw some to the good domestic shows have told explicitly that they were no inferior to many of the overseas productions they have seen. The domestic groups do not have stars to pull in the crowd in large numbers. How can they be expected to compete with Aneek Anwesha Monomoy or Indrani Sen. Even between the stars their exists a popularity hierarchy. If Aneek was pitted against Indrani Sen in Hall A I can bet that she would have had only a handful of audience just as it would have happened to Aneek if he was competing with Abhijeet. I have raised this issue with several of the organizers of NABC 2011 and based on the past record the Baltimore organizers will hopefully handle these issues in a better way. The new president of CAB Kajal Sarkar has taken up this issue seriously and has ensured that in the future NABC events he will make sure that such step-motherly treatment towards the domestic performers never happens. He has asked for suggestions and we all gave him our best ideas. Despite all the good intentions of CAB and the NABC organizing committee members the fact remains that the domestic performers will have to struggle to get their audience although it is not impossible. The first and foremost thing that we domestic performers should do is to improve our performances and raise it to the levels that an audience expects from a professional group. Secondly we need to accumulate accolades awards reviews and all other appropriate and recognized credentials which a selection committee can use to decide which groups to invite. And yes domestic groups should no longer pay money to participate at NABC. If you have to spend money then spend it on your production rent a theater space and show case your talent to your local audience. The cost of such a production will not be any more expensive than what you all spend to come to NABC to perform. I am not saying that you should not come to NABC. Please do come enjoy the shows from overseas performers have fun and adda with friends and go back happy. I think the time has passed for NABC to milk the domestic performers just to give them a slot on the stage for their money. 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(517, 0, 'South Asian Women Filmmakers Reshaping Their Identities 9 Women Filmmakers 16 Extraordinary Films From 7 Countries 1 North America Premiere 6 East Coast premieres 4 NJ Premieres Opening Night film  MIRCH A STAR-STUDDED MASTERWORK with Konkona Sen Sharma Raima Sen Boman Irani NOT TO BE MISSED WATCH IT FOR FREE ONLY AT NJISACF Festival Centerpiece  LIFE GOES ON Memorable performances by Sharmila Tagore Soha Ali Khan Om Puri Girish Karnad WATCH IT FOR FREE ONLY AT NJISACF Closing Night film COOKING WITH STELLA A Delicious Comedy written by DE EPA MEHTA A BRAVURA PERFORMANCE BY  SEEMA BISWAS OF THE BANDIT QUEEN FAME WATCH IT FOR FREE ONLY AT NJISACF YASMIN An award-winning performance by the Emmy award winner ARCHIE PANJABI the primetime TV serial THE GOOD WIFE WATCH IT FOR FREE ONLY AT NJISACF New Jersey Independent South Asian Cine Fest NJISACF 2010 is all about women their lives journeys and achievements. This precocious spectacle presents South Asia’s most radical crucial and underrepresented voices. The festival features a mélange of avant-garde documentaries mindboggling shorts and a dynamic selection of feature films that evince exuberance resilience and imperium of the South Asian cinema. NJISACF 2010 through its dynamic ensemble of movies wants to bring to the fore a new perspective about South Asian women in cinema who are breaking free from the shambles of culture religion and sexuality these women are challenging common perceptions and converging towards an affirmation of identity and rights. Quote : Sakti Sengupta Director NJISACF : “There exists a body of recent films by women filmmakers and screenwriters working in the UK Canada and the US and representing South Asian communities and subjectivity in the West. It is a culturally hybrid cinema which actively locates itself between Hollywood and Bollywood. The diasporic South Asians are not merely assimilating to their host cultures but they are also actively reshaping them through their own new voices bringing new definitions of identity.” This year NJISACF 2010 brings a cinematic extravaganza from nine women filmmakers with 16 features shorts and docs from seven countries on October 29 and 30 at Big Cinemas 1655 OAK TREE ROAD Edison New Jersey . For more information visit: www.NJISACF.org . On Friday October 29 the festival opens with the New Jersey premiere of the new yet-to-be-released film “Mirch” a masterwork and collage of four short stories about women’s empowerment and rights and gender equality starring Indian heartthrobs Konkona Sen Sharma and Raima Sen . Come join us also on Saturday October 30 as we showcase the New Jersey premiere of yet another unreleased film “Life Goes On” starring Sharmila Tagore Satyajit Ray’s much-celebrated heroine from the Apu Trilogy East Coast premiere of “Cooking with Stella” co-scripted by the Oscar-nominated for her film “Water” Canadian woman filmmaker Deepa Mehta and “Yasmin” where Archie Panjabi Emmy Award winning actress from the primetime series The Good Wife shows what it’s like being a Muslim and an Asian woman in a post 9/11 world and documentaries like “Beyond Women’s Stereotypes” featuring Booker Prize winning author of GODS OF SMALLL THINGS Arundhati Roy “Dishonored” the heart-rending story of the gang-raped Pakistani woman Mukhtar Mai she won the Woman of the Year Glamour magazine award in 2005 . Where thought leaders filmmakers film personalities and scholars meet exchange of ground breaking discussions ensue. NJISACF 2010 will host two panel discussions Changing Representations of Women in South Asian Cinema and South Asian Women reshaping their identity: A discussion on South Asian diasporic women filmmakers along with Q A sessions after each film screening. Women filmmakers and especially South Asian women filmmakers from South Asia and the South Asian Diaspora are one of the most under-represented in the history of cinema at film festivals and at all other exhibition venues. Women’s film festivals are only about 2 of more than 5 000 film festivals held in North America. And how many South Asian Women’s film festivals are there in North America We counted about 3 only The NJISACF is presented by the Asian American Film and theater Project a 501 c 3 tax exempt non-profit arts organization. The organization promotes and recognizes the talents of the new the established the underrepresented the best and the brightest Independent South Asian filmmakers from across the globe. Pls contact: Sakti Sengupta Festival Director asamfilmtheater@yahoo.com 732-310-0236 OR Neha Mahajan Marketing Co-ordinator nehamaha@gmail.com 732-500-8844 Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  NJISACF 2010 : South Asian Women Filmmakers Reshaping Their Identities size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(520, 0, 'by Pronoy Chatterjee Gayatri Memorial Awards have been established by Ananda Mandir Somerset NJ to recognize authors who have demonstrated excellence in writing through their published essays poems short stories or plays. The awards have been made possible through a significant contribution from Jerry GaMarsh husband of late Gayatri GaMarsh. Gayatri was an accomplished author and artist – and a key member of the editorial team of Ananda Sangbad and Anandalipi publications of Ananda Mandir. The Gayatri Award is administered through the Awards Recognition Subcommittee of Ananda Mandir. Two cash awards will be given each year to recognize outstanding works published in North America-based literary magazines within the last five years. One award will be given to an author of Bengali works and another will be given to an author in English. Each award will consist of 400 in cash and a certificate. An author may nominate himself/herself — or may be nominated by third parties using the Nomination Form shown below . The nomination must be supported by photocopies of two and only two essays poems short stories or plays published in North America-based Bengali or English magazines. The two supporting publications can be of the same type or of different types eg. one poem and one short story . Unpublished works of literature will not be accepted. Full publication references must be submitted for the articles submitted with each nomination. Articles published in magazines outside of North America will not be considered. Nominated authors must be 18 years or older. Each of their published articles prose or poems submitted with their nominations should be relatively short no more than 5 or 6 printed pages in length . Nominations should include short biographies of the authors. Judging however will be based primarily on the two supporting publications. Judges’ decisions will be final. Members of the Awards Recognition Subcommittee and the judges cannot submit nominations for themselves nor can they be nominated by third parties. Deadline for nominations with supporting documents for the 2010 awards: March 31 2011. Awards will be announced and presented in Fall 2011. Please send nominations with supporting documents to Pronoy Chatterjee 6 Marcin Court Spotswood NJ 08884 In case of questions contact Pronoy Chatterjee pkc usa@yahoo.com or Debajyoti Chatterji debsmee@comcast.net NOMINATION FORM FOR GAYATRI GAMARSH MEMORIAL AWARDS Full Name of Author Being Nominated: 2. Is the Nominated Author 18 Years of Age or Older If no please do not submit the nomination Full Address of the Nominated Author: Phone Number of the Nominated Author: Email Address of the Nominated Author: If the nomination is being submitted by a third party please provide the full name and contact details of the third party. Also please confirm that you have the author’s approval to submit the nomination on his behalf. Please attach a short one page maximum biography of the author highlighting the author’s literary interests and accomplishments. Please attach PHOTOCOPIES of TWO AND ONLY TWO of the author’s works of literature. For each work PROVIDE FULL PUBLICATION DETAILS name of magazine publisher’s name/address and date/year of publication . Nominating Person’s Statement: “I have read the terms and conditions of the Gayatri Award and agree to abide by them.” Signature of the Author/Nominating Party: Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Gayatri GaMarsh Memorial Awards For Literary Excellence size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(523, 0, 'by Sharmila Sen This year Kallol celebrated Durga Pujo with a new committee and with a class structure. Unfortunately some of the enforcers of this class system had none of their own. As one long time member expressed disappointedly “Green tag gulo holo citizender jonno aar aamra bakira holam bratyo.” Life members other members and those who attend the Pujo celebrations at Kallol regularly were treated with disdain and contempt if they had not paid up for the venerable “green card.” One attendee asked “Amaar 150er kono daam nei ” There was no answer. In addition to this several rows in the front were cordoned off with yellow “caution” tape - “caution” to the plebeians to stay away from the elite. One woman dared to cross over to wish a friend “Subho Bijoya” and was halted peremptorily “Odike keno jachchen Apnar odike jaorar katha na.” Interestingly as this woman’s badge was in her purse this volunteer only needed his perception of status Or was this caused by gender to justify his insolence. Interestingly about 1/4 of these privileged rows except for the very first row on the left were mostly occupied by orange cardholders not the color de rigueur About 1/2 the seats in the orange section bespoke of ownership with strewn shawls bits of paper and brochures. An interesting note: most of the vacant seats in both the elite section and the orange section went unclaimed through the 3 days of celebration despite the yellow tape and the visual claims of ownership The indignity of being tagged “orange ” was intensified by the fact that in conjunction with the yellow cautionary tape orange signified “Danger Be careful of these unimportant people ” In addition the lighting system was placed in the midst of the outcasts after the elite seats. Three chairs marked off the lighting system three chairs that went unoccupied as the light man stood erect the entire time fiddling with the various knobs as a child would with a new toy and aiming the lights at all and sundry frequently missing the real subject. The fact that he was not transparent and clearly obstructed most of the people behind him did not seem to concern him as he obstreperously defied all requests to sit down. The last night of celebration at Kallol has been for the last few years one of greeting contemplation and classical music. This year the penultimate program was one of songs and sarode. As the artists on the stage announced their last presentation one of Kallol’s volunteers shooed them off the stage dismissing requests and protests from the audience. Even the boos from the audience both citizens and non did not pause the proclamation “We are running late and there’s another program.” Several people complained about the rude crude and obnoxious behavior on display through out the festivities. Most of the complainants were either women or visiting parents. While the former group is not unexpected as other women in other contexts have spoken about the misogyny that infests Kallol the revelation from the latter came as a surprise. It is worthy to note at this point that it was Durga who was being celebrated the Sacred Feminine Shakti. To borrow loosely from a noted writer oh how the borders of our belief of a celebration shrank back in the hands of a few of Kallol’s officious officials As someone remarked sadly “Kollol’e beno jol dhuke geche onek etai dukher byapar.” The bottom line is some of us were deliberately slighted insulted and mistreated. What a nice way to mark bangalider shrestho celebration NOTE: OPINIONS EXPRESSED IN THIS ARTICLE ARE THOSE OF THE AUTHOR ONLY. 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(524, 0, 'by Brinda Guha Durga Puja is one of the most beloved times in our community - every year we get together tempted to see all the people we haven’t seen in recent months sometimes even years. I still remember coming to Puja since I was 4 and 5 years old hoping to see all the Mashi’s and Kaku’s finding every corner of the Ukrainian Center with friends to find the perfect place to play games. Then being rushed out by my parents to make sure I gave anjali even though I had no clue what it was — I knew it made my folks feel good to know that they were giving me their blessings for another prosperous year. It was by far the most exciting time for the entire Indian community that I called “my sphere”. Over the years it’s slowly been slipping away. As a young dance student in the community I always looked forward to dancing at Kallol Durga Puja. I still enjoy it. We performed on Friday of Durga Puja this year with my new dance company KALAMANDIR and our fellow dancers and our director couldn’t be more grateful and happy about the opportunity. We were invited to perform a few selections from our most current repertoire. However I can’t say the feelings were the same for all of the community-inspired groups at Kallol Durga Puja 2010. I was thoroughly and completely disgusted by the behavior of the cultural committee with one specific evening Sunday evening and I’d be cheating myself if I didn’t bring this situation to the light at least to make my feelings heard however accepted or not accepted . The people I was with including MANY other people in the audience were hoping to see Zafar Billah’s musical program come to its intended finish until the Kallol representatives entered the stage mid-narration by the singers and hurried them to get off for the next program. The excuse that was given was that the Ukrainian Center had to be vacated before 11pm — nevermind the fact that a commercial act finished the evening off at 11:40pm as per the time on the clock when people were ready to leave. Zafar Billah Renee Dutta Purba Mukherjee Anirban Dasgupta and Dibarkya Chatterjee were performing and coming to the conclusion of their performance with Dutta even saying “This will be our last number” and still there were on-stage representatives shooing them off. It was unprofessional extremely rude and completely uncalled for. Not only are Dasgupta and Chatterjee professional musicians who put in a lot of time traveled from a far distance and delivered an excellent performance but our very own extremely talented community artists - Billah Dutta and Mukherjee - put in the same amount of time to bring their program together. As a dancer and eternal student of the arts I am frankly appalled. Every show that we as art-lovers commit to involves traveling rehearsal space rental and time away from our friends and family. Each show that is performed involves a certain thought process a certain agenda to speak to the audience in a personal way in our way. I mean isn’t that what performing for the community is about Its how we cultivate the special attention love and support from the years into our performance that we present and it made me completely sick to see our very own someone I consider my inspirational “didi” Renee Dutta be cut off in the middle of her sentence in the middle of her show Especially considering the fact that it wasn’t their program that was running late but it was Kallol’s lineup that was pushed back. A much classier way to deal with the situation because I do believe that it was pressing and understandbly hard to manage would have been to come speak to one of the artists BETWEEN songs and ask them nicely to wrap it up because they were running short of time. Personally I know that the artists involved in that program were traveling from central Jersey to Manhattan multiple times a week to rent studio time in Midtown Manhattan for the successful collaboration and it’s so strange that the people who are in charge of putting on a cultural lineup are not sensitive the amount of commitment shown by the artists. I am by no means saying that Kallol Durga Puja wasn’t successful. I am extremely happy with the tender care given towards our dance company by the cultural committee themselves to perform in a prime slot of the lineup on Friday evening. I thought there were many aspects of Durga Puja that were even better this year than previous years because of the organizing capabilities of the new administrators. And most of all I will always be grateful on a personal level for all the love and support shown by my community for my new endeavors and dreams.  But I cannot stay quiet to such insensitivity to our fellow artists. When Kallol members and non-members pay a hefty amount to celebrate Puja with their family and friends we expect the intended lineup not a complete disregard of the work put in to making the best show possible. I noticed that there may be a few things Kallol could think about when running the next big Durga Puja celebration at least in my opinion. When performing the following night Saturday at Garden State Cultural Association I noticed many aspects of their program that made it easier for the artists and the audience to enjoy the artistic lineup of performances. The main aspect was the venue: it was in a school where there was an isolated auditorium for people to enjoy the performances. The kids were running around playing but outside of the performance space not disturbing audience members. The food and idols were set up in a separate spot for people to engage in proper “adda” the good stuff we all look forward to when going to Durga Puja. There was a magic show for all the kids to participate in right before the cultural show for the evening giving the children an opportunity to spend some of their pent-up energy. Maybe we can all learn from that and find a way to improve the setting for Kallol Durga Puja for years to come. The only reason I’m writing is because Kallol is my home and has always been so. If it wasn’t for Kallol I might not have been able to take dance as seriously as I take it now. I am grateful for that. But if we cannot learn from these past mistakes we cannot improve and we will lose people’s loyalty and appreciation slowly but surely. I hope it doesn’t come to that. NOTE: OPINIONS EXPRESSED IN THIS ARTICLE ARE THOSE OF THE AUTHOR ONLY. 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(524, 3027, 'AMITAVA SEN If the piece by Brinda is indicative of the extent of interest and involvement of our children in our culture it is definitely encouraging. But unfortunately such can not be generally said our so called second generation is not into Durga Puja and sundry other Bengali cultural stuff. I am pleasantly surprised and indeed gratified that one of the members of that generation keeps track of the Bengali socio-cultural scene and takes part in it. Her opinion and her article articulate lucid thoughtful and most of all respectful deserves attention and should engender steps to address her concerns. If we mean what we profess about the second generation’s participation we better not ignore her. But I recognize that there may be a cultural communication problem too. The standard of decency and decorum of the likes of Renee and Brida who have grown up in thia country may be in clash with the one and a half generational internet crowd’s. The perceived rudeness and the lack of propriety may quite be acceptable and common place with the environment they grew up in. Brinda you are an excellent dancer and performer we all have taken notice of you since you’re a child. But you know what You write well too you should do it more often about Bengaliness of your generation and your views about our heritage. Sudipta Bhowmik offers a great vehicle for expressing yourself. http://nynjbengali.com', NULL),
(524, 3026, 'sunanda mitra This account of the Anirban - Jaffar Billah incident is not completely true. Before the start of the show Anirban was requested to conclude in 50 minutes. 27 minutes before the curtain down one of the cultural committee members walked on stage to request Anirban to wrap up in 15 minutes.', NULL),
(524, 3031, 'Sujoy Menon Although not a privileged “second generation” and hence at the risk of not been taken seriously I too congratulate the organizers of the 2010 Durga puja for an awesome event. But then again I am not a ” second generation” who cares what I think. Our inherent bengaliness precludes us from taking anything seriously from someone who does not have a “foreign accent”. All hail the “second generation” who contributed sooooooo much to the event or did we get taken for a ride for some stage time……..', NULL),
(524, 3039, 'Brinda Guha There is no need to be sarcastic about how much the “second generation” does or does not participate in community activities. I can name approximately 100 off the top of my head maybe not in this Durga Puja but in other major community functions and events that do a lot to participate myself included. And also yes we are privileged for living a life in this country as a result of my parent’s hard work through education and immigration but that doesn’t mean we sit around and don’t care. The question that I have is why isn’t our generation interested in Durga Puja anymore on a general level We have to ask ourselves why just a few years ago a large amount of people who came to Durga Puja fell within the 10-25 year old age group and now that has slowly been slinking away. The program that I mentioned above in my take on Sunday’s lineup included two “privileged second generation” artists who worked very hard to put a program together and were rudely interrupted AND kicked off stage. As a “privileged second generation” member myself I can say that we definitely could take a step in towards producing events ourselves but it is also very hard to relate to ‘our inherent bengaliness’ as we are American children as well as Indian ones. For the many people in my age group and my older brother’s age group who participate in community functions it takes a lot including parental support but also inner curiosity to perform in classical/creative dance numbers bengali plays hindi theater vocals etc. That needs to be recognized. And by most people who have children who are involved in the community it is recognized which makes it easier for the children to continue in those kinds of activities. Anyway enough rambling. What do we privileged second generation kids know anyway right http://www.kalamandirdanceco.com', NULL),
(524, 3034, 'badmash I just signed up to your blogs rss feed. Will you post more on this subject', NULL);
INSERT INTO `wp_search` (`post_id`, `comment_id`, `content`, `priority`) VALUES
(525, 0, 'All Free Screenings Seats are available Meet Seema Biswas in person Details at www.NJISACF.org Watch 16 films from 7 countries by 9 women filmmakers Opening night film MIRCH starring Konkona Sen Sharma Raima Sen Boman Irani on October 29th at 8:00 PM Festival Centerpiece LIFE GOES ON starring Sharmila Tagore Soha Ali Khan Om Puri and Girish Karnad on October 30th at 2:15 PM Closing night film COOKING WITH STELLA starring Seema Biswas co-written by Deepa Mehta on October 30th at 8:20 PM. 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(341, 3052, 'Dipak Bagchi Does etv Bangla Team have any expertise to fix the problem of Program Schedule we are experiencing for a long time The program shown does not match the program list shown by direcTV in the USA. Or is it that the etv Bangla team does not care about its subscribers. Bagchi', NULL),
(512, 3051, 'Arindam Chakraborty Thank you so much for posting this… you have brought back so many old sweet memories…', NULL),
(526, 0, 'Raag-Rang presents a magical afternoon of instrumental music by Shree Anirban Dasgupta Sarod son disciple of renowned Sarod maestro Pt Buddhadev Dasgupta. Shree Amod Dandawate will accompany him on tabla. There will be a short vocal recital by a talented young artist Shree Chinmay Paranjape. Date-4th December. Time- 3:30pm –6pm. Venue: Universal Unitarian Congregation of Princeton Fahs Theater 50 Cherry Hill Road Princeton NJ 08540 Admission: Non Members: 20 Kids between 5 to10 Years 10 RaagRang Members: 15 Kids between 5 to 10 Years 7 For details Contact: 908-429-1120 609-890-4890 908-240-8289. RSVP will be appreciated. Email: bhawmikm@gmail.com mayuresh.khare@gmail.com devang42@yahoo.com Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Raag-Rang Presents Anirban Dasgupta on Sarod size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(527, 0, 'Friday Nov 19 2010 8.00pm Sahitya - o - Alochona at Ananda Mandir to feature “Probashe Natoker Boshe” A discussion on Bengali Diaspora Theatre. The discussion will be led by Sudipta Bhawmik and will delve into the issues of why how and what of Bengali theatre in USA. We will trace the history and talk about the latest trends of our theatre. All are welcome. 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(528, 0, 'by Amitava Sen My Sales Manager came running to my office. “What’s my Good Name ” he asked urgently. I did not understand his question. Indeed I liked his name. I did not think it was a bad name and how was I supposed to know whether he had a better name Honestly I did not care what his name was. Did Shakespeare not write somewhere that a rose smells the same despite the name you call it by Richard Schwartz my sales manager explained that there was a call from an Indian company who was interested in our filtration product. Richard was loath to give an incorrect answer and lose the prospect of an order for the product simply because his parents neglected to give him a better name. Suddenly it dawned on me that this man from India was asking for his Subh Naam which translated to Good Name. “Go and tell him your name is Richard Schwartz and I will explain the whole thing to you later.” I advised my sales manager. We Bengalees usually do not use this term “Subh Naam ” literally translated it means Auspicious Name. In some parts of India it is considered rude to ask anyone the names in his face to sound polite people ask for “Good Name.” That was decades ago. I had almost forgotten the term Good Name. So I was somewhat taken aback when I heard some one calling me from behind one day as I was taking a stroll in the neighborhood. “What’s your Good Name Sir I am Sam.” As I turned around I saw him. It was rather difficult for me to accept an Indian man long past his prime years just as Sam it sounded incongruous. The name did not fit him at all. I introduced myself and asked “So what’s YOUR good name ” “I am B.K. Somasundaram Allepei Chellum.” I chose not to ask him to elaborate on B.K. I was a little embarrassed that I myself did not even have one middle name. “Glad to know you Mr.Chellum” I said. It turns out that Chellum is not his last name either he is really Mr.Chettier Chettier is his family name. “My son does not want me to tell people my real name he kind of rechristened me. He thinks Sam is more acceptable in this country” “I have no problem calling you Somasundaram if you let me.” “So you’re a Bengali my daughter-in-law is also a Bengali. Won’t you come inside Please do.” He almost begged. I have not known this man but I have seen him walking in the neighborhood with a woman who I assume is his wife and a dog on a leash. Even with my limited knowledge of dogs this dog was unmistakably a Rottweiler or some such frightening species. I was not particularly keen on going close to a person with a Rottweiler and the dog did not appear to be overly friendly. But the couple looked at me every time I saw them from my driveway while they were walking the street in front of my house expecting to introduce them to me. I ignored them. But finally I am trapped I have no choice now. This man was insisting that I should come in and now that he has announced that his daughter in law is a Bengali he feels I have an obligation to befriend him. Inside the house his wife was feeding his infant grandson and was genuinely happy to see me. I looked around and asked with trepidation “Your dog ” “Sundays my son and his wife take the dog to the park in the afternoon for walk and play” he replied and then added that they would be back soon. “I have to leave sooner ” I told myself. A few days later the doorbell rang and I instantly knew who it would be. Sure enough Mr. and Mrs. Chettier were there with a distressed look writ large over their faces. After sitting down on my couch they got straight to the point. Can I help them to purchase two tickets to India They have been here for the past seven years when their first grandchild a son was born. After he grew up his son and the daughter-in-law decided to have another baby and they insisted that their parents stay longer. They were stuck. Meanwhile they have only been to India once two years ago. Any time they had expressed their desire to go back to India his son became depressed and begged them to stay another year. If they go back it will be the end of the daughter in law’s career and their American dream would fall by the wayside. His wife does not trust day care or a baby sitter and besides his son argues he is the only child of Mr. and Mrs. Chettier they should stay with their son at least for some time. The father explained that without their son’s acquiescence and cooperation they could not return to India. Furthermore Mr. Chettier would not want to hurt his son’s feelings. It was in fact Mrs. Chettier’s insistence that brought them to me. Mrs. Chettier became hysterical and started crying. She never cooked or washed dishes while she lived in India. Here in America she cleans cooks does dishes and laundry and baby-sits all day. “That’s not really true ” the husband protested “My son tells you repeatedly to leave all household chores for them ” Only asks that his parents walk the dog and look after the children. “How can I do that It is easily said than done Being a woman I cannot stand to see all the work piling up and left for the weekend. After all my son will end up doing most of the chores.” Mrs. Chettier said between her tears. “And I can not live my life in my own way here my daughter in law even objects to my using water after going to the bathroom” She is ashamed of the sight of a water jug in the bathroom that her friends may visit sometime. Mr. Chettier assured me that he does not need any monetary help from me they have saved enough money for their passage. Having lived here for seven years they have green cards they receive Medicaid and SSI money from the government. His son does not let them spend any of their savings. Mr. Chettier would stay longer if he had a choice but he was afraid that his wife would breakdown soon emotionally. After listening to them I realized that I was quite familiar with this very situation I heard it all before. One of my friend’s mother in law similarly escaped with the help of a neighbor. I heard that she died shortly after reaching Calcutta. I really had sympathy for Mrs.Chettier’s situation but I declined I was afraid of any legal situation arising out of my action. I explained it to them and Mr. Chettier readily understood. Since this time we became quite friendly and we would talk whenever we passed each other in the neighborhood. Two or three months passed and I realized that I did not see them for a week may be two. I stopped by their house the following weekend and rang the bell. The son whom I had seen a few times but was never introduced to answered the door. His parents departed for India a few weeks earlier. I did not ask how or why. The news relieved my conscience and made my day. I kept thinking about how commonplace this situation is for so many of my Bengali friends whose parents particularly for the widowed mother who lived with them. To put it harshly many of them are virtually prisoners in this country in their children’s home where in most situations husband and wife both work outside of the homes during the day. It is true that in most cases they are not really treated badly by their children or the children’s spouses. The grand mother is left behind to take care of children all day or at least for the time after the children come back from school. During the school hours the lives for the grandparents are more depressing and lonely. When the grandma is home her children expect their food will be ready when they return from work so she cooks washes dishes and does laundry. It is not that her children impose the chores on her she does it voluntarily and at least that is what she would like to think. If she is the wife’s mother she talks to her daughter when the daughter comes back from work but refrains from talking too much as she is afraid of intruding into the time between her daughter and her husband. If she happens to be son’s mother the communication is not as open with the daughter in law and her son is usually on computer doing his stuff. The grandparents do not drive they look forward to the weekends when they may be lucky to see the outside world for a while. But their children’s dinner invitations or a necessary visit to Home Depot interferes with the plan of taking grandparents out or limits it to a supermarket visit. Parents are often invited to the weekend dinners but they do not always fit in amongst their children’s friends. When they join the parties they look for another set of parents if they can find one. Curiously the age is not a factor in this class divide. Being the parents of the first generation and having come here at late age they are just considered seniors to be called Kakus and Meshomasais while some among us who are their contemporary or even older are addressed as Dadas. Sometimes it is obvious from their demeanor that either the husband or the wife is not quite pleased with the situation where they have to carry each other’s in laws as an appendage to every party. And that makes the parents feel uneasy if not unwelcome. Shorter stay limited to a few months by a grandmother during a childbirth is not a breeze either. In addition to caring for the newborn there is the cooking and all the other daily chores and of course there are sleepless nights. With helps galore most of these grandmothers are accustomed to an easy and comfortable if not lazy life back home in India for many years. In an existential world the mothers from India have no option they just can not say no to their children’s call for help. But it turns out to be a torturous adjustment to make at this stage of life. There is a difference between circumstances of the mothers who are here for a single child birth and plight of many other women who are compelled by circumstances or have made a choice of moving to and living with their children in America. For the former there is light at the end of the tunnel with a looming escape in sight. Sometimes though it may turn out to be a temporary parole till the next child is due. 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(529, 0, 'Recently I had the opportunity to watch the play “Broken Images” written by Girish Karnad directed by Alyque Padamsee and performed by the famous film and stage actor Ms. Shabana Azmi.  Girish Karnad is one of the foremost playwrights of modern India hence any play from him raises expectations.  “Broken Images” is certainly not one of his best plays although it did make its point quite strongly. It tells the story of the confessions of a mediocre Hindi writer who has become an internationally acclaimed English language celebrity author through deceit.  It also tells that the image we often create to impress the outer world gets shattered inside when it is not projected in the light of truth. The play being directed by the veteran theater persona Alyque Padamsee adds another dimension to it. But the strongest attraction for most theater goers was to see Shabana Azmi on stage.  The North Brunswick High School auditorium in New Jersey was packed with her cheerful fans although they had to wait well past the show time in long lines outside the theater.  And it seemed they were not disappointed.  They got to see their favorite actress not only in person but also on screen.  It was Shabana acting on stage with Shabana on a big screen television mounted on stage.  It was a bit tricky act to perform especially when she had to synchronize not only the timing of her dialogues but also her position on stage to match the eye movement of the character on screen.  It kind of restricted her freedom on stage in many ways. But the major problem came not from the timing or blocking but from the difference in the two media. Acting on television differs greatly from the the acting styles on stage. The big close up of Shabana on a big screen TV on stage carried subtle nuances and facial expressions which Shabana on stage had to compensate with her physical movements. This caused a discord in acting styles which was a bit discomforting to me. The technique looked more gimmicky rather than an absolute necessity. In many one person shows the actor often has to play multiple roles and the audience accepts the illusion quite happily. If the play demands another character on stage I’d think it is better to use another actor rather than use some convoluted technique like that used in this production.  Ms. Azmi is a powerful actor and I am quite convinced that she could have handled both the characters on stage with equal ease.  Maybe Mr. Padamsee can think of this play in a more conventional way and deal with the challenge without taking recourse to modern technology. 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(529, 3067, 'Sushmita Dutta Sudipta Thanks for this lovely review on Broken Images. I am completely in agreement with you that -The technique looked more gimmicky rather than an absolute necessity… Reflecting on theater productions today that incorporate modern communication technologies I wonder if the trend is purposeful or just an attempt to break away from the 2 dimensional monotony of theater that we have lived through for years and now seek a variation. Alyque Padamsee’s one of the early commercial shows I had seen Evita also had very strikingly different useage of lights and stage crafts to create an illusionary effect. It didn’t appear gimmicky in fact the effects blended well with the play and also retained the purity of theater experience. In this production he could have had two levels of platforms a higher level for the larger than life character and Shabana could have acted both roles live on stage. But Alyque proffered a technological device though he is an absolutely dedicated theater person. I wonder why. Any other comments Best Sushmita http://www.novel-ebiz.com', NULL),
(523, 3065, 'K. Purohit Nothing to be concerned or worth writing home. This is Bongo berathar.', NULL),
(506, 3070, 'Patrizia Mookherjee As always big kudos to Kallol. I loved the Bombay Spice food stall which was located to the left side as entering the building: it was so convenient by selling jasmin flowers for the women to wear and bengali sweets for Bijoya. It was as if that stall was giving aid to make the puja as if in Kolkata. i hope they will be back next year. http://none', NULL);
INSERT INTO `wp_search` (`post_id`, `comment_id`, `content`, `priority`) VALUES
(531, 0, 'Whenever I go to Kolkata I make it a point to see as many theaters as possible within the short breaks that I can manage from the hectic schedule. This summer too I had the opportunity of watching two plays in Kolkata “Kaachher Manush” by Gandhar and “Srinwantu Comrades” by Nandipat. “Kaachher Manush” is based on a Marathi play by Dr. Sirish Athwale translated by Kamal Sanyal and directed by Gautam Haldar. The play tells the story about how two people from different social backgrounds can come close together through a metaphoric process of healing.  Dadaseheb a Marathi Brahmin played by Debshankar Haldar is suffering from a paralysis of his right side resulting from a head injury and needs physiotherapy and occupational therapy to recover. Savitribai a senior dalit lady performed by Bijoy Lakshmi Burman has been appointed as a nurse to provide him with his daily therapy and help him during the day with his household chores. Dadasaheb initially opposed to this arrangement especially to be under the constant supervision of a lower caste lady but had to accept reluctantly.  And predictably enough Dadasaheb’s physical condition improves under the strict regimen of Savitribai and at one point the widower Dadasheb even proposes her hand in marriage. Dadasheb is finally cured within a week’s time when his NRI daughter threatens to come and take him with her to USA.  The play is very well acted by Debshankar and Bijoy Lakshmi. Debshankar’s boisterous characterization of Dadasaheb has been well complemented by the cool and composed Savitribai of Bijoylakhsmi.  Parthasarathi Mukhopadhyay as the son was just appropriate. However the character of Dadasaheb’s NRI daughter Maitrayee has been made into a stereotypical non-resident haughty woman whose concern for her father was made into a comical farce.  The director and the playwright should have paid some attention to modern physical and occupational therapy  techniques for the elderly where safety and fall prevention is one of the key objectives.  The days of challenging the patient to walk on his own without any safety precautions is long gone with the days of black and while romantic films of Uttam and Suchitra.  Scenes like these help the actor to show a good deal of physical acting and even helps build audience tension but is not practical at all and should have come with the notice - “Don’t try this at home with your parents.” Incidentally Kachher Manush was staged at the 2010 Bangamela held in Nashville TN and then it toured some of the mid-west cities although it did not come to the US east coast. The other play “Srinwantu Comrades” Comrades Lend me your ears is directed by the veteran thespian Bibhas Chakraborty.  The play originally written by the Russian playwright Satrov in 1977 tells the story about a day in the life of Vladimir I Lenin in 1920 when he was recuperating from an assassination attempt with two bullets in his body.   As the day progresses Lenin receives visitors from his party the government the bureaucrats the labourers the farmers and even the socialites. And gradually Lenin realizes how his thoughts and philosophy for creating a classless proletariat society is getting distorted. The party the govt and the bureaucrats are bent upon forcing socialism down the throats of the people and choking their voice in the process. While watching the play one would invariably draw parallels with the current left front govt of West Bengal and their actions in the name of  Marxism although at the very beginning of the play it was announced that the translator and director did not make any changes to the original text to make it sound more relevant. The play did not have any story line for that matter and was almost like a staged documentary. It requires a lot of attention on the audience’s part to stay focused on the play as the play turns out to be talking heads for the most part. One good thing I noticed was that on both days the audience turn out was quite good. The common complaint that I hear about the lack of audience was not evident at least for these two shows. I’d recommend both the plays to anybody who wants to watch good theater. NOTE: This article was previously published in Ananda Sambad. 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(533, 0, 'The Naga Viper is the latest claimant to the world’s-hottest-pepper title beating its predecessor the Bhoot Jolokia by more than 300 000 Scoville units of tongue-scorching chili hotness. Researchers at Warwick University testing the Naga Viper found that it measures 1 359 000 on the Scoville scale which rates heat by tracking the presence of a chemical compound. In comparison most varieties of jalapeño peppers measure in the 2 500 to 5 000 range. Bhoot Jolokia scored 1 000 000 Scoville units. But Naga Viper is not a produce of Nagaland. The new pepper is actually a creation of Gerald Fowler a British chili farmer and pub owner who crossed three of the hottest peppers known to man including the Bhoot Jolokia. 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(506, 3076, 'ananya hello all i wud leave a request to the family of late sri braja dulal mookherjee to kindly contact me…he was the eldest brother of my father ashokankur mookherjee and my late uncle regards ananya', NULL),
(534, 0, 'I often have this dilemma is it okay to criticize Often people ask me how did I like a book or a play or a movie - and I find it very difficult to answer. First of all if it is my opinion they are asking for I can possibly try to answer quite diplomatically. My answer would also depend on who is asking me and about what my opinion is sought for. But expressing an opinion and making a criticism of some work are two entirely different ball games. Opinions are personal but criticism should be based on a solid foundation of theoretical and practical understanding of the craft. We often tend to confuse between the two and sometimes give too much weight to personal opinions as valued commentary of a piece of artistic or literary work. And this is where I feel awkward to express my opinions because I fear that my opinions may be considered as criticisms and be given more value than it is worth. Secondly being involved in some artistic pursuits myself I feel it is not for me to judge the creation of a fellow artist. For when I put myself in their shoes I know how hard it is to create something - how much love dedication passion and hard work has gone into it. I can never trivialize someones work whatever others may feel about it. Yes I do often see half baked immature ill conceived pieces of work being presented by many of my colleagues and friends. But I still find it very difficult to comment on them. But as friends and colleagues they do ask my comments ask my feedback. I can offer my feedback only as a fellow artist and never as a critic. Similarly when I write about a play that I have seen or a book that I have read recently I express only my opinion and not criticism. The art and maybe science of criticism has developed considerably over the ages. Several philosophers and literary theorists and I’ll not drop any names have worked on this subject and several frameworks for criticisms are now in place. A true critic should arm himself/herself with this knowledge as well as knowledge about the craft in question before making their commentary. A critic has his/her place in the world of art and literature. They help us appreciate the art form better and gives us clues to look for in the work to find hidden treasures. They also help the creators detect their flaws and improve their work. But good critics are hard to find. Most of them only express their opinions and just put in their ranking in letter grades or stars and claim themselves as critics. But in this day of social media marketing it is the opinions of the social influencers that matters the most. I have no complaints about that but we need to appreciate that these are opinions only and not criticisms. Do not base your appreciation of any work or any artist based on these opinions. If you need help find a good critic and read their criticisms. Else form your own opinion. 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Bookmarks Copy this HTML to create a link to this page Save to Ask Save to blinklist Save to Bloglines Save to BlogMarks Save to Blogsvine Save to del.icio.us Digg It! Save to Facebook Save to Google Bookmarks Share on LinkedIn Save to Mister Wong Save to Mixx Reddit Stumble It! Add to my Technorati Favorites Save to Twitter Save to Windows Live Save to Yahoo! Bookmarks Email this to a friend See more bookmark and sharing options...', 'To Criticize or Not to Criticize That is a Question Generic http://nynjbengali.com/archives/category/generic View all posts in Generic'),
(534, 3080, 'Best Indian Bloggers posts for weekend read ... : Sudipta Bhawmik What : To Criticize or Not to Criticize That is a Question Spicy: Criticism is one thing which pricks everyone but also helps you grow at the same time. ... http://blog.blogadda.com/2010/12/18/best-indian-bloggers-saiyona-lakshmi-sudipta-vibhuti-smita', NULL),
(534, 3083, 'Vibhuti B This is a wonderful piece here. Thanks to BlogAdda I discovered a good writer too. As a writer I have always longed for a free and frank blogger dost to guide me if Im slipping up in my writing some where. There are a few fellowbloggers who have the guts to come forth and express their opinions their choices and I respect and look forward to their comments. But yes a critic here has to stick to a bit of diplomacy too so as not to break hearts..:D Thanks for sharing Sudipta.. Cheers http://klishmaklaver.blogspot.com', NULL);
