Podcasts about Omkara

Der Kirtan Om Arunachala wurde für den Berg „Arunachala“ in Südindien geschrieben. Es wird gesagt, dass Shiva dort lebt. Bei Vollmond eines jeden Monats umrunden Tausende von indischen und westlichen Pilgern den Arunachala zu Fuß. Om Arunachala OmArunachala ArunachalaShiva Shiva Shiva Symbolisch steht Arunachala für die wärmenden Sonnenstrahlen der Morgendämmerung, die er in unsere verschlossenen Herzen bringt.So können wir uns mit diesem Kirtan ganz mit Shiva verbinden. Shiva als universelle Kraft im Universum, als unsere eigene wahre Natur. Original-Kirtan von Omkara & Jai Sahaja!:youtube.com/watch?v=o-hjpbrOt5E Original-Kirtan von Mooji Mala Music:youtube.com/watch?v=5n49LRE8HBsyoutube.com/watch?v=D9AsuyeB4e4 Du kannst das Audio mit Der Beitrag Kirtan Cover – Om Arunachala von Kirtan Family (Omkara & Jai Sahaja! Mooji Mala Music Cover) erschien zuerst auf Yoga Vidya Blog - Yoga, Meditation und Ayurveda.

Kareena Kapoor Khan is Bollywood royalty hailing from the Kapoor family who's ancestry has revolutionized the film industry for generations.  She is the recipient of several awards including 6 Filmfare Awards and is one of Bollywood's most popular and revered actresses. She received critical acclaim for her roles in Chameli, Omkara, Jab We Met, and Heroine. Her highest grossing releases include Singham Returns, Good Newz, 3 Idiots, Bodyguard, and Bajrangi Bhaijan. Kareena hosts a radio show and has contributed as a co-writer to four books among them two are autobiographical memoirs, The Style Diary of a Bollywood Diva and My Pregnancy Bible: The Ultimate Manual for Moms to Be . She has started her own line of clothing and cosmetics for women, and has worked with UNICEF since 2014 to advocate for the education of girls and an increase in quality based education in India. Kareena and her husband actor Saif Ali Khan have two sons, Taimur and Jeh.  Today we dive in to her career, her perspective as a woman in the entertainment industry, and her personal experience as mother. She shares her fun anecdotes and sage advice and is sure to delight. Listen in.  Meet My Guest: INSTAGRAM: @kareenakapoorkhan TWITTER: @KareenaK_FC FACEBOOK: /OfficialPageKareenaKapoor AMAZON: Kareena Kapoor's Pregnancy Bible: The Ultimate Manual for Moms-to-Be Press: VOGUE: Kareena Kapoor Khan THE HINDU: Kareena Kapoor Khan: “Jeh's ‘normal' may be different from Taimur's” THE GUARDIAN: Kareena Kapoor Khan on breaking pregnancy taboos: ‘No one wants to talk about belching and swollen feet!' Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 053 features a conversation about The Hippie Trail with Seth Brown & features music from Omkara! Recorded: Monday, August 5, 2024 Location: Evergreen, CO Musical Contributions from: Omkara, Naryan Padmanabha & J. Picard www.GalaxyTenants.com

It's Bebo's world and we're just living in it! Whether you love or hate Poo, Geet, Dr Preet Sahni, Chameli, or Dolly, you can't ignore the most successful woman in the Kapoor khandaan. Unlike her older sister Karisma, there is no question Kareena is a bonafide superstar. Movies we discuss in detail: Khushi, Chameli, Omkara, Jab We Met, Tashan, and Milenge Milenge. If your favorite isn't there, don't worry; we mention many others in passing. What are your iconic Kareena performances and films? Subscribe to Filmi Ladies on Spotify https://open.spotify.com/show/7Ib9C1X5ObvN18u9WR0TK9 or Apple Podcasts https://podcasts.apple.com/us/podcast/filmi-ladies/id1642425062 @filmiladies on Instagram and Twitter Pitu is @pitusultan on Instagram Beth is @bethlovesbolly on Twitter Email us at filmiladies at gmail See our letterboxd for everything discussed on this podcast. https://boxd.it/qSpfy Our logo was designed by London-based artist Paula Ganoo @velcrothoughts on Instagram https://www.art2arts.co.uk/paula-vaughan

Director: Vishal Bhardwaj Screenplay: Vishal Bhardwaj, Robin Bhatt, Abhishek Chaubey Based on “Othello” by William Shakespeare Cast: Ajay Devgn, Kareena Kapoor Khan, Saif Ali Khan, Vivek Oberoi, Konkana Sen Sharma, Naseeruddin Shah, Deepak Dobriyal, Bipasha Basu Cinematography: Tassaduq Hussain Dialogues, Music & Background Score: Vishal Bhardwaj Lyrics: Gulzar "Omkara," a 2006 crime drama directed by Vishal Bhardwaj, is an adaptation of Shakespeare's "Othello," set in rural Uttar Pradesh. The film features a stellar ensemble cast and stands out for its authentic portrayal of rustic life, powerful performances, and a gripping storyline. The film's music, especially the song "Bidi Jalaile," and its numerous awards and accolades cement its legacy in Hindi cinema.

No surprise here, Nadeem jumps at the opportunity when he's tasked with picking a movie that starts with "O" and chooses Vishal Bhardwaj's 2006 adaption of Othello, "Omkara" for the next movie review. Mita FINALLY watched The Bear.

In the 11th episode of the podcast we discuss one of our absolute favorite films - Omkara. Joining us to do the honors is good friend Professor Kandarp Mehta. Mehta has studied motion pictures as part of his schooling and brings in a qualified take on films as well as literature. This episode is a bit longer but for good reason - as all three of us had a lot to say about Bharadwaj's homage to Shakespeare's Othello.The conversation comprises of direct comparisons with the play and at the same time independently treats it as a film for those who may not have read the play(like Saqib and Saahil). It is also a landmark film in the careers of Ajay Devgn, Saif Ali Khan and Kareena Kapoor. It's a long one so get your coffee or chai ready and tap the play button!

Title: Purifying Spiritual Practices with Om Tat Sat17th Chapter: verses 23, 24, 25, 26, 2723rd verse: “In the Vedic literature, specifically the Upanishads, it is stated that “Om Tat Sat” constitutes the essence of all vedic literature. It represents the triple designation of Brahman. These three words are behind the origin and creation of the Brahmanas, Vedas and Yajnas.”Om represents the vedas. The entire vedic literature can be condensed into Om. All the vedas are an attempt to describe Brahman which can only be experienced. At the empirical level, Brahman is denoted with Om. Om represents the highest spiritual awareness, the highest wisdom, the highest existence, the highest consciousness and the highest blissfulness.Sri Ramakrishna said that the highest level of experience cannot be explained. It is a deeply felt experience whose language is silence. Below silence is Om, which is the first audible, verbal symbol of the divine. When we elaborate Om, we get Gayatri. When we elaborate Gayatri, we get Upanishads. Below the Upanishads, there are many mythological books. All these books are meant to take us beyond books. The highest experience is beyond all these books.Dharmaśāstra says: “All Vedas are founded on Pranava (Om). It takes you away from the transmigratory cycle of Samsara. It is the essence and totality of all verbal presentations. Any mantra without Om becomes meaningless.”Every mantra is preceded by Om. It is because the mantra becomes sacred when associated with Om.Omkara is not a letter symbol. It is a sound symbol comprised of three sounds A-U-M. It is pronounced with an elongated vowel sound. “A” represents the totality of waking state experiences. “U” represents the totality of dream state experiences. “M” represents the totality of deep sleep experiences. Together, they represent all our experiences, as we cannot have any experience outside of these three states.“A” is pronounced with an open mouth. “U” is pronounced with the mouth half open. “M” is pronounced with the mouth closed. We cannot pronounce anything which does not belong to these three categories. And, since everything in the world has a verbal counterpart, A-U-M represents everything in this world.“Tat” stands for the totality of existence. It also indicates Brahman. In the mayavakya “Tat-tvam-asi” -which means “The spiritual truth that you are seeking is non-different from yourself - “Tat” indicates Brahman.“Sat” is explained in the 26th verse. It is used to denote the Absolute Reality. It also represents goodness, auspiciousness and steadiness in dana, tapah and yajna.Why is the utterance of “Om Tat Sat” important? It is difficult for normal human beings to perform their spiritual practices with perfection. With the utterance of “Om Tat Sat”, when we perform any act - Yajna, dana and tapah – they become purified. They become auspicious and spiritually meritorious.For full effect, “Om Tat Sat” should be uttered with a sense of sanctity and sacredness and with full awareness. Mantras gather potency because they have been recited by spiritual seekers and sages for thousands of years. They help us realize the spiritual truth when we recite them with full concentration on the meaning of the mantra.24th verse: “Therefore, one should practice dana, tapah and yajna by uttering Om. When you do so, the activity becomes purified.”Yajna refers to any noble, unselfish deed that is done with a sense of sanctity and sacredness and as an offering to God. Dana refers to any act of compassion, kindness and charity meant to help others. Tapah means austerity, activities that we do with the mind and senses focused on a single purpose.25th verse: “When we perform dana, tapah and yajna with the utterance of Tat, it means we are performing that duty without expecting any fruits in return. We offer the activity and its fruits to the all-pervading divine reality.”“Tat” means Brahman, the all-pervading divine reality. When we perform dana, tapah and yajna with a sattvic attitude, and offer our activity and its fruits to Brahman, the activity is purified.When we offer our activity to the all-pervading reality that is present in everyone and everything, the activity is purified. In fact, this is the essence of the Brahma-Yajna-Mantra in the 24th verse of the 4th chapter. With the imagery of a Vedic ritual (Yajna), this verse says: “the process of offering, what we offer, the one who offers, into what it is offered, the act of performing the ritual, the goal to be reached – everything is Brahman.”There is nothing in this world, but Brahman. The Brahma-Yajna-Mantra brings the spiritual unity of existence to every thought, word and deed, including eating food. There should be no line of demarcation between our secular and spiritual life. Every secular act should be spiritualized.We should live life like the mantra in Rigveda which means: “Let every thought become a meditation, let every word become a mantra, let every action become an act of worship, let every travel become a pilgrimage, let every movement become a circumambulation around the deity, and let the whole life become an offering to God.”26th verse: “Sat indicates the Absolute Reality which is all-pervading, immortal, good for humanity and which sustains us. Sat means sat-bhāve “with the intention of essential goodness and nobility”, sādhu-bhāve “with auspicious intention” and praśhaste karmaṇi “Inspired by the an inner call and the Atman within”.Divinity is present in all of us. However, in some people it does not manifest because of the effect of past samskaras. At some point, people feel an inner call to do something good for humanity. This call is inspired by the Atman within. When we do something inspired by this inner call, we feel inner joy and contentment.We can be a good human being without affirming our faith in God. Swami Vivekananda said: “Live life in a way that even if you do not accept God, God will accept you.”27th verse: “When we think of the Absolute Reality through the utterance of Sat, it brings an element of steadiness to the activity and becomes a blessing to humanity. Steadiness comes from the Absolute Reality which is eternal and unchanging.”Tapah should be done with a sattvic attitude where the mans and the goals are in harmony. Success becomes a liability if tapah is done with improper means.

Devi bhajan

"In this episode of Pop Wrap! Snayhil, Antariksh, and Abbas dive into Bollywood's thrilling world of revenge plots, including both expected and surprising films. Prepare for unexpected twists in revenge tales. Plus, don't miss Snayhil's incredible SRK encounter - a story worth hearing!” Follow Snayhil on Instagram : Instagram (@snayhil) Follow Abbas on Instagram: Instagram (@abbasmomin88) Follow Antariksh on Instagram: Instagram (@antariksht) Follow IVM Pop on Instagram: https://www.instagram.com/ivmpop/ Subscribe to IVM POP on YouTube: https://www.youtube.com/@IVMPop Listen to Pop Wrap, Has It Aged Well? and Just A Filmy Game Show on the IVM Pop feed which is available across platforms. Spotify | Gaana | Apple Podcasts | Google Podcasts The views, opinions, and statements expressed in the episodes of the shows hosted on the IVM Podcasts network are solely those of the individual participants, hosts, and guests, and do not necessarily reflect the official policy or position of IVM Podcasts or its management. IVM Podcasts does not endorse or assume responsibility for any content, claims, or representations made by the participants during the shows. This includes, but is not limited to, the accuracy, completeness, or reliability of any information provided. Any reliance you place on such information is strictly at your own risk. IVM Podcasts is not liable for any direct, indirect, consequential, or incidental damages arising out of or in connection with the use or dissemination of the content featured in the shows. Listener discretion is advised.See omnystudio.com/listener for privacy information.

He's one of the most versatile actors we've seen and is always re-inventing himself. We remember him from his moppetty 90s Ole Ole days to his metrosexual avatar to his villianous turns and his edgy, indie films. Everyone loves Dil Chahta Hai, Kal ho na ho, Parineeta and Omkara but in this episode we discuss his lesser known works - Chef, Agent Vinod and Jawaani Jaaneman. Are these movies lesser known because they were under-promoted or did they just not appeal to viewers? Tell us in the comments which underappreciated Saif films you like and recommend! Subscribe to Filmi Ladies on Spotify https://open.spotify.com/show/7Ib9C1X5ObvN18u9WR0TK9 or Apple Podcasts https://podcasts.apple.com/us/podcast/filmi-ladies/id1642425062 @filmiladies on Instagram and Twitter Pitu is @pitusultan on Instagram Beth is @bethlovesbolly on Twitter Email us at filmiladies at gmail Our logo was designed by London-based artist Paula Ganoo @velcrothoughts on Instagram https://www.art2arts.co.uk/paula-vaughan

In this episode, Dhruv and Sanjeet welcome back QID OG Hemant to talk about Vishal Bharadwaj's latest espionage thriller recently released on Netflix — “Khufiya.” Starring Tabu, Ali Fazal and Wamiqa Gabbi, Bharadwaj's latest project promises to be both moving and thrilling. But is it? Listen to the full episode to know our thoughts on the film! After the initial, spoiler-free discussion, we delve into specific things we liked/disliked about “Khufiya,” and how both its narrative and formal elements compare to the director's divisive previous features (“Pataakha,” “Rangoon”) and unanimously praised Shakespeare adaptations (“Haider,” “Omkara,” “Maqbool”). Time Codes- Random Rambling: [00:00 - 03:30] Introduction: [03:30 - 05:22] "Khufiya" review: [05:22 - 1:14:15] Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people! Follow our Instagram page: https://instagram.com/queenisdead.filmpodcast   You can also follow us on Instagram at:   Hemant Ganti: https://www.instagram.com/hemantganti/Dhruv: https: //www.instagram.com/terminalcinema/Sanjeet: https: //www.instagram.com/pixel_baba/   Follow us on Letterboxd at: Dhruv: https://letterboxd.com/aterminalcinema/Sanjeet: https://letterboxd.com/sanjeet_singh/ --- Support this podcast: https://podcasters.spotify.com/pod/show/queenisdead/support

Being successful in a creative field isn't an easy thing to achieve. Interestingly Vishal Bharadwaj has created sensation in every genre he entered. He has been sensational as a director with movies like Omkara and as a music director with blockbusters like Maachis. His book Nude is something that can't be ignored. Host: Varala Anand

The story of Atiq Ahmed, a former MP being investigated for the brazen Umesh Pal murder and many other crimes, reads like a brutal, if riveting, crime drama. In Ep XX of Cut The Clutter, Editor-in-Chief Shekhar Gupta takes you through the twists & turns — violence & blood feuds — of Atiq's affair with Hindi-heartland politics.

Is Sikhi devoid of Shaiva, Shakta and Vaishnava elements? What is the original meaning of Hari and Omkara? When did Sikhi move away from its origins by constructing boundaries and started espousing Khalistan? Dr. Rabinder Koul and Puneet Sahani join Sanjay Dixit in a talk to deconstruct these mysteries.

Jai Shiv Omkara Shiv Aarti : Ashram Aarti

Jai Shiv Omkara Shiv Aarti : Ashram Aarti

Jai Shiv Omkara Shiv Aarti : Ashram Aarti

Jai Shiv Omkara Shiv Aarti : Ashram Aarti

Jai Shiv Omkara Shiv Aarti : Ashram Aarti

Jai Shiv Omkara Shiv Aarti : Ashram Aarti

Jai Shiv Omkara Shiv Aarti : Ashram Aarti

Jai Shiv Omkara Shiv Aarti : Ashram Aarti

Jai Shiv Omkara Shiv Aarti : Ashram Aarti

Jai Shiv Omkara Shiv Aarti : Ashram Aarti

Jai Shiv Omkara Shiv Aarti : Ashram Aarti

Jai Shiv Omkara Shiv Aarti : Ashram Aarti

It's our 101st episode & it is special. Our guests today are two artists who have gifted the Omkara as a blend of many ideas and expressions uniquely fit into a motivational, yet peaceful musical production. With the concept of uniting the world, Dr. Prakash Sontakke and Khussh Mehta explore musical fusion on the original vibration of the universe the Omkara. Omkara has been released through Karmik Records. Dr. PRAKASH SONTAKKE is a vocalist, multi-instrumentalist, music producer and composer. Mr Sontakke has innovated this instrument called ‘Swar Veena' on which he can play the Indian Raga Music as well as western sounding style. Dr. Sontakke is associated with Grammy award winning albums as a co-composer, vocalist and guitarist on the Grammy Winning Album “WINDS OF SAMSAARA” and with more recent ” DIVINE TIDES” as a song writer. He is the only Indian to have won the Independent World Music Awards, USA and the Nashville Award for composers KHUSSH MEHTA is a Sound engineer, music producer, vocalist and percussionist, who has dedicated his life to learn the art of audio mastering and how it is the critical step before the LPs, CDs or any audio content on digital platforms reaches the audience. Mr Mehta conceived and patented K-SPHERE which encodes Spatial Audio, Dolby Audio and other popular surround formats to qualify for consumption on even the traditional stereo system. With over two decades of experience in audio industry, he has mixed and mastered numerous film songs and Television commercials. Mr Mehta is the founder of Karmik Records which was established in mid-2020. Karmik Records is an independent record label dedicated to audio production for independent artist, audio professionals, academics, musicians and audio enthusiasts. Listen in as they both share the journey to the creation of this single released yesterday the 26th of January, 2023 India's 74thRepublic Day. --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-third-eye1/message

This week on ‘Has It Aged Well?' Abbas and Urjita tackle Shakespeare by revisiting the first film In Vishal Bharadwaj's Shakepeare trilogy: Maqbool, based upon Macbeth. Joining them for the episode is writer and content creator Aditya Kulshreshtha aka Kullubaazi. Despite Urjita having mistakenly rewatched the other Shakespeare adaptation ‘Omkara' for this episode the trio manage to stick the landing by keeping the conversation more or less Maqbool centric. Topics covered include: The stellar casting, references to The Godfather, the role of lust in the story, why Lady Macbeth is one of the best villains, the trio's respective history with the bard, the fantastic use of Urdu and Hindi, Bharadwaj's inspirations and a lot more.  Check out Kullu's Mubi reel here: https://www.facebook.com/kullubaazi/videos/756710445013581Follow Kullu on Instagram here: https://www.instagram.com/kullubaaazi/Follow Abbas on instagram here: https://www.instagram.com/abbasmomin88/?Follow Abbas on twitter here: https://twitter.com/AbbasMominFollow Urjita on Instagram here: https://www.instagram.com/urjitawani/Follow Urjita on twitter: https://twitter.com/WaniUrjitaSee omnystudio.com/listener for privacy information.

Women are not the only victims of patriarchy -- men are also diminished by it. Nikhil Taneja joins Amit Varma in episode 303 of The Seen and the Unseen to discuss what he has learnt about mental health, young people in India, the epidemic of loneliness in our country -- and the enormous power of storytelling. (For full linked show notes, go to SeenUnseen.in.) Also check out: 1. The Loneliness of the Indian Woman — Episode 259 of The Seen and the Unseen (w Shrayana Bhattacharya).  2. Nikhil Taneja on Twitter, Instagram, LinkedIn, IMDb and HT Brunch. 3. Yuvaa. 4. The internet—a toxic love story -- Nikhil Taneja. 5. The pandemic pretence of being ‘okay' -- Nikhil Taneja. 6. Keeping up with the algorithms -- Nikhil Taneja. 7. It is okay for men to cry -- Nikhil Taneja. 8. Reject the mission statement of your gender -- Nikhil Taneja. 9. Kindness: Don't be an A**hole! -- Nikhil Taneja. 10. Why young Indians are lonelier than ever before -- Nikhil Taneja. 11. How stories can heal our divided world -- Nikhil Taneja. 12. Nikhil Taneja on Advertising is Dead with Varun Duggirala. 13. Nikhil Taneja on the Filter Koffee Podcast with Karthik Nagarajan. 14. The Hunter Becomes the Hunted — Episode 200 of The Seen and the Unseen. 15. Episodes on The Seen and the Unseen that touched on feminism & gender with Paromita Vohra, Kavita Krishnan, Mrinal Pande, Kavitha Rao, Namita Bhandare, Shrayana Bhattacharya, Mukulika Banerjee, Manjima Bhattacharjya, Nilanjana Roy, Urvashi Butalia, Mahima Vashisht, Alice Evans, Ashwini Deshpande and Natasha Badhwar. 16. Hitesh Kewalya on Twitter, Instagram and IMDb. 17. Shubh Mangal Saavdhan and Shubh Mangal Zyada Saavdhan. 18. Dev Anand and Roger Corman. 19. The Reflections of Samarth Bansal -- Episode 299 of The Seen and the Unseen. 20. This Be The Verse — Philip Larkin. 21. Caste, Capitalism and Chandra Bhan Prasad — Episode 296 of The Seen and the Unseen. 22. Gendered Leadership Course by Angellica Aribam. 23. Young India — Episode 83 of The Seen and the Unseen (w Snigdha Poonam). 24. Dreamers — Snigdha Poonam. 25. Men Must Step Up Now -- Amit Varma. 26. Beedi Jali Le -- Song from Omkara. 27. NH 10 (Navdeep Singh), Hichki (Siddharth Malhotra), Chhapaak (Meghna Gulzar), Rashmi Rocket (Akarsh Khurana) and Queen (Vikas Bahl). 28. Ghostbusters (2016, Paul Feig) and The Lost City (Nee Brothers). 29. 3 Idiots (Rajkumar Hirani), Dangal (Nitesh Tiwari), Badhaai Ho (Amit Ravindernath Sharma), Kantara (Rishab Shetty) and Thugs of Hindostan (Vijay Krishna Acharya). 30. Aamir Khan on Koffee With Karan (2018). 31. Parasite -- Bong Joon-ho. 32. Asghar Farhadi on Wikipedia and IMDb. 33. Delhi Crime. 34. TikTok and Indian Society -- The online course conducted by Amit Varma, now no longer on offer. 35. Vicky Donor (Shoojit Sircar) and RRR (SS Rajamouli). 36. Salim-Javed. 37. Range Rover — The archives of Amit Varma's poker column for the Economic Times. 38. Dilwale Dulhania Le Jayenge (Aditya Chopra) and Kaho Naa... Pyaar Hai (Rakesh Roshan). 39. Dev D (Anurag Kashyap), Udaan (Vikramaditya Motwane) and Oye Lucky Oye Lucky (Dibakar Banerjee). 40. Bhuvam Bam, Prajakta Koli and Amit Bhadana. 41. Man's World (Y-Films) and Ki & Ka (R Balki). 42. The Refreshing Audacity of Vinay Singhal — Episode 291 of The Seen and the Unseen. 43. Mumbai Diaries 26/11 -- NIkhil Advani. 44. 1000 True Fans — Kevin Kelly. 45. 1000 True Fans? Try 100 — Li Jin. 46. If You Are a Creator, This Is Your Time -- Amit Varma. 47. Episodes of The Seen and the Unseen on the creator ecosystem with Roshan Abbas, Varun Duggirala, Neelesh Misra, Snehal Pradhan, Chuck Gopal, Nishant Jain, Deepak Shenoy and Abhijit Bhaduri. 48. One Cut of the Dead — Shin'ichirō Ueda. 49. Dance Dance For the Halva Waala -- Episode 294 of The Seen and the Unseen (w Jai Arjun Singh and Subrat Mohanty). 50. Steven Soderbergh, Kevin Smith (Clerks), Sofia Coppola and Richard Linklater. 51. The Life and Work of Ashwini Deshpande -- Episode 298 of The Seen and the Unseen. 52. Ingmar Bergman, Federico Fellini and Mani Kaul. 53. Andaz Apna Apna (Rajkumar Santoshi), Gunda (Kanti Shah) and Disco Dancer (Babbar Subhash). 54. Womaning in India With Mahima Vashisht -- Episode 293 of The Seen and the Unseen. 55. Womaning in India — Mahima Vashisht's newsletter. 56. Desperately Seeking Shah Rukh: India's Lonely Young Women and the Search for Intimacy and Independence — Shrayana Bhattacharya. 57. Memories and Things — Episode 195 of The Seen and the Unseen (w Aanchal Malhotra). 58. Remnants of a Separation — Aanchal Malhotra. 59. Shravana Kumara, the pious son. 60. Kavitha Rao and Our Lady Doctors — Episode 235 of The Seen and the Unseen (w Kavitha Rao). 61. Lady Doctors: The Untold Stories of India's First Women in Medicine — Kavitha Rao. 62. Penelope Fitzgerald on Amazon and Wikipedia. 63. Roshan Abbas and the Creator Economy -- Episode 239 of The Seen and the Unseen. 64. Kuch Kuch Hota Hai -- Karan Johar. 65. The Chaos Machine -- Max Fisher. 66. The Social Dilemma -- Jeff Orlowski. 67. The Flying Spaghetti Monster. 68. Coming Out as Bisexual -- Mohit's talk at Main Hoon Yuvaa. 69. Nikhil Taneja's Twitter thread on his anxiety. 70. Nikhil Taneja's Facebook post on his anxiety. 71. Chandrahas Choudhury's Country of Literature — Episode 288 of The Seen and the Unseen. 72. Turtles All the Way Down -- John Green. 73. Don't think too much of yourself. You're an accident — Amit Varma's column on Chris Cornell's death. 74. The Road to Freedom — Arthur C Brooks. 75. Amit Varma's favourite shower gel. 76. The Prem Panicker Files — Episode 217 of The Seen and the Unseen. 77.  Amitava Kumar Finds the Breath of Life — Episode 265 of The Seen and the Unseen. 78. Schitt's Creek, Kim's Convenience and Parks and Recreation. 79. Greatest Events of WWII in Colour -- The Netflix docuseries mentioned by Nikhil. 80. Zeynep Tufekci's newsletter, Twitter and column archive. 81. Ed Yong on Twitter, Amazon, The Atlantic and his own website. 82. My Friend Dropped His Pants -- Amit Varma. 83. Love Actually, Four Weddings and a Funeral and Notting Hill by Richard Curtis. 84. Project Everyone. 85. Ladies Room, 6 Pack Band and Bang Baaja Baaraat. 86. Maja Ma -- Anand Tiwari. 87. Phone Bhoot, Badhaai Ho and Crash Course. 88. Let's Talk Consent. 89. Queeristan -- Episode 190 of The Seen and the Unseen (w Parmesh Shahani).. 90. Gray (Sakshi Gurnani) and Tasalli Se (Tarun Dudeja). 91. Dear Teenage Me.-- A podcast by Yuvaa on Spotify. 92. Humankind: A Hopeful History -- Rutger Bregman. 93. The Stanford Prison Experiment. 94. Invisible Women — Caroline Criado Perez. 95. Will -- Will Smith's autobiography. 96. Homeland Elegies -- Ayad Akhtar. 97. Yearbook -- Seth Rogan. 98. Shamoon Ismail on YouTube and Spotify. 99. Vampire Weekend on YouTube and Spotify. 100. Dev D by Amit Trivedi. 101. Hum Hai Rahi Pyar Ke -- Song from Nau Do Gyarah, starring Dev Anand. 102. The Before Trilogy by Richard Linklater. 103. Rambling Man -- An interview of Richard Linklater by Nikhil Taneja. 104. Superchor -- Song from Oye Lucky Lucky Oye. 104. Succession, Ted Lasso and Bojack Horseman. 105. Someone Who Will Love You in All Your Damaged Glory -- Raphael Bob-Waksberg. 106. The Lord of the Rings -- JRR Tolkein. 107. The Lord of the Rings -- The films. 108. The Lord of the Rings: The Rings of Power. 109. 8 Book Recommendations by Nikhil Taneja on Chalchitra Talks. 110. Weekly Movie Recommendations by Nikhil Taneja on Chalchitra Talks. 111. 80 Marvelous Recommendations by Nikhil Taneja on Chalchitra Talks. 112. Nikhil Taneja's 2020 and 2021 recommendations on Instagram. 113. Nikhil Taneja's 2022 favourites, specially compiled for The Seen and the Unseen. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! Episode art: ‘I'm not lonely' by Simahina.

Omkara Upasana helps one to own up the knowledge that one is indeed Brahman. What is Omkara mantra japa? How does it aid in seeing the truth of oneself? What us the underlying factor in the three states of waking, dream and sleep and how to see the reality using this Prakriyā? Listen to find out.

This series of podcast episodes will focus on Decolonising Research, and feature talks from the Decolonising Research Festival held at the University of Exeter in June and July 2022. The fifth epsiode of the series will feature Pankhuri Singh from the University of Exeter and her talk 'Culture across borders'.   Music credit: Happy Boy Theme Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/   Transcription 00:09 Hello, and welcome to rd in the in betweens. I'm your host Kelly Preece. And every fortnight I talk to a different guest about researchers development, and everything in between.   00:32 And today I'll be talking about cultural cross borders. Hello, everyone. My name is Pankaj Singh. I'm a second year PhD student in the Department of English and film studies. Now, what exactly is decolonization? decolonization is the process in which a country that was formerly a colony that was colonized by imperialism or by a par, they they go away and they make that country independent and they lose the stop controlling that country and that country becomes independent internal, this is the process of decolonization. Now, India became independent from the British Empire on the 15th of August 1947. Do it became a republic, it decided to be a part of the Commonwealth of Nations. Hence, it did not severe away all the ties from the British Empire by being part of the Commonwealth nations it accepted the honorary monarchy being being a part of the Indian constitution and in I'm sorry, not the Indian constitution, but of the Indian public in in, in the general terms, not talking a little bit about what the history of India and the UK share is, trade was established between two ringland and Mughal India in the 1600s. When elicited when Elizabeth to one granted the newly formed in East India Company Royal Charter by sending precious gifts to the Mughal court, Emperor of Akbar the trend following the Indian rebellion of 1857. When Indian sepoys rebelled against the British officers, the East India Company was dissolved. The assets of the British East India Company was so huge that the British government decided to step in, and after a series of military encounters established British dominion over India. Later, the English sought to consolidate their political control by taking responsibility to improve the lot of the masses by imparting modern Western education. They took over on themselves which is dubbed as the White Man's Burden, they took over that responsibility of making the Indian masses of socially religiously, morally economically, better human beings. A part of this being Lord Macaulay is minute on Indian education, which came out in the 18 clitic farm. He wanted to establish a class of persons Indian and blood and color, but English and taste, opinion, morals and intellect. According to him, these people would act as intermediaries between the British rulers and the masses that they were to. Indians, however, welcome this decision with open arms. They had their own perceived notions that this charter this minute would help them it was not just the freedom fighters, but also the social reformers who saw the benefits of this plan and how it would work in their own favor. reformers like Raja Ram and Ravi and others crap the opportunity to do away with the dogmatic and Orthodox religious rights, when they realized that is new scientific approach would be important to the Indian education and they would realize that these religions rights were dogmatic and not really something that should be followed. Similarly, the freedom fighters to grab this opportunity and part of collaborating with each other, from different parts of the country to to   04:39 to move forward the nationalist independence movement. Now why was that? It was because India was and still continues to be multilingual. It has 22 languages recognized in the HTML of the Indian constitution, and when Broadmoor collies minute came into being ink, then English became the lingua franca and freedom writers from across regions could actually connect and plans that would work for the very downfall of the British Empire that that brought home that had brought this English language into the country. While all of this was going on in the political front, in the literary front, Shakespeare as a playwright began to gain popularity he's his stories of creed, part, revenge and jealousy, the times and the new no borders. Even after independence, Indians continued to like his filmmakers took an opportunity to make films that were based on Shakespeare's plots. And they thought that his plots were timeless and they could actually adapt to them to the Indian culture. This brings me to my research topic, which is how paraglide trans culturally adapted to Elizabeth and drama to the Indian setting. Today, I will be talking about how the Elizabethan drama written by William Shakespeare in 16 104 that is Othello gets adapted into Ankara, which was a film that released in the year 2006. Cannot be bounded by geographical borders, the emotions of discontentment, jealousy, insecurity, are felt by all residing in any part of the world. Ha replied to spank on the Shakespearean play, and takes pride in being associated with the writer who wrote for the teaching, which ruled his country for centuries. The filmmaker however, does not blindly transform the Elizabethton play of Shakespeare into a film. Rather he adds the elements of Indian Ness in it, which makes the adaptation a unique process he adds in Hindu mythic elements and other features that are exclusive to India. The chief point of the play will tell you is that Otello belongs to a different race than Desdemona, the counterpart the female counterpart. This gets trans culturally adapted in the Indian setting, but how to judge many banks on the emotion of jealousy and insecurity. He bases his film on the very inhibition, which also happens to be a very famous Hindi dialogue in the Bollywood cinema, that a girl and a boy can never be just friends. This inhibition was the root cause for Omkara jealousy and the belief that dolly Desdemona might have cheated on him with case that is Casio. While in the play, Iago makes Roger equal believe that Desdemona loves Casio, he says that they have the same appearance and that will tell you is stop that bringing in the disparity of talent between the levels. In the film this gets adapted when dolly and que su are seeing together and they seem compatible, because they share the same educational background. The the, the issue of caste, the issue of column, never find the mention it is because they will educate together that they become compatible, thereby making Ankara jealous and insecure, that he is approved, and therefore, he is not as in par with the case who as he would have been had he been Western or modern educated. The second method of adapting the play is when Bhardwaj reimagined the character of into the Indian counterpart for Amelia, making her vengeful at Carly, who kills her husband Lambert yaki, the Iago figure for the misdeeds he had done. Thus, Bhardwaj birdwatcher takes a significant departure from the text, because while in the play immediate dies at the hands of Thiago and that is how we see that that's how Amelia is not really able to stand up for Desdemona. Into however, becomes the avenging mother who dresses the wrongs done to her.   09:41 Not only her but also broadly, who she thinks to be her younger sister, or her child. The name into means moon and according to the Hindu mythology, the moon protects the inhabitants of the earth in in the night from the evil forces that look in the dark similarly, in the two dresses the drums metadata and Dolly balandra and the scenes take place in the light rail into as a protector of the good forces fight against the evil forces, which here are represented in Lanre and defeats him. You even though Indu is not the female protagonist here, her position in the development of the plot is of significant value. In the film, Iago is called Long long meaning lane, which attributes to another mythological figure, Shang. Shang is a planet that, according to the Hindu mythology, is a slow moving planet that revolves around the sun, and is associated with black collar and walks with a limp. This mythical trigger is associated with bad luck. And that's the drawing influence of lambda in Ankara. Light can be equated to the beginning of Ankara has done for since Shani said to be the God of karma or one's actions, it can be concluded that Ankara is himself involved in his own downfall. As he is unable to see the truth and false through the deceitful plans of flora. Shani is also associated with black color as a tall talked about he walks he can be seen in the film, in the form of long long walks in with a limb in the dark alleys. He is always shot in dim light, and he adds to the mystery which brings about a kind of mystical persona that holds some secrets within his heart, and that alludes to the dark intentions that he has. My argument is that while Iago becomes the green eyed monster in Othello, longer becomes the demonic figure associated with evil and dark horses, and black is the color associated with him. pilotage also seems to have borrowed from Rahman, when adapting Otello to the Indian context, as the basic fact remains that both in the epic so in the plane or in the film, where the main character are misled to distress the loyalty of their respective rights, just as in Roman law drum believes the words of a washer man and things got a Sita was not loyal to him. So does in the film, Ankara believe two words a camera and considers the dolly is having an illicit affair with case behind his back. The words of Brandon Turner who is destined Mona's father pelo. Look, look at have more if thou have eyes to see, she has deceived her father and me she did get an Indian adaptation to the word three archery three, three archery three is a term that is mentioned in MGS. Murthy, which is a religious, religious Hindu text. It refers to the mysterious character of women, which is translated or real translation stands as nobody knows about the character or tendency of a woman.   13:21 It is thus, a critical evaluation of how Shakespeare's plays were translocated and adapted into the Indian setting, along with aiming, rethinking and repositioning Shakespeare in 21st century intends cinematic setting, acting as a cultural bridge, joining the culture of two different countries to get this fighting with the past and thinking that things were different, and they would have been better if they were different. It is better if we see a future that knows no boundaries, and that where where we share and serving and a future where we share the same legacy and making a new history there, all of our cultures collaborate. My larger argument does is if we as New Age, researchers are able to strike a balance between the methods and means by which the old Pinocchio texts are read and analyzed. And that connection is established between the colonizing power not seeing it as a curse, but rather seen is at seeing it as a means of new forms of connection, a call a new area of decolonizing research will develop it will see literature as belonging to all it does not restrict it by borders or by geopolitics, or where the nations or the nationality of the author lies, but rather assimilating and making literature and music accessible to all.   15:03 And that's it for this episode. Don't forget to like, rate and subscribe. And join me next time where I'll be talking to somebody else about researchers development and everything in between.

Writer-director Abhishek Chaubey joins us for a chat on his films (Ishqiya, Dedh Ishqiya, Udta Punjab, Sonchiriya) as well as Omkara and Maqbool, films which he co-wrote/assisted on. Abhishek and I chatted about adapting classics, writing good story endings, and prioritizing storytelling voice ahead of cinematic chops. He shared some cool stories around casting Naseeruddin Shah in Ishqiya, shooting the shootout at the train station in Dedh Ishqiya, the decision to nod to Ismat Chughtai's Lihaaf, and working with the Pakistani actor, Salman Shahid (Mushtaq Bhai). Abhishek also talked about learning from Vishal  Bhardwaj, his mentor and friend. Join us!Ishqiya, Dedh Ishqiya, and Udta Punjab are currently streaming on Netflix.Sonchiriya is currently streaming on Zee5.Feedback/comments/questions: loveofcinemasf@gmail.comCredits:Produced and hosted by: Himanshu Joglekar (@loveofcinemasf8)Editor: Devika JoglekarMusic: Nakul AbhyankarCopyrights © Love of Cinema 2022Support the show

Pankaj Tripathi (born 5 September 1976) is an Indian actor who appears predominantly in Hindi films. He debuted in 2004 with a minor role in Run and Omkara, and has since worked in more than 60 films … Born5 September 1976 · Bihar, India Alma materNational School of Drama, New Delhi (Diploma in Dramatic Arts) · Institute of Hotel Management, Hajipur, Bihar (B.Sc.) Spouse(s)Mridula Tripathi · (m. 2004) Children1 OccupationActor Years active2004–present --- Send in a voice message: https://anchor.fm/greatideasgreatlife/message

Title: Manifestations of the Divine10th chapter: 20th verse, 41st verse, verses 25-38The summary of the 10th chapter is that everything is an expression of the divine. This divinity is immanent within us. We can manifest this divinity by seeing its presence in anything that is sublime, supreme, beautiful and creative.The central thesis of the 10th chapter is in the 20th verse and 41st verse. It is important to properly understand both these verses to make sense of verse 21 onwards, where Lord Krishna describes his manifestations.In the 20th verse, Lord Krishna says: “O Arjuna, I am present in the heart of all beings as the indweller– residing there I regulate and function everything. I am the beginning; I am the middle; and I am the end of all beings.”In the 41st verse, Lord Krishna says: “Wherever you find some greatness, prosperity, power or excellence – know that to be a part of My splendor.” Wherever we find a unique manifestation that is sublime and beautiful, it is an expression of the divine reality.To make this clearer, from the 25th to 38th verse, Lord Krishna describes his physical manifestations.In the 25th verse, Lord Krishna says: “Among the sounds, I am Omkara.” Omkara is the essence of all human sound and speech systems.In the 26th verse, Lord Krishna says: “Among sacred trees, I am Ashvattha.” Ashvattha is considered the most auspicious among trees.In the 29th verse, Lord Krishna says: “Among the regulators, I am Yama.” Yama is the great equalizer – real equality is possible only in the palace of the Lord of death. In the 34th verse, Lord Krishna says: “I am the all-consuming death.”Death is inescapable. However, it can be transcended when we realize our deathless dimension, as the Atman. Atman is indestructible – it was never born, and it never dies. Immortality cannot be achieved at physical level.Yama explains the mystery of death to Nachiketa in the Kathopanishad. Nachiketa asks Yama for three boons: (1) Let my father not scold me when I return (2) Teach me rituals to get to heaven and (3) Teach me the reality beyond death. Yama then teaches Nachiketa how to transcend death. He teaches him how to transcend our physical identity and realize our true nature as the Atman, which is deathless, and which is present everywhere and in everything.In the 35th verse, Lord Krishna says: “Among vedic mantras, I am Brihat sama.” Sama is mantra turned into its musical form. He says: “Among metres, I am Gayatri.”In the 36th verse, Lord Krishna says: “I am gambling in those who deceive.” What Lord Krishna means is that if someone is possessed with great qualities but is wicked, he implants something in that person that becomes a cause of his downfall. For example, Ravana's obsession with sensuality was the cause of his downfall.Everything in this world – good, bad, indifference – all come from the same source, the divine reality. Just as electricity manifests in different ways depending on the gadget it powers, similarly, everything in this world is a different manifestation of the same divine reality.In the 37th verse, Lord Krishna says: “Among the Pandavas, I am Arjuna.” Lord Krishna chose Arjuna as his student, over Yudhishthira and other Pandavas, because Arjuna was a man of action, who was eager to learn, and who would put into practice what he learnt.Spiritual life should not be lived in the world of ideas. We need to put these ideas into action. We can start our spiritual life by doing unselfish, noble deeds. Such physical actions generate spiritual energy and increase the storehouse of our healthy samskaras.

10th chapter: 20th verse, 41st verse, verses 25-34The summary of the 10th chapter is that everything is an expression of the divine. This divinity is immanent within us. We can manifest this divinity by seeing its presence in anything that is sublime supreme, beautiful and creative. Then, when we look around, we won't see anything other than the divine.The central thesis of the 10th chapter is in the 20th verse and 41st verse. It is important to properly understand both these verses to make sense of verse 21 onwards, where Lord Krishna describes his manifestations.In the 20th verse, Lord Krishna says: “O Arjuna, I am present in the heart of all beings as the indweller– residing there I regulate and function everything. I am the beginning; I am the middle; and I am the end of all beings.”In the 41st verse, Lord Krishna says: “Wherever you find some greatness, prosperity, power or excellence – know that to be a part of My splendor.” Wherever we find a unique manifestation that is sublime and beautiful, it is an expression of the divine reality.From the 25th to 34th verse, Lord Krishna describes his manifestations.In the 25th verse, Lord Krishna says: “Among the sounds, I am Omkara.” Omkara is the essence of all human sound and speech system. It represents the totality and oneness of existence. Omkara should be chanted with a lengthened vowel sound. It begins and ends in silence. Its chanting gives us inner tranquility and peace.In the 25th verse, Lord Krishna also says: “Among prayers, I am japa-yajñaḥ”. Japa-yajñaḥ is the most sublime form of spiritual practice - a state where the devotee is naturally and spontaneously merged in the continuous recital of the mantra.Mantra japa has four stages in descending order: Para (realize the essence), Pashyanti (focused on the meaning of the mantra), madhyama (verbal repetition, no sound) and Vaikhari (verbal repetition with sound). It is an evolution from the gross to the subtle, from outer to within, and from external practice to internalization.In the 26th verse, Lord Krishna says: “Among sacred trees, I am Ashvattha; among divine sages, I am Narada; among perfect souls, I am Kapila.” Narada is a sage in Hindu mythology who appeared before anyone needing spiritual guidance and helped them.In the 29th verse, Lord Krishna says: “Among the regulators, I am Yama.” Yama is the great equalizer – real equality is possible only in the palace of the Lord of death.In the 30th verse, Lord Krishna says: “Among demons, I am Prahlada.” Prahlada is one of the greatest devotees, and was born to a demon, Hiranyakashipu.In the 31st verse, Lord Krishna says: “Among warriors, I am Rama.” Rama was an embodiment of dharma. He was a warrior but an embodiment of ahimsa. Valmiki is the author of Valmiki Ramayana, and his own story of spiritual transformation is very inspiring.In the 33rd verse, Lord Krishna says: “Among compounds, I am Dvandva; I am the dispenser of fruits of all actions.” Dvandva is a linguistic compound in Sanskrit in which any number of nouns can be concatenated together with equal importance. There is a cause effect link in whatever we do – the result of our action may be invisible, but it is felt. These results are dispensed by the indweller within us.In the 34th verse, Lord Krishna says: “I am the all-consuming death. I take the form of the exquisite feminine qualities such as good name, prosperity, speech, memory, intelligence, and endurance.” Death is inescapable. However, it can be transcended when we realize our deathless dimension, as the Atman.Brihadaranyaka Upanishad has a profound dialogue between Yajnavalkya and Maitreyi where Maitreyi questions whether wealth can give eternal happiness and immortality.

Mar 1,2022 Tuesday : Misc : Aarti Jai Shiv Omkara

Prof. Jagbir Singh takes us on another journey of Indian Knowledge system in this talk with Sanjay Dixit - Bharatiya Gyan Parampara - and introduces us to Ik Omkara of Sikh parampara and compares it to the Omkara as laid out in the Mandukya Upanishad as the ultimate reality.

Lyrics:Jaya Guru Omkara Jaya Jaya Sadguru Omkara OmBrahma Vishnu SadashivaHara Hara Hara Hara MahadevaMeaning:Venerable salutations to our Preceptor who is the form of the primordial sound Om, the Creator Brahma, protector Vishnu and destroyer Shiva. Salutations to Sai who is the embodiment of the most Supreme Lord.

Teachings of Lord Caitanya (subtitled, "A Treatise on Factual Spiritual Life") was first published in 1968. It is a summary study of the Sri Chaitanya Charitamrita, a multi-volume collection describing the life and teachings of Chaitanya Mahaprabhu, who popularized harinama-sankirtana, congregational chanting of God's names, throughout India during the fifteenth century.  Being engrossed in the material body, the conditioned soul increases the pages of history by all kinds of material activities. The teachings of Lord Caitanya can help human society stop such unnecessary and temporary activities. By these teachings, humanity can be elevated to the topmost platform of spiritual activity. These spiritual activities actually begin after liberation from material bondage. Such liberated activities in Kṛṣṇa consciousness constitute the goal of human perfection. The false prestige one acquires by attempting to dominate material nature is illusory. Illuminating knowledge can be acquired from the teachings of Lord Caitanya, and by such knowledge one can advance in spiritual existence. Everyone has to suffer or enjoy the fruits of his activity; no one can check the laws of material nature which govern such things. As long as one is engaged in fruitive activity, he is sure to be baffled in an attempt to attain the ultimate goal of life. I sincerely hope that by understanding the teachings of Lord Caitanya, human society will experience a new light of spiritual life which will open the field of activity for the pure soul.  Find the links where to read this book here: sravanamdiaries.com/teachings-of-lord-caitanya/

Hannah & Rose discuss the 2006 drama Omkara, adaptation of Othello. This film is directed by Vishal Bhardwaj with songs by Vishal Bhardwaj and Gulzar. It stars Ajay Devgn, Kareena Kapoor, Saif Ali Khan, Vivek Oberoi, and Naseeruddin Shah. Recommended for intermediate viewers. Rated for adults. Other names mentioned in the episode are Maqbool, Irrfan … Continue reading "Episode 42: Omkara"

Today I am honored to bring you a very special interview to commemorate the holiday season and Diwali. It's with a woman who embodies her feminity so effortlessly as an actor, author, producer, daughter, sister, wife, and mother of two - she's Kareena Kapoor Khan. Kareena Kapoor Khan is Bollywood royalty hailing from the Kapoor family who's ancestry has revolutionized the film industry for generations. She is the recipient of several awards including 6 Filmfare Awards and is one of Bollywood's most popular and revered actresses. She received critical acclaim for her roles in Chameli, Omkara, Jab We Met, and Heroine. Her highest grossing releases include Singham Returns, Good Newz, 3 Idiots, Bodyguard, and Bajrangi Bhaijan. Kareena hosts a radio show and has contributed as a co-writer to four books among them two are autobiographical memoirs, The Style Diary of a Bollywood Diva and My Pregnancy Bible: The Ultimate Manual for Moms to Be . She has started her own line of clothing and cosmetics for women, and has worked with UNICEF since 2014 to advocate for the education of girls and an increase in quality based education in India. Kareena and her husband actor Saif Ali Khan have two sons, Taimur and Jeh. Today we dive in to her career, her perspective as a woman in the entertainment industry, and her personal experience as mother. She shares her fun anecdotes and sage advice and is sure to delight. Listen in. Meet My Guest: INSTAGRAM: @kareenakapoorkhan TWITTER: @KareenaK_FC FACEBOOK: /OfficialPageKareenaKapoor

Summary:9th chapter: verses 17, 19, 20, 21, 22. 18th chapter: verse 66 17th verse: “I am the father of this world, the mother, the upholder, the origin, and the purifier. I am the one thing to be known. I am omkara and I am the vedas.”“I” here refers to the all-pervading divine reality, which acts as the protecting, nourishing, upholding principle. It is this divine reality that is to be realized.Omkara, as a sound-symbol, represents the totality and oneness of existence, and the essence of the Vedas. It represents the unified universe consisting of the three worlds of existence: below the earth, upon the earth, and celestial level. In monotheistic religions, it corresponds to the unity of all divine personifications – Brahma, Vishnu, and Maheshvara. It is the beginning, middle, and end of all human speech. In Patanjali Yoga Sutra, it is described as the name of the Lord.Gayatri mantra has 24 letters and is a very sublime mantra. Om is an integral part of Gayatri mantra. It invokes the effulgent divine reality, that is present everywhere, and it takes one beyond the three levels of existence - towards the transcendental.The 17th verse puts a very high philosophical ideal – oneness and unity of human family – in the language of everyday human relations.19th verse: “As the sun, I am the heat. I withhold and send forth rain. I am immortal and also dead. I am also the being and the non-being.”The 19th verse uses the sublime technique of using language that seems contradictory to point to its transcendental meaning. A poet in Vedantic tradition is one who is able to see far into things and bring out the grandeur of the subject he is writing on.Ramanuja in his commentary on this verse says: “I provide both heat and rain. I am the source of energy that sustains human life. I am the sequence in the seasons. I am the supreme principle behind the harmonious existence of life in this world. I am the immortal principle behind that which is immortal. I am the finite principle behind that which is finite.”One cannot transcend death at the physical level. When we realize our true nature and its immortal dimension, we transcend death. Brihadaranyaka Upanishad has a profound dialog between Yajnavalkya and Maitreyi on the topic of immortality.Both existence and non-existence are non-distinct from the divine reality. Nothing can be excluded from that reality, not even the concept of evil. Vedanta does not define God as the totality of all positive virtues. It replaces the doctrine of evil with the doctrine of ignorance. As we evolve, so called evil is understood to be a stage where we experience something due to our lack of the highest spiritual enlightenment. At the highest level, all secular activities become spiritualized.Swami Vivekananda said: “Worshipping the terrible is a sign of sannyasa (mendicant).” A Mendicant is a person who accepts everything. For him, the totality alone exists – it includes good and bad. But, at a spiritually evolved stage, he automatically accepts only the good – he cannot harm others, as described in the 18th chapter of Bhagavad Gita.In the 66th verse of the 18th chapter, Lord Krishna describes the spiritual psychology of self-surrender. He says to Arjuna: “Give up all distinctions between dharma and adharma. Attach your will to God's will. Attach your mind and emotions to the divine. Then you will naturally choose the right dharma.”20th and 21st verse: There are those who perform rituals for material prosperity and long life. They are also worshipping the same divine Lord, but not in its most sublime sense. They are at the beginning of spiritual life. They go to heaven, and once their spiritual merits are exhausted, they return to the world. For them, the cycle of birth and death continues.22nd verse: “People who meditate on God as not separate, who worship Him in all beings, who are always engaged in that divine pursuit – for such people, I carry what they lack, and preserve what they already have.”Yoga in this verse means helping you attain what you have not already attained. Kshema in this verse means preserving what you have already attained.Lord Krishna makes a big promise in this verse. “If you do God's work, God will work for you.” We experience this in our lives. When we do good, noble deeds without selfish motives, then some of our problems are automatically solved. A noble act done for the good of others is an act of worship and generates spiritual energy.The story of Lord Krishna and Sudama illustrates this promise. When Sudama gave parched rice to Lord Krishna, it returned to him as prosperity in an invisible way.”

In the 23rd episode of 9x Tashan Song Stories, we interacted with Sunidhi Chauhan, who told us the story behind her hit song “Beedi Jalai Le” from the movie Omkara. She said she instantly became a fan of Gulzar's writing and was obsessed with the lyrics as soon as she heard the song. Besides describing the creative process behind Beedi Jalai Le, she also narrated the story behind “Sheila Ki Jawani” with Vishal-Shekhar. Tune in to the episode and find out for yourself, only on 9x Tashan Song Stories! Music and composed by Manpal Singh You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For advertising/partnerships send you can send us an email at bonjour@eplog.media. If you like this show, please subscribe and leave us a review wherever you get your podcasts, so other people can find us. You can also find us on https://www.eplog.media DISCLAIMER: All “statements, comments, ideas, views, opinions and/or any other content(s) expressed and/or contained in this podcast and its content herein” (“content(s)”) presented by the host/anchor and/or guest(s), are of their own and are meant to be for entertainment purposes only, it is expressly stated herein that none of the said views/ content(s) are meant to be in any way of advisory nature and/or intended to hurt the sentiments of any persons living and/or dead, locales and/or otherwise . “9X Media Pvt. Ltd.” (“Company”) does not necessarily subscribe and/ or endorse and/or take responsibility of any nature whatsoever for the said views/ content(s) including but not limited to constitutional responsibility for the same. Further the Company does not suggest, warrant and/or make any representations regarding the use, interpretations and/or results of the use of the said views/ content(s) by any third party. See omnystudio.com/listener for privacy information.

In this week's episode, we look at renowned director Vishal Bhardwaj's acclaimed Shakespearan Trilogy. From Maqbool to Omkara to Haider, we deep dive into each film to give you our thoughts on what worked, what didn't, and what completely caught us by surprise. It promises to be a fun one. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Here talk about the significant of OM in all slokas and Mantras, it's origin and deep meaning to be kept in mind while chanting OM also known as Omkara

Notations -> http://www.shivkumar.org/music/#a Annapurne Ragam: Sama (29th melakartha janyam) Talam: Adi Composer: Dikshitar ARO: S R2 M1 P D2 S || AVA: S D2 P M1 G3 R2 S || Lyrics and Meaning Transcription: Mrs. Geetha Kalyanaraman & Mrs. Sharanya Shivkumar Pallavi: Annapurne Visalakshi Akhila Bhuvana Saakshi Kataakshi Anupallavi: Unnata Gartta Tira Viharini Omkarini Duritaadi Nivaarini Pannagabharana Raajni Puraani Paramesvara Visvesvara Bhaasvari Charanam: Paysannapurita Manikyapatra Hemadarvi Vidhrutakare Kayajaadi Rakashana Nipunatare Kanchanamaya Bhushana Ambaradhare Toyajaasanaadi Sevitapare Tumburu Naaradaadi Nuta Vare Trayaatita Mokshaprada Chature Tripada Shobhita Guruguhasaadare Meaning: (From T.K. Govinda Rao's book) Pallavi: Oh goddess ANNAPURNA, VISALAKSHI-one with large eyes, please protect me.You are the witness for all the happenings in the world ("akhilabhuvanasakshi"). Please favour me with your glance ("katakshi"). Anupallavi: She resides in the famous ("unnata") GARTTATIRA -kuzhikkarai ("gartta-tira-viharini"). She is of the form of OMKARA.("omkarani"). She alleviates ("nivarini") one's affictions ("duritadi "). She is the consort ("rajni") of Lord SIVA who adorns ("-abharana") himself with serpents ("pannaga"). She, the ancient ("purani") one. She is the luminosity ("bhasvari") of Lord PARAMESHVARA ("visvesvara"). Charanam: She holds in one hand ("vidhrta-kare") a gem studded vessel ("manikya patra") brimming ("purita") with sweetened rice-PAYASANNA and in the other hand ("vidhrta-kare") a golden ("hema") spoon ("darvi"). She is adept ("nipuna-tare") in protecting ("rakashana") Cupid ("kay-aja") and others ("aadi"). She is adorned ("dhare") with oranate ("bhushanam") golden jewels ("kancana-maya") and golden silk ("ambara"). She is worshipped ("sevitapare") by BRAHMA ("Toyajaasana") and eminent sages ("adi") like TUMBURU and NARADA. She is skilful ("chature") in bestowing salvation ("moksha") which is above ("atita") the DHARMA-ARTHA-KAMA ("traya "). She is beloved mother of GURUGUHA ("tripada sobhita") ("guruguha-sadare")

Notations -> http://www.shivkumar.org/music/#s Ragam: Sri Ranjani (22th Mela janyam) ARO: S R2 G2 M1 D2 N2 S || AVA: S N2 D2 M1 G2 R2 S || Talam: Rupakam Composer: Tyagaraja Version: M.S. Subbalakshmi Lyrics courtesy: www.sangeetham.com Pallavi: Sogasugaa Mridanga Taalamu Jata Gurcchi Ninnu Sokkajeyu Dheerudevvado Anupallavi: Nigamashirortthamu Galgina Nija Vaakkulato Svara Shuddhamuto Charanam : Yati Visrama Sadbhakti Virati Draakshaarasa Navarasa Yutakrtiche Bhajiyinche Yukti Tyaagaraajuni Taramaa (Shree) Raama Meaning: (from sangeetham.com) Who is ("evvado") the valiant one ("dheerudu") enchanting you ("sokkajeya") by harmonising ("jata gurcchi") so pleasurably ("sogasuga") the drum ("mridanga") and the beat ("taala")? Who is the valiant one ("dheerudu") enchanting you by singing the notes ("swara") with clarity ("shuddhamuto"), using for words ("vaakkulato") the absolute truth ("nija ") enshrined ("galgina") in the Vedas ("nigama")? Is it possible ("taramaa") for Tyagaraja to do all this and create ("che") and sing ("bhajiyinche") songs ("krithi") that follow the rules in prosody ("yati"), pausing at the right places ("visrama"), possessing the sweetness of grape ("draaksha") juice ("rasa"), comprising the nine ('nava") emotions ("rasa"), standing firm on the bedrock of faith ("virati")? Who is the valiant one enchanting you by harmonising so pleasurably the drum and the beat? Notes: The kriti, sets out the essential characteristics of composing and rendering kritis. In a question format (to quote Prof William Jackson), Tyagaraja sets out all requisites for a good composer and a singer. A good kriti's words are likened to OmkAra, the praNava mantra as per the kriti. This is the essence of nAdOpAsana. Some of the other terms used are explained below: yati: a rule of prosody, particularly used in Telugu and Sanskrit, where the opening letter of a line, repeats at measured intervals. vishrama: Also known as virAma. This denotes a pause. virati: Complete detachment to worldly issues and unswerving concentration on the almighty. drAkshArasa: Compositions are qualified as drAkshArasa, madhu, kshIra, kadalI and nArikEla depending on their simplicity of meaning and the ease with which they are understood and appreciated by listeners. drAkshArasa is the simplest among them.