Fm English Downladed Daap Jaao Narendra Singh Ke Ghar Pe Hai To Phone Band Tha
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Urdu/Hindi: An Artificial Divide
In a blow against the British Empire, Khan suggests that London artificially divided India's Hindu and Muslim populations by splitting their one language in two, then burying the evidence in obscure scholarly works outside the public view. All language is political -- and so is the boundary between one language and another. The author analyzes the origins of Urdu, one of the earliest known languages, and propounds the iconoclastic views that Hindi came from pre-Aryan Dravidian and Austric-Munda, not from Aryan's Sanskrit (which, like the Indo-European languages, Greek and Latin, etc., are rooted in the Middle East/Mesopotamia, not in Europe). Hindi's script came from the Aramaic system, similar to Greek, and in the 1800s, the British initiated the divisive game of splitting one language in two, Hindi (for the Hindus) and Urdu (for the Muslims). These facts, he says, have been buried and nearly lost in turgid academic works. Khan bolsters his hypothesis with copious technical linguistic examples. This may spark a revolution in linguistic history! Urdu/Hindi: An Artificial Divide integrates the out of Africa linguistic evolution theory with the fossil linguistics of Middle East, and discards the theory that Sanskrit descended from a hypothetical proto-IndoEuropean language and by degeneration created dialects, Urdu/Hindi and others. It shows that several tribes from the Middle East created the hybrid by cumulative evolution. The oldest groups, Austric and Dravidian, starting 8000 B.C. provided the grammar/syntax plus about 60% of vocabulary, S.K.T. added 10% after 1500 B.C. and Arabic/Persian 20-30% after A.D. 800. The book reveals Mesopotamia as the linguistic melting pot of Sumerian, Babylonian, Elamite, Hittite-Hurrian-Mitanni, etc., with a common script and vocabularies shared mutually and passed on to I.E., S.K.T., D.R., Arabic and then to Hindi/Urdu; in fact the author locates oldest evidence of S.K.T. in Syria. The book also exposes the myths of a revealed S.K.T. or Hebrew and the fiction of linguistic races, i.e. Aryan, Semitic, etc. The book supports the one world concept and reveals the potential of Urdu/Hindi to unite all genetic elements, races and regions of the Indo-Pakistan sub-continent. This is important reading not only for those interested to understand the divisive exploitation of languages in British-led India's partition, but for those interested in: - The science and history of origin of Urdu/Hindi (and other languages) - The false claims of linguistic races and creation - History of Languages and Scripts - Language, Mythology and Racism - Ancient History and Fossil Languages - British Rule and India's Partition.
Written by Salim-Javed
The dramatic, entertaining story of the dream team that pioneered the Bollywood blockbuster Salim Khan and Javed Akhtar reinvented the Bollywood formula with an extraordinary lineup of superhits, becoming game changers at a time when screenwriting was dismissed as a back-room job. From Zanjeer to Deewaar and Sholay to Shakti, their creative output changed the destinies of several actors and filmmakers and even made a cultural phenomenon of the Angry Young Man. Even after they decided to part ways, success continued to court them-a testament not only to their impeccable talent and professional ethos, but also their enterprising showmanship and business acumen. Fizzing with energy and brimming over with enough trivia to delight a cinephile's heart, Written by Salim-Javed tells the story of a dynamic partnership that transformed Hindi cinema forever.
Dilip Kumar
An authentic, heartfelt and compelling narrative – straight from the horse’s mouth – that reveals for the first time numerous unknown aspects of the life and times of one of the greatest legends of all time who stands out as a symbol of secular India. Dilip Kumar (born as Yousuf Khan), who began as a diffident novice in Hindi cinema in the early 1940s, went on to attain the pinnacle of stardom within a short time. He came up with spellbinding performances in one hit film after another – in his almost six-decade-long career – on the basis of his innovative capability, determination, hard work and never-say-die attitude. In this unique volume, Dilip Kumar traces his journey right from his birth to the present. In the process, he candidly recounts his interactions and relationships with a wide variety of people not only from his family and the film fraternity but also from other walks of life, including politicians. While seeking to set the record straight, as he feels that a lot of what has been written about him so far is ‘full of distortions and misinformation’, he narrates, in graphic detail, how he got married to Saira Banu, which reads like a fairy tale! Dilip Kumar relates, matter-of-factly, the event that changed his life: his meeting with Devika Rani, the boss of Bombay Talkies, when she offered him an acting job. His first film was Jwar Bhata (1944). He details how he had to learn everything from scratch and how he had to develop his own distinct histrionics and style, which would set him apart from his contemporaries. After that, he soon soared to great heights with movies such as Jugnu, Shaheed, Mela, Andaz, Deedar, Daag and Devdas. In these movies he played the tragedian with such intensity that his psyche was adversely affected. He consulted a British psychiatrist, who advised him to switch over to comedy. The result was spectacular performances in laugh riots such as Azaad and Kohinoor, apart from a scintillating portrayal as a gritty tonga driver in Naya Daur. After a five-year break he started his ‘second innings’ with Kranti (1981), after which he appeared in a series of hits such as Vidhaata, Shakti, Mashaal, Karma, Saudagar and Qila.