Category: India

│2018: A WARNING│


Tell the Nation What It Ought To Know

India has been witness to some of the most game- changing transformations, as well as some horrific aberrations in the past few years. Their dissemination has been fueled mainly through technology.

The outlook, vision and expectation of it’s 1.3 billion citizens has also changed. From being happy to get road access to their town, Indians now want super highways, dotted with amenities and wificonnectivity.

It’s internet thirsty population wants to guzzle data which would put the mighty Kumbhakarna to shame.

This insatiable desire for connectivity has led to awareness, about both the good and the bad things happening in India and it’s a telling sign how Indians have reacted to this awareness.

1)    India is fed up with tolerance. No longer is India ready for appeasement of minorities, appeasement of the enemy, appeasement ofNetas and Babus. This is a new and impatient society, which wonders W.T.F. was going on for the past 75 years after independence. International exposure has created a feeling of resentment in the minds of the youth, as to why their country refuses to wake up and smell the coffee.

2)    Indians are now fed up of pretending to be humble for the sake of decency.

3)    They are ready for challenges and to test the waters of uncertainty and technology.

4)    They are not afraid to ask questions from their Governments and not lazy to stay at home and watch TV on election-day.

5)    They are fed up with “respecting” the politicians by virtue of their title and dynastic inheritance and want to know what efforts are they putting in, 24/7 at the click of a button.

The Government at the Centre rode this wave of India’s new expectations. In fact any Government in power in India, even those in the States, are aware of these realities and expectations. They are now compelled to appear to either deliver, or chose to ignore these realities at their own peril, at the expense of being voted out.

Amongst all this, the role of the media has become all powerful and almost all pervasive.

In this era of Alt News, Fake News, Post Truth, and Big Data, powered by the social media, it’s all the more important for the media to not get lured by the temptations of click-bait, TRPs and viral viewership. It’s extremely important to ensure that accurate reporting and Principles of Journalism are not compromised. They must ensure that any news is given its due importance but not sensationalized at the altar of reporting all the facts.

This is particularly important on account of the fact that India will be holding its National General elections sometime next year which creates the real danger of the media becoming mere tools to vested interests. Hence it is all the more important for the media to maintain its vigil both on others and on itself. The institution of the media now faces the toughest challenge – of not only maintaining the focus on facts and objectivity, but also appearing to do so.

With this background it should be worthwhile to note with dismay that the media has already made an impetuous leap into the nadirs of opprobrium within the first 2 weeks of the New Year, aptly justifying the trolls from whom they have earned the titles of “prestitutes” and “baazaaru” :

  •  The first incident was related to the publishing of story in The Quint on 5th January 2018, which claimed that Kulbhushan Jadhav was a RAW agent, who was caught red handed on account of his being incompetent. It detailed out accounts of senior officials of RAW regarding Jadhav. While the story was subsequently retracted, it was readily picked up by thePakistani MediaRaghav Bahl’s The Quint published this story under the title, ‘Two Former Raw Chiefs Did Not Want Kulbhushan Jadhav Recruited As A Spy.’ After retraction, the story currently states,’ The Quint is Rechecking the Kulbhushan Jadhav Story.’

The story socially engaged more than 50000 users on the internet. Besides the shameful aspect of irresponsible reporting, the brazenness of the media continues through the following:

  • Quint refuses to apologise and accept that it made a mistake. It still continues to maintain that it is “rechecking some of the information mentioned in the article.”

Chandan Nandy@NandyGram

Calling a spade a spade!
Two Ex-RAW Chiefs Did Not Want Kulbhushan Jadhav Recruited As Spy …

8:22 PM – Jan 5, 2018

The Quint is Rechecking the Kulbhushan Jadhav Story

The Quint is rechecking some of the information mentioned in the article.

  • The author of the story Mr. Chandan Nandy,(@NandyGram) continues to maintain that he did the right thing by using vague terms such as “unnamed sources” to  support his claim instead of hard evidence.

Sandip, the world, especially of journalists, survives on trusted sources.

— Chandan Nandy (@NandyGram) January 5, 2018


  • Instead he chose to go into hiding after causing so much damage and spreading falsehoods.

Dr Mohammad Faisal@DrMFaisal

Update as reported: Journalist Chandan Nandy who filed the story is “missing/gone in hiding”, was last spotted at Khan Market Delhi and since then has been untraceable for Family and friends. Freedom of press ?

11:58 AM – Jan 6, 2018

  • The impudence continued as apart from a few websites, the  mainstream media chose to either glance over or ignore the issue altogether
  1. The effrontery conduct of the Indian media was again there for the world to witness when a group of senior journalists (including  Senior Journalist Dipankar Nandi of Aajkal News,Deobash Bhattacharya of Anand Bajar Patrika –ABP NEWS) accompanying West Bengal Chief Minister Mamata Banerjee in an official tour to London, attempted to steel silverware at an official dinner in a luxury hotel in London.
  • They did so by stuffing the cutlery into their bags or pockets.




।Film Padmavat(i) : The Censor Board Perspective।


Padmavati censor rottenmangoman blog

The resolution of the controversy surrounding the film Padmavati has[i], for the time being been put, the Censor Board Chairman, Prasoon Joshi in the spotlight. What probably makes it perplexing for Prasoon is the feeling both from the Bhansali camp and those opposing the movie, is that he is on their side. What must be going on in the minds of those deciding the fate of the movie and consequently India’s law and order scenario? Before we try to delve into the minds of the Censor Board, here is a brief look at water which has already flown under the bridge:


It’s not for us to pass judgement,but worthwhile to examine the rules and try to understand their extent of compliance. The Censor Board should ideally rely on 2 documents – The Cinematograph Act of 1952 and the Cinematograph Certification Rules of 1983.

The clauses of these acts which the Director/ Producer of Padamvati film has already apparently violated are :

  1. Advertisement of the movie without CBFC certificate:

According to Rule 38[ii] (CBFC) of Cinematograph (Certification) Rules 1983 any person advertising a film by means of insertion in newspapers, hoarding, posters, handbills ortrailers shall indicate the category of certification. Non- compliance of this rule will be a cognizable and non-bail able offence under section 7 of Cinematograph Act 1952

We see so many YouTube trailers of Padmavati which are in violation of this rule, i.e. advertising without indicating the category of certification. Although to be fair, such promotional trailers have been released for several(almost all?) movies. But the Government could do well to either amend the rule or penalize the producers/ directors in accordance with the law.

Exhibition of Films without CBFC Certificate:


Rule (relevant extract):

The following are the major violations that agitate the minds of the public:

  1. exhibition of a film in a form other than the one in which it was certified. Such violations are known as interpolations.

Interpolations can be described as follows.. of films without CBFC certificate.

Bhansali and company appear to be in violation of exhibiting the film to certain sections of the media without CBFC certificate. The penalty of such violations are mentioned hereunder :

Violations of Cinematograph act and penalties:

1.Offences with regard to violations of certification provisions are cognizable. Furthermore, they are non-bailable.

…3.A person guilty of violation while exhibiting celluloid films is punishable with imprisonment for a term which may extend to Three years, or with fine which may extend to Rs.1/-lakh, or with both, and with a further fine up to Rs.20,000 for each day for a continuing offence.

Furthermore, the trial court can direct that the offending film be forfeited to the Government.

  1. The place where the movie is exhibited also needs to be licenced

The Cinematograph Act of 1952, Part III, mentions that the Cinematograph exhibitions to be licenced. Elaborating this in clause 10 it is clearly mentioned that no person shall give an exhibition by means of a cinematograph[iii] elsewhere than in a place licenced under this Part or otherwise than in compliance with any conditions and restrictions imposed by such licence.

So one wonders where Arnab Goswami, Zaka Jacob and Rajat Sharma went to watch the movie.

To answer the question as to why Bhansali hasn’t been arrested already, the Censor board relies on the State Government and Union Territory Administrations for theenforcement[iv] of such rules, since exhibition of films is a State subject.

Why have the State Governments not initiated action against those responsible for screening an uncertified movie?



The recent controversy ove


r Sanjay Leela Bhansali’s upcoming movie has raised an important question of how India’s past is being defined. The heroic event of a proud queen chosing to sacrifice her life instead of being captured by the enemy has been inspiring awe amongst millions of people worldwide. But what is unfortunate is that in order to avoid any responsibility the makers of the movie sometimes seek to portray(through media and “experts”) Queen Padmavati as a fictional character, while at the same time imparting impeccable authenticity to the movie withpainfully realistic and authentic costumes[i] and sets. What is also intriguing is that while applying to the Censor Board of Film Certification approval, Bhansali and his team chose to conveniently leave out the mandatory declaration of whether the movie was a work offiction or historical[ii], thereby making their documentation incomplete.

I have found records from most media[iii], with the notable exception of Sanjay Leela Bhansali, where it is claimed that the movie is based on the poem Padmavat,[iv](1540), by Malik Muhammad Jayassi[v] – written almost 200 years after the event of the siege of Chittor byAllauddin Khalji[vi] in 1303.

Ali Gurshasp, a.k.a. Allauddin Khalji, the second ruler from the Delhi Sultanate of the Khalji Dynasty, of Turko-Afghan origin known for itsfaithlessness and ferocity[vii] came to power after eliminating his uncle and father-in-law Jalal-ud-din Khalji. Several renowned Hindu dynasties were wiped out during his reign, including the Paramaras, the Vaghelas and the Chahamanas, leaving their wealth and history completely plundered. This included the seizure of the world famous Kohinoor diamond from the Kakatiya Dynasty in Warangal.[viii]Interestingly the brutal campaigns in South India were led by his trusted general Malik Kafur – apparently, a converted African and a eunuch slave[ix] from Gujarat. Some historians like Ruth Vanita and Salim Kidwai, also claim that Malik Kafur and Alauddin Khilji were in a homosexual relationship.(Same Sex Love in India- Reading In Indian Literature- Page 132)The notable historians quote the writings of chronicler Barani of that period(1285-1357),”the Sultan was loosing his memory and his senses, he had fallen deeply in love with the Malik Naib.”

Why has Alauddin Khilji’s proven homosexual affinity to Malik Kafur been omitted from Bhansali’s movie

While historians appear fairly confident about the chronicles of Allaudin Khilji, many appear to be equally confident that Padmini was nothing more than a figment of the imagination. They argue that her name is never mentioned by any historian or poet during her time (13-14thCentury) and that Jayassi’s poem, where historians find her earliest mention involves too many elements of fantasy. As per Padmavat, Rani Padmini hailed from Sri Lanka(Ceylon, Singhal Kingdom). Stories of her legendary beauty were conveyed to King Rattan Sen of Chittor by a parrot named Hiraman.

[i]│Padmavati:200 Craftsmen.. ││

[ii] NDTV│Makers Knew Paperwork Was Incomplete│IANS││


Business Today│Padmavati Trailer│BT Online│ │

[iv]  Wikipedia│Padmavat││

[v]   Wikipedia│Malik Muhammad Jayasi││

[vi]  Wikipedia│Alauddin Khalji││

[vii]  Encyclopaedia Britannica│Khalji Dynasty││

[viii]    A History of India-Page160│Hermann Kulke, Dietmar Rothermund││ 

[ix]   The Hindus:An alternative History-Page 420│Wendy Doniger││


 Thereafter, in 1589,,,,READ THE REST OF THE BLOG HERE