Sequel to Rudyard Kipling's 'Kim'
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
India Today
a day ago
- India Today
Kishore Kumar: The Voice of Melody and Money
On August 4, 2025, we celebrate what would have been the 96th birthday of Kishore Kumar—the legendary singer, actor, and filmmaker whose unparalleled talent and eccentric charm left an indelible imprint on Indian cinema. In this three-part series, we explore the multifaceted life of this enigmatic genius, delving into his complex relationships with love, marriage, money, madness, and fame. This part explores how his voice and financial quirks intertwined, reflecting both his personality and the era he lived in. You can read part one and part two many years after Independence, KL Saigal was India's most reliable alarm clock, and Kishore Kumar the payday morning at 7:30, Radio Ceylon would broadcast old Hindi songs. Precisely at 7:57, Saigal's magical voice would stream through radio sets, uniting the country with a melody. Kishore's voice greeted listeners on the 1st of every month with the song, Khush hai zamana aaj pehli tarikh hai, a celebration of payday. Money, thus, became synonymous with Kishore's voice—a bond that defined both his songs and his life. In Subhash Ghai's cult classic Karz, Kishore belted out Paisa Ye Paisa with infectious zest. Many in the film industry quipped that when he lamented, 'there's nothing like money-it's trouble when you have it, it's trouble when you don't,' Kishore was singing a personal Ye Paisa Kishore Kumar's love for money was no secret in the film industry. Stories of his financial demands were legendary, often tinged with his trademark was known to insist on upfront payments before recording sessions, sometimes refusing to sing until cash was quite literally in his hands. Anecdotes abound of producers arriving at his doorstep with briefcases full of cash to coax him into the insistence stemmed not just from a desire for wealth but from a deep-seated mistrust of the industry's payment practices, where delays and defaults were shooting for many films, he often shaved off either one side of his hair or his moustache if payment was delayed. In one such film, Bhai-Bhai (1956), Kishore reportedly shaved off one side of his moustache after a payment dispute. With no hat or quick fix available, the shoot was stalled until the producer scrambled to arrange funds. Crew members recalled Kishore sitting calmly on set, sipping tea and humming tunes, while the production team scrambled to resolve the issue. His half-shaven look became a visual ultimatum: pay up or halt the another instance, while filming Miss Mary (1957), the producer made him shoot wearing a hat to hide his eccentric do, gaana lo!Producers knew that stepping into his recording studio without cash or a confirmed payment was a gamble. One oft-repeated tale involves a prominent producer who arrived at Kishore's home for a recording session, only to find the singer lounging in his garden, refusing to budge until payment was cleared. When the producer offered a cheque, Kishore reportedly quipped, 'Cheques bounce, but my voice doesn't!'Only after a frantic dash to arrange cash did the session incident that showcased Kishore's financial eccentricity occurred during the making of a low-budget film in the 1960s. When the producer failed to pay Kishore's acting fees on time, he decided to take matters into his own hands-quite drove to the producer's office, parked outside, and began honking incessantly while shouting, 'Paisa do, gaana lo!' (Pay the money, get the song!). After a few minutes, Kishore drove off, leaving behind a trail of laughter and a lesson for the industry: never cross Kishore Kumar on payment brother Dadamoni Ashok Kumar claimed this wasn't mere greed; in an industry notorious for delayed payments and broken promises, Kishore's demands were a pragmatic response to financial frugality was equally famous. Kishore reportedly kept meticulous records of his earnings and expenses, a habit that reflected both his business acumen and his anxiety about financial security. Despite his immense success—singing for over 1,000 films and commanding some of the highest fees in the industry—he lived with a paradoxical fear of losing it popular tale, often shared by industry insiders, describes Kishore keeping stacks of cash at home and personally tallying his earnings, not out of greed but to maintain control over his finances. His third wife, Yogeeta Bali, claimed Kishore counted money repeatedly throughout the night, a claim the singer denied as a Rupaiyya Barah AanaKishore's financial woes were exacerbated by his frequent clashes with India's Income Tax Department, particularly during the 1970s, when tax rates for high earners could exceed 90 substantial earnings from playback singing, acting, and producing films made him a prime target for tax authorities. The government's aggressive tax policies, coupled with Kishore's unconventional approach to financial dealings, led to several high-profile disputes. Kishore responded to tax notices with songs mocking the authorities: Meri Lottery Lag Jaane Waali Hai and Jai Govindam Jai fool the tax authorities, Kishore produced films with the aim of losing money, so that his earnings could be offset against inflated losses. But, to his surprise, some of these films, like Chalti Ka Naam Gaadi, Jhumroo and Door Gagan Ki Chhaon Main became bumper Jeevan HaiDespite these challenges, Kishore's relationship with money was not purely materialistic. Having grown up in a modest family in Khandwa, Madhya Pradesh, Kishore understood the value of money from an early initial years in the industry were marked by financial struggles, especially after his first marriage. His rise to stardom did not erase the memory of leaner times, and his financial caution was as much about self-preservation as it was about love of money was not just about hoarding wealth but about securing the freedom to live life on his own terms—whether that meant producing quirky films or retreating to his beloved Khandwa to escape the chaos of generosity was less publicised but equally significant. He often helped struggling artists, quietly funding their projects or offering them work in his never muzzled his principles. During the Emergency, he refused to sing for the Congress party or endorse its schemes. When warned about the wrath of Sanjay Gandhi, the then Prime Minister's son, he dismissed it with a terse question: 'Woh kaun hai (Who is he)?' Despite a backlash that affected his earnings, Kishore did not story is a uniquely Indian tale—of a man whose voice united a nation in song and whose life reflected the complexities of navigating wealth in a rapidly changing country. His love of money was not just a quirk but a reflection of his times, where financial security was both a dream and a it all, Kishore sang on, his melodies rising above the chaos, reminding us that even in the face of trouble, there was always a song to be sung. Especially on the first of every Kishore, The Rock Star Who Was Rejected- EndsMust Watch
News18
3 days ago
- News18
‘The One-Way Ships': More Than Just A Tale Of Survival
Uma Lohray's debut novel, 'The One‑Way Ships', looks at the baby ayahs — a forgotten chapter in India's colonial past 'It's like a story…you don't always get to control what happens, but you can persevere through what others may see as a tragic ending. Eventually, if you keep going, the story turns happy again." It is this spirit of resilience and optimism that permeates Uma Lohray's debut novel, The One‑Way Ships. A story that looks at the baby ayahs — a forgotten chapter in India's colonial past. Once an integral part of the colonial British households, these ladies, mere servants, were used, neglected and abandoned in foreign lands — with no money, no home and simply nowhere to go — once they had served their purpose. The One-Way Ships is a tale of survival as it narrates the tale of Asha, one such ayah who finds herself stranded in England, homeless, friendless and destitute. Her story begins in Simla, the summer capital of pre-Independence India, sometime in the second decade of the twentieth century. At the height of British colonial rule, this was a time when Indians were second-class citizens in their own land. Orphaned at the age of fourteen, Asha finds herself destitute and coming to terms with harsh realities of life. Self-respecting and as someone who doesn't wallow in self-pity, she soon starts looking for a job in Simla, knocking on any and every door. She soon finds a job of an ayah and a caretaker in a British home, where her job was to be the servant to take care of the children — bathing, feeding and playing with them. Taking her changed circumstances in her stride, she also learns new skills — she learns to speak, read and write the English language. The turning point in her life comes when she gets an opportunity two years later to travel with an English lady as an ayah. She takes it, upon the promise of being given a return ticket. A promise that turns out to be false. Imagine finding yourself duped and tricked and left abandoned in a country that isn't your own. That is what happens to Asha. And this is where the character shines. Unwilling to give up, she finds herself starting from scratch and rebuilding her life. In terms of the plot, The One-Way Ships is a simple story — it is Asha's tale of survival, her growth from a protected young girl into a resilient woman who doesn't lose her empathy, despite her circumstances. It is a novel with a lot of characters and souls. Asha may be fictional but this powerful novel is a tribute to many such Ashas, bringing to light thousands of such women whose stories have been overlooked and forgotten. Harini Srinivasan Get breaking news, in-depth analysis, and expert perspectives on everything from politics to crime and society. Stay informed with the latest India news only on News18. Download the News18 App to stay updated! view comments Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Mint
5 days ago
- Mint
Netflix reveals first look of Pride and Prejudice starring Louis Partridge, Emma Corrin. Fans express their scepticism
Netflix has officially started production on its new 'Pride and Prejudice' limited series, sharing a first look and revealing a star-studded supporting cast. Filming is now underway in the U.K., with the show set to be a faithful adaptation of Jane Austen's timeless 1813 novel. The six-part series is led by Emma Corrin (The Crown, Nosferatu) as Elizabeth Bennet, Jack Lowden (Slow Horses) as Mr. Darcy, and Oscar winner Olivia Colman (The Favourite, The Crown) as the outspoken Mrs. Bennet. They are joined by Rufus Sewell as Mr. Bennet, Freya Mavor as Jane Bennet, and Jamie Demetriou as the awkward Mr. Collins. Daryl McCormack will play Mr. Bingley, while Louis Partridge takes on the role of Mr. Wickham. Rhea Norwood plays Lydia Bennet, Siena Kelly stars as Caroline Bingley, and Fiona Shaw appears as the formidable Lady Catherine de Bourg. Hopey Parish and Hollie Avery make their screen debuts as Mary and Kitty Bennet, completing the Bennet sisters' lineup. Additional cast includes Anjana Vasan, Sebastian Armesto, Rosie Cavaliero (Kaos), Saffron Coomber, James Dryden, Justin Edwards, James Northcote, Eloise Webb and Isabella Sermon. The series is directed by Euros Lyn (Heartstopper) and written by Dolly Alderton, known for her work on Everything I Know About Love. Alderton also serves as executive producer alongside Corrin, Laura Lankester, Lyn, Will Johnston, and Louise Mutter for Lookout Point. Lisa Osborne is producing the series. The majority of the audience has expressed their scepticism. Many of them even asked whether Netflix's adaptation will match that of Kiera Knightley and Matthew Macfadyen's 'Pride and Prejudice'. One person commented, 'Feels like Bridgerton's success is making every studio rush into Regency again. Overkill? (sic).' Another person wrote, 'Corrin is talented, but can anyone really match Keira Knightley's Lizzie? (sic).' Raising concerns about the colour palette, a third person wrote, 'Why is literally everything drab, washed out, devoid of any actual color? This looks like one of those modern medieval films where everything is flipping GREY (sic).' With a respected team both behind and in front of the camera, this adaptation aims to bring Austen's world of wit, romance and social manners to a new generation of viewers.
