Latest news with #Uprising
Pink Villa
5 days ago
- Entertainment
- Pink Villa
2025 Buil Film Awards Nominations: Hyun Bin's Harbin bags 8 nods, Kim Go Eun up for Best Actress with Love in the Big City
The prestigious 2025 Buil Film Awards has officially released its final list of nominees. Spy-thriller Harbin has emerged as a frontrunner with nominations in multiple major categories. They include Best Picture, Best Director, and Best Actor. The ceremony is set to be held on September 18, 2025, at the Signiel Hotel in Busan. It'll bring together some of the most prominent names in Korean cinema. Complete nomination highlights Best Picture What Does Nature Say to You? The Seagulls of the Morning Sea House of the Seasons Uprising Harbin Best Director Ian Hee – Love in the Big City Jeong Yun-cheol – Sea Tiger Kim Hyung-joo – The Match Hwang Byung-guk – Yadang: The Snitch Woo Min Ho – Harbin Best Actor Lee Byung Hun – The Match Yoon Joo Sang – The Seagulls of the Morning Sea Hyun Bin – Harbin Ahn Jae Hong – High Five Jo Jung Suk – Land of Happiness Best Actress Kim Go Eun – Love in the Big City Shim Eun Kyung – The Killers Oh Min Ae – Concerning My Daughter Han Ye Ri – Spring Night Lee Hye Young – Breakthrough Best Supporting Actor Jung Hae In – Veteran 2 Oh Man Seok – House of the Seasons Park Jeong Min – Uprising Jo Woo Jin – Harbin Yoo Jae Myung – Land of Happiness Best Supporting Actress Jeon Yeo Bin – Dark Nuns Ha Yoon Kyung – Concerning My Daughter Claudia Kim – A Normal Family Yang Hee Kyung – The Seagulls of the Morning Sea Chae Won Bin – Yadang: The Snitch Best New Director Lee Mirang – Concerning My Daughter Kim Tae Yang – Widow Lee Jong Soo – Parents Are Fools Jang Byeong Gi – Yeoreum-i Jinagamyeon Oh Jeong Min – House of the Seasons Best New Actor Moon Woo Jin – Dark Nuns Noh Sang Hyun – Love in the Big City Choi Hyun Jin – Yeoreum-i Jinagamyeon Kang Seung Ho – House of the Seasons Jang Seong Beom – Following Best New Actress Lee Myeong Ha – Widow Hong Ye Ji – A Normal Family Lee Hyeri – Victory Jo Aram – Victory Roh Yoon Seo – Statement Best Screenplay Park Lee Woong – The Seagulls of the Morning Sea Oh Jeong Min – House of the Seasons Shin Chul, Park Chan Wook – Uprising Park Hong Jun – Work to Do Heo Jun Seok – Land of Happiness Best Cinematography / On the Shoot Kim Jin Hyung – Widow Lee Jin Geun – House of the Seasons Joo Sung Rim – Uprising Lee Jae Woo – Breakthrough Hong Kyung Pyo – Harbin Music Award Primary – Love in the Big City Cho Young Wook – Uprising Jo Young Wook – Harbin Kim Jun Seok – High Five Kwon Hyun Jung – Because I Hate Korea Art / Technology Awards Special Effects: Hong Jang Pyo – The Firefighters Production Design: Eunyoung Jeong – The Match Costume Design: Ancestors – Uprising Kwak Jeong Ae – Harbin
Forbes
12-07-2025
- Entertainment
- Forbes
Bob Marley Charts A Brand New Top 10 Album
Bob Marley returns to Billboard's Reggae Albums chart with Uprising, which debuts at No. 9 thanks to ... More a new anniversary reissue, joining Legend and Exodus. Bob Marley performs on stage, Hammersmith Odeon, London, United Kingdom, June 1976. (Photo by Erica Echenberg/Redferns) *** Local Caption *** Bob Marley almost never strays from the top spot on Billboard's Reggae Albums chart. Along with his backing band, the Wailers, the superstar's Legend compilation has ruled for 286 of the 287 frames it has spent on the tally. It's not unusual for the iconic musician to claim more than one spot on the short roster, either. What is fairly unusual, however, is for Marley to score a new appearance on the Reggae Albums list, as he's been gone for decades – but that's exactly what he manages this time around. Uprising Debuts Inside the Top 10 Uprising, credited to both Marley and the Wailers, debuts at No. 9 on this week's Reggae Albums chart. It's the only new arrival this time around. Best of Shaggy: The Boombastic Collection by Shaggy reenters the list in the runner-up spot, hitting its all-time peak as it does. Bob Marley's Final Album Uprising was the final full-length released during Marley's lifetime. The collection dropped in June 1980, and although fans have been familiar with it for decades, it has only now performed well enough to appear on the Reggae Albums ranking. The project was recently reissued to celebrate its forty-fifth anniversary, pressed on a limited-edition vinyl filled with what was described as 'liquid sunshine.' The collectible nature of that pressing is likely largely responsible for Uprising finally landing on the Reggae Albums tally. Bob Marley Claims Three Spots on the Reggae Chart Marley fills three spaces on the 10-spot Reggae Albums chart this week. In addition to Uprising, Legend is once again ruling, while Exodus dips from No. 9 to No. 10. Among those three titles, only Legend appears on any other Billboard rankings at the moment. This week, it falls on both the Top Album Sales ranking and the Billboard 200, slipping to Nos. 40 and 65, respectively. Legend Nears 900 Weeks on the Billboard 200 While Legend doesn't appear anywhere near the top 10 on those other lists, as it does on the reggae-only tally, it has spent many hundreds of weeks on both Billboard's list of the bestselling titles in the country and the all-encompassing ranking of the most consumed albums. The compilation — one of the most successful of all time in America — will likely reach 900 weeks on the Billboard 200 in a little over a month. When it does, it will become one of only two titles to make it to that milestone.
Extra.ie
12-07-2025
- Entertainment
- Extra.ie
The Swell Season's Glen Hansard and Markéta Irglová: 'We're singing from a different place, because our relationship has deepened and broadened'
I may have a face for radio, but one of my highlights last year was getting to serve as roving reporter on the Hot Press and Virgin Media One TV show, Uprising. Over four seriously action-packed episodes, I think we did a pretty good job of reflecting the vibrancy and diversity of the current Irish music scene. From Denise Chaila, Hozier and The Academic to The Coronas, Nell Mescal and Pillow Queens, everybody played their hearts out and gave good quote. None more so than Glen Hansard and Markéta Irglová, AKA The Swell Season, who invited us to their Dublin reunion show in Vicar Street. What was supposed to be a quick chat for the cameras turned into an hour-long epic during which Glen and Markéta reflected on their remarkable Oscar-winning, Simpsons-cameoing career together. To celebrate the July 11 release of their third Forward album – our man John Walshe credits it with having 'a surfeit of beauty' – here's how it all went down… STUART: Glen, Vicar Street has some special memories for you, doesn't it? GLEN: With The Frames, we did like one night in Whelan's, then two nights, then three and then five. It was then that we stepped up to Vicar Street, which is this kind of grander, broader room. Ever since we came here – God, I can't remember what year that was – we started doing shows around Christmas, and it became a real thing. Actually, I couldn't remember if The Swell Season had done Vicar Street before… MARKÉTA: Yeah, I thought so, but I've had three children since, and my memory is not what it used to be! S: You also chose to rehearse for your tour here. G: Yeah, we love the room. It's a very comfortable place and in the middle of Dublin, so everyone can be kind of close by. There's a lovely thing that happens where people turn up early at like two o'clock in the afternoon, and we'll throw the doors open and let them come in to the soundcheck. It's fascinating to watch a band figure stuff out with the crew, like the lights and the sound and all of the discussion that goes on. It's almost like breaking the fourth wall. You're kind of semi-performing because you know that there are people there who are interested. S: I saw about six people come in who I assumed were your family. They were hugging each other and generally behaving like kids at Christmas. Is it muscle memory with the old songs or do you have to do a bit of rehearsing to remember the subtleties? M: Some songs are definitely just engraved in my memory. 'Falling Slowly' being the top one on the list. Other ones take a little bit of rehearsing, and then there are some that need way more rehearsing. It's nice not to rely on muscle memory because sometimes when you're performing, you go on autopilot, which is undesirable. You really want to stay present as much as possible. But also, one gig is worth five rehearsals, wouldn't you say? Advertisement G: For sure. You learn through your mistakes. At a gig, the audience may not notice you've made a mistake, but sometimes you'll misstep a lyric or… Markéta's songs tend to move around a lot chordally, and time-wise, they shift. During them, I'm super-alert because I don't want to get it wrong. But it's those moments where you do get it wrong that are like, 'You're never going to get that wrong again!' It's beaten straight into you. S: With the older songs, do you stick religiously to the original versions, or do you find them subtly or quite profoundly changing? And do they mean different things to you now? G: Yes to all of those! The songs do change. Also, they change with the personnel. Like we have a new drummer no,w and Joe from The Frames on bass. Whenever we play something as an ensemble, it takes on a different feeling. And, of course, we're singing from a different place, too, because our relationship has deepened and broadened. Sometimes there's a bit of sadness in a lyric, but I like to take that now and transform it into the positive of things. And there are certain songs we wrote back then that are actually just too sad. Yesterday, I suggested a son,g and Markéta just said 'No!' And I totally understand why, like, 'We're not going there!' S: So The Swell Season is a total democracy? G: It now is. Before, it was me kind of leading the way, because during Once, I was helping Mar with her songs, and then she was contributing to mine. Whereas now it's gone to another place where Mar's songs are really strong. She comes in with them, they're done. I'm like, 'Wow!' and do my best to try and keep up. S: I heard you rehearsing a beautiful new song, 'The Answer Is Yes'. How was that conjured up? M: I was sitting at the piano and just thinking, 'I'd love to write a song for me and Glen to sing together.' One that sort of summarises what has happened during all these years and where we are now, kind of celebrating that in a way which is personal but at the same time universal. It was one of those songs that came very quickly. I sent Glen a voice memo of it, sort of half-written, and was like, 'Can you work on this with me?' But he was busy at the time, and I just went and finished it. G: I was on tour in LA with Eddie Vedder when you sent that to me. I decided to write a song in response, which was 'Only Love Remains'. The lyrics were something like: 'Despite the fire damage and the broken nose / The heartache and the broken home / Only love remains, only love.' It was a bit of a fun kind of thing, like all of the (metaphorical) punch-ups. So we said, 'Why don't we try to finish these songs off and sing them on the tour?' I was to write the second verse on 'The Answer Is Yes', but the next time I got in touch with Mar, she'd finished it. So then I decided I'd go to Iceland and stay in Mar's place with her, Mio and the kids and finish the two songs. We sat down and said, 'Here's how my one goes.' By the end of the day we'd racked up 18 bits of songs. I was like, 'Ah, okay.' That creative thing only happens with Mar. I remember the first time I sat down with Mar and sang her a song. It would have been one for The Frames. She said, 'Did this happen to you?' I was like, 'Well, no.' And she said, 'Well, why are you singing it?' And I went, 'Bam!' Make your work about your life. S: To me, 'The Answer Is Yes' sounds like a companion piece to 'Falling Slowly'. The lives you've lived since… M: That's a really great compliment, thank you. S: It also reminds me in the best possible way of ABBA in their gentler moments. Are you an ABBA fan? Advertisement M: Yeah, of course. S: Amongst the pop bangers, they had some amazingly raw songs. G: Yeah, oh, that's very kind. M: They do what Glen was just mentioning now. They draw on their own personal close experiences – and in that sense, they become universal. There's a great strength to that. G: And when the lyric is true, it lands. S: The punters can tell, can't they? G: Listeners are very intelligent. Advertisement S: Another lovely thing you do is have up-and-coming acts support you. How did you discover Leah Moran, who's playing tonight, and Dylan Harcourt, who's on tomorrow? M: Leah is somebody I saw busking on Grafton Street in December when I came over. She was there with her gloves on, playing the guitar. She has this kind of Billie Eilish vibe, and I thought she was very talented. I was also impressed by how committed she was because it was freezing, you know? I was doing a bit of Christmas shopping and kept walking back and forth. I ended up taking a photograph of her and posting it so we connected through Instagram. The talent on the streets of Dublin is overwhelming. G: For the last ten years, we've been doing the Christmas Busk on Grafton Street, and then it moved to the Gaiety. Every time Dylan would come with a bunch of his mates. His songs are just getting better and better and better,r and I'd love to see him get discovered on a broader level. S: What I love about the busk is that, whether you're an unknown or a global superstar, everyone's treated equally. G: Yeah, you've got Bono, who's probably the most famous musician in the country, if not the world, hanging out with Dylan. Or he's hanging out with myself or Hozier. One year I was like, 'Who's the fella in the red hat? God, he's brilliant!' and somebody said, 'His name is Dermot Kennedy.' Fair play to Bono, he would often-times invite us all back to his to hang out with him. We'd all go back and sit and have a sing-song. S: It's unbelievably been nineteen years since the release of your The Swell Season debut. What are your overriding memories of making it, Mar? M: The friendships between myself and Glen and (Once film director) John Carney and our friend David Cleary, who took the stills. I remember those moments of grabbing a cup of tea or a slice of pizza around Grafton Street, and just having chats about movies and music. It was such a different environment from my day-to-day. I was in high school in a small town and to be in Dublin doing a creative project with these artists was mind-blowing. I kept pinching myself that this was happening to me. S: Writing 'Falling Slowly', did you know it was special? G: It's a good question because there are songs you write where there's almost a slight embarrassment. Where I go, 'Is this any good? Is it a bit cheesy?' I love 'Falling Slowly' and I'll stand by and fight for it, but you could imagine a boy band singing it almost. You've written a song that is a little bit out of my normal kind of safety space. It was in the Czech Republic that Markéta played piano on it. I remember going in to your parents and playing it to them after we recorded it. Mar sang this note on the chorus – 'Take this sinking boat and point it home / We still have time.' She went 'time' and I went 'time'. I went up for that falsetto and there was just something in the moment… John Carney heard us play it in Whelan's and was like, 'I've got a whole scene for that song' which was the Walton's piano shop one. You get a sense sometimes with a song or an idea where you go, 'This doesn't feel like it's coming from me.' I don't know what I'm trying to say, but it feels like it's kind of from a different place. M: It was like a gift, really, because it arrived so quickly. All of a sudden, it was just there, and we were really excited by it. It was like, 'Wow!' Especially for me, it was one of the first songs we'd written together. The really telling thing was to hear people's responses to it. We'd played it at the concerts in Czechia that summer and people always mentioned 'Falling Slowly'. It really touched them in some way. I've come to sort of know and spot the songs that really resonate. G: There's a touch of 'lightning in a bottle'. It's just another simple song you've come up with, but it has a little something that sparks, it lands. S: What were your initial reactions when John Carney came to you and said, 'I've got this idea for a film called Once'? G: John's a brilliant mind and has loads of ideas. So when he comes and says, 'I have an idea for a film', you're like, 'Yeah, of course you do. Because you always have an idea for a film.' Anyway, he says, 'I have this idea, it's called Busker.' That's what Once was originally called. 'It's about a busker who meets this Eastern European woman who's selling flowers on the street.' We were going through this thing where a huge influx of Eastern Europeans were coming into Ireland. There was a bit of poetic licence because Markéta's character was a bit more Romanian than Czech. Although Czechia could be considered Eastern Europe, it's Central Europe. M: It was okay because I wasn't playing a Czech, I was playing a girl. Her nationality wasn't really important. S: Does winning an Oscar and appearing on The Simpsons feel a bit surreal? M: Yeah, absolutely. G: 100% When someone says it to you, you're like, 'Oh, wow, that's mental!' I remember we were playing in Tucson, Arizona with Calexico and got a call from The Simpsons saying, 'Matt's written a little spoof. Do you guys want to jump on a train and come up and do it?' Do you remember that train ride? It was an overnight train to Los Angeles. When we got there, they were all just sitting around, and we did a read-through. It was fantastic. Then we went down to the recording studio, read through it again a couple of times and then got back on the train. S: I've spoken to a couple of Oscar winners who say their memory of the night is very hazy. Again, is there something in particular about it which sticks in your mind? M: Definitely the moment when our names were called out. From that point on, it was like a new mode got activated. We were already so joyful to be there and get to play that song. Standing on that stage, it was definitely the high point of our life. Advertisement G: Markéta had said to me earlier on in the day, 'Look, on the crazy off-chance that we do end up winning, you say a couple of things and I'll just go 'thank you.' When the moment came, I was like blah, blah, blah, blah. I don't know what I said. And then we were pulled off stage; Markéta didn't get to speak. Jon Stewart came over and was like, 'Come on, come with me.' And he pulled Mar away from me. Suddenly, while I was hugging janitors, she was on the other side of the stage and gave this most incredibly eloquent 'thank you' speech. You were brilliant. Fair play to Jon Stewart, it was a sweet thing to do. S: A few years ago, when I was interviewing Billie Eilish at Electric Picnic, she was uber nervous because she was meeting this guy called Glen Hansard backstage. She was quoting chunks of Once, which she'd watched a zillion times on the tour bus, to me. Billie asked,'Is he nice' and I said, 'Yeah, he's a decent skin.' How did you two get on? G: We had an absolute ball. I'd gotten a call basically asking, 'Do you want to come down?' from her mother. I was like, 'Oh man, really? That's incredible. Can I bring my niece?' Because my niece was just freaking out. By the time we got down to the Picnic, there were about eight of us. We all went in, and Finneas and Billie were just so sweet. Big hug, photos. It was a bit like meeting me and Mar during that crazy Once period. They were kind of rabbits in the headlights, but they were also quite grounded,d and their parents were with them. Billie was like, 'We just met Barbara Broccoli. She asked us to do the Bond song!' Which is funny because Barbara produced Once on Broadway. Billie said she'd grown up listening to Mar's songs, 'The Hill', 'If You Want Me' and 'Say It To Me Now'. She was like, 'You guys are the first music I heard.' And Finneas was, 'Yep, I was a huge fan and playing your music constantly in the house.' S: Guys, you collaborated last year on a Ukrainian Action fundraising single called 'Take Heart'. What's the background to that? G: Again, I was on the West Coast of America with Eddie Vedder and the Earthlings. We got news that Russia had invaded Ukraine and were all in shock. It felt like the world was about to end in a way. We didn't really know how to respond. I just sat down with my guitar… Whenever I'm confused or lost, I usually go to my instruments. It's where I find solace. At the same time, I picked up my phone and there was a post from Patti Smith on Instagram from a few days previous. She was on stage in one of her amazing, shamanic, wild modes and said, 'People, take heart, it will get better.' I remember going, 'Oh, wow, that's a great line.' So, I began to muse on that on my guitar. And then when it became a song, I reached out to Patti and asked her, 'Would it be okay?' And she said, 'Did I say that? I was probably just in a moment. You're more than welcome to it. Take it with my blessing.' I was at home one night in Dublin and there was this great documentary about Aslan. Christy had reached out to people at the Red Cross and put together a band of Ukrainian singers to sing 'Crazy World'. I asked Christy – actually, it was the last conversation we had – about putting me in touch with the Red Cross people he'd spoken to and we managed to get three young women to come in and sing the 'Return to me, return to me, return to me unharmed' verse in Ukrainian. The song is kind of a prayer to those who are going to fight from their loved ones. The Ukrainian spirit's really something. They came and sang and afterwards I asked Markéta for some pointers – where the song worked and didn't work. I remember sending it to Bono who said, 'What about this for an end?' And he sent me this beautiful melodic line. He said, 'Don't put my name on it.' So he's on the track but not named. M: I just thought it was a lovely gesture. My family were hosting a family of Ukrainian refugees at their place these past couple of years. Czech people felt a huge need to reach out and try and help because it's easy for us to imagine being the ones in that position. If it can happen in Ukraine, it can happen anywhere.
Time of India
02-07-2025
- General
- Time of India
Sheesh Mahal's Splendour Back To Life After Major Restoration
New Delhi: The historic Sheesh Mahal in northwest Delhi's Shalimar Bagh was on Wednesday reopened to visitors after comprehensive restoration. Lieutenant governor V K Saxena, chief minister Rekha Gupta and Union minister for culture and tourism Gajendra Singh Shekhawat were present at its inauguration. The magnificent 17th-century palace, constructed under Emperor Shah Jahan's reign, showcases exquisite Mughal architectural elements. The structure is a significant component of the expansive Mughal garden complex. Shalimar Bagh was built in 1653 by Shah Jahan's third wife Izz-un-Nissa. It was intended to be a replica of Shalimar Bagh in Kashmir, which was created by Emperor Jahangir in 1619. The place is one of the few remaining Mughal-era pavilions still intact in Delhi outside of Red Fort and Humayun's Tomb complexes. You Can Also Check: Delhi AQI | Weather in Delhi | Bank Holidays in Delhi | Public Holidays in Delhi Sheesh Mahal's mirror mosaic work, though heavily damaged and hardly visible now, once reflected the opulence of Shah Jahan's vision. The garden layout and water channels in front of the palace were meant to evoke paradise, offering both respite and a display of dominion over nature. Although now largely abandoned, the garden retains its shaded trees, majestic parterre and several ruined structures, including Sheesh Mahal and the garden pavilion. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like One of the Most Successful Investors of All Time, Warren Buffett, Recommends: 5 Books for Turning... Blinkist: Warren Buffett's Reading List Click Here Undo Over time, the complex witnessed many historical events and rulers, gaining political prominence when Aurangzeb held his imperial coronation here. It also served military purposes during the 1857 Uprising when British forces camped in the garden and damaged parts of the structure. As part of its restoration plan, while Archaeological Survey of India (ASI) restored Sheesh Mahal's heritage elements, Delhi Development Authority (DDA) developed a Mughal-style Char Bagh landscape design facing the palace to complement the monument. The huge lawn and ornamental lights added a majestic touch to the place. Originally constructed of bricks and red sandstone, with entry gates in the east and west, the palace has an archway, flanked on either side by a three-arched dalan. Beyond the archway is a central hall with a compartment at each wing. Phase I of the restoration, carried out in 2024, included stabilising the structure. Under Phase II, which began this April, intricate floral painting and designs on the roof have been restored beautifully. ASI has also replaced damaged red sandstone with new ones closely resembling Mughal-era structures, undertaking lime punning with a mixture matching the original composition and redesigning fading patterns of walls. A spot visit by TOI revealed that the walls and roof have been neatly repaired. In the palace's central hall, however, the flooring continues to wear a raw look. Officials said the restoration was undertaken on the initiative of and under the direct supervision of LG Saxena. "After taking serious note of dilapidated and crumbling heritage structures, buried under silt and overgrown vegetation due to decades of neglect, during his visit to the site in Jan 2024, he tasked DDA with restoring the heritage site under the technical supervision of ASI," said a DDA official. Apart from the main complex, existing lawns have been enhanced with sandstone pathways and seating aligned with the heritage monument. To enhance the aesthetics, discreet landscape lighting has been provided, stated DDA. The official said the heritage fountain near the main structures will also be revived. After the inauguration, LG Saxena urged the people of Delhi to become stakeholders in maintaining the restored sites "to ensure that these priceless heritage monuments do not get encroached upon again and that they remain forever clean and green". CM Gupta took a jab at her predecessor Arvind Kejriwal, saying, "The former chief minister built a 'Sheesh Mahal' for his own comfort, but this govt has made a Sheesh Mahal for the people. This is the difference between the current and previous govts." Meanwhile, DDA has also restored a near-decayed historic baradari and three heritage cottages within Shalimar Bagh. "The structures were carefully restored using traditional materials like lime concrete, lime surkhi, lakhauri bricks, and natural binders such as gud, belgiri and urad to ensure authenticity and strength," stated DDA. After restoration, two of the cottages have been adaptively re-used for community-focused purposes. Readers Café Corner, a book café aimed at fostering literary engagement, and Café Shalimar, a cafeteria for park visitors, now occupy these spaces, reviving their relevance and making them hubs of cultural and social interaction. A smaller third cottage has also been restored and repurposed for contemporary usage for official purposes while preserving its unique architectural legacy. According to Shekhawat, the ministry is proactively working to protect and promote the country's rich heritage. "We are also assuring full support to DDA in protecting these heritage jewels."
United News of India
18-06-2025
- Politics
- United News of India
People of Manipur resolve to protect territorial integrity
Imphal, June 18 (UNI) Thousands of people offered floral tributes at Kekrupat memorial complex here on Wednesday to remember 18 martyrs who gave up their lives to protect the territorial integrity of Manipur. Leaders of all communities, religious leaders, representatives of various organisations paid floral tributes and all-religion prayers were conducted . The 24th Great June Uprising Unity day was observed to commemorate the Great Uprising in 2001 after the then NDA government announced the extension of truce with the NSCN(IM) beyond Nagaland which was rejected by people of Manipur. During the protests people of the state attacked the residences of the Chief Minister, Speaker, ministers, MLAs and political parties and burnt most of them. The Central government finally decided to call off the decision . Chairperson of the Organising Committee, Nando Luwang and leaders of various organisations spoke on the occasion. The slogan of this year's observation was: 'We all will remain united for the motherland'. The speakers said during the 2001 Uprising security personnel resorted to firing resulting in the death of 18 persons including a woman. All the 18 martyrs were cremated at Kekrupat where a memorial complex has been constructed. The speakers vowed to protect the territorial integrity of Manipur. Representatives of most communities settled in Manipur came to offer tributes. Blood donation camps and social service camps were organised as part of the occasion. No vehicles were allowed inside the premises of the complex. Volunteers distributed water and food to the people who were in the queue to offer tributes. UNI NS PRS
