CELEBRITY HUB

Dec 23, 2011

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Sachin tandulkar first interview

Dec 22, 2011

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Dhoni Wedding Photos

Dec 3, 2011

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Ram Charan Teja Grand Engagement With Upasana Kamineni -Video

Dec 2, 2011

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Lady Gaga ‘Marry the Night’ video debuts: Singer breaks down in autobiographical rise-to-fame film

MARRY THE NIGHT. A VIDEO TO REMEMBER. AMAZING.

Lady Gaga relives one of her darkest days in the 14-minute long 'Marry the Night' video. Lady Gaga ‘Marry the Night’ video debuts: Singer breaks down in autobiographical rise-to-fame film Mother Monster is at it again. The latest music video to drop from Haus of Gaga is here -- and it's more of an autobiographical mini-documentary than anything else. A whopping 14-minutes long, Lady Gaga's "Marry the Night" video relives what the pop star says was one of her darkest days during her rise to fame. "It was one of the worst days of my life and it happened quite quickly, but in my mind, when I think back on that period of my life, it all happened very slow,

" she told E! prior to the world premier of the much-anticipated video Thursday, referring to when she was dropped by her first record label, Island Def Jam. Directed by the Lady herself, the video starts off with the singer being wheeled along on a gurney by two Calvin Klein-clad nurses, her hair coiffed in a tousled brunette bob. "When I look back on my life it's not that I don't want to see things exactly as they happened," a robotic sounding Gaga says in a voice over.

"It's just that I prefer to remember them in an artistic way." It's unclear in video what's brought the pop star to her bed-ridden state at what appears to be some sort of clinic or insane asylum, but an older nurse who delivered her from birth tells the "morphine princess" to stay away from intimacy for two weeks. "I'm gonna be a star," a teary-eyed Gaga tells her. "You know why? Because I have nothing left to lose." Flash forward, and the pop-star is a ballerina appearing alone on stage. The next minute, she is topless and laying in bed, when she gets a phone call. "But I'm an artist," she says into the receiver, before going absolutely ballistic. She does what any rejected aspiring pop star would do: smashes mirrors, destroys her apartment and dumps a box of Honey Nut Cheerios over her head before collapsing in a tub. She begins dying her brown locks blond. A Madonna-esque

Gaga steps out in the next scene donning a bedazzled denim ensemble. "I did what any girl would do," she says in a voice over. "I did it all over again." Cue music. As the song finally begins (eight minutes in to the actual video), Gaga tries to sneak into a car through the sunroof while around her, abandoned vehicles burn in the night. Seconds later, she's in a dance studio, practicing her best pop-star moves along with a host of other aspiring dancers. The rest of the video is pretty tame by Gaga standards, save for a few flashbacks to her freaking out in a bathtub. She dances on the streets while wearing blue lipstick. She tumbles down some stairs. She lights a few cars on fire. And then it's over.

What did the wacky singer think about the final production? "It was intensely important to me that it was not too beautiful," she told E! "It was an incredible experience. It was amazing. It was absolutely amazing." Gaga added that the video's real message is about her marrying her own personal difficulties. "I am destined to struggle, I am destined to write music about the struggle, and I accept it willingly," she said.

Nov 30, 2011

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Indira Goswami, in a big, red bindi and bright colours

A beloved daughter of Assam, writer, peacemaker

Her novels, short stories had appeal wider than boundaries of her State

Indira Goswami, who died on Tuesday aged 69, was among India's most celebrated contemporary writers whose work spoke boldly and evocatively for the empowerment of women and other marginalised sections of society across the country. For this, she won the nation's highest literary honours, and respect and adulation in her home State Assam, where she was known as “baideiu” or elder sister. In recent years, she used her public standing and influence to mediate between the separatist group ULFA and the government, paving the way for talks between the two sides.

Writing under the name of Mamoni Raisom, she won the Sahitya Akademi award in 1983, the Jnanpith in 2001, and literary prizes from almost every Indian State. In 2008, she received the Prince Claus Award in the Netherlands. With their pan-Indian themes, her novels and short stories, most of which have been translated from the Assamese into English and several Indian languages, had appeal wider than the boundaries of her State. Indira Goswami was not just an Assamese litterateur; she was a national writer from Assam.

Far ahead of its times, her Neelkantha Braja was one of the earliest works of Indian literature to highlight the exploitation of destitute widows in Brindavan. The book was born out of Goswami's own early widowhood, and a short experimental stay in a widows' home in the U.P town.

The plight of widows in Hindu society, and the oppression of girls and women were themes that ran through most of her other work, notably in Dontal Hatir Une Khowda Howda (The Moth Eaten Howdah of a Tusker), which is set in a sattra — a Vaishnavite monastery in Assam — and is a modern Indian classic.

Her novel about the bloody anti-Sikh riots in Delhi, Pages Stained with Blood, haunts the reader long after it is read. She told me once about a visit to the riot-hit Jahangir Puri. “You know, I had never seen so many fresh widows together wailing in a chorus,” she said.

Indira Goswami was born in November 1942 in a well-to-do Vaishnavite Brahmin family in Assam. She was educated in Shillong and Guwahati. In 1962, a meeting with Madhevan Raisom Ayengar, a young engineer from Mysore who was working on the construction of the Saraighat Bridge in Guwahati, led to love and to marriage. But the marriage was short-lived. Less than two years later, Madhevan was killed in a road accident in Kashmir, where the couple was then living. They had no children.

In Assam, Indira Goswami's life is an open book. Her frank Adhalekha Dastavej (An Unfinished Autobiography), written in 1988, details her battle with intense depression after her husband's death, her nights with sleeping tablets, handfuls of which she swallowed in two attempts to end her life, and the story of how she won the struggle by immersing herself completely in her writing. It has been read widely in Assam. Even people who have not read it would know about her life, in the way everyone knows a folktale. Most of her early novels run so close to her real life that it is difficult to separate fiction from reality, especially for those who have read her autobiography.

She later joined the Modern Indian Language (MIL) department of Delhi University, and went on to head its Assamese language department. To honour her, the University made her the Professor Emeritus in 2009 after her retirement. It was during her stint in the national capital that she attained national prominence.

She drew on other diverse settings for her novels. The Rusted Sword is set against a worker's agitation in Madhya Pradesh. The Chenab's Current is the story of exploitation of labourers working for companies building an aqueduct over the Chenab River in Kashmir, and drew from her own experience in the Valley.

It was the quest for justice, a running thread of her oeuvre, that may have propelled her into getting involved in mediating between the separatist group ULFA and the government; perhaps, she was the only person who both sides could trust.

Her own efforts came at a time when the Assamese people had begun looking at the ULFA with mixed feelings. Like other Assamese, she was deeply disturbed by the Dhemaji blasts of 2004, in which the ULFA targeted a school on Independence Day, killing many children. She had been working on a novel set against the Assamese separatist movement. The bloodshed and human rights violations shook her to the core. She wanted the insurgency to end. But her desire to bring back the lost “boys” of the generation invited people to look at the militants with a new perspective, as products of the unjust eighties of Assam.

Critics dismissed it as a political move but she was detached about her involvement from the beginning. She stressed she was just an “observer” in spite of playing an influential role in the process. By the time she had a cerebral stroke in 2007 and was able to recover from it, she believed she had done her bit for it. Moi duwar muoli kori disu (I have opened doors to discussion), she said, and was eager to get back to what she loved most: writing. Thus emerged The Bronze Sword of Thengphakhri Tehsildar, her last novel about a Bodo woman who fought against the British.

But that first stroke was the beginning of the deterioration in her health. Even though she remained active in public life, it exhausted her. Right until the end, when she spoke, Assam listened.

After she was hospitalised early this year, the endless stream of visitors to her intensive care ward overwhelmed not just her family and friends, but the hospital authorities too. Suddenly, that corridor that led to her room in Guwahati Medical College Hospital had transformed into an equalising space where politicians in power, and out of power, came to visit her, jostling for space with innumerable unknown and known admirers.

Turning the pages of the visitors' notebook that had filled up with thousands of greetings within days, it struck me then that this is what she had hoped Assam would be one day: where everyone would be equal and united, something she always tried to suggest with her fiction. Across Assam and in several parts of India prayer-meets were organised by her admirers. Mass texts were circulated: forward this to people if you want her to recover; and people did. One evening when I had gone to the hospital to meet her family I was struck by a sight of hundreds of mustard oil lamps lit by people at the entrance. It looked like Diwali.

Truly, when she spoke, 31 million people listened. May be more. I don't know of any other contemporary author in the world who occupied such a central place and unparalleled popularity in the public imagination.

Oct 7, 2011

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Eva Longoria's 'steamy lesbian scene' with female co-star in new flick

Oct 1, 2011

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'50/50' Review

'50/50': The Reviews Are In
Most critics think the comedy about cancer proves anything can be funny.

When Will Reiser first found out he had cancer, he and his comedy-writer buddies (including Seth Rogen and "Pineapple Express" scribe Evan Goldberg) would jokingly wonder if Reiser's disease would bring them all a Make-a-Wish opportunity to hang with Led Zeppelin.

That rock-and-roll dream never came true, but Reiser's battle with, and eventual remission from, cancer did gift them all with one thing: "50/50," a comedy (out now) that is drawing rave reviews from critics and is being discussed as a possible contender come awards season. Though not all reviewers have found it easy to find yuks in a deadly serious topic, far more point to the film as an example that nothing is out of bounds when it comes to art and comedy; handled deftly, anything can lead to laughter and learning.

The Story
"Adam Lerner (Joseph Gordon-Levitt) is a nice guy with a great job at a Seattle NPR station, a promising relationship with up-and-coming artist Rachael (Bryce Dallas Howard), a best-friend-since-high-school named Kyle (Seth Rogen) to hang with -- and, as he learns to his horror in a doctor's office, cancer. ... Also woven deftly into the mixture is Anna Kendrick as a young (very young) therapist assigned to work with Adam; [Anjelica] Huston as the kind of mother who explains 'I want you to know that I smothered him because I love him' to anyone who will listen. ... It's not a perfect movie, but it doesn't matter. '50/50' takes on a bold subject and makes us laugh and cry. I thought I didn't want to see a cancer comedy; I was wrong." -- Moira McDonald, The Seattle Times

The Laughs
"Scenes where the pals trash a piece of once-important memorabilia in a backyard rampage and the after-effects of pot-laden cookies scored at the chemotherapy clinic show loopily grinning Gordon-Levitt at his best. Kudos to [director Jonathan] Levine for not letting Rogen's very funny comedic bits overshadow the proceedings. The actor dials it down ever so slightly and isn't afraid to be the butt of jokes -- watch for Gordon-Levitt's spot-on Rogen impersonation. The suggestion a bald head and a cancer diagnosis could be the ultimate pickup leverage leads Adam and Kyle into funny territory. But the hilarity turns with the exploration of deeper relationships as Adam finds new friends among the genial stoners of all ages at the chemo clinic." -- Linda Barnard, Toronto Star

The Writing
"[Reiser] draws on his personal battle with a rare form of that disease. His success rate in the delicate balance between comedy and the profound devastation of such an illness is much greater than 50/50, but the film is not without its tonal lapses. ... Reiser has written his characters with an indelible sweetness and vulnerability, which allows the cast to deliver performances with some depth. So a situation such as Kyle insisting that Adam and he should cruise girls at a bar looking for sympathy lays -- Cruisin' with the Big C as it were -- comes off as quite funny as does Adam's first chemo session where he ingests weed-laced sweets created by a fellow patient's wife and floats out of the hospital afterwards." -- Kirk Honeycutt, The Hollywood Reporter

The Dissenters
"In the pantheon of tastelessness designed to make you laugh at diarrhea, menstruation, masturbation, yeast infections, fellatio and worse, you can now add a stupid horror called '50/50.' Artificial, irresponsible, filthy and forgettable, it knocks itself cross-eyed trying to make you roar with laughter at chemotherapy, with the nauseating Seth Rogen milking most of the yuks. But a stoner comedy about cancer? I don't think so." -- Rex Reed, The New York Observer

The Final Word
"The reason '50/50' works is it's not trying to force us into any particular emotion. It fits in the emerging category of sad-man comedies such as 'Up in the Air' and 'Crazy, Stupid Love,' telling its downbeat tale with tenderness, sincerity and warmth. '50/50' isn't a cancer buddy comedy or a male weepie but a message movie. The message is that you can tackle pretty much any subject matter and tell a story any way you want to onscreen as long as it's absorbing." --

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Demi Moore And Ashton Kutcher Still Follow Each Other On Twitter

Mukesh and Nita Ambani with their kids Real-life Photos

Sep 26, 2011

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Lady GaGa Biography and Profile

Born - March 28, 1986 (age 25)
New York City, United States
Birth Name :
Stefani Joanne Angelina Germanotta
Height
5' 1"
Nationality
American
Genres - Pop, dance
Occupations - Singer-songwriter, performance artist, record producer, dancer, businesswoman, activist
Instruments - Vocals, piano, synthesizer, keytar
Years active - 2005–present
Claim to fame :
Single "Just Dance" (2008)
Education

Attended Convent of the Sacred Heart School, Manhattan, New York
Attended Tisch School of the Arts, NY

Lady GaGa Family
Father
Joseph Germanotta

Mother
Cynthia

Sister
Natali Germanotta (younger)

Relation
Speedy (entrepreneur, 2009), Luc Carl (drummer)

School of the Arts in 2003 and later performing in the rock music scene of New York City's Lower East Side, she signed with Streamline Records, an imprint of Interscope Records. During her early time at Interscope, she worked as a songwriter for fellow label artists and captured the attention of recording artist Akon who, recognizing her vocal abilities, signed her to his own label, Kon Live Distribution.

Gaga came to prominence following the release of her debut studio album The Fame (2008), which was a critical and commercial success and achieved international popularity with the singles "Just Dance" and "Poker Face". The album reached number one on the record charts of six countries, topped the Billboard Dance/Electronic Albums chart while simultaneously peaking at number two on the Billboard 200 chart in the United States and accomplished positions within the top ten worldwide. Achieving similar worldwide success, The Fame Monster (2009), its follow-up, produced a further three global chart-topping singles "Bad Romance", "Telephone" and "Alejandro" and allowed her to embark on her second global concert tour, The Monster Ball Tour, just months after having finished her first, The Fame Ball Tour. Her second studio album Born This Way (2011) topped the charts in all major musical markets after the arrival of its singles "Born This Way", "Judas" and "The Edge of Glory" – the first-mentioned achieved the number-one spot in countries worldwide and was the fastest-selling single in the history of iTunes, selling one million copies in five days.

Gaga has been included in the Time 100 list of the most influential people in the world as well as being listed in a number of Forbes' annual lists.

Billboard named her the Artist of the Year in 2010, ranking her as the 73rd Artist of the 2000s decade.