Latest news with #Moitra
Indian Express
12-06-2025
- Entertainment
- Indian Express
Britney Spears and Lata Mangeshkar share the same connection that Parineeta the film and Louis Armstrong do, and it has to do with cheating
Pradeep Sarkar's romantic drama Parineeta turned 20 this week. The film, which is based on Sarat Chandra Chattopadhyay's novel of the same name, boasts a stellar cast, linear but effective writing, and an album which draws you in and keeps you in the chamber of bliss and desire that it has created. One of the most well-known tracks from the film is Sunidhi Chauhan's 'Kaisi Paheli Zindagani', which features the mesmerising Rekha, who makes one forget all their troubles as she dances around on the beautiful composition by Shantanu Moitra. What Moitra, Sunidhi, Rekha and Sanjay Dutt's oddly placed saxophone performance in the song also makes you forget is that this tune doesn't belong to any of these people. The bluesy and groovy chorus actually comes from a song released 17 years before Moitra was even born, and that song was 'A Kiss To Build A Dream On' by Louis Armstrong. If you can't remember him (which I doubt), he is the man that also performed the legendary track 'What A Wonderful World', written by Bert Kalmar, Harry Ruby and Oscar Hammerstein II in 1935. The original tune was interestingly composed for a song called 'Moonlight on the Meadow', but it sat on the shelf until Oscar adapted it for the lyrics of 'A Kiss To Build A Dream On'. Bear in mind that no one is discrediting Moitra for what he did with the album and the song. Maybe he, like many other composers, musicians and artists in the world, believed in the old adage, 'You're not trying if you aren't cheating.' He took 'inspiration' and created a track that has stood the test of time and is still very prevalent in the track list of singing reality show contestants. In all sincerity, it is a serene performance by Sunidhi and it only goes to prove that we have the skill and the appetite for all kinds of different sounds, both as creators and consumers. ALSO READ: The Beatles and their disruptive trip to India: The 'Transcendental Meditation' that changed the Abbey Road musicians forever There have been enough discussions about Indian composers and how the line between inspiration and ripping off in their minds is not just blurry; it's non-existent. It is quite easy to sit down and start bashing these artistes who, even though they made great songs, never really made anything original. So in the interest of doing something different, we are going to focus on the times when the West took inspiration from our Maliks and Pritams (not exactly) and used our sounds to make hits of their own, and while there are many examples of this phenomenon, we are going to focus on a select few. The first on this very less talked about roster is a song from the 1963 film Taj Mahal, titled 'Chandi Ka Badan', and the song had two female and male singing parts sung by Asha Bhosle, Meena Kapoor, Manna Dey and Mohammad Rafi. This quick-paced Qawwali track with several tempo and cadence changes somehow lit a fire of innovation in producer Just Blaze as he started cutting and editing parts of the song to create a base for himself, the foundation upon which he would make the song 'React', which was the lead single on Eric Sermon's album of the same name. The song also features one of the pioneers of hip-hop, Redman, and listening to the track almost feels like you're consuming a creation that hails from a parallel universe. People keep talking about the things we got before GTA 6, but we had Asha Bhosle and Redman on the same song before we ever got GTA San Andreas (2004); let that sink in. This seems like a natural segue, as the next track we are talking about concerns Bhosle's sister, the great Lata Mangeshkar. The nightingale of India appeared on some of the most iconic songs of Bollywood in a career that lasted longer than Queen and The Beatles combined (one point for the colonies, I guess). Her song 'Tere Mere Beech Mai' with S P Balasubramaniam from the movie Ek Dujje Ke Liye (1981) was a massive hit, and it must have transcended international boundaries because producers Bloodshy and Avant definitely liked what they heard. They liked it so much, in fact, that they chopped the sample (when a producer takes out specific pieces from the track, and not the complete melody or bar as a whole) and put it in a song which arguably became the calling card for the 'Princess of Pop', Britney Spears. The sample taken from the Mangeshkar song was used for Spears's 'Toxic', a track that became the artiste's first and only track on Spotify to hit a billion streams. It also got Spears her only Grammy award; even though it was for Best Dance Recording, we will gladly chalk that up as a win in our books. ALSO READ: 'P Diddy would rather die than let go of rights to Biggie Smalls' music': How Diddy was at the epicentre of both Tupac and Biggie's death Let's take a short detour to explain our next entry. Producer and rapper Dr Dre is known for his skill of isolating certain sounds from previously made tracks and using them to create something entirely new. Dre acknowledges the skill and prowess of those who came before him and uses it to his advantage. However, many Indian producers refuse to look at the work of their predecessors and fall into the trap of romanticising the West, even though in Anu Malik's case the West can be as close as Iran. Another producer like Dre, who believes in learning from yesterday to create for the present, is Timbaland. The producer and rapper has gone on record several times and talked about his love for Indian culture, especially the music. Now don't get me wrong, not everyone from the 'land of the brave and free' is able to look beyond the surface-level attractions our country has to offer, and people like the aforementioned gentleman are definitely an exception. Timbaland has talked about his obsession with Indian instruments and showcased his love for the same in his track 'Indian Flute'. While the song in itself appropriates every stereotype that Indians have about hip-hop and Americans have about our 'exotic' country, it puts the sounds from our country on the centre stage. He samples the Been or the Pungi for the track and has repeatedly used Indian string instruments in other tracks as well. What one hopes to achieve from constructing a narrative like the one above is to instill a sense of self-belief in the upcoming and existing crop of music producers of the country. Indian music is currently going through a big transition; fusion music has never been bigger, hip-hop finally has some self-owned ground to stand on, and there is an actual quantifiable wave of new talent emerging from the country. While a track like 'Kaisi Paheli Zindagani' or Mohammad Rafi's 'Kaun Hai Jo Sapno Mai' (sampled from Elvis' Marguerita) are great examples of inspiration done right, it can be argued that we don't really need them. What we need from our musicians is to read the literature and inform themselves with the godlike music pieces that Indians have created since time immemorial. Bands like Agnee need to be studied, and bands like Bombay Bandook need to be supported. Musicians like Laxmikant-Pyarelal need to be studied, and musicians like Amit Trivedi need to be given their due, not just for the music they make for films but for their own creations, for tracks that aren't moulded to a narrative but are only shaped according to the artiste's free will and beliefs. If the saying 'You aren't trying if you aren't cheating' really is true, then maybe we can start peeping into assignments created by our own alumni. Maybe all we need to do is acknowledge our own greatness, and then we can shine bright enough to light up the entire world, one song at a time.
Indian Express
10-06-2025
- Politics
- Indian Express
Here's to Mahua Moitra and other difficult women— may they remain fierce, unfiltered, in charge of their stories
In a country where women in public life are expected to be circumspect about personal milestones — especially those that might provoke commentary — Mahua Moitra did the opposite. By sharing vignettes from her private wedding with fellow politician Pinaki Misra of the BJD in Berlin on social media, the 50-year-old Trinamool Congress MP made it clear that she will not edit herself to fit into anyone else's frame. In Indian politics, where women often shrink themselves into acceptability, even a simple act such as this can seem radical. Moitra has been at the receiving end of misogynistic trolling in the not-so-distant past. Her personal life, her choice in men ('terrible,' she had confessed in an interview to The Guardian in November 2023), her wardrobe — none of it has been off limits. In October 2023, following cash-for-query allegations, Moitra was hauled before the Lok Sabha Ethics Committee. The complaint against her, raised by BJP MP Nishikant Dubey, was grounded in documents received from Jai Anant Dehadrai, Moitra's former partner. The tone of the inquiry that followed was heavy with moral judgement, light on due process. When she stormed out of one of the hearings, refusing to legitimise what she called a 'kangaroo court', Moitra was swiftly expelled, dismissed as uncooperative, arrogant, and that lazy shorthand for women who defy labels — difficult. To be 'difficult' as a woman is often to carry the weight of collective discomfort with female autonomy. It is an idea at odds with the culture of conformism that most women are raised in, with the ecosystem that demands compliance over confrontation. And so, when a woman refuses to bend, it is easier to seek her dismissal as unreasonable, hysterical, deracinated, even dangerous. As British writer Rebecca West put it over a century ago: 'I only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat, or a prostitute.' Since 2009, when she gave up her job as an investment banker to enter politics, Moitra has refused to trade her sharpness for likeability. Terming her expulsion from Parliament 'the most tenacious witch-hunt of a woman MP' and a 'weaponisation of Parliament' committees, she declared that she would continue to fight the BJP 'inside Parliament, outside Parliament, in the gutter or on the streets'. This defiance does not, of course, elevate Moitra to a pedestal. What it does achieve, however, is to make her less of a cliche, all distinguishing features and sharp angles sanded down to perfect conformity. In the same Guardian interview, Moitra had said, 'I'm not going to make excuses for who I am. I am not going to change who I am to fit the paradigm. Let the paradigm shift with me. When I returned to India to enter politics, I was clear that I wanted to be in public life, but by being myself.' Moitra's refusal to be written out of her own story is what makes her interesting — and, often, such a challenge to the status quo. In her defiance, she offers an alternative to women who are told that their dignity depends on how little space they take up. From M Karunanidhi to George Fernandes to Atal Bihari Vajpayee, Indian politics is replete with instances of male politicians with complicated personal lives that have barely caused a ripple in public discourse. Their romantic entanglements are seen as footnotes, not defining traits of a public servant. But for a woman politician, every choice becomes a referendum on her character. This double standard doesn't merely tilt the scales, it builds imbalance into its structure. What Moitra has demanded is what every woman, including those in public life, deserves: The right to be judged by her politics, not her presence; the right to be messy, to love badly, to choose again, to own her story — privileges her male colleagues inherit without question. Months after her very public expulsion, Moitra returned to Parliament after winning her seat from the Krishnanagar constituency in the 2024 Lok Sabha elections. To attribute her victory to any one reason would be reductive. But it indicates that Indian politics — in which nari shakti has become an affirmative slogan and women's representation is set for a boost after the Women's Reservation Bill — might need to make room for the difficult woman. The one who can forge connections while being herself; who doesn't apologise for her ambition or affection, who demands to be held to the same standards as her male peers. Here's to Moitra then — fierce, unfiltered, on to a new beginning. Long may she remain difficult.
Time of India
08-06-2025
- Entertainment
- Time of India
Mahua Moitra's romantic wedding dance with husband Pinaki Misra on ‘Raat Ke Humsafar' wins internet. Watch viral video
Trinamool Congress MP Mahua Moitra and senior advocate and former BJD parliamentarian Pinaki Misra recently tied the knot in a quiet ceremony held in Berlin, Germany. The couple opted for a low-key celebration on May 3, surrounded by close friends and family. The wedding remained largely private until June 5, when Moitra publicly acknowledged the marriage on social media, posting a photograph of the couple cutting their wedding cake with the message: 'Thank you everyone for the love and good wishes!! So grateful.' Viral Dance Video Sparks Warm Reactions The internet was soon abuzz with a viral video of the newlyweds dancing to the romantic classic 'Raat Ke Humsafar' from the 1967 film An Evening in Paris. Shared originally on Moitra's Instagram story, the video shows the couple enjoying a light-hearted moment as they sway together, dressed in pastel peach-toned outfits. While Moitra donned a soft pink Benarasi saree with minimal jewellery, Misra chose a traditional kurta-pyjama paired with a Nehru jacket. Their performance quickly struck a chord with viewers, earning praise and heartfelt messages from social media users and political colleagues alike. The video has since been widely circulated across platforms, showing the couple holding hands and smiling as the melody plays in the background. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Secure Your Child's Future with Strong English Fluency Planet Spark Learn More Undo — AITC__PINTU (@AITC__PINTU) A closer look at the wedding photo revealed a two-tier cake adorned with miniature figurines and symbolic items like a gavel, briefcases, a handbag, and sunglasses. The initials 'MP' on the cake are a nod to both Mahua and Pinaki. The items reflect their personal and professional lives—Moitra's well-known love for handbags, highlighted in past media coverage, and Misra's career as a senior Supreme Court advocate. Second Marriage for Both Leaders This is the second marriage for both individuals. Moitra was previously married to Danish financier Lars Brorson, while Misra was earlier married to Sangita Misra. The former BJD leader has two children from his first marriage. Mahua Moitra, born on October 12, 1974, in Assam, began her professional journey in investment banking before moving into politics. She joined the Trinamool Congress in 2010 and was first elected to the Lok Sabha from West Bengal's Krishnanagar constituency in 2019. She retained the seat in the 2024 general elections. Pinaki Misra, born on October 23, 1959, in Odisha's Puri, entered politics in the mid-1990s. He initially contested on an Indian National Congress ticket in 1996 and later joined the Biju Janata Dal under Naveen Patnaik. Over his career, Misra has served multiple terms as an MP and held positions on several parliamentary committees. While both leaders are known for their serious demeanour in public life—Moitra for her vocal parliamentary speeches and Misra for his legal credentials—the dance video offered a rare, intimate glimpse into their personal happiness.
India Today
08-06-2025
- Entertainment
- India Today
Viral video: Newlyweds Mahua Moitra, Pinaki Misra dance to 'Raat Ke Humsafar'
A video of Trinamool Congress MP Mahua Moitra and Biju Janata Dal (BJPD) leader Pinaki Misra dancing to the old Bollywood classic "Raat Ke Humsafar" has gone viral on social media, offering a glimpse into their recent low-key wedding couple tied the knot in a quiet ceremony in Germany's Berlin, on May 3. Moitra, who represents West Bengal's Krishnanagar constituency, and Misra, the veteran parliamentarian from Odisha's Puri, kept the wedding strictly private, attended by close friends and the now widely circulated video, the newlyweds are seen sharing a light moment as they sway to the romantic number from the 1967 film 'An Evening in Paris'. The clip has since sparked a wave of congratulations from political colleagues and well-wishers, many remarking on the unexpected but heartwarming Trinamool MP shared a glimpse of her wedding celebration with BJD leader Pinaki Misra, posting a photo of the couple cutting their wedding cake. In the picture posted on X (formerly Twitter), the newlyweds are seen smiling as they mark the occasion together. Moitra also thanked well-wishers for their messages and blessings."Thank you everyone for the love and good wishes!! So grateful," she Moitra, born on October 12, 1974, in Assam, began her professional journey as an investment banker before making a shift to politics. She joined the Trinamool Congress (TMC) in 2010 and quickly rose through the ranks. In 2019, she was elected to the Lok Sabha from West Bengal's Krishnanagar constituency and successfully retained the seat in the 2024 general on October 23, 1959 in Odisha's Puri, Pinaki Misra entered politics with the Indian National Congress and won his first Lok Sabha election from Puri in 1996. He later switched to the Biju Janata Dal (BJD) under Naveen Patnaik and has since secured multiple terms in Parliament, winning from Puri in 2009, 2014, and Watch
India Today
07-06-2025
- Politics
- India Today
When Mahua Moitra met Pinaki Misra
In a country where political affiliations often harden into personal barricades, the quiet marriage of Mahua Moitra and Pinaki Misra has offered a rare moment of grace—where lives intersected not just across parties, but personal histories, geographies and two members of Parliament—one still in active office, the other a seasoned legislator who did not recontest in 2024—tied the knot in a private ceremony in Berlin on May 30. It was a deeply personal affair, far removed from the usual pomp of political unions. The news broke only on June 5 when Moitra shared a photograph of the couple on social media, captioned: 'Here's to new beginnings.'advertisementThe story of how Moitra, the fiery Trinamool Congress MP from West Bengal's Krishnanagar, came to marry Misra, the erudite former parliamentarian from Odisha's Puri, is not one of grand declarations or ideological convergence. It is a story of lives lived in parallel, then increasingly in separated by age and background—Moitra was born in 1974 and educated at Mount Holyoke College in Massachusetts while Misra, born in 1959, studied at Delhi's prestigious St. Stephen's College and later at the Faculty of Law, University of Delhi—the two shared an understanding of what it meant to navigate Indian public life on their own terms. Both had experienced the vicissitudes of power and public scrutiny. Moitra, who began her professional journey as an investment banker in New York and London, left the corporate world for Indian politics in the 2000s, first with the Youth Congress and then Mamata Banerjee's Trinamool Congress. Known for her powerful interventions in Parliament and unflinching critiques of majoritarianism, Moitra is a polarising but widely admired figure, especially among younger voters and civil liberties trajectory was more classically establishmentarian. A four-time MP from Puri—first elected in 1996 on a Congress ticket and then thrice with the Biju Janata Dal—he built a career on his legal acumen and dignified parliamentary conduct. His legal expertise spans constitutional, corporate and environmental law, and his record in the Lok Sabha includes chairing the Standing Committee on Urban Development and serving as leader of the BJD parliamentary had been married before. Moitra's former husband, Danish financier Lars Brorson, rarely made public appearances during her political career, and she has mostly kept that part of her life private—except when correcting misinformation on social media. Misra had married Sangita Misra, a respected judge of the Odisha High Court, in 1984. They have two children and later divorced say the connection between Moitra and Misra grew gradually, based on conversation, shared values and a mutual appreciation of intellect and independence. Their interactions grew more frequent in recent years, and their bond deepened through a mutual understanding of solitude and resilience—qualities common to those who survive long in politics without surrendering their was not a union forged in haste. With both individuals having rebuilt themselves after complex personal journeys, it was a relationship grounded in maturity and choice of Berlin for their wedding was telling. Cosmopolitan, historic and a city of reinvention, it offered them privacy and symbolic resonance. The ceremony was intimate—attended only by close friends and family. Moitra wore a pale pink Varanasi brocade saree with an off-shoulder blouse, striking a balance between classic tradition and modern elegance. Misra appeared in a simple, cream-toned kurta, understated as photograph she later posted captured not just the joy of the moment, but also the ease and depth of a relationship that had grown out of the public speculation swirls about what this alliance could mean politically, neither Moitra nor Misra has offered comment. Misra, having not contested in the 2024 parliamentary elections, appears to be stepping back from electoral politics, though he continues to remain a prominent figure in legal and intellectual circles. Moitra, on the other hand, returned to the Lok Sabha in 2024 after a turbulent period that included her expulsion in December clear, however, is that theirs is not a political alliance but a deeply personal one—built on affection, shared experiences, and a willingness to step away from the din of public life when an age of performative relationships and curated public personas, Moitra and Misra have rewritten the script—proving that even in the most polarised of landscapes, connection and companionship can thrive. Their union reminds us that politics, for all its storms, is still inhabited by human beings—with hearts, histories and hopes of their to India Today Magazineadvertisement
