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Time of India
a day ago
- Time of India
Mumbra train accident toll five as 52-year-old succumbs to injuries after 10 days
Thane: Anil More, a 52-year-old passenger injured in the June 9 Mumbra train-fall incident, died on Thursday at a private hospital in Thane, taking the death toll to five after 10 days. Tired of too many ads? go ad free now More, a Vasind resident on the Kalyan-Kasara route, worked as a peon at a school in Kalwa for 32 years. He was travelling on the Kasara-CSMT local and reportedly was near the footboard in order to alight at the next station, Thane, when the accident occurred. He was one of the eight passengers who fell off the train at Mumbra station, an incident that left four dead and four injured at the time. Six others suffered injuries but they either stayed on board or were saved by co-passengers. The trains were reportedly moving at 75kmph to 80 kmph on a bend near platforms 3 and 4. More and another passenger sustained serious head injuries and were first taken to CSMH hospital in Kalwa before being shifted to a private hospital. More remained in the ICU for 10 days in critical condition before passing away. He is survived by his wife Bharati, an anganwadi sevika, and two children, Ashish and Asavari, both students. Neighbours in Vasind's Siddharth Nagar complex remember him as jovial and helpful. Activists criticised the railway administration for neglecting local train services beyond Kalyan towards Kasara and Karjat, which mostly run at longer intervals — insufficient for the growing population. "We demand shuttle services from these suburbs to Kalyan or Thane to ease crowding," said railway activist Rajesh Ghangav. Tired of too many ads? go ad free now "Also, Diva halts for Kasara-Karjat and Khopoli trains should be removed and replaced with services starting from Kalyan, Titwala, or Ambernath." More's neighbour and passenger activist Sachin Ghegade questioned delays in medical aid, noting More was injured around 9.15 am but treatment started only after admission to the private hospital. "He was first taken 7 km to Kalwa hospital, then another 4 km to the private hospital, losing valuable time," he said. The railway police were in the process of filing an accidental death report, said officials.
Time of India
a day ago
- Health
- Time of India
Passenger injured in Mumbra train mishap dies after 10 days in ICU; toll rises to 5
A 51-year-old passenger, Anil More, died from injuries sustained in the Mumbra train accident. The accident occurred last Monday. More's death raises the total death count to five. THANE: A 51-year-old passenger injured in last Monday's Mumbra train mishap succumbed to his injuries Thursday morning at a private hospital in Thane city, taking the toll to five, officials informed. The deceased, identified as Anil More, was a resident of Shahpur and worked in Kalwa. He was travelling on the footboard in the CSMT-bound local that originated from Kasara and was among those who fell off the train in the incident, which left four others dead and nine injured to date. It may be recalled that around four passengers died and ten suffered injuries in a freak mishap after falling off two suburban trains headed in opposite directions as they were crossing each other on adjoining tracks at the Diva-end of Mumbra railway station. More, along with another passenger who fell off the train, suffered serious head injuries and was admitted in critical condition to the CSMH Kalwa hospital. He was later shifted to the private hospital, where he was in the ICU for the last ten days. His condition remained critical. He eventually passed away Thursday morning, informed a hospital staff member. More's body was being taken to the civil hospital for post-mortem, following which it would be handed over to his family by Thursday evening, the Thane railway police said. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Memperdagangkan CFD Emas dengan salah satu spread terendah? IC Markets Mendaftar Meanwhile, activists have questioned the apathy shown by the railway administration in increasing local services to the extended suburbs beyond Kalyan towards Kasara and Karjat, which presently operate at an interval of over an hour, inadequate considering the growth in these regions. 'We have been demanding shuttle services till Kalyan or Thane from these far-off suburbs, which will greatly help reduce the crowding. Also, we have been demanding that Diva halts to Kasara-Karjat and Khopoli trains be removed and instead those originating from Kalyan, Titwala, or Ambernath be introduced,' said railway activist Rajesh Ghangav.
Time of India
a day ago
- General
- Time of India
Passenger injured in Mumbra train mishap succumbs to injuries in Thane hospital
Representative Image THANE: A 51-year-old passenger injured in last Monday's Mumbra train mishap succumbed to his injuries on Thursday morning at a private hospital in Thane city, taking the death toll to five, officials said. The deceased, identified as Anil More, was a resident of Shahpur and worked in Kalwa. He was travelling on the footboard of a CSMT-bound local that originated from Kasara and was among those who fell off the train during the incident, which has left five dead and nine injured so far. It may be recalled that four passengers had initially died and ten were injured in a freak accident after falling off two suburban trains headed in opposite directions as they crossed each other on adjoining tracks at the Diva-end of Mumbra railway station. More, along with another passenger, had suffered serious head injuries and was admitted in critical condition to CSMH Kalwa hospital. He was later shifted to a private hospital, where he remained in the ICU for the past ten days. His condition remained critical and he passed away on Thursday morning, a hospital staffer confirmed. His body was taken to the civil hospital for post-mortem, following which it would be handed over to his family by Thursday evening, the Thane railway police said. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 2025 年最紓壓的農場遊戲！無需安裝 東加：島嶼農場 立即播放 Undo Meanwhile, activists have questioned the apathy shown by the railway administration in increasing local train services to extended suburbs beyond Kalyan towards Kasara and Karjat. Services currently run at intervals of over an hour—far from adequate given the growing population in these areas. 'We have been demanding shuttle services till Kalyan or Thane from these far-off suburbs, which would greatly help reduce crowding. We have also demanded that Diva halts for Kasara-Karjat and Khopoli trains be removed and that services originating from Kalyan, Titwala, or Ambernath be introduced instead,' said railway activist Rajesh Ghangav.
Spectator
2 days ago
- Entertainment
- Spectator
Jarvis Cocker still has the voice
For bands of a certain vintage, the art of keeping the show on the road involves a tightly choreographed dance between past and present, old and new, then and now. It's not a one-way transaction: there should be some recognition that the people you are playing to have also evolved since the glory years of the indie disco and student union. Halfway through the first date of Pulp's UK tour following the release of More, their first album in 24 years, I started thinking about Withnail & I. Watching the film repeatedly as a young man, the booze-soaked antics of the dissipated 'resting actor' and his addled supporting cast seemed like great larks, albeit in extremis. The last time I watched it, approaching 50, sober as a judge, it played as the bleak tragedy it had surely always been. To steal the title of a Pulp song: something changed. The music of Pulp has always been scored through with melancholy and painful longing, but its emotional heft and essentially good heart is more evident these days. Singer Jarvis Cocker no longer hides behind so many layers of ironic distance. As he half-joked before 'Help The Aged', at 61 he now requires audience assistance to reach the high notes. More is Cocker's delayed, reluctant reckoning with adulthood. As he put it on 'Grown Ups', 'We're hoping that we don't get shown up/ 'Cos everybody's got to grow up.' Love was once a source of shame and embarrassment, he told us, but he has finally reached a gentlemanly accommodation with it. The shift was evident on new songs such as 'Slow Jam', 'Got To Have Love' and 'Farmer's Market' – a terrific orchestral ballad – but also in the low-key sense of gratitude that emanated from the stage. Cocker came across as a warmer, less wary figure, tossing out grapes and sweeties to the front rows. There were more obvious signs that we weren't in 1995 anymore. The group's core four – Cocker, Nick Banks, Candida Doyle and Mark Webber – nowadays resemble members of the history department of a Russell Group university who have decided to enliven the pre-retirement years by forming a band. They were joined by a string ensemble, a percussionist and several superb multi-instrumentalists, enabling Pulp2025 to shift seamlessly from the vast, corrupted Bond theme drama of 'This Is Hardcore' to a pared-down acoustic version of 'Something Changed'. In the midst of all that evolution, the trick was that it was all still very recognisably Pulp. Framed by purple velvet drapes, the set was a Sheffield bingo hall transported to an aircraft hangar, while an air of slightly shambolic indie-ism survived the transition to a slick arena show. Cocker still has the voice and, perhaps more importantly, the moves. His hands pirouetted like a good actor playing a bad magician. He corkscrewed into the air when excitement got the better of him, such as the moment when 'Common People' exploded into life. The song, which should by now feel glossy with overfamiliarity, was instead a juggernaut of propulsive energy. By then, they had played most of More. 'Tina' might be a classic Pulp title destined to be for ever waiting in vain to become a classic Pulp song, but much of the new material held its own among the gold-standard highlights: 'Sorted For E's & Whizz', an exhilarating 'Disco 2000', 'Mis-Shapes', 'Do You Remember The First Time?' and 'Babies', as well as outliers such as 'The Fear' and 'O.U. (Gone, Gone)'. Nothing on More could possibly have the impact of those songs, a point the audience instinctively understood. That was then, this is now. Both band and fans simply seemed appreciative of the opportunity for 'one last sunset, one final blaze of glory.' The Waterboys are also touring a new album, Life, Death and Dennis Hopper, a gonzo, genre-hopping 25-track sprawl that maps the life of the maverick US actor to the shifting currents of the postwar counterculture. They played around half of it in Edinburgh, in a single suite that unspooled against a Hopper-heavy backdrop of black and white stills and saturated Super-8 video footage. It felt fresh, colourful, eccentric and ultimately celebratory. On either side, they crunched out setlist staples such as 'Be My Enemy' and 'A Girl Called Johnny', which delivered power and punch without much in the way of surprises. The gig was at its best when the interplay between the musicians had space to stretch out. A reworked 'This Is The Sea' gathered an elemental power, and there was a nod to the recently departed Sly Stone during the still effervescent 'The Whole Of The Moon'. Like Pulp, the Waterboys have seen over 40 years' of active service, yet they are still evolving.
New Statesman
3 days ago
- Entertainment
- New Statesman
Jarvis Cocker at 61: Is this hardcore?
Photo byAre we in the era of the Mature Reunion Album? long hoped for but largely unexpected album releases lately by Blur, Everything But The Girl, Stereolab, and now Pulp, measuring the middle-age of both artist and audience. More, released on 6 June 2025, is the eighth Pulp album (their seventh came out just weeks after 9/11.) On Friday they re-united at the O2 and, fittingly, the album topped the UK Charts that night: Pulp's audience wanted More. When Pulp take to the stage, it is in front of a red velvet backdrop, the now expanded eight-piece band augmented by string section. Jarvis Cocker ascends the stage alone on a podium. The age-appropriate indie chug of opener 'Spike Island' is uplifting, but a little more ordinary than their 1990s material, which fused together two distinctly Yorkshire traditions: Alan Bennett observational comedy and specifically Sheffield electronic futurism. Cocker, 61, dressed in a dark, double-breasted suit, addresses the audience with the ease and command of a broadcaster. 'Once we're alive,' says the frontman early in the set, 'we have to grow up. The first step of growing up is clapping in time.' He invites the audience to join him in this 'developmental milestone', a neat bit of crowd control that tees up Mature Reunion Album track 'Grown-Ups', and one of tonight's surprise themes. Pulp's intergenerational appeal is apparent across the stadium. Older parents now bring grown-up children. Though their audience is noticeably broad – only a few lone aesthetes adopt the frontman's signature specs and vintage suits – Cocker remains the patron saint of people who hate stag do's and visit charity shops long after their salaries have stopped necessitating that. More than this, Pulp endure as cool, evidenced by Charli XCX's recent on stage call for a 'Pulp summer' at Coachella Festival in a way that impossible to imagine her doing for Blur. On the London stage, each of Pulp's Mature Reunion Album tracks have an unconscious double in their earlier work. 'Farmer's Market', a ballad Cocker says tonight is about how he met his wife, in the audience – hustling her phone number at the car park of an organic food bazaar – obsesses over the same questions of chance and fate as 1995's 'Something Changed', which tonight is delivered acoustic by the four nucleus Pulp members (happily, viewed together, they still look more like a departmental meeting than an arena rock group.) Ditto new song 'Tina' is a pen portrait of late middle-aged lust on a commuter train (which also contains a good reference to Mrs Thatcher's TINA acronym.) It's a greyer haired update of 'Disco 2000', their 1995 glam rock stomp about the memory of teenage sexual obsession. Listening to Pulp's greatest hits CD on my early teenage paper round in the 2000s, I remember feeling so scandalised and compelled by all the sex in their work that I worried I should keep this enjoyment private (lest it reveal something inadvertently awful about myself). There is less of this side of Pulp tonight, their more subversive songs about tragedies in reservoirs or exacting sexual revenge against West Londoners have been temporarily retired, to be our-age appropriate. This dulls some of Pulp's weird appeal. Subscribe to The New Statesman today from only £8.99 per month Subscribe Cocker's best writing was first as a misfit outsider in his native Sheffield, then as a geographical and class outsider in 90s media London. But that success made him something of an insider, which his writing has never really reckoned with. Cocker is one of his generation's cultural luminaries. He is a longstanding BBC broadcaster, a Meltdown curate and broadsheet arts fave whose collected lyrics are published by Faber. Now, the albums he infrequently releases seldom examine what exactly this type of life is like. Pulp's last big statement forms the unexpected high point of tonight's set. Introducing 'This Is Hardcore', the title track of their 1998 album, Cocker sits at the top of a small illuminated staircase (metaphor klaxon), splayed across a leather Mastermind chair and sipping an espresso, which is brave at 9PM. Against a seedy, dramatic loop, which repeats and throbs like erotic fixation, Cocker purrs about wanting it now, wanting it bad. The song's lyrics were written to compare the singer's experience of fame to what he termed his 'revulsion and attraction' to pornography, all with the subtext of his then escalating cocaine use. I had to get a little past paper round age to learn to love that part of the hits CD. Tonight, four songs come from This Is Hardcore, and it's in this material that Cocker delivers his most captivating performances of the night. Perhaps now that the album's chief obsessions of fame, pornography and cocaine have all accelerated in the 2020s, it has widened that album's appeal. The final third of the set runs through their big, 1990s hit singles. The biggest of which is 'Common People'. 'Common People' was conceived as a fanfare, but looking around tonight it's something of a requiem for a period when strange, five-minute songs about class somehow topped the charts. But it's never typically the biggest songs that get you in arena shows. Earlier, during 'Help The Aged', another This Is Hardcore cut, Cocker invites the audience to sing a falsetto refrain that he can seemingly no longer summon as his baritone has grown older, and the line 'funny how it all falls away' flashes on the screens for our benefit. Like 'Eleanor Rigby', 'Help The Aged' is one of those rare songs that peers out from pop's cult of youth, and is alarmed by what it finds there. 'Old age isn't a battle,' wrote Philip Roth in 2006's Everyman, 'old age is a massacre.' Guitarist Mark Webber's scuzzy, vengeful guitar part sounds suitably blood-shedding. There's a line in the song about dying your hair: the one thing you can change as time bulldozes on. As the line is delivered, a woman in front of me smiles at her partner, ruffles his grey hair, and cuddles up to him. Pulp's work has found a new theme. Something scary, something you might view with revulsion and attraction, something really hardcore: getting old. [See more: The rise of the west] Related
