Butchers of Sopore and Birmingham

Nine years of calm before icy storm

Kashmir turns crimson with blood of Pandits

AN UN-ISLAMIC KIDNAPPING AND CHAOS IN THE VALLEY

The illusion of azaadi and Kashmir’s historic deception

How Pak's terror policy evolved in Kashmir

Birth of social media jihadists, death of Article-370

Operation Sindoor: When Indian missiles rained on Pak terror parade

<div class='ite_mg_banner ads__container'><div class='it_mg_bnrBox'><div class='ite_bnr_cont'><div class='ite_cont_dtl'> <h4>Subscribe to India Today Print + Digital. Your First Month Is On Us. <span class='bold_text'> ₹299/month</span> thereafter. Cancel anytime.</h4><a href='https://ancillary-proxy.atarimworker.dev?url=https%3A%2F%2Fsubscriptions.intoday.in%2Findiatoday%3Futm_source%3Dtop-web-banner ' class='ite_subscribe_btn origin_conscent_url' target='_blank'>SUBSCRIBE</a></div></div></div></div>

US Election coverage

India

World

NewsMo

Fact Check

Programmes

Match Schedule

Teams

Player Stats

Match Report

LIVE SCORES

<p><strong><span>Awaara</span><br>
1951 (Shankar-Jaikishan)</strong></p><p>It was early in Raj Kapoor's career, and only his second time working with Shankar-Jaikishan, but Awaara created a template for future soundtracks of this legendary collaboration. The title song penned by Shailendra, Awaara Hoon, established his trademark style—deep philosophical musings wrapped up in fun, simple, musical words. Dum Bhar Jo Udhar Munh Phere, Ghar Aaya Mera Pardesi and Ab Raat Guzarne Waali Hai, with their complex meters and melancholic, romantic moods, brought together an album with deep, haunting music.</p><h3><span>Hum Dono</span><br>
1961 (Jaidev)</h3></p><p>Jaidev is probably the most underrated genius in Hindi film music history, mainly because his work got lost in ordinary or low-budget parallel films few people cared for—Jumbish, Gaman, Do Boond Paani and Gharonda being cases in point. But the one time he scored for a big-budget film with big stars, he gave us gems like Main Zindagi Ka Saath, Abhi Na Jaao and Lata Mangeshkar&rsquo;s popular ode to secularism—the bhajan Allah Tero Naam—all penned by Sahir Ludhianvi, who was at the top of his craft.</p><h3><span>Guide</span><br>
1965 (S.D. Burman)</h3><figure role="group" class="caption caption-drupal-entity">
<div data-embed-button="ckeditor_image" data-entity-embed-display="view_mode:media.image" data-entity-type="media" data-entity-uuid="6d61ac61-c58a-4af6-8490-126df30a4458" data-langcode="en" class="embedded-entity"><article class="media media--type-ckeditor-image media--view-mode-image">
  
      
            <div class="field field--name-field-media-image field--type-image field--label-hidden field__item">  <amp-img src="https://ancillary-proxy.atarimworker.dev?url=https%3A%2F%2Fakm-img-a-in.tosshub.com%2Findiatoday%2Fstyles%2Fmedium_crop_simple%2Fpublic%2F2022-12%2Fmaster_suites.jpg%3FVersionId%3DHX1Cs7YPAlEnLv8iuwEF2tKn6VS8D6gd%5Cu0026size%3D750:*" alt="" height="770" width="770" class="image-style-medium-crop-simple" layout="responsive"></amp-img>


</div>
      
  </article>
</div>

<figcaption>S.D. Burman</figcaption>
</figure></p><p>An album of great variety, crafted by legends. S.D. Burman and Shailendra weave ballads of existential longing (Wahaan Kaun Hai Tera), iconoclasm (Tod Ke Bandhan), togetherness (Tere Mere Sapne), pure abandon (Gaata Rahe) and an 8-minute medley following the seasons of the heart (Piya Tose). SDB gets both Kishore and Rafi to sing for Dev Anand. That both suit him is part of the magic.</p><h3><span>Baiju Bawra</span><br>
1952 (Naushad)</h3><figure role="group" class="caption caption-drupal-entity">
<div data-embed-button="ckeditor_image" data-entity-embed-display="view_mode:media.image" data-entity-type="media" data-entity-uuid="d9f8c382-fbda-4f82-82a2-72243e3a48e6" data-langcode="en" class="embedded-entity"><article class="media media--type-ckeditor-image media--view-mode-image">
  
      
            <div class="field field--name-field-media-image field--type-image field--label-hidden field__item">  <amp-img src="https://ancillary-proxy.atarimworker.dev?url=https%3A%2F%2Fakm-img-a-in.tosshub.com%2Findiatoday%2Fstyles%2Fmedium_crop_simple%2Fpublic%2F2022-12%2Fmaster_suites_2.jpg%3FVersionId%3DIT2S.YPH6GZoizZAcFBIKCGBrnd0q_yj%5Cu0026size%3D750:*" alt="" height="770" width="770" class="image-style-medium-crop-simple" layout="responsive"></amp-img>


</div>
      
  </article>
</div>

<figcaption>Naushad; (Photo: BCCL)</figcaption>
</figure></p><p>Years before Mughal-E-Azam, Naushad saab gave us a blueprint on how to parlay Hindustani classical into film music. <em>Baiju Bawra</em>, where a village singer challenges the great Tansen of Akbar&rsquo;s court, offered just the canvas for such a transmuting. With lyricist Shakeel Badayuni, Naushad creates a magnum opus: 13 tracks, many of them raga-based, five sung by Ustad Amir Khan, two by Pt D.V. Paluskar, the rest by Rafi and Lata. A most ambitious album, from the formative years of film music, it&rsquo;s a prototype the genre sadly kept a distance from.</p><div class="itemcenter"><amp-iframe height="62" title="" width="320" sandbox="allow-forms allow-scripts allow-same-origin allow-popups allow-top-navigation allow-top-navigation-by-user-activation" allowfullscreen src="https://ancillary-proxy.atarimworker.dev?url=https%3A%2F%2Fakm-img-a-in.tosshub.com%2Fsites%2Findiatoday%2Fbanner%2Fpreferred-source-new.html%3Fv%3D1.014%5Cu0026native%3D1" class="mrBt15 preferred-source-banner"> </amp-iframe></div><h3><span>Umrao Jaan</span><br>
1981 (Khayyam)</h3><figure role="group" class="caption caption-drupal-entity">
<div data-embed-button="ckeditor_image" data-entity-embed-display="view_mode:media.image" data-entity-type="media" data-entity-uuid="d30e73eb-dd9d-44a1-a85c-2b06b2921f64" data-langcode="en" class="embedded-entity"><article class="media media--type-ckeditor-image media--view-mode-image">
  
      
            <div class="field field--name-field-media-image field--type-image field--label-hidden field__item">  <amp-img src="https://ancillary-proxy.atarimworker.dev?url=https%3A%2F%2Fakm-img-a-in.tosshub.com%2Findiatoday%2Fstyles%2Fmedium_crop_simple%2Fpublic%2F2022-12%2Fmaster_suites_3.jpg%3FVersionId%3DpClfzBC3CWhOieWkt7wdQcMXv4eFueFQ%5Cu0026size%3D750:*" alt="" height="770" width="770" class="image-style-medium-crop-simple" layout="responsive"></amp-img>


</div>
      
  </article>
</div>

<figcaption>Khayyam</figcaption>
</figure></p><p>As Asha Bhosle sings <em>Kab Mili Thi, Kahaan Bichhdi Thi</em>, you feel the pain of a lost home—even from an imagined world. That&rsquo;s the magic of Khayyam and Shahryar&rsquo;s truly sublime work for Muzaffar Ali's period drama. Khayyam has created many stunning albums—take <em>Raziya Sultan </em>or <em>Bazaar</em>. But <em>Umrao Jaan</em>, loaded with ghazals, thumris and even an Amir Khusro <em>bidaai geet </em>(<em>Kaahe Ko Byaahe Bides</em>), tops my list because of the way Asha helms an entire album hinging on a philosophical matrix of longing, love and heartbreak.</p><h3><span>Masoom</span><br>
1983 (R.D. Burman)</h3></p><p>Anup Ghoshal, Vanita Mishra, Gurpreet Kaur and Aarti Mukherjee might not have instant recall in the minds of Hindi film music lovers but they created the soundtrack of my childhood with my favourite R.D. Burman-Gulzar album. Yes, the two have collaborated on at least 10 other great films, but to have <em>Do Naina</em>, <em>Huzoor Iss Kadar</em> and <em>Lakdi Ki Kathi</em> segueing into an inherently non-musical film was truly a work of genius minds.</p><h3><span>Rangeela</span><br>
1995 (A.R. Rahman)</h3></p><p>Rahman&rsquo;s first original Hindi film score gives him a playground big enough to show his mastery and range. Mehboob&rsquo;s refreshing, unconventional lyrics complemented ARR&rsquo;s complex, auteur-level compositions to give us teens of the &rsquo;90s a blood rush like nothing before. From the trippy, seductive theme music to Suresh Wadkar&rsquo;s brooding Pyaar Ye, Shweta Shetty-ARR&rsquo;s positively goofy Maangta Hai Kya, Swarnalatha&rsquo;s sinful Hai Raama and Asha&rsquo;s flighty groove in Tanha Tanha, the vibe and tempo shift with balletic elegance.</p><h3><span>Maachis</span><br>
1996 (Vishal Bhardwaj)</h3></p><p>Vishal Bhardwaj arrived on the film music scene with an album that felt like a woollen quilt on a dark, wintry night. Chappa Chappa and Chhod Aaye became youth anthems. The five Lata Mangeshkar gems, all strung on the pain in her voice, go from elegiac to longing-filled. Gulzar saab&rsquo;s words (Gori chatkori, Bhej kahaar, Ik andha kuaan), adding depth and mood to an already smouldering album, made it a cult favourite of the &rsquo;90s.</p><h3><span>Oye Lucky! Lucky Oye!</span><br>
2008 (Sneha Khanwalkar)</h3></p><p>Sadly, the only female composer in this list—a statement on how patriarchal the music industry has been, and how difficult for women—Khanwalkar&rsquo;s debut score is the most innovative album of the past two decades. Fusion raginis (Tu raja ki raaj dulari), improvised folk (Jugni), rap (Superchor), and a conventional saucy bhangra (Oye Lucky) come together to not just elevate the cool quotient of Dibakar Banerjee&rsquo;s 2008 dramedy but mint an all-new film music aesthetic that Sneha went on to mine later.</p><h3><span>Dev.D</span><br>
2009 (Amit Trivedi)</h3><figure role="group" class="caption caption-drupal-entity">
<div data-embed-button="ckeditor_image" data-entity-embed-display="view_mode:media.image" data-entity-type="media" data-entity-uuid="6514ea32-6762-4cbf-b0f2-51eb8750002e" data-langcode="en" class="embedded-entity"><article class="media media--type-ckeditor-image media--view-mode-image">
  
      
            <div class="field field--name-field-media-image field--type-image field--label-hidden field__item">  <amp-img src="https://ancillary-proxy.atarimworker.dev?url=https%3A%2F%2Fakm-img-a-in.tosshub.com%2Findiatoday%2Fstyles%2Fmedium_crop_simple%2Fpublic%2F2022-12%2Fmaster_suites_4.jpg%3FVersionId%3Dk0soxYSHHPZWdnGycauqzKBvb0Qnrl35%5Cu0026size%3D750:*" alt="" height="770" width="770" class="image-style-medium-crop-simple" layout="responsive"></amp-img>


</div>
      
  </article>
</div>

<figcaption>Amit Trivedi; (Photo: Mandar Deodhar)</figcaption>
</figure></p><p>Another debut, another home run. Amit Trivedi and Amitabh Bhattacharya (with Shellee, Anusha Mani and Shruti Pathak) collaborated on this Anurag Kashyap musical—the album, high on both style and substance, lists 18 tracks! The high points, of course, are Emosanal Atyachaar and Saali Khushi, both cutting deep into the persecution complex-ridden youth psyche of the times. Tracks like Payaaliya (written and sung by Shruti Pathak), Dhol Yaara Dhol and Maahi Nainu (both written by Shellee) add a strong folkfusion dimension to a soundtrack that careens playfully from Dixieland to edgier tones.</p><div id="tab-link-wrapper-plugin"><div class="authors__container"><div class="authors__by"><div class="authlable">Published By: </div><div class="authdetaisl">Aditya Mohan Wig</div></div><div class="published__on"><div class="authlable">Published On: </div><div class="authdetaisl">Dec 26, 2022</div></div></div><div class="sendros">--- ENDS ---</div><div id="tab-video-wrapper-plugin"><amp-iframe height="365" title="" width="648" layout="responsive" sandbox="allow-forms allow-scripts allow-same-origin allow-popups allow-top-navigation allow-top-navigation-by-user-activation" allowfullscreen src="https://ancillary-proxy.atarimworker.dev?url=https%3A%2F%2Fembed.indiatoday.in%2Fshare%2Fvideo%2Fconclave-2016%2Fshort%2FODQwMDgy%3Fnative%3Dend" class="mrBt15"> </amp-iframe></div></div>

cover-story

Cover Story

<p><strong><span style="color:#c0392b;">Awaara</span><br>
1951 (Shankar-Jaikishan)</strong></p><p>It was early in Raj Kapoor's career, and only his second time working with Shankar-Jaikishan, but Awaara created a template for future soundtracks of this legendary collaboration. The title song penned by Shailendra, Awaara Hoon, established his trademark style—deep philosophical musings wrapped up in fun, simple, musical words. Dum Bhar Jo Udhar Munh Phere, Ghar Aaya Mera Pardesi and Ab Raat Guzarne Waali Hai, with their complex meters and melancholic, romantic moods, brought together an album with deep, haunting music.</p><h3><span style="color:#c0392b;">Hum Dono</span><br>
1961 (Jaidev)</h3></p><p>Jaidev is probably the most underrated genius in Hindi film music history, mainly because his work got lost in ordinary or low-budget parallel films few people cared for—Jumbish, Gaman, Do Boond Paani and Gharonda being cases in point. But the one time he scored for a big-budget film with big stars, he gave us gems like Main Zindagi Ka Saath, Abhi Na Jaao and Lata Mangeshkar&rsquo;s popular ode to secularism—the bhajan Allah Tero Naam—all penned by Sahir Ludhianvi, who was at the top of his craft.</p><h3><span style="color:#c0392b;">Guide</span><br>
1965 (S.D. Burman)</h3><figure role="group" class="caption caption-drupal-entity">
<div data-embed-button="ckeditor_image" data-entity-embed-display="view_mode:media.image" data-entity-type="media" data-entity-uuid="6d61ac61-c58a-4af6-8490-126df30a4458" data-langcode="en" class="embedded-entity"><article class="media media--type-ckeditor-image media--view-mode-image">
  
      
            <div class="field field--name-field-media-image field--type-image field--label-hidden field__item">  <div class="itgimage"><img  height="770"  title=""  width="770"  class="image-style-medium-crop-simple" alt="" src="https://ancillary-proxy.atarimworker.dev?url=https%3A%2F%2Fakm-img-a-in.tosshub.com%2Findiatoday%2Fstyles%2Fmedium_crop_simple%2Fpublic%2F2022-12%2Fmaster_suites.jpg%3FVersionId%3DHX1Cs7YPAlEnLv8iuwEF2tKn6VS8D6gd%5Cu0026size%3D750:*" loading="lazy" /></div>


</div>
      
  </article>
</div>

<figcaption>S.D. Burman</figcaption>
</figure></p><p>An album of great variety, crafted by legends. S.D. Burman and Shailendra weave ballads of existential longing (Wahaan Kaun Hai Tera), iconoclasm (Tod Ke Bandhan), togetherness (Tere Mere Sapne), pure abandon (Gaata Rahe) and an 8-minute medley following the seasons of the heart (Piya Tose). SDB gets both Kishore and Rafi to sing for Dev Anand. That both suit him is part of the magic.</p><h3><span style="color:#c0392b;">Baiju Bawra</span><br>
1952 (Naushad)</h3><figure role="group" class="caption caption-drupal-entity">
<div data-embed-button="ckeditor_image" data-entity-embed-display="view_mode:media.image" data-entity-type="media" data-entity-uuid="d9f8c382-fbda-4f82-82a2-72243e3a48e6" data-langcode="en" class="embedded-entity"><article class="media media--type-ckeditor-image media--view-mode-image">
  
      
            <div class="field field--name-field-media-image field--type-image field--label-hidden field__item">  <div class="itgimage"><img  height="770"  title=""  width="770"  class="image-style-medium-crop-simple" alt="" src="https://ancillary-proxy.atarimworker.dev?url=https%3A%2F%2Fakm-img-a-in.tosshub.com%2Findiatoday%2Fstyles%2Fmedium_crop_simple%2Fpublic%2F2022-12%2Fmaster_suites_2.jpg%3FVersionId%3DIT2S.YPH6GZoizZAcFBIKCGBrnd0q_yj%5Cu0026size%3D750:*" loading="lazy" /></div>


</div>
      
  </article>
</div>

<figcaption>Naushad; (Photo: BCCL)</figcaption>
</figure></p><p>Years before Mughal-E-Azam, Naushad saab gave us a blueprint on how to parlay Hindustani classical into film music. <em>Baiju Bawra</em>, where a village singer challenges the great Tansen of Akbar&rsquo;s court, offered just the canvas for such a transmuting. With lyricist Shakeel Badayuni, Naushad creates a magnum opus: 13 tracks, many of them raga-based, five sung by Ustad Amir Khan, two by Pt D.V. Paluskar, the rest by Rafi and Lata. A most ambitious album, from the formative years of film music, it&rsquo;s a prototype the genre sadly kept a distance from.</p><div class="itemcenter"><iframe scrolling="no" allowfullscreen="" frameborder="0" width="100%" height="62" awidth="320" aheight="62" amplayout="fixed" src="https://ancillary-proxy.atarimworker.dev?url=https%3A%2F%2Fakm-img-a-in.tosshub.com%2Fsites%2Findiatoday%2Fbanner%2Fpreferred-source-new.html%3Fv%3D1.014" class="preferred-source-banner" loading="lazy"></iframe></div><style>.preferred-source-banner{  margin-top: 10px; margin-bottom:10px;}</style><h3><span style="color:#c0392b;">Umrao Jaan</span><br>
1981 (Khayyam)</h3><figure role="group" class="caption caption-drupal-entity">
<div data-embed-button="ckeditor_image" data-entity-embed-display="view_mode:media.image" data-entity-type="media" data-entity-uuid="d30e73eb-dd9d-44a1-a85c-2b06b2921f64" data-langcode="en" class="embedded-entity"><article class="media media--type-ckeditor-image media--view-mode-image">
  
      
            <div class="field field--name-field-media-image field--type-image field--label-hidden field__item">  <div class="itgimage"><img  height="770"  title=""  width="770"  class="image-style-medium-crop-simple" alt="" src="https://ancillary-proxy.atarimworker.dev?url=https%3A%2F%2Fakm-img-a-in.tosshub.com%2Findiatoday%2Fstyles%2Fmedium_crop_simple%2Fpublic%2F2022-12%2Fmaster_suites_3.jpg%3FVersionId%3DpClfzBC3CWhOieWkt7wdQcMXv4eFueFQ%5Cu0026size%3D750:*" loading="lazy" /></div>


</div>
      
  </article>
</div>

<figcaption>Khayyam</figcaption>
</figure></p><p>As Asha Bhosle sings <em>Kab Mili Thi, Kahaan Bichhdi Thi</em>, you feel the pain of a lost home—even from an imagined world. That&rsquo;s the magic of Khayyam and Shahryar&rsquo;s truly sublime work for Muzaffar Ali's period drama. Khayyam has created many stunning albums—take <em>Raziya Sultan </em>or <em>Bazaar</em>. But <em>Umrao Jaan</em>, loaded with ghazals, thumris and even an Amir Khusro <em>bidaai geet </em>(<em>Kaahe Ko Byaahe Bides</em>), tops my list because of the way Asha helms an entire album hinging on a philosophical matrix of longing, love and heartbreak.</p><h3><span style="color:#c0392b;">Masoom</span><br>
1983 (R.D. Burman)</h3></p><p>Anup Ghoshal, Vanita Mishra, Gurpreet Kaur and Aarti Mukherjee might not have instant recall in the minds of Hindi film music lovers but they created the soundtrack of my childhood with my favourite R.D. Burman-Gulzar album. Yes, the two have collaborated on at least 10 other great films, but to have <em>Do Naina</em>, <em>Huzoor Iss Kadar</em> and <em>Lakdi Ki Kathi</em> segueing into an inherently non-musical film was truly a work of genius minds.</p><h3><span style="color:#c0392b;">Rangeela</span><br>
1995 (A.R. Rahman)</h3></p><p>Rahman&rsquo;s first original Hindi film score gives him a playground big enough to show his mastery and range. Mehboob&rsquo;s refreshing, unconventional lyrics complemented ARR&rsquo;s complex, auteur-level compositions to give us teens of the &rsquo;90s a blood rush like nothing before. From the trippy, seductive theme music to Suresh Wadkar&rsquo;s brooding Pyaar Ye, Shweta Shetty-ARR&rsquo;s positively goofy Maangta Hai Kya, Swarnalatha&rsquo;s sinful Hai Raama and Asha&rsquo;s flighty groove in Tanha Tanha, the vibe and tempo shift with balletic elegance.</p><h3><span style="color:#c0392b;">Maachis</span><br>
1996 (Vishal Bhardwaj)</h3></p><p>Vishal Bhardwaj arrived on the film music scene with an album that felt like a woollen quilt on a dark, wintry night. Chappa Chappa and Chhod Aaye became youth anthems. The five Lata Mangeshkar gems, all strung on the pain in her voice, go from elegiac to longing-filled. Gulzar saab&rsquo;s words (Gori chatkori, Bhej kahaar, Ik andha kuaan), adding depth and mood to an already smouldering album, made it a cult favourite of the &rsquo;90s.</p><h3><span style="color:#c0392b;">Oye Lucky! Lucky Oye!</span><br>
2008 (Sneha Khanwalkar)</h3></p><p>Sadly, the only female composer in this list—a statement on how patriarchal the music industry has been, and how difficult for women—Khanwalkar&rsquo;s debut score is the most innovative album of the past two decades. Fusion raginis (Tu raja ki raaj dulari), improvised folk (Jugni), rap (Superchor), and a conventional saucy bhangra (Oye Lucky) come together to not just elevate the cool quotient of Dibakar Banerjee&rsquo;s 2008 dramedy but mint an all-new film music aesthetic that Sneha went on to mine later.</p><h3><span style="color:#c0392b;">Dev.D</span><br>
2009 (Amit Trivedi)</h3><figure role="group" class="caption caption-drupal-entity">
<div data-embed-button="ckeditor_image" data-entity-embed-display="view_mode:media.image" data-entity-type="media" data-entity-uuid="6514ea32-6762-4cbf-b0f2-51eb8750002e" data-langcode="en" class="embedded-entity"><article class="media media--type-ckeditor-image media--view-mode-image">
  
      
            <div class="field field--name-field-media-image field--type-image field--label-hidden field__item">  <div class="itgimage"><img  height="770"  title=""  width="770"  class="image-style-medium-crop-simple" alt="" src="https://ancillary-proxy.atarimworker.dev?url=https%3A%2F%2Fakm-img-a-in.tosshub.com%2Findiatoday%2Fstyles%2Fmedium_crop_simple%2Fpublic%2F2022-12%2Fmaster_suites_4.jpg%3FVersionId%3Dk0soxYSHHPZWdnGycauqzKBvb0Qnrl35%5Cu0026size%3D750:*" loading="lazy" /></div>


</div>
      
  </article>
</div>

<figcaption>Amit Trivedi; (Photo: Mandar Deodhar)</figcaption>
</figure></p><p>Another debut, another home run. Amit Trivedi and Amitabh Bhattacharya (with Shellee, Anusha Mani and Shruti Pathak) collaborated on this Anurag Kashyap musical—the album, high on both style and substance, lists 18 tracks! The high points, of course, are Emosanal Atyachaar and Saali Khushi, both cutting deep into the persecution complex-ridden youth psyche of the times. Tracks like Payaaliya (written and sung by Shruti Pathak), Dhol Yaara Dhol and Maahi Nainu (both written by Shellee) add a strong folkfusion dimension to a soundtrack that careens playfully from Dixieland to edgier tones.</p><div id="tab-link-wrapper-plugin"><div class="authors__container"><div class="authors__by"><div class="authlable">Published By: </div><div class="authdetaisl">Aditya Mohan Wig</div></div><div class="published__on"><div class="authlable">Published On: </div><div class="authdetaisl">Dec 26, 2022</div></div></div><div class="sendros">--- ENDS ---</div><div id="tab-video-wrapper-plugin"><iframe  height="365"  title=""  width="648"  layout="responsive" sandbox="allow-scripts allow-same-origin allow-popups allow-top-navigation allow-top-navigation-by-user-activation" allowfullscreen scrolling="no" src="https://ancillary-proxy.atarimworker.dev?url=https%3A%2F%2Fembed.indiatoday.in%2Fshare%2Fvideo%2Fconclave-2016%2Fshort%2FODQwMDgy%3Fnative%3D1" loading="lazy" class="multy-video-iframe" > </iframe></div></div>

Film music is a species unto itself, and songs can have a great family resemblance regardless of context. So albums, or scores that lend a distinctive aura for a film, are treasures. Ten from a gilded vault

India Today

Hindi film albums | Master suites - India Today

Hindi film albums | Master suites

A Minnesota US citizen was handcuffed at gunpoint and forced into freezing weather during an ICE raid, sparking outrage as officials defended the action amid Donald Trump’s immigration crackdown.

ICE raid

ICE raid in Minnesota leaves US citizen handcuffed, half-dressed in freezing snow

According to the prosecution, the beheading of Amravati's veterinary medical shop owner, Umesh Kolhe, in 2022 was a pre-planned act of religiously radicalised persons, and it was committed because the deceased had shared a post on June 14, 2022 in support of former BJP spokesperson Nupur Sharma.

Bombay High Court

2022 Amravati beheading case: Bombay High Court denies bail to veterinary doctor

Fareed Zakaria says Pakistan courts Donald Trump by appealing to his fondness for strongmen, with army chief Asim Munir presenting centralized control, while India should respond later with patience calmly.

fareed-zakaria-205149460-16x9.jpg

Munir presents himself in terms Trump likes: Fareed Zakaria on US-Pakistan ties

Fareed Zakaria says India should deal with Donald Trump through patience and pragmatism, managing his volatility with diplomacy, spectacle and long-term strategy, while steadily building economic and strategic leverage.

Fancy state dinners, elephants and spectacle: Fareed Zakaria on managing Trump

The Delhi government has approved funding for three road infrastructure projects aimed at easing traffic bottlenecks across the city, PWD Minister Parvesh Sahib Singh said.

Delhi road traffic

Delhi govt approves 3 road projects to ease traffic congestion

Play Time!

Nitin Nabin

PM Modi

Stray Dogs

Border 2

Maneka Gandhi

Donald Trump

Jana Nayagan

Dhurandhar

Davos 2026

Jaipur Literature Festival

WPL 2026

AR Rahman

Budget

T20 World Cup

Four days after the accident, authorities pulled out the car of the tech professional Yuvraj Mehta, whose car plunged into a water-filled pit in Greater Noida on Friday night. 

Video: Noida techie's car pulled out of the water-filled pit

From Chamoli, where locals are praying for snowfall, to Auli, where residents are demanding artificial snow, the crisis is unfolding in real time. 

Himalaya

No snow, no rain: What’s happening in the Himalayas?

In an exclusive interview with India Today, renowned foreign policy analyst Fareed Zakaria said that Donald Trump's doctrine seems to be to fight with your allies and make up with your enemies.

Fareed

Trump doctrine seems to be fight with allies, make up with enemies: Fareed Zakaria

In a significant generational shift, Nitin Nabin has formally taken charge as the National President of the Bharatiya Janata Party (BJP). 

Nitin Naveen: The New BJP National President

Nitin Nabin Takes Charge As BJP National President; PM Modi Calls Him 'My Boss'

In a significant India Today impact, the UP Police have arrested builder Abhay Kumar in connection with the death of a 27-year-old software engineer.

Download App

Subscribe to India Today Print + Digital. Your First Month Is On Us. ₹299/month thereafter. Cancel anytime.

Hindi film albums | Master suites

Film music is a species unto itself, and songs can have a great family resemblance regardless of context. So albums, or scores that lend a distinctive aura for a film, are treasures. Ten from a gilded vault

PUBLICATIONS

TELEVISION

EVENTS

RADIO

GAMING

USEFUL LINKS

PRINTING

WELFARE

DISTRIBUTION

SYNDICATIONS

WEBSITES

EDUCATION