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Undergroud artist Inspectah Gracious releases new R&B song

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Team – Mumbai Uncensored, 22th April 2022

The underground artist Inspectah Gracious along with Arittra Nayak has come up with a new out-of-the-box R&B song. The song aptly named “Magic” is aiming to live up to its name and create new waves in the music industry. 

Inspectah Gracious (Inspectah G) is known for her previous songs such as “Hip Hop’s Soldier” which experiments with a UK/Japanese Type drill beat and has been featured in esteemed publications such as The Rolling Stone India, Daily Music, LiveLee, and Genesis India. This is Inspectah G’s first song in the R&B genre. She started her career with Rap music and has been earning acclaim and praise in the niche segment of the Indian underground rap movement. Inspectah G will be exploring even more genres of music in the coming season. 

With no industry godfathers or connections, Inspectah G is a self-made artist, hustling to rise up to the Industry bias. Being a female artist in the music industry comes with a daily dose of challenges even for Inspectah – 

You have to overcome a daily dose of sexism with people in the music industry. A female artist is criticised and scrutinised much more than a male artist. Female musicians are sometimes criticized for being too sexual, as well as for not being sexual enough. They are criticized either for being too feminine or for being too manly. They can’t be outspoken or too fat. They are being criticized if they take a political stance through their songs, says Inspectah. 

However, she has never let such forms of criticism affect her work. She hopes to inspire more women to make their careers in music. 

Inspectah Gracious released her newest song “Magic” (from her upcoming EP) on her 25th birthday. She calls this song the best birthday gift she has given herself to date. “Magic” is a song that deals with love and pain, two emotions that everyone in today’s day and age can relate to. Inspectah G is set to strike the audience with this new song that she’s sure everyone can relate to and enjoy. 

Inspectah takes her musical inspiration from the Western American and East Asian cultures. This influence is clearly evident to anyone who listens to her music. She is also part of the multi-genre crew known as Naavik Musik. The Crew aims to produce

high-quality music with some of the best underground talents under its ceiling. The lead male vocals were provided by the Vocalist/Rapper Arittra Nayak; who she considers to be her greatest supporter and confidant in this aspect. Her family has been sceptical of her making a career out of music in this day and era, she aims to put their minds at ease with a successful career in music. The song “Magic” released on the 18th of April is performed by Inspectah Gracious and Arittra Nayak. The song boasts of some highly talented technicians trying to break the barriers of music and provide a fresh soundscape to the Indian audience. The song is produced by RASLA who has worked with some of the top artists in the industry such as “Badshah” & “Bali”. The song “Feel Hai”, featuring Badshah produced by Rasla was a chartbuster. The mixing and mastering were done by the supremely talented Nevamind, while the highly experienced Saurabh Kamble was the Recording Engineer. The lyrics of the song have been penned by Inspectah Gracious, Arittra & Nevamind. The trio are confident that the song is going to set the charts on fire!

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Waqf Board Claims 53 Historic Monuments in Karnataka, Raises Concerns Over Encroachments on Protected Sites

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The Waqf Board has recently laid claim to at least 53 historical monuments in Karnataka, a state currently under Congress governance. This claim covers prominent sites such as the Gol Gumbaz, Ibrahim Rauza, Bara Kaman, as well as forts in Bidar and Kalaburagi. Among the 53 monuments, a significant majority—43—are located in Vijayapura, a city that was once the capital of the Adil Shahi dynasty. The remaining sites include six monuments in Hampi and four in the Bengaluru Circle.

According to a Deccan Chronicle report, the Waqf Board in Vijayapura first declared 43 centrally protected monuments as its own in 2005. This claim was made during Mohammad Mohsin’s tenure as Principal Secretary of the Health and Family Welfare Department (Medical Education). During that time, Mohsin also served as Chairman and Deputy Commissioner of the Waqf Board in Vijayapura. He asserted that this claim was backed by “authentic documentary evidence” and was subsequently acknowledged in a government gazette notification issued by the Revenue Department.

The Waqf Board has reportedly leveraged the Record of Rights and Government’s Certificate, documents typically issued to property owners, to establish its claim. However, by law, ownership of a property by the Archaeological Survey of India (ASI) means it cannot be de-notified or transferred to another entity. This restriction is established under the Ancient Monuments and Archaeological Sites and Remains (AMASR) Act and Rules of 1958, which strictly prohibits any such transfer.

“While the ASI holds legal ownership of the land and monuments, the encumbrance has been recorded in favor of the Waqf authority,” states a Right to Information (RTI) response obtained by Deccan Chronicle. This transfer of rights appears to have occurred without ASI consultation, raising legal and procedural concerns.

An ASI official revealed that a joint survey of the monuments was conducted in 2012, during which the Waqf Board was asked to provide evidence for its ownership claims. At that time, the Board did not present any documentation supporting its claims. Yet, the ASI official reports that 43 of these sites are now considered “encroached” by the Vijayapura Waqf Board, leading to a range of modifications that compromise their historical value.

“The 43 monuments in Vijayapura are being defaced, with repairs using plaster and cement that violate conservation standards. Modern additions such as fans, air conditioners, fluorescent lights, and toilets have been added to these monuments. Some areas have even been occupied by shopkeepers,” the official emphasized, pointing out how these changes have adversely impacted tourism and the preservation of these sites.

The encroachments, which have remained unresolved since 2007, persist despite direct instructions from the Union Ministry of Culture to the Karnataka Chief Secretary, the Vijayapura Deputy Commissioner, and the Minorities Welfare Department. This ongoing issue raises questions about the stewardship of Karnataka’s cultural heritage, as the state’s historic sites face pressures from both modern encroachments and competing ownership claims.

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Violent Eviction Attempt in Bhayandar Leaves Six Injured

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Six people burned 1 d

A dangerous situation unfolded in Bhayandar on Wednesday when police officers were met with violent resistance while attempting to evict a family from their rented flat. The Choubey family, who had been accused of refusing to vacate the premises despite the lease expiring in September 2023, escalated the situation to a shocking level.

When police arrived at the Geeta Nagar residential complex to conduct a panchnama, the family initially resorted to intimidation tactics, hurling utensils at the officers. However, the confrontation took a more sinister turn when they threw boiling water at the police, causing severe burn injuries to four constables, one officer, and a panch.

Reinforcements were immediately dispatched to the scene, leading to the arrest of three members of the Choubey family – the parents and their 26-year-old son. Their daughter remains at large.

The incident has raised serious concerns about the safety of law enforcement officials while carrying out their duties. Investigations are ongoing to determine the exact circumstances surrounding the incident and to apprehend the remaining suspect.

This shocking event underscores the potential dangers faced by law enforcement personnel when dealing with volatile situations.

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Tragic Road accident occurs in the Mumbai Bandra Sea Link; Taxidriver rammed the car over the 2 for death

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Shobhit Chandola – Mumbai Uncensored, 15th June 2022

On Monday, 30th May, a 43 year old businessman Amar Manish Zariwala along with his driver Shyam Sundar Kamat were traveling on Bandra Worli Sea link  in their car on their way to Malad unless the tragedy occured. They stopped their car in the midst as the kite fell on the road due to the collision with the automobile. To take the glance and save the bird, both came out of the car. But within a span of 30 seconds they were immediately hit by the taxi.

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The intensity of the accident was so major that both of them soared in the air and fell on the road with flat backs. Both of them were rushed into the Lilavati Hospital as per whose report Amar was declared dead ( on the spot ) whereas Shyam Sundar undergoing treatment was pronounced dead after a few days.Due to the presence of CCTV in the Bridge, the CCTV footage has sparked on the internet. 

The accused driver has been identified as Ravindra Kumar Jaiswar (38) and has been booked for rash and reckless driving. The accident occured at Pole Number 76 of the sea link and the police arrived soon after the accident. It is worth noting that the driver is not encouraged to stop on the sea link, the speed limit to be maintained should be at most 80 km/ hr. And in case if from the sight of the driver, any inappropriate scenario is happening within the 100 m distance, He / She needs to control the vehicle. In the case of Amar Zariwala, it is evident that the driver had ample time to be aware of avoiding the collision. Thus, the Police have chargesheet the driver. 

                                        Amar Zariwala File Photo

Mr. Manish Zariwala, father of the deceased in his statement said that His son was a Biophile and Zoophilist and was always up for animals & birds’ betterment. However, what could be termed as a Howler or gallant decision is that the victim’s father has said to not charge the taxi driver to avoid the inconvenience to the family of the guilty since their child is nomore and have added they have forgiven the latter.

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