Musing of the Badshahs

Rajni Jokes

YENNA RASCALLA…
I AM BACK WITH MY LATEST COLLECTION..!!

1. When Rajnikant was a Student…!!!
Teachers used to Bunk the classes….

2. Rajnikant purchased a road roller…
Guess why??????
To Iron his Clothes..

3. Once a farmer replaces scare crow in the farm with Rajnikant’s statue
And Birds returned grains they took last. year as well……

4. If Rajni works in BPO, clients would work in shifts!=

5. Rajinikant got 150 questions in exam paper asking - “Solve any 100 questions”
He solved all 150 and wrote, ” Rascalla!, CHECK ANY 100!”….

6. One day Rajani thought to play cricket in monsoon and rain stopped due to play…..

7. Rajnikanth’s next project is the Titanic in Tamil. However, Rajni has twisted the climax. Both the lead actors and the ship survive. Rajni swims across the Atlantic Ocean with the heroine in one hand and… the Titanic in the other….

8. “Rajnikanth doesn’t breathe…air comes to hide in his nose

9. Once a photo of Rajnikant was given for Xerox. Don’t even try to guess what happened…
We got two copies of the Xerox machine….

10..Once upon a time Rajnikant used Tooth Powder to get strong teeth Today that powder is known as “AMBUJA CEMENT”

11. When Alexander Graham Bell first used his telephone , he realized he already had 2 missed calls frm Rajini.

12.Spiderman, superman & Batman visit Rajinikant on every Teachers Day.

13.Once a man ate Rajnikant’s breakfast , and thenonwards he is known as THE HULK.

14. Rajnikant inserts his VISITING CARD in any ATM & collects the cash.

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The Salman Khan Interview

Sent to you by Hakim via Google Reader: The Salman Khan Interview via
sen city by rajasen on 12/19/12

You can tell a lot about a megastar by the way he throws his punch.

A Hindi film hero might routinely fell over seven with one blow, but
each has their own approach. Aamir Khan, all bloodshot eyes and biceps
rippling with the fury of thousands of killed wives to avenge, brings
both physical intensity and a sense of inescapable irony to the
picture. Shah Rukh Khan, his every sinew straining with gargantuan
effort, bellows like a wounded animal as he metamorphoses from charming
lover to crazied aggressor.

Salman Khan doesn’t bother breaking a sweat or even trying for realism
as he buffets his opponents, effort be damned, smirk and quip steadily
in place. The ubiquitous one-liner just underlines how one-sided the
battle always is. Because Salman Khan is larger than life. And he
believes it.

As do we, clearly. Earlier this year in Dabanng, Salman’s shirt tears
itself off his enraged body, as if anger – and the need to show off his
bare chest – are reason enough for him to suddenly turn into the
Incredible Hulk. Coming at the film’s climax, the moment is dated and
ludicrous beyond belief. Eternal romantic Shah Rukh would have been
laughed out of theatres for trying to do the same. Aamir would have had
to write a longish blog-post explaining how the scene was all a
metaphor, or, somehow, Meta. Salman earned whistles, his film becoming
one of the most successful in the history of Indian cinema.

In Mumbai’s Mehboob Studio, two days before that epic release, Khan
sniffles his way past a ravenous pack of news-channel cameras. In no
mood for niceties, he struts, chest out, upto a studio chair, parks
himself on it, and turns to them. In a brutal show of strength and
savvy, he preempts the questions they want to ask him, throwing out
monosyllabic answers to each. “Aur kucch?” The reporters, used to
standard-issue questionnaires, are flummoxed and bereft of fresh
queries, and Khan is pleased as punch. He relaxes, blows his nose into
a big kerchief, and swaggers out. All in less than five minutes.

He sneezes just as I walk up, clearly not in the mood but nevertheless
resigned to a conversation. At this minute, eyes visibly watery, nose
nearly crimson, Salman looks anything but invincible. He warily grunts
through the first few questions until I ask, young man to
forever-swaggering man, where on earth he meets women. “You can’t be
serious,” he laughs, tired eyes instantly twinkling. Oh, but I am; he’s
dated Somy Ali, Aishwarya Rai and Katrina Kaif. Is there a clandestine
bar where the world’s most attractive women consistently turn up? “Ha,
I wish. There isn’t a bar, dude. Otherwise we’d all go every night.
I’ve… worked with them, I’ve known them. I have been fortunate with the
kind of women I’ve… met. They’ve all been very nice. I’m sure you’re
talking about the way they look and everything, but I mean the kind of
people they are, their personalities. I’ve known them for the longest
time. And as far as people, they’ve all been really beautiful.” He
takes in a moment to smile. “And really loving, and really caring.
Yeah, I’ve been lucky.”

Luck aside, Khan at 45 is the only single man among the industry’s
megastars. “You’re single till the time you aren’t married, dude,” he
interrupts instantly. I agree, wholeheartedly, but my question is how a
man that powerful can gauge genuine romantic interest. Isn’t every girl
awestruck? “It depends, you know,” he says, thoughtful. “The ones
who’re awestruck… Nahin, yaar. Doesn’t work. Just doesn’t work,” he
shakes his head.

And yet his cinema is all about invoking that very kind of awe. Is
being larger than life a conscious effort? “No, it just happens. You
work with good technicians. And more than that, audiences want to see
things larger than life, so they make it happen.” This is clearly a
position Salman enjoys, and feels he has earned. “When I started
working in movies, I could never have played that character. Maine
Pyaar Kiya and all, the only role I could have played was a romantic
hero,” he says with a slight sneer. “From that, to come to this stage
has been a long journey.” He speaks of his action-figure persona as an
evolution, saying that while both romance and emotion are vital, the
fights might just be the hardest part to pull off.

Even as an actor, he rates it the hardest, most challenging part.
“Action is challenging for anybody. To jump, or take a punch, do all
kinds of stuff, cable-work… That is more scary, because with every shot
you feel something could go wrong. And you still do it. And so far,
touchwood, everything has been all good. So action is the most
difficult thing to do.” And in terms of performances, I ask, in terms
of actual acting? Khan grins and winks. “That? It’s all good.”

Increasingly lauded for his utter lack of pretension, Khan is
considered a star who often phones in his performances, barely even
attempting to act. “If a film requires hard work, you work hard, yaar,”
he shrugs. “If a film doesn’t require any hard work, why should you do
it? If a director says ‘okay’ to a shot, okay! If he says ‘one more,’
one more!” Unlike his peers, he refuses to use terms like ‘method
acting,’ to spend a shooting schedule in the skin of a character, or,
sometimes, to even stop playing himself. He’s Salman Khan, and once in
a while — if a director is valiant enough, or a script stirring enough,
he’ll stand and deliver — but the rest of the time, it is, as he said,
“all good.”

Or, at the very least, good enough for him.

&;

Legend — and relatively credible word — has it that Salman Khan was
utterly shattered when Shah Rukh Khan finagled Will Smith from Sallu’s
guest-list, only to throw a party for the Hollywood A-lister at his own
bungalow. Salman cut a melancholy picture at his own Smith-less party,
while Smith reportedly looked somewhat bored at SRK’s party, where
Salman wasn’t invited.

Undeterred, Salman turned up in a motorbike, yanked Will
unceremoniously, casually and instantly from the party, and before
anyone could react, took him to his own. If fellow guests are to be
trusted, Smith got wonderfully jiggy at the new venue.

It isn’t a very hard story to believe, Khan’s off-screen persona being
that of an old-school superstar, the picture of defiance, the ultimate
rebel without a cause. Depending on who you believe, he thrashes actors
in bars and sends over expensive watches in morning-after apology. He
is also quite the philanthropist, and judging from how he got all of
Bollywood’s A-list heroines to shake their collective caboose for his
Being Human charity earlier this year, he’s doing quite the bang-up
job. There are whispers about his constantly roving eye, and an almost
mob-like entourage which gets him ‘anything’ he points to. And then
there are those who vow he’s the most honourable man in the industry.

The myth, then, is as self-contradictory as the man. The role Khan
seems to fill, in fact, is that of the man-child, who thrives on
indulgence, indulgence we now have to spare, being so frequently
cynical the rest of the time.

“How well do you think the media knows me, or any of my closest
people?,” Salman snorts, instantly sneezing hard. Battling a cold
valiantly, he takes turns blowing into a formerly-white kerchief and
wrapping it tightly around his knuckles, as if preparing for a
street-fight. Occasionally, when thinking hard, he absently bites into
it, tugging it with its teeth as if insight can be sucked out of
cotton. When emphatic, he punches the air in front of his face, a
phlegmatic pugilist jabbing at invisible, omnipresent opponents.
“Nothing ever bothers me. Nothing.”

He says every part of the public persona is inaccurate, but he can’t be
bothered to go about telling people what to think. He laughs scornfully
when the aggressive, ‘bad-boy’ image is brought up. “Please. If that
was there… Listen, do you hear the questions they ask me? All the time?
They ask me the kind of things my own father would never ask. I don’t
care, and I don’t react. The day I start reacting to it…” He trails off
in a dramatically threatening voice, before winking.

“Naam, Don, Majboor, Sholay, Deewar, Zanjeer,” he rattles, with the
unthinking ease of a man used to listing his favourites among his
father’s screenplays. Son of Salim Khan, one-half of Bollywood’s most
celebrated screenwriting pairs, Salman confesses a desire to direct. “I
always wanted to direct. I really thought that I would, somewhere, make
a… good… director,” he mumbles softly, before saying that he does make
creative suggestions to directors he works with, but backs off because
it is, eventually, their call.

“You don’t have cinema till the time you don’t have a story. You have a
story to tell and you shoot the film with the worst technique, and that
film will do well. And you have the best technique in the world, but
the lousiest script, you can do anything you want to do but that film
will not work.” So then do all the hits have strong stories? “There is
something, dude,” he shrugs. “Something they like. The character, the
script, something clicks, and they want to go see it. Why would they
want to go see something they don’t like?”

He prides himself on his unerring script sense — “The ones that I
thought will do well, so far, pretty much all of them have,” he says,
saying that his thinking is that if he wants to see the film he’s
making, everybody would want to see it — but that doesn’t reflect as
well on his hit-loss record, with far more forgettable films showing up
than actual hits. “Well yes, but the script is not usually made the way
it was. They start improvising, they start changing, they get scared,
yeh bhi daal do, woh bhi daal do…”

So what went wrong, then, with Veer, a film he wrote and produced
earlier this year, a catastrophic failure? “First of all,” he insists,
“Nothing went wrong with it at all, at the box office. But in my head,
I felt a lot of things went wrong. I wanted to shoot for 18 more days.”
I ask him why he didn’t, considering it was a pet project he was
completely in control of, and Salman disarms me with the sort of answer
no megastar could possibly dare to give.

“Dad didn’t let me,” he sighs, almost pouting. And then falls silent.

Moving on, I ask him about another bizarre Salman contradiction.
“Painting?,” he grins. “Painting is a big jhol. I wanted to buy three
paintings for my house. The artist charged me a lot of money, and they
didn’t turn out the way I wanted them to turn out. So I thought, ‘let’s
try.’ So I started painting, started getting good at it. I was
fortunate to find my own style in the first five and a half, six
months. Artists take the longest time to find their way to say what
they want to say…”

Salman’s paintings are sold at exhibitions with the money going into a
charitable trust, and that’s clearly what fuels his fire. “So I’m
getting better and better at it, and the money’s going to a good
cause.” He isn’t under many delusions about why his paintings sell.
“When somebody’s buying an artist’s work, two things are important: one
is the amount of experience that he has, and two is a business plan:
how long is he going to be there? After that, we’re going to make so
much money because we’ve gotten his art, and after he’s dead, he
obviously can’t paint anymore. So,” he pauses, briefly sounding
alarmingly morbid, “they make money.”

“Here, how many paintings am I going to make anyway? I’m an actor. I
paint when I find the time,” he says, explaining that it’s usually at
night.

And how does he rate his own art, honestly? “If my name is not signed,
it’s below average. Once my name comes down there, it’s outstanding
work.” A smug grin accompanies the jab this time, the grin of a star
who knows his worth. However unreal.

&;

First published Rediff, December 29-30, 2010

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Meditation Can Improve Your Life!

Sent to you by Hakim via Google Reader: Meditation Can Improve Your
Life! via UberFacts by Kris Sanchez on 12/18/12

MEDITATION and mindfulness: the words conjure images of yoga retreats
and Buddhist monks. But perhaps they should evoke a very different
picture: a man in a deerstalker, puffing away at a curved pipe, Mr.
Sherlock Holmes himself. The world’s greatest fictional detective is
someone who knows the value of concentration, of “throwing his brain
out of action,” as Dr. Watson puts it. He is the quintessential
unitasker in a multitasking world.

More often than not, when a new case is presented, Holmes does nothing
more than sit back in his leather chair, close his eyes and put
together his long-fingered hands in an attitude that begs silence. He
may be the most inactive active detective out there. His approach to
thought captures the very thing that cognitive psychologists mean when
they say mindfulness.

Though the concept originates in ancient Buddhist, Hindu and Chinese
traditions, when it comes to experimental psychology, mindfulness is
less about spirituality and more about concentration: the ability to
quiet your mind, focus your attention on the present, and dismiss any
distractions that come your way. The formulation dates from the work of
the psychologist Ellen Langer, who demonstrated in the 1970s that
mindful thought could lead to improvements on measures of cognitive
function and even vital functions in older adults.

Now we’re learning that the benefits may reach further still, and be
more attainable, than Professor Langer could have then imagined. Even
in small doses, mindfulness can effect impressive changes in how we
feel and think — and it does so at a basic neural level.

In 2011, researchers from the University of Wisconsin demonstrated that
daily meditation-like thought could shift frontal brain activity toward
a pattern that is associated with what cognitive scientists call
positive, approach-oriented emotional states — states that make us more
likely to engage the world rather than to withdraw from it.

Participants were instructed to relax with their eyes closed, focus on
their breathing, and acknowledge and release any random thoughts that
might arise. Then they had the option of receiving nine 30-minute
meditation training sessions over the next five weeks. When they were
tested a second time, their neural activation patterns had undergone a
striking leftward shift in frontal asymmetry — even when their practice
and training averaged only 5 to 16 minutes a day.

As little as five minutes a day of intense Holmes-like inactivity, and
a happier outlook is yours for the taking — though this particular
benefit seems to have been lost on Holmes himself, what with his bouts
of melancholy and his flirtations with a certain 7 percent solution. A
quick survey will show that the paradox is illusory: Holmes is
depressed when there is no target for his mental faculties. Give him a
project, and balance is restored.

But mindfulness goes beyond improving emotion regulation. An exercise
in mindfulness can also help with that plague of modern existence:
multitasking. Of course, we would like to believe that our attention is
infinite, but it isn’t. Multitasking is a persistent myth. What we
really do is shift our attention rapidly from task to task. Two bad
things happen as a result. We don’t devote as much attention to any one
thing, and we sacrifice the quality of our attention. When we are
mindful, some of that attentional flightiness disappears as if of its
own accord.

In 2012, researchers led by a team from the University of Washington
examined the effects of meditation training on multitasking in a
real-world setting. They asked a group of human resources professionals
to engage in the type of simultaneous planning they did habitually.
Each participant was placed in a one-person office, with a laptop and a
phone, and asked to complete several typical tasks: schedule meetings
for multiple attendees, locate free conference rooms, write a memo that
proposed a creative agenda item and the like. The information necessary
to complete those tasks? Delivered as it otherwise would be: by e-mail,
through instant messages, over the phone and in person. The list was
supposed to be completed in 20 minutes or less.

(Read More)

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