'If you can tell the quality of a movie-watching experience, only and only by referring to set standards, you *aren't really* going to the movies,' argues Sreehari Nair.

'By ruffling dignified feathers, and by polarising its audience, Kabir Singh has put movies and art back into our public discourse,' says Sreehari Nair.

'The Telugu original with its brilliant rendering of the hero by Vijay Deverakonda works better than Kabir Singh.''It also has a sharper play of caste politics and raw authenticity of characters rooted in a local universe that gets lost in translation when it is remade for a pan-India audience,' argues Ritwik Sharma.

Jaspal Bhatti's feel for the grime, the confusions, and the madness in our system was so complete that he could take on every kind of woman or man God ever gave to the institutions of India, feels Sreehari Nair.

Quentin Tarantino, declares Sreehari Nair, will be remembered as someone who made just two great movies, and who then brought misery upon himself.

Shah Rukh Khan had David Letterman in his grip, giving him no quarter whatsoever, declares Sreehari Nair.

'Many thought it was the end for me,' Lataji told Subhash K Jha.'I just couldn't sing!'

'My mom is a riot! I thank her with all my heart.'

The long-awaited book is frank, funny, self-lacerating and full of gossip worthy anecdotes. What else could we ask of the Rocketman?

Indian films, and Raj Kapoor in particular, have a special place in Iranian cinephilia or cinemadoosti, Ranjita Ganesan discovers on a visit to Iran.

'The vitriol against Deepika Padukone, who is a hugely popular star, will fade over time. But let's not forget what caused it,' says Shuma Raha.

Joaquin Phoneix (Joker) and Renne Zellweger (Judy) should keep their fingers crossed, says Kumar Abishek.

Only Bong Joon Ho -- whose film Parasite won the Oscars for Best Film, Best Director, Best International Feature -- knows how to work with a heavy hand and still get respectable results, says Ranjita Ganesan.

What has not changed in a decade is the character of Rizwan Khan. He is complex, multi-dimensional and lovable. In fact, his character continues to grow on you, notes Mohammad Asim Siddiqui.

Parasite's razor-sharp characterisations ensure that the picture is thoroughly entertaining though it falls short of greatness, declares Sreehari Nair.

'Visibility is very important, but visibility is also very expensive.'Swapnil Joglekar explores the Parasite phenomenon.

'Are we too close as well-off Indians, all with servants and drivers and tuition teachers ourselves, to be able to understand why it is all so awful?', asks Aakar Patel.

'In the early years of this century, barely 10 years after liberalisation, drinking Coke was still cool,' notes Uttaran Das Gupta.

'She was gutsy and rebellious enough to take on roles other more conventional actresses wouldn't dare and she excelled in them.'

Salman may direct Tiger 3... Katrina drops Vikas Bahl film...

Aseem Chhabra imagines a time, 20 years from now, when movie-watching in theatres will be long gone, thanks to the coronavirus, and pens a letter to his grandchild, explaining the magic of the cinema hall.

'Why would Destiny play such a cruel game?'

'Ever since I heard about his death this morning, I have not been able to control my tears,' says Patcy N who interviewed the actor often

'You will be remembered for a long, long, time,' notes Sudhir Bisht.

'Irrfan transcended celluloid and gave us a taste of his humility and humanity,' observes Sukanya Verma.

Most of us have a memory like that with our fathers, tucked away in the back of our minds or hidden away in family albums. Irrfan's passing took us right back. It's also what made it so personal to so many of us, points out Abhishek Mande Bhot.

'All my hard work will be forgotten.'

A collection of thoughts from colonial interpreters on war. Visit this feature.

from the Winter 2003-2003 Journal

Much can be said about this song’s sacred and secular connotations. At first glance, one might assume that the song speaks to its religious roots; however, given the environment in which the song was created, the song can be taken literally. Taken from The Colonial Williamsburg Foundation’s enhanced CD, From Ear to Ear, and adapted from field recordings by John and Alan Lomax, this song was known to have been sung by the 1871 Fisk University Jubilee Singers.

The Fifes and Drums of Colonial Williamsburg carry forward the tradition of military music heard on the battlefields of Yorktown.

Carols, motets, hymns, songs, and madrigals reflect the enthusiastic joy and high spirits of Yuletide celebrations in Williamsburg.

Recorded in an authentic tavern environment similar to what might have been experienced in 18th-century Williamsburg.

Exhilarating fife and drum music that marked the routine of military troops during the 18th century and sent the patriots marching into battle.

Colonial Williamsburg's Michael Monaco performs Peter Pelham's repertoire of 18th century music on the period keyboard instruments of the Governor's Palace.

On this recording of period music, the Cross Violin, Kirckman Harpsichord, Keene Spinet, Broadwood Pianoforte and three flutes are played just as they were in colonial times.

New lyrics set to familiar (or some not so familiar) English melodies, recorded using 18th-century instrumentation to recreate the ambience of a small tavern or public meeting place.

Another fine collection of military and marching music performed by the Fifes and Drums of Colonial Williamsburg.

Selected performances from nine of Colonial Williamsburg's recordings, including fife and drum marches, chamber music, slave chants, and tavern songs.

Collection of some of Thomas Jefferson's favorite musical pieces recorded on period musical instruments in the Governor's Palace in Colonial Williamsburg.

Since the first organized Christmas celebration drew visitors to Colonial Williamsburg in 1936, nothing quite matches the beauty, imagination, excitement, pageantry, sights, smells, sounds, and grandeur of the Christmas season in Colonial Williamsburg.

Lively dance tunes and spirited medleys are heard on the "The Fifes and Drums of Colonial Williamsburg 4th of July Concert." Performed live on Market Square July 4, 2005, the music also includes a salute to each of the 13 original colonies and concludes with "The Star Spangled Banner" and the sound of fireworks.

From the Summer 2002 Journal: "Making "Cents" of Colonial Money"

From the Summer 2002 Journal: "Making "Cents" of Colonial Money"

From the Summer 2002 Journal: "Making "Cents" of Colonial Money"

From the Summer 2002 Journal: "Making "Cents" of Colonial Money"