Poet Jasim uddin wrote a letter to his son Dr. Jamal Anwar on 14. 11. 73. His youngest son's name is Khurshid
8. Geeta Dutt - Proud Singer of Faridpur
MOST Bangladeshis do not know that one of the most famous playback singer of Bengali and Hindi movies in the 1950s and 1960s was the late Geeta Dutt is from Faridpur. Geeta Dutt (Geeta Ghosh Roy Chowdhuri) was born into a rich Zamindar family in Faridpur on November 23, 1930 and stayed there until 1942.
Harano Sur - Tumi Je amar
Ye Raat Bheegi Bheegi - [UNSEEN] - Geeta Dutt & Bhushan
Nir Choto Hemanta Mukherjee, Geeta Dutt
Prithibi Amare Chai - Nishi raat baka chand, Geeta Dutt
Fagun Jane , Geeta Dutt
Ogo Sundoro , Geeta Dutt
Tumi Je Amar a vuboner , Geeta Dutt
Indrani - Ogo SundoroSurjo Dober , Geeta Dutt
Her major assignment came the following year, 1947, with Do Bhai. The music of that film clicked in a big way particularly Mera Sundar Sapna Beet Gaya and Geeta became a top playback singer. 1947-1949 saw Geeta Roy rule as the number one playback singer in the Mumbai film industry as she moved from strength to strength.
However four films released in 1949. Barsaat, Andaz, Dulari and Mahal. All four smashing hits. The music of each film better than the other. In all four films, the heroine's songs were sung by a young lady who had also made her debut in playback singing but till then had not made any significant headway in her career. The success of these films and her songs changed all that. In particular, the song Aaega Aanewala from Mahal soared to heights of till then unseen popularity. ( It remains an all time favourite even today ) The singer was ... Lata Mangeshkar. Lata went on to become the greatest playback singer the Indian screen has ever seen. Only two singers managed to survive the Lata onslaught in the 1950s, Shamshad Begam and Geeta Roy. Though relegated to the second spot, Geeta managed to hold her own against Lata for more than a decade and she and Lata were the premier two female playback singers of the 1950s.
Initially Geeta was a singer well known for bhajans and weepy, weepy sad songs. But 1951 saw the release of Guru Dutt's Baazi. The jazzy musical score of the film by SD Burman revealed a new facet to Geeta's singing.
The sex appeal in her voice and the ease with which she went western was marvelous to behold. While every song in the film was a raging hit, one stood out for special appeal - Tadbir se Bigdi hui Taqdeer. Such was her impact that from then on in the 1950s for a club dance or a seductive song, the first choice was Geeta. During the recording of the song she met the young and upcoming director of the film, Guru Dutt. The two fell in love and the romance culminated in marriage on 26 May, 1953. Geeta went on to sing some of her best songs in Guru Dutt's films while continuing singing in various outside assignments as well. It was however a stormy marriage as the couple fought and made up repeatedly caused it is said by her suspicious and possessive nature as well as Guru Dutt's roving eye.
SD Burman was among the earliest to discover the magic in her voice with Do Bhai. He effectively used the Bengali lilt in her voice memorably in films like Devdas (1955) and Pyaasa (1957). The song Aaj Sajan Mohe Ang Lagalo from the latter is one of the finest examples of the Bengali kirtan ever put over on the Hindi screen. In fact, no female singer has better articulated the spirit of Burmanda's music in its early years than Geeta.
Aaj Sajan Mohe - Geeta Dutt DILRUBA -tum dil mein chale aate ho -Geeta Dutt Geeta Dutt-Mera Sunder Sapna Beet Gaya(Do Bhai) Geeta Dutt - Jaane Kya Tune Kahi - Pyaasa [1957] Tribute to Guru Dutt and Geeta Dutt.
Tribute to Guru Dutt and Geeta Dutt
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Guru Dutt was considered to be a man ahead of his time one of the greatest icons of commercial Indian cinema. He made about less than 50 films during his lifeti...
Guru Dutt was considered to be a man ahead of his time one of the greatest icons of commercial Indian cinema. He made about less than 50 films during his lifetime, they are believed to be the best known both for their ability to reach out to the common man and for their artistic and lyrical content of the Golden Age. Guru Dutt and Geeta Roy fell in love and, although they faced strong opposition from their families, they married on 26 May 1953, and had three children. Their romance also seemed to bring a sparkle into Geetaji's voice, she sang some of her best ones in her husband's films. Geeta Dutt held a rare mellifluous tone in her voice that could fuel passion and all kinds of emotions into whatever song she sung.
Later on the marriage started to hit rocky ground, Guru Dutts had gotten involved with Waheeda Rehman and as a result Geeta Dutt had separated from him. Waheeda Rehman too had distanced herself from him and this caused a vacuum in his life. Unable to cope with all the trauma and emptiness, he took to heavy smoking and drinking. Finally, on October 10, 1964 Guru Dutt was found dead in his bed, having committed suicide at the age of 39 . His death caused Geeta to suffer a nervous breakdown. To make matters worse, she was in a financial mess and due to all the stressful events around her she took to alcohol. Geeta Dutt eventually died at the age of 42 on July 20, 1972 from cirrhosis of the liver.Insaan Jaag Utha - Jaanu Jaanu Ri Kaahe Khanke Hai Tora Kangna - Asha Bhonsle & Geeta Dutt Geeta Dutta Composer: Pankaj Kumar Mullick Lyricist: Sardar Jafri Asha Bhosle & Geeta Dutt "Tum Jiyo Hazaron Saal" "Ayee Re Ghir Ghir Pehli Pehli Badariya" - Geeta Dutt Geeta Dutt - Aye Dil Mujhe Bata De - Bhai Bhai [1956 Geeta Dutt "Aaj Ki Raat Piya" Aankhon hi aanknon mein Geeta Dutt "Piya Aise Jiya Mein" Geeta Dutt-Yaad Karoge Yaad Karoge(Do Bhai) Muzko Tum jo Mile (Hemant Geeta Detective) Asha Bhosle & Geeta Dutt "Bachpan Ke Din" Passport - Tauba Tauba Tauba Haaye Tauba Meri Maan - Geeta Dutt Pyaasa - Jaane Kya Tune Kahi - Geeta Dutt Jamuna ke teer Kana Aao --- Geeta Dutt's Non-Filmi Bhajan (From 78 rpm Record) Geeta Dutt - Na Jao Saiyan Chudaake Baiyan - Sahib Bibi Aur Ghulam [1962] Geeta Dutt - Piya Aiso Jiya Mein - Sahib Bibi Aur Ghulam [1962] Aan Milo Shyam Sanwre -Geeta Dutt and others
Almost same lyric and melody as bandhu rangila rangila by Jasim Uddin
Some well-known Geeta Dutt film songs in Bengali include Tumi Je Amar (Harano Sur (1957)), Nishi Raat Banka Chand (Prithivi Amara Chhaye (1957)), Ogo Sundor Jano Naki (Indrani (1958)), Eyi Mayavi Tithi (Sonar Harin (1959)), Ei Sundar Swarnali Sandhya (Hospital (1960)) and Aami Sunchi Tomari Gaan (Swarilipi (1961)).Records are available at Kabi Jasim Uddin House, Ambikapur, Faridpur.
9. Gazir Gan Festival on Poet's Birthday 01. 01. 2009
Gazir Gan songs to a legendary saint popularly known as Gazi Pir. Gazi songs were particularly popular in the districts of faridpur, noakhali, chittagong and sylhet. They were performed for boons received or wished for, such as for a child, after a cure, for the fertility of the soil, for the well-being of cattle, for success in business, etc. Gazi songs would be presented while unfurling a scroll depicting different events in the life of Gazi Pir. On the scroll would also be depicted the field of Karbala, the Ka'aba, Hindu temples, etc. Sometimes these paintings were also done on earthenware pots
The lead singer or gain, wearing a long robe and a turban, would twirl an asa and move about in the performance area and sing. He would be accompanied by drummers, flautists and four or five dohars or choral singers, who would sing the refrain.
Gazi songs were preceded by a bandana or hymn, sung by the main singer. He would sing: 'I turn to the east in reverence to Bhanushvar (sun) whose rise brightens the world. Then I adore Gazi, the kind-hearted, who is saluted by Hindus and Mussalmans'. Then he would narrate the story of Gazi's birth, his wars with the demons and the evil spirits, as well as his rescue of a merchant at sea.
Although Gazi Pir was a Muslim, his followers included people from other religious communities as well. Many Gazi songs point out how people who did not respect him were punished. At least one song narrates how Gazi Pir saved the peasantry from the oppression of a zamindar. Another song describes how a devotee won a court case. In Gazi songs spiritual and material interests are often intertwined. The audience give money in charity in the name of Gazi Pir. This genre of songs is almost extinct in Bangladesh today. [Ashraf Siddiqui]
The performance text is orally composed in rhymed metrical verse. Instead of a unified narrative, the text is essentially a mixture of three subjects: (i) description of the efficacy of the cult of Gazi Pir, (ii) comic moralising comments on social malpractices, and (iii) a list of the punishments that Yama, the god of the underworld, will mete out to people who lead immoral lives
A Gazir pat is usually 4'8" long and 1'10" wide and made of thick cotton fabric. The entire scroll is divided into 25 panels. Of these, the central panel is about 12" high and 20.25" wide. There are four rows of panels above and three rows below the central panel. The bottom row contains three panels, each of which is 5.25" high and 6.25" wide.
The traditional method of painting Gazir pat begins with the preparation of size from tamarind seeds and wood-apple. The tamarind seeds are first roasted and left to soak overnight in water. In the morning the seeds are peeled, and the white kernels are ground and boiled with water into a paste.
The paste is then sieved through a gamchha (indigenous towel). The tamarind size thus obtained is then mixed with fine brick powder. In order to prepare wood-apple size, a few green wood-apples are cut up and left to soak overnight in water. The resultant liquid is strained in the morning, and the size is ready to use. A Gazir pat is generally painted on coarse cotton cloth. The piece on which the painting is to be executed is spread on a mat in the sun. A single coat of the mixture of tamarind size and brick powder is then applied on the side to be painted, either by hand or with a brush made of jute fibre. After it has dried, two coats of size are applied on the other side of the cloth, which is then left to dry. On the side to be painted, another coat of a mixture of tamarind size and chalk powder is applied. When the cloth is dry, it is divided into panels with the help of a mixture prepared with wood-apple size and chalk powder. When the prepared cloth is dry, the patuya starts painting the figures.
Story-telling using painted scrolls or panels is known of in India from at least the second century BC. Many later paintings depict mythical narratives, whether on paper or cloth. This type of long scroll-painting was used by itinerant storytellers in rural Bengal, as a visual aid to a spoken narration of the myths and exploits of the painted scenes.
Patachitra is one of the earliest forms of popular art in Bangladesh it has a very long and prestigious history. Dating from the 12th century, and existing even today these pats or scroll paintings narrated stories based on religious or moral themes for the entertainment of the village folks. It started in Bengali culture from more than two thousand years back.
Islam has been a major cultural force in eastern India since the twelfth and thirteenth-century Muslim invasions of the area. The fifty-seven registers of this remarkable scroll-painting may depict the many epic activities of a local Bengali Muslim pir, or saint, Gazi, including fighting with demons, overpowering dangerous animals and miraculously causing cattle to give milk. Gazi was renowned for his power over tigers; in one painted panel a male Muslim figure is seen receiving the homage of tigers and in another he is riding a tiger. These probably depict Gazi himself, as he was renowned for his ability to control the elements of the natural world, abilities of great importance to the newly evangelized Muslim population of southern Bengal as they penetrated and settled the dense jungles of the Ganges delta. Stylistically, the painting belongs to the period before the influence of European painting conventions, and photography. It is characterized by brilliant colours, flat backgrounds, the avoidance of techniques suggesting depth or volume, and the obsession with pattern and design. Similar features appear in other pre-modern Indian painting styles.
In earlier times it reflected various events and themes for their paintings from the Mahabharata, Ramayana, various legends, myths and religious stories , and later expanded the range by including many popular and secular stories of the land. One of the most popular themes of the 'patachitra' was the Gazi's Pat depicting the courageous deeds and conquests of Ismail Gazi, a Muslim general who served the Sultan Barbak in the 15th century.
Patachitra, like many other popular folk art of Bengal such as pottery, the weaving of the Muslin and Jamdani, and jatra, was practised in families through generation after generation.
The old folklore tells the story of Gazi Pir, a mythical warrior saint who battled demons, confronted the god of death, and worked miracles like restoring dead trees to full bloom, and getting dried-up cows to milk again. These and more such fantastic and colourful fables and legends have been immortalised through pat gaans and patchitra.
The tales of Ramayana, Mahabharata, Muharram, Rass lilla, Monosha Mongol, Sri Krishna and Gazi pir usually being the subject matter of these folk paintings that narrate their stories frame by frame. The patuas or pat artists supplemented their illustrations with pat gaans or music ballads. The pigments were originally obtained from various natural sources: black was obtained by holding an earthen plate over a burning torch, white from conch shells, red from sindur (vermilion powder), yellow from turmeric, dull yellow from gopimati (a type of yellowish clay), blue from indigo. The patuya would make the brush himself with sheep or goat hair. Some of these techniques are still used today. However, the patuya usually buys paints and brushes from the market.Gazi Kalu-Champavati pir sahitya or saint literature, written in the style of panchali (The word, panchali, originates from panchal or panchalika, meaning puppet. Others believe that the word refers to the five elements of this genre: song, music, extempore versifying, poetic contests, and dance. In earlier times it also included a puppet dance. In the 18th-19th centuries, the puppet dance was dropped. Instead, the main singer would dance, wearing nupur (anklet bells), and holding a flywhisk and cymbals. At times he would act the part of different characters. The panchali underwent some changes towards the close of the 18th century when poetic contests, physical gestures and acting were introduced. In the 19th century dialogue for the principal singer was added as was the character of a clown who used to generate laughter by mimicking different social oddities through songs, recitation of rhymes or dances. Most popular among the social issues were remarriage of women, income tax problems, and the members of Young Bengal who were opposed to idol worship. The panchali later gave birth to the popular jatra songs. ) narrating the adventures of Gazi Pir in the tiger-infested forests of south Bengal and the story of his marriage to Champavati.
The first reference to Gazi Pir as a rival of Daksin Ray, the god of tigers, appears in Krishnaram Das' poetic narrative, raymangal (1684), which describes their rivalry and subsequent friendship. At one time both used to be worshipped.
Raymangal 17th century Bangla narrative poem about the folkloric tiger god, Daksin Ray, who was worshipped by ordinary people, especially in the sundarbans, in the belief that paying homage to him would ensure them safety from tigers.
According to legend, Daksin Ray was an army chief of Mukut Ray, raja of Jessore. Conquering a large area, he set up as an independent ruler. At one stage he came into conflict with Gazi Khan and Gazi Kalu and was defeated. It was only after ceding part of his territory to them that he was able to make peace. These events form the theme of Raymangal, composed by a Hindu poet, and of gazi kalu-champavati, composed by a Muslim poet. Perhaps the first version of Raymangal was by the poet Madhav Acharya, but it is no longer extant. Another version was written in 1686 by Krsnaram of Nimita, near Kolkata, supposedly at the behest of Daksin Ray who appeared to him in a dream. A version of Raymangal was also composed by Haridev in 1723 and another much later by Rudradev.
Raymangal is about a merchant named Puspadatta, who asks Ratai to collect logs from the Sundarbans in order to build a ship. Ratai goes to the Sunderbans with his six brothers and a son and returns with the logs. Puspadatta builds his ship, which he names Madhukar, and then sets off on a journey to recover his lost father. At Khaniya, which is on his way, he prays to Daksin Ray. Seeing the shrine of a pir, he enquires about its history and learns the story of the war and the subsequent peace between Daksin Ray and Gazi Khan. While crossing the sea, Puspadatta sees a vision of a unique city named Turanga on the surface of the water. On reaching the port, he narrates his experience to the king. But, failing to show the king the unique city, he is imprisoned. He prays to Daksin Ray and succeeds in securing his own freedom as well as the freedom of his imprisoned father. He then marries the king's daughter, Ratnavati, and returns home. There is some similarity between the story of Raymangal and the story of Dhanapati Sadagar in chandimangal.
Raymangal contains a wealth of information about religious and social beliefs and practices of the period. It also contains important facts about south Bengal and the Sundarbans. Singers present Raymangal on the occasion of Daksin Ray's annual puja.
Sheikh Khoda Baksh composed Gazi Kalu-Champavati, based on the story of Raymangal, in 1798-99. The poem narrates Gazi Kalu's journey across the country in the guise of a fakir, his battle with a certain Hindu king, the king's defeat and his conversion to islam. After Gazi Kalu mitigates the sufferings of the king's subjects, he marches on Brahmannagar. In the ensuing battle, the king of Brahmannagar is defeated and accepts Islam. Gazi Kalu marries the king's daughter, Champavati, and returns home. The poem also contains other related stories. In addition to human beings, the characters include gods, demons, supernatural spirits, fairies, ghosts, evil spirits, and animals. The action takes place on earth as well as in heaven and hell. Gazi Kalu is depicted as victorious because he has been blessed by Allah, Khwaja Khizir and the goddess Ganga. The poem mentions the popular belief that offerings to Gazi Pir could ensure safety from tigers.
Gazi Kalu-Champavati greatly influenced later poets such as Syed Halu Mir, Abdur Rahim, and Abdul Gafur who composed similar poems. Sheikh Khoda Baksh's poem, Champavati Kainyar Palagan or Gazi Saheber Git, was popular in many parts of the country during the 19th and 20th centuries when it revived Muslim sentiments of pride in the past glory of Islam Sufism has also influenced the literary and cultural life of the land. Innumerable songs and stories, for example, have been written on the miraculous stories of the Sufi saints. Murshidi and marfati songs, gazir gan, the poem of gazi kalu-champavati, the songs of Madar Pir, Sona Pir etc are based on the lives of these Sufis or developed from the Sufi ideals of their teaching.
The tradition of Gazir pat can be traced back to the 7th century, if not earlier. The panels on Yama's messengers and his mother appear to be linked to the ancient Yama-pat (performance with scroll painting of Yama). It is also possible that the scroll paintings of Bangladesh are linked to the traditional pictorial art of continental India of the pre-Buddhist and pre-Ajanta epochs, and of Tibet, Nepal, China and Japan of later times. [Shahnaz Husne Jahan] The central panel depicts Gazi Pir seated on a tiger, flanked by Manik Pir and Kalu. The central panel of the second row shows Pir Gazi's son, Fakir, playing a nakara. The central panel of the third row shows Gazi's sister, Laksmi, with her carrier owl. The right panel of the second row shows the goddess Ganga riding a crocodile. In the bottom row, Yamadut and Kaladut, the messengers of Yama, are shown in the left and right panels. The central panel shows Yama's mother punishing the transgressor by cooking his head in a pot. As Gazi Pir is believed to have the power to control animals, a Gazir pat also depicts a number of tigers.
Red and blue are the two pigments mainly used. There are slight variations of colour, with crimson and pink from red, and grey and sky-blue from blue. Every figure is flat and two-dimensional. In order to bring in variety, various abstract designs (such as diagonal, vertical and horizontal lines, and small circles) are often used. The figures lack grace and softness. Some of the forms (such as trees, the Gazi's mace, the tasbih, (the Muslim rosary), birds, deer, hookahs etc, are extremely stylised. The figures of Gazi, Kalu, Manik Pir, Yama's messengers, etc appear rigid and lifeless. There is no attempt at realism.
One of the most striking exhibits in the current British Museum exhibition Myths of Bengal is the beautiful Gazi scroll - not just for its rich colours and vivid figures, but because it illustrates the enriching coexistence of two of the world's great faiths. Images of Hindus making puja offerings are juxtaposed with those of Muslims making similar offerings at the tombs of their saints (pirs). It shows how a remarkable, syncretic culture emerged in which the tombs of many pirs became places of pilgrimage for both Hindus and Muslims.
Looking at the Gazi scroll, one cannot but conclude that the past offers more enlightened models of living with difference than we are achieving. We need to be reminded - and inspired - by the history of places such as Bengal so that we can guard against the easy simplification that human beings can be parcelled into discrete civilisational categories based on faith. Some of the world's richest cultural traditions are the legacy of the interaction of several faiths (Madeleine Bunting Wednesday November 29, 2006,The Guardian) .
Gazi Song
The fishes find the deep sea,
The birds the branches of the tree.
The Mother knows her love for her son
By the sharp pain in her heart alone
Many and diverse the colour of the cows,
But white the colour that all milk shows.
Through all the world, a Mother's name
A Mother's song is found the same.
From The Field Of the Embroidered Quilt by Jasim Uddin- 1939)
In Bengal of late there has been a movement for the revival of folk-music, in the sense of its introduction even among classes which were hitherto not quite interested in it. So are not only folk-tunes being incorporated into the musical structure, but efforts are being made to learn and sing genuine folk-songs. Imitative efforts have accompanied the movement, but have not, owing to the absence of natural mental and physical environment, been much of a success. Earnest attempts for collection and preservation of folk-songs have also grown up under private and public auspices.
Handed on through generations, folk-songs have been rich in power and variety. Their authorship is generally unknown; only in some of them have the composers mentioned their names in the last lines, but nothing more than the bare name is ascertainable. Nor have the songs been much recorded. They have lived from day to day, have spontaneously circulated through the villages. Most of them have their popularity confined to districts; but some have found response beyond the borders as well.
In Bengal, as in many other lands, folk-songs have been at once the expression and the refuge of the soul of the people. Unaffected by the rise and fall of kingdoms, they remain an abiding treasure, and all efforts to preserve them in form and tune are to be welcomed.Bhagavad-gita introduction
The Life of Krishna
Arjuna The Archer : Patta Chitra Katha Afjol Shoki lo momtaz Amar Galar Har - Music and Lyric Jasim Uddin - Channel 1
January 27, 2009: To commemorate the 106th birth anniversary of 'Polli-kobi' Jasimuddin a fortnight-long fair -- 'Jasim Polli Mela' -- began yesterday at Govindapur village in Faridpur amidst much enthusiasm. A lively cultural programme was part of the inaugural session. Around two hundred stalls have been set up at the premises of the poet's home by the river Kumar.
10. Jasim Polli Mela opens in Faridpur- 2009
Handicrafts, everyday items used by the rural folk, tools and other items used in agricultural, literary works of Jasimuddin and more are on display at the fair. Other attractions include puppet show; circus; live performance of 'jari', 'shari', 'bhawaiya' and 'murshidi' songs; dance and recitation.
On January 24, Toufiq-e-Elahi Chowdhury 'Birbikram', adviser to the Prime Minister, inaugurated the fair. Advocate Shamsul Haque, newly elected Sadar Upazila chairman; Aktaruzzaman Mohammad Mostafa Kamal, deputy commissioner of Faridpur; Police Superintend Kusum Dewan; Afsana Yasmin, chief executive of Faridpur Zila Parishad and the poet's son Dr. Jamal Anwar attended the inauguration of the fair on Saturday. Enthusiastic visitors from different parts of the country are converging at the fair; some enthused by the pastoral beauty epitomised by Jasimuddin in his poetry:
"Tumi jabe bhai, jabe more shathey amder chhoto gaye?"
Or "Amar bari jaiyo bhramar boshte dibo pirey.”
The greaest experience of my life is village life. Today modern educated people avoid and abhor village-folks. In my early life I had tried to prove that the people we look down upon are really very beautiful people...(Jasim Uddin)
Many visitors come from all over Bangladesh and abroad. A visitor from Jessore was saying, "This is only museum, where the past has immortalized. As if, Jasim Uddin still lving here!"
A traditional puffed rice called muri is made by heating rice in a sand-filled oven. Muri is to rice just like popcorn is to corn. The processing involved makes rice less perishable. Muri is a staple food in many parts of Bengal and Bangladesh. Jhalmuri or masalamur is a very popular preparation made from muri.
Jasim Uddin's most favourite food was Muri, he was known at Ambikapur as "Muri Pagla Jasim" (Jibon Katha, , Jasim Uddin, 1962)!
Three great religions of Bangladesh, i. e., Hinduism (Modern hinduism is the result of a blending orthodox Brahmanism with non-Aryan materialistic superstitions) which came earliest, Buddhism second and Islam. There is no denying the fact, the oldest inhabitants of Bangladesh known as Australoid, then the Dravidians, Aryans and the Muslims made a chequered history of this region and the Nakshi Kantha (An embellished quilt embroidered in traditional motifs and innovative style by rural women of Bangladesh) found a unique character as a multi religious product and also a multiracial expression.
Poet Jasim Uddin became very famous from this house, where he lived 1904 to 1933. Here he has written his famous poem Kabar, Nakshi Kather Math, Sujonbadiar Ghat, Rakhali
I had been born and brought up in a village and brought up entirely by cultivators, and the folk-songs were in my very blood. To me, unlike Dr. Sen, the tunes meant even more than the words : they embodied the meaning of the traditional life I loved.
Last Modified: June 4, 2010