1892-93: PARSEES BEAT EUROPEANS TO WIN FIRST EVER PRESIDENCY CUP


The Parsees formed a strong team, toured England in 1886 and 1888.

 

pavri-tifME Pavri led Parsees to the first Presidency Cup title. Picture Courtesy: Stray Thoughts on Indian Cricket, JM Framjee Patel

The first Presidency Cup was a two-match affair, and interest around the second match soared following the rain-washed draw at Bombay Gymkhana. When Poona Gymkhana hosted the second match, the contest was already the talk of the nation. Abhishek Mukherjee re-lives September 21, 1892, when the Parsees created history.

The Parsees, as mentioned before, were the first Indians to take to cricket. They formed a strong team, toured England in 1886 and 1888, and were strong enough to beat GF Vernon’s XI in 1889-90. The two British Gymkhanas, in Bombay and Poona, found them a difficult opposition. They combined to form a team called ‘Europeans’ to take on the Parsees in what would be called the Presidency Match, the first in a long, long series. In retrospect, the matches were also given First-Class status.

The first match at Bombay Gymkhana seemed to be evenly balanced at stumps on Day One, with Parsees on 54 for 4 after Europeans were bowled out for 104. Unfortunately, Bombay rain prevented any subsequent play, which meant the match at Poona Gymkhana was the decider.

Mehallasha ‘ME’ Pavri was retained as leader. DF Dubash was left out in favour of DE Modi (of no relation to RE Modi). Another curious change was the appointment of RD Cooper as wicketkeeper instead of DD Kanga (both men played both matches).

The Europeans left out the Gloucestershire speedster Arthur Newnham (who had top-scored and taken a wicket in the Bombay match), Edward Cox, Francis Rhodes, and William George. In came Alfred Wilkins, Thomas Usborne, Charles Carnegy, and Henry Anderson. Frederick Sprott was retained, but Usborne donned the big gloves.

Most significantly, Ernest Steel was replaced as captain by John Trask, the Somerset batsman. Just like Steel, Trask won the toss and elected to bat.

A day of 20 wickets

Steel and Trask got the Europeans to a fine start, adding 36 for the opening stand. They scored 18 apiece, but fell in quick succession. The Europeans recovered to 63 for 2, but once again there was a double blow. Once again they recovered to 84 for 4.

Pavri rose to the occasion, clean bowling Sprott, Ernest Raikes, and Usborne in quick succession. The Europeans never recovered as RE Modi came back to clean up the tail. Both men claimed three wickets each, and the Europeans were bowled out for 108 with six men going into double-figures but none making to 20. It may not seem a big total in the 21st century, but given the range of scores in India at that time, it was substantial.

The Parsees put up an almost identical show: ‘Jessop’ Machhliwala and MD Kanga added 29 before Raikes snared both. The Parsees reached 58 for 3 before Raikes took over again. Just like Pavri, Raikes scythed through the middle-order, clean bowling BD Gagrat, DD Kanga, Pavri, Cooper, RE Modi, and Shapur Spencer.

The Parsees were reduced to 58 for 7 before some late-order batting took them to 101. Seven men reached double-figures, but once again, none of them managed 20. Raikes had bowled unchanged for 25 five-ball overs, taking 7 for 34.

Stumps were taken as the Parsees were bowled out. They trailed by a mere 7. A keen contest awaited the Poona crowd.

The Bapasola-Writer show

Russian TankNasarvanji Bapasola (left) and Dinshaw Writer were the architects of the decider of the first Presidency Match at Poona. Picture Courtesy: India’s Hambledon Men, Vasant Raiji

Dinshaw Writer bowled medium-fast with his left hand. Lord Harris first saw him when he toured England in 1888. In A Few Short Runs, the great man would later call Writer “nearest to a First-Class English professional bowler.” From 13 First-Class matches he would claim 60 wickets at a freak 8.95.

Nasarvanji Bapasola was another matter altogether. He played the occasional blinder, was safe at slip, and bowled persistent off-breaks. His numbers, 411 runs at 19.57 and 39 wickets at 15.51 from 15 First-Class matches, make impressive reading. He also taught at Rajkumar College, Rajkot, from where both KS Ranjitsinhji and KS Duleepsinhji graduated.

But above all, Bapasola was a character, a crowd-puller, and, to quote a line used by many a cricket fan, lived for cricket. From his childhood days he used to bunk school to watch cricket despite there being a fine.

Vasant Raiji mentioned an incident in India’s Hambledon Men: “On one occasion, fearing that he would not be allowed to leave the school and being very anxious to see a game being played at the maidan, he fearlessly walked up to his teacher’s table and placed there an anna saying: ‘Here, Sir, is the usual fine of one anna, as I am going to see the match,’ and he walked out of classroom to the surprise of all.”

On this day, Bapasola and Writer, off-spinner and left-arm pacer, combined to pull off a historic victory.

MD Kanga removed Trask early, but out walked the Hampshire batsman Robert Poore, only man in the match who would go on to play Test cricket. Poore added 21 with Steel and 19 more with Wilkins before Writer struck twice. With Bapasola also getting in the act, the Europeans slid from 42 for 2 to 47 for 6.

Given the context of the match, Poore’s 25 was an exceptional score. In fact, it turned out to be almost a third of 79, which was what the Europeans were skittled out for. It would have been lower, had No. 10 Frederick Clarke not put up a defiant 11 not out.

Bapasola (8-2-9-3) and Writer (21-12-17-4) were the wreckers-in-chief. Between them they sent down 29 overs (24.1 six-ball overs), taking 7 for 26. It was a pair as emphatic as any. All the batsmen had to do was to secure those 87 runs.

But then, there was Raikes to contend with. He struck early, clean bowling MD Kanga. But the Parsees did not worry, for Machhliwala joined Pavri: the two men who had set up the chase against GF Vernon’s XI were at the crease.

This time Harry Lowis struck: Machhliwala, the man on whom so much depended, was stumped by Usborne. The score read 6 for 2, and suddenly 87 seemed a substantial target.

Support came from Gagrat, who held out against Pavri. Runs came in a trickle, and slowly the target reduced. Then, with the score on 40, Clarke ran through the defence of Gagrat: he had scored 14.

Stumps were taken at that score. The Parsees needed another 47. Pavri was on 21.

History

DDKangaDD Kanga played a crucial role on the final morning. Picture Courtesy: India’s Hambledon Men, Vasant Raiji

DD Kanga walked out with Pavri the following morning. Trask put Steel, that exponent of right-arm slow bowling, on with the dangerous Raikes. The pair stay put before Raikes removed Pavri — for 34. He would finish as the highest scorer of the match.

On came Steel, and removed Bapasola and Cooper for ducks: from 64 for 3 the Parsees slid to 65 for 6. They needed another 22 when DE Modi joined DD Kanga.

Raikes and Steel kept bowling. Runs were difficult to come by, but Modi and Kanga stayed at the crease. The target came down… 20… 15… 10…

Then, with 8 more to get, Raikes provided another twist by trapping Kanga leg-before. His 18 was worth every bit of it, but the sight of RE Modi walking out to join DE Modi was not particularly encouraging.

Spencer and Writer, rank tail-enders, waited in the pavilion, hoping they did not have to walk out in the middle against the menacing Raikes and Steel.

But the Modis hung on grimly, RE helping DE put on the runs. Then, off the last ball of the 41st over, history was created: the two men walked back, victorious, DE Modi on 14 and RE Modi on 2. And the Parsees, and indeed, other Indians, celebrated the moment.

What followed?

  • The Bombay Presidency match became an annual affair, both sides fighting tooth-and-nail for supremacy till 1904-05. The Hindus joined the fray in 1905-06. From 1907-08 all three teams featured, and the tournament was renamed Bombay Triangular. It later became the Bombay Quadrangular when the Muslims joined in 1912-13. A fifth team, The Rest, was added in 1937-38, to accommodate Buddhists, Jews, Sikhs, non-European Christians, and even the Ceylonese. The Pentangular was not contested after 1944-45.

  • Pavri, easily the first great Indian cricketer (if one does not consider Ranji, who did not play in India), went from strength to strength. From 62 recorded matches he claimed 245 wickets at 15.04. On June 13, 1895 he became the first Indian cricketer to play in the County Championship when he played for Middlesex against Sussex at Hove.

  • As for Raikes, he played only 9 matches, capturing 49 wickets at 10.28. However, he moved on to bigger things: he was a member of the Bar at Inner Temple and at the Indian Bar in Bombay. He was also Company Secretary of Norfolk British Red Cross.

Brief scores:

Europeans 108 (ME Pavri 3 for 25, RE Modi 3 for 20) and 79 (Nasarvanji Bapasola 3 for 9, Dinshaw Writer 4 for 17) lost to Parsees 101 (Ernest Raikes 7 for 34) and 87 for 7 (Ernest Raikes 3 for 45) by 3 wickets.

Cricket Country, October 29, 2015, 7:30 am

http://www.cricketcountry.com/articles/1892-93-parsees-beat-europeans-to-win-first-ever-presidency-cup-346741

(Abhishek Mukherjee is the Chief Editor at CricketCountry and CricLife. He blogs here and can be followed on Twitter here.)

Remembering Adi Marzban


Were he with us, puckish humour and wacky wit intact, Parsi theatre’s finest writer-director Adi Marzban would have been 101.

Generations of ardent fans agree no Navroze celebration was complete without watching his wonderful plays.

With the community set to celebrate New Year this week, Meher Marfatia treads her way through the legend’s haunts in a delightfully stage-struck Bombay, not quite Mumbai.

Ruby and Burjor Patel take notes from Adi Marzban (right) at a Churchgate café in the 1960s.  Pic courtesy/Burjor Patel
Ruby and Burjor Patel take notes from Adi Marzban (right) at a Churchgate café in the 1960s. Pic courtesy/Burjor Patel

Burjor & Ruby Patel Among the most adored stage couples, the Patels became a ragingly popular pair thrown together for uproarious Marzban capers, though not always opposite each other. “I played Ruby’s father before becoming her hero and husband,” Burjor says. With the exception of Ruby, his leading ladies were older women like Dinoo Nicholson and Piloo Wadia.  “I had a fantastic part in Mari Pachhi Kon,” reveals Ruby. “One of Adi’s sensitive best, it cast me as the wife of a man who (mistakenly) believes he is dying and wishes to settle me with a suitable second husband.” It all began with Ruby acting as a student at The Alexandra Girls’ English Institution. As she essayed a part in Bluebeard, in the Doongaji Theatre Competition at Sunderbai Hall, Marzban sat in the audience for a bit of talent spotting. The rest is unforgettable theatre history.

Dhun Khandalavala at her Nagin Mahal living room with charcoal sketches by Marzban. Pic/Bipin Kokate
Dhun Khandalavala at her Nagin Mahal living room with charcoal sketches by Marzban. Pic/Bipin Kokate

Dhun Khandalavala When Dhun, the elegant widow of Marzban’s producer Pesi Khandalavala, ushers you into her Nagin Mahal flat at Churchgate, you imagine hearing faint music. The place to practise for Co-operative Players’ twice yearly musical revues — on Jamshedi Navroze in March, and Navroze and Khordad Saal in August — this hallway tinkled peppy tunes from a mini orchestra set up where sofas sit sedately now. “Here’s where the piano used to be, against this wall, and the drum set was there,” Dhun gestures, pointing to the two expanses. “They had such mad fun with Jimmy (Pocha), who was especially in his element.” At the mike was also Jimmy’s velvet-voiced wife, the redoubtable Uma Pocha (think Bombay meri hai) whom Marzban called “My Queen of Song”. With pitch-perfect ear for melody, Marzban himself played a range of instruments: piano, guitar, clarinet, keyboard and ukulele. The two frames in the background are serene charcoal profiles of Christ and the Madonna, gifted by Marzban, who drew them learning of Dhun’s interest in Christianity.’

Producer Pesi Khandalavala mans the counter at the B. Desai Auditorium ticket window. Pic courtesy/ Meher Marfatia
Producer Pesi Khandalavala mans the counter at the B. Desai Auditorium ticket window. Pic courtesy/Meher Marfatia

Pesi Khandalavala
The dynamic director-producer duo hardly met on too promising a note. Marzban saw Pesi Khandalavala while judging Romeo and Juliet at St Xavier’s College, in which Pesi acted, competing for the Father Llorens dramatics trophy. Marzban gave the play a scathing review. Yet, the encounter was to forge a firm collaboration. A member of the college’s Dramatics Club, Pesi pitched in to help backstage with productions Marzban helmed. Teaming up, they launched Co-operative Players company to deliver Parsi theatre’s memorable hits.

Scheherazade and Rohinton Mody outside Chapsey Terrace, Marzban’s home.  Pic/Sooni Taraporevala
Scheherazade and Rohinton Mody outside Chapsey Terrace, Marzban’s home. Pic/Sooni Taraporevala

Rohinton & Scheherazade Mody
Silla and Adi Marzban’s residence on Altamount Road was the iconic venue for play practice. “He wasn’t the fraternising sort and hadn’t time to be neighbourly,” says Goolu Adenwalla, living in the apartment above. When a jaundice bout made him housebound, he climbed upstairs for midnight games of chess with her insomniac father. Incredibly well read, Marzban slept in a stiff line on a narrow strip of his bed; the rest of the space devoted to favourite books strewn in piles across the mattress.
The Modys enjoyed rehearsals with their beloved director “full of gaffes and guffaws”. Scheherazade grew up seeing Marzban classics like Chhupo Rustom. As a girl, she ran to catch a glimpse of Marzban riding his motorbike around Colaba. Relatively younger from the fistful of thespians left gracing the city, Rohinton tragically passed away in 2014, Marzban’s birth centenary year.

Singing stars Dolly and Bomi Dotiwala pose under the road sign venerating their mentor. Pic/Sooni Taraporevala
Singing stars Dolly and Bomi Dotiwala pose under the road sign venerating their mentor. Pic/Sooni Taraporevala

Bomi & Dolly Dotiwala
This Ballard Estate lane is christened Adi Marzban Path since this is where the office of Jam-e-Jamshed (Marzban was its editor) originally stood. Asia’s second oldest still-existing newspaper, the Jame, launched in 1832, belonged to his great-grandfather Fardoonjee Marzban. Presented to theatre goers in 1961 in the musical revue, Dhong Song, the Dotiwalas carved a niche as dramatic actors with Sagan Ke Vagan. With a rare bittersweet script from Marzban — his métier being sparkling comedy — this play crossed 100 shows, a record marked with a jashan at Colaba Agiary. “Parsi plays saw packed houses at multiple halls in the same evening,” Dolly recalls. “We performed early items till the revue’s interval and then rushed from Birla at Marine Lines to Bharatiya Vidya Bhavan at Chowpatty for our full-length play.”

Sam Kerawalla, Shireen Heerjee and Villoo Panthaky Kapadia share a joke at Café Universal.  Pic/Sooni Taraporevala
Sam Kerawalla, Shireen Heerjee and Villoo Panthaky Kapadia share a joke at Café Universal. Pic/Sooni Taraporevala

Sam Kerawalla
When a merry bunch walked into Café Universal, at the corner of Adi Marzban Path, Basudev Rajak barely believed his eyes. The waiter from Jharkhand, clocking in 40 years of work for the restaurant, recognised Marzban’s veteran actors and technicians, gathered that July 2011 afternoon for the launch of a book on Parsi theatre of the last century. Pipe-smoking Marzban, who kept the city’s Gujarati-speaking communities in splits with 100 single act farces and longer Wodehousian imbroglios like Kataryu Gap and Gustadji Ghore Charya, jotted ideas and auditioned actors across Universal’s tables. “Guiding actors for their moves between chairs rearranged as if they were on stage, Saab would give me a lollipop, teasing, ‘Ghelo, aay le!’ ” His usual order? Mint tea with jam puffs, chicken patties and Rogers raspberry fizz.

Villoo Panthaky Kapadia at  St Xavier’s College, the meeting point of most Marzban protégés.  Pic/Sooni Taraporevala
Villoo Panthaky Kapadia at St Xavier’s College, the meeting point of most Marzban protégés. Pic/Sooni Taraporevala

Villoo Kapadia
That she has more distinct Marzban memories than many contemporaries isn’t surprising. Villoo worked exclusively with Marzban from her first play at St. Xavier’s College in 1948 till the 1970s. Though he graduated from Elphinstone College in 1933, Marzban joined hands with St. Xavier’s theatre buffs. The enthusiastic collegians pooled skills to present amateur plays for local charities. Co-operative Players, led by Marzban as writer-director and Pesi Khandalavala his producer, emerged from this informal circle as a tour de force unit. Back on campus for a shoot with Villoo, we discovered the Marzban loyalist was a photographer’s delight. Her gaze sweeping the quadrangle of her alma mater, she remarked, “Adi’s writing was of astounding calibre. Plays today are a travesty of both humour and acting. We need him more than ever.”

The ‘House Full’ board for Marzban’s play, Piroja Bhavan at Bharatiya Vidya Bhavan in 1954. It was the story of the travails of a family struggling to keep up a dilapidated home while juggling unwelcome visitors

Piroja Bhavan
Marzban was introduced to Girish Munshi, son of Kanhaiyalal Munshi, trustee of Bharatiya Vidya Bhavan, by Burjor Patel. Under the Kala Kendra banner, Co-operative Players launched Piroja Bhavan, which proved to be a game-changer. Birthing a whole new stage lexicon of realism, the play catapulted the modern Parsi naatak to unprecedented success. In those days of five to six shows — considered decent business — this play’s first run stretched over 30 nights.

by Sunday Mid-Day Team

http://www.mid-day.com/articles/navroze-special-remembering-adi-marzban/16457195

FAMILY QUALITIES & MENTAL HEALTH OF ZOROASTRIAN YOUNG ADULTS


CaptureFARIN BAKHTIARI and SCOTT PLUNKETT have prepared the attached compilation
FAMILY QUALITIES & MENTAL HEALTH OF ZOROASTRIAN YOUNG ADULTS” with the assistance of various organizations worldwide including the Parsi Zoroastrian Anjuman of Secunderabad & Hyderabad through their Facebook Page

 
Congratulations on this wonderful effort!!!

Remembering A Brave Parsi.. Lt. Col Adi Burzorji Tarapore, Battle of Chawinda


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Dear  Friends,

Here is a copy of the recording made by the  BBC Hindi radio program recently, recalling the shining example of gallantry, courage and leadership of a Parsi Commander during one of the most fiercely fought tank battles of  the 1965 Indo-Pak  War, at the Battle of Chawinda. For his unrelenting act of bravery, gallantry and setting a shining example for the whole division, disregarding personal injury, a grateful Nation posthumously bestowed on him the highest military award for gallantry in war, the PARAM VIR CHAKRA.

As per email below, the recording made recently by BBC, was sent to Mrs Zarine Boyce last week,  the daughter of  Late Lt. Col. A.B. Tarapore, PVC.

For your listening pleasure of the tribute  a link is provided below. Hope it fills all Zarathushti hearts with pride.

Rusi Sorabji.

www.bbc.com/hindi/multimedia/2015/09/150917_1965_war_audio_vk

1965 युद्ध: चविंडा के हीरो तारापोर

1965 के युद्ध में चविंडा की लड़ाई में पाकिस्तान के कई टैंक तबाह करने के लिए लेफ़्टिनेंट कर्नल अदी तारापोर को मरणोपरांत परमवीर चक्र दिया गया था.

वो लड़ाई में गंभीर रूप से घायल हो गए थे लेकिन इसके बावजूद उन्होंने युद्धभूमि को छोड़ने से इनकार कर दिया था.

1965 युद्ध की 17वीं कड़ी में रेहान फ़ज़ल बता रहे हैं अदी तारापोर की बहादुरी के बारे में.

ZUBIN MEHTA’S ‘THE SCORE OF MY LIFE’ LAUNCHED ON SATURDAY


India’s most celebrated music conductor, Zubin Mehta was in town to launch the paperback edition of his autobiography, The Score of My Life.

Zubin Mehta (left) in conversation with Anil Dharker (right). Pics: Lamya Karachiwala

Anil Dharker, founder and director of Literature Live and the moderator for the evening was a little worried when he came to know about the launch of the paperback edition of The Score of My Life by Zubin Mehta. This was because he wasn’t sure how many people would turn up at the short notice of less than half a day. But this much time was enough for music maestro, Mehta to attract a full audience at Crossword, Kemps Corner on Saturday.

Mehta, conductor of Western Classical music revealed that the book was first written in German when a German publisher asked him to write about his experiences in Munich. From there, it got published in hardcover and has now become available in paperback. The book chronicles his journey of resilience and passion.

The conductor, who turns 80 next year, started his career when he was 18 to become one of the youngest conductors ever at the age of 25. When he was asked what drives him even today, he said, “It is undoubtedly the love for what I do that keeps me going. Besides, there is still so much music that has to be explored”. And if it gets repetitive performing the same set, “I find the experience different each time owing to a new venue, acoustic and the audience.”

Mehta, who debuted in Vienna, has been with  Israel Philharmonic Orchestra for over 46 years and has conducted for all the major philharmonics across the world. He feels that today, although musicians are technically very evolved, same cannot be said about their spiritual evolution.

Speaking about having performed in several conflict zones, he said he did so in Kashmir as well. That concert was a huge success. Not just the venue was packed but also 70% of Kashmir heard it on TV. Consequently, he wrote to the Governor of Kashmir that he would like to perform again on bigger scale. But he never heard from him.

Lamya Karachiwala

http://www.iamin.in/en/mumbai-south/news/zubin-mehtas-score-my-life-launched-saturday-73628

Shireen Khushroo Kiash: India’s Most Versatile Sportsperson


What is common between C. Ramaswami, Sir Vivian Richards and Jonty Rhodes? They all represented their country in more than one sporting discipline.

Shireen Khushroo Kiash née Contractor, a Parsi Zoroastrian from Bengal represented India in Hockey, Basketball and Cricket.

Shireen Khushroo Kiash née Contractor, a Parsi Zoroastrian from Bengal represented India in Hockey, Basketball and Cricket.

Closer home, three Indians are notable for their sporting prowess namely, Sohini Kumari (Tennis and Squash), Somnath Chopra (Athletics & Volleyball) and Iftikhan Ali Khan Pataudi (Cricket & Hockey) represented India in more than one sporting discipline.

But wait! There is one Indian woman who surpassed them all.

We continuously speak about women’ empowerment in India and West Bengal. Here is a sportswoman who was far ahead of her time, for when she achieved her rare sporting distinction, woman’ sport was still at its nascent stage in this country.

Shireen Khushroo Kiash née Contractor, a Parsi Zoroastrian from Bengal represented India in Hockey, Basketball and Cricket.

Shireen was born in Mumbai and moved to Kolkata where she made her home. Shireen was a legendary sports woman of the Kolkata Maidan in the seventies and is still revered by athletes of the seventies who had the privilege to witness her ‘magical’ skills.

As per the book ‘Sport in South Asian Society: Past and Present’ by Boria Majumdar and ‎J A Mangan, Parsi women represented Bengal and India in different cricket tournaments in the 70’s and Shireen was awarded the most outstanding sportswoman of 1974 by the Ladies’ Study Group.

Limca Book of records states that Shireen is the “Most versatile Indian Player” which has also been mentioned by S. B. Bhattacherje in his book Encyclopaedia of Indian Events and Dates.

Shireen’s Sporting Achievements:-

a) Was part of the India Hockey Team at the 3rd Asian Women’s Championship in December 1967 at New Delhi, winning the bronze medal. In 1970, she also toured Japan with the Indian Hockey Team;
b) Represented India in the Asian Women’s Basketball Championship in Kuala Lumpur in 1970;
c) Represented the Indian Women cricket team against Australia in India;
d) Also excelled in other sports namely Table Tennis, Tennis, Badminton and Carom.

We continuously speak about women’ empowerment in India and West Bengal. Here is a sportswoman who was far ahead of her time, for when she achieved her rare sporting distinction, woman’ sport was still at its nascent stage in this country.

Shireen’s sporting feat of representing a nation in three different sporting disciplines is rare even by international standards.

Successive governments at the Centre which was primarily led by the Congress Party furthermore did not acknowledge Shireen’ achievements.

The West Bengal government who incidentally has a woman chief minister does not even acknowledge her presence as a sports woman from Bengal nor have they awarded her the Banga Bibhushan, Khel Samman Award, Banglar Gourab Award, Life Time Achievement Award or the special Khel Samman Award.

The West Bengal government speaks of giving emphasis to promote vulnerable sections like women in sport but conveniently turns a blind eye to the achievement of Shireen.

Not to be left far behind, successive governments at the Centre which was primarily led by the Congress Party furthermore did not acknowledge Shireen’ achievements.

Awards like Dhyan Chand Award, Rajiv Gandhi Khel Ratna and Arjuna Awards were not even considered in her case.

Why was Shireen not given her rightful place in sporting history by both the Centre and the West Bengal Government? Is it because she belonged to a microscopic minority? I leave the answer to your imagination.

Will Shireen ever be given her rightful place in the history of sports in India and more particularly West Bengal? Only time will tell.

Shireen left for the heavenly abode on 26th February 2006 at Mumbai. She is survived by her son and daughter both of whom have migrated to Australia.

by Phiroze Edulji

(Phiroze Edulji is a lawyer by profession and is Managing Partner of Edulji&Edulji. The views expressed here solely belongs to the writer and does not in any way reflect the views and opinions of News World India)

http://newsworldindia.in/?p=141371

Please Do Not Our Religion Zoroastrianism Die!!!


Ahura Mazda gave us

A beautiful religion

Why are we hell bent

On the Path of destruction

With a heavy heart

A lump in my throat

With tears in my eyes

All I ask:

Please do not let my religion (Zoroastrianism) die!!

Asho Zarathushtra sacrificed

His precious Life

For the sake of humanity

Undauntingly tirelessly

Spreading the Divine Message

Of Universality

With no proper clothing

Or a pair of descent shoes

Does that mean anything to “you”

Give up the Ego & Pride

Lead the community

To greater heights

Put on your Thinking Caps

(not the White One)

Please do what is Right

Do not let years pass us by

‘Cause I DO NOT WANT

MY RELIGION ZOROASTRIANISM

TO DIE!!!

faridabam@gmail.com

2015

Panchgani Agiary – highest in the world !


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Seth Nanabhoy Bezonji Choksi Dar-E-Meher PANCHGANI

Date of Consecration – 14th May, 1931 Roj Adar Maha Adar, 1300 Y.Z.

HISTORY: It is perhaps the highest located agiary in the world. Panchgani is about 4,300 feet above the sea level.
Seth Nanabhoy Bezonji Choksi Dar-E-Meher was consecrated and was open by Dastur Noshirwan Kaikobad on 14th May, 1931. The expenses for the building of the Dar-E-Meher were Rs.38,300/-. Seth Nanabhoy gave securities worth Rs. 26,338/- towards its maintenance fund. Various co-religionists donated sums totalling Rs. 11,500/- towards its endowment fund. The foundation stone laying ceremony for priest’s quarters which Seth Nanabhoy Choksi was to build in memory of his wife Goolbai was performed by his grand-daughter Bai Meherbai.
It is a quaint structure, beautiful in proportion. The stained glass is special feature on the façade of verandah. The agiary is set in beautiful garden with tall pine trees. It is on a slight elevation.
There is a lovely sanatorium with self contained cottages “Gulshan-e-Aram” one km from agiary and there is aramgah also.

20151011_095839 20151011_095824 20151011_095810

Zoroastrianism Project – Pallavi Shroff


As a part of my final year specialisation project I was told to make a Documentary on a topic of my choice.
I have been the only Parsi in my school and again the only one in my college, so I decided to take this opportunity to make a Documentary on my religion- Zoroastrianism to make people aware of our basic traditions, customs and beliefs and most importantly our existence.

Do have a look at my Documentary which has been written, directed, cinematographed and edited by me.
Looking forward to your love and support.
Thank You

Pallavi Shroff