<keyword id="60468" type="ORGANIZATION" weightage="20" keywordseo="Consumers">Consumers</keyword> spent $32 billion on in-app purchases across <keyword id="75489" type="COMPANY" weightage="20" keywordseo="IOS">iOS</keyword> and <keyword id="6355629" type="DEFINITION" weightage="20" keywordseo="google">Google</keyword> Play globally in Q1 this year, the biggest quarter ever and 40 per cent from the same quarter last year, a new report has revealed. The market grew at unprecedented speed during the Covid-19 pandemic as millions stayed home, and smartphone users spent around $9 billion more on apps and games in Q1 2021 than they did in Q1 2020, according to app analytics firm <keyword id="1646890" type="COMPANY" weightage="20" keywordseo="App-Annie">App Annie</keyword>. The growth in Q1 2021 was shared equally by the two platforms. Consumers spend grew 40 per cent (year-over-year) to $21 billion on iOS, and by the same percentage to around $11 billion on Google Play. "Total downloads also grew significantly. Downloads on both iOS and Google Play combined rose by around 10 per cent to 31 billion in the quarter," the report mentioned. In Q1 2021, gaming proved to be the most influential category in the overall app market. <keyword id="53249" type="PERSON" weightage="20" keywordseo="Gamers">Gamers</keyword> downloaded around a billion titles every week in the quarter, while total consumer spend on gaming hit $22 billion. iOS gamers spent the most at $13 billion (up 30 per cent on-year), while gamers spent $9 billion on Google Play (up 35 per cent). In Q1 2021, gamers downloaded around a billion games every week. "This is 15 per cent up on 2020, and 35 per cent up on the weekly average for Q1 2019. Google Play game downloads grew 20 per cent year over year to 11 billion," said App Annie. The quarter's most downloaded game was Supersonic Studio's hyper casual survival game 'Join Clash 3D'. It swapped places with Among Us! at number 2. In 2021, mobile gaming is set to reach $120 billion in consumer spend, 1.5 times all other gaming formats combined, said the report. On Google Play, in terms of spend, Games, Social and Entertainment saw the strongest quarter over quarter growth while on iOS, the largest categories by growth were Games, <keyword id="5129" type="COMPANY" weightage="20" keywordseo="Photo">Photo</keyword> and Video and Entertainment. SEE ALSO: <a href="https://www.businessinsider.in/careers/news/paytm-money-set-to-hire-250-engineers-for-its-new-technology-centre-in-pune/articleshow/81813092.cms">Paytm Money set to hire 250 engineers for its new technology centre in Pune</a> <a href="https://www.businessinsider.in/finance/news/government-withdraws-interest-rate-cut-on-small-savings-schemes-in-a-bizarre-u-turn/articleshow/81813361.cms">Government withdraws interest rate cut on small savings schemes in a bizarre u-turn</a> <a href="https://www.businessinsider.in/stock-market/news/coursera-soars-23-in-trading-debut-following-4-3-billion-ipo/articleshow/81785440.cms">Coursera soars 23% in trading debut following $4.3 billion IPO</a> <a href="https://www.businessinsider.in/entertainment/news/indian-actor-rajinikanth-will-receive-the-51st-dadasaheb-phalke-award/articleshow/81818360.cms">Rajinikanth to receive the 51st Dadasaheb Phalke award</a> <a href="https://www.businessinsider.in/stock-market/news/wipro-share-price-jumps-over-1-after-117-million-acquisition-of-australian-cybersecurity-firm-ampion/articleshow/81817928.cms">Wipro's share price jumps over 1% after $117 million acquisition of Australian cybersecurity firm Ampion</a>

Consumers spend record $32 billion on apps in Q1 2021 globally, says new report

Though anticipated, when it became official that the Melody Queen of India, <keyword id="31278" type="General" weightage="20" keywordseo="Lata-Mangeshkar" source="Orion">Lata Mangeshkar</keyword>, is no longer among us, it hit the collective consciousness of the nation like a sledgehammer. The only consolation was that she may have passed on, but her voice, which moved our hearts and provided succour to our souls for more than seven decades, will forever be with us. Like all inspirational stories, Lataji's early struggle to establish herself in the 1940s is one that we cannot ever forget. In those days, she would take a BEST bus and travel from her south Mumbai home regularly to meet Naushad Ali at his Khar West bungalow or in the studios, hoping for a 'singing break' under the legendary music maker's baton. In the vicious Mumbai monsoon, she would come to Naushad's home, wearing her trademark sari, carrying an umbrella but totally drenched, shivering and barely able to speak, let alone sing. The music director would offer her piping hot tea and cookies to soothe her, but no songs ... yet ... . "I felt her voice was not yet 'ripe' for my style of music," said Naushad, the perfectionist, in a conversation with this writer. He was trying to justify not giving her an early break. "To improve her diction and control over words, I advised her to learn and practice Urdu, which she did ... and finally, she was ready to record for me." The first choices of Naushad were the reigning stalwarts -- Noorjehan, Suraiya, Shamshad Begum, Zohra Ambalewali, to name a few. With time, trained by her father, Dinananth Mangeshkar, Lataji grasped the maestro's advice and got her first major hit -- 'Uthaye Ja Unke Sitam' ('Andaz', 1949) -- composed by her mentor Naushad. With it, she 'arrived' in the film industry. Thereafter, top music directors of the era wooed her, and they included Sachin Dev Burman, Husan Lal-Bhagat Ram (brothers), Ghulam Haider, Sardar Malik, Ghulam Mohammed, Jaidev, Salil Chowdhary, C. Ramchandra, Shankar-Jaikishan (partners), Roshan, Madan Mohan, M. Zahur Khayyam, Kalyanji-Anandji (brothers), Laxmikant-Pyarelal (partners), Sonik-Omi (uncle-nephew), Ravi Kumar Sharma or 'Ravi', Sudhir Phadke, Sajjad Hussain, Usha Khanna, and even A.R. Rahman, Anu Malik, Rajesh Roshan, Anand-Milind and Jatin-Lalit, among the younger crop of baton wielders. Producers and directors vied for Lataji's unique voice and style for their top heroines, especially because she could 'mould' her voice to suit most heroines. Without doubt, she had become the first among women singers, a position that Mohammed Rafi enjoyed among the men. Yet, there was a music director who remained aloof from Lataji -- with haughty pride -- and yet rose to the top echelons of the music industry -- the incomparable O.P. Nayyar. "I found Lata's voice too thin, too shrill, which did not suit my compositions," Nayyar had once said, claiming he was "the only music director who succeeded in Bollywood without Lata's voice". He added: "I needed a more vivacious, richer, healthier voice of, say, Shamshad Begum, Geeta Ghosh-Dutt, Asha Bhosale." One woman singer, Suman Kalyanpur, was blessed with a voice rivalling that of Lataji's, but she was content being in the shadows, yet she thrived on enduring masterpieces composed by some of the music directors. As Lataji's singing style matured under master music directors, her voice helped heroines who acted or danced to her tunes catapult to stardom, such as Madhubala, Meena Kumari, Nargis, Ameeta, Beena Rai, Waheeda Rehman, Vyjayanthimala Bali, Tanuja, Sharmila Tagore, Asha Parekh, Nutan, Saira Bano, Sadhana Shivdasani, Babita Kapoor, Zeenat Aman, Parveen Babi, Hema Malini, Rekha, Sridevi, Neetu Singh, Madhuri Dixit, and many others in the post-1980s, right down to the youngsters, notably, Kajol, Rani Mukherjee and Karisma Kapoor. After the exit of Noorjehan from India and the fading away of other stalwart female singers, by the late 1950s/early 1960s, Lataji was firmly perched on the top of the heap and brooked no nonsense from anyone -- producers, directors, composers, siblings or contemporaries -- attempting to clamber anywhere close to her roost. Bollywood is full of stories of how Lataji ring-fenced her position till the very end, often raising the hackles of her female peers, although male singers, such as Mohammed Rafi, Mukesh, Kishore Kumar, Mahendra Kapoor and Manna Dey (all deceased) and others, chose to maintain a professional rapport with her. Nevertheless, there were tales of how Rafi once bore the brunt of her "other side", or certain composers quivering as she gently declined to sing for them after they allegedly dared to commission some other female singers, for whatever reason. Of course, powerful filmmakers such as Mehboob Khan, Raj Kapoor, Kamal Amrohi, Dev Anand, Shakti Samanta, B.R. Chopra, Yash Chopra and the likes had no time for tantrums. Born on September 28, 1929, as the oldest child of a musically inclined family in Indore (Madhya Pradesh) -- comprising father Dinanath, Lataji, Meena (Khadilkar), Asha (Bhosale), Usha and sole brother Hridaynath -- she was tutored by her dad from the age of five and also acted in his musical stage plays, till death in 1942. Helped by a close family friend, Master Vinayak D. Karnataki, she got a foothold in singing and acting that year with a first Marathi song and a maiden Hindi song in 1943 before shifting to the film industry capital in 1945. In Bombay (now, Mumbai), she learnt classical music and continued singing the odd songs, till her big break with 'Dil Mera Toda, Mujhe Kahinka Na Chhoda' ('Majboor', 1948), with full help from Ghulam Haider, whom she later described as her "godfather". With a colossus such as Noorjehan still around, Lataji continued her with a few more hits -- 'Aayega Aanewala' ('Mahal', 1949) and 'Uthaye Ja Unke Sitam' ('Andaz', 1949), heralding her entry with a bang in big-time Bollywood. Simultaneously, she sang in different Indian languages with aplomb, non-film songs, with her range encompassing classical, tragic, melodious, erotic, melancholic, light, mischievous, depending on the composer, or the heroine, or the song situation. After the seniors passed away or faded out, Lataji sang expertly and easily with the gen next of male singers such as S.P. Balasubramaniam, Amit Kumar, Shabbir Kumar, Nitin Mukesh, Anwar, Udit Narayan and Sonu Nigam, and astounded her listeners with the seemingly "undying" power and youthfulness of her golden voice. Over the decades, she was decorated with a multitude of rewards and honours -- three Padma awards, five Filmfare Awards, the Dadasaheb Phalke Award -- capped by the Bharat Ratna in 2001. More than that, state governments named awards and institutions after her. Lataji sang at prestigious live concerts or charitable events, enthralling global audiences, picked up more overseas accolades, such as France's highest civilian honour, Officer of the Legion of Honour, in 2007, briefly dabbled in high-end merchandise, such as signature jewellery and perfumes, launched a production and music house, and entered into international music collaborations. Death has only removed her physically. The legacies she leaves behind will outlive her for decades. SEE ALSO: <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/business/ecommerce/news/aditya-birla-fashion-retail-d2c-unit-will-sell-ethnic-and-wedding-wear-from-top-designers/articleshow/89347587.cms">Birla has the best wedding suits stacked up and he wants them displayed on your phone</a> <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/stock-market/news/textile-cigarette-metal-and-electric-batteries-sectors-stocks-up-budget-day/articleshow/89346157.cms">Textile, cigarette makers and others sector stocks that rallied since budget speech</a>

Lata Mangeshkar's over 70-year journey from travelling in BEST bus for singing break in the industry to melody queen of India

The <keyword id="11033040" type="UNKNOWN" weightage="20" keywordseo="ongoing-phase">ongoing Phase</keyword> 3 clinical trial of the Pfizer/BioNTech's Covid-19 <keyword id="24209" type="PERSON" weightage="20" keywordseo="vaccine">vaccine</keyword> showed that it remains highly effective for up to six months after the second dose, the two companies announced. Results from the analysis of 927 confirmed symptomatic coronavirus cases observed in their pivotal Phase 3 study showed the Pfizer-BioNTech vaccine, BNT162b2, was 91.3 per cent effective against the disease, measured seven days through up to six months after the second dose, Xinhua news agency reported citing a joint statement issued by the companies on Thursday. The vaccine was 100 per cent effective against severe disease as defined by the US <keyword id="116293" type="COMPANY" weightage="20" keywordseo="Centers-for-Disease-Control-and-Prevention">Centers for Disease Control and Prevention</keyword>, and 95.3 per cent effective against severe Covid-19 as defined by the <keyword id="54048" type="COMPANY" weightage="20" keywordseo="Food-and-Drug-Administration">Food and Drug Administration</keyword> (FDA), according to the statement. Safety data from the Phase 3 study have been collected from more than 12,000 vaccinated participants who have a follow-up time of at least six months after the second dose, demonstrating a favourable safety and tolerability profile, it added. "These data confirm the favorable efficacy and safety profile of our vaccine and position us to submit a Biologics License Application to the US FDA," said Albert Bourla, Chairman and CEO of <keyword id="44612" type="DOMAIN" weightage="20" keywordseo="Pfizer">Pfizer</keyword>. "These data also provide the first clinical results that a vaccine can effectively protect against currently circulating variants, a critical factor to reach herd immunity and end this pandemic for the global population," Ugur Sahin, CEO and co-founder of <keyword id="3124139" type="COMPANY" weightage="20" keywordseo="BioNTech">BioNTech</keyword>, was quoted as saying in the statement. The new results came a day after the two companies announced that the vaccine has demonstrated 100 per cent efficacy and robust antibody responses in a trial in adolescents 12 to 15 years of age. The trial enrolled 2,260 adolescents in the age group in the US. In the trial, 18 cases of Covid-19 were observed in the placebo group versus none in the vaccinated group. The vaccine elicited SARS-CoV-2-neutralising antibody geometric mean titers (GMTs) of 1,239.5, demonstrating strong immunogenicity in a subset of adolescents one month after the second dose, according to the companies. The results exceeded those recorded earlier in vaccinated participants aged 16 to 25 years old, according to the trial data. The two companies plan to submit these data to the FDA and the European Medicines Agency as soon as possible to request expansion of the Emergency Use Authorization and EU Conditional Marketing Authorization for BNT162b2. The FDA authorised the Pfizer-BioNTech Cvaccine for emergency use in the US in December last year. The vaccine, the first one to receive an FDA approval in the country, was authorised for use in individuals 16 years of age and older. SEE ALSO: <a href="https://www.businessinsider.in/careers/news/paytm-money-set-to-hire-250-engineers-for-its-new-technology-centre-in-pune/articleshow/81813092.cms">Paytm Money set to hire 250 engineers for its new technology centre in Pune</a> <a href="https://www.businessinsider.in/finance/news/government-withdraws-interest-rate-cut-on-small-savings-schemes-in-a-bizarre-u-turn/articleshow/81813361.cms">Government withdraws interest rate cut on small savings schemes in a bizarre u-turn</a> <a href="https://www.businessinsider.in/stock-market/news/coursera-soars-23-in-trading-debut-following-4-3-billion-ipo/articleshow/81785440.cms">Coursera soars 23% in trading debut following $4.3 billion IPO</a> <a href="https://www.businessinsider.in/entertainment/news/indian-actor-rajinikanth-will-receive-the-51st-dadasaheb-phalke-award/articleshow/81818360.cms">Rajinikanth to receive the 51st Dadasaheb Phalke award</a>

Pfizer/BioNTech COVID-19 vaccine highly effective up to six months after second dose

He was the alt superstar of Bangla cinema in its glory years, the affable Bhadralok icon who crafted a towering stature ironically banking on down-to-earth, believable characters that represented middle-class Bengal. The brand of stardom was in stark contrast to the other shining luminary of contemporary cinema in the state -- Uttam Kumar -- whose position as Mahanayak in the Bengali psyche was primarily cemented in idol worship and mass hysteria. Soumitra Chattopadhyay -- Chatterjee to anglicised India -- answers to the term ‘phenomenon' as absolutely as few actors do, for the sheer ease with which he defied the cliches of image. His stardom was sensational, and yet born out of realism. He was the mascot of the peerless <keyword id="14969" type="PERSON" weightage="20" keywordseo="Satyajit-Ray">Satyajit Ray</keyword>'s oeuvre, having worked with the maestro in 14 films, and yet he scored with the same assuredness in works of contemporary commercial powerhouses as Ajoy Kar and Tarun Mazumdar. He is the Dadasaheb Phalke Award (2012) and Padma Bhushan (2004) recipient who was also honoured with the Legion d'Honneur (2018) in France for his contribution to world cinema. Importantly, Soumitra Chattopadhyay's greatness as a screen icon will survive the test of time in Bengali pop lore because he had something for everyone. For, he was not just Satyajit Ray's Apu. Beyond such a nuanced portrayal, he could also simply become Ray's Feluda and reach out to every audience, eight to 80. It took a Ray to bring to life Soumitra's greatness, and yet the account of their first meeting is a well-known story in Bengal. Ray was looking for his adult Apu in "Apur Sansar", final part of the Apu trilogy that started with "Pather Panchali". A friend introduced Soumitra to the master filmmaker who promptly declared the budding actor looked too old to be Apu, a college student according to his script. Soumitra would eventually bag the role opposite Sharmila Tagore, of course, and the rest is history. Soumitra's cinematic fate is overwhelmingly dictated by the great cinema of Satyajit Ray, so much so the maestro's filmography through his most important phase outlines the actor's career graph. Soumitra made his debut with "Apur Sansar" (1959) and, over the next three decades, would work in Ray projects as "Devi" (1960), "Teen Kanya" (1961), "Abhijan" (1962), "Charulata" (1964), "Kapurush O Mahapurush" (1965), "Aranyer Din Ratri" (1969), "Ashani Sanket" (1973), "Sonar Kella" (1974), "Joy Baba Felunath" (1978), "Hirak Rajar Deshe" (1980), "Ghare Baire" (1984), "Ganashatru" (1989) and "Shakha Proshakha" (1990). It was a filmography that Ray, one of the world's greatest filmmakers ever, shared with his chosen on-screen emissary. But if Ray worked with Soumitra 14 times, almost every major filmmaker the actor collaborated with also tended to repeat him. If anything, beyond underlining his credential as an artiste that fact stands a testimony to his professionalism and disposition as a human being. Consider a few other diversely prolific filmmakers beyond Ray who worked with Soumitra, and you get the picture. Mrinal Sen, another global icon of Bangla cinema of the era, directed Soumitra for the first time in "Punascha" (1961), and then again returned to collaborate with the actor in "Pratinidhi" (1964), "Akash Kusum" (1965), and "Mahaprithibi" (1991). The iconic Tapan Sinha directed him in projects as "Kshudhita Pashan" (1960), "Jhinder Bandi" (1961), "Atanka" (1984) and "Antardhan" (1992). Mainstream titans of his era loved working with the affable Soumitra, too. Asit Sen directed him in "Swayambara" (1961) and Swaralipi (1961), while Ajoy Kar made "Otol Joler Ahoban" (1962), "Saat Pake Baandha" (1963), "Barnali" (1963), "Kaanch Kata Heere" (1965) and "Parineeta" (1969). Tarun Mazumdar directed the actor over the years in "Ektuku Baasha" (1965), "Sansar Simante" (1975), "Ganadevata" (1978), "Agomon" (1988) and "Path O Prasad" (1991). Most of his directors have often spoken about the insatiable passion he had for his craft. It was something that ensured he would stay busy as ever till his last days, essaying character roles with the same enthusiasm with which he executed starring roles in his heydays. His 300-plus film career probably can be explained by his highly adaptable quality as an actor. He was at home working with new-age Bengali filmmakers as Atanu Ghosh ("Mayurakshi"), Suman Ghosh ("Podokkhep", "Peace Haven", "Dwando", "Basu Paribar"), Partha Chakraborty ("Samantaral") and Nandita Roy and Shiboprosad Mukherjee ("Posto"). He did move outside Bengal into Bollywood domain twice. In 1986, he acted opposite Roopa Ganguly in the Hindi short film "Nirupama", based on Tagore's story "Dena Paona". He also had a role in the 2002 release, "Hindustani Sipahi", based on Utpal Dutt's renowned Bangla play "Pherari Fauj". These though were temporary departures. For most parts, his staggering career is based on his Bengali filmography. It is a body of work that has given him recognition beyond the National Award as Best Actor ("Podokkhep"). He also received the Sangeet Natak Akademi Award in 1998. Although his greatness lies in his body of work before the camera, Soumitra did try his hand at filmmaking, too. His directorial effort "Stree Ki Patra", a telefilm based on Rabindranath Tagore's "Streer Patra" released in 1986. The film starred Roopa Ganguly and Usha Ganguly. That the legacy of Bangla cinema's Grand Old Man was established in his lifetime is obvious from the number of GenNow actors who have followed in his footsteps. Young talents in the Bengali film industry of today such as Parambrata Chattopadhyay and Abir Chatterjee have fashioned their careers in the lines of Soumitra, seeking stardom without losing connect with Bengali middle-class realities. These are actors who have carved a niche in what is today known as the multiplex cinema circuit, catering content-driven entertainment of refinement, removed from the cliches of kitsch. It is something Soumitra relished doing all those decades ago.

Soumitra Chatterjee – the journey from being Satyajit Ray’s Apu to one of India’s finest actors

<ul><li><keyword id="14509" type="PERSON" weightage="20" keywordseo="Rajinikanth">Rajinikanth</keyword> is one of the most loved and highly-paid actors in Asia, who holds a mass appeal.</li><li>His unique sense of dialogue delivery and the swiftness of his actions helped create the brand ‘Rajinikanth’.</li><li>Earlier this week, Rajinikanth said that he is disbanding his political party.</li></ul>Sivaji Rao Gaekwad has had it tough, early on in his life. After schooling, he took up various jobs and worked as a carpenter, coolie and finally a bus conductor in Bangalore. Born in Bangalore in 1950, Gaekwad worked as a bus conductor in the 1970s before he made his debut in Tamil cinema in 1975 with the film Apoorva Ragangal. Gaekwad was reincarnated as Rajinikanth. But this story is not about his filmography. This is an effort to look back at his complete volte-face on politics. Earlier this week, the Dadasaheb Phalke award winner said that he has disbanded his political party putting an end -- seeming once and for all -- to his noncommittal tryst with politics. In Tamil Nadu, movie stars taking a plunge into politics has always been a norm. Movie stars like J Jayalalithaa and M G Ramachandran, commonly known as MGR, have been chief ministers of the state representing the All India Anna Dravida Munnetra Kazhagam (AIADMK). AIADMK’s rival Dravida Munnetra Kazhagam’s (DMK) former leader, late M. Karunanidhi also wrote scripts and dialogues for films. So, when it came to Rajinikanth, the public expected him to follow the same path. He first dipped his toe into the arena back in 1996, by campaigning against the then chief minister Jayalalithaa. His speech against the former actress stated, “If Jayalalithaa is voted back to power, even God cannot save Tamil Nadu," causing shockwaves and leading to the defeat of the AIADMK in the elections that year. Bus conductor, movie superstar and people’s favourite Rajini’s appeal to masses comes from his encapsulation of the working class and labourers in the roles he chooses. For example, in his film Muthu, one of the songs — Oruvan Oruvan Mudhalali — talks about the role of equality and humanity. Another song Naan Autokaran from the movie Baashha captured the attention of the auto drivers association as the song praised the community. While his mass appeal and stardom in south India helped the DMK in the 1996 Assembly Election, it was not the same in 1998 when the General Elections took place. The DMK was only able to secure 9 seats out of 39. Since the defeat, Rajini has steered clear of politics for more than six years and focused on his film career and personal life. Political and ‘not so’ political phase After the failure he faced in the 1998 general elections, in 2004 he entered into politics again by raising his voice against the Pattali Makkal Katchi (PMK) and supported the AIADMK-BJP (Bharatiya Janata Party) alliance as PMK had created a big ruckus against his film ‘Baba’. Though Rajinikanth did not change his opinion on Jayalalithaa, he supported the alliance thinking that the BJP will work for ‘linking all the rivers in the country’ to solve the drinking water crisis. His efforts against PMK was all in vain once again as the party won only 5 seats in the Lok Sabha election. Later in the same year, the BJP-AIADMK alliance was not able to win even a single seat in the state assembly election that followed. Meanwhile, he was changing the trend and style of Tamil cinema with his mannerisms and unique dialogues. “Nan oru thadava sonna nooru thadava sonna madhiri”, (If i say it once, its equivalent to having said it a hundred time) -- a punch dialogue from the movie Baashha and “En vazhi thani vazhi”(My way is a unique way) from Padayappa are something which people celebrate even today. Rajinikanth goes through a crisis The Tamil Superstar was about to appear in Rana, a period film to be produced by his daughter Soundarya Rajinikanth and directed by K. S. Ravikumar. But he suffered a mild foodborne illness in the sets for which he had to undergo medications. After that he was rushed to St. Isabel's hospital, in Chennai, for breathlessness and fever. He was also admitted to the Sri Ramachandra Medical College and Research Institute in the month of May for respiratory and gastrointestinal problems. In this phase Rajinikanth was completely hospitalised and did not indulge in politics much except for his support to the AIADMK in the Tamil Nadu Assembly Elections in 2011. In 2014, his political stature grew as Prime Minister Narendra Modi met the actor at his residence before the general elections. Both of them denied that there were no political indications in the visit, but it seemed like both held each other in great regard. After that the BJP put in all the efforts to make Rajinikanth join the party thinking about his stardom and the 1996 elections. <div type="image" title="Graph of his political journey" msid="84464061" hostid="261"></div> Finally the wait was over He started to meet his fans across Tamil Nadu and gave a hint that he was entering politics in 2017. Just before the New Year, he organised a fan meet-and-greet — an event went on for six days. Fans from more than 20 districts were present at the meet. Finally, he addressed the gathering at the Raghvendra hall in Chennai on December 3, 2017 where he opened up about his entry into politics. Soon after his announcement, the ‘Rajini fans welfare association’ was transformed and established as a political party named ‘Rajini Makkal Mandram’. He visited the Himalayas for his movie ‘Baba’ which was released in the year 2002 and started to breathe spirituality back into his life and this was regarded as the reason he chose the ‘Baba symbol’ as the logo for the mandram. However, he has always mentioned that he will be into “spiritual politics”. U-turn happened Even after his announcement regarding the entry to politics, Rajinikanth decided not to take part in the 2019 general elections and also clearly said that his party, Rajini Makkal Mandram will not support any political party in the Lok Sabha elections. Rajnikanth finally ended the suspense and tweeted on 3 December, 2020 that he will bring back his political party in January 2021. The people were expecting the Rajini Makkal Mandram, to take part in the 2021 state election in Tamil Nadu. He also stated that the public wants transparent, honest, corruption-free, secular, caste-less, and spiritual politics. Chaos comes to an end Though he nodded yes to politics, the superstar of Tamil cinema, announced clearly on July 12, 2021 that he has no plans to enter politics, after a discussion with the ‘Rajini Makkal Mandram’. He also added that the Mandram has been dissolved. A separate meeting happened with the party authorities in the Raghavendra Mandapam (hall) in Kodambakkam on 12 July, after which the actor announced his decision in a press meet. He stated that the party will be back to ‘Rajinikanth Fans Welfare Association’ with the same members. In his Twitter account, he released a notice announcing the decision. He also added that he has been under medication and has been to the US for medicinal examinations followed by the shooting of his upcoming film Annaatthe, which is why he will not be able to concentrate on politics anymore. <a href="https://pbs.twimg.com/media/E6Es1NbUUAALiUq.jpg">https://pbs.twimg.com/media/E6Es1NbUUAALiUq.jpg</a> After this announcement, it seems pretty clear that the actor has shut the door forever. SEE ALSO - <a href="https://www.businessinsider.in/tech/news/netflix-plans-to-add-video-games-to-its-categories/articleshow/84433119.cms">Netflix will reportedly add video games on its platform ‘within the next year’</a> <a href="https://www.businessinsider.in/business/corporates/news/just-dial-share-price-surge-as-mukesh-ambani-is-looking-to-buy-just-dial/articleshow/84432450.cms">As Mukesh Ambani reportedly dials in, Just Dial stocks surge 3%</a>

The political flip-flops of Superstar Rajinikanth over the last three decades

<img class="gwt-Image" src="/photo/51311632.cms" /> Leaving behind the social customs of merely being labelled as good wives, home makers and mothers , <keyword id="42463" type="ORGANIZATION" weightage="100" keywordseo="Indian-Women">Indian women</keyword> have time and again taken up chores essentially thought of being male-only, and proved that they are equal to their male counterparts, sometimes even better. 
 
On the occasion of International Women's Day, we bring to you the list of women who dared to step in the fields dominated by men and gave them tough challenges in terms of success and recognition. 
 
<keyword id="2109518" type="UNKNOWN" weightage="100" keywordseo="Durgabai-Kamat">Durgabai Kamat</keyword> and <keyword id="2776412" type="UNKNOWN" weightage="100" keywordseo="Kamlabai-Gokhale">Kamlabai Gokhale</keyword> 
Known as the first female actors of Indian cinema, this mother-daughter duo is always regarded with utmost honour for breaking the stereotype of only male actors in the profession of performing arts. Starring together in Mohini Bhasmasura, the second venture of the legend Dadasaheb Phalke, they were cast as Mohini and Parvati, respectively. Both of them went on to become established actresses and their family members are still a part of the industry, veteran marathi actor Vikram Gokhale being one of them. 
 
<keyword id="121358" type="PERSON" weightage="100" keywordseo="Karnam-Malleswari">Karnam Malleswari</keyword> 
Born in Srikakulam, Andhra Pradesh, Karnam is the most recognised woman Indian weightlifter. In a glorious career spanning over 10 years, she has won 11 gold and 3 silver medals, and a much-celebrated Olympic bronze in 2000 Summer Olympics. Known for her physique, skills and technique, she is the first Indian woman to win an Olympic medal, first woman recipient of Rajiv Gandhi Khel Ratna Award, and also a recipient of Padma Shri and Arjuna Award. Nowadays, she runs her own academy, training others to do what she did and bring fame to the country. 
 
<keyword id="56244" type="ORGANIZATION" weightage="100" keywordseo="MC-Mary-Kom">MC Mary Kom</keyword> 
Mangte Chungneijang Mary Kom, better known as MC Mary Kom, needs no introduction. A five-time World Boxing champion, she is the only woman boxer to have won a medal in each one of the six world championships, a matter of sheer pride to the country. She achieved her much-awaited fame when she won the bronze medal in the 2012 Summer Olympics. A recipient of Padma Bhushan, Arjuna Award, Padma Shree, and Rajiv Gandhi Khel Ratna award, she has also penned down an autobiography called Unbreakable and is all set to be played by Priyanka Chopra in her biopic. 
 
<keyword id="36968" type="PERSON" weightage="100" keywordseo="Zoya-Akhtar">Zoya Akhtar</keyword> 
Belonging to an influential family of Bollywood, with screenwriter lyricist Javed Akhtar as her father, screenwriter Honey Irani as her mother, producer-director-actor Farhan Akhtar as her brother and the talenthouse Shabana Azmi as her stepmother, it was obvious for Zoya to be a part of the industry but nobody had thought that this shy girl would one day become the most celebrated woman director of India. With critically acclaimed films like Luck By Chance, Zindagi Na Milegi Dobara, and Dil Dhadakne Do for her track record, she is very much a part of the young brigade of the industry. 
 
<keyword id="641463" type="UNKNOWN" weightage="100" keywordseo="Premlata-Agarwal">Premlata Agarwal</keyword> 
Perhaps the most unheard name in the list, Premlata Agarwal is a mountain climber, who is mostly remembered as the oldest Indian woman to have scaled Mount Everest. Not only this, she is also the first Indian woman to scale the Seven Summits, the ultimate dream for any mountaineer. For her contributions, the Indian government facilitated her with Padma Shri in 2013. 
 
<keyword id="1801283" type="UNKNOWN" weightage="100" keywordseo="Ishita-Malaviya">Ishita Malaviya</keyword> 
Known as India’s first professional female surfer, Malaviya has been surfing since past 8 years. She runs a surf club with her partner Tushar Pathiyan, known as the Shaka Surf Club, in addition to this, she also runs a camp called Camp Namaloha in Coastal Karnataka in India. She wants to promote the Indian coastline as a worldwide surfing destination.

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