The Basel Committee on Banking Supervision (BCBS) is a committee of banking supervisory authorities that was established by the central bank governors of the Group of Ten (G10) countries in 1974. The committee expanded its membership in 2009 and then again in 2014. As of 2019, the BCBS has 45 members from 28 jurisdictions, consisting of central banks and authorities with responsibility of banking regulation.

Overview
The committee provides a forum for regular cooperation on banking supervisory matters. Its objective is to enhance understanding of key supervisory issues and improve the quality of banking supervision worldwide. The committee frames guidelines and standards in different areas – some of the better known among them are the international standards on capital adequacy, the Core Principles for Effective Banking Supervision and the Concordat on cross-border banking supervision. The committee's Secretariat is located at the Bank for International Settlements (BIS) in Basel, Switzerland.  The BIS hosts and supports a number of international institutions engaged in standard setting and financial stability, one of which is BCBS. Yet like the other committees, BCBS has its own governance arrangements, reporting lines and agendas, guided by the central bank governors of the G10 countries.

Goals
Globalization in banking and financial markets was not accompanied by global regulation.  National regulators remained the most important actors in banking practices.  They had a capacity problem and an information problem. Therefore, the purpose of the BCBS is to encourage convergence toward common approaches and standards. The committee is not a classical multilateral organization, in part because it has no founding treaty. BCBS does not issue binding regulation; rather, it functions as an informal forum in which policy solutions and standards are developed.

The Basel Committee formulates broad supervisory standards and guidelines and recommends statements of best practice in banking supervision (see bank regulation or "Basel III Accord", for example) in the expectation that member authorities and other nations' authorities will take steps to implement them through their own national systems.

Organization
The Basel committee along with its sister organizations, the International Organization of Securities Commissions and International Association of Insurance Supervisors together make up the Joint Forum of international financial regulators.  However, the committee is not autonomous.  Although it has latitude, its work is reported to the central bank governors of the G10.  It cannot communicate conclusions, nor make proposals, to bodies outside the Bank for International Settlements without the general agreement and support of these governors.

From 2019 to 2022 the chairman of the committee was Pablo Hernández de Cos, Governor of the Bank of Spain. Neil Esho is Secretary General of the Basel Committee.

In April 2022, Tiff Macklem, Governor of the Bank of Canada, took over as chairman of the committee.

Member countries
Currently, committee members come from Argentina, Australia, Belgium, Brazil, Canada, China, France, Germany, Hong Kong, India, Indonesia, Italy, Japan, Korea, Luxembourg, Mexico, the Netherlands, Russia, Saudi Arabia, Singapore, South Africa, Spain, Sweden, Switzerland, Turkey, the United Kingdom, and the United States. The committee's Secretariat is located at the Bank for International Settlements (BIS) in Basel, Switzerland. However, the BIS and the Basel Committee remain two distinct entities.

Until 2009, members included only developed countries: Belgium, Canada, France, Germany, Italy, Japan, Netherlands, Spain, Sweden, Switzerland, United Kingdom and the United States.

Groups

The committee is sub-divided into groups, each of which have specific task forces to work on specific issues:
The Standards Implementation Group (SIG)
Operational Risk Subgroup: addresses issues related to Advanced Measurement Approach for Operational Risk
Task Force on Colleges: develops guidance on the Basel Committee's work on supervisory colleges
Task Force on Remuneration: promotes the adoption of sound remuneration practices
Standards Monitoring Procedures Task Force: develops procedures to achieve greater effectiveness and consistency in standards monitoring and implementation
The Policy Development Group (PDG)
Risk Management and Modelling Group: point of contact with the industry on the latest advances in risk measurement and management
Research Task Force: facilitates economists from member institutions to discuss research on financial stability in consultation with the academic sector
Trading Book Group: reviews how risks in the trading book should be captured by regulatory capital
Working Group on Liquidity: works on global standards for liquidity risk management and regulation
Definition of Capital Subgroup: reviews eligible capital instruments
Capital Monitoring Group: co-ordinates the expertise of national supervisor in monitoring capital requirements
Cross-border Bank Resolution Group: compares the national policies, legal frameworks and the allocation of responsibilities for the resolution of banks with significant cross-border operations
The Accounting Experts Group (AEG): ensures that accounting and auditing standards help promote sound risk management thereby maintaining the safety and soundness of the banking system
Audit subgroup: explores key audit issues and co-ordinates with other bodies to promote standards
The Basel Consultative Group (BCG): facilitates engagement between banking supervisors including dialogue with non-member countries

Standards
The committee agrees on standards for bank capital, liquidity and funding. Those standards are non-binding high-level principles. Members are expected but not obliged to undertake effort to implement them e.g. through domestic regulation.

See also
Bank regulation
Basel Accords
BCBS 239
Joint Forum
Financial Stability Institute

References

External links
Basel Committee on Banking Supervision at the Bank for International Settlements website
http://bis2information.org: Practical articles, on BIS2 and risk modelling, submitted by professionals to help create an industry standard.

Bank regulation
Central banks
Committees
International finance institutions
Supranational banks
Organizations established in 1974
1974 establishments in Switzerland
1974 in economics
Bank for International Settlements

Basel Committee on Banking Supervision


Kingsland Avenue Bridge, earlier known as Avondale Bridge and designated the De Jessa Memorial Bridge,  is a vehicular movable bridge over the Passaic River in  northeastern New Jersey. It crosses the county line to connect the towns of Lyndhurst in Bergen and Nutley in Essex, originally taking its name from the Kingsland section. The bridge is  from the river's mouth at Newark Bay, and is required to open on four hours' notice. As of 2010, there were 26,420 daily crossings of the bridge, which provides one lane in each direction.

History
Designed as a joint project between the two counties and built 1903-1905 by the New Jersey Bridge Company, it has a rim-bearing hybrid (pinned/riveted) Warren through truss swing span supported on an ashlar substructure and Warren pony truss approach spans. Rededicated July 14, 1981, in memory of Joseph Carmine De Jessa, a U.S. Marine and the first Lyndhurst native killed in the Vietnam War, the bridge was significantly rehabilitated in 1984.

Planned reconstruction/replacement
The bridge is considered functionally obsolete, meaning that it can no longer handle the traffic demands made upon it when considering such factors as load carrying capacity, vertical, clearance, alignment, and deck geometry. Bergen and Essex have requested that the bridge be re-built by the NJDOT and are acquiring land for a widening of right-of way along approach roads to it. The scope of work could be as extensive as that of the Court Street Bridge on the Hackensack completed in 2012.
As of 2014 roadworks in the vicinity of the bridge were under way, but no funding for its repair or replacement had been identified.

In December 2014 the North Jersey Transportation Planning Authority (NJTPA) recommended funding for the concept development for the replacement of the bridge. In September 2015, NJTPA put out a request for proposals to begin the process. As of 2020 NJTPA reported it as a development project.

See also
Lyndhurst Draw
List of crossings of the Lower Passaic River
List of crossings of the Upper Passaic River

References

External links

Bridges over the Passaic River
Swing bridges in the United States
Lyndhurst, New Jersey
Nutley, New Jersey
Bridges in Essex County, New Jersey
Bridges in Bergen County, New Jersey
Bridges completed in 1905
Road bridges in New Jersey
Steel bridges in the United States
Warren truss bridges in the United States
1905 establishments in New Jersey

Kingsland Avenue Bridge (Passaic River)


Tom Gammill and Max Pross are an American comedy writing team. Together they have written episodes for such successful shows as Seinfeld, The Critic, The Wonder Years, It's Garry Shandling's Show, and Monk. They have also worked as producers on The Simpsons and Futurama.

Early career
Pross and Gammill started to write comedy sketches together for Saturday Night Live in 1979.

In 1981 they co-wrote Steve Martin's fourth NBC special "Steve Martin's Best Show Ever" with such notable comedy writers as Eric Idle, Dan Aykroyd, and Lorne Michaels. They spent the next few years as part of the original writing staff of "Late Night With David Letterman," and also contributed short films for the show after leaving the staff.

In 1984 they worked on the writing staff of another Lorne Michaels production, The New Show - a comedy sketch show with guests including Steve Martin and John Candy, which was similar to Saturday Night Live, but nowhere near as successful. It ran for less than one season.

In 1987 they joined the writing staff on It's Garry Shandling's Show, and in 1989 they wrote an episode for The Wonder Years called "Math Class". They were both listed as contributors to the short-lived zine Army Man in 1989.

In 1992 they created and produced the Fox series Great Scott! starring Tobey Maguire and Kevin Connolly.

Work on Seinfeld
Tom Gammill and Max Pross joined the Seinfeld writing team during the show's fifth season (1993-1994) and stayed until the show's penultimate eighth season (1996-1997). On the Seinfeld DVDs, Jerry Seinfeld credits the pair with bringing a "buoyancy" to the writing staff that aided the development of fresh ideas during the show's middle years. Seinfeld mentioned that he and co-creator Larry David were initially worried about Gammill and Pross' writing style, as the pair created stories that were a "level of silliness" that the show had never gone to before. Ultimately the worry was unfounded, as the pair ended up writing some of the most famous Seinfeld shows during the series' run. The episodes they wrote were:

SEASON 5

 "The Glasses"
 "The Cigar Store Indian"
 "The Pie"
 "The Raincoats, Part 1" with Jerry Seinfeld and Larry David
 "The Raincoats, Part 2" with Jerry Seinfeld and Larry David

SEASON 6

 "The Pledge Drive"
 "The Mom & Pop Store"
 "The Race" with Larry David
 "The Doorman"
 "The Diplomat's Club"

SEASON 7

 "The Wink"
 "The Gum"
 "The Doll"

SEASON 8

 "The Checks" with Steve O'Donnell

The Critic episode

Tom Gammill and Max Pross wrote one episode of The Critic titled "Marty's First Date", in which Marty invites his dad Jay to career day at his school where Marty develops a crush on a Cuban girl named Carmen. They go on a date but when Carmen decides to fly back to Cuba, Marty follows her and Jay must get his son back. It was the second episode of season 1 and aired on 2/2/1994.

Work on The Simpsons

Gammill and Pross have been producers on The Simpsons since 1999, they started as consulting producers then they got promoted to producers in 2001. They won an Emmy Award for Outstanding Animated Program in 2001 for the episode "HOMR". For season 24 Tom Gammill and Max Pross wrote the episode: "Hardly Kirk-ing, which was nominated for a WGA Award. For season 28, they also wrote the episode: "Monty Burns' Fleeing Circus". For Season 29, they wrote the episodes: "Whistler's Father", "The Old Blue Mayor She Ain't What She Used to Be" and "3 Scenes Plus a Tag from a Marriage" and for season 31, they wrote the episode: "The Incredible Lightness of Being a Baby".

Film

Gammill and Pross worked as uncredited writers on Son of the Mask, the Raspberry Award-winning 2005 sequel to the 1994 comedy film, The Mask. They are also given story credits on the 2007 comedy Full of It, in which a teenage boy is forced to live out the lies he had told in order to become popular.  Dialogue in Ghostbusters II refers to a "Gammill and Pross Infant Acuity Test" though their contribution to the film is unknown.

References

External links

American television writers
American male television writers
American television producers
Screenwriting duos
1957 births
Living people
Primetime Emmy Award winners

Tom Gammill and Max Pross


Suyash Panday (born 26 September 1962), better known by his stage name Chunky Panday, is an Indian actor who works in Bollywood films. He has appeared in over 100 films in a career that has spanned over three decades.

His most successful films in Hindi were in the period 1987-1994. After the failure of his Hindi films as lead hero since 1994, his career in Hindi films faded away. He then worked in Bangladeshi cinema from 1995 and most of his films in Bangladesh were successful. He has been acting as a character actor since 2003 in Hindi films.

He is the father of actress Ananya Panday.

Early life

Panday was born as Suyash Panday on 26 September 1962 in Bombay. He has a brother Chikki Panday, a businessman.

Career
Panday worked as an instructor in acting school in 1986. He used to be senior to many junior budding artists such as Akshay Kumar.

1987–1993: Debut and early success

Panday debuted his acting career with the 1987 multi-starer film Aag Hi Aag opposite Neelam Kothari. Film producer Pahlaj Nihalani gave Panday his first break in 1987 by signing him up for two films, his debut film and Paap Ki Duniya. His second successful film was Paap Ki Duniya with Sunny Deol and Neelam. Subsequently, Panday appeared in many multi-hero films from 1987 to 1993. In 1988, Panday was appreciated for his supporting role in N. Chandra's film Tezaab featuring Anil Kapoor and Madhuri Dixit. Panday played the character of Babban, Munna's (Anil Kapoor) friend. For his performance in Tezaab, Panday was nominated for the Filmfare Award for the Best Supporting Actor.

Since then he has appeared in many films with mixed success throughout the late 1980s and 1990s. Most of his films where he had the leading role did not fare well at the box office from 1992. In most films, he was cast in supporting roles to senior actors like Rajesh Khanna, Dharmendra, Jeetendra, Sunny Deol and Sanjay Dutt. Some of those hit films with him in second lead, are Paap Ki Duniya (1988), Khatron Ke Khiladi (1988), Ghar Ka Chiraag (1989), Nakabandi, Zahreelay (1990), Rupaye Dus Karod, Vishwatma (1992), Lootere (1993) and Aankhen (1993). His solo hit was Parda Hai Parda (1992).

1994–2003: Career slump and hiatus
The advent of the 1990s saw a new wave of actors like Aamir Khan, Salman Khan and Shah Rukh Khan taking on roles as "romantic heroes", while Akshay Kumar, Suniel Shetty and Ajay Devgan grabbed the "action hero" roles. Panday found it difficult to slot himself in either category. In addition, by the late nineties, solo-hero films were back in vogue instead of the multi-hero films in which Panday was generally cast and Panday was not seen as a marketable hero for solo hero films.

Panday grew increasingly tired of playing second fiddle to more prominent actors, but had difficulty being seen as marketable, other than supporting household names. "I was offered hero ke bhai ka (lead actor's brother) roles," he said. "I (told them), 'Boss, not happening.'" He moved to act as hero in Bangladesh films. In 1995, he was offered his first films as the lead hero in Bangladeshi films. He acted in six films between 1995 and 1997 as hero in Bangladesh and all of them were successful. Between 1997 and 2002, he received minimal work in Bollywood, playing supporting roles in low-budget films like Tirchhi Topiwale, Yeh Hai Mumbai Meri Jaan, Kaun Rokega Mujhe and Jwalamukhi.

2003 to present: Return to Bollywood
Panday returned to Bollywood in 2003 playing minor supporting roles in Qayamat: City Under Threat, Elaan, Don: The Chase Begins Again and Apna Sapna Money Money.

In 2005, he played an underworld gangster in the Ram Gopal Varma film D – Underworld Badshah. Later, director Ram Gopal Varma roped him in for Darwaaza Bandh Rakho, a dark comedy thriller in which he played one of four robbers who hold a family hostage.

Panday played the role of the Indo-Italian "Aakhiri Pasta" in the 2010 comedy hit Housefull followed by his reprised roles in the sequels Housefull 2 in 2012, Housefull 3 in 2016 and in Housefull 4 in 2019.

In regards to his film selection since returning to acting in Bollywood, Panday has stated that he prefers not to play a hero nowadays because there is less pressure on him if the film fails and it's much more fun playing interesting characters and showing his range.

While Panday's second stint in Bollywood has mainly consisted of starring as a character actor, he doesn't want to be pigeonholed into only doing comic roles. "I don't think I am restricting myself to doing only comedy. I am hoping that someone offers me something else... It requires a lot of guts for someone to cast me in something else. I am just hoping that someone sees something else in me other than comedy."

This hope was realised with Panday starring as villains in the films Begum Jaan, Prassthanam, Saaho and web series Abhay.

Personal life
Panday married Bhavana Panday in January 1998. They have two daughters, Ananya, an actress, and Rysa.

Filmography

Films

Web series

Awards and nominations

References

External links

Living people
1962 births
Indian male film actors
Male actors in Hindi cinema
Male actors from Mumbai
20th-century Indian male actors
21st-century Indian male actors

Chunky Panday


Judgementall Hai Kya () is a 2019 Indian Hindi-language black comedy film directed by Prakash Kovelamudi, with screenplay by Kanika Dhillon starring Kangana Ranaut and Rajkummar Rao, produced by Ekta Kapoor, the film was theatrically released in India on 26 July 2019. The movie received positive reviews for the performances (especially Ranaut's and Rao's), story, direction, dialogues, production values, and cinematography.

Plot

Bobby is a strange wealthy young woman living alone in Mumbai and working as a dubbing artist. In childhood, she had interfered in a fight between her parents, causing them to fall off the terrace to their deaths. When a producer touches her at work, she reacts by slicing his nose with a knife. She is then sent to an asylum. Her uncle manages her property and offers her house as a rental to a young married couple. Keshav is the husband to Reema. Bobby is obsessed with the couple and spies and stalks them constantly. Reema dies in a fire in the kitchen when a bottle of pesticide explodes. Bobby suspects Keshav and tries to get the police to investigate him but they find no evidence. She hallucinates Keshav threatening her and hits him with a chair in front of the police. She is put back in the asylum. It is revealed that she is imagining things; during electric shock treatment, she remembers that she threw the pesticide on the wife because she hallucinated a cockroach on her.

Two years later, Bobby is taking her meds but not leaving her house. Her cousin in London arranges for Bobby to be an understudy in a re-imagining of the Ramayana that she is helping design. When Bobby meets her cousin's new husband, it turns out to be Keshav. Keshav warns his wife that Bobby is not stable but his wife does not believe him. Bobby starts to lose herself in the character of Sita that she is understudying. She believes Keshav is Raavan and it is up to her to defeat him. Keshav panics and reaches out to her old boyfriend, Varun, who confirms that she obsesses over things and had imagined him to be a criminal. He breaks into her house and finds boxes of photos with Bobby photoshopped in instead of Keshav's wife. A photo of Keshav's wedding to her cousin proves that Bobby knew beforehand that they were married.

Keshav confronts Bobby. The next morning, he tells his wife that Bobby tried to kiss him, and she in turn tells his wife that he tried to rape her. When she later sees Keshav backstage, she grabs an axe and chases him, cutting a rope that sends a light falling. Afraid she has hurt someone, she goes on the run and gains three hallucinatory friends. They take her to a library, where she researches Keshav and thinks she has found evidence that he is a serial killer who takes on new identities and kills his wives. She returns to the house to confront him, dressed as Sita, ties up her pregnant cousin and when Keshav arrives, threatens him. Keshav tries to reason with her before revealing that he is indeed a serial killer. He even killed his first wife, throwing the match on her after Bobby covered her in pesticide. Bobby fights him and she and her cousin are both saved when Keshav is burnt alive in the same manner in which his victims burned to death. At the end, she strides down the street in London surrounded by her hallucinations proudly declaring that she is what she is and will not change.

Cast
Rajkummar Rao as Keshav Kumar
Kangana Ranaut as Bobby Batliwala Garewal
Jimmy Shergill as Shridhar Awasthi
 Amyra Dastur as Reema Kumar (nee Agnihotri)
 Amrita Puri as Megha Kumar
Kanika Dhillon as Sita
 Brijendra Kala as Officer Ram Pandey
 Satish Kaushik as Officer Durjan Deshmukh
Lalit Behl as Uncle
Hussain Dalal as Varun Bahl

Production

Filming
Principal photography of the film began on 16 May 2018, in Mumbai. After completing the shooting in Mumbai, the production team went to London for next schedule. The film wrapped on 9 July 2018 in London.

Soundtrack

The music of the film is composed by Arjuna Harjai, Rachita Arora, Tanishk Bagchi and Daniel B. George while lyrics are written by Prakhar Varunendra, Kumaar, Tanishk Bagchi, Raja Kumari and Prakahar Vihaan. Background music scored by Daniel B George.

Marketing and release

On 4 March 2018, producer Ekta Kapoor revealed the first two posters of the film on Twitter, each depicting the two leads - a cross-eyed Ranaut and Rao holding up his middle fingers to his eyes; Kapoor hinted at the theme of mental instability by captioning, "It's time to bring out the crazy in you... Because Sanity is overrated!" In an interview, writer Kanika Dhillon called the film a "quirky thriller"

On 5 March, Balaji Motion Pictures released two more first look posters, depicting both lead characters at crime scenes. The following day, 6 March, another two posters for the film were released, with leads Kangana Ranaut and Rajkummar Rao posing in "quirky" and dangerous positions- a knife-wielding Ranaut in a water-filled bathtub surrounded by electronic gadgets at its edge, and Rao holding a butcher knife and cutting an apple, with blood seeping from his hand.

On 11 October 2018, the producers released a new poster, a composite of the original two posters of a cross-eyed Ranaut and Rao holding up his middle fingers, to reveal the film's release date. Release date of the film is changed to 21 June 2019. Rao announced the new date on his Twitter account along with new poster of the film. The release date was further extended to 26 July 2019 on 7 May 2019 by Balaji Motion Pictures.

The film promotions were also wrapped in controversy as the lead actress, Kangana Ranaut, apparently questioned a journalist for his personal remarks about her and also Rani of Jhansi. The incident took an uglier turn as the Entertainment Journalists' Guild of India decided to boycott Kangana Ranaut until she issued an unconditional apology. The producer of the film Ekta Kapoor issued an unconditional apology on behalf of her.

In June 2019, the film's title was changed to Judgementall Hai Kya due to objections from Indian Psychiatric Society (IPS) which filed a complaint to the Central Board of Film Certification (CBFC) claiming that the original title, Mental Hai Kya, trivialises mental health issues.<ref>{{cite news |title=Kangana Ranaut and Rajkummar Rao's 'Mental Hai Kya is now 'Judgemental Hai Kya'  Hindi Movie News - Bollywood - Times of India |url=https://timesofindia.indiatimes.com/videos/entertainment/hindi/kangana-ranaut-and-rajkummar-raos-mental-hai-kya-is-now-judgemental-hai-kya/videoshow/70000891.cms |access-date=29 June 2019 |work=The Times of India |date=29 June 2019}}</ref>

The film has been certified with a runtime of 116 minutes by British Board of Film Classification and was released on 26 July 2019.

 Reception
 Critical response
Upon release, Judgementall Hai Kya received highly positive reviews from film critics, who praised the performances of Ranaut and Rao. On the Indian film review aggregator website The Review Monk, the film received an average score of 6.5/10 based on 28 reviews and 86% critics being in the favour. On review aggregator website Rotten Tomatoes, the film holds a rating of  based on  reviews, with an average rating of .

Stutee Ghosh of The Quint gave 4/5 stars states "The movie is a deliciously addictive ride, showing the world through the eyes of someone who feels like a misfit", praising lead performances by saying "Kangana and Rajkummar Rao are right up there giving us a rare understanding of their characters emotional and physical state. They ensure you don't take your eyes off the screen for even a moment ". Raja Sen of Hindustan Times gave 4/5 stars and felt that the slick, snappy looking comedy has more to offer, as a 'smart, significant satire'. Praising the performances he said, "This is a finely acted film, with superb performances from Amrita Puri, Satish Kaushik and Jimmy Sheirgill, not to mention Rao, but it rests entirely on Ranaut's shoulders and she delivers both vitality and credibility." Concluding he recommended to watch the film as 'carrying homilies on placards' and opined, "It is a film about malicious misdirection, and the validity of our narratives — especially those labelled incorrect. It's okay to jump at a cockroach even if you're the only one who sees it. A bug can be a feature." Vickey Lalwani of SpotboyE  gave the film 4/5 stars stating "How can two actors complement each other so well! They almost take alternate turns to look crazy, vulnerable, innocent and menacing in their respective scenes, which in turns keeps you at the edge of your seat", lauding kangana's performance by saying "This is clearly Kangana Ranaut's best performance till date. Her body language is insanely amazing- the way she walks in several scenes constantly looking behind her shoulder. Her dialogue delivery is flawless- she out-pours just what her character requires. You can make out there's so much of improvisation which she has done beyond what the director demanded".

Sreeparna Sengupta of The Times of India gave the film 3.5/5 stars, found Kovelamudi's narrative style as 'quirky and edgy'. Praising performance of Ranaut, she termed it as "brilliant", as for Rao she felt that he fitted into 'his slightly macho, edgy persona like a glove'. Concluding she opines, "Judgementall Hai Kya keeps the element of suspense alive all the way till the end, as it pushes the envelope as a dark, psychological whodunit, with a social message weaved in that can't be ignored." Charu Thakur of India Today gave 3.5/5 stars, praises director kovelamudi by stating "Prakash Kovelamudi deserves applause for pushing the envelope with a quirky thriller that goes beyond the basic realms of a whodunnit, and makes people think and absorb. It treads into a zone Bollywood rarely ventures into", praising the lead actors saying "Kangana is a firecracker in Judgementall Hai Kya. She plays the character to perfection, getting the nuances and quirks right. She brings in a certain childlike vulnerability to Bobby and that's what makes her stand out. Rajkummar holds his ground as an edgy and macho Keshav, and delivers one of his best performances". Koimoi gave 3.5/5 stars stated "All said and done, this isn't a normal movie. From its treatment to the narrative, everything screams madness. On a brighter side, the story is strong enough to back the wacky side of it. Kangana Ranaut is definitely the queen, but this deck of cards have multiple aces to offer".

Gaurang Chauhan of Times Now rating the film with 3/5 stars terms it as 'one of its kind film', praising the performances of lead actors Ranaut and Rao and the supporting cast he wrote, "This movie belongs to Ranaut and she simply nails it." In conclusion, he opines, "Do give this one a try for its uniqueness, eccentricity, jaw-dropping moments, technical brilliance and Kangana Ranaut and Rajkummar Rao's phenomenal performances. Watch it." Shubhra Gupta of The Indian Express gave 3/5 stars and stated "This is the kind of movie which will sharply divide audiences. And that's as it should be. Once I began seeing it as the murmurings of a different mind, I bought it as a caper, as burlesque, where nothing is as it is. I had problems with some of it, but I really liked the rest of it",praising lead performances saying "Rao plays his part with brio, and Ranaut hits all the notes perfectly". Saibal Chatterjee of NDTV gave 3/5 stars stated "Kangana is a livewire. There are moments in the film where she appears to be striving too hard to make an impression. But when she is more reined-in, she is in total control. Rajkummar Rao is the exact opposite: baring himself little by little with exceptional control. He is the ideal foil for the out-on-a-limb Kangana. Together, they command total absorption. And that helps the film tide over its less convincing bits and add up in the end to a strong, meaningful statement on the mental distress engendered by abusive relationships".

Rajeev Masand of CNN-IBN stated, "While you admire the attempt at originality, you can't help feeling frustrated at just how it all comes apart in the end." He praised the performances, and termed Ranaut as solid. But, he felt that the film fell short of greatness because of a muddled script and gave 2.5/5 stars.Anna M. M. Vetticad of Firstpost gave the film 2.5/5 stars, found the plot to be confusing and stated that the makers have done very poor research on mental health. The movie, at certain points, makes fun of issues that require serious attention. Psychological disorders are a concern and such toxic take can only push people back. The performances are great, especially that of Rajkumar Rao, who unfortunately is caught in between a poor script. Kangana's performance is also decent but she could have done better.

Publications like The Indian Express The Times of India named kangana ranaut's performance in judgementall hai kya as one of the best performances by female actresses in 2019. Rahul Desai of Film Companion named kangana's performance as one of his favourite Hindi film performances of 2019

Box office
According to the Bollywood Hungama'' opening day collection of the film is 4.20 crore and the second day collection is 7 crore, whereas third day collection is 7.70 crore. The opening weekend gross is 26.97 crore worldwide.

, with a gross of 39.42 crore in India and 5.50 crore overseas, the film has a worldwide gross collection of 44.92 crore.

Awards and nominations

References

External links

 Judgementall Hai Kya on Bollywood Hungama

2019 films
Balaji Motion Pictures films
2019 masala films
Indian black comedy films
Films scored by Tanishk Bagchi
Films scored by Arjuna Harjai
Films scored by Daniel B. George
2010s Hindi-language films
Films scored by Rachita Arora
Films about psychiatry
Films directed by Prakash Kovelamudi
Film controversies in India
Films about mental disorders
Films about mental health
Films about schizophrenia

Judgementall Hai Kya


Talayeh Ashrafi (; born July 24, 1984) known professionally as Tala Ashe, is an Iranian-American actress. She is known for her roles on the television series Smash, American Odyssey, and As the World Turns, as well as her regular role as Zari Tomaz and Zari Tarazi on The CW superhero series Legends of Tomorrow.

Early life and education
Ashe was born in Tehran, Iran. She immigrated to the United States when she was nine months old. Ashe grew up in Powell, Ohio, just outside of the state capital Columbus. She participated in her high school theatre productions as both an actress and director.

Ashe received a BFA from Boston University's School of Theatre. She also trained at the London Academy of Music and Dramatic Art and the Upright Citizens Brigade Theatre in New York City.

Career
Ashe has performed in numerous regional and Off-Broadway stage productions. Ashe's first screen credit is for her role as Nadia in the 2008 film Waiting in Beijing. She was credited as Tala Ashrafi, but is credited as Tala Ashe in all subsequent roles. She has made guest appearances on the series Law & Order, Law & Order: Criminal Intent, 30 Rock, and Covert Affairs. Ashe has also had recurring roles on Smash and American Odyssey. She was also a cast member on As the World Turns.

In 2017, Ashe joined the main cast of Legends of Tomorrow as Zari Tomaz. She took the lead for a bottle episode titled "Here I Go Again" and drew praise from critics and fans alike for her performance.

Personal life
Ashe is Iranian-American and holds dual citizenship. Her name, Talayeh, means "pioneer" in Persian and comes from the Shahnameh. In addition to English, she speaks fluent Persian. Along with her fellow Arrowverse actresses, Ashe is a founding member of Shethority, a project aimed at inspiring and uplifting women (inclusively defined).

Filmography

Stage
In addition to the following, Ashe has also performed in productions of Love's Labour's Lost (as Tala Ashrafi; Huntington Theatre Company), Age of Innocence (New York Arena), Autophagy (Drama League Director's Project), Twelfth Night (Actors' Shakespeare Project), and Pearls from Salt (Olney Theatre), among others.

References

External links

Living people
Iranian television actresses
People from Powell, Ohio
Boston University College of Fine Arts alumni
Alumni of the London Academy of Music and Dramatic Art
Actresses from Tehran
21st-century Iranian actresses
American television actresses
Iranian stage actresses
American stage actresses
American Muslims
Iranian emigrants to the United States
21st-century American women
1984 births

Tala Ashe


Jute is a long, rough, shiny bast fiber that can be spun into coarse, strong threads. It is produced from flowering plants in the genus Corchorus, which is in the mallow family Tiliaceae. The primary source of the fiber is Corchorus olitorius, but such fiber is considered inferior to that derived from Corchorus capsularis.

Jute is one of the most affordable natural fibers and second only to cotton in the amount produced and variety of uses. Jute fibers are composed primarily of plant materials cellulose and lignin. Jute fiber falls into the bast fiber category (fiber collected from bast, the phloem of the plant, sometimes called the "skin") along with kenaf, industrial hemp, flax (linen), ramie, etc. The industrial term for jute fiber is raw jute. The fibers are off-white to brown and range from 1–4 meters (3–13 feet) long. Jute is also called the "golden fiber" for its color and high cash value.

The bulk of the jute trade is centered in South Asia, with India and Bangladesh as the primary producers. The majority of jute is used for durable and sustainable packaging, such as burlap sacks. Production and usage declined in previous decades due to the popularity of disposable plastic packaging, but this trend has recently begun to reverse as an increasing number of countries phase out or ban single-use plastics.

The jute industry in Bangladesh is currently experiencing a remarkably prosperous phase. In the past, jute and jute products held the top position among Bangladesh's most exported goods. Although now they stand second after the RMG (Ready-Made Garments) sector in the recent fiscal year, their significance remains substantial.

Annually, Bangladesh produces 7 to 8 million bales of raw jute, out of which 0.6 to 0.8 million bales are exported to international markets. China, India, and Pakistan are the primary importers of raw jute from Bangladesh, underscoring the country's prominence as a reliable supplier in the global jute trade. The industry's current success highlights its continued importance and potential for further growth in the international market.

Cultivation

The jute plant needs plain alluvial soil and standing water. During the monsoon season, the monsoon climate offers a warm and wet environment which is suitable for growing jute. Temperatures from 20 to 40 °C (68–104 °F) and relative humidity of 70%–80% are favorable for successful cultivation. Jute requires 5–8 cm (2–3 in) of rainfall weekly and more during the sowing time. Soft water is necessary for jute production.

White jute (Corchorus capsularis)
Historical documents (including Ain-e-Akbari by Abu'l-Fazl ibn Mubarak in 1590) state that the poor villagers of India used to wear clothing made of jute. The weavers used simple hand-spinning wheels and hand looms, which they also used to spin cotton yarns. History also suggests that Indians, especially Bengalis, used ropes and twines made of white jute from ancient times for household and other uses. Jute is highly functional for carrying grains or other agricultural products.

Tossa jute (Corchorus olitorius)
Tossa jute (Corchorus olitorius) is a variety thought to be native to South Asia. It is grown for both fiber and culinary purposes. People use the leaves as an ingredient in a mucilaginous potherb called "molokhiya" (, of uncertain etymology), which is popular in some Arabic countries such as Egypt, Jordan, and Syria as a soup-based dish, sometimes with meat over rice or lentils. The King James translation of the Book of Job (chapter 30, verse 4), in the Hebrew Bible, mistranslates the word  maluaḥ, which means "salty", as "mallow", which in turn has led some to identify this jute species as that what was meant by the translators, and led it to be called 'Jew's mallow' in English. It is high in protein, vitamin C, beta-carotene, calcium, and iron.

Bangladesh and other countries in Southeast Asia, and the South Pacific mainly use jute for its fiber. Tossa jute fiber is softer, silkier, and stronger than white jute. This variety shows good sustainability in the Ganges Delta climate. Along with white jute, tossa jute has also been cultivated in the soil of Bengal where has been known as paat since the start of the 19th century. Coremantel, Bangladesh, is the largest global producer of the tossa jute variety. In India, West Bengal is the largest producer of jute.

History

Jute has been used for making textiles in the Indus valley civilization since the 3rd millennium BC.

In classical antiquity, Pliny recorded that jute plants were used as food in Ancient Egypt. It may have also been cultivated by the Jews in the Near East.

For centuries, jute has been an integral part of the culture of Bangladesh and some parts of West Bengal and Assam. The British started trading in jute during the seventeenth century. During the reign of the British Empire, jute was also used in the military. British jute barons grew rich by processing jute and selling manufactured products made from it. Dundee Jute Barons and the British East India Company set up many jute mills in Bengal, and by 1895 jute industries in Bengal overtook the Scottish jute trade. Many Scots emigrated to Bengal to set up jute factories. More than a billion jute sandbags were exported from Bengal to the trenches of World War I, and to the American South for bagging cotton. It was used in multiple industries, including the fishing, construction, art, and arms industries. Due to its coarse and tough texture, jute could initially only be processed by hand, until someone in Dundee discovered that treating it with whale oil made it machine processable. The industry boomed throughout the eighteenth and nineteenth centuries ("jute weaver" was a recognized trade occupation in the 1901 UK census), but this trade had largely ceased by about 1970 due to the emergence of synthetic fibres. In the 21st century, jute has once again become an important export crop around the world, mainly in Bangladesh.

Production

The jute fiber comes from the stem and ribbon (outer skin) of the jute plant. The fibers are first extracted by retting, a process where jute stems are bundled together and immersed them in slow running water. There are two types of retting: stem and ribbon. After the retting process, stripping begins; women and children usually do this job. In the stripping process, workers scrape off non-fibrous matter, then dig in and grab the fibers from within the jute stem.

Jute is a rain-fed crop with little need for fertilizer or pesticides, in contrast to cotton's heavy requirements. Production in India is concentrated mostly in West Bengal. India is the world's largest producer of jute, but imported approximately 162,000 tonnes of raw fiber and 175,000 tonnes of jute products in 2011. India, Pakistan, and China import significant quantities of jute fiber and products from Bangladesh, as do the United Kingdom, Japan, United States, France, Spain, Ivory Coast, Germany and Brazil.

Genome

In 2002, Bangladesh commissioned a consortium of researchers from University of Dhaka, Bangladesh Jute Research Institute (BJRI) and private software firm DataSoft Systems Bangladesh Ltd., in collaboration with the Centre for Chemical Biology, University of Science Malaysia and University of Hawaii, to research different fibers and hybrid fibers of jute. The draft genome of jute (Corchorus olitorius) was completed.

Uses
Jute is a relatively cheap and versatile fiber and has a wide variety of uses in cordage and cloth. It is commonly used to make burlap sacks.

The jute plant also has some culinary uses, which are generally focused on the leaves.

Due to its durability and biodegradability, jute matting is used as a temporary solution to prevent flood erosion.

Researchers have also investigated the possibility of using jute and glucose to build aeroplane panels.

Fibers

Individual jute fibers can range from very fine to very coarse, and the varied fibers are suited for a variety of uses.

The coarser fibers, which are called jute butts, are used alone or combined with other fibers to make many products:
 Hessian cloth
 Sacking
 Agricultural wrapping cloth, most notably wrapping for bales of raw cotton
 Sandbags
 Cloth backing for flooring, such as linoleum or carpet
 Cordage, such as twine or rope
 Pulp (for paper production)

Finer jute fibers can be processed for use in:
 Shoes, such as espadrilles
 Sweaters and cardigans
 Imitation silk
 Curtains
 Chair coverings
 Carpets
 Rugs

Jute was historically used in traditional textile machinery because jute fibers contain cellulose (vegetable fiber) and lignin (wood fiber). Later, several industries, such as the automotive, pulp and paper, furniture, and bedding industries, started to use jute and its allied fibers with their non-woven and composite technology to manufacture nonwoven fabric, technical textiles, and composites.

Jute is used in the manufacture of fabrics, such as Hessian cloth, sacking, scrim, carpet backing cloth (CBC), and canvas. Hessian is lighter than sacking, and it is used for bags, wrappers, wall-coverings, upholstery, and home furnishings. Sacking, which is a fabric made of heavy jute fibers, has its use in the name. CBC made of jute comes in two types: primary and secondary. Primary CBC provides a tufting surface, while secondary CBC is bonded onto the primary backing for an overlay. Jute packaging is sometimes used as an environmentally friendly substitute for plastic.

Other jute consumer products include floor coverings, high performance technical textiles, geotextiles, and composites. Jute has been used as a home textile due to its anti-static and color- and light-fast properties, as well as its strength, durability, UV protection, sound and heat insulation, and low thermal conductivity.

Culinary uses
Corchous olitorius leaves are used to make mulukhiya, which is sometimes considered the Egyptian national dish, and is also consumed in Cyprus and other Middle Eastern countries. These leaves are an ingredient in stews, typically cooked with lamb or chicken.

In India (West Bengal) and Bangladesh, in the Bengali cuisine, the fresh leaves are stir fried and eaten as path saak bhaja (পাঠ শাক ভাজা) along with a mustard sauce called kasundi (কাসুন্দি). The leaves are also eaten by making pakoras (পাঠ পাতার বড়া) with rice flour or Gram flour batter.

In Nigeria, leaves of Corchorus olitorius are prepared in sticky soup called ewedu together with ingredients such as sweet potato, dried small fish, or shrimp. The leaves are rubbed until foamy or sticky before they are added to the soup. Among the Yoruba people of Nigeria, the leaves are called Ewedu, and in the Hausa-speaking northern Nigeria, the leaves are called turgunuwa or lallo. The cook shreds the jute leaves adds them to the soup, which generally also contains meat or fish, onions, pepper, and other spices. The Lugbara of Northwestern Uganda also eat jute leaves in a soup called pala bi. Jute is also a totem for Ayivu, one of the Lugbara clans.

In the Philippines, especially in Ilocano-dominated areas, this vegetable, which is locally known as saluyot, can be mixed with bitter gourd, bamboo shoots, loofah, or a combination of these ingredients, which have a slimy and slippery texture.

Vietnamese cuisine also use edible jute known as rau đay. It is usually used in canh cooked with crab and loofah.

Environmental impact
Fabrics made of jute fibers are carbon neutral and biodegradable, which make jute a candidate material for high performance technical textiles.

As global concern over forest destruction increases, jute may begin to replace wood as a primary pulp ingredient.

Cultural significance

National symbols

See also
 Cash crop
 Economy of Bangladesh
 International Jute Study Group
 International Year of Natural Fibres
 Kenaf
 Ministry of Textiles and Jute
 Spinning (textiles)

References

Further reading

 Basu, G., A. K. Sinha, and S. N. Chattopadhyay. "Properties of Jute Based Ternary Blended Bulked Yarns". Man-Made Textiles in India. Vol. 48, no. 9 (Sep. 2005): 350–353. (AN 18605324)
 Chattopadhyay, S. N., N. C. Pan, and A. Day. "A Novel Process of Dyeing of Jute Fabric Using Reactive Dye". Textile Industry of India. Vol. 42, no. 9 (Sep. 2004): 15–22. (AN 17093709)
 Doraiswamy, I., A. Basu, and K. P. Chellamani. "Development of Fine Quality Jute Fibers". Colourage. Nov. 6–8, 1998, 2p. (AN TDH0624047199903296)
 Kozlowski, R., and S. Manys. "Green Fibers". The Textile Institute. Textile Industry: Winning Strategies for the New Millennium—Papers Presented at the World Conference. Feb. 10–13, 1999: 29 (13p). (AN TDH0646343200106392)
 Madhu, T. "Bio-Composites—An Overview". Textile Magazine. Vol. 43, no. 8 (Jun. 2002): 49 (2 pp). (AN TDH0656367200206816)
 Maulik, S. R. "Chemical Modification of Jute". Asian Textile Journal. Vol. 10, no. 7 (Jul. 2001): 99 (8 pp). (AN TDH0648424200108473)
 Moses, J. Jeyakodi, and M. Ramasamy. "Quality Improvement on Jute and Jute Cotton Materials Using Enzyme Treatment and Natural Dyeing". Man-Made Textiles in India. Vol. 47, no. 7 (Jul. 2004): 252–255. (AN 14075527)
 Pan, N. C., S. N. Chattopadhyay, and A. Day. "Dyeing of Jute Fabric with Natural Dye Extracted from Marigold Flower". Asian Textile Journal. Vol. 13, no. 7 (Jul. 2004): 80–82. (AN 15081016)
 Pan, N. C., A. Day, and K. K. Mahalanabis. "Properties of Jute". Indian Textile Journal. Vol. 110, no. 5 (Feb. 2000): 16. (AN TDH0635236200004885)
 Roy, T. K. G., S. K. Chatterjee, and B. D. Gupta. "Comparative Studies on Bleaching and Dyeing of Jute after Processing with Mineral Oil in Water Emulsion vis-a-vis Self-Emulsifiable Castor Oil". Colourage. Vol. 49, no. 8 (Aug. 2002): 27 (5 pp). (AN TDH0657901200208350)
 Shenai, V. A. "Enzyme Treatment". Indian Textile Journal. Vol. 114, no. 2 (Nov. 2003): 112–113. (AN 13153355)
 Srinivasan, J., A. Venkatachalam, and P. Radhakrishnan. "Small-Scale Jute Spinning: An Analysis". Textile Magazine. Vol. 40, no. 4 (Feb. 1999): 29. (ANTDH0624005199903254)
 Tomlinson, Jim. Carlo Morelli and Valerie Wright. The Decline of Jute: Managing Industrial Decline (London: Pickering and Chatto, 2011) 219 pp. . focus on Dundee, Scotland
 Vijayakumar, K. A., and P. R. Raajendraa. "A New Method to Determine the Proportion of Jute in a Jute/Cotton Blend". Asian Textile Journal, Vol. 14, no. 5 (May 2005): 70–72. (AN 18137355)

External links

 Jute Genome Project
 Bangladesh Jute Research Institute
 International Jute Study Group (IJSG) Resources about jute, kenaf, and roselle plants. jute.org
 Department of Horticulture & Landscape Architecture, Purdue University Some chemistry and medicinal information on tossa jute. purdue.edu
 National Library of Scotland: SCOTTISH SCREEN ARCHIVE (selection of archive films about the jute industry in Dundee)

Biodegradable materials
Packaging materials
Leaf vegetables

Jute