Radio Row is a nickname for an urban street or district specializing in the sale of radio and electronic equipment and parts. Radio Rows arose in many cities with the 1920s rise of broadcasting and declined after the middle of the 20th century. New York City's Radio Row, which existed from 1921 to 1966, was a warehouse district on the Lower West Side of Manhattan, New York City. Major firms that started there include Arrow Electronics and Schweber Electronics; the first of many radio-related stores was City Radio, opened in 1921 by Harry Schneck on Cortlandt Street, which became the central axis of a several-block area of electronics stores. The New York Times made an early reference to "Radio Row" in 1927, when Cortlandt Street celebrated a "Radio Jubilee"; the Times reported that "Today... Cortlandt Street is'Radio Row,' while Broadway is just a thoroughfare." The street was closed and decorated with flags and bunting, the Times reported plans for New York's acting mayor Joseph V. McKee to present a "key to Cortland Street" to the then-reigning Miss New York, Frieda Louise Mierse, while a contest was held to name a "Miss Downtown Radio."Pete Hamill recalled that, as a child, "On Saturday mornings, I used to venture from Brooklyn with my father to Radio Row on Cortlandt Street in Lower Manhattan, where he and hundreds of other New York men moved from stall to stall in search of the elusive tube that would make the radio work again.

My brothers went there with him in search of television components. Radio Row was a piece of all our interior maps."In 1930, the Times described Radio Row as located on Greenwich Street "where Cortlandt Street intersects it and the Ninth Avenue Elevated forms a canopy over the roadway.... The largest concentration is in the block bounded by Dey Street on the north and Cortlandt on the south, but Radio Row does not stop there, it estimated 50 stores in the vicinity, "all going full blast at the same time. There may be regulations prohibiting this vociferous practice, but if the radio dealers have anything to say it about it, it will never have the slightest effect along Radio Row.... The clamor is heard as one walks through the subway tunnel to the street exit.... The first impression, in fact the only one, is auditory, a reverberating bedlam, a confusion of sounds which only an army of loudspeakers could produce." It noted, in addition to merchants selling radio sets, "others display accessories... one shopkeeper last week featured a crystal set small enough to fit into a pocket, another gave prominent position to a bucket of condensers about an inch in side."World War II was unkind to Radio Row, in 1944 the Times lamented that the "one-time repository of nearly everything from a tube socket to a complete radio station" was "bargainless and setless, due to wartime scarcities" but that it still catered to "tinkerers and engineers" and that an "old spirit" and "magical quality" were still there.

One shop said it was able to stay in business just by "making repairs on the electric meters burned out by the students of the city schools who were studying radio," and all were optimistic about growing public interest in "two new kinds of radio: FM and television."But Radio Row rebounded. The used radios, war surplus electronics and parts piled so high they would spill out onto the street, attracting collectors and scroungers. According to a business writer, it was the origin of the electronic component distribution business. Radio Row was torn down in 1966 to make room for the World Trade Center. Planning for its demise began five years earlier, when the Port Authority of New York and New Jersey rejected a proposal to build the new complex on the east side of Lower Manhattan. Instead, officials chose a site on the west side, near the Hudson and Manhattan Railroad terminals, began planning to use eminent domain to remove the shops in the area bounded by Vesey, Church and West streets. Local opposition arose to the decision to raze the streets on the west side for the World Trade Center.

Sam Slate reported on this for WCBS Radio in 1962:Shaping up in New York City is a legal battle of overriding importance. Its outcome will conceivably affect us all. If the considerable power of the Port Authority is allowed to dispossess the merchants of Radio Row it is our conviction, no home or business is safe from the caprice of government; the city objected to the compensation given for the streets themselves obscured by the superblock. A committee of small business owners led by Oscar Nadel took exception to the Port Authority's offer of $30,000 to any business in the condemned area, regardless of its size or age. Nadel's group, who estimated that businesses in the area employed 30,000 people and generated $300 million per year, sued the Port Authority, but the court threw out the case, called Courtesy Sandwich Shop v. Port of New York Authority, in November 1963 "for want of a substantial federal question". After the closing of these stores, the concentration of radio retailers was not duplicated elsewhere in New York.

Some clusters of radio and electronics stores were created or added to in the Canal Street and Union Square areas. A large black-and-white photo mural of Radio Row can be viewed at the World Trade Center Port Authority Trans-Hudson station. In the 1950s and 1960s, Arch Street from 6th to 11th Streets was known as "Radio Row", after its electronic-goods stores. In 1923, The Boston Globe reported that a section of the North End had been dubbed "Radio Row" because of its many radio antennas. "The hurdy-gurdy has a rival," wrote the Globe. "No skyline anywhere else in the city

Mitali Mukherjee is a Bangladeshi classical and playback singer. She received the National Film Award of Bangladesh in 1982 for the song Ei Dunia Ekhon To Ar for the film Dui Poishar Alta. Mukherjee was born in Mymensingh to her parents Amulya Kumar Kalyani Mukherjee, she began her formal training in classical music under Pt. Mithun Dey, she studied music at Maharaja Sayajirao University of Baroda. Mukherjee's first album "Saahil" was released by HMV, she collaborated with lyricist Gulzar for her album "Chand Parosa Hai". She has sung in several languages, including Punjabi and Tamil. Mukherjee served as the judge of the television shows Shera Kontho. "Gaan-e Gaan-e Gunijon Shongbordhona" by Citi Bank Mukherjee is married to Ghazal singer Bhupinder Singh since 1983. She resides in Mumbai, her siblings include Pradip Mukherjee and Deepak Mukherjee

RockCrown is the third studio album by post-grunge band Seven Mary Three. It was released on June 1997 on Atlantic Records; the album peaked at number 75 on the Billboard 200 on June 21, 1997. The album's Billboard-charting singles were "Lucky" and the title track. In an act that disappointed many fans, RockCrown would shift into a lighter rock orientation compared to American Standard. Giti Khalsa explained, "With RockCrown, it was much a response to going from playing bars and fraternities to getting a record deal to selling a million records in a year." Jason Ross spoke about the album's change in an interview with Billboard: "To me, the new songs represent a broadening of our horizons, the way they're based more on folk rock and the singer/songwriter tradition than on crunching electric guitars... Acoustic music just feels more real to me right now, it reminds me that I have something to offer beyond the rock'n' roll circus." AllMusic's Stephen Thomas Erlewine criticized the band's musicianship for still being "a horrid cross between Pearl Jam and Grand Funk Railroad," and felt their ambition to emulate the sociopolitical issues found in Bruce Springsteen's best material was undone by their lackluster guitar work, concluding that "There are a couple of glimpses that the band could develop their own voice on Rock Crown, but the album in general finds Seven Mary Three floundering."

Rob O'Connor from Rolling Stone said the band are at their best on the album's more subdued cuts like "Make Up Your Mind" and "I Could Be Wrong" than the "overblown seriousness" found on "People Like New" and "Times Like These", saying "there might be a place for them somewhere other than a Vegas Grunge Revival in the year 2020." All tracks are written by Seven Mary Three. Two additional songs are not included on the album. Jason Ross – lead vocals, rhythm guitar Jason Pollock – lead guitar, backing vocals Casey Daniel – bass Giti Khalsa – drums Producers: Tom Morris, Jason Pollock, Jason Ross Engineering: Tom Morris and Brian Benscoter Mixing: Tom Morris Mastering: Mike Fuller and Tom Morris Art Direction: Lane Wurster and Seven Mary Three Graphic Design: Chris Eselgroth Photography: Danny Clinch