Jhanak Jhanak Payal Baaje
Jhanak Jhanak Payal Baaje is a 1955 Bollywood film directed by V. Shantaram, it stars dancer Gopi Krishna in lead roles. One of the earlier Technicolor films made in India, the film won the All India Certificate of Merit for Best Feature Film, the National Film Award for Best Feature Film in Hindi, the Filmfare Best Movie Award; the film was declared a "Super Hit" at Box office India. Gopi Krishna as Girdhar Sandhya as Neela Keshavrao Date as Mangal Maharaj Bhagwan as Badlu Madan Puri as Manilal Manorama as Bindiya Nana Palsikar as the Sadhu Mumtaz Begum as Roopkala's mom Classical dance guru Mangal stumbles on a dance performance in a lavish haveli by Neela, he orders his talented son Girdhar to demonstrate to the audience the true method of classical dance. Entranced by Girdhar's skill, Neela begs Mangal to admit her as a pupil, he agrees on two conditions: she must devote her life to art and she must partner Girdhar in the Tandav portion of an upcoming dance competition. As the two practice together, she begins to fall in love with Girdhar.
Manilal, a wealthy and jealous man who hopes to have Neela for himself, warns Mangal that the two are falling in love, but he ignores him. When Mangal goes away for some time to buy new costumes for the pair, they confess their love to each other and neglect their dancing in favor of idyllic walks and boat rides. Mangal discovers that the two are in love. Enraged that Girdhar's dancing has suffered and believing that he will now never win the title of Bharat Natarajan, he renounces his son and resolves to leave him. Dismayed that she has endangered Girdhar's career, Neela pretends that she has betrayed him with Manilal and he returns to his father and his art; the devastated Neela is rescued by a kindly sadhu. She decides to follow the example of the minstrel Meerabai and devotes her life to Krishna, but is alarmed when Girdhar appears, declaring that he can not forget her, she pretends not to know him and he is enraged. She becomes ill and the sadhu and her servant Bindiya take her to the temple where the dance competition is being held.
Hoping to sabotage his chances, Manilal has bribed Girdhar's new partner to drop out of the competition. Neela takes her place in the Tandav dance and Mangal realizes that she spurned Girdhar to help him win the competition, he convinces his son to give her a second chance. With the help of Neela, Girdhar wins the competition and Mangal gives the couple his blessing to marry. Vasant Desai composed the music and Hasrat Jaipuri wrote the lyrics for the film; the song "Jo Tum Todo Piya", inspired by Meerabai was also used for the 1981 film Silsila. Shivkumar Sharma, the Padma Shri and Padma Vibhushan recipient musician has played Santoor in this film. Santoor was used for the first time in Indian Cinema; the voice of Asha Bhosle was used in a few lines, not available on records, but only on the film soundtrack. 3rd National Film Awards All India Certificate of Merit for Best Feature Film Best Feature Film in Hindi4th Filmfare Awards Filmfare Award for Best Film Filmfare Award for Best Director for V. Shantaram Filmfare Award for Best Art Direction for Kanu Desai Filmfare Award for Best Sound Design for A. K. Parmar Jhanak Jhanak Payal Baje on IMDb Jhanak Jhanak Payal Baaje - A study UIO
Hindi, or Modern Standard Hindi is a standardised and Sanskritised register of the Hindustani language. Hindi, written in the Devanagari script, is one of the official languages of India, along with the English language, it is one of the 22 scheduled languages of the Republic of India. However, it is not the national language of India because no language was given such a status in the Indian constitution. Hindi is the lingua franca of the Hindi belt, to a lesser extent other parts of India. Outside India, several other languages are recognized as "Hindi" but do not refer to the Standard Hindi language described here and instead descend from other dialects of Hindustani, such as Awadhi and Bhojpuri; such languages include Fiji Hindi, official in Fiji, Caribbean Hindustani, a recognized language in Trinidad and Tobago and Suriname. Apart from specialized vocabulary, spoken Hindi is mutually intelligible with Urdu, another recognized register of Hindustani; as a linguistic variety, Hindi is the fourth most-spoken first language in the world, after Mandarin and English.
Alongside Urdu as Hindustani, it is the third most-spoken language in the world, after Mandarin and English. The term Hindī was used to refer to inhabitants of the region east of the Indus, it was borrowed from Classical Persian Hindī, meaning "Indian", from the proper noun Hind "India". The name Hindavī was used by Amir Khusrow in his poetry. Like other Indo-Aryan languages, Hindi is a direct descendant of an early form of Vedic Sanskrit, through Sauraseni Prakrit and Śauraseni Apabhraṃśa, which emerged in the 7th century A. D. Modern Standard Hindi is based on the Khariboli dialect, the vernacular of Delhi and the surrounding region, which came to replace earlier prestige dialects such as Awadhi and Braj. Urdu – another form of Hindustani – acquired linguistic prestige in the Mughal period, underwent significant Persian influence. Modern Hindi and its literary tradition evolved towards the end of the 18th century. However, modern Hindi's earlier literary stages before standardization can be traced to the 16th century.
In the late 19th century, a movement to further develop Hindi as a standardised form of Hindustani separate from Urdu took form. In 1881, Bihar accepted Hindi as its sole official language, replacing Urdu, thus became the first state of India to adopt Hindi. Modern Standard Hindi is one of the youngest Indian languages in this regard. After independence, the government of India instituted the following conventions: standardisation of grammar: In 1954, the Government of India set up a committee to prepare a grammar of Hindi. Standardisation of the orthography, using the Devanagari script, by the Central Hindi Directorate of the Ministry of Education and Culture to bring about uniformity in writing, to improve the shape of some Devanagari characters, introducing diacritics to express sounds from other languages. On 14 September 1949, the Constituent Assembly of India adopted Hindi written in the Devanagari script as the official language of the Republic of India replacing Urdu's previous usage in British India.
To this end, several stalwarts rallied and lobbied pan-India in favor of Hindi, most notably Beohar Rajendra Simha along with Hazari Prasad Dwivedi, Kaka Kalelkar, Maithili Sharan Gupt and Seth Govind Das who debated in Parliament on this issue. As such, on the 50th birthday of Beohar Rajendra Simha on 14 September 1949, the efforts came to fruition following the adoption of Hindi as the official language. Now, it is celebrated as Hindi Day. In Northeast India a pidgin known as Haflong Hindi has developed as a lingua franca for various tribes in Assam that speak other languages natively. In Arunachal Pradesh, Hindi emerged as a lingua franca among locals who speak over 50 dialects natively. Part XVII of the Indian Constitution deals with the official language of the Indian Commonwealth. Under Article 343, the official languages of the Union has been prescribed, which includes Hindi in Devanagari script and English: The official language of the Union shall be Hindi in Devanagari script; the form of numerals to be used for the official purposes of the Union shall be the international form of Indian numerals.
Notwithstanding anything in clause, for a period of fifteen years from the commencement of this Constitution, the English language shall continue to be used for all the official purposes of the Union for which it was being used before such commencement: Provided that the President may, during the said period, by order authorize the use of the Hindi language in addition to the English language and of the Devanagari form of numerals in addition to the international form of Indian numerals for any of the official purposes of the Union. Article 351 of the Indian constitution states It shall be the duty of the Union to promote the spread of the Hindi language, to develop it so that it may serve as a medium of expression for all the elements of the composite culture of India and to secure its enrichment by assimilating without interfering with its genius, the forms and expressions used in Hindustani and in the other languages of India specified in the Eighth Schedule, by drawing, wherever necessary or desirable, for its vocabulary on Sanskrit and secondarily on other languages.
It was envisioned that Hindi would become the sole working language of the Union Government by 1965 (per directi
The Indian santoor instrument is a trapezoid-shaped hammered dulcimer, a variation of the Iranian Santur. The instrument is made of walnut and has 25 bridges; each bridge has 4 strings, making for a total of 100 strings. It is a traditional instrument in Jammu and Kashmir, dates back to ancient times, it was called Shatha Tantri Veena in ancient Sanskrit texts. In ancient Sanskrit texts, it has been referred to as shatatantri vina. In Kashmir the santoor was used to accompany folk music, it is played in a style of music known as the Sufiana Mausiqi. Some researchers slot it as an improvised version of a primitive instrument played in the Mesopotamian times Sufi mystics used it as an accompaniment to their hymns. In Indian santoor playing, the specially-shaped mallets are lightweight and are held between the index and middle fingers. A typical santoor has two sets of bridges, providing a range of three octaves; the Indian santoor is more rectangular and can have more strings than its Persian counterpart, which has 72 strings.
Musical instruments similar to the santoor are traditionally used all over the world. The trapezoid framework is made out of either walnut or maple wood; the top and bottom boards sometimes can be either veneer. On the top board known as the soundboard, wooden bridges are placed, in order to seat stretched metal strings across; the strings, grouped in units of 3 or 4, are tied on nails or pins on the left side of the instrument and are stretched over the sound board on top of the bridges to the right side. On the right side there are steel tuning pegs or tuning pins, as they are known, that allows tuning each unit of strings to a desired musical note or a frequency or a pitch; the santoor is played while sitting in an asana called ardha-padmasana position and placing it on top of the lap. While playing, the broad side is closer to the waist of the musician and the shorter side is away from the musician, it is played with a pair of light wooden mallets held with both hands. The santoor is a delicate instrument and is sensitive to light strokes and glides.
The strokes are played always on the strings either closer to the bridges or a little away from bridges. Both styles result in different tones. Sometimes strokes by one hand can be muffled by the other hand by using the face of the palm just to create variety. Abhay Sopori Shivkumar Sharma Bhajan Sopori Tarun Bhattacharya R. Visweswaran Rahul Sharma Ulhas Bapat
Teejan Bai is an exponent of Pandavani, a traditional performing art form, from Chhattisgarh, in which she enacts tales from the Mahabharata, with musical accompaniments. She has been awarded the Padma Shri in 1987, Padma Bhushan in 2003, Padma Vibhushan in 2019 by Government of India, besides 1995 Sangeet Natak Akademi Award in 1995, given by Sangeet Natak Akademi, India's National Academy of Music, Dance & Drama. Teejan Bai was born in Ganiyari village, 14 kilometres north of Bhilai, to Chunuk Lal Pardhi and his wife Sukhwati, she belongs to the Pardhi Scheduled Tribe of Chhattisgarh state The eldest among her five siblings she heard her maternal grandfather, Brijlal Pradhi, recite the Mahabharata written by Chhattisgarhi writer, Sabal Sinh Chauhan in Chhattisgarhi Hindi and took a liking to it. She soon memorised much of it, trained informally under Umed Singh Deshmukh. At age 13, she gave her first public performance in a neighbouring village, Chandrakhuri for Rs 10. Singing in the Kapalik shaili of'Pandavani', a first time for a woman, as traditionally women used to sing in the Vedamati, the sitting style.
Contrary to the tradition, Teejan Bai performed standing singing out loud in her typical guttral voice and unmistakable verve, entering what was till a male bastion. Within a short time, she became known in neighbouring villages and invitations poured to perform at special occasions and festivals, her big-break came, when Habib Tanvir, a theatre personality from Madhya Pradesh, noticed her talent, she was called to perform for Prime Minister, Indira Gandhi. In time she received national and international recognition, a Padma Shri in 1988, Sangeet Natak Akademi Award in 1995, Padma Bhushan in 2003. Beginning in the 1980s, she travelled all over the world as a cultural ambassador, to countries as far as England, Switzerland, Turkey, Malta, Cyprus and Mauritius, she performed sequences from the Mahabharata in Shyam Benegal's acclaimed Doordarshan TV series Bharat Ek Khoj based on Jawaharlal Nehru's book. Today she continues to enthrall audiences, the world over with her unique folk singing and her powerful voice.
Though she was married at 12, she was expelled by the community, the'Pardhi' tribe, for singing Pandavani, being a woman. She built herself a small hut and started living on her own, borrowing utensils and food from neighbours, yet never left her singing, which paid off for her, she never went to her first husband's home and split. In the following years, she was married twice and became a grandmother. Pandavani means stories of Pandavas, the legendary brothers in Mahabharat, involves enacting and singing with instrumental accompaniment an ektara or a tambura in one hand and sometimes a kartal in another; as the performance progresses, the tambura becomes her only prop, sometimes to personify a gada, mace of Bhima, or Arjuna's bow or chariot, while at other times it becomes the hair of queen Draupadi, allowing her to play various character with effective ease and candour. Her acclaimed performances are of, Draupadi cheerharan, Dushasana Vadh and Mahabharat Yudh, between Bhishma and Arjun. 1988 Padma Shri 1995 Sangeet Natak Akademi Award 2003 Hon. D. Litt, Bilaspur University 2003 Padma Bhushan 2016 M S Subbalaxmi centenary award 2018 Fukuoka prize 2019 Padma Vibhushan Music of Chhattisgarh Facebook page Teejan Bai, a profile on her narration of the Mahabharata Portrait of Teejan Bai at Kamat.com Bharat Ek Khoj Episode 5 at YouTube.com
Shantaram Rajaram Vankudre, referred to as V. Shantaram or Shantaram Bapu, was a Marathi Indian filmmaker, film producer and actor, he is most known for films such as Dr. Kotnis Ki Amar Kahani, Amar Bhoopali, Jhanak Jhanak Payal Baaje, Do Aankhen Barah Haath, Duniya Na Mane, Chani, Iye Marathiche Nagari and Zunj. V. Shantaram started his film career doing odd jobs in Maharashtra Film Co. owned by Baburao Painter at Kolhapur. He went on to debut as an actor in the silent film Surekha Haran in 1921. Shantaram, fondly known as Annasaheb, had an illustrious career as a filmmaker for six decades, he was one of the early filmmakers to realize the efficacy of the film medium as an instrument of social change and used it to advocate humanism on one hand and expose bigotry and injustice on the other. V. Shantaram had a keen interest in music, it is said that he "ghost wrote" music for many of his music directors, took a active part in the creation of music. Some of his songs had to rehearsed several times.
He performed his roles so well that Rajesh Khanna has appreciated him for his performance. He directed his first film Netaji Palkar, in 1927. In 1929, he founded the Prabhat Film Company along with Vishnupant Damle, K. R. Dhaiber, S. Fatelal and S. B. Kulkarni, which made Ayodhyecha Raja, the first Marathi language film in 1932 under his direction, he left Prabhat co. in 1942 to form "Rajkamal Kalamandir" in Mumbai. In time, "Rajkamal" became one of the most sophisticated studios of the country, he was praised by Charlie Chaplin for his Marathi film Manoos. Chaplin liked the film to a great extent. Shantaram introduced his daughter Rajshree and Jeetendra in the 1964 film Geet Gaya Patharon Ne; that was the debut film for both of them. He introduced his second wife Sandhya's niece Ranjana Deshmukh into the Marathi film industry through Chandanachi Choli Ang Ang Jaali, directed by his son Kiran Shantaram in 1975. Ranjana dominated the Marathi silver screen in the 80s; the Dadasaheb Phalke Award was conferred on him in 1985.
He was posthumously awarded the Padma Vibhushan in 1992. His autobiography Shantarama was published in Marathi; the V. Shantaram Award was constituted by Maharashtra State Government; the V. Shantaram Motion Picture Scientific Research and Cultural Foundation, established in 1993, offers various awards to film-makers; the award is presented annually on 18 November. A postage stamp dedicated to Shantaram was released by India Post on 17 November 2001. Shantaram was born in 1901 at Kolhapur to a Marathi family with a Jain Hindu mother. In 1921, aged 20, he married 12-year-old Vimalabai, a girl of his own community and similar background, in a match arranged by their families in the usual Indian manner, their marriage lasted their entire lives and its relationships of harmony and mutual support survived his subsequent two marriages, which were concurrent with his first. Vimalabai bore four children, being son Prabhat Kumar and daughters Saroj and Charusheela. Shantaram's second daughter Madhura is the wife of Pandit Jasraj and mother of music director Shaarang Dev Pandit and of TV personality Durga Jasraj.
Shantaram's third daughter, Charusheela, is the mother of Hindi and Marathi actor Sushant Ray a.k.a. Siddharth Ray. On 22 October 1941, Shantaram married the actress Jayashree, with whom he had fallen in love while they worked together in several films, including Shakuntala which ran for 104 weeks in Mumbai. Jayashree became Shantaram's second wife, was received with traditional ceremonies by his first wife Vimalabai; until January 1957, it was legal for Hindu men to have more than one wife at a time, it was typical for the wives to live harmoniously together in the same household. Jayashree bore Shantaram three children – one son, the Marathi film director and producer Kiran Shantaram, two daughters and Tejashree. Shantaram's six children grew up playing and bonding with each other; the two wives had a cordial relationship and interacted with each other, although they maintained separate houses. Vimalabai was bonded with Shantaram's extended family. On the other hand, Jayashree would accompany Shantaram to all events and functions connected with the film industry and the film profession and at any parties he hosted for the film fraternity.
In the early 1950s, Shantaram grew close to another of his leading ladies, the actress Sandhya, his co-star in many films like Do Aankhen Barah Haath, Jhanak Jhanak Payal Baaje, Jal Bin Machhli Nritya Bin Bijli and Sehra. Vimalabai did not have much contact with Shantaram's professional associates and took Sandhya in her stride, but the case was different with Jayashree, who came to regard Sandhya as an ambitious gold-digger, using the middle-aged Shantaram for her own purposes, to become a successful actress at his expense and riding on his shoulders. Things came to a head during the making of Do Aankhen Barah Haath, a film which Shantaram was producing and which featured him and Sandhya in the main roles. Shantaram ran short of money while making the film, asked his wives to give him their jewellery so that he could mortgage the same and raise funds to get over the cash crunch; the jewellery would be redeemed and returned to the ladies after the movie was completed
Silsila (1981 film)
Silsila is a 1981 Indian Hindi romantic drama film directed by Yash Chopra. It stars Amitabh Bachchan, Jaya Bachchan and Sanjeev Kumar. Kulbhushan Kharbanda and Shashi Kapoor make guest appearances; the movie is said to be loosely inspired by the alleged real-life love triangle of its three stars, Amitabh-Jaya-Rekha, the most talked about love affair at the time. On his last birthday, Yash Chopra revealed that he wanted to cast Parveen Babi and Smita Patil opposite Bachchan, but after consulting him, he chose to cast Jaya Bachchan and Rekha in their respective roles; this was the last film to feature Rekha with Amitabh Bachchan, putting an end to this popular on-screen pair and their rumored off-screen affair. This was the last time to feature Amitabh Bachchan with Jaya Bachchan until they appeared together on screen 20 years in Karan Johar's Kabhi Khushi Kabhie Gham.... After this film, Jaya Bachchan retired from acting and did not feature in any new releases until Hazaar Chaurasi Ki Maa. 18 years later.
The film was a commercial failure at the box office. However, over the years, the film has acquired a cult classic and is today considered one of Chopra's best works, he said that this film and Lamhe were his favourites. The movie's soundtrack became a "super-hit" upon the release of the film and continues to be popular. Orphaned at a young age, brothers Shekhar Malhotra and Amit Malhotra lead independent lives. Shekhar is a squadron leader with the Indian Air Force, Amit is an emerging writer. Shekhar has fallen in love with the lovely Shobha. Amit finds professional success as a playwright in Delhi, enjoying a successful launch into the circles of Delhi's intellectual elite, his passion and dedication to his craft win Chandni's affections, they share a brief, blissful courtship. Chandni's parents prepare to arrange her wedding to Amit. Both Shekhar and Amit plan to marry at the same time, but Shekhar is killed in air combat against PAF, leaving a pregnant Shobha behind. Taking pity on Shobha, Amit writes to Chandni to forget him.
This news breaks Chandni's heart. She goes on to marry Dr. V. K. Anand, in love with her. Tragedy strikes once more, Shobha loses her child in a car accident. With no child to bind them together and Shobha drift apart. Amit runs into Chandni and they secretly rekindle their romance, they meet on the sly until a fateful night when Chandni accidentally hits a passerby on the way home from a tryst with Amit. The police get involved, but the secrecy of the affair is endangered by the fact that the police inspector in charge of investigating the accident is Shobha's cousin, determined to expose Amit's affair with Chandni. Soon, Amit decides that he can no longer continue his loveless marriage to Shobha and wishes to reconcile with Chandni; this news shatters Shobha - who had long known of Amit's affair - but she does not lose hope. She believes. Chandni's husband Dr. Anand is aware of and devastated by Chandni's infidelity. Dr. Anand leaves on a business trip, assuring Chandni he will be back soon, hopeful that she will be there when he returns.
Amit and Chandni leave town to start a new life elsewhere. Chandni's husband Dr. Anand's plane crashes, causing the lovers to rush to the wreckage site visible to them from the overhead helicopter they are making their escape in. Rushing into the fray to save Dr. Anand, Amit is confronted by Shobha, who in a moment of turmoil reveals that she is expecting his child; when Dr. Anand is rescued from the wreckage, Chandni realises her love for her husband; the film ends with a song depicting Amit and Shobha living in marriage and an end title saying, "Love is faith and faith is forever". Amitabh Bachchan as Amit Malhotra Jaya Bachchan as Shobha Malhotra Rekha as Chandni Sanjeev Kumar as Dr. V. K. Anand Shashi Kapoor as Sqdr. Leader Shekhar Malhotra Kulbhushan Kharbanda as Inspector Kulbhushan Sudha Chopra as Shobha's mother Sushma Seth as Actress The music for the film was composed by Shiv-Hari, the lyrics were written by Javed Akhtar; the song "Rang Barse Bhige Chunar Wali" is said to be one of India's best known folk songs.
Its lyrics were by poet Harivansh Rai Bachchan. The song "Dekha Ek Khwaab" was shot in the Keukenhof tulip gardens in The Netherlands and some parts in Pahalgam. According to music expert Rajesh Subramanian, the tune of "Neela Aasman So Gaya" was composed by Shammi Kapoor. Kapoor made. Bachchan suggested it to Yash Chopra. Silsila did not do well at the box office, grossing ₹70 million, but has since achieved a cult status among Indian audiences. 29th Filmfare Awards Nominations Best Actor - Amitabh Bachchan Best Actress - Jaya Bachchan Best Music - Shiv-Hari Silsila on IMDb Silsila at Bollywood Hungama
The Boston Globe
The Boston Globe is an American daily newspaper founded and based in Boston, since its creation by Charles H. Taylor in 1872; the newspaper has won a total of 26 Pulitzer Prizes as of 2016, with a total paid circulation of 245,824 from September 2015 to August 2016, it is the 25th most read newspaper in the United States. The Boston Globe is the largest daily newspaper in Boston. Founded in the late 19th century, the paper was controlled by Irish Catholic interests before being sold to Charles H. Taylor and his family. After being held until 1973, it was sold to The New York Times in 1993 for $1.1 billion, making it one of the most expensive print purchases in U. S. history. The newspaper was purchased in 2013 by Boston Red Sox and Liverpool F. C. owner John W. Henry for $70 million from The New York Times Company, having lost 93.64% of its value in twenty years. The newspaper has been noted as "one of the nation’s most prestigious papers." The paper's coverage of the 2001–2003 Roman Catholic Church sex abuse scandal received international media attention and served as the basis of the 2015 American drama, Spotlight.
In 1967, The Globe became the first major paper in the United States to come out against the Vietnam War. The chief print rival of The Boston Globe is the Boston Herald; as of 2013, The Globe circulates the entire press run of its rival. The editor-in-chief, otherwise known as the editor, of the paper is Brian McGrory who took the helm in December 2012; the Boston Globe was founded in 1872 by six Boston businessmen, including Charles H. Taylor and Eben Jordan, who jointly invested $150,000; the first issue was published on March 4, 1872, cost four cents. A morning daily, it began a Sunday edition in 1877, which absorbed the rival Boston Weekly Globe in 1892. In 1878, The Boston Globe started an afternoon edition called The Boston Evening Globe, which ceased publication in 1979. By the 1890s, The Boston Globe had become a stronghold, with an editorial staff dominated by Irish American Catholics. In 1912, the Globe was one of a cooperative of four newspapers, including the Chicago Daily News, The New York Globe, the Philadelphia Bulletin, to form the Associated Newspapers syndicate.
In 1965, Thomas Winship succeeded Larry Winship, as editor. The younger Winship transformed The Globe from a mediocre local paper into a regional paper of national distinction, he served as editor until 1984, during which time the paper won a dozen Pulitzer Prizes, the first in the paper's history. The Boston Globe was a private company until 1973 when it went public under the name Affiliated Publications, it continued to be managed by the descendants of Charles H. Taylor. In 1993, The New York Times Company purchased Affiliated Publications for US$1.1 billion, making The Boston Globe a wholly owned subsidiary of The New York Times' parent. The Jordan and Taylor families received substantial New York Times Company stock, but the last Taylor family members have since left management. Boston.com, the online edition of The Boston Globe, was launched on the World Wide Web in 1995. Ranked among the top ten newspaper websites in America, it has won numerous national awards and took two regional Emmy Awards in 2009 for its video work.
Under the helm of editor Martin Baron and Brian McGrory, The Globe shifted away from coverage of international news in favor of Boston-area news. Globe reporters Michael Rezendes, Matt Carroll, Sacha Pfeiffer and Walter Robinson and editor Ben Bradlee Jr. were an instrumental part of uncovering the Roman Catholic Church sex abuse scandal in 2001–2003 in relation to Massachusetts churches. They were awarded the Pulitzer Prize for their work, one of several the paper has received for its investigative journalism, their work was dramatized in the 2015 Academy Award-winning film Spotlight, named after the paper's in-depth investigative division; the Boston Globe is credited with allowing Peter Gammons to start his Notes section on baseball, which has become a mainstay in all major newspapers nationwide. In 2004, Gammons was selected as the 56th recipient of the J. G. Taylor Spink Award for outstanding baseball writing, given by the BBWAA, was honored at the Baseball Hall of Fame on July 31, 2005.
In 2007, Charlie Savage, whose reports on President Bush's use of signing statements made national news, won the Pulitzer Prize for National Reporting. The Boston Globe has been ranked in the forefront of American journalism. Time magazine listed it as one of the ten best US daily newspapers in 1974 and 1984, the Globe tied for sixth in a national survey of top editors who chose "America's Best Newspapers" in the Columbia Journalism Review in 1999; the Boston Globe hosts 28 blogs covering a variety of topics including Boston sports, local politics and a blog made up of posts from the paper's opinion writers. On April 2, 2009, The New York Times Company threatened to close the paper if its unions did not agree to $20,000,000 of cost savings; some of the cost savings include reducing union employees' pay by 5%, ending pension contributions, ending certain employees' tenures. The Boston Globe eliminated the equivalent of fifty full-time jobs. However, early on the morning of May 5, 2009, The New York Times Company announced it had reached a tentative deal with the Boston Newspaper Guild, which represents most of the Globe's editorial staff, that allowed it to get the concessions it demanded.
The paper's other three major unions had agreed to concessions on May 3, 2009, after The New York Times Company threatened to give