Saif Ali Khan Case: Auto-rickshaw driver who rushed Saif Ali Khan to hospital unaware of actor’s identity; says, “A man who was covered in blood came out…”

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A day after actor Saif Ali Khan was stabbed by an intruder at his Bandra residence, an auto-rickshaw driver Bhajan Singh Rana, who took him to the Lilavati Hospital, said he was not aware that the passenger he was taking to the Hospital was film actor Saif Ali Khan. He said, “I drive my vehicle at night. It was around 2-3 am when I saw a woman trying to hire an auto but nobody stopped. I could also hear calls for a rickshaw from inside the gate. After I took a U-turn and stopped my vehicle at the gate, a man who was covered in blood came out. 2-4 people also accompanied him.” He added, “They put him in the auto...They decided to go to Lilavati. I dropped them off there...I then came to know that he is Saif Ali Khan...I saw him bleeding from his neck and back.” #WATCH | Attack on #SaifAliKhan | Mumbai: Bhajan Singh Rana, autorickshaw driver who rushed the actor to Lilavati Hospital after the attack, says, "I drive my vehicle at night. It was around 2-3 am when I saw a woman tryi...
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The Job of Songs review – folk melodies and melancholia in rural Ireland

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Lila Schmitz’s documentary offers a candid look at Irish music and community struggles in a small Irish village known for its bar-room sessions

That The Banshees of Inisherin may apparently be a documentary is the main takeaway of this swift but wide- and deep-ranging investigation into the musical community of Doolin, County Clare. It’s a truism to point out the absorption with the landscape in Irish folk music, and a certain attendant melancholia. But it’s hard not to go back to such ideas when one interviewee says of nearby tourist attraction the Cliffs of Moher: “Who wants to look over a big cliff? Unless you’re thinking of jumping?”

Once a remote scrum of thatched cottages, Doolin is now on the tourist trail thanks to its uninterrupted tradition of bar-room sessions – in which all-comers are welcome to pitch in with whatever musical talent they have. The place seems to lie on a nexus of ley lines in time and space through which song and community irrepressibly well up. Christy Barry, who runs a music centre, reveals how his mother, unpaid, taught the entire village flute and fiddle. Stretching back further than the Irish famine and the subsequent waves of emigration, this melodic heritage draws on what one musician here believes amounts to a millennium of orally transmitted music.

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