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21 August 2024 at 3:50:16 pm

Arid State

Maharashtra has finally put an official number on a crisis that farmers have been experiencing for weeks. The state government has declared 265 of its 358 talukas drought-affected, activating the first stage of its drought-management framework. The scale of the distress should make this more than another seasonal relief exercise. It is a reminder that water stress is no longer an episodic crisis but a recurring governance challenge. The state received 798.2 mm of rain against a normal 970.9...

Arid State

Maharashtra has finally put an official number on a crisis that farmers have been experiencing for weeks. The state government has declared 265 of its 358 talukas drought-affected, activating the first stage of its drought-management framework. The scale of the distress should make this more than another seasonal relief exercise. It is a reminder that water stress is no longer an episodic crisis but a recurring governance challenge. The state received 798.2 mm of rain against a normal 970.9 mm between June 1 and September 26, a deficit of 18 percent. The first drought trigger is activated when rainfall falls more than 25 percent below normal and is accompanied by a prolonged dry spell of 21 days. Though the aggregate state deficit is lower than that threshold, the taluka-level assessment has established the conditions required for intervention. Except for five districts, rainfall has been deficient across the state. The government has ordered a stay on the recovery of agriculture-related loans and restructuring of crop loans, while extending concessions on electricity bills for agricultural pumps. Employment Guarantee Scheme norms are to be relaxed; food grains provided to farmers and arrangements made for drinking water and fodder. Crop-loss surveys will determine the eventual financial assistance. While these measures can cushion the shock, they cannot solve the problem. Maharashtra has lived with drought long enough for drought relief to have become an administrative routine. The more difficult question is why the state repeatedly finds itself having to mobilise the same machinery. Tankers, fodder camps, loan restructuring and employment guarantees are indispensable when the rains fail. But they are essentially the politics and economics of response, not resilience. The state has considerable experience in watershed development, farm ponds, check dams, groundwater recharge and other forms of water conservation. Yet the effectiveness of such interventions depends less on announcing them than on where they are built, whether they are maintained and whether groundwater extraction is regulated. Large-scale water-conservation works announced as part of the present relief package must therefore be judged by measurable outcomes rather than expenditure. There is a larger agricultural question. A state with highly variable rainfall cannot indefinitely expand water-intensive cropping patterns in regions whose hydrology cannot support them. Crop choices, irrigation efficiency and groundwater management have to become part of drought policy rather than being treated as separate subjects. The present declaration should consequently be viewed as both relief and warning. While the relief is urgent, the warning is structural. The state government cannot control the monsoon but it can decide how much water it captures when the rains arrive, how efficiently it uses what it stores and how resilient its farmers are when the skies fail. A drought code can declare an emergency. But only sustained water management can prevent the emergency from becoming routine.

The Voice of the Northeast That Echoed Across India

Writer: Waleed Hussain
Waleed Hussain
Sep 21, 2025
4 min read
Zubeen Garg (1972–2025)
Zubeen Garg (1972–2025)

Zubeen Garg, the iconic singer, composer, actor, and cultural ambassador of Northeast India, passed away on September 18, 2025, at the age of 52, following a tragic scuba diving accident in Singapore. The news sent shockwaves through the music world, leaving fans, colleagues, and the Assamese community in profound grief. Known as the “Heartthrob of Assam” and a multifaceted artist whose voice bridged regional folk traditions with Bollywood glamour, Garg’s untimely death marks the end of an era for Indian music. He was rushed to a hospital after sustaining injuries during the dive but succumbed while undergoing treatment in the intensive care unit. His passing has prompted an outpouring of tributes from across the nation, with many remembering him as a symbol of resilience, creativity, and unyielding passion for his roots.


Born Zubeen Borthakur on November 18, 1972, in Tura, Meghalaya, to an Assamese Brahmin family, Garg’s early life was steeped in artistic influences. His father, Mohini Mohon Borthakur, was a magistrate by profession but a poet and lyricist known under the pseudonym Kapil Thakur. His mother, the late Ily Borthakur, was a talented singer, dancer, and actress who nurtured his musical inclinations from the tender age of three. Garg often credited her for his initial training, recalling how she taught him to sing before he could even speak properly. The family moved frequently due to his father’s job, exposing young Zubeen to diverse cultures across Assam and beyond. He honed his skills in tabla under Pandit Robin Banerjee for 11 years and delved into Assamese folk music with Guru Ramani Rai. Academically, he completed his matriculation at Tamulpur Higher Secondary School and began a Bachelor of Science at B. Borooah College in Guwahati but dropped out to pursue music full-time. Tragedy struck early in his personal life when his younger sister, Jongki Borthakur, an aspiring actress and singer, died in a car accident in 2002. In her memory, Garg released the poignant album Xixhu, a testament to his deep familial bonds. He married fashion designer Garima Saikia Garg in 2002, and the couple shared a quiet life away from the spotlight, with Garg openly declaring himself irreligious and free from caste constraints.


Garg’s career ignited in 1992 when he won a gold medal for his western solo performance at a youth festival, propelling him into the professional arena. That same year, he released his debut Assamese album Anamika, which quickly established him as a rising star in regional music. Albums like Xapunor Xur, Junaki Mon, Maya, and Asha followed, blending folk elements with contemporary sounds. His first bihu album, Ujan Piriti (1995), became a commercial hit, capturing the festive spirit of Assam. Eager to expand his horizons, Garg relocated to Mumbai in 1995, diving into the competitive Bollywood scene. He debuted with the Indipop album Chandni Raat and contributed to films like Gaddaar (1995), Dil Se (1998), Doli Saja Ke Rakhna (1998), Fiza (2000), and Kaante (2002).


The turning point came in 2006 with “Ya Ali” from the Bollywood film Gangster, a haunting Sufi-rock anthem that catapulted him to national fame. The song, with its emotive lyrics and Garg’s powerful vocals, became an instant chart-topper, earning him the Best Playback Singer award at the Global Indian Film Awards (GIFA). It remains one of his most enduring hits, often cited as a milestone that introduced Northeast talent to mainstream India. Building on this success, Garg delivered more Bollywood gems like “Dil Tu Hi Bataa” from Krrish 3 (2013), a romantic melody that resonated with audiences for its heartfelt delivery. In regional cinema, his Assamese tracks like “Jajabor” – a masterpiece of modern Assamese music blending wanderlust and emotion – solidified his status as a cultural icon. Critics hailed it as a timeless piece, reflecting Garg’s nomadic spirit and love for his homeland.


Garg’s repertoire extended beyond Assam and Hindi. In Bengali cinema, he enchanted listeners with “O Bondhu Re” from Premi (2005), a soul-stirring ode to friendship, and “Piya Re Piya Re” from Chirodini Tumi Je Amar (2008), which captured the essence of young love. Garg’s voice wasn’t confined to playback; he composed and directed music for films, winning the National Film Award for Best Non-Feature Film Music Direction for Echoes of Silence in 2009 at the 55th National Film Awards.


Beyond music, Garg was a prolific actor and filmmaker. He debuted in acting with the Assamese film Tumi Mur Matho Mur (2000) and appeared in Bollywood cameos, including in Gangster and Strings (2006). His directorial venture Mission China (2017) was a blockbuster, blending action with patriotic themes, while films like Kanchanjangha (2019) showcased his storytelling prowess. Over his career, he amassed numerous accolades, including multiple Best Music Director and Best Playback Singer awards from regional bodies. In 2024, he received an honorary Doctor of Literature (D.Litt.) from the University of Science and Technology, Meghalaya, recognizing his contributions to arts and culture. Zubeen Garg’s death leaves a void in Indian music, but his melodies will endure, inspiring generations. He is survived by his wife, Garima, and a legion of fans who will forever hum his tunes. As one fan aptly put it, “Zubeen wasn’t just a singer; he was the soul of Assam.” Rest in peace, maestro.


(The writer is a senior journalist based in Mumbai. Views personal.)

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