#Pandit Dinesh

[townpostin]

Grand Durga Puja Pandal's Bhoomi Pujan Performed at Tuiladungri

The Bhoomi Pujan of Tuiladungri’s upcoming grand Durga Puja pandal was held with rituals by Pandit Niranjan Rath and Pandit Pradipta Kumar Das. The Bhoomi Pujan for the grand Durga Puja pandal by Shri Shri Sarvajanik Durga Puja Committee at Tuiladungri was conducted with traditional rituals. JAMSHEDPUR – The Shri Shri Sarvajanik Durga Puja Committee at Tuiladungri conducted the Bhoomi Pujan for…

[entrepreneurbar]

CA Mukesh Shukla with Shri Rajnath Singh

Met Shri Rajnath Singh Ji, Dinesh Sharma Ji(Deputy CM, UP) & Madhu Pandit Dasa (Chairman Of Iskcon Temple)

Got the fortune of meeting Shri Rajnath Singh Ji, Dinesh Sharma Ji(Deputy CM, UP) & Madhu Pandit Dasa (Chairman of Iskcon Temple) at the inauguration ceremony of the Kitchen of Akshay Patra Foundation. Being the President of the Lucknow Chamber, I am honored to be a part of such a novel mission that aims to provide meals to children.

www.youtube.com/@EntrepreneurIndiaTV

Lucknow Office: Samadhan Tower 27/1/B Gokhale Marg, Lucknow 226001.

Noida Office: A-18, First Floor Sector-6, Noida

201301

camkshukla@samadhan.group

[gurujidineshsharma]

Get Lost Love Back Pandit Ji Can Help You to Get Husband, Boyfriend, Girlfriend Back in Your Life Talk to Best Astrologer Guru Ji Dinesh Sharma Ji Call Now: - +91-9815799905 #famousastrologer #astronews #astroworld #Astrology #Horoscope #Kundli #Jyotish #yearly #monthly #weekly #numerology #rashifal #RashiRatan #gemstone #real #onlinepuja #remedies #lovemarraigespecilist #prediction #motivation #dailyhoroscope #toptipsAstrologer

[saptrishisastro]

https://saptarishisshop.com/product/jyotish-pandit-course-by-saptarishis-astrology/

Jyotish Pandit Course 2024 by Saptarishis Astrology

Teachers: Sunil John, Vinayak Bhatt, Upendra Singh Bhadoriya, Vijay Chawla, Vinod Kumar, Puja Sharma, Akshit Kapoor, Dinesh Tambe, Sunil Kaushik, & Mahendra Purohit Language: English Date: Feb 03, 2024 Duration: 6 Months+

Course Bonus:

Weekly Two Classes 3 QnA Sessions Rote Memorization Sessions Course Certificate will be Provided Recordings will be Given

[djfloops]

Shivan Ramoutar - PEHLA NA SHA X I WANT TO KNOW WHAT LOVE IS MASHUP VIDEO 2023

Shivan Ramoutar - PEHLA NA SHA X I WANT TO KNOW WHAT LOVE IS MASHUP VIDEO 2023 #chutneymusicdotcom

ARTISTE: SHIVAN RAMOUTAR (STARBOY SHIV) SONG : PEHLA NA SHA X I WANT TO KNOW WHAT LOVE IS – MASHUP VIDEO PRODUCTIONS : RISHI MAHATO, MAHA PRODUCTIONS VIDEO : DINESH MAHARAJ (DJ DIN) MODEL : SAI LOUTOO ORIGINAL CREDITS: ORIGINAL PRODUCERS : UDIT NARINE & SADHANA SARGAM MOVIE/ ALBUM: JO JEETA WOHI SIKANDAR SONG LYRICS : MAJROOH SULTANPURI MUSICAL DIRECTORS : JATIN PANDIT & LALIT PANDIT Also,…

[chutneymusic]

Shivan Ramoutar - PEHLA NA SHA X I WANT TO KNOW WHAT LOVE IS MASHUP VIDEO 2023

Shivan Ramoutar - PEHLA NA SHA X I WANT TO KNOW WHAT LOVE IS MASHUP VIDEO 2023 #chutneymusicdotcom

ARTISTE: SHIVAN RAMOUTAR (STARBOY SHIV) SONG : PEHLA NA SHA X I WANT TO KNOW WHAT LOVE IS – MASHUP VIDEO PRODUCTIONS : RISHI MAHATO, MAHA PRODUCTIONS VIDEO : DINESH MAHARAJ (DJ DIN) MODEL : SAI LOUTOO ORIGINAL CREDITS: ORIGINAL PRODUCERS : UDIT NARINE & SADHANA SARGAM MOVIE/ ALBUM: JO JEETA WOHI SIKANDAR SONG LYRICS : MAJROOH SULTANPURI MUSICAL DIRECTORS : JATIN PANDIT & LALIT PANDIT Also,…

[nofatclips]

Extended mix of Wide Boy by Nik Kershaw from the expanded edition of The Riddle - Director: Storm Thorgerson

[popsixsquishcicerolipschitz]

West India Company -- O Je Suis Seul - (Baghwan Boogie Mix) Weatherall Remix

Music Maker

Artwork By [Design & Illustration] -- Tom Hughes Engineer -- Thrash Performer [Member] -- Asha Bhosle, Pandit Dinesh, Peter Culshaw, Stephen Luscombe Producer -- Pandit Dinesh, Stephen Luscombe Remix -- Andrew Weatherall

Concept: Gerard Talbot & Keith Wood. Re-mixed from original track off West India Company "New Demons" (EGED 61 / EGEDC61 / EEGCD 61). manufacted and distributed by Caroline Records, Inc. Editions EG  c&p 1990

[rainingmusic]

Annie Lennox - Don't Let It Bring You Down

[thesunlounge]

Reviews 194: Yasuaki Shimizu

Last year was overflowing with incredible music, but no release enchanted me quite so much as Japanism’s and HMV’s hybrid reissue/re-edit release of Yasuaki Shimizu’s Subliminal (titled (Re)Subliminal appropriately enough and which I reviewed here). Now at the start of this year, Chee Shimizu and Yasuaki have reunited for the 1988 follow up to Subliminal entitled Dementos. Rather than omit any tracks in lieu of extended re-edits, Chee and Japanism present the original album unmodified, though Eitetsu Takamiya of Flower Records has stepped in for crisp and clean remaster. Musically, this represents a direct evolution of the sounds heard on Subliminal, even as that album was recorded Paris and this one in London and Bath with a completely different crew (including David Cunningham and Tears for Fears legend Manny Elias). Kaleidoscopic synths, rhythms, and folk instruments create atmospheres of African high life, synth-pop, new wave, Japanese traditional and Indian classical music, prog rock, and island psychedelia, resulting in a joyous soundtrack for humid tropical nights and mysterious alien jungles, all led by the dazzling voices of Yasuaki and his sister Mieko as well as Yasuaki’s fiery saxophone. And conceptually, the album explores the relationship between music and words as well as the strangeness of communication, with Yasuaki and Mieko transforming hours of idle talk into hypnotic lyrical spells and paradise anthems that soar above layers of exotic dance pop magic.

Yasuaki Shimizu - Dementos (Japanism / HMV, 2019) Cymbal swells and organ chords start “Blue Suits,” until crystalline melodies rain over energetic synth brass blasts and ethno-drum cascades comprised of massive snare smashes, climactic drum fills, and the liquid tablas of Pandit Dinesh. Glistening arps underly Yasuaki’s romantic voice, backed here and there by higher pitched siren songs. As we sweep into the blissed out chorus, the soulful voice layers of Mieko Shimizu take over…like soulful angel choirs climbing to the clouds over the crashing beats and reverb soaked horn cascades. And at the end, it all breaks down into wordless vocal flutters and oceanic vapors. Then comes the title track, beginning with pure rhythmic wonderment as percussive flows of metal intertwine with gliding drums and distorted basslines, which pulse down low as well as snake up the fretboard. Zany electronic riffs dance over heatwave choirs locked into wordless chants, before giving way to Yasuaki’s hushed romanticisms, all cooing and charismatic. Progged out drum fills lead to a sensual pre-chorus…whispered, hot, and gliding on sunbeams as Manny Elias’ rhythms bounce through an island dreamworld. Then everything explodes into full view as absolutely epic vocals overwhelm the spirit with gorgeous waves of positivity that are carried on Manny’s golden ride taps and after returning to the heatwave vocal chants, delirious synth swells bring in Yasuaki for this magical vowel-heavy choir section where effervescent spirits of light move together for one of the most entrancing and evocative sections of pop I have ever heard, even climaxing with an intergalactic organ solo.

“Madame Shriek” is shadowy and progged out, seeing the galloping Arabic fantasias of Omar Khorshid transmuted to a futuristic synthscape. Jangling guitar riffs from David Cunningham work against mutant synthbass distortions and far out brass fanfares and at some point, otherworldly reed melodies snake through a sunburst sky as all sorts of industrial percussion blasts wash through the mix. A swooning instrumental chorus sees paradise strings wafting in while elsewhere, delirious vocal loops move side-to-side over crashing electro-drums. It all eventually breaks down into a tribal passage of urgent hand drumming and ethnological string drones backgrounding throat sung spells and voice incantations, with the stereo field periodically overwhelmed by static soaked percussive energies and clacking synths bouncing through malfunctioning echo boxes. Then in “A Normal Day,” long mesmerizing bass slides generate huge currents of low end warmth, their textures so heavy and enveloping. Ritualistic metals tones and forest drums are locked into a feverish sway as moaning layers of saxophone weave humid webs of ambiance that sway gently in the tropical breeze. All the while, Yasuaki delivers one of the most breathtaking vocal performances of his career, again hushed and sensual as he movies between slow rhythmic melodies and rapid motion runs that are tracked underneath by Mieko’s harmonizing layers of sunshine warmth. And beneath it all, the percussion grows ever more powerful, with huge pounding hits smashing through a heavenly haze of string synthesis.

In “Find No Word to Say,” weird cut-up voices, static clicks, and whistling tones rotate around one another in an introduction crafted by David Cunningham. Ritualistic hand drums under under slight phasing fx generate body moving propulsion while minimalist saxophone patterns evoking Yasuaki’s IQ 179 and Kakashi intertwine with morphing feminine voice fluids. There are thrilling rapid fire reed runs that dash through prismatic jungles and rainbow flower fields with vibes of African traditional music and jazz exotica and as the track progresses, layered webs of kaleidoscopic saxophone leads are moved between by strands of vocal exotica and held together by the methodical drum ceremonies. “I’m Dying for Love” begins with trippy speech samples floating in a mist of mutating orchestrations. When the rhythms enter, they are led by the tablas of Pandit as well as sliding subsonic currents, Jannick Top-style bass guitar riffs, gated snares splashing through reverb pools, and pulsating cymbals and David Cunningham’s chiming guitars bounce through a land of bubbles alongside mystical melodies of plucked glass. Yasuaki’s emotional croon is floated behind by melancholic synth pads, occasionally giving way to filtered passages of wordless beauty and elsewhere, exotic reed instruments travel a desert dreamland while sunshine synths disorient the mind. At some point, there is wondrous section of world fusion, as paradise crystal melodies and ecstatic falsetto drones give way to gorgeous clouds of singing from Mieko while all throughout the background, wind chimes and harps are transformed into cosmic glitter.

“My Friend the Secretary” features another one of David Cunningham’s introductory collages, with swelling drones, backwards flowing mallet instruments, and amorphous atmospheres growing in intensity. A heavy beat smashes in with storming Zeuhl vibes as crushing drums flow beneath funked out basslines that journey through lands of darkness. Chaotic bell noises fly in the sky and wrap around arcing sax drones until the song explodes into an epic solar choir featuring fairies chanting to the spirits of the sky and as Yasuaki’s voice enters, his smooth and heady melodies stand strong against the prog maelstrom swirling all around. Fuzz guitars are smeared into abstract colorations before being set on fire while the stereo field is stuffed full with weird voices and morphing noise fx and the song climaxes with waves of bombastic drum maximalism charging through polychromatic vocal harmonizations. For “Anaconda Mon Amour,” marimbas, kalimbas, and the guitars of Dominique Brethes drop like rain in a forest of dreams while distorto-bass pulsations work themselves into feathery funk riffs. Radiant drone gases spread all round while hot cymbals hiss and pan side-to-side, everything building towards synthetic reed solo climaxes that transport the soul to faraway islands of fusion exotica. Joyous whistle melodies descend as gaseous synth layers swirl in place and up in the sky, euphoric organ lines are obscured by a nacreous reverb fog. And as the basslines continue to bubble and pulse through strange fx layers, heady brass stabs rain down from an equatorial future funk paradise.

“Soul de Rock” starts with towering drums and heavy beat fire, as Manny Elias’s toms crash and snare smashes over wonky piano riffs, distorted basslines, and weird celestial voice chants. As the rhythmic intensity settles, Yasuaki enters with his melodious voice and soars above the molten basslines and their stoned funk fluidity. The air is suffused with blipping space fx, strange exotic accents, and alien harpsichords and at some point, Yasuaki is backed by feminine voices as a moaning sax melody arcs through the sky. During a smashing climax wherein we return to the monstrous beat explosions, Yasuaki and his apocalyptic choir soar epically overhead before giving way to a blazing saxophone solo that sets the very air on fire as it flies above smoldering noise explosions. The song then spends the rest of its time alternating between the hard-hitting yet swooning vocal pop dreamworlds and the more intense drum and bass workouts, until finally climaxing with emotive vocal chants, searing fuzz waves, and layers of swelling synthesis sounding like a cloud of cosmic dust. We close with the epic saxophones of “Sateto,” as circular breaths and fiery solos decay from eternal mountain tops. Mystical drones and lush orchestrations move through an aquatic haze along side animalistic horn bleats while Yasuaki continues his breathtaking journeys overheard, letting loose Blade Runner atmospherics that surf gently on Pandit’s hand drums while stoking airs of mystery and intoxication.

(images from my personal copy)

[rudrjobdesk]

दिनेश कार्तिक ने चंद्रकांत पंडित को बताया रणजी ट्रॉफी का 'एलेक्स फर्ग्यूसन', जानें कौन है यह दिग्गज

दिनेश कार्तिक ने चंद्रकांत पंडित को बताया रणजी ट्रॉफी का ‘एलेक्स फर्ग्यूसन’, जानें कौन है यह दिग्गज

Image Source : TWITTER Chandrakant pandit and Alex Ferguson Highlights चंद्रकांत पंडित ने बतौर कोच छठा खिताब जीता मध्य प्रदेश को पहली बार बनाया चैंपियन दिनेश कार्तिक ने बताया र��जी का एलेक्स फर्ग्यूसन किसी भी टीम या खिलाड़ी को सफल होने के लिए एक गुरू या मार्गदर्शक की दरकार हमेशा होती है और ऐसे में अगर चंद्रकांत पंडित जैसा कोच मिल जाए तो फिर सफलता तय है। विदर्भ हो या मध्य प्रदेश, उन्हें उनका…

[gurujidineshsharma]

Love Marriage Specialist Astrologer & Pandit Guru Ji Dinesh Sharma Ji Love Marriage Specialist Astrologer Helps the Partners Convince their Parents for Marriage Call Now: - +91-9815799905 #famousastrologer #astronews #astroworld #Astrology #Horoscope #Kundli #Jyotish #yearly #monthly #weekly #numerology #rashifal #RashiRatan #gemstone #real #onlinepuja #remedies #lovemarraigespecilist #prediction #motivation #dailyhoroscope #toptipsAstrologer

[passionate-reply]

This week on Great Albums: one of my favourite “hidden gems” of the mid-1980s, Blancmange’s *Mange Tout* is about as extra and in-your-face as it gets, full of dense arrangements, gender-bending bombast, and musical instruments from Southern Asia.

Welcome to Passionate Reply, and welcome to Great Albums! This time around, I’ll be taking a look at one of my favourite hidden gems from the mid-1980s, the sophomore LP of Blancmange, entitled Mange Tout.

Despite their relative obscurity today, particularly in comparison to many of their contemporaries, Blancmange weren’t total strangers to the pop charts. Their first full-length LP, 1982’s Happy Families, would yield the biggest hit of their career: “Living on the Ceiling,” which peaked at #7.

Music: “Living on the Ceiling”

While it never got to be a chart-topper, “Living on the Ceiling” is still an unforgettable track in its own ways. Perhaps its most distinctive feature is its use of the traditional Indian instruments, the sitar and tabla. While 80s synth-pop is certainly full of Orientalism, most of the references you’ll find are pointing to the Far East, and the perceived aesthetic sophistication and techno-utopian futurism of China and Japan. Aside from certain works of Bill Nelson, Blancmange were pretty much the only ones engaging with South Asian musical themes. Blancmange’s instrumentalist, Stephen Luscombe, grew up in London’s Southall neighbourhood, which had a high population of immigrants from Southern Asia, which led him to a lifelong interest in Indian music. Combined with electronics, it makes for a totally unique sound, which ends up sounding better in practice than it might in theory.

While any time White European musicians turn to alternative cultures as artistic tools, there’s a valid cause for some degree of criticism and concern, there’s also an artsy, left-field un-hipness about Blancmange, who seemingly drew from Indian music not only alone, but purely for sonic enjoyment. Unlike the exotic fantasies spun by groups like Japan, none of Blancmange’s songs seem propelled by any specific idea or ideology about India, but rather seem to tackle common pop themes of love and heartbreak against a seemingly *non sequitur* musical backdrop. While we, as listeners, might have strong associations with particular sounds, this is ultimately more cultural than innate, and there’s really no reason why a composition with Indian instruments must revolve around some theme of “Indian-ness”; it isn’t like people in India don’t also fall in love. However you feel about these influences, the role of Indian instruments is only increased on Mange Tout, where they appear on multiple tracks, including the album’s most successful single, “Don’t Tel Me.”

Music: “Don’t Tell Me”

On Mange Tout tracks like “Don’t Tell Me,” not only do the instruments return, but so do the session musicians who had performed on “Living on the Ceiling”: Deepak Khazanchi, on sitar, and Pandit Dinesh, on the percussion instruments tabla and madal. “Don’t Tell Me” is a track with a lot of pop appeal, lightweight and singable, which makes it a bit surprising that it was actually the final single released from the album. It certainly impresses me that Blancmange managed to create such bubbly and finely tuned pop, given that neither of their core members came from any formal or technical background: Luscombe had had a history in avant-garde music ensembles, and vocalist Neil Arthur became interested in music via the DIY culture of punk. Their first-ever release, the 1980 EP Irene & Mavis, sounds more like Throbbing Gristle than Culture Club, but they somehow managed to arrive at something quite sweet and palatable in the end. That said, it’s also possible for sweet to eventually become too sweet--and this line is provoked on the album’s divisive second single, “That’s Love, That It Is.”

Music: “That’s Love, That It Is”

In contrast to the lighter “Don’t Tell Me,” “That’s Love, That It Is” is utterly bombastic, with a vicious intensity. The instrumentation and production style is dense to the point of being borderline overwhelming. By this point in his life, Stephen Luscombe had recently discovered that he was gay, and his time spent in nightclubs that catered to the gay community provided another pillar of Blancmange’s signature sound: the influence of the queer disco tradition, which is almost certainly the source of this tightly-packed instrumental arrangement style. Blancmange never seem to be mentioned in the same breath as other stars of queer synth-pop like Bronski Beat, Soft Cell, and the Pet Shop Boys, presumably due to the combination of their overall obscurity and the fact that Luscombe was never the face of their band, but I see no reason not to include them in the same pantheon of camp. Speaking of queerness, it’s also worth noting how Blancmange played with gender, particularly on their cover of “The Day Before You Came.”

Music: “The Day Before You Came”

A solid eight years before Erasure’s iconic Abba-Esque, Blancmange offered their own interpretation of an ABBA classic with “The Day Before You Came.” In their hands, it’s a languid dirge, and a meditation on quotidian miseries for which the titular event seems to offer little respite. The unchanged lyrics, portraying the narrator working in an office and watching soap operas at night, are subtly feminine-coded, but the deep and unmistakably masculine voice of vocalist Neil Arthur seems to muddle those connotations. While it is a cover, I’m tempted to sort it into the same tradition as Soft Cell’s “Bedsitter” and the Pet Shop Boys’ “Left To My Own Devices,” as a work which musically elevates the everyday life of a campily self-obsessed character to the sort of melodrama the narrator perceives it to have.

I’ve spent a lot of time praising the instrumental side of their music so far, but it’s also true that Blancmange wouldn’t be Blancmange without Arthur’s contributions. The presence of his rough and untrained voice, with the added gruffness of a Northern accent, draws a line between these tracks and a typical pop production, and he sells us quite successfully on the gloomy, ominous feeling of tracks like “The Day Before You Came” and the album’s lead single, “Blind Vision.”

Music: “Blind Vision”

On the cover of Mange Tout, we find an assortment of seemingly unrelated items, which form a sort of graphic wunderkammer against a pale beige backdrop. Perhaps the best theme that could be assigned to them is that of travel--we see several means of transportation, such as a boat, a motorbike, and an airplane flying above a map, as well as items that can be taken as symbols of exotic locales, such as a North American cactus, and an elephant and Zulu nguni shield from Africa. Only the harp is clearly evocative of music itself--and this instrument won’t even be found on the album! The album’s title, “Mange Tout,” suggests that we are getting “full” Blancmange, or “all of” Blancmange. Taken together, the cover and title seem to imply that this album is stuffed to the brim, and contains a whole world of musical ideas. I would definitely agree that that’s a major motif of the album: it’s audacious, explosive, and free-wheeling. It very much feels like an album that was put together on the back of a first initial success, with a pumped-up budget and bold creative vision, and hence pulls no punches. Perhaps the most compelling feature of Mange Tout, and the primary reason I recommend this album so highly, is its unbridled enthusiasm for what it’s doing. Even in its ostensibly experimental moments, Mange Tout feels not like an album that is “trying” something, but rather one that boldly and assuredly proclaims the things it does, and embraces a kind of “more is more” maximalism.

In hindsight, it’s easy to see Mange Tout as the creative as well as commercial peak of Blancmange’s career. Their follow-up release, 1985’s Believe You Me, is far from the worst album I’ve ever heard, but it definitely doesn’t feel quite the same as the “classic” Blancmange works, adopting a more middle-of-the-road, radio-friendly synth-pop direction, with less of the South Asian influences and experimentation that really set them apart in the saturated synth-pop landscape. While not a work devoid of merit, Believe You Me was a relative commercial dud, and the duo would split soon after, chiefly citing personal and creative differences--though they did have a brief reunion in the early 2010s.

Music: “Lose Your Love”

My favourite track on Mange Tout is “All Things Are Nice,” which, alongside the neo-doo-wop “See the Train,” would be classed as one of the more experimental tracks on the album. Full of tension, “All Things Are Nice” alternates between eerily whispering vocals from Arthur, and a variety of samples from other media--which was still a relatively cutting-edge technique for the time. “All Things Are Nice” is almost certainly the most conceptual track on the album: as samples discuss world war, and Arthur whispers that “we can’t keep up with it,” the song is probably to be interpreted as a commentary on the runaway nature of technology and so-called “progress” in the modern age. The titular assertion that “all things are nice” seems to be ironic--or perhaps it embodies a sheer love of chaos and unpredictability, for their own sake, which would certainly fit the album’s mood. It also feels like it might be a sort of defense of the album itself: like I said, *Mange Tout* is serving us “all of Blancmange,” and isn’t it fun to get to have all of something? That’s everything for today--as always, thanks for listening!

Music: “All Things Are Nice”

[itspank]

1.Google CEO is an Indian – Sundar Pichai 2. Microsoft CEO is an Indian – Satya Nadella 3. Citigroup CEO was an Indian – Michael Corbat 4. SoftBank Vision Fund CEO is an Indian - Masayoshi Son (Rajeev Misra Former) 5. Adobe CEO is an Indian - Shantanu Narayen 6. NetApp CEO is an Indian - George Kurian 7. PepsiCo CEO was an Indian - Ramon Laguarta (Indra Nooyi Former) 8. Nokia CEO is an Indian - Rajeev Suri 9. MasterCard CEO is an Indian - Ajaypal Singh Banga 10. DBS CEO is an Indian - Piyush Gupta 11. Cognizant CEO was an Indian - Brian Humphries (Francisco D'Souza Former) 12. Novartis CEO is an Indian - Vasant Narasimhan 13. Conduent CEO was an Indian - Cliff Skelton 14. Diageo CEO is an Indian - Ivan Menezes 15. SanDisk CEO was an Indian - Sanjay Mehrotra 16. Motorola CEO was an Indian - Greg Brown (Sanjay K Jha Former) 17. Harman CEO is an Indian - Dinesh Paliwal 18. Micron CEO is an Indian - Sanjay Mehrotra 19. Palo Alto Networks CEO is an Indian - Nikesh Arora 20. Reckitt Benckiser CEO is an Indian - Laxman Narasimhan 21. The Orogen Group CEO is an Indian - Vikram Shankar Pandit 22. Palo Alto Networks CEO is an Indian - Nikesh Arora 23. Deutsche Bank CEO is an Indian - Anshu Jain