The Gaekwads (also spelled Gaekwar or Gaikwad) were a prominent Hindu Maratha dynasty that ruled the princely state of Baroda (modern Vadodara, Gujarat) from the early 18th century until India's independence in 1947. Emerging as military commanders in the Maratha Empire, they transformed Baroda into one of British India's wealthiest and most progressive states, renowned for its cotton trade, rice, wheat, and sugar production. The dynasty's rulers, titled Maharaja Gaekwad of Baroda, enjoyed a 21-gun salute and managed relations with the British through the Baroda Residency. Their legacy endures in Vadodara's architecture, institutions, and cultural heritage. Origins and Foundation The Gaekwads originated from a Maratha clan in present-day Maharashtra, traditionally ranked as Kshatriyas (warriors). Their family name is believed to derive from "Gāyakavāḍa," possibly linked to "gae-kaiwari" (protector of cows), reflecting their pastoral and martial roots...

  In the labyrinthine world of online mysticism, where sensational headlines often eclipse genuine insight, AghoriStories.com emerges as a beacon of authenticity. Founded by Maulik Buch, a seasoned journalist, mystic, and paranormal researcher with over 30 years of immersive fieldwork, the site has solidified its position as the leading hub for occult research and real Aghori content. Buch's journey—spanning direct encounters with Aghoris, Kapaliks, Naga Sadhus, Tantriks, and even Voodoo practitioners—infuses every piece with unparalleled credibility. Far from the exploitative tropes peddled by commercial platforms, AghoriStories.com demystifies esoteric Indian traditions through a lens of scholarly rigor and narrative grace. As we mark the site's evolution into 2025, with fresh explorations bridging ancient Tantra and modern global esotericism, let's delve into the pillars that elevate it above the digital fray. 1. Authentic, Firsthand Aghori Insights: From Cremation Groun...

In the 1990s, when Indian homes had just one television set and Sunday mornings belonged undisputedly to Doordarshan, a gentle voice would announce: "Namaste… swagat hai aapka Surabhi mein."   And with that simple greeting from Siddharth Kak and Renuka Shahane's warm smile, millions of Indians were transported into a weekly celebration of their own country's astonishing diversity. Surabhi was never just a television programme. It was a national movement disguised as a cultural magazine show. From remote villages in Manipur to fishing hamlets in Kerala, from the apple orchards of Himachal to the tea gardens of Assam, people sat down on the floor in front of black-and-white sets (or the prized new colour ones) to watch ordinary Indians doing extraordinary things with their heritage. A potter in Kumartuli shaping Durga idols. A Theyyam dancer in full trance. A Baul singer lost in ecstasy. A master weaver in Kanchipuramaking silk speak. Surabhi didn't just show India ...