The Americans had armed the Pakistanis with sophisticated military equipment that included Patton tanks, Sabre fighter jets and field artillery guns since the late 1950s and Ayub Khan was keen on assessing Indian military preparedness before August and September 1965 when he had planned Operation Gibraltar (the armed insurrection in J&K) and its follow-on operation called Operation Grand Slam that would complete the isolation of J&K from the Indian heartland through the capture of Chhamb and Akhnur. Global Watch | Pakistan’s Defence Day celebrations and the art of perception management by deep state Army launches 'Project Naman' for welfare of veterans, kin of martyrs Like many poorly defined and demarcated frontier areas in the sub-continent, the Rann of Kutch emerged as a contested area in the mid-1950s with both India and Pakistan laying claims to it despite clear evidence being available in pre-independence records that the Maharajah of Kutch had laid claims to the Rann based on historical evidence. For a major part of the year however, it remains a marshy area interspersed with hard and dry salt pans and a permanent riverine creek, the Sir Creek, the middle of which marks the current border. The Rann of Kutch is a large peninsular-shaped hybrid marshland cum salt pan which gets partially submerged during the few monsoon months. The summer of 1965 saw a buoyant Pakistani Armed Forces under an overconfident military dictator, General Ayub Khan, test the resolve and preparedness of India’s Armed Forces in the salt pans of the Kutch. Watch out for this column close to all the dates in the year when independent India has had to deal with various national security challenges. Toward the late 1950s, Japanese designers had tended to follow their North American counterparts (the 'Cadillac' design school) conforming to popular taste by the judicious application of mock chrome trim to the casing of radios, televisions and refrigerators - the flower basket sees Japanese designers breaking from this and forging new ground with very Japanese styling.Editor’s note: This series by one of India’s leading military historians of contemporary times showcases chronological vignettes of war and conflict in independent India. The speaker, mounted at the base of the sphere, is directed downwards, projecting sound toward the pedestal base, itself acoustically affable, affording audio in all directions. The centralised dial sits on top so that if the radio is placed in the centre of a table it can be operated and tuned from any direction. There is no denying that a certain attraction to novelty might also have induced the purchase of this hand painted radio, but it must be said it is a most practical design. The company, so pleased with this product, to exhibited the radio at Toshiba's showcase in Ginza, Tokyo for some time. A late 1950s penchant for westerners to orientalise their interiors provided a rich consumer base for this design, and it was a modestly successful product. Toshiba's Design Centre crew took the key design cue of the oriental (Japanese) interior and produced this plastic spherical flower basket transistor radio with more than a mild echo of traditional Japanese lacquer ware. Where this transistor radio exhibits little technical sophistication, it stands out for its startlingly different appearance to other Japanese radios from the preceding period.
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