Thursday, January 14, 2010

Aman Ki Asha

My line for you:

"'Peace' and 'Piece' both sound the same... but the former has much more lasting effect than the latter... Its only known by experiencing it!"

Here is the video of the ad being aired on television:



Video directed by: Vinil Mathew
Music Composed by: Shankar Mahadevan
Singers: Shankar Mahadevan, Rahat Fateh Ali Khan
Lyrics by: Gulzar
Produced by: Swadha Kulkarni, Footcandles Films
Initiative conceived by: Times of India and Jang Groups

Tuesday, January 5, 2010

My Interview (On the Article)

Kudos to your fantabulous article. It was a nice read.

Thank You!

Do you think all the music composed by Rahman sir or any other director is based on Carnatic music or Hindustani?

No... In no case, it can be understood that way because there are a lot of genres in the music prevalent all over the world. But one can segregate this whole of music quotation into two branches for an easy understanding of the art.

1>Indian Music
2>Western Music

Indian Music comprises of two branches namely Carnatic and Hindustani... Indian Music has the strongest base compared to any other genre of music. The roots of music have originated from the carnatic music... so if one terms it as the moolah of music, it is in no way an exaggeration. Raagams are a part of classical music.

Western Music comprises of rock, rap, jazz, country, etc... It has the same seven notes C D E F G A B as that of Sa Re Ga Ma Pa Da Ni in Indian classical music albeit in a different notion.

And it is not necessary that every song is based on carnatic or hindustani. They are just two forms of music. And trying to relate every other song with either carnatic or hindustani is one of the wrong practices adopted in learning the music.

We have so many music composers all over the world. And naturally, all of them do not know carnatic or hindustani. So a composer composes a song basing on his learnt or known genre. Similar is the case of A R Rahman... He learnt Indian music... So most of his songs contain Indian flavor... and its purely his genius that he blended the western music with Indian music by foraying into the western music and learning the nauances of it.

What do you say about Pappu Can't Dance or other fast numbers?

Yes... this pappu cant dance is a fast number based on western beat music... I can't say the exact genre because I don't have much knowledge on the western music... One thing I can say about these type of numbers is that they are not based on Indian classical music (laughter).

And what do you say about Dreams on fire (from Slumdog Millionaire)?

Its another western symphony which has a strong feel embedded within it.

Does it have roots with any Classical/Hindustani Raga?

No... It doesn't.

And can you relate any Western song to that in an Indian raga?

Sometimes yes and sometimes no.... when it is Rahman, you can relate few western songs to Indian because his way of composing is totally unique... he masters the art of blending western into Indian music which no other Indian composer is good at.... that's one of the secrets of his success. You can consider the examples of Fanaa in Ayudha Ezhuthu, Rehna Tu in Delhi 6, etc...

And do you know how Rahman sir or anyone else does a fusion?

If I have known the way Rahman sir does a fusion, then I guess Rahman sir would not have as easily pocketed those 2 Oscars (intended pun!). It would be the same in case of anyone else as well.

You have said to consider the example of Mausam and Escape from SDM. Which is that Raga?

Mausam and Escape is another example of blending western music with Indian flavor... It starts with a slight shade of Malahari (not pure) but then takes a paradigm shift to Rahman genre of mixing the things!

Who do you feel is the best among Ilaiyaraja and Rahman?

A very difficult question. But the answer is very simple. One cannot compare two extremes. Both of them are legends in their own way.

Are all the songs required to be in specific raga or mix up of ragaas? If he composes the song in western style, is the Indian ragaas applicable? For eg : is there any raaga associated with Petarap (Kadhalan) ?

No... Its not that way. I have said earlier. It's sometimes Yes and sometimes No. I am not sure of that song... it sounds complex to my ears.

Is there any raga which ARR was never used so far even in parts?

Yes... there are many like Kamavardhini, Valaji, Ketakapriya, Amrutha Varshini, etc... very rare raagas and which cannot be used at the outset.

Of late, we have not seen an article based on the music. When can we expect one?

Actually, I have wantedly refrained from writing a piece with music as subject as I was feared of getting branded as a writer who writes only on music. I don't want to take such kind of acclaim. As a writer, I feel one should be able to pen on any subject. That's why I have switched to various topics. Money, Fashion, Autism, Human Relations, Reality Shows, Leadership..... I have explored quite a variety of topics last year. Probably I may soon write a piece based on music. You have to wait.

I have gone crazy over your Sa Re Ga Ma of Fashion. What is your feeling when it was selected for Newsweek?

Thanks. But don't go crazy over it. Just read and try to garner a piece or two knowledge bytes from it. Even if you don't, there is no problem. Just inculcate the habit of reading. It really is of use. My feeling was really satisfying for my effort. But it has not reached the intended audience I had kept in my mind while writing probably because of lack of promotion... you know these days, every product needs a promotion. I plan to do an edited version and re-launch the article by organizing an event.

You have said that Ilaiyaraja sticks to only one raaga. But actually he doesn't. What is the reason behind such a controversial statement?

Wow! A misinterpretation can stir a controversy.... see friend, FYI, I have never mentioned that Raja sir sticks to only one raaga in 'every composition of his'... probably you might have missed out on an i/w of Raja sir where he said that he prefers using a single raaga in one song rather than going for a ragamalika. So I have just taken a point of his and said the statement... Its a normal thing we the writers do! And in no way, I have said that Raja sir uses only one raaga in each and every song of his. Hope you are clear with this explanation.

What is your forthcoming article?

I am contemplating on a couple of subjects, one is 'women' given by Rupa and the other is based on 'knowledge'. Probably you might see one of these subjects.
P.S.: This (Classical Extemporization from Roja to Yuvvraaj's ARR) was my article that I had written exactly one year back. Strangely or deservingly, it was rated as my best work till date by my readers and fans although I don't consider it as my best ever work! I am thankful to all those who have appreciated the piece. For commemorating the first anniversary of my (best-ever?) work, I have done an interview in which few readers have raised certain questions which I am going to post now along with my answers so that the people who couldn't make up for the interview and having the same doubts can get clarified with this transcript.


Hope you all continue to lend me your valuable support....Cheers!


Classical Extemporization from Roja to Yuvvraaj's ARR

January 06, 2009… 12:17 P.M., at this point of time, if you ask any person well versed in various forms of Indian Classical Music (probably a guru or a maestro) that if the same pattern which was actually contrived by Muthuswami Dikshitar and Thyagaraja still being taught to this generation, the answer would be an unanimous NO… because there has been a sea change in the time frames and generations and thereby, various changes were evolved in teaching the music so as to vibe well with the tastes of the generations. Obviously, there would be no change done to the root part, the swaras and the raagas will remain the same!


It was in 1992 when the music wizard A.R.Rahman composed the tunes for his first filmy album Roja... He was 26 then. Now at 43, he composed the tunes for his latest offing, Yuvvraaj. So taking a cue from the above stance, one can wonder the amount of change that had been evolved in his composing styles in this time-gap of 17 years!


The first song of Rahman to which I listened was Nila Kaigirathu from Indira (as that was the first ever film I watched)… At that point of time, I don’t know who Rahman was but that song did haunt me like a diva in my sporadic dreams! The first raaga I learnt was Mayamalava gowla and that was followed by a chain of raagas after which I took a break to analyze the songs based on the learnt raagas… Indeed, the first song I analyzed was Nila Kaigirathu. It is strongly based on Hamir Kalyani.


Pudhu Vellai Mazhai from Roja was a master-piece based on Kapi. The moment I heard Mannmohini Morey from Yuvvraaj, I thought it was a rendition on Kapi. But after a few times of hearing made me confirm that it was the alaap of Aabheri (Ni Sa Ga Ma Pa)! Rahman had composed only one song based on Aabheri, which is Kannodu Kanbathellam from Jeans. The song requires quite a high pitch. Nithyashree Mahadevan was absolutely great in that song as is Vijay Prakash in Mannmohini. When I compared the composing styles of Rahman in both these songs, I felt that he mixed that song with Sudha Dhanyasi and made it a raagamalika while he made a fusion of Aabheri in western in Mannmohini!


The moment I heard Tu Muskura… It made me remind of Sonnalum Ketpadhillai from Kadhal Virus which was based on Nalinakanthi. The interludes embedded in the song are purely western yet the base of the song is in Hamsadhwani. I was flabbergasted at the way Rahman mixed this song on such low notes with western loops. Then I realized that only a Rahman can do this sort of song! Alka Yagnik sounded better even on such low notes and Javed Ali is apt for his Hindustani alaap. The song is best suited to have a perfect evening!


Melody-Rhythm-Lyrical Beauty… these are the 3 pillars on which Carnatic Music is based on… and that is exactly one can witness in Zindagi…. Gulzar explaining the various modes of life and Srinivas taking you through the modes while Rahman is providing the fuel to the song. The song is etched on the raaga Saranga…. It made me reminiscent of Azhage Sugama (based on Dhwijavathi and Sahana) from Paarthale Paravasam. The varied styles in the pace of the song make it a celestial number. Here one can witness the contemporary style of Rahman, composing a melody.


An euphonious song is what I can say about Tu Hi Meri Dost Hain… It is probably the best example of western symphony Rahman is talking about these days and I guess this is the theme which he is trying to infuse in KMMC. This song can be simply listened for its lyrics which go like...

Kabhi dil ka hai saahil, Jahan shaam utarti hai

Kehte hain samundar se, Ek pari guzarti hai

Wo raat ki raani hai, Sargam par chalti hai

Gulzar Saab is to be applauded for his impeccable work. Without his lyrics, this song wouldn’t have been rooted in the ears of listeners. A hundred time listener… I might be sounding vague because it's actually more than a hundred time listener!


How can I forget the resplendent works of A.R.Rahman in Kandukondain Kandukondain? Kannamochi (based on Nattakuranji) and Thongi Choose (based on Kathanukathagulam) deeply evoke my feelings till date…The same Rahman I get to hear listening to these master-piece songs from Yuvvraaj although in a different way! The way Rahman is blending his music with different genres since Roja is simply breathtaking and quite amazing. That indeed makes a striking difference between him and other composers who are into producing some strident sounds.


As the notion says, the change is only about moving forward… one has to move forward adapting to the styles of the current time-frame one is living in without being able to forget one’s moolah! It applies universally, be it an A.R.Rahman, be it a Raghav or anyone else. Rahman has instigated various styles of music in him according to the changes and he is making his music move forward with them and along with it, he is transcending places. Let us wish him a wonderful birthday and request him to continue enthralling us with his music!

Saturday, September 19, 2009

Transformational Leadership

The series of alphabets in English language always start with the letter ‘A’. No one in the history has ever challenged as to why it starts with only ‘A’ and not with ‘Z’. All the other letters follow only after the letter ‘A’. It seems to be an obvious fact, but from this very place, a phenomenal word called ‘Leader’ has coined out to rule the world. Taking the present context, it becomes redundant to say that ‘A’ is the leader of the alphabetical series.


In a routine march drill, people will perform the action only after their instructor gives a call. Here, instructor plays the role of an initiator. All the people follow his/her call. A leader starts one’s journey by being an initiator among a group. Initiators never crave for people to follow them. They are always accompanied by a group of people who come purely on their own choice. The leaders are not restricted to only the human-beings. The animals, birds and plants also have a leader amongst them as Lion, Eagle, and Dieffenbachia are known to be the leaders of animals, birds and plants respectively.


One can witness inspirational, motivating, charismatic and transformational qualities embedded in an ideal leader. They are responsible for spinning a change in the system. When women were once seen to be restricted only to house-holds, came people like Jhansi Laxmi Bai, Sarojini Devi, Mother Teresa, etc to bring a revolution in the world. They have ushered a path for the future leaders to follow. The current leaders like Kiran Mazumdar Shaw, Biocon Chief; Sonia Gandhi, All India Congress Committee Chief and Chanda Kochhar, ICICI Bank Chairperson have tread the same path and are now listed among the most influential women in the world for their accomplishments.


Leaders are not born, they are made. Leaders are not dropped from the so-called ‘World of Elixir’. They come from our very own surroundings and people. Mostly the situations give rise to a leader. Right from Adolf Hitler to the recent Barrack Obama, all have come from the common people. It’s their unrelenting resolve that made them the world-captivating leaders.


A transformation has both extremes. It might be for either good or the bad motives. A leader acts like a vanguard to the ever-surging ship called Life. He/she is responsible for both the smooth sail and the sinking of the ship. All leaders are managers but not all managers can become leaders. This is the doctrine employed by the management gurus like C.K.Prahlad, Bill Gates, and Jack Welch who are highly successful in their fields. They are the role models to many people because of their deeds. In the wake of all these, it would not be an exaggeration to term a leader éminence grise.


Bottom-Line:

The world remembers the names of influential and charismatic leaders like Mahatma Gandhi, Winston Churchill, Martin Luther King, Subash Chandra Bose, etc… forever irrespective of the generations. An ideal leader will always be aware of the fact that his/her actions are responsible for the people’s lives. The thing one should take from a leader is whether one is willing to be remembered (obviously for the good reasons) by the future generations. If that gets rooted in one’s conscience, nothing can stop one to become a true leader.


One can make out a word for every letter in the word ‘Leader’ as L for Learner, E for Earner, A for Adapter, D for Developer, E for Energizer and R for Racer. It’s purely based on one’s perception but that can’t just be written off, for, it’s a fact! The words might differ but the essence can’t be altered. So, a leader is a dealer in hope! Don’t look for a leader…Be a leader and lead your life…with it, one can automatically pave a path to others’ lives.

Wednesday, August 12, 2009

The Heights of Cricket(ism) in India

When one asks a bunch of children about their favorite sportsman, the answer reigns in almost unanimously as Sachin Tendulkar. This is the kind of image carried out by this man when it comes to sport in India, likewise other cricketers. Most of the people in India reckon that cricket is its national sport. This is the amount of prominence carried by this sport in India that it sidelined hockey which is actually the nation’s national sport.

When Tendulkar said that cricket is followed as a religion in India, he has a specific meaning to the statement as Indian cricket fans do not view it is a sport, where winning and losing are all a part of it. For them, cricket is something which is more than a sport and very close to their emotions. They have shown both love and hate at their extreme ends towards the cricketers. When India just wins a single match over its arch rivals forget about a tournament, a festive environment is seen all over the nation where people distribute sweets, burn crackers, etc…Now, one can imagine the bounds of celebration when India wins a world cup or a tournament. On the other hand, when India loses a crunch match, the fans get furious and show their irate behavior toward their very icons. The youngsters are seen bad mouthing the cricketers.

The role of media in this cause is extremely significant as it is responsible for romanticizing the issue disproportionately. The cricketers are made both super-stars and flop-stars by this very same media. The companies sign them up as the brand ambassadors for endorsing their products and advertisements which has a telling blow on the performance of the sportsmen. The hype generated just for the arrival of a cricketer at a venue or to the matter every other thing a cricketer does in his private life is inexplicable.

Cricket should just be seen as any other sport. Winning and Losing are all a part of the game and a single cricketer can’t be made responsible for either of them. The aggressive behavior of the fans towards the cricketers is not justifiable as every other sportsman who steps into the field aspires to win but ultimately it is the sport which has the final laugh.

Reality withheld?

It would not be an exaggeration if one says the word ‘real’ in the ‘reality’ show no longer exists these days! Now-a-days, reality shows have become a stage for gaining instant recognition by resorting to melodramatic stunts. The conductors of these shows are flowing down celebrities just to gain popularity and to increase their TRPs sidelining the root concept of a reality show. In one way, it is nothing but fooling the people in the name of a reality show. Few gullible people presume these shows to be real and try to imitate the performed deeds and finally end on the wrong note.