INTERVIEW WITH

Mike Blackman In conversation with

Founder & Managing Director, Integrated Systems Europe

How did the Corona virus threat affect the show this year? Corona virus has been a major theme of discussion here. As it all started, we started to prepare and firstly talk to our Chinese exhibitors. We had 258 Chinese exhibitors booked to exhibit at ISE 2020 and we started to contact them and reached almost all of them. About fifty of them had to cancel either because they were restricted from traveling or had their flights cancelled. In addition to that, about twenty two companies cancelled because they were concerned about the health of their staff and customers. We respect their views. People come first and if that’s the decision, they need to stand by their policies and their feelings. We tried to help our Chinese customers in every way we can. Secondly, there was a lot of nervousness from the attendees wondering if they could be here. The entire time, we

took advice from the World Health Organisation, from the RVM (Dutch Health Organisation), the European centre for disease control and also the GGZ (Amsterdam Health Authorities). We constantly monitored their websites for advice and took that to move forward. We put in additional sanitary facilities here like hand sanitisers all over the show. We also spoke to our exhibitors to find out the kind of sanitation devices they would have and in addition to that we had another fifty thousand small hand sanitisers that attendees could take with them.

This is your last year at Amsterdam. How has the show been and how has it changed over the years? When we started the ISE show in 2004 in Geneva, we had only about 3500 attendees and moving to Amsterdam was quite significant in giving us the opportunity to access people from all over Europe and beyond.

Having a city that is very charismatic, helped in attracting attendees. It has been a successful growth. We have seen it develop, the attendees have grown and this venue has become too small for the show. We are moving to Barcelona. Everybody is looking forward to the move. It is both a sad and a happy phase. We are leaving a city that we like and have enjoyed but also moving to another city which is nice as well and also has the charisma that can match Amsterdam. We have twice as much space in Barcelona to accommodate exhibitors and attendees.

What new additions do you have to the show for ISE 2021? As our show has grown, we have included more sectors and that is a reflection of where our industry is going. AV touches everything and we are seeing technology being encompassed in what we do as a business. We have to show that to our customers – the AV channel and commercial end users – to show them how AV can be embraced. We have seen a demand in the Pro Audio sector at ISE that unfortunately we have not been able to fully accommodate. Moving to Barcelona will give us the opportunity to give more space to Pro Audio companies. On the other side, live events is also a sector which we have touched upon but haven’t had space for all those companies to be involved in the show. Now, we will be able to do that as well. You will also see a much larger section for collaboration that can accommodate all those companies. Broadcast, Residential and digital signage will also be much bigger. We are also putting up a bigger conference program because we believe that content is important!

How does ISE manage to grow in the number of attendees while all other major shows across the world are seeing a decrease in footfall? ISE is not just about Mike Blackman, I have a big team of specialists behind me. To make this work, we have a team that looks after logistics and others that look after the sales, marketing, accounting and so on. We sit together after every show and look at what was good or bad, what worked and didn’t work. If it worked, should we continue. If it didn’t work, should we stop or change it. We try to improve it! We are the biggest AV show in the world and I make it clear to my team that we must not become complacent, we must try to better ourselves every year. That’s the reason why we are growing and getting more attendees and exhibitors. We had 200 new exhibitors at ISE this year. So, this reflects on our success and the efforts of my team to continue that success. On top of our direct team, we have our associations as well who are offering certifications, training and education. All of these make our business run.

How do you look at emerging markets globally? We are in a group of several shows worldwide. The AVIXA organisation is one of our co-owners – the other one is CEDIA. This means there are shows in virtually all regions including India, Asia, North America, South America etc. So, we are offering opportunity for attendees to visit the shows in all regions. ISE is a show that covers both sides of the market, both residential and commercial. Secondly, ISE happens at the beginning of the year which is the start of business for many companies. Companies from global markets join the show to do business. They want to keep ahead of the market.

What are your plans and message for India? AVIXA has the InfoComm show in India, a very successful show. We also welcome Indian attendees to ISE if you want to see what’s in the market in the beginning of the year rather than waiting till September. It is a good opportunity to meet manufacturers and other colleagues in the industry.

With an Air of Mystique:

Flautists J.A. Jayanth and Rasika Shekar On Delving Into The World of Bamboo and The Scope of Flute Playing

It’s been a few decades since flautists J.A. Jayanth and Rasika Shekar first took the stage. Bamboo flute in hand, they presented the music they knew best, Carnatic music, to the adulations of friends, family, relatives, and wellwishers that would soon become some of their most avid of rasikas. They called it the ‘pullankuzhal,’ or Carnatic flute, and equipped with this seemingly small instrument, they wove melodies in a variety of ragas, talas, and rasas. Pretty soon, the young artists found themselves drawn to sounds from Northern India and with that, different types of flutes all together. “The world of ghazals really fascinated me – the way in which Hindustani artists express emotion and poetry in ghazals, specifically. I was hooked,” Rasika smiles. A vocalist born and bred in the U.S. with generations of musicians before her, she found the system helpful in improving voice culture. Soon enough, the emotive quality led her to the way she views music now ¬– a large pool of different vocabularies, each a different ornament used to display the same, artistic thought process. Across the globe, Jayanth, a product of equally-impressive lineage, found himself veering towards a similar system. Exposed to the distinct tones of the bansuri – a longer, bamboocrafted flute used primarily in Hindustani music – through the works of Pt. Hariprasad Chaurasia and Pt. Ronu Majumdar, he found himself enamored by the deep, rich tone of the bass flute. “I was in my teens when my flutemaker came home and, as I can vividly remember, I asked him to make me a direct double bass, D# flute. Flutemakers down South weren’t acquainted with this type of flute whatsoever, so making it was a process,” he laughs. Eventually, it’s become a mainstay in many of his Carnatic concerts today, so much so that photographers wait until the end just to capture him playing an Aahir Bhairav on this rare instrument. Their journeys couldn’t be more different. While Jayanth is known primarily as a Carnatic flautist, the

traditional kutcheri his medium through which he expresses his music, Rasika has found her footing as a collaborator. Her involvement with trio Shankar-EhsaanLoy is probably the most notable, with a jugalbandhi video of her mimicking Shankar’s vocalizations on the flute continuing to go viral on global social media. “The minute I started playing jazz, for instance, or simply collaborating with other artists and ensembles, I became sensitive to how my instrument could respond to the occurrences around me. All of a sudden, it became about musical conversation. Is this translating what I’d like to convey?” she questions. A valid question to ask, Jayanth notes, for interactions abroad and careful study of other flutes such as the Japanese shakuhachi have led him to his own path of inquisition. “I’d call it an endless quest, to be honest – the more you master your instrument, the more curious you become. And the more you investigate, the more you realize how far away you are from the benchmark you’re aiming to reach,” he explains. It’s a quest that’s led him to experiment with carbon fiber and glass, among a host of other variations. And yet, after all is said and done, both artists say that they can’t help but revisit their own collections of bamboo flutes with renewed vigor. “The bamboo is best suited to the type of music we represent,” Jayanth says simply. This acknowledgement seems to be what carries the two forward as they continue to innovate with flutes of different lengths, breadths, and tonal qualities. Of course, this begs the question, what exactly are they searching for? “Right now, it’s simply about self-expression,” Rasika tells us. “What is the truth behind it, and how does the ornamentation and technique of each genre feed into the greater picture of expressing oneself musically?”

NOSTALGIC NOTES Mehbooba - Sholay

Sholay was an iconic movie, it still is. Who can forget the legendary characters, dialogues, and even the music. RD Burman’s tunes breathed life into this ambitious drama which was a big box office failure upon its immediate release, but turned out to be the biggest blockbuster with time. From Amitabh Bachchan’s Jai and Dharmendra’s Veeru, to Hema Malini’s Basanti, Amzad Khan’s Gabbar, Sanjeev Kumar’s Thakur, and many more, Sholay rings out loud with its legacy, to date. The movie has a plethora of trivia and is a study material on cinema itself. If one opens pages of the past, one would find many gems that would spill out, narrating stories in bits and snippets. One such story is about the making of the iconic track ‘Mehbooba’. Remember the song? How can one even forget. ‘Mehbooba’ featured Helen, in one of her most seductive yet graceful songs ever, with quintessential RD Burman tunes and croons which went on to become a cult favourite. But do you know the interesting story behind its making? Even more interesting, do you know that the actor who discovered the making, was not even a part of this magnum opus? Well, let us enlighten you. It happened so that the actor who chanced upon this extraordinary quest to find the perfect tune, was Randhir Kapoor. The Kapoor scion, who was a sought-after actor

himself at the moment, walked in upon Pancham Da’s tunefinding process. When he reached RD’s office, he found the latter doing something weird. The music director, along with his team, was blowing air into half-filled beer bottles. Kapoor, while narrating this at a later interview, said that at that moment, he thought that everyone in the room had gone mad. However, turned out that they were trying out a new type of sound. This is the sound that you get to hear at the start of ‘Mehbooba Mehbooba’. Fascinating, isn’t it? Who would have thought that empty beer bottles and air could create something which would go on to become a part of one of the most iconic numbers in the history of Bollywood. ‘Mehbooba Mehbooba’ rocked the charts then, and it surely is on the playlist of many, even now. We have numerous gadgets, applications, and electronic appliances today to create new tunes and sounds. Hence, it is simply enthralling to know how brilliance was created with the help of basic minimum, at that time. Pancham Da truly was a rockstar. He surely knew how to make his own tune dance to his nuances. He made his own ‘Mehbooba’ and created an eternal muse. ‘Sholay’ would never have been complete without legendary number, one with Helen’s moves and Pancham Da’s tunes.

7 Sensational MTV

Unplugged Songs that

You Need to Listen

MTV Unplugged India brings some of the best singers and musicians together. With their melodious voices and breath-taking sounds, MTV Unplugged offers songs that are bound to make you lose your senses in a good way. To help you enjoy the best of music, we have curated a list of some of the finest songs that MTV Unplugged India has to offer:

1. Iktara Iktara is a melodious song which is from the music album of the movie “Wake Up Sid!”. The MTV Unplugged version of the song is sung by Amit Trivedi and Kavita Seth. The duo infuses a whole new vibe to the song by giving a good twist to the original one. The background singers further add to the melody of this beautiful song. The song is written by the legendary Javed Akhtar.

4. Tum Itna Jo Tum Itna Jo Muskura Rahe Ho is a song that was composed by the legendary Kaifi Azmi and performed by Jagjit Singh in the movie "Arth". In the MTV Unplugged version of this song, Papon amazingly sung it. The entire team of musicians along with Papon have given a completely different direction to the song. This version of the song is absolutely going to engulf you in its beauty.

2. Illahi A song from the very popular movie “Yeh Jaawani Hai Deewani” has been a favourite travel song for many. The MTV Unplugged version sung by Arijit Singh is completely mind-blowing. On days in which you need that extra cheer, simply play this gem of a song and enjoy! This feel-good song was written by lyricist Amitabh Bhattacharya

5. Saibo Saibo is sung by the perfect duo Sachin- Jigar in MTV Unplugged Season 3. Together, they have taken the song to a whole new level. The song was originally sung by Sherya Ghosal and Tochi Raina in the movie "Shor in the City". Sameer Anjaan is the man behind the beautiful composition of the song.

7. Tu He Re Tu He Re is an old classic from the diaries of A.R. Rahman. The song was in the movie "Bombay" and gained immense appreciation from the audience. With this MTV Unplugged version, Hariharan along with the musicians have introduced a modern vibe to the song. This brilliant song was written by the talented Mehboob Kotwal.

3. Rehna Tu Rehna Tu is sung by the maestro A.R. Rahman himself in Season 2 of MTV Unplugged! This impeccable song is a part of the movie "Delhi 6". The MTV Unplugged version of the song is as breathtaking as the original one. This song is bound to take you to another level all together. Even the lyrics of the song are wonderfully carved by Prasoon Joshi.

6. Aankhen Teri Aankhen Teri or Maula Mere is a heart-warming song which was in the movie "Anwar". The song was sung by the legendary Roop Kumar Rathod. In the MTV Unplugged version, you will see Mithoon give it a spectacular twist. The two versions are truly good in their own ways and are best not to be compared. The song was excellently composed by Sayeed Quadri.

Labeling Music

Good or

Bad?

Living in an expressive world where we label almost everything we come across-whether thoughts , emotions or whatever we encounter with, it wouldn’t come as a surprise to know that music is classified in various aspects. Depending on the genre, region, style and language- the classifications of music are unparalleled. However, we fail to realize that the universal aspect of music says that the ultimate reality of it is seven notes. Whether you call them sa, ri ,ga, ma in Carnatic Music or Do,Re,Mi,Fa in Western Music- the tone is the same. Even when it comes to tempo, there are different names for it in different genres. Western Classical Music classifies tempo in numbers such as 4/4 or 6/8 beat pattern but Hindustani and Carnatic Music call them with names such as Teen Taal in Hindustani or Aadi Taalam in Carnatic. While the musicologists say that labeling is important to communicate about music on a daily basis, and keeps things uniform- they also divide the universal aspect of music. The feeling of limitation that entire music is confined to only one “superior” genre starts coming into picture. But is it true? Every music form- whether it is classical or freestyle speaks of freedom in expressing one self. Irrespective of the style, a song writer’s main aim in writing a composition is to enthrall the audience through his/ her thoughts. But with excessive labeling of scales, ragas, tempos, and arrangementsthe universality goes off the center somewhere. There is a popular opinion in Western Classical Music that says all major scales (the ones with natural notes) are more pleasing to the ears and used often for happier occasions when it comes to composing, but the minor scales (the ones with accidentals, the oddsounding notes) are eerie, unpleasant and used mostly for melancholic occasions. But as art is perceptive, the minor scales can actually bring out a different light on the feeling of happiness or delight. In the same way, the major scale can bring out a sad aspect to the scenario. Even Carnatic and Hindustani music has been grounded over such opinions on ragas. For example, the raaga Shivaranjani is often associated with pathos and Kalyani is associated with devotion and love. But many composers such as Maestro Ilaiyaraaja and R.D.Burman proved it otherwise by experimenting in such raagas that are not too obvious to labels. Labeling any art form, not just music in an excess manner actually limits the unbounded possibilities it offers to us. While certain terminologies help us to communicate about music while we talk to other experts, the learning and understanding of music doesn’t stop there. When music is seen unbounded and as it is- the entire perception of it changes dramatically! Let’s take some time out in this beginning of new decade, just when the spring season starts – by exploring music without attaching any labels whatsoever!

A Confluence of Cultures: The Origins of Folk Metal

Metal has always been universally acknowledged as a musical act of defiance. Regardless of how much the genre mutates or divides itself, the sub-genre variants are only a supplement to the underlying core that always remains defined by the culture of rebellion. Of all of metals curious pairings, folk metal is perhaps, the most profound example of the influence culture can have on music. However, tracing its origins to “culture” is far too simplistic. In fact, while the statement itself might be true, folk metal, in many ways is considered a product of another notorious heavy metal genre – black metal. So how does a genre like black metal, with all its satanic undertones become associated with the folk? It is important to recognize that though there exists an undeniable fascination with death, criminality, and a somewhat disturbing darkness, these themes are generally explored within the context of Nordic culture, Viking history, and Scandinavian mythology. Folk metal simply evolved to isolate itself from the somewhat darker parts of the black metal culture. In 1991 a British band called “Skyclad” released their first album The Wayward Sons of Mother Earth (1991). The album was inspired by their pagan ideology,

but still maintained the distinctive tones of heavy metal. Over their next few albums, the band evolved into, what is almost universally recognized as, the first folk metal band in music history. Though their music was rooted in rebellion, they were still able to separate themselves from their black metal counterparts. However, while these bands weren’t necessarily associated with Satanism, they were still keen on maintaining an anti-religious front. Another example of this is sentiment is “Bathory”, a Swedish band who believed in the opposition of both Christianity as well as Satanism. The idea behind this was that both, Christianity as well as Satanism were products of the Catholic church, and so both must be renounced. A lot of the themes within folk metal include the evolution of humanity’s relationships with nature and other universal concepts like greed, superficiality, existence, and spirituality. As we progress, these themes continue to diversify and evolve to include more social issues, ancient philosophies, mythology and elements of fiction. The music itself borrows from regional folk instruments. While the set up generally features a typical heavy metal ensemble, instruments like

flutes, bagpipes, mandolins, and banjos, (depending on the roots of the band, or their country of focus) are what allow the band to incorporate that folk sound into their music. Some bands rely on electronic keyboards or software. As more bands, embrace this style of music, you find an increasing number of very specific sub-genres beginning to take shape. Celtic, Viking, Medieval and Oriental metal are some of the most prominent of these sub-types, with bands like Cruachan, Subway to Sally, Orphaned Land leading from the front. The integration of folk with metal is not particularly unique in its practice. Western classical has long been borrowing elements of folk tunes, imagery and music structure. Self-proclaimed connoisseurs of heavy metal might make the case that folk metal is all too “goofy” to be considered “real metal”. And there’s undoubtedly some merit to that argument with regard to a few select artists/ albums that often sound alarmingly close to parodies of themselves. However, to put a blanket label on every artist within the genre does a disservice to incredible folk metal artists who do an incredible job of combining story with song. In the wake of the digital era, where the confluence of culture, metal, and storytelling, is so often overshadowed, these artists remain a breath of fresh air.

‘the Hang’ Getting the Hang of A Unique Drum and its Drummer SHAURYA SINGH THAPA

In 2000, a new millennium was born as well as a unique music instrument called the Hang. It was a drum that was played by hand, placed on the player’s lap. The people behind its creation were two individuals from Switzerland, Felix Rohner and Sabina Scharer. After introducing this percussive instrument in a German trade fair in the next year, the Hang began to draw quite some attention. In terms of anatomy, the Hang comprises of two metallic shells glued to each other in a concave fashion, wit the inside of the instrument being hollow. The creators have acknowledged the fact that steel drums from various countries Trinidad and Tobago, and India, have been a large influence on the Hang, but it differs from its predecessors in terms of sound. The Hang has buttery, raindrop-like sounds, rather than metallic notes. ‘The Hang in its original form was of Swiss origin but the company building it has stopped production. There are other variants but the Hang or the handpan is virtually an extinct instrument.’, says Delhi-based handpan player Ashim Bery. Bery is referencing to Felix and Sabina’s company PANArt Hangbau AG, which announced in 2013 that they wouldn’t be making any more specimens of Hang, as they are focusing on other sound and instruments. The handpan is extremely similar to the Hang. For laypersons, the handpan can be described as the nonpatented Hang. Production of handpan is being taken over to India too recently. Bery remarks that some of his fellow musicians have been making their own handpans. An already-trained tabla player, Bery got introduced to the handpan through another vaguely similar instrument called the steel tongue drum. It was on a Goa beach in 2016 when he saw a man playing the same. This introduced him to a new world of percussion. ‘The steel tongue drum on the surface might look similar to the handpan but its sound is too metallic. The handpan on the other hand, has a wavy, more resonant sound.’ Bery explains the differences between the two instruments. Studying tones and sounds in metallic drums, he finally picked up the instrument in 2018. He has been ‘playing around with it’ ever since. Bery is one of the rare few proponents of the drum in India, a country where we aren’t totally aware of even the sound of a handpan or the Hang. Bery laughs at this, describing how his audiences are charmed as his fingers tap the notes of the handpan. ‘It is really hard to explain the tonality of the instrument in a simple manner. People are quite amused when they see me playing this ulta tawa (inverted pan)!’. As he continues to play and promote the handpan, Ashim Bery doesn’t stick to the instrument for just music. He tries to explore the handpan’s rhythmic influence further by collaborating with dancers and theatre artists too. Having already dropped an instrumental album called Kalkaji to Khirkee-The First Draft, he’s working on an EP where he’s planning to combine the handpan’s sound with other varied elements and influences like violin or electronic music.